# Copyright (C) 2012 Free Software Foundation, Inc.
# This file is distributed under the same license as the PACKAGE package.
#
+# Translators:
# Petter Reinholdtsen <pere@hungry.com>, 2012.
msgid ""
msgstr ""
-"Project-Id-Version: \n"
-"POT-Creation-Date: 2012-07-19 21:43+0300\n"
+"Project-Id-Version: Free Culture by Lawrence Lessig\n"
+"POT-Creation-Date: 2012-07-27 20:12+0300\n"
"PO-Revision-Date: 2012-07-13 21:50+0200\n"
"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n"
"Language-Team: Norwegian Bokmål <i18n-nb@lister.ping.uio.no>\n"
msgid "<abbrev>\"freeculture\"</abbrev>"
msgstr "<abbrev>\"frikultur\"</abbrev>"
-#. type: Content of: <book><bookinfo><subtitle>
+#. type: Content of: <book><colophon><para>
+msgid ""
+"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL "
+"CREATIVITY"
+msgstr ""
+"Hvordan store mediaaktører 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>
msgid ""
-"<copyright> <year>2004</year> <holder> Lawrence Lessig. This version of "
-"Free Culture is licensed under a Creative Commons license. This license "
-"permits non-commercial use of this work, so long as attribution is given. "
-"For more information about the license, click the icon above, or visit "
-"<ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://"
-"creativecommons.org/licenses/by-nc/1.0/</ulink> </holder> </copyright>"
+"<copyright> <year>2004</year> <holder>Lawrence Lessig</holder> </copyright>"
msgstr ""
-"<copyright> <year>2004</year> <holder> Lawrence Lessig. Denne versjonen av "
-"Fri Kultur er lisensert med en Creative Commons-lisens. Denne lisensen "
-"tillater ikke-kommersiell utnyttelse av verket, hvis opphavsinnehaveren er "
-"navngitt. For mer informasjon om lisensen, klikk på ikonet over eller besøk "
-"<ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://"
-"creativecommons.org/licenses/by-nc/1.0/</ulink> </holder> </copyright>"
+"<copyright> <year>2004</year> <holder>Lawrence Lessig</holder> </copyright>"
+
+#. 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 lisensert med en Creative Commons-lisens. "
+"Denne lisensen tillater ikke-kommersiell utnyttelse av verket, hvis "
+"opphavsinnehaveren er navngitt. For mer informasjon om lisensen, klikk på "
+"ikonet over eller besøk <ulink url=\"http://creativecommons.org/licenses/by-"
+"nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</ulink>"
#. type: Content of: <book><bookinfo><abstract><title>
msgid "ABOUT THE AUTHOR"
"assisterte Lessig dommer Richard Posner ved U.S. Seventh Circuit Court of "
"Appeals."
-#. type: Content of: <book><chapter><title>
-msgid "Info"
-msgstr "Info"
-
-#. type: Content of: <book><chapter><para>
+#. type: Content of: <book><colophon><para>
msgid "You can buy a copy of this book by clicking on one of the links below:"
msgstr ""
"Du kan kjøpe en kopi av denne boken ved å klikke på en av lenkene nedenfor:"
-#. type: Content of: <book><c
hapter><itemizedlist><listitem><para>
+#. type: Content of: <book><c
olophon><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><c
hapter><itemizedlist><listitem><para>
+#. type: Content of: <book><c
olophon><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><c
hapter><itemizedlist><listitem><para>
+#. type: Content of: <book><c
olophon><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><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "ALSO BY LAWRENCE LESSIG"
msgstr "Andre bøker av Lawrence Lessig"
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><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><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "Code: And Other Laws of Cyberspace"
msgstr "Code: And Other Laws of Cyberspace"
-#. type: Content of: <book><chapter><para>
-msgid "THE PENGUIN PRESS"
-msgstr "The Penguin Press"
-
-#. type: Content of: <book><chapter><para>
-msgid "NEW YORK"
-msgstr "New York"
+#. type: Content of: <book><colophon><para>
+msgid "THE PENGUIN PRESS, NEW YORK"
+msgstr "The Penguin Press, New York"
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "FREE CULTURE"
msgstr "Fri Kultur"
-#. type: Content of: <book><chapter><para>
-msgid ""
-"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL "
-"CREATIVITY"
-msgstr ""
-
-#. type: Content of: <book><chapter><para>
+#. type: Content of: <book><colophon><para>
msgid "LAWRENCE LESSIG"
msgstr "Lawrence Lessig"
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid ""
-"a member of Penguin Group (USA) Inc. 375 Hudson Street New York, New York"
+"THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street "
+"New York, New York"
msgstr ""
-#. type: Content of: <book><chapter><para>
-msgid "Copyright © Lawrence Lessig,"
-msgstr "Opphavsrett © Lawrence Lessig,"
-
-#. type: Content of: <book><chapter><para>
-msgid "All rights reserved"
-msgstr "Alle rettigheter reservert"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" The "
-"New York Times, January 16, 2003. Copyright © 2003 by The New York "
-"Times Co. Reprinted with permission."
+#. type: Content of: <book><colophon><para>
+msgid "Copyright © Lawrence Lessig. All rights reserved."
msgstr ""
+"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert."
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid ""
-"Cartoon by Paul Conrad on page 159. Copyright Tribune Media Services, Inc."
+"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" "
+"<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><chapter><para>
-msgid "All rights reserved. Reprinted with permission."
+#. 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><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid ""
-"Diagram on page 164 courtesy of the office of FCC Commissioner, Michael J. "
-"Copps."
+"Diagram in <xref linkend=\"fig-1761\"/> courtesy of the office of FCC "
+"Commissioner, Michael J. Copps."
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "Library of Congress Cataloging-in-Publication Data"
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><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><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "p. cm."
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "Includes index."
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "ISBN 1-59420-006-8 (hardcover)"
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid ""
"1. Intellectual property—United States. 2. Mass media—United "
"States."
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid ""
"3. Technological innovations—United States. 4. Art—United "
"States. I. Title."
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "KF2979.L47"
msgstr ""
-#. type: Content of: <book><c
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+#. type: Content of: <book><c
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msgid "343.7309'9—dc22"
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "This book is printed on acid-free paper."
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "Printed in the United States of America"
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "1 3 5 7 9 10 8 6 4"
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "Designed by Marysarah Quinn"
msgstr ""
-#. type: Content of: <book><c
hapter><para>
+#. type: Content of: <book><c
olophon><para>
msgid "&translationblock;"
-msgstr "Oversatt til bokmål av Petter Reinholdtsen."
+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><c
hapter><para>
+#. type: Content of: <book><c
olophon><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 "
"materials. Your support of the author's rights is appreciated."
msgstr ""
-#. type: Content of: <book><
chapter><para>
+#. type: Content of: <book><
dedication><para>
msgid ""
"To Eric Eldred—whose work first drew me to this cause, and for whom it "
"continues still."
"Til Eric Eldred — hvis arbeid først trakk meg til denne saken, og for "
"hvem saken fortsetter."
-#. type: Content of: <book><chapter><figure><title>
+#. type: Content of: <book><dedication><para><figure><title>
msgid "Creative Commons, Some rights reserved"
msgstr "Creative Commons, noen rettigheter reservert"
-#. type: Content of: <book><chapter><figure>
+#. type: Content of: <book><dedication><para><figure>
msgid "<graphic fileref=\"images/cc.png\"></graphic>"
msgstr "<graphic fileref=\"images/cc.png\"></graphic>"
-#. type: Content of: <book><chapter><lot><title>
+#. type: Content of: <book><dedication><para>
+msgid "<placeholder type=\"figure\" id=\"0\"/>"
+msgstr "<placeholder type=\"figure\" id=\"0\"/>"
+
+#. type: Content of: <book><lot><title>
msgid "List of figures"
msgstr "Figurliste"
-#. type: Content of: <book><chapter><title>
+#. type: Content of: <book><preface><title>
msgid "PREFACE"
msgstr "Forord"
-#. type: Content of: <book><chapter><para>
+#. 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, Code: And Other Laws of "
-"Cyberspace, David Pogue, a brilliant writer and author of countless "
-"technical and computer-related texts, wrote this:"
+"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, Code: And Other Laws of Cyberspace:"
+"første bok, <citetitle>Code: And Other Laws of Cyberspace</citetitle>:"
-#. type: Content of: <book><
chapter><blockquote><para><footnote><para>
+#. type: Content of: <book><
preface><blockquote><para><footnote><para>
msgid ""
-"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January "
-"2000."
+"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</"
+"citetitle>, 30 January 2000."
msgstr ""
-"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30. januar "
-"2000"
+"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</"
+"citetitle>, 30. januar 2000"
-#. type: Content of: <book><
chapter><blockquote><para>
+#. 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 "
"ikke liker systemet på internett, så kan du alltid slå av modemet."
"<placeholder type=\"footnote\" id=\"0\"/>"
-#. type: Content of: <book><
chapter><para>
+#. type: Content of: <book><
preface><para>
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 that "
-"space wouldn't \"affect\" us anymore."
+"off the modem, unplug the computer, and any troubles that exist in "
+"<emphasis>that</emphasis> space wouldn't \"affect\" 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 der ville ikke \"påvirke\" oss mer."
+"finnes <emphasis>den</emphasis> virkeligheten ville ikke \"påvirke\" oss mer."
#. PAGE BREAK 12
-#. type: Content of: <book><
chapter><para>
+#. type: Content of: <book><
preface><para>
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: Free Culture is about "
-"the troubles the Internet causes even after the modem is turned off. It is "
-"an argument about how the battles that now rage regarding life on-line have "
-"fundamentally affected \"people who aren't online.\" There is no switch that "
-"will insulate us from the Internet's effect."
+"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."
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. Fri Kultur "
+"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><
chapter><para>
+#. type: Content of: <book><
preface><para>
msgid ""
-"But unlike Code, the argument here is not much about the Internet itself. It "
-"is instead about the consequence of the Internet to a part of our tradition "
-"that is much more fundamental, and, as hard as this is for a geek-wanna-be "
-"to admit, much more important."
+"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 Code, er argumentet her ikke så mye om "
+"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><
chapter><para><footnote><para>
+#. type: Content of: <book><
preface><para><footnote><para>
msgid ""
-"Richard M. Stallman, Free Software, Free Societies 57 (Joshua Gay, ed. 2002)."
+"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 "
+"(Joshua Gay, ed. 2002)."
msgstr ""
-"Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. "
+"Richard M. Stallman, <citetitle>Fri programvare, Frie samfunn</citetitle> 57 (Joshua Gay, red. "
"2002)."
-#. type: Content of: <book><
chapter><para>
+#. type: Content of: <book><
preface><para>
msgid ""
"That tradition is the way our culture gets made. As I explain in the pages "
"that follow, we come from a tradition of \"free culture\"—not \"free\" "
"\"free will,\" and \"free elections.\" A free culture supports and protects "
"creators and innovators. It does this directly by granting intellectual "
"property rights. But it does so indirectly by limiting the reach of those "
-"rights, to guarantee that follow-on creators and innovators remain as free "
-"as possible from the control of the past. A free culture is not a culture "
-"without property, just as a free market is not a market in which everything "
-"is free. The opposite of a free culture is a \"permission culture\"—a "
-"culture in which creators get to create only with the permission of the "
-"powerful, or of creators from the past."
+"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."
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 "
"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 er så fri som mulig fra kontroll fra fortiden. En fri kultur er "
+"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><
chapter><para>
+#. type: Content of: <book><
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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 "
msgid "CodePink Women in Peace"
msgstr ""
-#. type: Content of: <book><chapter><para>
+#. type: Content of: <book><chapter><para><indexterm><primary>
+msgid "Safire, William"
+msgstr "Safire, William"
+
+#. type: Content of: <book><preface><para>
msgid ""
"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As "
"the FCC considered changes in media ownership rules that would relax limits "
"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,"
+"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 "
"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:"
+"for hva som var på spill: konsentrasjonen av makt. Så spurte han: "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
-#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-msgid "William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003."
+#. type: Content of: <book><preface><blockquote><para><footnote><para>
+msgid ""
+"William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</"
+"citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
-"William Safire, \"The Great Media Gulp,\" New York Times, 22. mai 2003."
+"William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</"
+"citetitle>, 22. mai 2003. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
-#. type: Content of: <book><
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+#. 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 "
"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 essensien i "
-"føderalismen og det største uttrykk for demokrati.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"This idea is an element of the argument of Free Culture, though my focus is "
-"not just on the concentration of power produced by concentrations in "
-"ownership, but more importantly, if because less visibly, on the "
-"concentration of power produced by a radical change in the effective scope "
-"of the law. The law is changing; that change is altering the way our culture "
-"gets made; that change should worry you—whether or not you care about "
-"the Internet, and whether you're on Safire's left or on his right. The "
-"inspiration for the title and for much of the argument of this book comes "
-"from the work of Richard Stallman and the Free Software Foundation. Indeed, "
-"as I reread Stallman's own work, especially the essays in Free Software, "
-"Free Society, I realize that all of the theoretical insights I develop here "
-"are insights Stallman described decades ago. One could thus well argue that "
-"this work is \"merely\" derivative."
-msgstr ""
-"Denne ideen er et element i argumentet til Fri Kultur, selv om min fokus "
+"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>
+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."
+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 "
"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 Free Software, "
-"Free Society, innser jeg at alle de teoretiske innsiktene jeg utvikler her "
-"er innsikter som Stallan beskrev for tiår siden. Man kan dermed godt "
+"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><
chapter><para>
+#. 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 "
"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><
chapter><para>
+#. 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 "
"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 fødalt, så kan en fri kultur bli ødelagt "
+"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."
"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 "
+"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 interssen for denne nye "
+"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, Blackstone's Commentaries 3 (South Hackensack, N.J.: "
-"Rothman Reprints, 1969), 18."
+"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South "
+"Hackensack, N.J.: Rothman Reprints, 1969), 18."
msgstr ""
-"St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: "
+"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South Hackensack, N.J.: "
"Rothman Reprints, 1969), 18."
#. type: Content of: <book><chapter><para>
"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 ideen om at "
+"> 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?"
"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 lavflygende "
+"Causby i Nord Carolina begynte å miste kyllinger på grunn av lavtflygende "
"militære fly (vettskremte kyllinger fløy tilsynelatende i låveveggene og "
-"døde), saksøkte Causbyene regjerningen 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."
+"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>
msgid ""
"there could be a \"taking\" if the government's use of its land effectively "
"destroyed the value of the Causbys' land. This example was suggested to me "
"by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: "
-"Notes Toward a Cultural Geography of Authorship,\" Stanford Law Review 48 "
-"(1996): 1293, 1333. See also Paul Goldstein, Real Property (Mineola, N.Y.: "
-"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id="
-"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"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\"/>"
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\", Stanford Law Review 48 (1996): "
-"1293, 1333. Se også Paul Goldstein, Real Property (Mineola, N.Y.: Foundation "
+"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\"/>"
"[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. Ideen er i "
+"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 "
#. type: Content of: <book><chapter><para>
msgid "\"Common sense revolts at the idea.\""
-msgstr "\"Ideen er i strid med sunn fornuft.\""
+msgstr "\"Idéen er i strid med sunn fornuft.\""
#. PAGE BREAK 18
#. type: Content of: <book><chapter><para>
"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: \"Ideen er i strid med sunn fornuft.\". Men uansett om det tar flere "
+"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 lovpraksis-"
"system, slik som vårt er, at loven tilpasser seg til aktuelle teknologiene. "
-"Og mens den tilpasser seg, så endres den. Ideer som var solide som fjell i "
+"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>
"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 ideen, og teknologien, som "
+"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. Ideen spredte seg deretter som et virus "
+"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 prosudert. De kunne "
-"stå pa sine gårder, med døde kyllinger i hendene, og heve knyttneven mot "
+"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"
"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\"/>"
+"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 bookbinderlærling da 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=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>"
#. type: Content of: <book><chapter><para>
msgid ""
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-modelert (AM) radio. Tidens teoretikere "
-"hadde sagt at frekvens-modelert (FM) radio. De hadde rett når det gjelder "
-"et smalt bånd av spektrummet. Men Armstrong oppdaget at frekvens-modelert "
-"radio i et vidt bånd i spektrummet leverte en forbløffende gjengivelse av "
+"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>
"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 frekvensmodelering ved to og en halv meter.\""
+"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:"
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid ""
-"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong "
-"(Philadelphia: J. B. Lipincott Company, 1956), 209."
+"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</"
+"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209."
msgstr ""
-"Lawrence Lessing, Man of High Fidelity:: Edwin Howard Armstrong "
+"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>
"heard before from a radio \"music box.\"<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
-"Et glass vann ble fyllt opp foran mikrofonen i Yonkers, og det hørtes ut som "
-"et plass som ble fyllt opp. . . . Et papir ble krøllet og revet opp, og det "
+"Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hørtes ut som "
+"et plass 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 "
"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>
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."
+"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."
+"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>
msgid ""
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,"
+"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,"
+"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."
"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, erklerte RCS "
+"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, gikk ut av et vindu i "
-"trettende etasje og falt i døden."
+"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>
"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 "
-"sansynlig at de blir fanget når en mektig interesse er truet av enten en "
+"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. Ideer som kan være solide "
+"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 "
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 kommunkasjon 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."
+"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 ""
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 vå rkultur som er "
+"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 "
msgstr ""
"Fra historisk tid, og for omtrent hele vår tradisjon, har ikke-kommersiell "
"kultur i hovedsak ikke vært regulert. Selvfølgelig, hvis din historie var "
-"utuktug, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. "
+"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—"
msgstr "Brandeis, Louis D."
#. type: Content of: <book><chapter><para><footnote><para>
-#, mtrans, fuzzy
msgid ""
"This is not the only purpose of copyright, though it is the overwhelmingly "
"primary purpose of the copyright established in the federal constitution. "
"Louis D. Brandeis, \"The Right to Privacy,\" 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 overveldende "
-"Hovedformålet med opphavsretten etablert i federal grunnlov. copyright "
-"lovene i delstaten beskyttet historisk ikke bare kommersielle interesse i "
-"publikasjonen, men også en interesse for personvern. ved å gi forfattere "
-"eneretten til første publikasjon, ga copyright lovene i delstaten forfattere "
-"makt til å kontrollere spredningen av fakta om dem. se d. samuel d. warren "
-"og louis brandeis, \"rett til personvern,\" harvard law gå gjennom 4 (1890): "
-"193, 198200."
+"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 gjalt 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 ""
"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 kommer
isell markedsplass.<placeholder type="
+"eksklusive rettighetene på en kommer
siell 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 "
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
-"See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), "
-"ch. 13."
+"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: "
+"Prometheus Books, 2001), ch. 13."
msgstr ""
-"Se Jessica Litman, Digital Copyright (New York: Prometheus bøker, 2001), "
+"Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: Prometheus bøker, 2001), "
"kap. 13."
#. type: Content of: <book><chapter><para>
"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 histiske balansen—mellom bruken av den "
-"delen av kulturen vår som var fri og bruken av vår kultur som krevde "
-"tillatelse—har blitt borte. Konsenvensen er at vi er mindre og mindre "
+"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>
-#, mtrans, fuzzy
msgid ""
"This change gets justified as necessary to protect commercial creativity. "
"And indeed, protectionism is precisely its motivation. But the protectionism "
"made and shared have united to induce lawmakers to use the law to protect "
"them. It is the story of RCA and Armstrong; it is the dream of the Causbys."
msgstr ""
-"Denne endringen blir rettferdiggjort når det er nødvendig å beskytte "
-"kommersielle kreativitet. og proteksjonistisk er faktisk nettopp sin "
-"motivasjon. men proteksjonistisk som rettferdiggjør endringene som jeg vil "
-"beskrive nedenfor er ikke begrenset og balansert Sorter som har definert "
-"loven i siste. Dette er ikke en proteksjonistisk å beskytte kunstnere. i "
-"stedet er det en proteksjonistisk å beskytte visse former for virksomheten. "
-"selskaper truet av potensial av Internett til å endre måten både "
-"kommersielle og ikke-kommersiell kultur er laget og delt har forent å "
-"indusere lovgivere til å bruke loven til å beskytte dem. Det er historien om "
-"rca og armstrong; Det er drømmen av causbys."
+"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>
-#, mtrans, fuzzy
msgid ""
"For the Internet has unleashed an extraordinary possibility for many to "
"participate in the process of building and cultivating a culture that "
"today—all so long as the RCAs of our day don't use the law to protect "
"themselves against this competition."
msgstr ""
-"for Internett har utløste en ekstraordinære mulighet for mange til å delta i "
-"ferd med å bygge og pleie en kultur som går langt ut over lokale grenser. at "
-"strøm er endret markedet for å lage og dyrke kultur Generelt, og at "
-"endringen i sin tur truer etablert innhold bransjer. Internett er dermed til "
-"bransjer som bygget og distribuerte innholdet i det tjuende århundret hva fm-"
-"radio var på am-radio, eller hva bilen var til jernbane industrien av det "
-"nittende århundre: begynnelsen av slutten, eller minst en betydelig "
-"transformasjon. Digital teknologi, knyttet til Internett, kunne produsere en "
-"langt mer konkurransedyktig og vibrerende markedet for å bygge og pleie "
-"kultur; Dette markedet kan omfatte en mye større og mer variert utvalg av "
-"skaperne; disse skaperne kunne produsere og distribuere en mye mer levende "
-"rekke kreativitet; og avhengig av noen viktige faktorer, de skaperne kunne "
-"tjene mer i gjennomsnitt fra dette systemet enn skaperne gjør i dag—"
-"alle, så lenge rcas i dag ikke bruker lov til å beskytte seg mot denne "
-"konkurransen."
+"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>
-#, mtrans, fuzzy
msgid ""
"Yet, as I argue in the pages that follow, that is precisely what is "
"happening in our culture today. These modern-day equivalents of the early "
"vibrant technology for building culture. They are succeeding in their plan "
"to remake the Internet before the Internet remakes them."
msgstr ""
-"Likevel, som jeg hevder på sidene som følger, som er nøyaktig hva som skjer "
-"i vår kultur i dag. Disse moderne-dag-ekvivalenter av tidlig 1900-tallet-"
-"radio eller av 1800-tallet jernbaner bruker deres makt for å få lov til å "
-"beskytte dem mot dette nye, mer effektive, mer levende teknologi for bygging "
-"av kultur. de lykkes i sin plan å remake Internett før Internett remakes dem."
+"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,\" New York Times, 17 "
+#| "January 2002."
msgid ""
"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
-"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 "
-"January 2002."
+"Tools to Turn the Net into an Illicit Video Club,\" <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,\" New York Times, 17. "
"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>
-#, mtrans, fuzzy
msgid ""
"If those really were the choices, then I would be with Jack Valenti and the "
"content industry. I, too, am a believer in property, and especially in the "
"\"piracy,\" whether on or off the Internet."
msgstr ""
"Hvis dette virkelig var alternativene, så ville jeg være enig med Jack "
-"Valenti og innholdsindustrien. Jeg, også, er en troende i eiendom, og særlig "
-"i betydningen av hva mr. Valenti samtaler \"kreativ eiendom.\" Jeg tror at "
-"\"piratkopiering\" er galt, og at loven, riktig innstilt, skal straffe pent "
-"\"piratkopiering\", enten av eller på Internett."
+"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>
-#, mtrans, fuzzy
msgid ""
"But those simple beliefs mask a much more fundamental question and a much "
"more dramatic change. My fear is that unless we come to see this change, the "
"war to rid the world of Internet \"pirates\" will also rid our culture of "
"values that have been integral to our tradition from the start."
msgstr ""
-"men de enkle trosoppfatninger maskere et mye mer grunnleggende spørsmål og "
-"en mye mer dramatisk endring. min frykt er at med mindre vi kommer til å se "
-"denne endringen, krig for å befri verden av Internett \"pirater\" også "
-"kvitte vår kultur med verdier som er integrert til vår tradisjon fra starten."
+"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><sect1><sect2><para><footnote><para><indexterm><primary>
msgid "Netanel, Neil Weinstock"
msgstr "Netanel, Neil Weinstock"
#. type: Content of: <book><chapter><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law "
+#| "Journal 106 (1996): 283. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
+"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" "
+"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
+msgstr ""
"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law "
"Journal 106 (1996): 283. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Neil w. netanel, \"copyright og en demokratisk sivile samfunn,\" yale law "
-"journal 106 (1996): 283."
#. type: Content of: <book><chapter><para>
msgid ""
"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>
-#, mtrans, fuzzy
msgid ""
"Yet the law's response to the Internet, when tied to changes in the "
"technology of the Internet itself, has massively increased the effective "
"those within the noble class live easily; those outside it don't. But it is "
"nobility of any form that is alien to our tradition."
msgstr ""
-"lovens svar på Internett, når knyttet til endringer i teknologi for "
-"Internett selv, øket ennå svært effektiv regulering av kreativitet i "
-"Amerika. Hvis du vil bygge på eller kritikk kultur rundt oss må du be om, "
-"oliver twistlike, om tillatelse først. tillatelsen er selvfølgelig ofte "
-"gitt—, men det er ikke ofte gis til den kritiske eller independent. Vi "
-"har bygd opp en slags kulturelle adel; de i edle klassen leve enkelt; dem "
-"utenfor ikke. men det er adel noen form som er fremmed for vår tradisjon."
+"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>
-#, mtrans, fuzzy
msgid ""
"The story that follows is about this war. Is it not about the \"centrality "
"of technology\" to ordinary life. I don't believe in gods, digital or "
"neither do I believe in a devil, corporate or otherwise. It is not a "
"morality tale. Nor is it a call to jihad against an industry."
msgstr ""
-"historien som følger handler om denne krigen. er det ikke om \"betydningen "
-"av teknologi\" vanlige liv. Jeg tror ikke på guder, digitale eller på annen "
-"måte. heller ikke er det et forsøk på å demonize enhver person eller gruppe, "
-"for heller ikke tror jeg på en djevel, corporate eller på annen måte. Det er "
-"ikke en moral-tale. heller ikke er det et kall til jihad mot en bransje."
+"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>
-#, mtrans, fuzzy
msgid ""
"It is instead an effort to understand a hopelessly destructive war inspired "
"by the technologies of the Internet but reaching far beyond its code. And by "
"continue unchecked. We must come to understand the source of this war. We "
"must resolve it soon."
msgstr ""
-"i stedet er det et forsøk på å forstå en håpløst ødeleggende krig som er "
-"inspirert av teknologien av Internett, men nå langt utenfor koden. og ved å "
-"forstå dette slaget, det er et forsøk på å tilordne fred. Det er ingen god "
-"grunn for gjeldende kampen rundt Internett-teknologier for å fortsette. det "
-"vil være stor skade på vår tradisjon og kultur Hvis det er lov til å "
-"fortsette ukontrollert. Vi må komme til å forstå kilden til denne krigen. Vi "
-"må løse det snart."
+"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>
-#, mtrans, fuzzy
msgid ""
"Like the Causbys' battle, this war is, in part, about \"property.\" The "
"property of this war is not as tangible as the Causbys', and no innocent "
"\"property.\" It is as plain to us as it was to them that the law should "
"intervene to stop this trespass."
msgstr ""
-"som causbys' kamp, denne krigen er delvis, om \"egenskapen.\" egenskapen av "
-"denne krigen er ikke så konkrete som causbys', og ingen uskyldige kylling "
-"har ennå å miste sitt liv. ennå er ideer rundt denne \"property\" så opplagt "
-"for de fleste som causbys' krav om sacredness av deres farm var å dem. Vi er "
-"causbys. de fleste av oss tar for gitt de usedvanlig kraftig kravene som "
-"eierne av \"intellectual property\" nå hevde. de fleste av oss, som causbys, "
-"behandle disse påstandene som åpenbart. og dermed vi, som causbys, objektet "
-"når en ny teknologi griper denne egenskapen. Det er så vanlig for oss som "
-"det var til dem at de nye teknologiene av Internett er \"adgang\" på "
-"legitime påstander om \"egenskapen.\" det er så vanlig for oss som det var "
-"til dem at loven bør intervenere for å stoppe denne trespass."
+"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>
-#, mtrans, fuzzy
msgid ""
"And thus, when geeks and technologists defend their Armstrong or Wright "
"brothers technology, most of us are simply unsympathetic. Common sense does "
"the side of the property owners in this war. Unlike the lucky Wright "
"brothers, the Internet has not inspired a revolution on its side."
msgstr ""
-"og dermed når geeks og Teknologorganisasjon forsvare sin armstrong eller "
-"Wright brødre teknologi, de fleste av oss er bare usympatiske. sunn fornuft "
-"opprør ikke. i motsetning til når det gjelder uheldig causbys er sunn "
-"fornuft på siden av bolig i denne krigen. i motsetning til heldig Wright-"
-"brødrene, har Internett ikke inspirert en revolusjon på høykant."
+"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>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "My hope is to push this common sense along. I have become increasingly "
+#| "amazed by the power of this idea of intellectual property and, more "
+#| "importantly, its power to disable critical thought by policy makers and "
+#| "citizens. There has never been a time in our history when more of our "
+#| "\"culture\" was as \"owned\" as it is now. And yet there has never been a "
+#| "time when the concentration of power to control the uses of culture has "
+#| "been as unquestioningly accepted as it is now."
msgid ""
"My hope is to push this common sense along. I have become increasingly "
"amazed by the power of this idea of intellectual property and, more "
"importantly, its power to disable critical thought by policy makers and "
"citizens. There has never been a time in our history when more of our "
"\"culture\" was as \"owned\" as it is now. And yet there has never been a "
-"time when the concentration of power to control the uses of culture has been "
-"as unquestioningly accepted as it is now."
+"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 presse denne sunn fornuft. Jeg har blitt stadig overrasket av "
-"kraften i denne ideen av åndsverk, og enda viktigere, sin makt for å "
-"deaktivere kritisk tenkning av beslutningstakere og borgere. Det har aldri "
-"vært en gang i vår historie da flere av våre \"kultur\" var som \"eier\" som "
-"det er nå. og ennå har det aldri vært en tid når konsentrasjonen av makt til "
-"å kontrollere bruk av kultur er så unquestioningly godtatt som det er nå."
+"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 bruken av kulturen vært mer akseptert uten spørsmål enn det er "
+"nå."
#. type: Content of: <book><chapter><para>
msgid ""
"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 ideer og kultur? Er det "
+"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?"
"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 ideer om absolutt eierskap over ideer og kultur "
-"gir fordeler til RCA-ene i vår tid, og passer med vår ureflekterte intiusjon?"
+"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>
-#, mtrans, fuzzy
msgid ""
"Is the radical shift away from our tradition of free culture an instance of "
"America correcting a mistake from its past, as we did after a bloody war "
"shift away from our tradition of free culture yet another example of a "
"political system captured by a few powerful special interests?"
msgstr ""
-"er det radikalt skiftet bort fra vår tradisjon for fri kultur en forekomst "
-"av Amerika korrigere en feil fra sin fortid som vi gjorde etter en blodig "
-"krig med slaveri, og som vi sakte gjør med ulikhet? eller er radikalt skifte "
-"bort fra vår tradisjon for fri kultur ennå et annet eksempel på et politisk "
-"system som fanges opp av noen kraftige spesielle interesser?"
+"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 ""
"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 domskapen vil bli mye mer dyptgripende."
+"konsekvensene av den nye dumskapen vil bli mye mer dyptgripende."
#. type: Content of: <book><chapter><para>
msgid ""
"\"property.\" 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 ideer: "
+"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 ideene."
+"deler er å utforske disse to idéene."
#. type: Content of: <book><chapter><para>
msgid ""
"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 ideene kan bli fullt ut forstått."
+"tilsynelatende enkle idéene kan bli fullt ut forstått."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"The two sections set up the core claim of this book: that while the Internet "
"has indeed produced something fantastic and new, our government, pushed by "
"change the law—and more importantly, to use their power to change "
"something fundamental about who we have always been."
msgstr ""
-"de to delene satt opp kjernen krav i denne boken: som mens Internett har "
-"faktisk produsert noe fantastisk og nye, vår regjering, presset av store "
-"mediene til å svare på denne \"noe nytt,\" er ødelegge noe som er svært "
-"gammel. i stedet for å forstå endringene Internett kan tillate, og i stedet "
-"for å ta tid til å la \"sunn fornuft\" løse hvordan man best skal besvare, "
-"vi tillater de mest truet av endringene bruke sin makt til å endre "
-"loven— og enda viktigere, å bruke sin makt til å endre noe "
-"grunnleggende om hvem vi har alltid vært."
+"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 ""
"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 kompromiterte prosess for å utforme lover. Denne boken er "
+"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."
msgid "\"PIRACY\""
msgstr "\"Piratvirksomhet\""
+#. type: Content of: <book><chapter><sect1><indexterm><primary>
+msgid "Mansfield, William Murray, Lord"
+msgstr "Mansfield, William Murray, Lord"
+
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Since the inception of the law regulating creative property, there has been "
"a war against \"piracy.\" The precise contours of this concept, \"piracy,\" "
"Mansfield wrote in a case that extended the reach of English copyright law "
"to include sheet music,"
msgstr ""
-"siden starten av loven som regulerer kreative egenskapen, har det vært en "
-"krig mot \"piratkopiering.\" presis konturene av dette konseptet "
-"\"piratkopiering\", er vanskelig å skissere, men animert urettferdighet er "
-"lett å fange. som Herren mansfield skrev i en sak som utvidet rekkevidden av "
-"engelsk lov om opphavsrett til å inkludere sheet music,"
+"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><chapter><blockquote><para><footnote><para>
-#, mtrans, fuzzy
-msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
-msgstr "Bach v. longman, 98 eng. rep 1274 (1777) (mansfield)."
+#, fuzzy
+#| msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
+msgid ""
+"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. "
+"1274 (1777) (Mansfield)."
+msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"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><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Today we are in the middle of another \"war\" against \"piracy.\" The "
"Internet has provoked this war. The Internet makes possible the efficient "
"distributed intelligence, p2p systems facilitate the easy spread of content "
"in a way unimagined a generation ago."
msgstr ""
-"i dag er vi midt i en annen \"krig\" mot \"piratkopiering.\" Internett har "
-"provosert denne krigen. Internett gjør mulig effektiv spredning av innhold. "
-"Peer-to-peer (p2p) fildeling er blant den mest effektive av effektiv "
-"teknologi gjør det mulig for Internett. ved hjelp av distributed "
-"intelligence, p2p systemer forenkle enkel spredning av innhold på en måte "
-"som unimagined en generasjon siden."
+"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><chapter><para>
-#, mtrans, fuzzy
msgid ""
"This efficiency does not respect the traditional lines of copyright. The "
"network doesn't discriminate between the sharing of copyrighted and "
"copyrighted content. That sharing in turn has excited the war, as copyright "
"owners fear the sharing will \"rob the author of the profit.\""
msgstr ""
-"Denne effektivitet respekterer ikke tradisjonelle linjene av opphavsrett. "
-"nettverket diskriminerer ikke mellom deling av opphavsrettsbeskyttet og "
-"uncopyrighted innhold. Dermed har det vært en enorm mengde deling av "
-"opphavsrettsbeskyttet innhold. at deling har i sin tur glade krigen som "
-"eiere av opphavsretter frykter deling vil \"rob forfatteren av overskuddet.\""
+"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><chapter><para>
-#, mtrans, fuzzy
+#, 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 thieves!"
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 thieves!"
+"body piercing—our kids are becoming <emphasis>thieves</emphasis>!"
msgstr ""
-"krigerne har slått til domstolene, til legislatures, og stadig til teknologi "
-"til å forsvare sine \"property\" mot denne \"piratkopiering.\" en generasjon "
-"amerikanere, warriors advare, er blir reist til å tro at \"property\" skal "
-"være \"gratis\" glem tatoveringer, never mind kroppspiercing—våre barn "
-"blir tyver!"
+"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 tyver!"
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"There's no doubt that \"piracy\" is wrong, and that pirates should be "
"punished. But before we summon the executioners, we should put this notion "
"of \"piracy\" in some context. For as the concept is increasingly used, at "
"its core is an extraordinary idea that is almost certainly wrong."
msgstr ""
-"Det er ingen tvil om at \"piratkopiering\" er galt, og at pirates bør bli "
-"straffet. men før vi gå til executioners, vi bør sette denne oppfatningen av "
-"\"piratkopiering\" i noen sammenheng. for som konseptet blir stadig mer "
-"brukt, er i sin kjerne en ekstraordinære idé som er nesten helt sikkert galt."
+"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><chapter><para>
-#, mtrans, fuzzy
msgid "The idea goes something like this:"
-msgstr "ideen går omtrent slik:"
+msgstr "Idéen høres omtrent slik ut:"
#. type: Content of: <book><chapter><blockquote><para>
-#, mtrans, fuzzy
msgid ""
"Creative work has value; whenever I use, or take, or build upon the creative "
"work of others, I am taking from them something of value. Whenever I take "
"taking of something of value from someone else without permission is wrong. "
"It is a form of piracy."
msgstr ""
-"skapende arbeid har verdi; Når jeg bruker, eller ta eller bygge på kreative "
-"arbeidet til andre, tar jeg fra dem noe av verdi. Når jeg tar noe av verdi "
-"fra noen andre, skulle jeg ha deres tillatelse. å ta av noe av verdi fra "
-"noen andre uten tillatelse er galt. Det er en form for piratkopiering."
+"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><chapter><indexterm><primary>
msgid "Dreyfuss, Rochelle"
#. f2
#. type: Content of: <book><chapter><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
+#| "the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397."
msgid ""
"See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
-"the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397."
+"the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 "
+"(1990): 397."
msgstr ""
-"se rochelle dreyfuss, \"uttrykksfulle genericity: varemerker som språk i "
-"pepsi-generasjon\" notre dame lov gå gjennom 65 (1990): 397."
+"Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the "
+"Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397."
+
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Zittrain, Jonathan"
+msgstr "Zittrain, Jonathan"
-#. f3
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,"
+#| "\" Wall Street Journal, 21 August 1996, available at <ulink url=\"http://"
+#| "free-culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling "
+#| "Off the Copyright War: In Battle of Property vs. Free Speech, No One Wins,"
+#| "\" Boston Globe, 24 November 2002. <placeholder type=\"indexterm\" id="
+#| "\"0\"/>"
msgid ""
"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
-"Wall Street Journal, 21 August 1996, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling Off the "
-"Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" Boston "
-"Globe, 24 November 2002."
+"<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\"/>"
msgstr ""
+"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
+"Wall Street Journal, 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,\" "
+"Boston Globe, 24. november 2002. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><para>
msgid ""
"\" (the songs) so there must have been a \"right\"—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><chapter><indexterm><primary>
msgid "ASCAP"
#. PAGE BREAK 32
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"This idea is certainly a possible understanding of how creative property "
"should work. It might well be a possible design for a system of law "
"creative property has never been America's theory of creative property. It "
"has never taken hold within our law."
msgstr ""
-"Denne ideen er absolutt en mulig forståelse av hvordan kreative egenskapen "
-"skal fungere. Det kan godt være en mulig design for et system av loven "
-"beskytte creative-egenskapen. men den \"Hvis verdien, deretter høyre\" teori "
-"av creative-egenskapen har aldri vært america's teori om kreative-"
-"egenskapen. Det har aldri tatt tak i vår lov."
+"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><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Instead, in our tradition, intellectual property is an instrument. It sets "
"the groundwork for a richly creative society but remains subservient to the "
"become so concerned with protecting the instrument that we are losing sight "
"of the value."
msgstr ""
-"i stedet i vår tradisjon er immaterielle et instrument. det angir "
-"grunnarbeidet for et rikt kreativt samfunn, men er fortsatt servil til "
-"verdien av kreativitet. dagens debatt har dette slått rundt. Vi har blitt så "
-"opptatt av å beskytte instrumentet at vi mister synet av verdien."
+"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><chapter><para>
-#, mtrans, fuzzy
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 "
"Copyright law at its birth had only publishing as its concern; copyright law "
"today regulates both."
msgstr ""
-"kilden til denne forvirring er en utmerkelse som loven ikke lenger tar seg "
-"til å tegne—skillet mellom republishing noens arbeid på den ene siden "
-"og bygge på eller transformere som fungerer på den andre. lov om opphavsrett "
-"på sin fødsel hadde bare publisering som sin bekymring; lov om opphavsrett "
-"regulerer i dag begge."
+"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><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Before the technologies of the Internet, this conflation didn't matter all "
"that much. The technologies of publishing were expensive; that meant the "
"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 teknologien av Internett, gjorde ikke denne conflation saken alle så "
-"mye. teknologier i publisering var dyrt; Det betydde at det store flertallet "
-"av publisering ble kommersielt. kommersielle selskaper kunne bære byrden av "
-"loven—selv byrden av den bysantinske kompleksiteten som copyright lov "
-"har blitt. Det var bare en mer utgifter ved å gjøre forretninger."
+"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><chapter><para><footnote><para><indexterm><primary>
-#, mtrans, fuzzy
msgid "Florida, Richard"
msgstr "Florida, Richard"
#. type: Content of: <book><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"In The Rise of the Creative Class (New York: Basic Books, 2002), Richard "
-"Florida documents a shift in the nature of labor toward a labor of "
-"creativity. His work, however, doesn't directly address the legal "
-"conditions under which that creativity is enabled or stifled. I certainly "
-"agree with him about the importance and significance of this change, but I "
-"also believe the conditions under which it will be enabled are much more "
-"tenuous. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"i rise of creative klassen (new york: grunnleggende bøker, 2002), richard "
-"florida dokumenter et skifte i natur arbeid mot en arbeidskraft av "
-"kreativitet. hans arbeid, men adressen ikke direkte de juridiske "
-"betingelsene under at kreativiteten er aktivert eller halvkvalt. Jeg er enig "
-"med ham om betydningen og betydningen av denne endringen, men jeg tror også "
-"betingelser som funksjonen vil bli aktivert er mye vanskeligere."
+#, fuzzy
+#| msgid ""
+#| "In The Rise of the Creative Class (New York: Basic Books, 2002), Richard "
+#| "Florida documents a shift in the nature of labor toward a labor of "
+#| "creativity. His work, however, doesn't directly address the legal "
+#| "conditions under which that creativity is enabled or stifled. I certainly "
+#| "agree with him about the importance and significance of this change, but "
+#| "I also believe the conditions under which it will be enabled are much "
+#| "more tenuous. <placeholder type=\"indexterm\" id=\"0\"/>"
+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\"/>"
+msgstr ""
+"I The Rise of the Creative Class (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\"/>"
#. type: Content of: <book><chapter><para>
msgid ""
msgstr ""
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"These burdens make no sense in our tradition. We should begin by "
"understanding that tradition a bit more and by placing in their proper "
"context the current battles about behavior labeled \"piracy.\""
msgstr ""
-"disse byrder gir ingen mening i vår tradisjon. Vi bør begynne ved å forstå "
-"denne tradisjonen litt mer, og ved å plassere i sin rette sammenheng "
-"gjeldende slagene om virkemåten merket \"piratkopiering\"."
+"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><chapter><sect1><title>
msgid "CHAPTER ONE: Creators"
msgstr "Kapittel en: Skaperne"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "In 1928, a cartoon character was born. An early Mickey Mouse made his "
+#| "debut in May of that year, in a silent flop called Plane Crazy. In "
+#| "November, in New York City's Colony Theater, in the first widely "
+#| "distributed cartoon synchronized with sound, Steamboat Willie brought to "
+#| "life the character that would become Mickey Mouse."
msgid ""
"In 1928, a cartoon character was born. An early Mickey Mouse made his debut "
-"in May of that year, in a silent flop called Plane Crazy. In November, in "
-"New York City's Colony Theater, in the first widely distributed cartoon "
-"synchronized with sound, Steamboat Willie brought to life the character that "
-"would become Mickey Mouse."
+"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 ""
-"en tegneserie tegnet ble født i 1928. en tidlig Mikke Mus debuterte i mai "
-"samme år, i en stille flop kalt flyet gal. i november, i new york city's "
-"colony theater, i de første spredt utover tegneserie synkronisert med lyden, "
-"steamboat willie brakt til liv tegnet som skulle bli Mikke Mus."
+"I 1928 ble en tegnefilmfigur født. En tidlig Mikke Mus debuterte i mai "
+"dette året, i en stille flopp ved navn Plane Crazy. I november, i Colony "
+"teateret i New York City, ble den første vidt distribuerte tegnefilmen med "
+"synkronisert lyd, Steamboat Willy, vist frem med figuren som skulle bli til "
+"Mikke Mus."
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Synchronized sound had been introduced to film a year earlier in the "
+#| "movie The Jazz Singer. That success led Walt Disney to copy the technique "
+#| "and mix sound with cartoons. No one knew whether it would work or, if it "
+#| "did work, whether it would win an audience. But when Disney ran a test in "
+#| "the summer of 1928, the results were unambiguous. As Disney describes "
+#| "that first experiment,"
msgid ""
"Synchronized sound had been introduced to film a year earlier in the movie "
-"The Jazz Singer. That success led Walt Disney to copy the technique and mix "
-"sound with cartoons. No one knew whether it would work or, if it did work, "
-"whether it would win an audience. But when Disney ran a test in the summer "
-"of 1928, the results were unambiguous. As Disney describes that first "
-"experiment,"
-msgstr ""
-"synkroniserte lyd hadde blitt introdusert til film året tidligere i filmen "
-"jazz sanger. at suksess ledet walt disney å kopiere teknikken og blande lyd "
-"med tegneserier. ingen visste om det ville fungere, eller hvis det virket, "
-"om det ville vinne et publikum. men når disney kjørte en test sommeren 1928, "
-"resultatene var entydig. som disney beskriver det første eksperimentet"
+"<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 sykronisert lyd hadde blitt introdusert et år tidligere i filmen "
+"The Jazz Singer. 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 resutlatet entydig. Som Disney beskriver "
+"dette første eksperimentet,"
#. PAGE BREAK 35
#. type: Content of: <book><chapter><sect1><blockquote><para>
-#, mtrans, fuzzy
msgid ""
"A couple of my boys could read music, and one of them could play a mouth "
"organ. We put them in a room where they could not see the screen and "
"arranged to pipe their sound into the room where our wives and friends were "
"going to see the picture."
msgstr ""
-"et par av mine gutter kan lese musikk, og en av dem kunne spille en munn "
-"orgel. Vi setter dem i et rom der de ikke kunne se skjermen og arrangert til "
-"datakanal sine lyd inn i rommet hvor våre hustruer og venner var kommer til "
-"å se bildet."
+"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><chapter><sect1><blockquote><para>
-#, mtrans, fuzzy
msgid ""
"The boys worked from a music and sound-effects score. After several false "
"starts, sound and action got off with the gun. The mouth organist played the "
"tune, the rest of us in the sound department bammed tin pans and blew slide "
"whistles on the beat. The synchronization was pretty close."
msgstr ""
-"gutter jobbet fra en musikk og lydeffekter score. etter flere falske starter "
-"kom lyd og handling av med pistolen. munn-organisten spilte melodien, resten "
-"av oss i lyd avdeling bammed tin pans og blåste lysbilde plystre på beat. "
-"synkroniseringen var ganske nær."
+"Guttene brukte et note- og lydeffekt-ark. Etter noen dårlige oppstarter, "
+"kom endelig lyd og handlig 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><chapter><sect1><blockquote><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Leonard Maltin, Of Mice and Magic: A History of American Animated "
+#| "Cartoons (New York: Penguin Books, 1987), 34–35."
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, Of Mice and Magic: A History of American Animated Cartoons "
"(New York: Penguin Books, 1987), 34–35."
-msgstr ""
-"Leonard maltin, mus og magic: a history of american animerte-tegneserier "
-"(new york: penguin books, 1987), 3435."
#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"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 instiktivt 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 "
+"grufult, men det var fantastisk. Og det var noe nytt!<placeholder type="
+"\"footnote\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
msgid "Iwerks, Ub"
msgstr "Iwerks, Ub"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Disney's then partner, and one of animation's most extraordinary talents, Ub "
"Iwerks, put it more strongly: \"I have never been so thrilled in my life. "
"Nothing since has ever equaled it.\" <placeholder type=\"indexterm\" id="
"\"0\"/>"
msgstr ""
-"Disney's deretter partner, og en av animasjons mest ekstraordinære talenter, "
-"ub iwerks, sette det mer sterkt: \"Jeg har aldri vært så begeistret i mitt "
-"liv. ingenting siden har noensinne equaled den.\""
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Disney had created something very new, based upon something relatively new. "
"Synchronized sound brought life to a form of creativity that had "
"often, Disney's great genius, his spark of creativity, was built upon the "
"work of others."
msgstr ""
-"Disney hadde opprettet noe veldig nytt, basert på noe relativt nytt. "
-"synkronisert lyd brakt livet til en form av kreativitet som hadde "
-"sjelden—unntatt i disney's hender—blitt noe mer enn filler for "
-"andre filmer. gjennom animasjons tidlig historien var det disney's "
-"oppfinnelse som satte standarden som andre kjempet for å matche. og ganske "
-"ofte disney's stor geni, hans gnist av kreativitet, ble bygd på arbeidet til "
-"andre."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "This much is familiar. What you might not know is that 1928 also marks "
+#| "another important transition. In that year, a comic (as opposed to "
+#| "cartoon) genius created his last independently produced silent film. "
+#| "That genius was Buster Keaton. The film was Steamboat Bill, Jr."
msgid ""
"This much is familiar. What you might not know is that 1928 also marks "
"another important transition. In that year, a comic (as opposed to cartoon) "
"genius created his last independently produced silent film. That genius was "
-"Buster Keaton. The film was Steamboat Bill, Jr."
+"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>."
msgstr ""
-"så er mye kjent. Hva du kanskje ikke vet er at 1928 også markerer en annen "
-"viktig endring. Dette året produsert en tegneserie (i motsetning til "
-"tegneserie) geni opprettet sitt siste uavhengig stumfilm. at geni var buster "
-"keaton. filmen var steamboat bill, jr."
+"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 Steamboat Bill, Jr."
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Keaton was born into a vaudeville family in 1895. In the era of silent "
+#| "film, he had mastered using broad physical comedy as a way to spark "
+#| "uncontrollable laughter from his audience. Steamboat Bill, Jr. was a "
+#| "classic of this form, famous among film buffs for its incredible stunts. "
+#| "The film was classic Keaton—wildly popular and among the best of "
+#| "its genre."
msgid ""
"Keaton was born into a vaudeville family in 1895. In the era of silent film, "
"he had mastered using broad physical comedy as a way to spark uncontrollable "
-"laughter from his audience. Steamboat Bill, Jr. was a classic of this form, "
-"famous among film buffs for its incredible stunts. The film was classic "
-"Keaton—wildly popular and among the best of its genre."
-msgstr ""
-"Keaton ble født inn i en vaudeville familie i 1895. i æra av stumfilm, hadde "
-"han mestret med bred fysiske komedie som en måte å gnist lyste latter fra "
-"sitt publikum. Steamboat bill, jr. var en klassiker av dette skjemaet, kjent "
-"blant film buffs for sin utrolige stunts. filmen var klassisk keaton—"
-"vill populær og blant beste i sin sjanger."
+"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. Steamboat Bill, Jr. var en klassier "
+"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><chapter><sect1><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 Steamboat Willie: \"Steamboat Bill,\" \"The "
+#| "Simpleton\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry "
+#| "No. 1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey "
+#| "in the Straw,\" was already in the public domain. Letter from David Smith "
+#| "to Harry Surden, 10 July 2003, on file with author."
msgid ""
"I am grateful to David Gerstein and his careful history, described at <ulink "
"url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave "
"Smith of the Disney Archives, Disney paid royalties to use the music for "
-"five songs in Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton"
-"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. "
-"1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in the "
-"Straw,\" was already in the public domain. Letter from David Smith to Harry "
-"Surden, 10 July 2003, on file with author."
-msgstr ""
-
-#. type: Content of: <book><chapter><sect1><para>
-msgid ""
-"Steamboat Bill, Jr. appeared before Disney's cartoon Steamboat Willie. The "
-"coincidence of titles is not coincidental. Steamboat Willie is a direct "
-"cartoon parody of Steamboat Bill,<placeholder type=\"footnote\" id=\"0\"/> "
-"and both are built upon a common song as a source. It is not just from the "
-"invention of synchronized sound in The Jazz Singer that we get Steamboat "
-"Willie. It is also from Buster Keaton's invention of Steamboat Bill, Jr., "
-"itself inspired by the song \"Steamboat Bill,\" that we get Steamboat "
-"Willie, and then from Steamboat Willie, Mickey Mouse."
+"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."
+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 Steamboat Willie: \"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><chapter><sect1><para>
+msgid ""
+"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon "
+"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat "
+"Willie is a direct cartoon parody of Steamboat Bill,<placeholder type="
+"\"footnote\" id=\"0\"/> and both are built upon a common song as a source. "
+"It is not just from the invention of synchronized sound in <citetitle>The "
+"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. "
+"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself "
+"inspired by the song \"Steamboat Bill,\" that we get Steamboat Willie, and "
+"then from Steamboat Willie, Mickey Mouse."
msgstr ""
#. f3
"Ate the Public Domain,\" 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><chapter><sect1><para>
msgid ""
"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Sometimes this borrowing was slight. Sometimes it was significant. Think "
"about the fairy tales of the Brothers Grimm. If you're as oblivious as I "
"would dare to read these bloody, moralistic stories to his or her child, at "
"bedtime or anytime."
msgstr ""
-"noen ganger var denne lån liten. noen ganger var det betydelig. Tenk på "
-"eventyr av the Sunday. Hvis du er så oblivious som jeg var, er du "
-"sannsynligvis tror at disse fortellingene er glade, søte historier, passer "
-"for alle barn ved sengetid. faktisk grimm eventyr er, vel, for oss, dystre. "
-"Det er en sjelden og kanskje altfor ambisiøse forelder som ville våge å lese "
-"disse blodig, moralistiske fortellingene til hans eller hennes barn, ved "
-"sengetid eller når som helst."
+"Noen ganger var låningen begrenset, og noen ganger var den betydelig. Tenkt "
+"på eventurene 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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Disney took these stories and retold them in a way that carried them into "
+#| "a new age. He animated the stories, with both characters and light. "
+#| "Without removing the elements of fear and danger altogether, he made "
+#| "funny what was dark and injected a genuine emotion of compassion where "
+#| "before there was fear. And not just with the work of the Brothers Grimm. "
+#| "Indeed, the catalog of Disney work drawing upon the work of others is "
+#| "astonishing when set together: Snow White (1937), Fantasia (1940), "
+#| "Pinocchio (1940), Dumbo (1941), Bambi (1942), Song of the South (1946), "
+#| "Cinderella (1950), Alice in Wonderland (1951), Robin Hood (1952), Peter "
+#| "Pan (1953), Lady and the Tramp (1955), Mulan (1998), Sleeping Beauty "
+#| "(1959), 101 Dalmatians (1961), The Sword in the Stone (1963), and The "
+#| "Jungle Book (1967)—not to mention a recent example that we should "
+#| "perhaps quickly forget, Treasure Planet (2003). In all of these cases, "
+#| "Disney (or Disney, Inc.) ripped creativity from the culture around him, "
+#| "mixed that creativity with his own extraordinary talent, and then burned "
+#| "that mix into the soul of his culture. Rip, mix, and burn."
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 "
"dark and injected a genuine emotion of compassion where before there was "
"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog "
"of Disney work drawing upon the work of others is astonishing when set "
-"together: Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo "
-"(1941), Bambi (1942), Song of the South (1946), Cinderella (1950), Alice in "
-"Wonderland (1951), Robin Hood (1952), Peter Pan (1953), Lady and the Tramp "
-"(1955), Mulan (1998), Sleeping Beauty (1959), 101 Dalmatians (1961), The "
-"Sword in the Stone (1963), and The Jungle Book (1967)—not to mention a "
-"recent example that we should perhaps quickly forget, Treasure Planet "
-"(2003). In all of these cases, Disney (or Disney, Inc.) ripped creativity "
-"from the culture around him, mixed that creativity with his own "
-"extraordinary talent, and then burned that mix into the soul of his culture. "
-"Rip, mix, and burn."
-msgstr ""
-"Disney tok disse historiene og retold dem på en måte som førte dem inn i en "
-"ny tidsalder. Han animert historiene, med både tegn og lys. uten å fjerne "
-"elementene i frykt og fare helt, han gjorde morsomt det var mørkt og "
-"injisert en ekte følelse av medfølelse der før der var frykt. og ikke bare "
-"med et verk av the Sunday. faktisk katalogen disney arbeid tegning på "
-"arbeidet til andre er forbløffende når satt sammen: snø hvit (1937), "
-"fantasia (1940), pinocchio (1940), dumbo (1941), bambi (1942), sang av Sør "
-"(1946), cinderella (1950), alice in wonderland (1951), robin hood (1952), "
-"peter pan (1953), lady og Landstrykeren (1955), mulan (1998), Tornerose "
-"(1959), 101 dalmatians (1961), sverdet i steinen (1963), og Jungelboken "
-"(1967)—ikke å nevne en siste eksempel som vi bør kanskje raskt glemme, "
-"skatt planeten (2003). i alle disse tilfellene, disney (eller disney, inc.) "
-"dratt kreativitet fra kultur rundt ham, blandet at kreativiteten med sin "
-"egen ekstraordinære talent, og deretter brent blanding inn i sjelen til sin "
-"kultur. rippe blande og brenne."
+"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: Snøhvit (1937), Fantasia (1940), Pinocchio (1940), Dumbo "
+"(1941), Bambi (1942), Song of the South (1946), Askepott (1950), Alice in "
+"Wonderland (1951), Robin Hood (1952), Peter Pan (1953), Lady og "
+"landstrykeren (1955), Mulan (1998), Tornerose (1959), 101 dalmatinere "
+"(1961), Sverdet i steinen (1963), og Jungelboken (1967)—for ikke å "
+"nevne et nylig eksempel som vi bør kanskje glemme raskt, Treasure Planet "
+"(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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"This is a kind of creativity. It is a creativity that we should remember and "
"celebrate. There are some who would say that there is no creativity except "
"of expression and genius that builds upon the culture around us and makes it "
"something different."
msgstr ""
-"Dette er en slags kreativitet. Det er en kreativitet som vi bør huske og "
-"feire. Det er noen som vil si at det er ingen kreativitet bortsett fra denne "
-"typen. Vi trenger ikke å gå så langt å anerkjenne sin betydning. Vi kan "
-"kalle denne \"disney kreativitet,\" selv om det ville være litt misvisende. "
-"Det er mer presist, \"walt disney kreativitet\"—en form for uttrykk og "
-"geni som bygger på kultur rundt oss, og som gjør det noe annet."
+"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><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Consider, for example, a form of creativity that seems strange to many "
-"Americans but that is inescapable within Japanese culture: manga, or comics. "
-"The Japanese are fanatics about comics. Some 40 percent of publications are "
-"comics, and 30 percent of publication revenue derives from comics. They are "
-"everywhere in Japanese society, at every magazine stand, carried by a large "
-"proportion of commuters on Japan's extraordinary system of public "
-"transportation."
+"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 ""
"Tenk deg for eksempel en form av kreativitet som synes underlig for mange "
"amerikanere, men det er uunngåelig i japansk kultur: manga, eller "
"på dette interessant annen måte."
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"But my purpose here is not to understand manga. It is to describe a variant "
"on manga that from a lawyer's perspective is quite odd, but from a Disney "
"perspective is quite familiar."
msgstr ""
-"men min hensikt her er ikke å forstå manga. Det er å beskrive en variant på "
-"manga som fra en advokat perspektiv er ganske rart, men fra en disney "
-"perspektiv er ganske godt kjent."
+"Men mitt formål her er ikke å forstå manga. Det er a beskrive en variant av "
+"manga som fra en avokats perspektiv er ganske merkelig, men som fra en "
+"Disneys perspektiv er ganske godt kjent."
#. PAGE BREAK 39
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"This is the phenomenon of doujinshi. Doujinshi are also comics, but they are "
-"a kind of copycat comic. A rich ethic governs the creation of doujinshi. It "
-"is not doujinshi if it is just a copy; the artist must make a contribution "
-"to the art he copies, by transforming it either subtly or significantly. A "
-"doujinshi comic can thus take a mainstream comic and develop it "
-"differently—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."
+"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."
msgstr ""
"Dette er fenomenet doujinshi. doujinshi er også tegneserier, men de er en "
"slags copycat tegneserie. en rik ethic styrer opprettingen av doujinshi. Det "
"\"derivative works.\" There is no general practice by doujinshi artists of "
"securing the permission of the manga creators. Instead, the practice is "
"simply to take and modify the creations of others, as Walt Disney did with "
-"Steamboat Bill, Jr. Under both Japanese and American law, that \"taking\" "
-"without the permission of the original copyright owner is illegal. It is an "
-"infringement of the original copyright to make a copy or a derivative work "
-"without the original copyright owner's permission."
+"<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."
msgstr ""
"funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er at "
"det er tillatt å eksistere i det hele tatt. under japansk lov om "
"en krenkelse av opprinnelige opphavsretten til å lage en kopi eller et "
"avledet arbeid uten den opphavspersonens tillatelse."
+#. type: Content of: <book><chapter><sect1><indexterm><primary>
+msgid "Winick, Judd"
+msgstr "Winick, Judd"
+
#. f5
#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "For an excellent history, see Scott McCloud, Reinventing Comics (New "
+#| "York: Perennial, 2000)."
msgid ""
-"For an excellent history, see Scott McCloud, Reinventing Comics (New York: "
-"Perennial, 2000)."
+"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</"
+"citetitle> (New York: Perennial, 2000)."
msgstr ""
"For en utmerket historie, se Scott McCloud, Reinventing Comics (New York: "
"Perennial, 2000)."
#, mtrans, fuzzy
msgid ""
"See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
-"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law Review 55 "
-"(2002): 155, 182. \"[T]here might be a collective economic rationality that "
-"would lead manga and anime artists to forgo bringing legal actions for "
-"infringement. One hypothesis is that all manga artists may be better off "
-"collectively if they set aside their individual self-interest and decide not "
-"to press their legal rights. This is essentially a prisoner's dilemma solved."
-"\""
+"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.\""
msgstr ""
"se salil k. mehra, \"copyright og tegneserier i japan: gjør loven forklare "
"hvorfor alle tegneseriene min gutt klokker er japanske import?\" rutgers lov "
"begynne å tenke disse problemene, bør så bare om nå du være rådvill om noe "
"du ikke hadde tenkt gjennom før."
-#. f7
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Vaidhyanathan, Siva"
+msgstr "Vaidhyanathan, Siva"
+
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"The term intellectual property is of relatively recent origin. See Siva "
-"Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University "
-"Press, 2001). See also Lawrence Lessig, The Future of Ideas (New York: "
+"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."
+"secret—but the nature of those rights is very different. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"begrepet immaterielle er relativt nylige opprinnelsesland. se siva "
"vaidhyanathan, opphavsrett og copywrongs, 11 (new york: new york university "
-"press, 2001). Se også lawrence lessig, fremtiden for ideer (new york: random "
+"press, 2001). Se også lawrence lessig, fremtiden for idéer (new york: random "
"house, 2001), 293 n. 26. begrepet beskriver nøyaktig et sett med rettigheter "
"for \"eiendom\"—opphavsrett, patenter, varemerker, og "
"forretningshemmeligheter— men innholdet av disse rettighetene er svært "
"or paying for the privilege. (\"Excuse me, Professor Einstein, but may I "
"have permission to use your theory of relativity to show that you were wrong "
"about quantum physics?\") Acting companies perform adaptations of the works "
-"of Shakespeare without securing permission from anyone. (Does anyone believe "
-"Shakespeare would be better spread within our culture if there were a "
-"central Shakespeare rights clearinghouse that all productions of Shakespeare "
-"must appeal to first?) And Hollywood goes through cycles with a certain kind "
-"of movie: five asteroid films in the late 1990s; two volcano disaster films "
-"in 1997."
+"of Shakespeare without securing permission from anyone. (Does "
+"<emphasis>anyone</emphasis> believe Shakespeare would be better spread "
+"within our culture if there were a central Shakespeare rights clearinghouse "
+"that all productions of Shakespeare must appeal to first?) And Hollywood "
+"goes through cycles with a certain kind of movie: five asteroid films in the "
+"late 1990s; two volcano disaster films in 1997."
msgstr ""
"Det er det samme med tusen eksempler som vises overalt når du begynner å se. "
"forskere bygge på arbeidet til andre forskere uten å be om eller betale for "
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"The hard question is therefore not whether a culture is free. All cultures "
-"are free to some degree. The hard question instead is \"How free is this "
-"culture?\" How much, and how broadly, is the culture free for others to take "
-"and build upon? Is that freedom limited to party members? To members of the "
-"royal family? To the top ten corporations on the New York Stock Exchange? Or "
-"is that freedom spread broadly? To artists generally, whether affiliated "
-"with the Met or not? To musicians generally, whether white or not? To "
-"filmmakers generally, whether affiliated with a studio or not?"
+"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?"
msgstr ""
-"Det vanskelige spørsmålet er derfor ikke om en kultur er gratis. alle "
-"kulturer er gratis til en viss grad. Det vanskelige spørsmålet i stedet er "
-"\"hvordan gratis er denne kulturen?\" hvor mye og hvordan forstand, er "
-"kultur som er gratis for andre å ta, og bygge på? er den friheten begrenset "
-"til partiets medlemmer? til medlemmer av kongefamilien? til topp ti "
-"selskaper på new york stock exchange? eller er at frihet spredt bredt? til "
-"kunstnere vanligvis enten tilknyttet av the met eller ikke? til musikere "
-"vanligvis om hvit eller ikke? til filmskapere vanligvis enten tilknyttet et "
-"studio eller ikke?"
+"Det vanskelige spørsmålet er derfor ikke om en kultur er fri. Alle kulturer "
+"er frie til en viss grad. Det vanskelige spørsmålet er i stedet \"hvor "
+"gratis er denne kulturen?\" hvor mye og hvordan forstand, er kultur som er "
+"gratis for andre å ta, og bygge på? er den friheten begrenset til partiets "
+"medlemmer? til medlemmer av kongefamilien? til topp ti selskaper på new york "
+"stock exchange? eller er at frihet spredt bredt? til kunstnere vanligvis "
+"enten tilknyttet av the met eller ikke? til musikere vanligvis om hvit eller "
+"ikke? til filmskapere vanligvis enten tilknyttet et studio eller ikke?"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Free cultures are cultures that leave a great deal open for others to build "
"upon; unfree, or permission, cultures leave much less. Ours was a free "
"culture. It is becoming much less so."
msgstr ""
-"gratis kulturer er kulturer som lar mye åpen for andre å bygge på; Unfree, "
-"eller tillatelse, kulturer la mye mindre. våre var en fri kultur. det blir "
-"mye mindre."
+"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><chapter><sect1><title>
-#, mtrans, fuzzy
msgid "CHAPTER TWO: \"Mere Copyists\""
-msgstr "Kapittel to: \"kun copyists\""
+msgstr "Kapittel to: \"Kun etter-apere\""
#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Daguerre, Louis"
"plater av glass, og dermed det var likevel ikke en prosess innenfor "
"rekkevidde de fleste amatører."
+#. type: Content of: <book><chapter><sect1><indexterm><primary>
+msgid "Eastman, George"
+msgstr "Eastman, George"
+
#. PAGE BREAK 45
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
#. f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins "
+#| "University Press, 1975), 112."
msgid ""
+"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: "
+"Johns Hopkins University Press, 1975), 112."
+msgstr ""
"Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University "
"Press, 1975), 112."
-msgstr ""
-"Reese v. jenkins, bilder og enterprise (baltimore: johns hopkins university "
-"press, 1975), 112."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Eastman developed flexible, emulsion-coated paper film and placed rolls of "
"it in small, simple cameras: the Kodak. The device was marketed on the basis "
"of its simplicity. \"You press the button and we do the rest.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:"
+"type=\"footnote\" id=\"0\"/> As he described in <citetitle>The Kodak Primer</"
+"citetitle>:"
msgstr ""
#. type: Content of: <book><chapter><sect1><indexterm><primary>
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), "
-"53. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: "
+"
Taplinger Publishing, 1977), 53. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Brian coe, fødselen av fotografering (new york: taplinger publiserer, 1977), "
"53."
#. f6
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
msgid ""
-"For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., 50 "
-"S.E."
+"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 tilfeller, se, for eksempel pavesich v. ne livet ins. co, "
-"50 se"
#. type: Content of: <book><chapter><sect1><para>
msgid ""
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" Harvard "
-"Law Review 4 (1890): 193. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
+"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\"/>"
msgstr ""
"Samuel d. warren og louis d. brandeis, \"rett til personvern,\" harvard law "
"gå gjennom 4 (1890): 193."
"Brandeis, who would become a Supreme Court Justice, thought the rule should "
"be different for images from private spaces.<placeholder type=\"footnote\" "
"id=\"0\"/>) It may be that this means that the photographer gets something "
-"for nothing. Just as Disney could take inspiration from Steamboat Bill, Jr. "
-"or the Brothers Grimm, the photographer should be free to capture an image "
-"without compensating the source."
+"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 ""
#. f8
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Melville B. Nimmer, \"The Right of Publicity,\" Law and Contemporary "
-"Problems 19 (1954): 203; William L. Prosser, \"Privacy,\" California Law "
-"Review 48 (1960) 398–407; White v. Samsung Electronics America, Inc., "
-"971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)."
+"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)."
msgstr ""
"se melville b. nimmer, \"rett publisitet,\" lov og moderne problemer 19 "
"(1954): 203; William l. prosser, \"personvern\", california lov gå gjennom "
"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><chapter><sect1><para>
msgid ""
"teachers call \"media literacy.\""
msgstr ""
-#. PAGE BREAK 49
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Yanofsky, Dave"
+msgstr "Yanofsky, Dave"
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"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.\""
+"it.\" <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"\"media leseferdighet,\" som dave yanofsky, administrerende direktør i "
"Tenk!, sier det, \"er... du kan forstå, analysere og deconstruct media "
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence "
-"Erlbaum Associates, 1990); \"Findings on Family and TV Study,\" Denver Post, "
-"25 May 1997, B6."
+"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."
msgstr ""
"Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum "
"associates, 1990); \"funn på familie og tv studie,\" denver innlegg, 25 mai "
"ulink>; \"Timeline,\" 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><chapter><sect1><para>
msgid ""
"students, `you have to do it in text,' they would've just thrown their hands "
"up and gone and done something else,\" Barish described, in part, no doubt, "
"because expressing themselves in text is not something these students can do "
-"well. Yet neither is text a form in which these ideas can be expressed well. "
-"The power of this message depended upon its connection to this form of "
-"expression."
+"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 ""
"bruker noe \"gratis web ting de kunne finne\", og relativt enkle verktøy til "
"å aktivere barna å blande \"bilde, lyd og tekst\", sa barish denne klassen "
"i tekst', de ville har bare kastet sine hender opp og borte og gjort noe "
"annet,\" er barish beskrevet i del, ingen tvil, fordi uttrykker seg i tekst "
"ikke noe disse studentene kan gjøre godt. likevel verken er tekst et skjema "
-"i som disse ideene kan uttrykkes godt. kraften i denne meldingen depended "
+"i som disse idéene kan uttrykkes godt. kraften i denne meldingen depended "
"upon dens forbindelse til denne formen for uttrykk."
#. PAGE BREAK 52
"underholdning,\" selv om underholdning er tragedie."
#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
-#, mtrans, fuzzy
msgid "ABC"
msgstr "ABC"
"shows with text. Some offered open letters. There were sound recordings. "
"There was anger and frustration. There were attempts to provide context. "
"There was, in short, an extraordinary worldwide barn raising, in the sense "
-"Mike Godwin uses the term in his book Cyber Rights, around a news event that "
-"had captured the attention of the world. There was ABC and CBS, but there "
-"was also the Internet."
+"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 denne produsert nyheter om \"tragedie av 11 september\", "
"de av oss knyttet til Internett kom å se en svært forskjellige produksjon "
"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 Jerry Springer, available "
-"anywhere in the world."
+"public way—it's a kind of electronic <citetitle>Jerry Springer</"
+"citetitle>, available anywhere in the world."
msgstr ""
"11 september var ikke en villfarelse. Det var en begynnelse. rundt samme "
"tid, en form for kommunikasjon som har vokst dramatisk var bare begynnelsen "
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, "
-"trans. Henry Reeve (New York: Bantam Books, 2000), ch. 16."
+"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, demokrati i Amerika, bk. 1, trans. "
"Henry reeve (new york: bantam books, 2000), ch. 16."
#. f16
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of "
+#| "Political Philosophy 10 (2) (2002): 129."
msgid ""
+"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" <citetitle>Journal "
+"of Political Philosophy</citetitle> 10 (2) (2002): 129."
+msgstr ""
"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political "
"Philosophy 10 (2) (2002): 129."
-msgstr ""
-"Bruce ackerman og james fishkin, \"deliberation dag\", journal of politisk "
-"filosofi 10 (2) (2002): 129."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
#. f17
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Cass Sunstein, Republic.com (Princeton: Princeton University Press, "
+#| "2001), 65–80, 175, 182, 183, 192."
msgid ""
+"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton "
+"University Press, 2001), 65–80, 175, 182, 183, 192."
+msgstr ""
"Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), "
"65–80, 175, 182, 183, 192."
-msgstr ""
-"Cass sunstein, republic.com (princeton: princeton university press, 2001), 65"
-"80, 175, 182, 183, 192."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"det er mange av alle politiske striper. og med blogger som ikke er politisk "
"dekker politiske spørsmål når anledningen fortjener."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Dean, Howard"
+msgstr "Dean, Howard"
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The significance of these blogs is tiny now, though not so tiny. The name "
"Howard Dean may well have faded from the 2004 presidential race but for "
"blogs. Yet even if the number of readers is small, the reading is having an "
-"effect."
+"effect. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"betydningen av disse bloggene er liten nå, men ikke så små. navnet howard "
"dean kan godt har bleknet fra 2004 presidentvalget rase men for blogger. "
"Noah shachtman, \"med uopphørlig innlegg, en pundit stirs potten,\" new york "
"times, 16 januar 2003, g5."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Lott, Trent"
+msgstr "Lott, Trent"
+
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"One direct effect is on stories that had a different life cycle in the "
"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\"/>"
+"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
"historier. folk lese hva som er populært; Hva er populære har blitt valgt av "
"en veldig demokratisk prosess med node-generert rangeringer."
+#. type: Content of: <book><chapter><sect1><indexterm><primary>
+msgid "Winer, Dave"
+msgstr "Winer, Dave"
+
#. PAGE BREAK 57
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
#. f19
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
msgid "Telephone interview with David Winer, 16 April 2003."
-msgstr "telefon intervju med david vin, 16 april 2003."
+msgstr "Telefonintervju med David Winer, 16. april 2003."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"with a reporter in Iraq. The New York headquarters was telling the reporter "
"over and over that her account of the war was too bleak: She needed to offer "
"a more optimistic story. When she told New York that wasn't warranted, they "
-"told her that they were writing \"the story.\")"
+"told her <emphasis>that</emphasis> they were writing \"the story.\")"
msgstr ""
#. f20
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information "
-"Online,\" New York Times, 2 February 2003, A28; Staci D. Kramer, \"Shuttle "
-"Disaster Coverage Mixed, but Strong Overall,\" Online Journalism Review, 2 "
-"February 2003, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #10</ulink>."
+"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>."
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" New York "
-"Times, 29 September 2003, C4. (\"Not all news organizations have been as "
-"accepting of employees who blog. Kevin Sites, a CNN correspondent in Iraq "
-"who started a blog about his reporting of the war on March 9, stopped "
-"posting 12 days later at his bosses' request. Last year Steve Olafson, a "
-"Houston Chronicle reporter, was fired for keeping a personal Web log, "
-"published under a pseudonym, that dealt with some of the issues and people "
-"he was covering.\") <placeholder type=\"indexterm\" id=\"0\"/>"
+"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\"/>"
msgstr ""
"se michael falcone, \"betyr en redigering blyant ødelegge en weblogg?\" new "
"york times, 29. september 2003, c4. (\"ikke alle nyhetsorganisasjoner har "
"ditt. Det er vanskeligere når produktet av hjernen din kan bli kritisert av "
"andre. Selvfølgelig, er det en sjelden menneske som innrømmer at han har "
"blitt overtalt at han er galt. men det er aften sjelden for et menneske å "
-"ignorere når han har vært påvist feil. skriving av ideer, argumenter og "
+"ignorere når han har vært påvist feil. skriving av idéer, argumenter og "
"kritikk forbedrer demokrati. i dag er det sannsynligvis et par millioner "
"blogger der skrive slike skjer. Når det er ti millioner, vil det være noe "
"ekstraordinære til rapporten."
+#. type: Content of: <book><chapter><sect1><indexterm><primary>
+msgid "Brown, John Seely"
+msgstr "Brown, John Seely"
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"som brunt mener vi lære av fiksing og triksing. Når \"mange av oss vokste "
"opp,\" forklarer han at fiksing og triksing ble gjort \"på motorsykkel "
"motorer, gressklipper motorer, biler, radioer og så videre.\", men digitale "
-"teknologier gir en annen fiksing og slags triksing—med abstrakte ideer "
+"teknologier gir en annen fiksing og slags triksing—med abstrakte idéer "
"om i konkrete-skjemaet. barna på tror bare! ikke bare tenke på hvordan en "
"kommersiell skildrer en politiker; å bruke digital teknologi, kan de ta "
"kommersielt fra hverandre og manipulere den, tinker med den for å se hvordan "
#, mtrans, fuzzy
msgid ""
"See, for example, Edward Felten and Andrew Appel, \"Technological Access "
-"Control Interferes with Noninfringing Scholarship,\" Communications of the "
-"Association for Computer Machinery 43 (2000): 9."
+"Control Interferes with Noninfringing Scholarship,\" "
+"<citetitle>Communications of the Association for Computer Machinery</"
+"citetitle> 43 (2000): 9."
msgstr ""
"Se for eksempel edward felten og andrew appel, \"teknologiske "
"tilgangskontroll forstyrrer noninfringing stipend,\" kommunikasjon av "
msgstr "Kapittel tre: Kataloger"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"In the fall of 2002, Jesse Jordan of Oceanside, New York, enrolled as a "
"freshman at Rensselaer Polytechnic Institute, in Troy, New York. His major "
"Jesse decided to begin to tinker with search engine technology that was "
"available on the RPI network."
msgstr ""
-"i høsten 2002, jesse jordan av oceanside, new york, registrert som freshman "
-"ved rensselaer polytechnic institute, i troy, new york. hans store på rpi "
-"var informasjonsteknologi. Selv om han ikke er en programmerer, i oktober "
-"besluttet jesse å begynne å tinker med søkemotorteknologi som var "
-"tilgjengelig på rpi-nettverket."
+"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><chapter><sect1><para>
#, mtrans, fuzzy
msgstr ""
"søkemotorer er et mål på et nettverk intimitet. Google brakt Internett mye "
"nærmere for oss alle av utrolig å forbedre kvaliteten på Søk på nettverket. "
-"spesialitet søkemotorer kan gjøre dette enda bedre. ideen om \"intranett\" "
+"spesialitet søkemotorer kan gjøre dette enda bedre. idéen om \"intranett\" "
"søkemotorer, søkemotorer som søke innenfor nettverket av en bestemt "
"institusjon, er å gi brukere av at institusjonen bedre tilgang til materiale "
"fra som institusjon. bedrifter gjøre dette hele tiden, slik at ansatte skal "
"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 search engine, "
-"which Jesse had not himself built, using the Windows filesharing system, "
-"which Jesse had not himself built, to enable members of the RPI community to "
-"get access to content, which Jesse had not himself created or posted, and "
-"the vast majority of which had nothing to do with music."
+"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."
msgstr ""
"\"det var absurd,\" sa han til meg. \"Jeg tror ikke jeg gjorde noe galt.... "
"Jeg tror ikke det er noe galt med søkemotoren som jeg kjørte eller... hva "
#. f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
+#| "Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 "
+#| "(2003): 5, available at 2003 WL 55179443."
msgid ""
"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
-"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): "
-"5, available at 2003 WL 55179443."
+"Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group LCC</"
+"citetitle> 6 (2003): 5, available at 2003 WL 55179443."
msgstr ""
-"Tim goral, \"innspillingen industri går etter campus p-2-p nettverk: Dress "
-"alleges $97.8 milliarder i skader,\" profesjonell media gruppere lcc 6 "
-"(2003): 5, tilgjengelig på 2003 wl 55179443."
+"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
+"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): "
+"5, tilgjengelig fra 2003 WL 55179443."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"detail, the bottom line in each was exactly the same: huge demands for "
"\"damages\" that the RIAA claimed it was entitled to. If you added up the "
"claims, these four lawsuits were asking courts in the United States to award "
-"the plaintiffs close to $100 billion—six times the total profit of the "
-"film industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>"
+"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 ""
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Occupational Employment Survey, U.S. Dept. of Labor (2001) "
"(27–2042—Musicians and Singers). See also National Endowment for "
-"the Arts, More Than One in a Blue Moon (2000)."
+"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)."
msgstr ""
"yrkesmessig sysselsetting undersøkelse, US dept. of labor (2001) (27"
"2042—musikere og vokalister). Se også nasjonale legat for arts, mer "
#. f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall "
+#| "Street Journal, 10 September 2003, A24."
msgid ""
-"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall "
-"Street Journal, 10 September 2003, A24."
+"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" "
+"<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24."
msgstr ""
"Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" "
"Wall Street Journal, 10. september 2003, A24."
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The "
"case against him was then dismissed. And with this, this kid who had "
"tinkered a computer into a $15 million lawsuit became an activist:"
msgstr ""
-"på den 23 juni kablet jesse hans besparelser til advokaten arbeider for "
-"riaa. en sak mot ham ble deretter avvist. og med dette, ble denne gutten som "
-"hadde endret noe en datamaskin til en $15 millioner rettssak en aktivist:"
+"23. juni overførte Jesse alle sine oppsparte midler til advokaten som jobbet "
+"for RIA. 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><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid "Film"
msgstr "filmen"
-#. f1
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"I am grateful to Peter DiMauro for pointing me to this extraordinary "
-"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, "
-"87–93, which details Edison's \"adventures\" with copyright and patent."
+"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\"/>"
msgstr ""
"Jeg er takknemlig til peter dimauro for å sette meg til dette ekstraordinære "
"historie. Se også siva vaidhyanathan, opphavsrett og copywrongs, 8793, som "
#. f2
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
msgid ""
-"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion "
-"Picture Producers (Cobblestone Entertainment, 2000) and expanded texts "
-"posted at \"The Edison Movie Monopoly: The Motion Picture Patents Company "
-"vs. the Independent Outlaws,\" available at <ulink url=\"http://free-culture."
-"cc/notes/\">link #11</ulink>. For a discussion of the economic motive behind "
-"both these limits and the limits imposed by Victor on phonographs, see "
-"Randal C. Picker, \"From Edison to the Broadcast Flag: Mechanisms of Consent "
-"and Refusal and the Propertization of Copyright\" (September 2002), "
-"University of Chicago Law School, James M. Olin Program in Law and "
-"Economics, Working Paper No. 159."
+"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent "
+"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and "
+"expanded texts posted at \"The Edison Movie Monopoly: The Motion Picture "
+"Patents Company vs. the Independent Outlaws,\" available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #11</ulink>. For a discussion of the "
+"economic motive behind both these limits and the limits imposed by Victor on "
+"phonographs, see Randal C. Picker, \"From Edison to the Broadcast Flag: "
+"Mechanisms of Consent and Refusal and the Propertization of Copyright"
+"\" (September 2002), University of Chicago Law School, James M. Olin Program "
+"in Law and Economics, Working Paper No. 159."
msgstr ""
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><indexterm><primary>
+msgid "General Film Company"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Picker, Randal C."
+msgstr "Picker, Randal C."
+
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"With the country experiencing a tremendous expansion in the number of "
"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\"/>"
+"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
+"<placeholder type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. f3
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at "
+#| "<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>."
msgid ""
-"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>."
+"Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</"
+"citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#12</ulink>."
msgstr ""
+"Marc Wanamaker, \"The First Studios,\" The Silents Majority, arkivert på "
+"<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"delvis fra piratkopiering av Edisons kreative eiendom."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Recorded Music"
-msgstr "innspilt musikk"
+msgstr "Innspilt musikk"
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
"The record industry was born of another kind of piracy, though to see how "
"requires a bit of detail about the way the law regulates music."
msgstr ""
-"rullebladet industri ble født av en annen type piratkopiering, om å se "
-"hvordan krever en bit av detaljer om hvordan loven regulerer musikk."
+"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><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"musikalske poeng, og jeg vil også måtte betale for retten til å utføre det "
"offentlig."
-#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
+#. type: Content of: <book><chapter><sect1><sect2><
para><indexterm><primary>
msgid "Beatles"
msgstr "Beatles"
"To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 "
"and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st "
"sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, "
-"chairman), reprinted in Legislative History of the Copyright Act, E. Fulton "
-"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, "
-"1976)."
+"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)."
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. "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"The law soon resolved this battle in favor of the composer and the recording "
-"artist. Congress amended the law to make sure that composers would be paid "
-"for the \"mechanical reproductions\" of their music. But rather than simply "
-"granting the composer complete control over the right to make mechanical "
-"reproductions, Congress gave recording artists a right to record the music, "
-"at a price set by Congress, once the composer allowed it to be recorded "
-"once. This is the part of copyright law that makes cover songs possible. "
-"Once a composer authorizes a recording of his song, others are free to "
-"record the same song, so long as they pay the original composer a fee set by "
-"the law."
+"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 \"mechanical reproductions\" of their music. "
+"But rather than simply granting the composer complete control over the right "
+"to make mechanical reproductions, Congress gave recording artists a right to "
+"record the music, at a price set by Congress, once the composer allowed it "
+"to be recorded once. This is the part of copyright law that makes cover "
+"songs possible. Once a composer authorizes a recording of his song, others "
+"are free to record the same song, so long as they pay the original composer "
+"a fee set by the law."
msgstr ""
"loven løst snart denne kampen til fordel for komponisten og opptak "
"kunstneren. kongressen endret loven å sørge for at komponister ville bli "
"refer to it as a \"statutory license.\" A statutory license is a license "
"whose key terms are set by law. After Congress's amendment of the Copyright "
"Act in 1909, record companies were free to distribute copies of recordings "
-"so long as they paid the composer (or copyright holder) the fee set by the "
+"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 "
"de betalte komponist (eller opphavsrettsinnehaver) gebyr som er angitt av "
"Vedtektene."
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Grisham, John"
+msgstr "Grisham, John"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"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."
+"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 "
msgid ""
"Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and H.R. "
"11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., 217 "
-"(1908) (statement of Senator Reed Smoot, chairman), reprinted in Legislative "
-"History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. "
-"(South Hackensack, N.J.: Rothman Reprints, 1976)."
+"(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 "
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"But the law governing recordings gives recording artists less. And thus, in "
-"effect, the law subsidizes the recording industry through a kind of "
-"piracy—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\"/>"
+"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><chapter><sect1><sect2><para>
"skapende arbeid, registrere produsentene og offentligheten."
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Radio"
msgstr "Radio"
msgid "Radio was also born of piracy."
msgstr "Radio ble også født av piratkopiering."
-#. f12
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Hand, Learned"
+msgstr "Hand, Learned"
+
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See 17 United States Code, sections 106 and 110. At the beginning, record "
-"companies printed \"Not Licensed for Radio Broadcast\" and other messages "
-"purporting to restrict the ability to play a record on a radio station. "
-"Judge Learned Hand rejected the argument that a warning attached to a record "
-"might restrict the rights of the radio station. See RCA Manufacturing Co. v. "
-"Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From "
+"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At "
+"the beginning, record companies printed \"Not Licensed for Radio Broadcast\" "
+"and other messages purporting to restrict the ability to play a record on a "
+"radio station. Judge Learned Hand rejected the argument that a warning "
+"attached to a record might restrict the rights of the radio station. See "
+"<citetitle>RCA Manufacturing Co</citetitle>. v. <citetitle>Whiteman</"
+"citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From "
"Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
-"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): "
-"281."
+"Propertization of Copyright,\" <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 "
msgid ""
"When a radio station plays a record on the air, that constitutes a \"public "
"performance\" of the composer's work.<placeholder type=\"footnote\" id=\"0\"/"
-"> As I described above, the law gives the composer (or copyright holder) an "
+"> 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><chapter><sect1><para><indexterm><primary>
+msgid "Lovett, Lyle"
+msgstr "Lovett, Lyle"
+
#. PAGE BREAK 72
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But when the radio station plays a record, it is not only performing a copy "
-"of the composer's work. The radio station is also performing a copy of the "
-"recording artist's work. It's one thing to have \"Happy Birthday\" sung on "
-"the radio by the local children's choir; it's quite another to have it sung "
-"by the Rolling Stones or Lyle Lovett. The recording artist is adding to the "
-"value of the composition performed on the radio station. And if the law "
-"were perfectly consistent, the radio station would have to pay the recording "
-"artist for his work, just as it pays the composer of the music for his work."
+"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 \"Happy Birthday\" sung on the radio by the local "
+"children's choir; it's quite another to have it sung by the Rolling Stones "
+"or Lyle Lovett. The recording artist is adding to the value of the "
+"composition performed on the radio station. And if the law were perfectly "
+"consistent, the radio station would have to pay the recording artist for his "
+"work, just as it pays the composer of the music for his work. <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 "
"å utføre den Plateartist arbeid gratis, selv om det må betale komponisten "
"noe for privilegiet av å spille sangen."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Madonna"
+msgstr "Madonna"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"our law, every time a radio station plays your song, you get some money. But "
"Madonna gets nothing, save the indirect effect on the sale of her CDs. The "
"public performance of her recording is not a \"protected\" right. The radio "
-"station thus gets to pirate the value of Madonna's work without paying her "
-"anything."
+"station thus gets to <emphasis>pirate</emphasis> the value of Madonna's work "
+"without paying her anything."
msgstr ""
"forestille hun gjør synge sangen, og forestille hun liker det mye. Hun "
"deretter bestemmer seg for å gjøre en innspilling av sangen, og det blir en "
#. f17
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
msgid ""
"Copyright Law Revision—CATV, 209 (statement of Charlton Heston, "
"president of the Screen Actors Guild)."
msgstr ""
-"Copyright lov revision—catv, 209 (charlton heston-setningen, president "
-"i screen actors guild)."
+"Copyright Law Revision—CATV, 209 (vitnemål fra Charlton Heston, "
+"president i Screen Actors Guild)."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"said, who were \"depriving actors of compensation.\"<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><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
"But again, there was another side to the debate. As Assistant Attorney "
"General Edwin Zimmerman put it,"
msgstr ""
-"men igjen, det var en annen side i debatten. som assistent justisministeren "
-"sa edwin zimmerman,"
+"Men igjen, det er en annen side i debatten. Som assisterende justisminister "
+"Edwin Zimmerman sa det,"
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><indexterm><primary>
+msgid "Zimmerman, Edwin"
+msgstr "Zimmerman, Edwin"
-#. f18
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, "
-"acting assistant attorney general)."
+"acting assistant attorney general). <placeholder type=\"indexterm\" id="
+"\"0\"/>"
msgstr ""
"Copyright lov revision—catv, 216 (setning av edwin m. Zimmerman "
"fungerende assistent justisministeren)."
"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=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id="
+"\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
"Copyright owners took the cable companies to court. Twice the Supreme Court "
"held that the cable companies owed the copyright owners nothing."
msgstr ""
-"opphavsrett eiere tok kabelselskaper til retten. Høyesterett holdt to ganger "
-"at kabelselskaper skyldte opphavsrett eierne ingenting."
+"Opphavsrettinnehaverne tok kabelselskapene til retten. Høyesterett fant to "
+"ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting."
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
#. f19
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"See, for example, National Music Publisher's Association, The Engine of Free "
-"Expression: Copyright on the Internet—The Myth of Free Information, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #13</ulink>. "
-"\"The threat of piracy—the use of someone else's creative work without "
-"permission or compensation—has grown with the Internet.\""
+"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>. \"The threat of piracy—the use of someone "
+"else's creative work without permission or compensation—has grown with "
+"the Internet.\""
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"These separate stories sing a common theme. If \"piracy\" 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 every industry affected by copyright "
-"today is the product and beneficiary of a certain kind of piracy. Film, "
-"records, radio, cable TV. . . . The list is long and could well be expanded. "
-"Every generation welcomes the pirates from the last. Every generation—"
-"until now."
+"\"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><chapter><sect1><title>
#. f1
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"See IFPI (International Federation of the Phonographic Industry), The "
-"Recording Industry Commercial Piracy Report 2003, July 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #14</ulink>. See also Ben "
-"Hunt, \"Companies Warned on Music Piracy Risk,\" Financial Times, 14 "
-"February 2003, 11."
+"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, \"Companies Warned on Music Piracy Risk,\" "
+"<citetitle>Financial Times</citetitle>, 14 February 2003, 11."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
-"Knowledge Economy? (New York: The New Press, 2003), 10–13, 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\"/>"
+"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\"/>"
msgstr ""
"se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier "
"knowledge economy? (new york: ny press, 2003), 1013, 209. handel-relaterte "
"these nations, this piracy is wrong."
msgstr ""
-#. f3
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Liebowitz, Stan"
+msgstr "Liebowitz, Stan"
+
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"For an analysis of the economic impact of copying technology, see Stan "
-"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), "
-"144–90. \"In some instances . . . the impact of piracy on the "
-"copyright holder's ability to appropriate the value of the work will be "
-"negligible. One obvious instance is the case where the individual engaging "
-"in pirating would not have purchased an original even if pirating were not "
-"an option.\" Ibid., 149."
+"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: "
+"Amacom, 2002), 144–90. \"In some instances . . . the impact of piracy "
+"on the copyright holder's ability to appropriate the value of the work will "
+"be negligible. One obvious instance is the case where the individual "
+"engaging in pirating would not have purchased an original even if pirating "
+"were not an option.\" Ibid., 149. <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"
#, mtrans, fuzzy
msgid ""
"This argument is still very weak. However, although copyright is a property "
-"right of a very special sort, it is a property right. Like all property "
-"rights, the copyright gives the owner the right to decide the terms under "
-"which content is shared. If the copyright owner doesn't want to sell, she "
-"doesn't have to. There are exceptions: important statutory licenses that "
-"apply to copyrighted content regardless of the wish of the copyright owner. "
-"Those licenses give people the right to \"take\" copyrighted content whether "
-"or not the copyright owner wants to sell. But where the law does not give "
-"people the right to take content, it is wrong to take that content even if "
-"the wrong does no harm. If we have a property system, and that system is "
-"properly balanced to the technology of a time, then it is wrong to take "
-"property without the permission of a property owner. That is exactly what "
-"\"property\" means."
+"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 \"take\" "
+"copyrighted content whether or not the copyright owner wants to sell. But "
+"where the law does not give people the right to take content, it is wrong to "
+"take that content even if the wrong does no harm. If we have a property "
+"system, and that system is properly balanced to the technology of a time, "
+"then it is wrong to take property without the permission of a property "
+"owner. That is exactly what \"property\" means."
msgstr ""
"Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en "
"egenskap høyre i en veldig spesiell sortering, er det en egenskap som er "
"for en tid-teknologien, er det galt å ta eiendom uten tillatelse fra eieren "
"av en egenskap. Det er akkurat hva \"property\" betyr."
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Windows"
+msgstr "Windows"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Finally, we could try to excuse this piracy with the argument that the "
"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."
+"eventually be buying Microsoft. Without piracy, then, Microsoft would "
+"lose. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#. f4
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
-msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)."
-msgstr "Bach v. longman, 98 eng. rep 1274 (1777)."
+#, fuzzy
+#| msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)."
+msgid ""
+"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. "
+"1274 (1777)."
+msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777)."
#. PAGE BREAK 80
#. type: Content of: <book><chapter><sect1><sect2><para>
"alternative to assure the author of his profit."
msgstr ""
-#. f5
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Christensen, Clayton M."
+msgstr "Christensen, Clayton M."
+
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary "
-"National Bestseller That Changed the Way We Do Business (New York: "
-"HarperBusiness, 2000). Professor Christensen examines why companies that "
-"give rise to and dominate a product area are frequently unable to come up "
-"with the most creative, paradigm-shifting uses for their own products. This "
-"job usually falls to outside innovators, who reassemble existing technology "
-"in inventive ways. For a discussion of Christensen's ideas, see Lawrence "
-"Lessig, Future, 89–92, 139."
+"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: "
"komme med de mest kreative, paradigmet-skiftende bruksområdene for sine egne "
"produkter. denne jobben faller vanligvis til utenfor innovators, som "
"reassemble eksisterende teknologi på oppfinnsomme måter. for en diskusjon av "
-"Christensens ideer, kan du se lawrence lessig, fremtidige, 8992, 139."
+"Christensens idéer, kan du se lawrence lessig, fremtidige, 8992, 139."
#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
msgid "Fanning, Shawn"
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" San "
-"Francisco Chronicle, 24 September 2002, A1; \"Rock 'n' Roll Suicide,\" New "
-"Scientist, 6 July 2002, 42; Benny Evangelista, \"Napster Names CEO, Secures "
-"New Financing,\" San Francisco Chronicle, 23 May 2003, C1; \"Napster's Wake-"
-"Up Call,\" Economist, 24 June 2000, 23; John Naughton, \"Hollywood at War "
-"with the Internet\" (London) Times, 26 July 2002, 18."
+"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" "
+"<citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, A1; "
+"\"Rock 'n' Roll Suicide,\" <citetitle>New Scientist</citetitle>, 6 July "
+"2002, 42; Benny Evangelista, \"Napster Names CEO, Secures New Financing,\" "
+"<citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1; \"Napster's "
+"Wake-Up Call,\" <citetitle>Economist</citetitle>, 24 June 2000, 23; John "
+"Naughton, \"Hollywood at War with the Internet\" (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 "
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution "
-"(September 2002), reporting that 28 percent of Americans aged twelve and "
-"older have downloaded music off of the Internet and 30 percent have listened "
-"to digital music files stored on their computers."
+"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 "
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York "
-"Times, 6 June 2003, A1."
+"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" "
+"<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."
"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 The New York Times estimated that 43 million "
-"citizens used file-sharing networks to exchange content in May 2003."
-"<placeholder type=\"footnote\" id=\"1\"/> The vast majority of these are not "
-"kids. Whatever the actual figure, a massive quantity of content is being "
-"\"taken\" on these networks. The ease and inexpensiveness of file-sharing "
-"networks have inspired millions to enjoy music in a way that they hadn't "
-"before."
+"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 \"taken\" on these networks. The ease and "
+"inexpensiveness of file-sharing networks have inspired millions to enjoy "
+"music in a way that they hadn't before."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#. PAGE BREAK 81
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
"File sharers share different kinds of content. We can divide these different "
"kinds into four types."
msgstr ""
-"fil sharers dele ulike typer innhold. Vi kan dele disse ulike slag i fire "
-"typer."
+"Fildelerne deler ulike typer innhold. Vi kan derel disse ulike typene inn i "
+"fire typer."
-#. A.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"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."
+"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 "
"opphavsretten ønsker å gi bort."
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid "How do these different types of sharing balance out?"
-msgstr "hvordan disse ulike typer deling balanse?"
+msgstr "Hvordan balanserer disse ulike delingstypene?"
-#. f9
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
-msgid "See Liebowitz, Rethinking the Network Economy,148–49."
-msgstr "se liebowitz, rethinking nettverk økonomien, 14849."
+#, fuzzy
+#| msgid ""
+#| "See Liebowitz, Rethinking the Network Economy,148–49. <placeholder "
+#| "type=\"indexterm\" id=\"0\"/>"
+msgid ""
+"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, "
+"148–49. <placeholder type=\"indexterm\" id=\"0\"/>"
+msgstr ""
+"Se Liebowitz, Rethinking the Network Economy,148–49. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"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 "
+"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."
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Cap Gemini Ernst & Young, Technology Evolution and the Music "
-"Industry's Business Model Crisis (2003), 3. This report describes the music "
-"industry's effort to stigmatize the budding practice of cassette taping in "
-"the 1970s, including an advertising campaign featuring a cassette-shape "
-"skull and the caption \"Home taping is killing music.\" At the time digital "
-"audio tape became a threat, the Office of Technical Assessment conducted a "
-"survey of consumer behavior. In 1988, 40 percent of consumers older than ten "
-"had taped music to a cassette format. U.S. Congress, Office of Technology "
-"Assessment, Copyright and Home Copying: Technology Challenges the Law, OTA-"
-"CIT-422 (Washington, D.C.: U.S. Government Printing Office, October 1989), "
-"145–56."
+"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 \"Home taping is killing music.\" At "
+"the time digital audio tape became a threat, the Office of Technical "
+"Assessment conducted a survey of consumer behavior. In 1988, 40 percent of "
+"consumers older than ten had taped music to a cassette format. U.S. "
+"Congress, Office of Technology Assessment, <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 "
#. f11
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
-msgid "U.S. Congress, Copyright and Home Copying, 4."
+msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4."
msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4."
#. type: Content of: <book><chapter><sect1><sect2><para>
"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 how harmful type A "
-"sharing is, and how beneficial the other types of sharing are."
+"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 "
"sharing exceeds type B. If the record companies sold more records through "
"sampling than they lost through substitution, then sharing networks would "
"actually benefit music companies on balance. They would therefore have "
-"little static reason to resist them."
+"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"
#. f12
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"See Recording Industry Association of America, 2002 Yearend Statistics, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #15</ulink>. "
-"A later report indicates even greater losses. See Recording Industry "
-"Association of America, Some Facts About Music Piracy, 25 June 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: "
-"\"In the past four years, unit shipments of recorded music have fallen by 26 "
-"percent from 1.16 billion units in to 860 million units in 2002 in the "
-"United States (based on units shipped). In terms of sales, revenues are "
-"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on "
-"U.S. dollar value of shipments). The music industry worldwide has gone from "
-"a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based "
-"on U.S. dollar value of shipments).\""
+"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>: \"In the past four years, unit "
+"shipments of recorded music have fallen by 26 percent from 1.16 billion "
+"units in to 860 million units in 2002 in the United States (based on units "
+"shipped). In terms of sales, revenues are down 14 percent, from $14.6 "
+"billion in to $12.6 billion last year (based on U.S. dollar value of "
+"shipments). The music industry worldwide has gone from a $39 billion "
+"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. "
+"dollar value of shipments).\""
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
"account for at least some of the loss. \"From 1999 to 2001, the average "
"price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type="
"\"footnote\" id=\"1\"/> Competition from other forms of media could also "
-"account for some of the decline. As Jane Black of BusinessWeek notes, \"The "
-"soundtrack to the film High Fidelity has a list price of $18.98. You could "
-"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" id="
-"\"2\"/>"
+"account for some of the decline. As Jane Black of <citetitle>BusinessWeek</"
+"citetitle> notes, \"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.\"<placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
#. PAGE BREAK 84
"because the artist producing the content doesn't want it to be made "
"available, the vast majority of it is unavailable solely because the "
"publisher or the distributor has decided it no longer makes economic sense "
-"to the company to make it available."
+"<emphasis>to the company</emphasis> to make it available."
msgstr ""
#. f16
msgid ""
"While there are not good estimates of the number of used record stores in "
"existence, in 2002, there were 7,198 used book dealers in the United States, "
-"an increase of 20 percent since 1993. See Book Hunter Press, The Quiet "
-"Revolution: The Expansion of the Used Book Market (2002), available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records "
-"accounted for $260 million in sales in 2002. See National Association of "
-"Recording Merchandisers, \"2002 Annual Survey Results,\" available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #20</ulink>."
+"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, \"2002 Annual Survey Results,\" "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"of used book and used record stores in America today.<placeholder type="
"\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the "
"content they buy. And under American copyright law, when they buy and sell "
-"this content, even if the content is still under copyright, the copyright "
-"owner doesn't get a dime. Used book and record stores are commercial "
-"entities; their owners make money from the content they sell; but as with "
-"cable companies before statutory licensing, they don't have to pay the "
-"copyright owner for the content they sell."
+"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><chapter><sect1><sect2><indexterm><primary>
"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, Down and Out in the Magic Kingdom, "
-"both free on-line and in bookstores on the same day. His (and his "
-"publisher's) thinking was that the on-line distribution would be a great "
-"advertisement for the \"real\" book. People would read part on-line, and "
-"then decide whether they liked the book or not. If they liked it, they would "
-"be more likely to buy it. Doctorow's content is type D content. If sharing "
-"networks enable his work to be spread, then both he and society are better "
-"off. (Actually, much better off: It is a great book!)"
+"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 \"real\" book. People would read part on-"
+"line, and then decide whether they liked the book or not. If they liked it, "
+"they would be more likely to buy it. Doctorow's content is type D content. "
+"If sharing networks enable his work to be spread, then both he and society "
+"are better off. (Actually, much better off: It is a great book!)"
msgstr ""
"til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d deling "
"oppstår—deling av innhold som eiere av opphavsretter vil har delt "
"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 "
"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an "
-"account of the litigation and its toll on Napster, see Joseph Menn, All the "
-"Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown "
-"Business, 2003), 269–82."
+"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><chapter><sect1><sect2><para>
"associated with broadcasters would use their power to stifle this new "
"technology, cable. But if Congress had permitted cable to use broadcasters' "
"content for free, then it would have unfairly subsidized cable. Thus "
-"Congress chose a path that would assure compensation without giving the past "
-"(broadcasters) control over the future (cable)."
+"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 "
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C."
-"D. Cal., 1979)."
+"<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)."
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Universal City Studios, Inc. v. Sony Corp. of America, 659 F. 2d 963 (9th "
-"Cir. 1981)."
+"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. "
+"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)."
msgstr ""
"Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 "
"(9 cir. 1981)."
"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 \"the Boston Strangler of the American film industry"
-"\" (worse yet, it was a Japanese Boston Strangler of the American film "
-"industry)—was an illegal technology.<placeholder type=\"footnote\" id="
-"\"0\"/>"
+"\" (worse yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of "
+"the American film industry)—was an illegal technology.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 90
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, 431 "
-"(1984)."
+"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City "
+"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)."
msgstr ""
"Sony Corporation of america v. universal city studios, inc., 464 amerikanske "
"417, 431 (1984)."
"tross for. Hvis vi setter disse tilfellene sammen, et mønster er klart:"
#. type: Content of: <book><chapter><sect1><sect2><table><title>
-#, mtrans, fuzzy
msgid "Table"
-msgstr "tabell"
+msgstr "Tabell"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgstr "Responsen til Kongressen"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Recordings"
-msgstr "innspillinger"
+msgstr "Innspillinger"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Composers"
-msgstr "komponister"
+msgstr "Komponister"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "No protection"
-msgstr "ingen beskyttelse"
+msgstr "Ingen beskyttelse"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgstr "lovbestemte lisens"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Recording artists"
-msgstr "artister"
+msgstr "Innspillingsartister"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
msgid "N/A"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Nothing"
-msgstr "ingenting"
+msgstr "Ingenting"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Broadcasters"
-msgstr "TV-stasjoner"
+msgstr "Kringkastere"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "VCR"
-msgstr "VCR"
+msgstr "Videoopptakere"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Film creators"
-msgstr "filmen skaperne"
+msgstr "Filmskapere"
-#. f24
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"regulated by Congress to minimize the risk of piracy. The remedy Congress "
"imposed did burden DAT producers, by taxing tape sales and controlling the "
"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the "
-"United States Code), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U."
-"S.C. §1001. Again, however, this regulation did not eliminate the "
-"opportunity for free riding in the sense I've described. See Lessig, Future, "
-"71. See also Picker, \"From Edison to the Broadcast Flag,\" University of "
-"Chicago Law Review 70 (2003): 293–96."
+"<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, \"From Edison to "
+"the Broadcast Flag,\" <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 "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"In none of these cases did either the courts or Congress eliminate all free "
-"riding. In none of these cases did the courts or Congress insist that the "
-"law should assure that the copyright holder get all the value that his "
-"copyright created. In every case, the copyright owners complained of "
-"\"piracy.\" In every case, Congress acted to recognize some of the "
-"legitimacy in the behavior of the \"pirates.\" In each case, Congress "
-"allowed some new technology to benefit from content made before. It balanced "
-"the interests at stake."
+"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 \"piracy.\" In every case, Congress "
+"acted to recognize some of the legitimacy in the behavior of the \"pirates."
+"\" In each case, Congress allowed some new technology to benefit from "
+"content made before. It balanced the interests at stake."
msgstr ""
"Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle "
"gratis ridning. Ingen av disse tilfellene gjorde domstoler eller Kongressen "
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984)."
+"<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)."
"uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> Instead, the "
"particular uses that the law regulates have been defined by balancing the "
"good that comes from granting an exclusive right against the burdens such an "
-"exclusive right creates. And this balancing has historically been done after "
-"a technology has matured, or settled into the mix of technologies that "
-"facilitate the distribution of content."
+"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><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes "
-"Past Efforts,\" New York Times, 22 September 2003, C3."
+"Past Efforts,\" <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."
"of distribution. And this p2p has done. P2p technologies can be ideally "
"efficient in moving content across a widely diverse network. Left to "
"develop, they could make the network vastly more efficient. Yet these "
-"\"potential public benefits,\" as John Schwartz writes in The New York "
-"Times, \"could be delayed in the P2P fight.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> Yet when anyone begins to talk about \"balance,\" the copyright "
-"warriors raise a different argument. \"All this hand waving about balance "
-"and incentives,\" they say, \"misses a fundamental point. Our content,\" the "
-"warriors insist, \"is our property. Why should we wait for Congress to "
-"`rebalance' our property rights? Do you have to wait before calling the "
-"police when your car has been stolen? And why should Congress deliberate at "
-"all about the merits of this theft? Do we ask whether the car thief had a "
-"good use for the car before we arrest him?\""
+"\"potential public benefits,\" as John Schwartz writes in <citetitle>The New "
+"York Times</citetitle>, \"could be delayed in the P2P fight.\"<placeholder "
+"type=\"footnote\" id=\"0\"/> Yet when anyone begins to talk about \"balance,"
+"\" the copyright warriors raise a different argument. \"All this hand waving "
+"about balance and incentives,\" they say, \"misses a fundamental point. Our "
+"content,\" the warriors insist, \"is our <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?\""
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"\"It is our property,\" the warriors insist. \"And it should be protected "
-"just as any other property is protected.\""
+"\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And it "
+"should be protected just as any other property is protected.\""
msgstr ""
"\"det er vår eiendom,\" insisterer warriors. \"og det bør være beskyttet på "
"samme måte som en annen egenskap er beskyttet."
"Indeed, the very idea of property in any idea or any expression is very odd. "
"I understand what I am taking when I take the picnic table you put in your "
"backyard. I am taking a thing, the picnic table, and after I take it, you "
-"don't have it. But what am I taking when I take the good idea you had to put "
-"a picnic table in the backyard—by, for example, going to Sears, buying "
-"a table, and putting it in my backyard? What is the thing I am taking then?"
+"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, å ringe en copyright \"property\" høyre er litt "
-"misvisende, for copyright-egenskapen er en odde type bolig. selve ideen om "
-"eiendom i noen ide eller et annet uttrykk er faktisk svært ulike. Jeg "
+"misvisende, for copyright-egenskapen er en odde type bolig. selve idéen om "
+"eiendom i noen idé eller et annet uttrykk er faktisk svært ulike. Jeg "
"forstår hva jeg tar når jeg tar picnic bord du innlegge din bakgård. Jeg tar "
"en ting, picnic bord, og etter at jeg tar det, du har ikke det. men hva jeg "
"ta når jeg tar god idé du måtte sette en picnic bord i bakgården—av, "
#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in The "
-"Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert Ellery "
-"Bergh, eds., 1903), 330, 333–34."
+"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 skrifter av "
"thomas jefferson, vol. 6 (andrew a. lipscomb og albert ellery bergh, Red., "
"here. Here the law says you can't take my idea or expression without my "
"permission: The law turns the intangible into property."
msgstr ""
-"unntakene til fri bruk er ideer og uttrykk innenfor rekkevidden av loven om "
+"unntakene til fri bruk er idéer og uttrykk innenfor rekkevidden av loven om "
"patent og opphavsrett, og noen andre domener som jeg ikke diskutere her. Her "
-"loven sier du ikke kan ta min ide eller uttrykk uten min tillatelse: loven "
+"loven sier du ikke kan ta min idé eller uttrykk uten min tillatelse: loven "
"blir immaterielle eiendom."
#. f2
"against the world to do or not do certain things that may or may not attach "
"to a physical object. The right itself is intangible, even if the object to "
"which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What "
-"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 "
-"(2003): 373, 429 n. 241."
+"Is Property? Putting the Pieces Back Together,\" <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 "
"from the implications that the copyright warriors would have us draw."
msgstr ""
"min strategi for å gjøre dette vil være det samme som min strategi i den "
-"foregående delen. Jeg tilbyr fire historier å hjelpe sette ideen om "
+"foregående delen. Jeg tilbyr fire historier å hjelpe sette idéen om "
"\"copyright-beskyttet materiale er egenskapen\" i sammenheng. hvor gikk "
-"ideen kommer fra? Hva er sine grenser? Hvordan fungerer det i praksis? Når "
+"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 "
msgstr "Kapittel seks: Grunnleggerne"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
-msgid ""
-"William Shakespeare wrote Romeo and Juliet in 1595. The play was first "
-"published in 1597. It was the eleventh major play that Shakespeare had "
-"written. He would continue to write plays through 1613, and the plays that "
-"he wrote have continued to define Anglo-American culture ever since. So "
-"deeply have the works of a sixteenth-century writer seeped into our culture "
-"that we often don't even recognize their source. I once overheard someone "
-"commenting on Kenneth Branagh's adaptation of Henry V: \"I liked it, but "
-"Shakespeare is so full of clichés.\""
-msgstr ""
-"William shakespeare skrev romeo og Julie i 1595. Skuespillet ble først "
-"utgitt i 1597. Det var ellevte store spill at shakespeare hadde skrevet. han "
-"ville fortsette å skrive skuespill gjennom 1613, og spiller som skrev han "
-"har fortsatt å definere angloamerikanske kultur siden. så dypt har verk av "
-"1500-tallet forfatter seeped inn i vår kultur at vi ofte ikke engang kjenner "
-"kilden. Jeg overheard en gang noen kommentere kenneth branagh tilpasning av "
-"henry v: \"Jeg likte det, men shakespeare er så full av clichés.\""
+#, fuzzy
+#| msgid ""
+#| "William Shakespeare wrote Romeo and Juliet in 1595. The play was first "
+#| "published in 1597. It was the eleventh major play that Shakespeare had "
+#| "written. He would continue to write plays through 1613, and the plays "
+#| "that he wrote have continued to define Anglo-American culture ever since. "
+#| "So deeply have the works of a sixteenth-century writer seeped into our "
+#| "culture that we often don't even recognize their source. I once "
+#| "overheard someone commenting on Kenneth Branagh's adaptation of Henry V: "
+#| "\"I liked it, but Shakespeare is so full of clichés.\""
+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.\""
+msgstr ""
+"William Shakespeare skrev \"Romeo og Julie\" 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><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Jacob Tonson is typically remembered for his associations with prominent "
+#| "eighteenth-century literary figures, especially John Dryden, and for his "
+#| "handsome \"definitive editions\" of classic works. In addition to Romeo "
+#| "and Juliet, he published an astonishing array of works that still remain "
+#| "at the heart of the English canon, including collected works of "
+#| "Shakespeare, Ben Jonson, John Milton, and John Dryden. See Keith Walker, "
+#| "\"Jacob Tonson, Bookseller,\" American Scholar 61:3 (1992): 424–31."
msgid ""
"Jacob Tonson is typically remembered for his associations with prominent "
"eighteenth-century literary figures, especially John Dryden, and for his "
-"handsome \"definitive editions\" of classic works. In addition to Romeo and "
-"Juliet, he published an astonishing array of works that still remain at the "
-"heart of the English canon, including collected works of Shakespeare, Ben "
-"Jonson, John Milton, and John Dryden. See Keith Walker, \"Jacob Tonson, "
-"Bookseller,\" American Scholar 61:3 (1992): 424–31."
-msgstr ""
-"Jacob tonson er vanligvis husket for hans assosiasjoner med fremtredende "
-"1700-tallet litterære figurer, spesielt john dryden, og for hans kjekk "
-"\"endelige versjoner\" av klassiske verk. i tillegg til romeo og Julie, utga "
-"en utrolig rekke fungerer som fortsatt er igjen i hjertet av den engelske "
-"canon, inkludert collected works Shakespeare, ben jonson, john milton, og "
-"john dryden. se Pioquinto Bernal Pioquinto Bernal, \"jacob tonson, bokhandel,"
-"\" amerikansk forsker-61:3 (1992): 42431."
+"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."
+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 Romeo og Julie, 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,\" American Scholar 61:3 (1992): "
+"424-31."
#. f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: "
+#| "Vanderbilt University Press, 1968), 151–52."
msgid ""
+"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</"
+"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52."
+msgstr ""
"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: "
"Vanderbilt University Press, 1968), 151–52."
-msgstr ""
-"Lyman rokke patterson, copyright i historisk perspektiv (nashville: "
-"vanderbilt university press, 1968), 15152."
#. PAGE BREAK 97
#. type: Content of: <book><chapter><sect1><para>
-msgid ""
-"In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-"
-"right\" for the work was still thought by many to be the exclusive right of "
-"a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" id="
-"\"0\"/> Tonson was the most prominent of a small group of publishers called "
-"the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled "
-"bookselling in England during the eighteenth century. The Conger claimed a "
-"perpetual right to control the \"copy\" of books that they had acquired from "
-"authors. That perpetual right meant that no one else could publish copies of "
-"a book to which they held the copyright. Prices of the classics were thus "
-"kept high; competition to produce better or cheaper editions was eliminated."
-msgstr ""
+#, fuzzy
+#| msgid ""
+#| "In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-"
+#| "right\" for the work was still thought by many to be the exclusive right "
+#| "of a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" "
+#| "id=\"0\"/> Tonson was the most prominent of a small group of publishers "
+#| "called the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled "
+#| "bookselling in England during the eighteenth century. The Conger claimed "
+#| "a perpetual right to control the \"copy\" of books that they had acquired "
+#| "from authors. That perpetual right meant that no one else could publish "
+#| "copies of a book to which they held the copyright. Prices of the "
+#| "classics were thus kept high; competition to produce better or cheaper "
+#| "editions was eliminated."
+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."
+msgstr ""
+"I 1774, nesten 180 år etter at Romeo og Julie 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."
-#. f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
+#| "\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
"As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
-"\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40."
+"\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
+"citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
-"som siva vaidhyanathan hevder pent, er det feilaktige å kalle dette en "
-"\"copyright lov.\" se vaidhyanathan, opphavsrett og copywrongs, 40."
+"Som Siva Vaidhyanathan så pent argumenterer, er det feilaktige å kalle dette "
+"en \"opphavsrettslov.\" Se Vaidhyanathan, Copyrights and Copywrongs, 40. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><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, Romeo and Juliet should have "
+#| "been free in 1731. So why was there any issue about it still being under "
+#| "Tonson's control in 1774?"
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 "
"published works would get a copyright term of fourteen years, renewable once "
"if the author was alive, and that all works already published by 1710 would "
"get a single term of twenty-one additional years.<placeholder type=\"footnote"
-"\" id=\"0\"/> Under this law, Romeo and Juliet should have been free in "
-"1731. So why was there any issue about it still being under Tonson's control "
-"in 1774?"
+"\" 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 \"Rome og Julie\" ha falt i det fri i 1731. Hvordan kunne "
+"da Tonson fortsatt ha kontroll over verket i 1774?"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"The reason is that the English hadn't yet agreed on what a \"copyright\" "
"was—indeed, no one had. At the time the English passed the Statute of "
"was no positive law that said that the publishers, or \"Stationers,\" had an "
"exclusive right to print books."
msgstr ""
-"årsaken er at engelske ikke hadde ennå avtalt på hva \"copyright\" ingen "
-"var—faktisk hadde. på tiden engelske passert Vedtektene for anne, var "
-"det ingen andre lovgivning om opphavsrett. siste loven som regulerer "
-"utgivere, hadde lisensiering loven av 1662, utløpt i 1695. at loven ga "
-"utgivere monopol over publisering, som en måte å gjøre det enklere for "
-"kronen til å kontrollere hva ble publisert. men etter at det har utløpt, var "
-"det ingen positiv lov som sa at det hadde en eksklusiv rett til å skrive ut "
-"bøker i utgivere, eller \"stationers\"."
-
-#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
-msgid ""
-"There was no positive law, but that didn't mean that there was no law. The "
-"Anglo-American legal tradition looks to both the words of legislatures and "
-"the words of judges to know the rules that are to govern how people are to "
-"behave. We call the words from legislatures \"positive law.\" We call the "
-"words from judges \"common law.\" The common law sets the background against "
-"which legislatures legislate; the legislature, ordinarily, can trump that "
-"background only if it passes a law to displace it. And so the real question "
-"after the licensing statutes had expired was whether the common law "
-"protected a copyright, independent of any positive law."
-msgstr ""
-"var det ingen positiv lov, men det betyr ikke at det var ingen lov. den "
-"anglo-amerikanske juridiske tradisjonen ser til begge ordene av legislatures "
-"og ord dommere kjenne reglene som styrer hvordan folk er å oppføre seg. Vi "
-"kaller ordene fra legislatures \"positiv lov.\" vi kaller ordene fra "
-"dommerne \"sedvanerett.\" felles lov angir bakgrunnen som vedta legislatures "
-"lovgivning; legislature, vanligvis kan trumfe at bakgrunnen bare hvis det "
-"går gjennom en lov til å forskyve den. og så var det virkelige spørsmålet "
-"etter lisensiering lover hadde utløpt om felles lov beskyttet opphavsretten, "
-"uavhengig av lovverket positiv."
+"Årsaken var ganske enkelt at engelskmennene 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."
+
+#. type: Content of: <book><chapter><sect1><para>
+#, fuzzy
+#| msgid ""
+#| "There was no positive law, but that didn't mean that there was no law. "
+#| "The Anglo-American legal tradition looks to both the words of "
+#| "legislatures and the words of judges to know the rules that are to govern "
+#| "how people are to behave. We call the words from legislatures \"positive "
+#| "law.\" We call the words from judges \"common law.\" The common law sets "
+#| "the background against which legislatures legislate; the legislature, "
+#| "ordinarily, can trump that background only if it passes a law to displace "
+#| "it. And so the real question after the licensing statutes had expired was "
+#| "whether the common law protected a copyright, independent of any positive "
+#| "law."
+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."
+msgstr ""
+"At det ikke fantes noen positiv 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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"This question was important to the publishers, or \"booksellers,\" as they "
"were called, because there was growing competition from foreign publishers. "
"control over publishing. That demand ultimately resulted in the Statute of "
"Anne."
msgstr ""
-"Dette spørsmålet var viktig til utgivere eller \"bokhandlere,\" som de ble "
-"kalt, fordi det var økende konkurransen fra utenlandske utgivere. Skottland, "
-"spesielt var stadig publisering og eksporterer bøker til england. at "
-"konkurransen redusert fortjeneste av conger, som reagert av krevende at "
-"parlamentet pass en lov til å igjen gi dem eksklusiv kontroll over "
-"publisering. som krever til slutt resulterte i Vedtektene for anne."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"The Statute of Anne granted the author or \"proprietor\" of a book an "
"exclusive right to print that book. In an important limitation, however, and "
"work would then be free and could be published by anyone. Or so the "
"legislature is thought to have believed."
msgstr ""
-"Vedtektene for anne gitt forfatteren eller \"eierskap\" av en bok, en "
-"eksklusiv rett til å skrive ut denne boken. i en viktig begrensning, "
-"imidlertid, og til forferdelse av bokhandlere, ga loven den lokale "
-"Bokhandleren at høyre for en begrenset periode. på slutten av dette ordet, "
-"copyright \"utløpt\", og arbeidet vil da være gratis, og kan bli publisert "
-"av alle. eller så legislature antas å ha trodd."
+"\"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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Now, the thing to puzzle about for a moment is this: Why would Parliament "
+#| "limit the exclusive right? Not why would they limit it to the particular "
+#| "limit they set, but why would they limit the right at all?"
msgid ""
"Now, the thing to puzzle about for a moment is this: Why would Parliament "
"limit the exclusive right? Not why would they limit it to the particular "
-"limit they set, but why would they limit the right at all?"
+"limit they set, but why would they limit the right <emphasis>at all?</"
+"emphasis>"
msgstr ""
-"nå, tingen å puzzle om et øyeblikk er dette: Hvorfor ville parlamentet "
-"begrense eneretten? ikke hvorfor ville de begrenser den til den bestemte "
-"limit de satt, men hvorfor ville begrense retten til alle?"
+"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 den i det hele tatt?"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "For the booksellers, and the authors whom they represented, had a very "
+#| "strong claim. Take Romeo and Juliet as an example: That play was written "
+#| "by Shakespeare. It was his genius that brought it into the world. He "
+#| "didn't take anybody's property when he created this play (that's a "
+#| "controversial claim, but never mind), and by his creating this play, he "
+#| "didn't make it any harder for others to craft a play. So why is it that "
+#| "the law would ever allow someone else to come along and take "
+#| "Shakespeare's play without his, or his estate's, permission? What reason "
+#| "is there to allow someone else to \"steal\" Shakespeare's work?"
msgid ""
"For the booksellers, and the authors whom they represented, had a very "
-"strong claim. Take Romeo and Juliet as an example: That play was written by "
-"Shakespeare. It was his genius that brought it into the world. He didn't "
-"take anybody's property when he created this play (that's a controversial "
-"claim, but never mind), and by his creating this play, he didn't make it any "
-"harder for others to craft a play. So why is it that the law would ever "
-"allow someone else to come along and take Shakespeare's play without his, or "
-"his estate's, permission? What reason is there to allow someone else to "
-"\"steal\" Shakespeare's work?"
-msgstr ""
-"for bokhandlerne, og forfattere som de representerte, hadde et veldig sterk "
-"krav. ta romeo og Julie som et eksempel: som spill ble skrevet av "
-"shakespeare. Det var hans geni som brakte den til verden. Han gjorde ikke ta "
-"noen egenskapen når han opprettet dette spillet (det er en kontroversielle "
-"påstanden, men aldri tankene), og hans oppretter denne spill, han ikke gjør "
-"det noe vanskeligere for andre til å lage et spill. så hvorfor er det at "
-"loven noensinne ville tillate noen annet å komme sammen og ta Shakespeares "
-"uten hans, eller hans eiendom, tillatelse? Hva grunn er der for å tillate at "
-"noen andre \"stjele\" Shakespeares arbeid?"
+"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?"
+msgstr ""
+"Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt "
+"krav. Ta romeo og Julie 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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"The answer comes in two parts. We first need to see something special about "
"the notion of \"copyright\" that existed at the time of the Statute of Anne. "
"Second, we have to see something important about \"booksellers.\""
msgstr ""
-"svaret kommer i to deler. Først må vi se noe spesielt med oppfatningen av "
-"\"copyright\" som fantes på tidspunktet for Vedtektene for anne. andre, har "
-"vi å se noe viktig om \"bokhandlere.\""
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "First, about copyright. In the last three hundred years, we have come to "
+#| "apply the concept of \"copyright\" ever more broadly. But in 1710, it "
+#| "wasn't so much a concept as it was a very particular right. The copyright "
+#| "was born as a very specific set of restrictions: It forbade others from "
+#| "reprinting a book. In 1710, the \"copy-right\" was a right to use a "
+#| "particular machine to replicate a particular work. It did not go beyond "
+#| "that very narrow right. It did not control any more generally how a work "
+#| "could be used. Today the right includes a large collection of "
+#| "restrictions on the freedom of others: It grants the author the exclusive "
+#| "right to copy, the exclusive right to distribute, the exclusive right to "
+#| "perform, and so on."
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 "
"as a very specific set of restrictions: It forbade others from reprinting a "
"book. In 1710, the \"copy-right\" was a right to use a particular machine to "
"replicate a particular work. It did not go beyond that very narrow right. It "
-"did not control any more generally how a work could be used. Today the right "
-"includes a large collection of restrictions on the freedom of others: It "
-"grants the author the exclusive right to copy, the exclusive right to "
-"distribute, the exclusive right to perform, and so on."
+"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 opphavsrett. i de siste tre hundre årene, har vi kommet til å bruke "
-"begrepet \"copyright\" stadig mer forstand. men i 1710, det var ikke så mye "
-"et konsept som det var en meget bestemt høyre. opphavsretten ble født som en "
-"svært spesifikke sett med begrensninger: det forbød andre fra ettertrykk en "
-"bok. i 1710 var \"kopi-rett\" en rett til å bruke en bestemt maskin til å "
-"replikere en bestemt arbeid. det ikke gå utover det svært smale riktig. det "
-"ikke kontrollere mer generelt hvordan et arbeid kan brukes. i dag høyre "
-"inkluderer en stor samling av restriksjoner på andres: det gir forfatteren "
-"til eksklusiv rett til å kopiere, eksklusiv rett til å distribuere, "
-"eksklusiv rett til å utføre, og så videre."
+"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. Denkontrollerte ikke mer generelt hvordan et verk kunne brukes. "
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"So, for example, even if the copyright to Shakespeare's works were "
"perpetual, all that would have meant under the original meaning of the term "
"right\" was only an exclusive right to print—no less, of course, but "
"also no more."
msgstr ""
-"så, for eksempel, selv om opphavsretten til Shakespeares verker var "
-"evigvarende, alle som ville ha betydd under den opprinnelige betydningen av "
-"begrepet var at ingen kan skrive Shakespeares arbeid uten tillatelse fra "
-"shakespeare-eiendom. det ville ikke ha kontrollert noe, for eksempel om "
-"hvordan arbeidet kan utføres, om arbeidet kunne oversettes eller om kenneth "
-"branagh ville være tillatt å gjøre hans filmer. \"kopi-rett\" var bare en "
-"eksklusiv rett til å skrive ut—ikke desto mindre, selvfølgelig, men "
-"også ikke mer."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Even that limited right was viewed with skepticism by the British. They had "
"had a long and ugly experience with \"exclusive rights,\" especially "
"patents for new inventions. And by 1710, Parliament was eager to deal with "
"the growing monopoly in publishing."
msgstr ""
-"selv det begrensede riktig ble sett med skepsis av britene. de hadde hatt en "
-"lang og stygg erfaring med \"eksklusive rettigheter,\" spesielt \"enerett\" "
-"gitt av kronen. engelske hadde kjempet en borgerkrig delvis om kronens "
-"praksisen med å levere ut monopoler—spesielt monopoler for arbeider "
-"som allerede fantes. Kong Henrik viii gitt et patent til å skrive ut Bibelen "
-"og en monopol til darcy til å skrive ut spillkort. det engelske parlamentet "
-"begynte å kjempe tilbake mot denne kraften i kronen. i 1656 gikk Vedtektene "
-"for monopoler, å begrense monopoler patenter for nye oppfinnelser. og ved "
-"1710, parlamentet var ivrig etter å håndtere det voksende monopolet i "
-"publisering."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Thus the \"copy-right,\" when viewed as a monopoly right, was naturally "
"viewed as a right that should be limited. (However convincing the claim that "
"society. The British saw the harms from specialinterest favors; they passed "
"a law to stop them."
msgstr ""
-"Dermed ble \"kopi-rett,\" når de vises som et monopol høyre, naturligvis "
-"sett på som en rettighet som bør være begrenset. (men overbevisende "
-"påstanden om at \"det er min eiendom, og jeg skulle ha det evig,\" prøve lød "
-"overbevisende når ytre, \"det er min monopol, og jeg skulle ha det evig.\") "
-"staten ville beskytte eneretten, men bare så lenge det dratt av samfunnet. "
-"britene så skadene fra specialinterest favoriserer; de har vedtatt en lov "
-"for å stoppe dem."
+"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><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Philip Wittenberg, The Protection and Marketing of Literary Property (New "
+#| "York: J. Messner, Inc., 1937), 31."
msgid ""
+"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary "
+"Property</citetitle> (New York: J. Messner, Inc., 1937), 31."
+msgstr ""
"Philip Wittenberg, The Protection and Marketing of Literary Property (New "
"York: J. Messner, Inc., 1937), 31."
-msgstr ""
-"Philip wittenberg, beskyttelse og markedsføring av litterære egenskapen (new "
-"york: j. messner, inc., 1937), 31."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"who do not therefore labour in an honest profession to which learning is "
"indetted.\"<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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Many believed the power the booksellers exercised over the spread of "
"knowledge was harming that spread, just at the time the Enlightenment was "
"idea that knowledge should be free was a hallmark of the time, and these "
"powerful commercial interests were interfering with that idea."
msgstr ""
-"mange trodde makt bokhandlerne utøves over spredning av kunnskap var skade "
-"som spres, bare på tidspunktet opplysning var lærer betydningen av utdanning "
-"og kunnskap spre generelt. ideen at kunnskap bør være gratis var et "
-"kjennetegn på tiden, og disse kraftige kommersielle interesser var "
-"forstyrrer at ideen."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"To balance this power, Parliament decided to increase competition among "
"booksellers, and the simplest way to do that was to spread the wealth of "
"competition among publishers, and thus the construction and spread of "
"culture."
msgstr ""
-"for å balansere denne kraften, Riksdag besluttet å øke konkurransen blant "
-"bokhandlere, og den enkleste måten å gjøre det var å spre rikdom av "
-"verdifulle bøker. parlamentet derfor begrenset begrepet av opphavsretten, og "
-"garantert dermed at verdifulle bøker skulle bli åpen for noen utgiver å "
-"publisere etter en begrenset tid. innstillingen av begrepet for eksisterende "
-"arbeider til bare tjueen år ble dermed et kompromiss å kjempe kraften i "
-"bokhandlerne. begrensning av vilkårene var en indirekte måte å forsikre "
-"konkurranse mellom utgivere, og dermed konstruksjon og spredning av kultur."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"When 1731 (1710 + 21) came along, however, the booksellers were getting "
"anxious. They saw the consequences of more competition, and like every "
"extend their terms. Twenty-one years was not enough, they said; they needed "
"more time."
msgstr ""
-"Når 1731 (1710-21) kom, men får bokhandlerne engstelig. de så konsekvensene "
-"av mer konkurranse, og som hver konkurrent, de liker ikke dem. på første "
-"bokhandlere ganske enkelt ignorert Vedtektene for anne, fortsetter å "
-"insistere på evigvarende rett til å kontrollere publikasjonen. men i 1735 og "
-"1737, de prøvde å overbevise parlamentet til å utvide sine vilkår. tjueen år "
-"var ikke nok, de sa; de trengte mer tid."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Parliament rejected their requests. As one pamphleteer put it, in words that "
"echo today,"
msgstr ""
-"parlamentet avviste forespørsler. som en pamphleteer sa, i ord som echo i "
-"dag,"
+"Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennå "
+"idag,"
#. f5
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "A Letter to a Member of Parliament concerning the Bill now depending in "
+#| "the House of Commons, for making more effectual an Act in the Eighth Year "
+#| "of the Reign of Queen Anne, entitled, An Act for the Encouragement of "
+#| "Learning, by Vesting the Copies of Printed Books in the Authors or "
+#| "Purchasers of such Copies, during the Times therein mentioned (London, "
+#| "1735), in Brief Amici Curiae of Tyler T. Ochoa et al., 8, Eldred v. "
+#| "Ashcroft, 537 U.S. 186 (2003) (No. 01-618)."
msgid ""
"A Letter to a Member of Parliament concerning the Bill now depending in the "
"House of Commons, for making more effectual an Act in the Eighth Year of the "
"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by "
"Vesting the Copies of Printed Books in the Authors or Purchasers of such "
"Copies, during the Times therein mentioned (London, 1735), in Brief Amici "
+"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. "
+"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)."
+msgstr ""
+"A Letter to a Member of Parliament concerning the Bill now depending in the "
+"House of Commons, for making more effectual an Act in the Eighth Year of the "
+"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by "
+"Vesting the Copies of Printed Books in the Authors or Purchasers of such "
+"Copies, during the Times therein mentioned (London, 1735), in Brief Amici "
"Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) "
"(No. 01-618)."
-msgstr ""
-"et brev til medlem av parlamentet om bill nå avhengig i house of commons, "
-"for å gjøre mer vid en handling i den åttende år av regimet til dronning "
-"anne, rett, en handling for oppmuntring av læring, ved å samle kopier av "
-"skrives ut bøker i forfatterne eller kjøpere av slike Kopier, under tidene "
-"nevnt der (london1735), kort gikk curiae av tyler t. ochoa et al., 8, eldred "
-"v. ashcroft, 537 amerikanske 186 (2003) (nr 01-618)."
#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Having failed in Parliament, the publishers turned to the courts in a series "
"of cases. Their argument was simple and direct: The Statute of Anne gave "
"its Statute of Anne copyright had expired. This, they argued, was the only "
"way to protect authors."
msgstr ""
-"å ha mislyktes i parlamentet, slått utgivere til domstolene i en rekke "
-"tilfeller. deres argument var enkel og direkte: Vedtektene for anne ga "
-"forfattere visse beskyttelse gjennom positiv loven, men disse beskyttelse "
-"var ikke ment som erstatning for felles lov. i stedet, de var ment å "
-"supplere felles lov. under sedvanerett var det allerede galt å ta en annen "
-"persons kreative \"property\" og bruke den uten hans tillatelse. Vedtektene "
-"for anne, bokhandlere hevdet, endre ikke det. derfor bare fordi beskyttelse "
-"av Vedtektene for anne utløpt, det betyr ikke at beskyttelse av felles lov "
-"utløpt: under felles lov de hadde rett til å forby utgivelsen av en bok, "
-"selv om sine Vedtektene for anne copyright hadde gått ut. Dette, de hevdet, "
-"var den eneste måten å beskytte forfattere."
+"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."
-#. f6
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt "
-"Law Review 40 (1987): 28. For a wonderfully compelling account, see "
-"Vaidhyanathan, 37–48."
+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt "
+#| "Law Review 40 (1987): 28. For a wonderfully compelling account, see "
+#| "Vaidhyanathan, 37–48. <placeholder type=\"indexterm\" id=\"0\"/>"
+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\"/>"
msgstr ""
-"Lyman rokke patterson, \"ytringsfriheten, opphavsrett, og rettferdig bruk\" "
-"vanderbilt lov gå gjennom 40 (1987): 28. for en fantastisk overbevisende-"
-"konto, kan du se vaidhyanathan, 3748."
+"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt "
+"Law Review 40 (1987): 28. For en fantastisk overbevisende fortelling, se "
+"Vaidhyanathan, 37–48. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"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><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "For a compelling account, see David Saunders, Authorship and Copyright "
+#| "(London: Routledge, 1992), 62–69."
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, Authorship and Copyright "
"(London: Routledge, 1992), 62–69."
-msgstr ""
-"Hvis en overbevisende-konto, kan du se david saunders, forfatterskap og "
-"opphavsrett (london: routledge, 1992), 6269."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"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\"/>"
#. f8
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Mark Rose, Authors and Owners (Cambridge: Harvard University Press, "
+#| "1993), 92."
msgid ""
-"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), "
-"92."
+"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard "
+"University Press, 1993), 92."
msgstr ""
-"merke rose, forfattere og eiere (cambridge: harvard university press, 1993), "
+"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), "
"92."
#. f9
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
msgid "Ibid., 93."
-msgstr "ibid., 93."
+msgstr "Ibid., 93."
#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
msgid "Erskine, Andrew"
"anthology of contemporary Scottish poems with Donaldson.\"<placeholder type="
"\"footnote\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>"
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\"/>"
#. f10
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting "
+#| "Borwell)."
msgid ""
+"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</"
+"citetitle>, 167 (quoting Borwell)."
+msgstr ""
"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting "
"Borwell)."
-msgstr ""
-"Lyman rokke patterson, copyright i historisk perspektiv, 167 (sitere "
-"borwell)."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "The London booksellers quickly brought suit to block \"piracy\" like "
+#| "Donaldson's. A number of actions were successful against the \"pirates,\" "
+#| "the most important early victory being Millar v. Taylor."
msgid ""
"The London booksellers quickly brought suit to block \"piracy\" like "
"Donaldson's. A number of actions were successful against the \"pirates,\" "
-"the most important early victory being Millar v. Taylor."
+"the most important early victory being <citetitle>Millar</citetitle> v. "
+"<citetitle>Taylor</citetitle>."
msgstr ""
-"london bokhandlerne brakt raskt dress å blokkere \"piratkopiering\" som "
-"donaldson's. en rekke handlinger var vellykket mot \"pirates,\" den "
-"viktigste tidlige seieren blir millar v. taylor."
+"Londons bokselgere begynte straks å slå ned mot \"pirater\" som Donaldson. "
+"Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen "
+"mellom Millar og Taylor."
#. f11
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
+#| "Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): "
+#| "1152."
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."
+msgstr ""
+"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): "
"1152."
-msgstr ""
-"Howard b. abrams, \"historiske grunnlaget for amerikansk lov om opphavsrett: "
-"eksploderende myten om sedvanerett opphavsrett,\" wayne lov gå gjennom 29 "
-"(1983): 1152."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Astonishingly to modern lawyers, one of the greatest judges in English "
"history, Lord Mansfield, agreed with the booksellers. Whatever protection "
"permission. That common law rule thus effectively gave the booksellers a "
"perpetual right to control the publication of any book assigned to them."
msgstr ""
-"astonishingly til moderne advokater avtalt en av de største dommerne i "
-"engelsk historie, Herren mansfield, med bokhandlerne. Uansett beskyttelse "
-"Vedtektene for anne ga bokhandlere, det ikke, han holdt, Slukk sedvanerett "
-"rett. spørsmålet var om felles lov ville beskytte forfatteren mot "
-"etterfølgende \"pirater.\" mansfield svaret var Ja: felles lov ville stolpe "
-"taylor fra ettertrykk thomson's diktet uten millar's tillatelse. som regel "
-"sedvanerett dermed ga effektivt bokhandlerne evigvarende rett til å "
-"kontrollere publiseringen av noen bok som er tilordnet."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"Considered as a matter of abstract justice—reasoning as if justice "
"were just a matter of logical deduction from first principles—"
"Britain would mature from the controlled culture that the Crown coveted to "
"the free culture that we inherited."
msgstr ""
-"regnet som et spørsmål om abstrakt rettferdighet—resonnement som om "
-"rettferdighet var bare et spørsmål om logiske fradrag fra første "
-"prinsipper—mansfield's konklusjon kan gjøre noen følelse. men hva den "
-"ignorert var større problemet parlamentet hadde slitt med i 1710: hvordan "
-"man best kan begrense monopol makt utgivere? parlamentets strategi var å "
-"tilby en frist for eksisterende verk som var lang nok til å kjøpe fred i "
-"1710, men kort nok til å sikre at kultur ville passere inn i konkurransen "
-"innen en rimelig tidsperiode. innen tjueen år, parlamentet trodd, "
-"Storbritannia ville modne fra den kontrollerte kulturen som kronen tatt til "
-"gratis kultur som vi har arvet."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"The fight to defend the limits of the Statute of Anne was not to end there, "
"however, and it is here that Donaldson enters the mix."
msgstr ""
-"kampen for å forsvare grensene for Vedtektene for anne var ikke å avslutte "
-"der, og det er her at donaldson går inn i mix."
+"Kampen for å forsvare \"Statute of Anne\"s begrensninger sluttet uansett "
+"ikke der, for nå kommer Donaldson."
#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Beckett, Thomas"
#. f12
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
msgid "Ibid., 1156."
-msgstr "ibid., 1156."
+msgstr "Ibid., 1156."
#. type: Content of: <book><chapter><sect1><para>
+#, fuzzy
+#| msgid ""
+#| "Millar died soon after his victory, so his case was not appealed. His "
+#| "estate sold Thomson's poems to a syndicate of printers that included "
+#| "Thomas Beckett.<placeholder type=\"footnote\" id=\"0\"/> Donaldson then "
+#| "released an unauthorized edition of Thomson's works. Beckett, on the "
+#| "strength of the decision in Millar, got an injunction against Donaldson. "
+#| "Donaldson appealed the case to the House of Lords, which functioned much "
+#| "like our own Supreme Court. In February of 1774, that body had the chance "
+#| "to interpret the meaning of Parliament's limits from sixty years before."
msgid ""
"Millar died soon after his victory, so his case was not appealed. His estate "
"sold Thomson's poems to a syndicate of printers that included Thomas Beckett."
"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an "
"unauthorized edition of Thomson's works. Beckett, on the strength of the "
-"decision in Millar, got an injunction against Donaldson. Donaldson appealed "
-"the case to the House of Lords, which functioned much like our own Supreme "
-"Court. In February of 1774, that body had the chance to interpret the "
-"meaning of Parliament's limits from sixty years before."
+"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 Millar-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><chapter><sect1><para>
-#, mtrans, fuzzy
-msgid ""
-"As few legal cases ever do, Donaldson v. Beckett drew an enormous amount of "
-"attention throughout Britain. Donaldson's lawyers argued that whatever "
-"rights may have existed under the common law, the Statute of Anne terminated "
-"those rights. After passage of the Statute of Anne, the only legal "
-"protection for an exclusive right to control publication came from that "
-"statute. Thus, they argued, after the term specified in the Statute of Anne "
-"expired, works that had been protected by the statute were no longer "
-"protected."
-msgstr ""
-"som noen juridiske tilfeller noensinne gjør, trakk donaldson v. beckett en "
-"enorm mengde oppmerksomhet i hele Storbritannia. donaldson's advokater "
-"hevdet at uansett rettigheter kan ha vært der under felles lov, Vedtektene "
-"for anne avsluttet disse rettighetene. etter passering av Vedtektene for "
-"anne kom bare juridiske beskyttelse for en eksklusiv rett til å kontrollere "
-"publikasjonen fra at vedtekt. Således, de hevdet, etter at begrepet angitt i "
-"Vedtektene for anne utløpt, fungerer som hadde vært beskyttet av Vedtektene "
-"var ikke lenger beskyttet."
+#, fuzzy
+#| msgid ""
+#| "As few legal cases ever do, Donaldson v. Beckett drew an enormous amount "
+#| "of attention throughout Britain. Donaldson's lawyers argued that whatever "
+#| "rights may have existed under the common law, the Statute of Anne "
+#| "terminated those rights. After passage of the Statute of Anne, the only "
+#| "legal protection for an exclusive right to control publication came from "
+#| "that statute. Thus, they argued, after the term specified in the Statute "
+#| "of Anne expired, works that had been protected by the statute were no "
+#| "longer protected."
+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 Donaldson mot Beckett 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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"The House of Lords was an odd institution. Legal questions were presented to "
"the House and voted upon first by the \"law lords,\" members of special "
"legal distinction who functioned much like the Justices in our Supreme "
"Court. Then, after the law lords voted, the House of Lords generally voted."
msgstr ""
-"house of lords var en merkelig institusjon. juridiske spørsmål ble "
-"presentert for huset og kåret upon første av \"lov lords,\" medlemmer av "
-"spesielle rettslig skille mellom som fungerte mye som justiariusene i våre "
-"Høyesterett. deretter, etter at loven lords stemte, house of lords vanligvis "
-"stemte."
+"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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"The reports about the law lords' votes are mixed. On some counts, it looks "
"as if perpetual copyright prevailed. But there is no ambiguity about how the "
"time, after which the work protected by copyright passed into the public "
"domain."
msgstr ""
-"rapporter om loven lords' stemmer er blandet. på enkelte punkter, det ser ut "
-"som om evigvarende copyright prevailed. men det er ingen tvetydighet om "
-"hvordan house of lords stemte som helhet. med en to-til-en-flertall (22 til "
-"11) stemte de for å avvise ideen om evigvarende opphavsrettigheter. Hva en "
-"forståelse av sedvanerett, nå en copyright ble løst i en begrenset periode, "
-"hvoretter arbeidet beskyttet av opphavsrett sendes til public domain."
+"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><chapter><sect1><para><indexterm><primary>
msgid "Bacon, Francis"
msgstr "Shakespeare, William"
#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
-msgid ""
-"\"The public domain.\" Before the case of Donaldson v. Beckett, there was no "
-"clear idea of a public domain in England. Before 1774, there was a strong "
-"argument that common law copyrights were perpetual. After 1774, the public "
-"domain was born. For the first time in Anglo-American history, the legal "
-"control over creative works expired, and the greatest works in English "
-"history—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 ""
-"\"i public domain.\" før saken av donaldson v. beckett, det var ingen klar "
-"idé av et offentlig-domene i england. før 1774 var det en sterk argumentet "
-"at sedvanerett opphavsrett var evigvarende. etter 1774, ble public domain "
-"født. for første gang i anglo-amerikanske historikk, juridisk kontroll over "
-"kreative gjerninger utløpt, og den største verker i engelsk historie, "
-"inkludert de av shakespeare, bacon, milton, johnson og bunyan—var fri "
-"for juridiske selvbeherskelse."
+#, fuzzy
+#| msgid ""
+#| "\"The public domain.\" Before the case of Donaldson v. Beckett, there was "
+#| "no clear idea of a public domain in England. Before 1774, there was a "
+#| "strong argument that common law copyrights were perpetual. After 1774, "
+#| "the public domain was born. For the first time in Anglo-American history, "
+#| "the legal control over creative works expired, and the greatest works in "
+#| "English history—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 ""
+"\"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\"/>"
+msgstr ""
+"\"Å falle i det fri\". Før rettssaken Donaldson mot Beckett 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><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
msgid "Rose, 97."
msgstr "Rose, 97."
#. type: Content of: <book><chapter><sect1><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 Edinburgh Advertiser reported, \"No "
+#| "private cause has so much engrossed the attention of the public, and none "
+#| "has been tried before the House of Lords in the decision of which so many "
+#| "individuals were interested.\" \"Great rejoicing in Edinburgh upon "
+#| "victory over literary property: bonfires and illuminations.\"<placeholder "
+#| "type=\"footnote\" id=\"0\"/>"
msgid ""
"It is hard for us to imagine, but this decision by the House of Lords fueled "
"an extraordinarily popular and political reaction. In Scotland, where most "
"of the \"pirate publishers\" did their work, people celebrated the decision "
-"in the streets. As the Edinburgh Advertiser reported, \"No private cause has "
-"so much engrossed the attention of the public, and none has been tried "
-"before the House of Lords in the decision of which so many individuals were "
-"interested.\" \"Great rejoicing in Edinburgh upon victory over literary "
-"property: bonfires and illuminations.\"<placeholder type=\"footnote\" id="
-"\"0\"/>"
+"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\"/>"
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 "
+"Edinburgh Advertiser 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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "In London, however, at least among publishers, the reaction was equally "
+#| "strong in the opposite direction. The Morning Chronicle reported:"
msgid ""
"In London, however, at least among publishers, the reaction was equally "
-"strong in the opposite direction. The Morning Chronicle reported:"
+"strong in the opposite direction. The <citetitle>Morning Chronicle</"
+"citetitle> reported:"
msgstr ""
-"i london, men var minst blant utgivere, reaksjonen like sterke i motsatt "
-"retning. den morgen krøniken rapportert:"
+"I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i "
+"motsatt retning. Morning Chronicle skrev:"
#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"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><chapter><sect1><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "\"Ruined\" is a bit of an exaggeration. But it is not an exaggeration to "
+#| "say that the change was profound. The decision of the House of Lords "
+#| "meant that the booksellers could no longer control how culture in England "
+#| "would grow and develop. Culture in England was thereafter free. Not in "
+#| "the sense that copyrights would not be respected, for of course, for a "
+#| "limited time after a work was published, the bookseller had an exclusive "
+#| "right to control the publication of that book. And not in the sense that "
+#| "books could be stolen, for even after a copyright expired, you still had "
+#| "to buy the book from someone. But free in the sense that the culture and "
+#| "its growth would no longer be controlled by a small group of publishers. "
+#| "As every free market does, this free market of free culture would grow as "
+#| "the consumers and producers chose. English culture would develop as the "
+#| "many English readers chose to let it develop— chose in the books "
+#| "they bought and wrote; chose in the memes they repeated and endorsed. "
+#| "Chose in a competitive context, not a context in which the choices about "
+#| "what culture is available to people and how they get access to it are "
+#| "made by the few despite the wishes of the many."
msgid ""
"\"Ruined\" is a bit of an exaggeration. But it is not an exaggeration to say "
"that the change was profound. The decision of the House of Lords meant that "
"the booksellers could no longer control how culture in England would grow "
-"and develop. Culture in England was thereafter free. Not in the sense that "
-"copyrights would not be respected, for of course, for a limited time after a "
-"work was published, the bookseller had an exclusive right to control the "
-"publication of that book. And not in the sense that books could be stolen, "
-"for even after a copyright expired, you still had to buy the book from "
-"someone. But free in the sense that the culture and its growth would no "
-"longer be controlled by a small group of publishers. As every free market "
-"does, this free market of free culture would grow as the consumers and "
-"producers chose. English culture would develop as the many English readers "
-"chose to let it develop— chose in the books they bought and wrote; "
-"chose in the memes they repeated and endorsed. Chose in a competitive "
-"context, not a context in which the choices about what culture is available "
-"to people and how they get access to it are made by the few despite the "
-"wishes of the many."
-msgstr ""
-"\"ødela\" er litt av en overdrivelse. men det er ingen overdrivelse å si at "
-"endringen var dyp. vedtaket av house of lords betydde at bokhandlerne ikke "
-"lenger kan kontrollere hvordan kultur i england vil vokse og utvikle. kultur "
-"i england var etterpå gratis. for selvfølgelig, i en begrenset periode etter "
-"et arbeid ble utgitt, hadde den lokale Bokhandleren ikke i den forstand at "
-"opphavsretten ikke ville bli respektert, en eksklusiv rett til å kontrollere "
-"publiseringen av denne boken. og ikke i den forstand at bøker kan bli "
-"stjålet, for selv etter at opphavsretten utløpt, du fortsatt måtte kjøpe "
-"boka fra noen. men gratis i den forstand at kulturen og dens vekst, vil være "
-"styrt av en liten gruppe av utgivere ikke lenger. som hver fritt marked "
-"gjør, denne fritt marked for fri kultur ville vokse som forbrukere og "
-"produsenter valgte. engelsk kultur ville utvikle så mange engelsk lesere "
-"valgte å la det utvikle—valgte i bøker de kjøpte og skrev; valgte i "
-"memes de gjentas og godkjent. valgte i en konkurransedyktig sammenheng, ikke "
-"en sammenheng der valg om hva kultur er tilgjengelig for personer og hvordan "
-"de får tilgang til den er laget av få til tross for ønskene til mange."
+"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 fri. 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 i den 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 konkurrerende sammenheng, 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><chapter><sect1><para>
-#, mtrans, fuzzy
msgid ""
"At least, this was the rule in a world where the Parliament is antimonopoly, "
"resistant to the protectionist pleas of publishers. In a world where the "
"Parliament is more pliant, free culture would be less protected."
msgstr ""
-"Dette var minst, regelen i en verden der parlamentet er antimonopoly, "
-"motstandsdyktig mot protectionist pleas av utgivere. i en verden der "
-"parlamentet er mer pliant, ville fri kultur være mindre beskyttet."
+"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><chapter><sect1><title>
msgid "CHAPTER SEVEN: Recorders"
-msgstr "Kapittel sju: Opptakere"
+msgstr "Kapittel sju: Innspillerne"
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
"Ellers arbeidet på en dokumentar som jeg var involvert i. på en pause, han "
"fortalte meg en historie om frihet å opprette med film i Amerika i dag."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "San Francisco Opera"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"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."
+"make a perfect contrast to the art on the stage. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"i 1990, ellers arbeidet på en dokumentar om wagner's ring syklus. fokus var "
"stagehands ved san francisco opera. stagehands er et spesielt morsom og "
"During one of the performances, Else was shooting some stagehands playing "
"checkers. In one corner of the room was a television set. Playing on the "
"television set, while the stagehands played checkers and the opera company "
-"played Wagner, was The Simpsons. As Else judged it, this touch of cartoon "
-"helped capture the flavor of what was special about the scene."
+"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 av forestillinger, var ellers skyting noen stagehands spille "
"brikker. i et hjørne av rommet var en TV-apparatet. spille på TV-apparatet, "
#, mtrans, fuzzy
msgid ""
"Years later, when he finally got funding to complete the film, Else "
-"attempted to clear the rights for those few seconds of The Simpsons. For of "
-"course, those few seconds are copyrighted; and of course, to use copyrighted "
-"material you need the permission of the copyright owner, unless \"fair use\" "
-"or some other privilege applies."
+"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."
msgstr ""
"år senere, når han til slutt fikk finansiering for å fullføre filmen, ellers "
"forsøkte å tømme rettighetene for de noen sekunder av simpsons. for "
"eieren av opphavsretten, med mindre \"fair use\" eller noen andre "
"privilegium gjelder."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Gracie Films"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"Else called Simpsons creator Matt Groening's office to get permission. "
-"Groening approved the shot. The shot was a four-and-a-halfsecond image on a "
-"tiny television set in the corner of the room. How could it hurt? Groening "
-"was happy to have it in the film, but he told Else to contact Gracie Films, "
-"the company that produces the program."
+"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 ""
"annet kalt simpsons skaperen matt groening's kontor for å få tillatelse. "
"Groening godkjent skutt. skjøt var en fire og en halfsecond-bilde på en "
"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."
+"just confirming the permission with Fox. <placeholder type=\"indexterm\" id="
+"\"0\"/>"
msgstr ""
"Gracie films var bra med den, også, men de, som groening, ønsket å være "
"forsiktig. så de fortalte andre for å kontakte fox, gracie's morselskapet. "
"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 Simpsons which was in the "
-"corner of the shot.\""
+"point-five seconds of . . . entirely unsolicited <citetitle>Simpsons</"
+"citetitle> which was in the corner of the shot.\""
msgstr ""
"deretter, som ellers fortalte meg, \"to ting har skjedd. første vi "
"oppdaget... at matt groening ikke eier sin egen etablering— eller i "
msgid ""
"\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you "
"have your facts straight,\" she said. It would cost $10,000 to use the clip "
-"of The Simpsons in the corner of a shot in a documentary film about Wagner's "
-"Ring Cycle. And then, astonishingly, Herrera told Else, \"And if you quote "
-"me, I'll turn you over to our attorneys.\" As an assistant to Herrera told "
-"Else later on, \"They don't give a shit. They just want the money.\""
+"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.\""
msgstr ""
"\"jeg ønsket å sikre at jeg hadde min fakta rett,\" sa han til meg. \"Ja, du "
"har din fakta rett,\" sa hun. det ville koste $ 10 000 for å bruke klippet "
"siterer meg, vil jeg slå deg til våre advokater.\" som assistent for herrera "
"fortalte andre senere, \"de ikke gir faen. de vil bare penger.\""
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Day After Trinity, The"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"the television backstage at the San Francisco Opera. To reproduce this "
"reality was beyond the documentary filmmaker's budget. At the very last "
"minute before the film was to be released, Else digitally replaced the shot "
-"with a clip from another film that he had worked on, The Day After Trinity, "
-"from ten years before."
+"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 ""
"ellers har ikke penger til å kjøpe retten til å spille hva spilte på TV "
"backstage ved san francisco opera. Hvis du vil gjenskape denne virkeligheten "
#, mtrans, fuzzy
msgid ""
"There's no doubt that someone, whether Matt Groening or Fox, owns the "
-"copyright to The Simpsons. That copyright is their property. To use that "
-"copyrighted material thus sometimes requires the permission of the copyright "
-"owner. If the use that Else wanted to make of the Simpsons copyright were "
-"one of the uses restricted by the law, then he would need to get the "
-"permission of the copyright owner before he could use the work in that way. "
-"And in a free market, it is the owner of the copyright who gets to set the "
-"price for any use that the law says the owner gets to control."
+"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 om matt groening eller fox, eier opphavsretten "
"til simpsons. at opphavsretten er deres eiendom. for å bruke at "
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"For example, \"public performance\" is a use of The Simpsons that the "
-"copyright owner gets to control. If you take a selection of favorite "
-"episodes, rent a movie theater, and charge for tickets to come see \"My "
-"Favorite Simpsons,\" then you need to get permission from the copyright "
-"owner. And the copyright owner (rightly, in my view) can charge whatever she "
-"wants—$10 or $1,000,000. That's her right, as set by the law."
+"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."
msgstr ""
"\"offentlig fremføring\" er for eksempel en bruk av simpsons blir eieren av "
"opphavsretten til kontrollen. Hvis du tar et utvalg av favoritt episoder, "
msgid ""
"For an excellent argument that such use is \"fair use,\" but that lawyers "
"don't permit recognition that it is \"fair use,\" see Richard A. Posner with "
-"William F. Patry, \"Fair Use and Statutory Reform in the Wake of Eldred "
-"\" (draft on file with author), University of Chicago Law School, 5 August "
-"2003."
+"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."
msgstr ""
"Hvis et utmerket argument at slik bruk er \"rettferdig bruk\", men at "
"jurister ikke tillater anerkjennelse som det er \"rettferdig bruk,\" se "
msgid ""
"But when lawyers hear this story about Jon Else and Fox, their first thought "
"is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just "
-"4.5 seconds of an indirect shot of a Simpsons episode is clearly a fair use "
-"of The Simpsons—and fair use does not require the permission of anyone."
+"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 ""
#. PAGE BREAK 109
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
-"The Simpsons fiasco was for me a great lesson in the gulf between what "
-"lawyers find irrelevant in some abstract sense, and what is crushingly "
-"relevant in practice to those of us actually trying to make and broadcast "
-"documentaries. I never had any doubt that it was \"clearly fair use\" in an "
-"absolute legal sense. But I couldn't rely on the concept in any concrete "
-"way. Here's why:"
+"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:"
msgstr ""
"simpsons fiasco var for meg en fin leksjon i avgrunnen mellom hvilket "
"advokater finne irrelevant i noen abstrakt forstand, og hva er crushingly "
"dim visning av \"fair use\", og et krav om \"fair use\" kan slipe "
"søknadsprosessen til å stoppe."
-#. 2.
+#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para><indexterm><primary>
+msgid "Lucas, George"
+msgstr "Lucas, George"
+
#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"I probably never should have asked Matt Groening in the first place. But I "
"knew (at least from folklore) that Fox had a history of tracking down and "
-"stopping unlicensed Simpsons usage, just as George Lucas had a very high "
-"profile litigating Star Wars usage. So I decided to play by the book, "
-"thinking that we would be granted free or cheap license to four seconds of "
-"Simpsons. As a documentary producer working to exhaustion on a shoestring, "
-"the last thing I wanted was to risk legal trouble, even nuisance legal "
-"trouble, and even to defend a principle."
+"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 trolig aldri ha spurt matt groening i utgangspunktet. men jeg "
"visste (minst fra folklore) at fox hadde en historie for å spore ned og "
"forstyrrer bruke transformative eller ikke."
#. type: Content of: <book><chapter><sect1><title>
-#, mtrans, fuzzy
msgid "CHAPTER EIGHT: Transformers"
-msgstr "Kapittel åtte: transformatorer"
+msgstr "Kapittel åtte: Omformere"
#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Allen, Paul"
msgstr "Allen, Paul"
#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
-#, mtrans, fuzzy
msgid "Alben, Alex"
msgstr "Alben, Alex"
"gjøre ting med film som ellers ville være svært vanskelig. i 1993 lanserte "
"han et initiativ for å utvikle et produkt for å bygge retrospectives på "
"arbeidet til bestemt aktører. den første skuespilleren valgt var clint "
-"eastwood. ideen var å presentere alt arbeidet av eastwood, med klipp fra "
+"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><chapter><sect1><para>
"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, "
"\"Well, what will it take?\""
msgstr ""
-"Alben brakt ideen til michael slade, ceo i starwave. Slade som ble spurt, "
+"Alben brakt idéen til michael slade, ceo i starwave. Slade som ble spurt, "
"\"Vel, hva vil det ta?\""
#. type: Content of: <book><chapter><sect1><para><footnote><para><indexterm><primary>
"in the contracts for the actors, so there was no clear way to know just what "
"Starwave was to do."
msgstr ""
-"problemet var at verken alben eller slade hadde noen ide hva å fjerne disse "
+"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 "
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 \"Make my day\" clip from Dirty Harry. But you then need to "
-"get the guy on the ground who's wiggling under the gun and you need to get "
-"his permission. And then you have to decide what you are going to pay him."
+"going to use the \"Make my day\" 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—"
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"It was one year later—\"and even then we weren't sure whether we were "
-"totally in the clear.\""
+"It was one <emphasis>year</emphasis> later—\"and even then we weren't "
+"sure whether we were totally in the clear.\""
msgstr ""
"Det var ett år senere, \"og selv da vi var ikke sikker på om vi var helt i "
"klartekst.\""
#. f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
-"U.S. Department of Commerce Office of Acquisition Management, Seven Steps to "
-"Performance-Based Services Acquisition, available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #22</ulink>."
+"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><chapter><sect1><para>
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"Or at least, is this how the artist should be compensated? Would it make "
-"sense, I asked, for there to be some kind of statutory license that someone "
-"could pay and be free to make derivative use of clips like this? Did it "
-"really make sense that a follow-on creator would have to track down every "
-"artist, actor, director, musician, and get explicit permission from each? "
-"Wouldn't a lot more be created if the legal part of the creative process "
-"could be made to be more clean?"
+"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 "
"byrdene av en slags regulering. Sett på en republikanske lue for et "
"øyeblikk, og bli sint for litt. regjeringen definerer omfanget av disse "
"rettighetene, og omfanget definert bestemmer hvor mye det vil koste å "
-"forhandle dem. (Husk at ideen om at landet kjører til himmelen, og Tenk "
+"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 "
"fairbank, hadde produsert."
#. type: Content of: <book><chapter><sect1><para>
+#, fuzzy
+#| msgid ""
+#| "The video was a brilliant collage of film from every period in the "
+#| "twentieth century, all framed around the idea of a 60 Minutes episode. "
+#| "The execution was perfect, down to the sixty-minute stopwatch. The judges "
+#| "loved every minute of it."
msgid ""
"The video was a brilliant collage of film from every period in the twentieth "
-"century, all framed around the idea of a 60 Minutes episode. The execution "
-"was perfect, down to the sixty-minute stopwatch. The judges loved every "
-"minute of it."
+"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 ideen om en episode i TV-serien 60 "
+"tjuende århundret, rammet inn rundt idéen om en episode i TV-serien 60 "
"Minutes. Utførelsen var perfekt, ned til seksti minutter stoppeklokken. "
"Dommerne elsket enhver minutt av den."
"omtrent alle bildet du ønsker; i en annen andre, kan du ha det plantet i "
"presentasjonen."
-#. PAGE BREAK 117
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Camp Chaos"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"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."
+"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 "
#, mtrans, fuzzy
msgid ""
"In February 2003, DreamWorks studios announced an agreement with Mike Myers, "
-"the comic genius of Saturday Night Live and Austin Powers. According to the "
-"announcement, Myers and Dream-Works would work together to form a \"unique "
-"filmmaking pact.\" Under the agreement, DreamWorks \"will acquire the rights "
-"to existing motion picture hits and classics, write new storylines and—"
-"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.\""
+"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 \"unique filmmaking pact.\" Under the agreement, "
+"DreamWorks \"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.\""
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-"
#, mtrans, fuzzy
msgid ""
"This is the thing about the Internet that Orwell would have appreciated. In "
-"the dystopia described in 1984, old newspapers were constantly updated to "
-"assure that the current view of the world, approved of by the government, "
-"was not contradicted by previous news reports."
+"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 "
#, mtrans, fuzzy
msgid ""
"It is said that those who fail to remember history are doomed to repeat it. "
-"That's not quite correct. We all forget history. The key is whether we have "
-"a way to go back to rediscover what we forget. More directly, the key is "
-"whether an objective past can keep us honest. Libraries help do that, by "
-"collecting content and keeping it, for schoolchildren, for researchers, for "
-"grandma. A free society presumes this knowedge."
+"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 "
"that back and forth surreal experience of a politician interacting with a "
"fictional television character? If you were a graduate student wanting to "
"study that, and you wanted to get those original back and forth exchanges "
-"between the two, the 60 Minutes episode that came out after it . . . it "
-"would be almost impossible. . . . Those materials are almost "
-"unfindable. . . ."
+"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 "
#, mtrans, fuzzy
msgid ""
"Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the "
-"Library of Congress,\" Film Library Quarterly 13 nos. 2–3 (1980): 5; "
-"Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the "
-"United States ( Jefferson, N.C.: McFarland & Co., 1992), 36."
+"Library of Congress,\" <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 "
"on-line. alle kunne se hvordan nyhetsrapporter fra rundt om i verden dekkes "
"hendelsene den dagen."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Movie Archive"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"important part of our culture. Want to see a copy of the \"Duck and Cover\" "
"film that instructed children how to save themselves in the middle of "
"nuclear attack? Go to archive.org, and you can download the film in a few "
-"minutes—for free."
+"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 "
#, mtrans, fuzzy
msgid ""
"Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar "
-"Owner Starts a New Chapter by Adopting Business,\" Chicago Tribune, 5 "
-"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, "
-"only 2.2 percent were in print in 2002. R. Anthony Reese, \"The First Sale "
-"Doctrine in the Era of Digital Networks,\" Boston College Law Review 44 "
-"(2003): 593 n. 51."
+"Owner Starts a New Chapter by Adopting Business,\" <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, \"The First Sale Doctrine in the Era of Digital Networks,\" "
+"<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 "
msgid ""
"Kahle is not the only librarian. The Internet Archive is not the only "
"archive. But Kahle and the Internet Archive suggest what the future of "
-"libraries or archives could be. When the commercial life of creative "
-"property ends, I don't know. But it does. And whenever it does, Kahle and "
-"his archive hint at a world where this knowledge, and culture, remains "
-"perpetually available. Some will draw upon it to understand it; some to "
-"criticize it. Some will use it, as Walt Disney did, to re-create the past "
-"for the future. These technologies promise something that had become "
-"unimaginable for much of our past—a future for our past. The "
-"technology of digital arts could make the dream of the Library of Alexandria "
-"real again."
+"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 "
msgstr ""
"Teknologorganisasjon har dermed fjernet de økonomiske kostnadene med å bygge "
"et slikt arkiv. men fortsatt advokater kostnader. for så mye som vi kanskje "
-"liker å kalle disse \"archives\", så varmt som ideen om et \"bibliotek\" kan "
+"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."
msgid "Johnson, Lyndon"
msgstr "Johnson, Lyndon"
-#. type: Content of: <book><chapter><sect1><para>
-#, mtrans, fuzzy
-msgid ""
-"Jack Valenti has been the president of the Motion Picture Association of "
-"America since 1966. He first came to Washington, D.C., with Lyndon Johnson's "
-"administration—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\"/>"
+#. type: Content of: <book><chapter><sect1><para>
+#, mtrans, fuzzy
+msgid ""
+"Jack Valenti has been the president of the Motion Picture Association of "
+"America since 1966. He first came to Washington, D.C., with Lyndon Johnson's "
+"administration—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\"/>"
+msgstr ""
+"Jack valenti har vært president i motion picture association of america "
+"siden 1966. først kom han til washington, DC, med lyndon johnson's "
+"administrasjon—bokstavelig. det berømte bildet av johnson's swearing-"
+"in på air force en etter assassination av president kennedy har valenti i "
+"bakgrunnen. i hans nesten førti år kjører mpaa, har valenti etablert seg som "
+"kanskje mest iøynefallende og effektiv korridorpolitiker i washington."
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Disney, Inc."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Sony Pictures Entertainment"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "MGM"
+msgstr "MGM"
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Paramount Pictures"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Twentieth Century Fox"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Universal Pictures"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Warner Brothers"
msgstr ""
-"Jack valenti har vært president i motion picture association of america "
-"siden 1966. først kom han til washington, DC, med lyndon johnson's "
-"administrasjon—bokstavelig. det berømte bildet av johnson's swearing-"
-"in på air force en etter assassination av president kennedy har valenti i "
-"bakgrunnen. i hans nesten førti år kjører mpaa, har valenti etablert seg som "
-"kanskje mest iøynefallende og effektiv korridorpolitiker i washington."
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
"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."
+"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 "
"No matter the lengthy arguments made, no matter the charges and the counter-"
"charges, no matter the tumult and the shouting, reasonable men and women "
"will keep returning to the fundamental issue, the central theme which "
-"animates this entire debate: Creative property owners must be accorded the "
-"same rights and protection resident in all other property owners in the "
-"nation. That is the issue. That is the question. And that is the rostrum on "
-"which this entire hearing and the debates to follow must rest.<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"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
"This claim has an obvious and powerful intuitive pull. It is stated with "
"such clarity as to make the idea as obvious as the notion that we use "
"elections to pick presidents. But in fact, there is no more extreme a claim "
-"made by anyone who is serious in this debate than this claim of Valenti's. "
-"Jack Valenti, however sweet and however brilliant, is perhaps the nation's "
-"foremost extremist when it comes to the nature and scope of \"creative "
-"property.\" His views have no reasonable connection to our actual legal "
-"tradition, even if the subtle pull of his Texan charm has slowly redefined "
-"that tradition, at least in Washington."
+"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 \"creative property.\" 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 ideen tydelig som oppfatningen at vi bruker "
+"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 "
"\"property right\" to my car gives me the right to exclusive use, but not "
"the right to drive at 150 miles an hour. For the best effort to connect the "
"ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, "
-"Private Property and the Constitution (New Haven: Yale University Press, "
-"1977), 26–27."
+"<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 "
"house, or acquires a slice of land from your farm—it is required, "
"under the Fifth Amendment's \"Takings Clause,\" to pay you \"just "
"compensation\" for that taking. The Constitution thus guarantees that "
-"property is, in a certain sense, sacred. It cannot ever be taken from the "
-"property owner unless the government pays for the privilege."
+"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 "
msgid ""
"Yet the very same Constitution speaks very differently about what Valenti "
"calls \"creative property.\" In the clause granting Congress the power to "
-"create \"creative property,\" the Constitution requires that after a "
-"\"limited time,\" Congress take back the rights that it has granted and set "
-"the \"creative property\" free to the public domain. Yet when Congress does "
-"this, when the expiration of a copyright term \"takes\" your copyright and "
-"turns it over to the public domain, Congress does not have any obligation to "
-"pay \"just compensation\" for this \"taking.\" Instead, the same "
-"Constitution that requires compensation for your land requires that you lose "
-"your \"creative property\" right without any compensation at all."
+"create \"creative property,\" the Constitution <emphasis>requires</emphasis> "
+"that after a \"limited time,\" Congress take back the rights that it has "
+"granted and set the \"creative property\" free to the public domain. Yet "
+"when Congress does this, when the expiration of a copyright term \"takes\" "
+"your copyright and turns it over to the public domain, Congress does not "
+"have any obligation to pay \"just compensation\" for this \"taking.\" "
+"Instead, the same Constitution that requires compensation for your land "
+"requires that you lose your \"creative property\" right without any "
+"compensation at all."
msgstr ""
"men svært samme grunnlov snakker veldig annerledes om hva valenti samtaler "
"\"kreative egenskapen.\" i setningsdelen gir Kongressen makt til å opprette "
#, mtrans, fuzzy
msgid ""
"Instead, my argument is that because Jefferson did it, we should at least "
-"try to understand why. Why did the framers, fanatical property types that "
-"they were, reject the claim that creative property be given the same rights "
-"as all other property? Why did they require that for creative property there "
-"must be a public domain?"
+"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 "
"these \"creative property\" rights, and the control that they enabled. Once "
"we see clearly how differently these rights have been defined, we will be in "
"a better position to ask the question that should be at the core of this "
-"war: Not whether creative property should be protected, but how. Not whether "
-"we will enforce the rights the law gives to creative-property owners, but "
-"what the particular mix of rights ought to be. Not whether artists should be "
-"paid, but whether institutions designed to assure that artists get paid need "
-"also control how culture develops."
+"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 "
msgid ""
"To answer these questions, we need a more general way to talk about how "
"property is protected. More precisely, we need a more general way than the "
-"narrow language of the law allows. In Code and Other Laws of Cyberspace, I "
-"used a simple model to capture this more general perspective. For any "
-"particular right or regulation, this model asks how four different "
-"modalities of regulation interact to support or weaken the right or "
-"regulation. I represented it with this diagram:"
+"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 "
msgid "<graphic fileref=\"images/1331.png\"></graphic>"
msgstr "<graphic fileref=\"images/1331.png\"></graphic>"
-#. PAGE BREAK 133
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"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."
+"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 "
"to suggest that the other three don't affect law. Obviously, they do. Law's "
"only distinction is that it alone speaks as if it has a right self-"
"consciously to change the other three. The right of the other three is more "
-"timidly expressed. See Lawrence Lessig, Code: And Other Laws of Cyberspace "
-"(New York: Basic Books, 1999): 90–95; Lawrence Lessig, \"The New "
-"Chicago School,\" Journal of Legal Studies, June 1998."
+"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of "
+"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence "
+"Lessig, \"The New Chicago School,\" <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 "
"of ordinary life. I don't mean to deny the value in this narrower view, "
"which depends upon the context of the inquiry. I do, however, mean to argue "
"against any insistence that this narrower view is the only proper view of "
-"liberty. As I argued in Code, we come from a long tradition of political "
-"thought with a broader focus than the narrow question of what the government "
-"did when. John Stuart Mill defended freedom of speech, for example, from "
-"the tyranny of narrow minds, not from the fear of government prosecution; "
-"John Stuart Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. "
-"John R. Commons famously defended the economic freedom of labor from "
-"constraints imposed by the market; John R. Commons, \"The Right to Work,\" "
-"in Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected "
-"Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act "
-"increases the liberty of people with physical disabilities by changing the "
-"architecture of certain public places, thereby making access to those places "
-"easier; 42 United States Code, section 12101 (2000). Each of these "
-"interventions to change existing conditions changes the liberty of a "
-"particular group. The effect of those interventions should be accounted for "
-"in order to understand the effective liberty that each of these groups might "
-"face. <placeholder type=\"indexterm\" id=\"0\"/>"
+"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, \"The Right to Work,\" 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\"/>"
msgstr ""
"noen mennesker objektet til denne måten av snakker om \"frihet.\" de "
"objektet fordi deres fokus når de vurderer begrensninger som finnes på et "
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Why Hollywood Is Right"
-msgstr "Hvorfor hollywood er rett"
+msgstr "Hvorfor Hollywood har rett"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government "
"should ban digital cameras just to support Kodak? Highways have weakened the "
"freight business for railroads. Does anyone think we should ban trucks from "
-"roads for the purpose of protecting the railroads? Closer to the subject of "
-"this book, remote channel changers have weakened the \"stickiness\" of "
-"television advertising (if a boring commercial comes on the TV, the remote "
-"makes it easy to surf ), and it may well be that this change has weakened "
-"the television advertising market. But does anyone believe we should "
-"regulate remotes to reinforce commercial television? (Maybe by limiting them "
-"to function only once a second, or to switch to only ten channels within an "
-"hour?)"
+"roads <emphasis>for the purpose of</emphasis> protecting the railroads? "
+"Closer to the subject of this book, remote channel changers have weakened "
+"the \"stickiness\" of television advertising (if a boring commercial comes "
+"on the TV, the remote makes it easy to surf ), and it may well be that this "
+"change has weakened the television advertising market. But does anyone "
+"believe we should regulate remotes to reinforce commercial television? "
+"(Maybe by limiting them to function only once a second, or to switch to only "
+"ten channels within an hour?)"
msgstr ""
#. f6
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
-msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71."
-msgstr "fred warshofsky, patent krigene (new york: wiley, 1994), 17071."
+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><chapter><sect1><sect2><para>
msgid ""
"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."
+"concentrated stagnation. It is the Soviet Union under Brezhnev. "
+"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"av endringene innhold industrien ønsker."
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid "Here's the metaphor that will capture the argument to follow."
-msgstr "Her er til metaforen vil fange opp argumentet å følge."
+msgstr "Her kommer metaforen som vil forklare argumentet."
+
+#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
+msgid "DDT"
+msgstr "DDT"
+
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Müller, Paul Hermann"
+msgstr "Müller, Paul Hermann"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"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."
+"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 "
"som er en god ting. ingen tvil at arbeidet med müller var viktig og "
"verdifull og sannsynligvis lagret liv, kanskje millioner."
-#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
+#. type: Content of: <book><chapter><sect1><sect2><
para><indexterm><primary>
msgid "Carson, Rachel"
msgstr "Carson, Rachel"
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Silent Sprint (Carson)"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"But in 1962, Rachel Carson published Silent Spring, which argued that DDT, "
-"whatever its primary benefits, was also having unintended environmental "
-"consequences. Birds were losing the ability to reproduce. Whole chains of "
-"the ecology were being destroyed."
+"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. "
#. f7
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "See, for example, James Boyle, \"A Politics of Intellectual Property: "
+#| "Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."
msgid ""
"See, for example, James Boyle, \"A Politics of Intellectual Property: "
-"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."
+"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 "
+"(1997): 87."
msgstr ""
-"Se for eksempel james boyle, \"en politikk av åndsverk: environmentalism for "
-"nettet?\" duke law journal 47 (1997): 87."
+"Se, for eksempel, James Boyle, \"A Politics of Intellectual Property: "
+"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."
#. PAGE BREAK 141
#. type: Content of: <book><chapter><sect1><sect2><para>
"fri kultur som vil være langt mer ødeleggende enn denne mygg, vil gå tapt."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Beginnings"
-msgstr "begynnelse"
+msgstr "Opphav"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"to their respective Writings and Discoveries. We can call this the "
"\"Progress Clause,\" for notice what this clause does not say. It does not "
"say Congress has the power to grant \"creative property rights.\" It says "
-"that Congress has the power to promote progress. The grant of power is its "
-"purpose, and its purpose is a public one, not the purpose of enriching "
-"publishers, nor even primarily the purpose of rewarding authors."
+"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 "
"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 structure built checks and balances "
-"into the constitutional frame, structured to prevent otherwise inevitable "
-"concentrations of power."
+"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 "
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"William W. Crosskey, Politics and the Constitution in the History of the "
-"United States (London: Cambridge University Press, 1953), vol. 1, "
-"485–86: \"extinguish[ing], by plain implication of `the supreme Law of "
-"the Land,' the perpetual rights which authors had, or were supposed by some "
-"to have, under the Common Law\" (emphasis added). <placeholder type="
-"\"indexterm\" id=\"0\"/>"
+"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: \"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>"
+"\" (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 "
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Although 13,000 titles were published in the United States from 1790 to "
-"1799, only 556 copyright registrations were filed; John Tebbel, A History of "
-"Book Publishing in the United States, vol. 1, The Creation of an Industry, "
-"1630–1865 (New York: Bowker, 1972), 141. Of the 21,000 imprints "
-"recorded before 1790, only twelve were copyrighted under the 1790 act; "
-"William J. Maher, Copyright Term, Retrospective Extension and the Copyright "
-"Law of 1790 in Historical Context, 7–10 (2002), available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the "
+"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 "
"Few copyright holders ever chose to renew their copyrights. For instance, of "
"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For "
"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, "
-"\"Study No. 31: Renewal of Copyright,\" Studies on Copyright, vol. 1 (New "
-"York: Practicing Law Institute, 1963), 618. For a more recent and "
-"comprehensive analysis, see William M. Landes and Richard A. Posner, "
-"\"Indefinitely Renewable Copyright,\" University of Chicago Law Review 70 "
-"(2003): 471, 498–501, and accompanying figures."
+"\"Study No. 31: Renewal of Copyright,\" <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, \"Indefinitely Renewable Copyright,\" <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 "
#. f11
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
msgid "See Ringer, ch. 9, n. 2."
-msgstr "se ringer, ch. 9, n. 2."
+msgstr "Se Ringer, kap. 9, n. 2."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"actual commercial life of just a couple of years. Most books fall out of "
"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that "
"happens, the used books are traded free of copyright regulation. Thus the "
-"books are no longer effectively controlled by copyright. The only practical "
-"commercial use of the books at that time is to sell the books as used books; "
-"that use—because it does not involve publication—is effectively "
-"free."
+"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><chapter><sect1><sect2><para>
"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 "
-"copyright. And for most of the history of American copyright law, there was "
-"a requirement that works be deposited with the government before a copyright "
-"could be secured."
+"<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 "
#, mtrans, fuzzy
msgid ""
"See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of "
-"American Literature,\" 29 New York University Journal of International Law "
-"and Politics 255 (1997), and James Gilraeth, ed., Federal Copyright Records, "
-"1790–1800 (U.S. G.P.O., 1987)."
+"American Literature,\" 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 "
msgid ""
"Today the story is very different: If you write a book, your book is "
"automatically protected. Indeed, not just your book. Every e-mail, every "
-"note to your spouse, every doodle, every creative act that's reduced to a "
-"tangible form—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."
+"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 "
"spøk av opphavsretten, slik loven ble riktig utvidet til å omfatte disse små "
"endringer, så vel som ordrett opprinnelige arbeidet."
-#. f14
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August "
+#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #26</"
+#| "ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #26</ulink>."
+"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\"/>"
msgstr ""
+"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, juli/august 2003, "
+"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #26</"
+"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"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 that 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."
+"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 ""
#. f15
"the difference that copyright law should draw (from the perspective of the "
"First Amendment) between mere \"copies\" and derivative works. See Jed "
"Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" "
-"Yale Law Journal 112 (2002): 1–60 (see especially pp. 53–59)."
+"<citetitle>Yale Law Journal</citetitle> 112 (2002): 1–60 (see "
+"especially pp. 53–59)."
msgstr ""
"professor rubenfeld har presentert en kraftig konstitusjonelle argument om "
"forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den "
"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Law and Architecture: Reach"
-msgstr "lov og arkitektur: nå"
+msgstr "Lov og arkitektur: Rekkevidde"
#. f16
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
"This is a simplification of the law, but not much of one. The law certainly "
"regulates more than \"copies\"—a public performance of a copyrighted "
"song, for example, is regulated even though performance per se doesn't make "
-"a copy; 17 United States Code, section 106(4). And it certainly sometimes "
-"doesn't regulate a \"copy\"; 17 United States Code, section 112(a). But the "
-"presumption under the existing law (which regulates \"copies;\" 17 United "
-"States Code, section 102) is that if there is a copy, there is a right."
+"a copy; 17 <citetitle>United States Code</citetitle>, section 106(4). And it "
+"certainly sometimes doesn't regulate a \"copy\"; 17 <citetitle>United States "
+"Code</citetitle>, section 112(a). But the presumption under the existing law "
+"(which regulates \"copies;\" 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 "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"\"Copies.\" That certainly sounds like the obvious thing for copyright law "
-"to regulate. But as with Jack Valenti's argument at the start of this "
-"chapter, that \"creative property\" deserves the \"same rights\" as all "
-"other property, it is the obvious that we need to be most careful about. For "
-"while it may be obvious that in the world before the Internet, copies were "
-"the obvious trigger for copyright law, upon reflection, it should be obvious "
-"that in the world with the Internet, copies should not be the trigger for "
-"copyright law. More precisely, they should not always be the trigger for "
+"\"Copies.\" 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 \"creative property\" deserves the \"same rights"
+"\" 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 "
#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "All potential uses of a book."
-msgstr ""
+msgstr "Alle potensielle bruk av en bok."
#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1521.png\"></graphic>"
#, mtrans, fuzzy
msgid ""
"Think about a book in real space, and imagine this circle to represent all "
-"its potential uses. Most of these uses are unregulated by copyright law, "
-"because the uses don't create a copy. If you read a book, that act is not "
-"regulated by copyright law. If you give someone the book, that act is not "
-"regulated by copyright law. If you resell a book, that act is not regulated "
-"(copyright law expressly states that after the first sale of a book, the "
-"copyright owner can impose no further conditions on the disposition of the "
-"book). If you sleep on the book or use it to hold up a lamp or let your "
-"puppy chew it up, those acts are not regulated by copyright law, because "
-"those acts do not make a copy."
+"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 "
#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "Examples of unregulated uses of a book."
-msgstr ""
+msgstr "Eksempler på uregulert bruk av en bok."
#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1531.png\"></graphic>"
msgid ""
"So let's be very specific to make this general point clear. Before the "
"Internet, if you purchased a book and read it ten times, there would be no "
-"plausible copyright-related argument that the copyright owner could make to "
-"control that use of her book. Copyright law would have nothing to say about "
-"whether you read the book once, ten times, or every night before you went to "
-"bed. None of those instances of use—reading— could be regulated "
-"by copyright law because none of those uses produced a copy."
+"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 "
msgid ""
"But the same book as an e-book is effectively governed by a different set of "
"rules. Now if the copyright owner says you may read the book only once or "
-"only once a month, then copyright law would aid the copyright owner in "
-"exercising this degree of control, because of the accidental feature of "
-"copyright law that triggers its application upon there being a copy. Now if "
-"you read the book ten times and the license says you may read it only five "
-"times, then whenever you read the book (or any portion of it) beyond the "
-"fifth time, you are making a copy of the book contrary to the copyright "
-"owner's wish."
+"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 "
"Først gjør Kategori 1 forsvinne er ikke noe alle politikk-maker noensinne "
"ment. Kongressen ikke tenke gjennom sammenbruddet av presumptively "
"unregulated bruk av opphavsrettslig beskyttet verk. Det er ingen bevis på "
-"alle at beslutningstakere hadde denne ideen i tankene når de tillater vår "
+"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."
msgid ""
"Second, this shift is especially troubling in the context of transformative "
"uses of creative content. Again, we can all understand the wrong in "
-"commercial piracy. But the law now purports to regulate any transformation "
-"you make of creative work using a machine. \"Copy and paste\" and \"cut and "
-"paste\" become crimes. Tinkering with a story and releasing it to others "
-"exposes the tinkerer to at least a requirement of justification. However "
-"troubling the expansion with respect to copying a particular work, it is "
-"extraordinarily troubling with respect to transformative uses of creative "
-"work."
+"commercial piracy. But the law now purports to regulate <emphasis>any</"
+"emphasis> transformation you make of creative work using a machine. \"Copy "
+"and paste\" and \"cut and paste\" become crimes. Tinkering with a story and "
+"releasing it to others exposes the tinkerer to at least a requirement of "
+"justification. However troubling the expansion with respect to copying a "
+"particular work, it is extraordinarily troubling with respect to "
+"transformative uses of creative work."
msgstr ""
"andre, dette skiftet er spesielt troubling i sammenheng med transformative "
"bruk av kreative innholdet. igjen, kan vi alle forstå feil i kommersielle "
"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 unregulated. But when everything becomes "
-"presumptively regulated, then the protections of fair use are not enough."
+"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 "
"be able to sample a bit from the movie on-line before you bought it."
msgstr ""
"selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte å "
-"tenke på Internett som en måte å distribuere disse forhåndsvisninger. ideen "
+"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 "
"er en oppskrift på katastrofe i enkelte sammenhenger."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Architecture and Law: Force"
-msgstr "arkitektur og lov: tvinge"
+msgstr "Arkitektur og lov: Makt"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
#. f19
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
+#| "Problems 44 (1981): 172–73."
msgid ""
-"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
-"Problems 44 (1981): 172–73."
+"See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and "
+"Contemporary Problems</citetitle> 44 (1981): 172–73."
msgstr ""
"Se David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
"Problems 44 (1981): 172–73."
#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "There's a famous story about a battle between the Marx Brothers and "
+#| "Warner Brothers. The Marxes intended to make a parody of Casablanca. "
+#| "Warner Brothers objected. They wrote a nasty letter to the Marxes, "
+#| "warning them that there would be serious legal consequences if they went "
+#| "forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"There's a famous story about a battle between the Marx Brothers and Warner "
-"Brothers. The Marxes intended to make a parody of Casablanca. Warner "
-"Brothers objected. They wrote a nasty letter to the Marxes, warning them "
-"that there would be serious legal consequences if they went forward with "
-"their plan.<placeholder type=\"footnote\" id=\"0\"/>"
+"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 "
"brødrene og advarte dem om at det ville få seriøse juridiske konsekvenser "
"hvis de gikk videre med sin plan.<placeholder type=\"footnote\" id=\"0\"/>"
-#. f20
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-msgid "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1–3."
-msgstr "Ibid. Se også Vaidhyanathan, Copyrights and Copywrongs, 1–3."
+#, fuzzy
+#| msgid ""
+#| "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1–3. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
+msgid ""
+"Ibid. See also Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
+"citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>"
+msgstr ""
+"Ibid. Se også Vaidhyanathan, Copyrights and Copywrongs, 1–3. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><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 brothers, and if Warner Brothers insisted on trying to "
+#| "control Casablanca, then the Marx Brothers would insist on control over "
+#| "brothers."
msgid ""
"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
"that the Marx Brothers \"were brothers long before you were.\"<placeholder "
"type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word "
-"brothers, and if Warner Brothers insisted on trying to control Casablanca, "
-"then the Marx Brothers would insist on control over brothers."
+"<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\"."
msgid ""
"As you can see, I have a small collection of e-books within this e-book "
"library. Some of these books reproduce content that is in the public domain: "
-"Middlemarch, for example, is in the public domain. Some of them reproduce "
-"content that is not in the public domain: My own book The Future of Ideas is "
-"not yet within the public domain. Consider Middlemarch first. If you click "
-"on my e-book copy of Middlemarch, you'll see a fancy cover, and then a "
-"button at the bottom called Permissions."
+"<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 ideer er ennå ikke i public domain. "
+"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."
"of the computer ten text selections every ten days. (So far, I've copied no "
"text to the clipboard.) I also have the permission to print ten pages from "
"the book every ten days. Lastly, I have the permission to use the Read Aloud "
-"button to hear Middlemarch read aloud through the computer."
+"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 "
#, mtrans, fuzzy
msgid ""
"Here's the e-book for another work in the public domain (including the "
-"translation): Aristotle's Politics."
+"translation): Aristotle's <citetitle>Politics</citetitle>."
msgstr ""
"Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert "
"oversettelse): Aristoteles politikk."
#, mtrans, fuzzy
msgid ""
"Finally (and most embarrassingly), here are the permissions for the original "
-"e-book version of my last book, The Future of Ideas:"
+"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 ideer:"
+"opprinnelige e-bok-versjonen av boken min siste, fremtiden for idéer:"
#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "List of the permissions for "The Future of Ideas"."
"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 Middlemarch says I have the permission to copy "
-"only ten text selections into the memory every ten days, what that really "
-"means is that the eBook Reader has enabled the publisher to control how I "
-"use the book on my computer, far beyond the control that the law would "
-"enable."
+"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><chapter><sect1><sect2><para>
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"These are controls, not permissions. Imagine a world where the Marx Brothers "
-"sold word processing software that, when you tried to type \"Warner Brothers,"
-"\" erased \"Brothers\" from the sentence."
+"These are <emphasis>controls</emphasis>, not permissions. Imagine a world "
+"where the Marx Brothers sold word processing software that, when you tried "
+"to type \"Warner Brothers,\" erased \"Brothers\" from the sentence."
msgstr ""
"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx "
"brødrene solgte tekstbehandling programvare som, da du prøvde å skrive inn "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"This is the future of copyright law: not so much copyright law as copyright "
-"code. The controls over access to content will not be controls that are "
-"ratified by courts; the controls over access to content will be controls "
-"that are coded by programmers. And whereas the controls that are built into "
-"the law are always to be checked by a judge, the controls that are built "
-"into the technology have no similar built-in check."
+"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 "
msgid ""
"Early in the life of the Adobe eBook Reader, Adobe suffered a public "
"relations nightmare. Among the books that you could download for free on the "
-"Adobe site was a copy of Alice's Adventures in Wonderland. This wonderful "
-"book is in the public domain. Yet when you clicked on Permissions for that "
-"book, you got the following report:"
+"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</"
+"citetitle>. This wonderful book is in the public domain. Yet when you "
+"clicked on Permissions for that book, you got the following report:"
msgstr ""
"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 "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"If you're not a programmer or don't know many programmers, the word hack has "
-"a particularly unfriendly connotation. Nonprogrammers hack bushes or weeds. "
-"Nonprogrammers in horror movies do even worse. But to programmers, or "
-"coders, as I call them, hack is a much more positive term. Hack just means "
-"code that enables the program to do something it wasn't originally intended "
-"or enabled to do. If you buy a new printer for an old computer, you might "
-"find the old computer doesn't run, or \"drive,\" the printer. If you "
+"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 \"drive,\" the printer. If you "
"discovered that, you'd later be happy to discover a hack on the Net by "
"someone who has written a driver to enable the computer to drive the printer "
"you just bought."
"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it "
"be a crime (though we don't have a lot to go on here) to teach your robot "
"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines "
-"that the owner of aibopet.com thought, What possible problem could there be "
-"with teaching a robot dog to dance?"
+"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 "
#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
msgid "Electronic Frontier Foundation"
-msgstr "Stiftelsen Elektronisk forpost (EFF)"
+msgstr "Elektronisk forpost-stiftelsen (EFF)"
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" "
-"Science 293 (2001): 2028; Brendan I. Koerner, \"Play Dead: Sony Muzzles the "
-"Techies Who Teach a Robot Dog New Tricks,\" American Prospect, January 2002; "
-"\"Court Dismisses Computer Scientists' Challenge to DMCA,\" Intellectual "
-"Property Litigation Reporter, 11 December 2001; Bill Holland, \"Copyright "
-"Act Raising Free-Speech Concerns,\" Billboard, May 2001; Janelle Brown, \"Is "
-"the RIAA Running Scared?\" Salon.com, April 2001; Electronic Frontier "
-"Foundation, \"Frequently Asked Questions about Felten and USENIX v. RIAA "
+"<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, \"Play "
+"Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks,\" "
+"<citetitle>American Prospect</citetitle>, January 2002; \"Court Dismisses "
+"Computer Scientists' Challenge to DMCA,\" <citetitle>Intellectual Property "
+"Litigation Reporter</citetitle>, 11 December 2001; Bill Holland, \"Copyright "
+"Act Raising Free-Speech Concerns,\" <citetitle>Billboard</citetitle>, May "
+"2001; Janelle Brown, \"Is the RIAA Running Scared?\" Salon.com, April 2001; "
+"Electronic Frontier Foundation, \"Frequently Asked Questions about "
+"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> "
"Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"loven, men også fordi det er en virkelig god idé. en sterkt beskyttet "
"tradisjon av ytringsfriheten er sannsynlig å oppmuntre til et bredt spekter "
"av kritikk. at kritikk er sannsynlig, i sin tur til å forbedre systemer "
-"eller personer eller ideer kritisert."
+"eller personer eller idéer kritisert."
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"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 code to modify the original code of the Internet, to "
-"reestablish some protection for copyright owners."
+"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 "
#, mtrans, fuzzy
msgid ""
"The DMCA was a bit of law intended to back up the protection of this code "
-"designed to protect copyrighted material. It was, we could say, legal code "
-"intended to buttress software code which itself was intended to support the "
-"legal code of copyright."
+"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 "
"be banned because it was a copyright-infringing technology: It enabled "
"consumers to copy films without the permission of the copyright owner. No "
"doubt there were uses of the technology that were legal: Fred Rogers, aka "
-"\"Mr. Rogers,\" for example, had testified in that case that he wanted "
-"people to feel free to tape Mr. Rogers' Neighborhood."
+"\"<citetitle>Mr. Rogers</citetitle>,\" for example, had testified in that "
+"case that he wanted people to feel free to tape Mr. Rogers' Neighborhood."
msgstr ""
"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av "
"paul conrad. på den tiden, en domstol i california hadde holdt at "
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, "
-"455 fn. 27 (1984). Rogers never changed his view about the VCR. See James "
-"Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR "
+"<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."
msgstr ""
"Sony corporation of america v. universal city studios, inc., 464 amerikanske "
msgid ""
"The obvious point of Conrad's cartoon is the weirdness of a world where guns "
"are legal, despite the harm they can do, while VCRs (and circumvention "
-"technologies) are illegal. Flash: No one ever died from copyright "
-"circumvention. Yet the law bans circumvention technologies absolutely, "
-"despite the potential that they might do some good, but permits guns, "
-"despite the obvious and tragic harm they do."
+"technologies) are illegal. Flash: <emphasis>No one ever died from copyright "
+"circumvention</emphasis>. Yet the law bans circumvention technologies "
+"absolutely, despite the potential that they might do some good, but permits "
+"guns, despite the obvious and tragic harm they do."
msgstr ""
"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 "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"This is how code becomes law. The controls built into the technology of copy "
-"and access protection become rules the violation of which is also a "
-"violation of the law. In this way, the code extends the law—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."
+"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 "
#, mtrans, fuzzy
msgid ""
"For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, "
-"Copyright, Fan Fiction, and a New Common Law,\" Loyola of Los Angeles "
-"Entertainment Law Journal 17 (1997): 651."
+"Copyright, Fan Fiction, and a New Common Law,\" <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 "
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
-"For example, imagine you were part of a Star Trek fan club. You gathered "
-"every month to share trivia, and maybe to enact a kind of fan fiction about "
-"the show. One person would play Spock, another, Captain Kirk. The characters "
-"would begin with a plot from a real story, then simply continue it."
-"<placeholder type=\"footnote\" id=\"0\"/>"
+"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><chapter><sect1><sect2><para>
"skjer her."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Market: Concentration"
-msgstr "markedet: konsentrasjon"
+msgstr "Marked: Konsentrasjon"
#. PAGE BREAK 173
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" "
-"New York Times, 23 December 2002."
+"<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."
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 "
-"May 2003."
+"Molly Ivins, \"Media Consolidation Must Be Stopped,\" <citetitle>Charleston "
+"Gazette</citetitle>, 31 May 2003."
msgstr ""
"Molly ivins, \"media konsolidering må stoppes,\" charleston gazette, 31 kan "
"2003."
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "McCain, John"
+msgstr "McCain, John"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Changes in scope are the easier ones to describe. As Senator John McCain "
"BMG, Sony Music Entertainment, Warner Music Group, and EMI control 84.8 "
"percent of the U.S. music market.<placeholder type=\"footnote\" id=\"1\"/> "
"The \"five largest cable companies pipe programming to 74 percent of the "
-"cable subscribers nationwide.\"<placeholder type=\"footnote\" id=\"2\"/>"
+"cable subscribers nationwide.\"<placeholder type=\"footnote\" id=\"2\"/> "
+"<placeholder type=\"indexterm\" id=\"3\"/>"
msgstr ""
#. PAGE BREAK 174
msgid ""
"The story with radio is even more dramatic. Before deregulation, the "
"nation's largest radio broadcasting conglomerate owned fewer than seventy-"
-"five stations. Today one company owns more than 1,200 stations. During that "
-"period of consolidation, the total number of radio owners dropped by 34 "
-"percent. Today, in most markets, the two largest broadcasters control 74 "
-"percent of that market's revenues. Overall, just four companies control 90 "
-"percent of the nation's radio advertising revenues."
+"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 "
+"stations. During that period of consolidation, the total number of radio "
+"owners dropped by 34 percent. Today, in most markets, the two largest "
+"broadcasters control 74 percent of that market's revenues. Overall, just "
+"four companies control 90 percent of the nation's radio advertising revenues."
msgstr ""
"historien med radio er enda mer dramatisk. før dereguleringen, landets "
"største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag "
"artikkel om rupert murdoch,"
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): "
+#| "89. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): "
-"89. <placeholder type=\"indexterm\" id=\"0\"/>"
+"James Fallows, \"The Age of Murdoch,\" <citetitle>Atlantic Monthly</"
+"
citetitle> (September 2003): 89. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (september 2003): "
"89. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"In 1969, Norman Lear created a pilot for All in the Family. He took the "
-"pilot to ABC. The network didn't like it. It was too edgy, they told Lear. "
-"Make it again. Lear made a second pilot, more edgy than the first. ABC was "
-"exasperated. You're missing the point, they told Lear. We wanted less edgy, "
-"not more."
+"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</"
+"citetitle>. He took the pilot to ABC. The network didn't like it. It was too "
+"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy "
+"than the first. ABC was exasperated. You're missing the point, they told "
+"Lear. We wanted less edgy, not more."
msgstr ""
"i 1969, norman lear opprettet en pilot for alle i familien. Han tok piloten "
"til abc. nettverket liker ikke det. Det var også irritabel, fortalte de "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"Today, another Norman Lear with another All in the Family would find that he "
-"had the choice either to make the show less edgy or to be fired: The content "
-"of any show developed for a network is increasingly owned by the network."
+"Today, another Norman Lear with another <citetitle>All in the Family</"
+"citetitle> would find that he had the choice either to make the show less "
+"edgy or to be fired: The content of any show developed for a network is "
+"increasingly owned by the network."
msgstr ""
"i dag, en annen norman lear med en annen alle i familien ville finne at han "
"måtte velge å gjøre showet mindre irritabel eller sparken: innholdet i et "
"hvilket som helst Vis utviklet for et nettverk er i økende grad eid av "
"nettverket."
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Diller, Barry"
+msgstr "Diller, Barry"
+
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Moyers, Bill"
+msgstr "Moyers, Bill"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"While the number of channels has increased dramatically, the ownership of "
"those channels has narrowed to an ever smaller and smaller few. As Barry "
-"Diller said to Bill Moyers,"
+"Diller said to Bill Moyers, <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"mens antall kanaler har økt dramatisk, har eierskap av disse kanalene "
"begrenses til en stadig mindre og mindre få. som barry diller sa til bill "
#. f32
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 "
+#| "April 2002, available at <ulink url=\"http://free-culture.cc/notes/"
+#| "\">link #76</ulink>."
msgid ""
-"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill "
-"Moyers, 25 April 2003, edited transcript available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #31</ulink>."
+"\"Barry Diller Takes on Media Deregulation,\" <citetitle>Now with Bill "
+"Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>."
msgstr ""
+"For eksempel, se, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April "
+"2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
+"#76</ulink>."
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
#. f33
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National "
-"Bestseller that Changed the Way We Do Business (Cambridge: Harvard Business "
-"School Press, 1997). Christensen acknowledges that the idea was first "
-"suggested by Dean Kim Clark. See Kim B. Clark, \"The Interaction of Design "
-"Hierarchies and Market Concepts in Technological Evolution,\" Research "
-"Policy 14 (1985): 235–51. For a more recent study, see Richard Foster "
-"and Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last "
-"Underperform the Market—and How to Successfully Transform Them (New "
-"York: Currency/Doubleday, 2001)."
+"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The "
+"Revolutionary National Bestseller that Changed the Way We Do Business</"
+"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen "
+"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. "
+"Clark, \"The Interaction of Design Hierarchies and Market Concepts in "
+"Technological Evolution,\" <citetitle>Research Policy</citetitle> 14 (1985): "
+"235–51. For a more recent study, see Richard Foster and Sarah Kaplan, "
+"<citetitle>Creative Destruction: Why Companies That Are Built to Last "
+"Underperform the Market—and How to Successfully Transform Them</"
+"citetitle> (New York: Currency/Doubleday, 2001)."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"would find it rational to ignore new cultural trends.<placeholder type="
"\"footnote\" id=\"0\"/> Lumbering giants not only don't, but should not, "
"sprint. Yet if the field is only open to the giants, there will be far too "
-"little sprinting."
+"little sprinting. <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"for å hjelpe deg å få budskapet. kan du være sikker på at meldingen vil "
"deretter bli hørt?"
-#. f34
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Comcast"
+msgstr "Comcast"
+
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Marijuana Policy Project"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "WJOA"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"The Marijuana Policy Project, in February 2003, sought to place ads that "
"collected fees. Interview with Neal Levine, 15 October 2003. These "
"restrictions are, of course, not limited to drug policy. See, for example, "
"Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection "
-"from TV Networks,\" New York Times, 13 March 2003, C4. Outside of election-"
-"related air time there is very little that the FCC or the courts are willing "
-"to do to even the playing field. For a general overview, see Rhonda Brown, "
-"\"Ad Hoc Access: The Regulation of Editorial Advertising on Television and "
-"Radio,\" Yale Law and Policy Review 6 (1988): 449–79, and for a more "
-"recent summary of the stance of the FCC and the courts, see Radio-Television "
-"News Directors Association v. FCC, 184 F. 3d 872 (D.C. Cir. 1999). Municipal "
-"authorities exercise the same authority as the networks. In a recent example "
-"from San Francisco, the San Francisco transit authority rejected an ad that "
-"criticized its Muni diesel buses. Phillip Matier and Andrew Ross, "
-"\"Antidiesel Group Fuming After Muni Rejects Ad,\" SFGate.com, 16 June 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #32</ulink>. "
-"The ground was that the criticism was \"too controversial.\""
+"from TV Networks,\" <citetitle>New York Times</citetitle>, 13 March 2003, "
+"C4. Outside of election-related air time there is very little that the FCC "
+"or the courts are willing to do to even the playing field. For a general "
+"overview, see Rhonda Brown, \"Ad Hoc Access: The Regulation of Editorial "
+"Advertising on Television and Radio,\" <citetitle>Yale Law and Policy "
+"Review</citetitle> 6 (1988): 449–79, and for a more recent summary of "
+"the stance of the FCC and the courts, see <citetitle>Radio-Television News "
+"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d "
+"872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as "
+"the networks. In a recent example from San Francisco, the San Francisco "
+"transit authority rejected an ad that criticized its Muni diesel buses. "
+"Phillip Matier and Andrew Ross, \"Antidiesel Group Fuming After Muni Rejects "
+"Ad,\" SFGate.com, 16 June 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #32</ulink>. The ground was that the criticism was "
+"\"too controversial.\" <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
+"id=\"2\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"as the technologies of distribution and creation have changed and as "
"lobbyists have pushed for more control by copyright holders. Changes in the "
"past in response to changes in technology suggest that we may well need "
-"similar changes in the future. And these changes have to be reductions in "
-"the scope of copyright, in response to the extraordinary increase in control "
-"that technology and the market enable."
+"similar changes in the future. And these changes have to be "
+"<emphasis>reductions</emphasis> in the scope of copyright, in response to "
+"the extraordinary increase in control that technology and the market enable."
msgstr ""
"lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett "
"med konstant forpliktelser gir at for noen mystisk grunn, tenåringer og "
"For the single point that is lost in this war on pirates is a point that we "
"see only after surveying the range of these changes. When you add together "
"the effect of changing law, concentrated markets, and changing technology, "
-"together they produce an astonishing conclusion: Never in our history have "
-"fewer had a legal right to control more of the development of our culture "
-"than now."
+"together they produce an astonishing conclusion: <emphasis>Never in our "
+"history have fewer had a legal right to control more of the development of "
+"our culture than now</emphasis>."
msgstr ""
"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi "
"ser bare etter kartlegging på rekke disse endringene. Når du legger sammen "
"færre hadde en lovfestet rett til å styre flere av utviklingen av vår kultur "
"enn nå."
-#. f35
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
msgid ""
"Siva Vaidhyanathan captures a similar point in his \"four surrenders\" of "
-"copyright law in the digital age. See Vaidhyanathan, 159–60."
+"copyright law in the digital age. See Vaidhyanathan, 159–60. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
-"Siva vaidhyanathan registrerer en liknende punktet i sin \"fire etableres\" "
-"om opphavsrett i den digitale tidsalderen. se vaidhyanathan, 15960."
+"Siva Vaidhyanathan fanger et lignende poeng i hans \"fire kapitulasjoner\" "
+"for opphavsrettsloven i den digitale tidsalder. Se Vaidhyanathan, "
+"159–60. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"tools to publish, for the market then was much more diverse. Not when there "
"were only three television networks, for even then, newspapers, film "
"studios, radio stations, and publishers were independent of the networks. "
-"Never has copyright protected such a wide range of rights, against as broad "
-"a range of actors, for a term that was remotely as long. This form of "
-"regulation—a tiny regulation of a tiny part of the creative energy of "
-"a nation at the founding—is now a massive regulation of the overall "
-"creative process. Law plus technology plus the market now interact to turn "
-"this historically benign regulation into the most significant regulation of "
-"culture that our free society has known.<placeholder type=\"footnote\" id="
-"\"0\"/>"
+"<emphasis>Never</emphasis> has copyright protected such a wide range of "
+"rights, against as broad a range of actors, for a term that was remotely as "
+"long. This form of regulation—a tiny regulation of a tiny part of the "
+"creative energy of a nation at the founding—is now a massive "
+"regulation of the overall creative process. Law plus technology plus the "
+"market now interact to turn this historically benign regulation into the "
+"most significant regulation of culture that our free society has known."
+"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"1790, loven så ut som dette:"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
-#, mtrans, fuzzy
msgid "PUBLISH"
-msgstr "publisere"
+msgstr "Publiser"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgstr "transformere"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Commercial"
-msgstr "kommersielle"
+msgstr "Kommersiell"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "©"
-msgstr "�"
+msgstr "©"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Free"
-msgstr "gratis"
+msgstr "Fri"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
-#, mtrans, fuzzy
msgid "Noncommercial"
-msgstr "reklamefrie"
+msgstr "Ikke-kommersiell"
#. PAGE BREAK 182
#. type: Content of: <book><chapter><sect1><sect2><para>
"slik ut:"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
-#, mtrans, fuzzy
msgid "COPY"
msgstr "Kopier"
#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
msgid "©/Free"
-msgstr ""
+msgstr "©/Fri"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"It was the single most important contribution of the legal realist movement "
"to demonstrate that all property rights are always crafted to balance public "
"and private interests. See Thomas C. Grey, \"The Disintegration of Property,"
-"\" in Nomos XXII: Property, J. Roland Pennock and John W. Chapman, eds. "
-"(New York: New York University Press, 1980)."
+"\" in <citetitle>Nomos XXII: Property</citetitle>, J. Roland Pennock and "
+"John W. Chapman, eds. (New York: New York University Press, 1980)."
msgstr ""
"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for å "
"demonstrere at alle eiendomsrettigheter alltid er laget for å balansere "
"need to give authors and artists incentives with the equally important need "
"to assure access to creative work. This balance has always been struck in "
"light of new technologies. And for almost half of our tradition, the "
-"\"copyright\" did not control at all the freedom of others to build upon or "
-"transform a creative work. American culture was born free, and for almost "
-"180 years our country consistently protected a vibrant and rich free culture."
+"\"copyright\" did not control <emphasis>at all</emphasis> the freedom of "
+"others to build upon or transform a creative work. American culture was born "
+"free, and for almost 180 years our country consistently protected a vibrant "
+"and rich free culture."
msgstr ""
#. PAGE BREAK 184
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, The "
-"Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: "
-"Oxford University Press, 1996)."
+"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, "
+"<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael "
+"Sherborne, ed. (New York: Oxford University Press, 1996)."
msgstr ""
"h. g. wells, \"land for blind\" (1904, 1911). se h. g. wells, landet av "
"blind og andre historier, michael sherborne, ed. (new york: oxford "
msgid ""
"Things don't go quite as he planned. He tries to explain the idea of sight "
"to the villagers. They don't understand. He tells them they are \"blind.\" "
-"They don't have the word blind. They think he's just thick. Indeed, as they "
-"increasingly notice the things he can't do (hear the sound of grass being "
-"stepped on, for example), they increasingly try to control him. He, in turn, "
-"becomes increasingly frustrated. \"`You don't understand,' he cried, in a "
-"voice that was meant to be great and resolute, and which broke. `You are "
-"blind and I can see. Leave me alone!'\""
-msgstr ""
-"ting går ikke helt som han har planlagt. han prøver å forklare ideen om "
+"They don't have the word <citetitle>blind</citetitle>. They think he's just "
+"thick. Indeed, as they increasingly notice the things he can't do (hear the "
+"sound of grass being stepped on, for example), they increasingly try to "
+"control him. He, in turn, becomes increasingly frustrated. \"`You don't "
+"understand,' he cried, in a voice that was meant to be great and resolute, "
+"and which broke. `You are blind and I can see. Leave me alone!'\""
+msgstr ""
+"ting går ikke helt som han har planlagt. han prøver å forklare idéen om "
"synet til landsbyboere. de forstår ikke. Han forteller dem at de er \"blind."
"\" de ikke har word-blind. de tror han er bare tykk. faktisk, som de stadig "
"mer merke tingene han ikke kan gjøre (høre lyden av gress å bli trappet på, "
"this reality."
msgstr ""
"før jeg hadde lest om regenererende, ville jeg sagt de var umulig. en enkelt "
-"person kan ikke ha to sett med dna. selve ideen om dna er at det er koden "
+"person kan ikke ha to sett med dna. selve idéen om dna er at det er koden "
"for en person. men faktisk, ikke bare kan to personer har samme sett med dna "
"(identisk tvillinger), men en person kan ha to forskjellige sett med dna (en "
"chimera). vår forståelse av en \"person\" skal gjenspeile denne "
"a Tower Records and taking a CD off the shelf and walking out with it,\" "
"that's true, at least in part. If, after Lyle Lovett (finally) releases a "
"new album, rather than buying it, I go to Kazaa and find a free copy to "
-"take, that is very much like stealing a copy from Tower."
+"take, that is very much like stealing a copy from Tower. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"på samme måte når den andre siden, sier, \"fildeling er akkurat som å vandre "
"inn i en tower records og tar en cd av sokkelen og vandre ut med det,\" som "
"for å begynne å tenke på hvordan vi skal reagere på denne chimera. hvilke "
"regler bør styre det?"
-#. f2.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
+msgid "Berman, Howard L."
+msgstr "Berman, Howard L."
+
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"For an excellent summary, see the report prepared by GartnerG2 and the "
"Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill "
"that would treat unauthorized on-line copying as a felony offense with "
"punishments ranging as high as five years imprisonment; see Jon Healey, "
-"\"House Bill Aims to Up Stakes on Piracy,\" Los Angeles Times, 17 July 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. "
-"Civil penalties are currently set at $150,000 per copied song. For a recent "
-"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal "
-"the identity of a user accused of sharing more than 600 songs through a "
-"family computer, see RIAA v. Verizon Internet Services (In re. Verizon "
-"Internet Services), 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could "
-"face liability ranging as high as $90 million. Such astronomical figures "
-"furnish the RIAA with a powerful arsenal in its prosecution of file sharers. "
+"\"House Bill Aims to Up Stakes on Piracy,\" <citetitle>Los Angeles Times</"
+"citetitle>, 17 July 2003, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #34</ulink>. Civil penalties are currently set at $150,000 per "
+"copied song. For a recent (and unsuccessful) legal challenge to the RIAA's "
+"demand that an ISP reveal the identity of a user accused of sharing more "
+"than 600 songs through a family computer, see <citetitle>RIAA</citetitle> v. "
+"<citetitle>Verizon Internet Services (In re. Verizon Internet Services)</"
+"citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could face "
+"liability ranging as high as $90 million. Such astronomical figures furnish "
+"the RIAA with a powerful arsenal in its prosecution of file sharers. "
"Settlements ranging from $12,000 to $17,500 for four students accused of "
"heavy file sharing on university networks must have seemed a mere pittance "
"next to the $98 billion the RIAA could seek should the matter proceed to "
"\">link #35</ulink>. For an example of the RIAA's targeting of student file "
"sharing, and of the subpoenas issued to universities to reveal student file-"
"sharer identities, see James Collins, \"RIAA Steps Up Bid to Force BC, MIT "
-"to Name Students,\" Boston Globe, 8 August 2003, D3, available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #36</ulink>."
+"to Name Students,\" <citetitle>Boston Globe</citetitle>, 8 August 2003, D3, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #36</ulink>. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
"recognizes the truth in both. And while I end this book with a sketch of a "
"system that does just that, my aim in the next chapter is to show just how "
"awful it would be for us to adopt the zero-tolerance extreme. I believe "
-"either extreme would be worse than a reasonable alternative. But I believe "
-"the zero-tolerance solution would be the worse of the two extremes."
+"<emphasis>either</emphasis> extreme would be worse than a reasonable "
+"alternative. But I believe the zero-tolerance solution would be the worse "
+"of the two extremes."
msgstr ""
"enten svar er mulig. Jeg tror enten ville være feil. i stedet for å omfavne "
"en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i "
"everyone's interests.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
+#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
+msgid "Vivendi Universal"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the "
-"major labels.\" Its position on these matters has now changed."
+"major labels.\" Its position on these matters has now changed. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"i april 2001, ble emusic.com kjøpt av vivendi universal, en av \"den store "
"etiketter.\" posisjonen på disse sakene er nå endret."
"over Internett. men som loven er nå laget, dette arbeidet er presumptively "
"ugyldig."
-#. f1.
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Worldcom"
+msgstr "Worldcom"
+
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, "
-"N.J.: John Wiley & Sons, 2003), 176, 204; for details of the settlement, "
-"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC "
-"Settlement\" (7 July 2003), available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #37</ulink>."
+"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at "
+"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; "
+"for details of the settlement, see MCI press release, \"MCI Wins U.S. "
+"District Court Approval for SEC Settlement\" (7 July 2003), available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
"damages for pain and suffering.<placeholder type=\"footnote\" id=\"1\"/> Can "
"common sense recognize the absurdity in a world where the maximum fine for "
"downloading two songs off the Internet is more than the fine for a doctor's "
-"negligently butchering a patient?"
+"negligently butchering a patient? <placeholder type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. f3.
#. type: Content of: <book><chapter><sect1><sect2><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 Danit Lidor, \"Artists Just Wanna Be Free,\" Wired, 7 July 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #40</ulink>. "
-"For an overview of the exhibition, see <ulink url=\"http://free-culture.cc/"
-"notes/\">link #41</ulink>."
+"See Danit Lidor, \"Artists Just Wanna Be Free,\" <citetitle>Wired</"
+"citetitle>, 7 July 2003, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #40</ulink>. For an overview of the exhibition, see <ulink url="
+"\"http://free-culture.cc/notes/\">link #41</ulink>."
msgstr ""
+"Se 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><chapter><sect1><sect2><para>
msgid ""
#, mtrans, fuzzy
msgid ""
"Consider one example to make the point, a story whose beginning I told in "
-"The Future of Ideas and which has progressed in a way that even I (pessimist "
-"extraordinaire) would never have predicted."
+"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way "
+"that even I (pessimist extraordinaire) would never have predicted."
msgstr ""
"vurdere ett eksempel for å gjøre punktet, en historie som begynnelsen jeg "
-"fortalt i fremtiden for ideer og som har kommet i en måte at selv jeg "
+"fortalt i fremtiden for idéer og som har kommet i en måte at selv jeg "
"(pessimist extraordinaire) ville aldri ha forutsett."
#. type: Content of: <book><chapter><sect1><sect2><para>
"recommend music to its users. The idea behind this alternative was to "
"leverage the revealed preferences of music listeners to recommend new "
"artists. If you like Lyle Lovett, you're likely to enjoy Bonnie Raitt. And "
-"so on."
+"so on. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Hvis du vil gjøre dette systemet fungerer, men trengte mp3.com en pålitelig "
-"måte å anbefale musikk til sine brukere. Ideen bak denne alternative var å "
+"måte å anbefale musikk til sine brukere. idéen bak denne alternative var å "
"utnytte åpenbarte innstillingene av musikk lyttere å anbefale nye artister. "
"Hvis du liker lyle lovett, sannsynligvis du til å nyte bonnie raitt. og så "
"videre."
#. f4.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" Los Angeles Times, "
-"23 April 2003. For a parallel argument about the effects on innovation in "
-"the distribution of music, see Janelle Brown, \"The Music Revolution Will "
-"Not Be Digitized,\" Salon.com, 1 June 2001, available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #42</ulink>. See also Jon Healey, \"Online "
-"Music Services Besieged,\" Los Angeles Times, 28 May 2001."
+"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" <citetitle>Los "
+"Angeles Times</citetitle>, 23 April 2003. For a parallel argument about the "
+"effects on innovation in the distribution of music, see Janelle Brown, \"The "
+"Music Revolution Will Not Be Digitized,\" Salon.com, 1 June 2001, available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #42</ulink>. See also "
+"Jon Healey, \"Online Music Services Besieged,\" <citetitle>Los Angeles "
+"Times</citetitle>, 28 May 2001."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"in the marketplace, but in the courtroom as well. Your investment buys you "
"not only a company, it also buys you a lawsuit. So extreme has the "
"environment become that even car manufacturers are afraid of technologies "
-"that touch content. In an article in Business 2.0, Rafe Needleman describes "
-"a discussion with BMW:"
+"that touch content. In an article in <citetitle>Business 2.0</citetitle>, "
+"Rafe Needleman describes a discussion with BMW:"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><blockquote><indexterm><primary>
msgstr "Needleman, Rafe"
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June "
+#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #43</"
+#| "ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this example. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #43</ulink>. "
-"I am grateful to Dr. Mohammad Al-Ubaydli for this example. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"Rafe Needleman, \"Driving in Cars with MP3s,\" <citetitle>Business 2.0</"
+"citetitle>, 16 June 2003, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #43</ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this "
+"example. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16. juni 2003, "
"tilgjengelig via <ulink url=\"http://free-culture.cc/notes/\">link #43</"
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Jessica Litman, Digital Copyright (Amherst, N.Y.: Prometheus Books, 2001)."
+"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: "
+"Prometheus Books, 2001)."
msgstr ""
"Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)."
msgid ""
"As I described in chapter 10, despite this feature of copyright as "
"regulation, and subject to important qualifications outlined by Jessica "
-"Litman in her book Digital Copyright,<placeholder type=\"footnote\" id=\"0\"/"
-"> overall this history of copyright is not bad. As chapter 10 details, when "
-"new technologies have come along, Congress has struck a balance to assure "
-"that the new is protected from the old. Compulsory, or statutory, licenses "
-"have been one part of that strategy. Free use (as in the case of the VCR) "
-"has been another."
+"Litman in her book <citetitle>Digital Copyright</citetitle>,<placeholder "
+"type=\"footnote\" id=\"0\"/> overall this history of copyright is not bad. "
+"As chapter 10 details, when new technologies have come along, Congress has "
+"struck a balance to assure that the new is protected from the old. "
+"Compulsory, or statutory, licenses have been one part of that strategy. Free "
+"use (as in the case of the VCR) has been another."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"The only circuit court exception is found in Recording Industry Association "
-"of America (RIAA) v. Diamond Multimedia Systems, 180 F. 3d 1072 (9th Cir. "
-"1999). There the court of appeals for the Ninth Circuit reasoned that makers "
-"of a portable MP3 player were not liable for contributory copyright "
-"infringement for a device that is unable to record or redistribute music (a "
-"device whose only copying function is to render portable a music file "
-"already stored on a user's hard drive). At the district court level, the "
-"only exception is found in Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, "
-"Ltd., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found the "
-"link between the distributor and any given user's conduct too attenuated to "
-"make the distributor liable for contributory or vicarious infringement "
+"The only circuit court exception is found in <citetitle>Recording Industry "
+"Association of America (RIAA)</citetitle> v. <citetitle>Diamond Multimedia "
+"Systems</citetitle>, 180 F. 3d 1072 (9th Cir. 1999). There the court of "
+"appeals for the Ninth Circuit reasoned that makers of a portable MP3 player "
+"were not liable for contributory copyright infringement for a device that is "
+"unable to record or redistribute music (a device whose only copying function "
+"is to render portable a music file already stored on a user's hard drive). "
+"At the district court level, the only exception is found in <citetitle>Metro-"
+"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</"
+"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found "
+"the link between the distributor and any given user's conduct too attenuated "
+"to make the distributor liable for contributory or vicarious infringement "
"liability."
msgstr ""
"Det eneste unntaket fra circuit court er funnet i innspillingen industry "
"gjennomføre for attenuated å gjøre distributøren ansvarlig for krenkelse av "
"medvirkende eller stedfortredende erstatningsansvar."
-#. f11.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"For example, in July 2002, Representative Howard Berman introduced the Peer-"
"copyright protection technology in all digital media devices. See GartnerG2, "
"\"Copyright and Digital Media in a Post-Napster World,\" 27 June 2003, "
"33–34, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#44</ulink>."
+"#44</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"for Internet radio than the rule that applies to terrestrial radio. While "
"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when "
"it plays her hypothetical recording of \"Happy Birthday\" on the air, "
-"Internet radio does. Not only is the law not neutral toward Internet "
-"radio—the law actually burdens Internet radio more than it burdens "
-"terrestrial radio."
+"<emphasis>Internet radio does</emphasis>. Not only is the law not neutral "
+"toward Internet radio—the law actually burdens Internet radio more "
+"than it burdens terrestrial radio."
msgstr ""
"men her kraften i lobbyister tilbakeføres. Internett-radio er en ny "
"industri. artister, derimot, har en svært kraftig lobby, riaa. dermed hadde "
"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url="
"\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent "
"analysis making a similar point, see Randal C. Picker, \"Copyright as Entry "
-"Policy: The Case of Digital Distribution,\" Antitrust Bulletin (Summer/Fall "
-"2002): 461: \"This was not confusion, these are just old-fashioned entry "
-"barriers. Analog radio stations are protected from digital entrants, "
-"reducing entry in radio and diversity. Yes, this is done in the name of "
-"getting royalties to copyright holders, but, absent the play of powerful "
-"interests, that could have been done in a media-neutral way.\" <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"Policy: The Case of Digital Distribution,\" <citetitle>Antitrust Bulletin</"
+"citetitle> (Summer/Fall 2002): 461: \"This was not confusion, these are just "
+"old-fashioned entry barriers. Analog radio stations are protected from "
+"digital entrants, reducing entry in radio and diversity. Yes, this is done "
+"in the name of getting royalties to copyright holders, but, absent the play "
+"of powerful interests, that could have been done in a media-neutral way.\" "
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The burden is not financial only. Under the original rules that were "
-"proposed, an Internet radio station (but not a terrestrial radio station) "
-"would have to collect the following data from every listening transaction:"
+"proposed, an Internet radio station (but not a terrestrial radio station) "
+"would have to collect the following data from <emphasis>every listening "
+"transaction</emphasis>:"
msgstr ""
"byrden er ikke økonomiske bare. under de opprinnelige reglene som ble "
"foreslått, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) "
"pending further study. And he also changed the original rates set by the "
"arbitration panel charged with setting rates. But the basic difference "
"between Internet radio and terrestrial radio remains: Internet radio has to "
-"pay a type of copyright fee that terrestrial radio does not."
+"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does "
+"not."
msgstr ""
"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, "
"ventende videre studium. og han endret også de opprinnelige prisene ved "
#, mtrans, fuzzy
msgid ""
"And the RIAA experts said, \"Well, we don't really model this as an industry "
-"with thousands of webcasters, we think it should be an industry with, you "
-"know, five or seven big players who can pay a high rate and it's a stable, "
-"predictable market.\" (Emphasis added.)"
+"with thousands of webcasters, <emphasis>we think it should be an industry "
+"with, you know, five or seven big players who can pay a high rate and it's a "
+"stable, predictable market</emphasis>.\" (Emphasis added.)"
msgstr ""
"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med "
"tusenvis av webcasters, vi tror det bør være en bransje med, du vet, fem "
msgid ""
"The war that is being waged today is a war of prohibition. As with every war "
"of prohibition, it is targeted against the behavior of a very large number "
-"of citizens. According to The New York Times, 43 million Americans "
-"downloaded music in May 2002.<placeholder type=\"footnote\" id=\"0\"/> "
-"According to the RIAA, the behavior of those 43 million Americans is a "
-"felony. We thus have a set of rules that transform 20 percent of America "
-"into criminals. As the RIAA launches lawsuits against not only the Napsters "
-"and Kazaas of the world, but against students building search engines, and "
-"increasingly against ordinary users downloading content, the technologies "
-"for sharing will advance to further protect and hide illegal use. It is an "
-"arms race or a civil war, with the extremes of one side inviting a more "
-"extreme response by the other."
+"of citizens. According to <citetitle>The New York Times</citetitle>, 43 "
+"million Americans downloaded music in May 2002.<placeholder type=\"footnote"
+"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million "
+"Americans is a felony. We thus have a set of rules that transform 20 percent "
+"of America into criminals. As the RIAA launches lawsuits against not only "
+"the Napsters and Kazaas of the world, but against students building search "
+"engines, and increasingly against ordinary users downloading content, the "
+"technologies for sharing will advance to further protect and hide illegal "
+"use. It is an arms race or a civil war, with the extremes of one side "
+"inviting a more extreme response by the other."
msgstr ""
#. f16.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" Los "
-"Angeles Times, 10 September 2003, Business."
+"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" "
+"<citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business."
msgstr ""
"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" "
"los angeles times, 10 september 2003, business."
#, mtrans, fuzzy
msgid ""
"Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During "
-"Prohibition,\" American Economic Review 81, no. 2 (1991): 242."
+"Prohibition,\" <citetitle>American Economic Review</citetitle> 81, no. 2 "
+"(1991): 242."
msgstr ""
"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" "
"amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242."
#, mtrans, fuzzy
msgid ""
"See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "
-"Journal of Economic Literature 36 (1998): 818 (survey of compliance "
-"literature)."
+"<citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey "
+"of compliance literature)."
msgstr ""
"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" "
"journal av økonomiske litteratur 36 (1998): 818 (undersøkelse av samsvar "
"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer "
"loven. og jeg bryr seg Hvis reglene for loven purke økende aktelse på grunn "
"av ekstreme regulering de innføre. fem millioner amerikanere har kommet av "
-"alder siden Internett innført denne annen ide om \"deling.\" vi trenger å "
+"alder siden Internett innført denne annen idé om \"deling.\" vi trenger å "
"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"."
#. type: Content of: <book><chapter><sect1><sect2><para>
"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse "
"skader på borgerrettigheter vanligvis."
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "von Lohmann, Fred"
+msgstr "von Lohmann, Fred"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
-"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains,"
+"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains, "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
-"\"Hvis du kan behandle noen som en antatte lawbreaker,\" forklarer von sang,"
+"\"Hvis du kan behandle noen som en antatt lovbryter,\" forklarer von "
+"Lohmann, <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, fuzzy
"Hvordan kan du håper å fortsette å motta Internett-tilgang? ... vår "
"sensibilities endre så snart vi tror, \"oh, vel, men denne personen er en "
"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er "
-"å slå en bemerkelsesverdig prosent av den amerikanske internet-bruker "
+"å slå en bemerkelsesverdig prosent av den amerikanske internett-bruker "
"befolkningen i \"lawbreakers.\""
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in "
-"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" Washington Post, 10 "
-"September 2003, E1; Chris Cobbs, \"Worried Parents Pull Plug on File "
-"`Stealing'; With the Music Industry Cracking Down on File Swapping, Parents "
-"are Yanking Software from Home PCs to Avoid Being Sued,\" Orlando Sentinel "
-"Tribune, 30 August 2003, C1; Jefferson Graham, \"Recording Industry Sues "
-"Parents,\" USA Today, 15 September 2003, 4D; John Schwartz, \"She Says She's "
-"No Music Pirate. No Snoop Fan, Either,\" New York Times, 25 September 2003, "
-"C1; Margo Varadi, \"Is Brianna a Criminal?\" Toronto Star, 18 September "
-"2003, P7."
+"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington "
+"Post</citetitle>, 10 September 2003, E1; Chris Cobbs, \"Worried Parents Pull "
+"Plug on File `Stealing'; With the Music Industry Cracking Down on File "
+"Swapping, Parents are Yanking Software from Home PCs to Avoid Being Sued,\" "
+"<citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; "
+"Jefferson Graham, \"Recording Industry Sues Parents,\" <citetitle>USA Today</"
+"citetitle>, 15 September 2003, 4D; John Schwartz, \"She Says She's No Music "
+"Pirate. No Snoop Fan, Either,\" <citetitle>New York Times</citetitle>, 25 "
+"September 2003, C1; Margo Varadi, \"Is Brianna a Criminal?\" "
+"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7."
msgstr ""
"se frank ahrens, \"riaa's søksmål møte overrasket over mål; enkelt mor i "
"California, 12-år gammel jente i ny blant saksøkte,\"washington post, 10 "
#. f22.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" Boston "
-"Globe, 18 May 2003, City Weekly, 1; Frank Ahrens, \"Four Students Sued over "
-"Music Sites; Industry Group Targets File Sharing at Colleges,\" Washington "
-"Post, 4 April 2003, E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at "
-"Their Own Risk,\" Christian Science Monitor, 2 September 2003, 20; Robert "
-"Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two Students "
-"Names Are Handed Over; Lawsuit Possible,\" Chicago Tribune, 16 July 2003, "
-"1C; Beth Cox, \"RIAA Trains Antipiracy Guns on Universities,\" Internet "
-"News, 30 January 2003, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #48</ulink>; Benny Evangelista, \"Download Warning 101: "
-"Freshman Orientation This Fall to Include Record Industry Warnings Against "
-"File Sharing,\" San Francisco Chronicle, 11 August 2003, E11; \"Raid, "
-"Letters Are Weapons at Universities,\" USA Today, 26 September 2000, 3D."
+"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" "
+"<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank "
+"Ahrens, \"Four Students Sued over Music Sites; Industry Group Targets File "
+"Sharing at Colleges,\" <citetitle>Washington Post</citetitle>, 4 April 2003, "
+"E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at Their Own Risk,\" "
+"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; "
+"Robert Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two "
+"Students Names Are Handed Over; Lawsuit Possible,\" <citetitle>Chicago "
+"Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, \"RIAA Trains Antipiracy "
+"Guns on Universities,\" <citetitle>Internet News</citetitle>, 30 January "
+"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #48</"
+"ulink>; Benny Evangelista, \"Download Warning 101: Freshman Orientation This "
+"Fall to Include Record Industry Warnings Against File Sharing,\" "
+"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; \"Raid, "
+"Letters Are Weapons at Universities,\" <citetitle>USA Today</citetitle>, 26 "
+"September 2000, 3D."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"expelled."
msgstr ""
-#. PAGE BREAK 216
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"university might not believe her. It might treat this \"contraband\" as "
"presumptive of guilt. And as any number of college students have already "
"learned, our presumptions about innocence disappear in the middle of wars of "
-"prohibition. This war is no different. Says von Lohmann,"
+"prohibition. This war is no different. Says von Lohmann, <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"nå, selvfølgelig, hun vil ha rett til å forsvare seg selv. Du kan leie en "
"advokat for henne (på $300 per time, hvis du er heldig), og hun kan erkjenne "
msgstr "Maktfordeling"
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"So here's the picture: You're standing at the side of the road. Your car is "
"on fire. You are angry and upset because in part you helped start the fire. "
"Now you don't know how to put it out. Next to you is a bucket, filled with "
"gasoline. Obviously, gasoline won't put the fire out."
msgstr ""
-"så her er bildet: du står på siden av veien. bilen er på brann. du er sint "
-"og lei fordi delvis du hjalp starte til brann. nå vet du hvordan du setter "
-"det. siden du er en bøtte, fylt med bensin. åpenbart, bensin vil ikke sette "
-"brann ut."
+"Så her er bildet: Du står på siden av veien. Bilen din er på brann. Du er "
+"sint og opprørt fordi du delvis bidro til å starte brannen. Nå vet du ikke "
+"hvordan du slokker den. Ved siden av deg er en bøtte, fylt med bensin. "
+"Bensin vil åpenbart ikke slukke brannen."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"As you ponder the mess, someone else comes along. In a panic, she grabs the "
"bucket. Before you have a chance to tell her to stop—or before she "
"gasoline is about to hit the blazing car. And the fire that gasoline will "
"ignite is about to ignite everything around."
msgstr ""
-"som du tenke rotet, kommer noen andre. i en panikk griper hun bøtte. før du "
-"har en sjanse til å fortelle henne til å slutte— eller før hun forstår "
-"bare hvorfor hun bør stoppe—bøtte er i luften. til bensin er om å "
-"treffe Lynrask bilen. og brann som bensin vil antennes er om å antennes alt "
-"rundt."
+"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper "
+"hun bøtta, og før du har hatt sjansen til å be henne stoppe—eller før "
+"hun forstår hvorfor hun bør stoppe—er bøtten i svevet. Bensinen er på "
+"tur mot den brennende bilen. Og brannen som bensinen kommer til å fyre opp "
+"vil straks sette fyr på alt i omgivelsene."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"A war about copyright rages all around—and we're all focusing on the "
"wrong thing. No doubt, current technologies threaten existing businesses. "
"themselves against the current threats of the Internet. This is a fire that "
"if let alone would burn itself out."
msgstr ""
-"en krig om opphavsrett rages rundt— og vi alle fokuserer på feil. "
-"ingen tvil, truer aktuell teknologi eksisterende virksomheter. de kan uten "
-"tvil True kunstnere. men teknologier endre. næringen og Teknologorganisasjon "
-"har masse av veier å bruke teknologi for å beskytte seg mot gjeldende "
-"trusler på Internett. Dette er en brann at hvis enn si ville brenne seg."
+"En krig om opphavsrett pågår over alt— og vi fokuserer alle på feil "
+"ting. Det er ingen tvil om at dagens teknologier truer eksisterende "
+"virksomheter. Uten tvil kan de true artister. Men teknologier endrer seg. "
+"Industrien og teknologer har en rekke måter å bruke teknologi til å beskytte "
+"dem selv mot dagens trusler på Internet. Dette er en brann som overlatt til "
+"seg selv vil brenne ut."
#. PAGE BREAK 219
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Yet policy makers are not willing to leave this fire to itself. Primed with "
"plenty of lobbyists' money, they are keen to intervene to eliminate the "
"this culture faces. For while we watch this small fire in the corner, there "
"is a massive change in the way culture is made that is happening all around."
msgstr ""
-"beslutningstakere er ennå ikke villige til å forlate denne brann til seg "
-"selv. primed med masse lobbyister penger, er de opptatt av å intervenere for "
-"å eliminere problemet de oppfatter. men problemet de oppfatter er ikke den "
-"virkelige trusselen denne kulturen står overfor. for mens vi se denne liten "
-"brann i hjørnet, det er massiv gjøres en endring i måten kultur som skjer "
-"rundt."
+"Likevel er ikke besluttningstagere villig til å la denne brannen i fred. "
+"Ladet med masse penger fra lobbyister er de lystne på å gå i mellom for å "
+"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det "
+"er ikke den reelle trusselen som denne kulturen står med ansiktet mot. For "
+"mens vi ser på denne lille brannen i hjørnet er det en massiv endring i "
+"hvordan kultur blir skapt som pågår over alt. "
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Somehow we have to find a way to turn attention to this more important and "
"fundamental issue. Somehow we have to find a way to avoid pouring gasoline "
"onto this fire."
msgstr ""
-"noe har vi å finne en måte å slå oppmerksomhet til dette mer viktig og "
-"grunnleggende problemet. noe har vi å finne en måte å unngå pouring bensin "
-"bort på denne brann."
+"På en eller annen måte må vi klare å snu oppmerksomheten mot dette mer "
+"viktige og fundametale problemet. Vi må finne en måte å unngå å helle "
+"bensin på denne brannen."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"We have not found that way yet. Instead, we seem trapped in a simpler, "
"binary view. However much many people push to frame this debate more "
"broadly, it is the simple, binary view that remains. We rubberneck to look "
"at the fire when we should be keeping our eyes on the road."
msgstr ""
-"Vi har ikke funnet den måten ennå. i stedet synes vi fanget i en enklere, "
-"binære visning. men mye mange folk skyve for å ramme denne debatten mer "
-"forstand, det er den enkle, binære visningen som gjenstår. Vi rubberneck for "
-"å se på ilden når vi skal holde våre øyne på veien."
+"Vi har ikke funne denne måten ennå. Istedet synes vi å være fanget i en "
+"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser på for å "
+"gjøre rammen for debatten litt bredere, er det dette enkle sort-hvit-synet "
+"som består. Vi kjører sakte forbi og stirrer på brannen når vi i stedet "
+"burde holde øynene på veien."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"This challenge has been my life these last few years. It has also been my "
"failure. In the two chapters that follow, I describe one small brace of "
"efforts, so far failed, to find a way to refocus this debate. We must "
"understand these failures if we're to understand what success will require."
msgstr ""
-"denne utfordringen har vært livet disse siste årene. Det har også vært min "
-"feil. i to kapitlene som følger, beskriver jeg en liten klammeparentes av "
-"innsats, så langt ikke klart, å finne en måte å refokusere denne debatten. "
-"Hvis vi å forstå hva suksess vil kreve, må vi forstå disse feil."
+"Denne utfordringen har vært livet mitt de siste årene. Det har også vært "
+"min falitt. I de to neste kapittlene, beskriver jeg en liten innsats, så "
+"langt uten suksess, på å finne en måte å endre fokus på denne debatten. Vi "
+"må forstå disse mislyktede forsøkene hvis vi skal forstå hva som kreves for "
+"å lykkes."
#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER THIRTEEN: Eldred"
#, mtrans, fuzzy
msgid ""
"Eldred's freedom to do this with Hawthorne's work grew from the same source "
-"as Disney's. Hawthorne's Scarlet Letter had passed into the public domain in "
-"1907. It was free for anyone to take without the permission of the Hawthorne "
-"estate or anyone else. Some, such as Dover Press and Penguin Classics, take "
-"works from the public domain and produce printed editions, which they sell "
-"in bookstores across the country. Others, such as Disney, take these stories "
-"and turn them into animated cartoons, sometimes successfully (Cinderella), "
-"sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all "
-"commercial publications of public domain works."
+"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed "
+"into the public domain in 1907. It was free for anyone to take without the "
+"permission of the Hawthorne estate or anyone else. Some, such as Dover Press "
+"and Penguin Classics, take works from the public domain and produce printed "
+"editions, which they sell in bookstores across the country. Others, such as "
+"Disney, take these stories and turn them into animated cartoons, sometimes "
+"successfully (<citetitle>Cinderella</citetitle>), sometimes not "
+"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure "
+"Planet</citetitle>). These are all commercial publications of public domain "
+"works."
msgstr ""
"eldred's frihet til å gjøre dette med hawthorne's arbeid vokste fra den "
"samme kilden som disney's. hawthorne's sange hadde gått inn i den offentlige "
#, mtrans, fuzzy
msgid ""
"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection "
-"of poems New Hampshire was slated to pass into the public domain. Eldred "
-"wanted to post that collection in his free public library. But Congress got "
-"in the way. As I described in chapter 10, in 1998, for the eleventh time in "
-"forty years, Congress extended the terms of existing copyrights—this "
-"time by twenty years. Eldred would not be free to add any works more recent "
-"than 1923 to his collection until 2019. Indeed, no copyrighted work would "
-"pass into the public domain until that year (and not even then, if Congress "
-"extends the term again). By contrast, in the same period, more than 1 "
-"million patents will pass into the public domain."
+"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the "
+"public domain. Eldred wanted to post that collection in his free public "
+"library. But Congress got in the way. As I described in chapter 10, in "
+"1998, for the eleventh time in forty years, Congress extended the terms of "
+"existing copyrights—this time by twenty years. Eldred would not be "
+"free to add any works more recent than 1923 to his collection until 2019. "
+"Indeed, no copyrighted work would pass into the public domain until that "
+"year (and not even then, if Congress extends the term again). By contrast, "
+"in the same period, more than 1 million patents will pass into the public "
+"domain."
msgstr ""
"som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av "
"dikt i new hampshire slated skjedde i public domain. Eldred ønsket å legge "
#. f3.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey "
+#| "Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,\" "
+#| "Chicago Tribune, 17 October 1998, 22."
msgid ""
"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
-"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago "
-"Tribune, 17 October 1998, 22."
+"Effort; Congress OKs Bill Granting Creators 20 More Years,\" "
+"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22."
msgstr ""
-"Associated press, \"disney lobbyvirksomhet for opphavsrett filtypen ingen "
-"Mikke Mus innsats; Kongressen øks bill tildeling skaperne 20 år,\"chicago "
-"tribune, 17 oktober 1998, 22."
+"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
+"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago "
+"Tribune, 17. oktober 1998, 22."
#. f4.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
"See Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #49</ulink>."
msgstr ""
+"Se Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
+"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #49</"
+"ulink>."
#. f5.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" "
+#| "Congressional Quarterly This Week, 8 August 1990, available at <ulink url="
+#| "\"http://free-culture.cc/notes/\">link #50</ulink>."
msgid ""
-"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional "
-"Quarterly This Week, 8 August 1990, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #50</ulink>."
+"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" "
+"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>."
msgstr ""
+"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional "
+"Quarterly This Week, 8. august 1990, tilgjengelig fra <ulink url=\"http://"
+"free-culture.cc/notes/\">link #50</ulink>."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"It was also my judgment that this Supreme Court would not allow Congress to "
-"extend existing terms. As anyone close to the Supreme Court's work knows, "
-"this Court has increasingly restricted the power of Congress when it has "
-"viewed Congress's actions as exceeding the power granted to it by the "
-"Constitution. Among constitutional scholars, the most famous example of this "
-"trend was the Supreme Court's decision in 1995 to strike down a law that "
-"banned the possession of guns near schools."
+"It was also my judgment that <emphasis>this</emphasis> Supreme Court would "
+"not allow Congress to extend existing terms. As anyone close to the Supreme "
+"Court's work knows, this Court has increasingly restricted the power of "
+"Congress when it has viewed Congress's actions as exceeding the power "
+"granted to it by the Constitution. Among constitutional scholars, the most "
+"famous example of this trend was the Supreme Court's decision in 1995 to "
+"strike down a law that banned the possession of guns near schools."
msgstr ""
"Det var også mitt skjønn at denne Høyesterett ikke ville tillate at "
"Kongressen til å utvide eksisterende vilkår. alle nær Høyesterett arbeid "
#, mtrans, fuzzy
msgid ""
"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
-"United States v. Lopez. The government had argued that possessing guns near "
-"schools affected interstate commerce. Guns near schools increase crime, "
-"crime lowers property values, and so on. In the oral argument, the Chief "
-"Justice asked the government whether there was any activity that would not "
-"affect interstate commerce under the reasoning the government advanced. The "
-"government said there was not; if Congress says an activity affects "
-"interstate commerce, then that activity affects interstate commerce. The "
-"Supreme Court, the government said, was not in the position to second-guess "
-"Congress."
+"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The "
+"government had argued that possessing guns near schools affected interstate "
+"commerce. Guns near schools increase crime, crime lowers property values, "
+"and so on. In the oral argument, the Chief Justice asked the government "
+"whether there was any activity that would not affect interstate commerce "
+"under the reasoning the government advanced. The government said there was "
+"not; if Congress says an activity affects interstate commerce, then that "
+"activity affects interstate commerce. The Supreme Court, the government "
+"said, was not in the position to second-guess Congress."
msgstr ""
"Høyesterett, under chief justice rehnquist kommando, endret som i USA v. "
"lopez. regjeringen hadde hevdet at ha våpen i nærheten av skoler berørt "
#. f6.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
-msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)."
+msgid ""
+"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U."
+"S. 549, 564 (1995)."
msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)."
#. f7.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
-msgid "United States v. Morrison, 529 U.S. 598 (2000)."
+msgid ""
+"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
+"U.S. 598 (2000)."
msgstr "USA v. morrison, 529 amerikanske 598 (2000)."
#. type: Content of: <book><chapter><sect1><para>
"Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If anything "
"Congress says is interstate commerce must therefore be considered interstate "
"commerce, then there would be no limit to Congress's power. The decision in "
-"Lopez was reaffirmed five years later in United States v. Morrison."
+"<citetitle>Lopez</citetitle> was reaffirmed five years later in "
+"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"If, that is, the principle announced in Lopez stood for a principle. Many "
-"believed the decision in Lopez stood for politics—a conservative "
-"Supreme Court, which believed in states' rights, using its power over "
-"Congress to advance its own personal political preferences. But I rejected "
-"that view of the Supreme Court's decision. Indeed, shortly after the "
-"decision, I wrote an article demonstrating the \"fidelity\" in such an "
+"<emphasis>If</emphasis>, that is, the principle announced in "
+"<citetitle>Lopez</citetitle> stood for a principle. Many believed the "
+"decision in <citetitle>Lopez</citetitle> stood for politics—a "
+"conservative Supreme Court, which believed in states' rights, using its "
+"power over Congress to advance its own personal political preferences. But I "
+"rejected that view of the Supreme Court's decision. Indeed, shortly after "
+"the decision, I wrote an article demonstrating the \"fidelity\" in such an "
"interpretation of the Constitution. The idea that the Supreme Court decides "
"cases based upon its politics struck me as extraordinarily boring. I was "
"not going to devote my life to teaching constitutional law if these nine "
"Kongressen for å fremme sine egne personlige politiske preferanser. men jeg "
"har avvist denne visningen av Høyesterett beslutning. faktisk, kort tid "
"etter vedtaket skrev jeg en artikkel demonstrere \"kvalitet\" i en slik "
-"tolkning av Grunnloven. ideen at Høyesterett bestemmer tilfeller basert på "
+"tolkning av Grunnloven. idéen at Høyesterett bestemmer tilfeller basert på "
"sin politikk slo meg som svært kjedelig. Jeg hadde ikke tenkt å vie livet "
"til undervisning statsrett Hvis disse ni justiariusene skulle være smålig "
"politikere."
#, mtrans, fuzzy
msgid ""
"Now let's pause for a moment to make sure we understand what the argument in "
-"Eldred was not about. By insisting on the Constitution's limits to "
-"copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious "
-"sense, he was fighting a kind of piracy—piracy of the public domain. "
-"When Robert Frost wrote his work and when Walt Disney created Mickey Mouse, "
-"the maximum copyright term was just fifty-six years. Because of interim "
-"changes, Frost and Disney had already enjoyed a seventy-five-year monopoly "
-"for their work. They had gotten the benefit of the bargain that the "
-"Constitution envisions: In exchange for a monopoly protected for fifty-six "
-"years, they created new work. But now these entities were using their "
-"power—expressed through the power of lobbyists' money—to get "
-"another twenty-year dollop of monopoly. That twenty-year dollop would be "
-"taken from the public domain. Eric Eldred was fighting a piracy that affects "
-"us all."
+"<citetitle>Eldred</citetitle> was not about. By insisting on the "
+"Constitution's limits to copyright, obviously Eldred was not endorsing "
+"piracy. Indeed, in an obvious sense, he was fighting a kind of piracy—"
+"piracy of the public domain. When Robert Frost wrote his work and when Walt "
+"Disney created Mickey Mouse, the maximum copyright term was just fifty-six "
+"years. Because of interim changes, Frost and Disney had already enjoyed a "
+"seventy-five-year monopoly for their work. They had gotten the benefit of "
+"the bargain that the Constitution envisions: In exchange for a monopoly "
+"protected for fifty-six years, they created new work. But now these entities "
+"were using their power—expressed through the power of lobbyists' "
+"money—to get another twenty-year dollop of monopoly. That twenty-year "
+"dollop would be taken from the public domain. Eric Eldred was fighting a "
+"piracy that affects us all."
msgstr ""
"Nå la oss pause for et øyeblikk å sørge for at vi forstår hva argumentet i "
"eldred ikke var om. ved å insistere på grunnlovens grenser for opphavsrett, "
#. f9.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
-"Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U."
-"S. 186 (2003) (No. 01-618), n.10, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #51</ulink>."
+"Brief of the Nashville Songwriters Association, <citetitle>Eldred</"
+"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. "
+"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #51</ulink>."
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The figure of 2 percent is an extrapolation from the study by the "
"Congressional Research Service, in light of the estimated renewal ranges. "
-"See Brief of Petitioners, Eldred v. Ashcroft, 7, available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #52</ulink>."
+"See Brief of Petitioners, <citetitle>Eldred</citetitle> v. "
+"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #52</ulink>."
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"Well, actually, if you think about it, there are plenty of lists of who owns "
-"what property. Think about deeds on houses, or titles to cars. And where "
-"there isn't a list, the code of real space is pretty good at suggesting who "
-"the owner of a bit of property is. (A swing set in your backyard is probably "
-"yours.) So formally or informally, we have a pretty good way to know who "
-"owns what tangible property."
+"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty "
+"of lists of who owns what property. Think about deeds on houses, or titles "
+"to cars. And where there isn't a list, the code of real space is pretty "
+"good at suggesting who the owner of a bit of property is. (A swing set in "
+"your backyard is probably yours.) So formally or informally, we have a "
+"pretty good way to know who owns what tangible property."
msgstr ""
"Vel, egentlig, er Hvis du tenker på det, det masse av lister av hvem som "
"eier hva egenskapen. Tenk på gjerninger på hus eller titler til biler. og "
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" Los "
-"Angeles Times, 6 October 2002; David Streitfeld, \"Classic Movies, Songs, "
-"Books at Stake; Supreme Court Hears Arguments Today on Striking Down "
-"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002."
+"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" "
+"<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, "
+"\"Classic Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today "
+"on Striking Down Copyright Extension,\" <citetitle>Orlando Sentinel Tribune</"
+"citetitle>, 9 October 2002."
msgstr ""
"Hvis du vil se david g. savage, \"high court scene av showdown på lov om "
"opphavsrett\" los angeles times, 6 oktober 2002; David streitfeld, "
"dag på støtning ned opphavsrett forlengelsen,\"orlando sentinel tribune, 9 "
"oktober 2002."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Lucky Dog, The"
+msgstr ""
+
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Consider the story of Michael Agee, chairman of Hal Roach Studios, which "
"owns the copyrights for the Laurel and Hardy films. Agee is a direct "
"beneficiary of the Bono Act. The Laurel and Hardy films were made between "
-"1921 and 1951. Only one of these films, The Lucky Dog, is currently out of "
-"copyright. But for the CTEA, films made after 1923 would have begun entering "
-"the public domain. Because Agee controls the exclusive rights for these "
-"popular films, he makes a great deal of money. According to one estimate, "
-"\"Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's "
-"silent films.\"<placeholder type=\"footnote\" id=\"0\"/>"
+"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</"
+"citetitle>, is currently out of copyright. But for the CTEA, films made "
+"after 1923 would have begun entering the public domain. Because Agee "
+"controls the exclusive rights for these popular films, he makes a great deal "
+"of money. According to one estimate, \"Roach has sold about 60,000 "
+"videocassettes and 50,000 DVDs of the duo's silent films.\"<placeholder type="
+"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
-"Petitoners, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See "
-"also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet "
-"Archive, Eldred v. Ashcroft, available at <ulink url=\"http://free-culture."
-"cc/notes/\">link #53</ulink>."
+"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</"
+"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus "
+"Curiae filed on behalf of Petitioners by the Internet Archive, "
+"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>."
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"Or more accurately, owners. As we've seen, there isn't only a single "
-"copyright associated with a film; there are many. There isn't a single "
-"person whom you can contact about those copyrights; there are as many as can "
-"hold the rights, which turns out to be an extremely large number. Thus the "
-"costs of clearing the rights to these films is exceptionally high."
+"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't "
+"only a single copyright associated with a film; there are many. There isn't "
+"a single person whom you can contact about those copyrights; there are as "
+"many as can hold the rights, which turns out to be an extremely large "
+"number. Thus the costs of clearing the rights to these films is "
+"exceptionally high."
msgstr ""
"eller mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt "
"copyright tilknyttet en film; Det er mange. Det er ikke en eneste person "
#, mtrans, fuzzy
msgid ""
"Yet, for most of our history, they also did little harm. For most of our "
-"history, when a work ended its commercial life, there was no copyright-"
-"related use that would be inhibited by an exclusive right. When a book went "
-"out of print, you could not buy it from a publisher. But you could still "
-"buy it from a used book store, and when a used book store sells it, in "
-"America, at least, there is no need to pay the copyright owner anything. "
-"Thus, the ordinary use of a book after its commercial life ended was a use "
-"that was independent of copyright law."
+"history, when a work ended its commercial life, there was no "
+"<emphasis>copyright-related use</emphasis> that would be inhibited by an "
+"exclusive right. When a book went out of print, you could not buy it from a "
+"publisher. But you could still buy it from a used book store, and when a "
+"used book store sells it, in America, at least, there is no need to pay the "
+"copyright owner anything. Thus, the ordinary use of a book after its "
+"commercial life ended was a use that was independent of copyright law."
msgstr ""
"Likevel, for det meste av vår historie, de også gjorde lite skade. for de "
"fleste av vår historie, når et arbeid endte sin kommersielle liv, var det "
msgid ""
"Here is the core of the harm that comes from extending terms: Now that "
"technology enables us to rebuild the library of Alexandria, the law gets in "
-"the way. And it doesn't get in the way for any useful copyright purpose, for "
-"the purpose of copyright is to enable the commercial market that spreads "
-"culture. No, we are talking about culture after it has lived its commercial "
-"life. In this context, copyright is serving no purpose at all related to the "
-"spread of knowledge. In this context, copyright is not an engine of free "
-"expression. Copyright is a brake."
+"the way. And it doesn't get in the way for any useful <emphasis>copyright</"
+"emphasis> purpose, for the purpose of copyright is to enable the commercial "
+"market that spreads culture. No, we are talking about culture after it has "
+"lived its commercial life. In this context, copyright is serving no purpose "
+"<emphasis>at all</emphasis> related to the spread of knowledge. In this "
+"context, copyright is not an engine of free expression. Copyright is a brake."
msgstr ""
"Her er kjernen av skade kommer fra utvide vilkår: nå som teknologi gjør det "
"mulig for oss å gjenoppbygge biblioteket i alexandria, loven kommer i veien. "
"December 2002, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #54</ulink>."
msgstr ""
+"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 "
+"December 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
+"\">link #54</ulink>."
#. type: Content of: <book><chapter><sect1><para>
msgid ""
msgstr ""
"Jeg hater dette synet på loven. Selvfølgelig trodde jeg Sonny Bono-loven var "
"en dramatisk skade på ytringsfriheten og fri kultur. Selvfølgelig tror jeg "
-"fortsatt dette. Men ideen om at Høyesterett bestemmer loven basert på hvor "
+"fortsatt dette. Men idéen om at Høyesterett bestemmer loven basert på hvor "
"viktig de tror problemene er er bare galt. Det kan være \"riktig\" som i "
"\"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bør ikke være den "
"måten.\" som jeg mente at alle trofaste tolkning av forfatterne av vår "
"the case was not to demonstrate how bad the Sonny Bono Act was but to "
"demonstrate that it was unconstitutional, my hope was to make this argument "
"against a background of briefs that covered the full range of political "
-"views. To show that this claim against the CTEA was grounded in law and not "
-"politics, then, we tried to gather the widest range of credible "
-"critics—credible not because they were rich and famous, but because "
-"they, in the aggregate, demonstrated that this law was unconstitutional "
-"regardless of one's politics."
+"views. To show that this claim against the CTEA was grounded in "
+"<emphasis>law</emphasis> and not politics, then, we tried to gather the "
+"widest range of credible critics—credible not because they were rich "
+"and famous, but because they, in the aggregate, demonstrated that this law "
+"was unconstitutional regardless of one's politics."
msgstr ""
"Det var en måte, men i som jeg følte politikk ville saken og som jeg trodde "
"et svar var riktig. Jeg var overbevist om at domstolen ikke ville høre våre "
"troverdig ikke fordi de var rike og berømte, men fordi de, i samlet, vist at "
"denne loven var forfatningsstridig uavhengig av ens politikk."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Eagle Forum"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Schlafly, Phyllis"
+msgstr "Schlafly, Phyllis"
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"public seem to get bogged down?\" The answer, as the editorial documented, "
"was the power of money. Schlafly enumerated Disney's contributions to the "
"key players on the committees. It was money, not justice, that gave Mickey "
-"Mouse twenty more years in Disney's control, Schlafly argued."
+"Mouse twenty more years in Disney's control, Schlafly argued. <placeholder "
+"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"det første trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, "
"eagle forum, hadde vært motstander av ctea fra begynnelsen. Mrs. schlafly "
"grense for Kongressens makt til å angi vilkår. som sterkt konservativ "
"argumentet overtalt en sterk konservative dommer, dommer sentelle."
-#. PAGE BREAK 239
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"In the Supreme Court, the briefs on our side were about as diverse as it "
"were two law professors' briefs, one by copyright scholars and one by First "
"Amendment scholars. There was an exhaustive and uncontroverted brief by the "
"world's experts in the history of the Progress Clause. And of course, there "
-"was a new brief by Eagle Forum, repeating and strengthening its arguments."
+"was a new brief by Eagle Forum, repeating and strengthening its arguments. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
"slike utvidelser var ingenting mer enn \"leie-søker\"—fancy sikt "
"økonomer bruk å beskrive spesielle interesser lovgivning gone wild."
-#. PAGE BREAK 240
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Fried, Charles"
+msgstr "Fried, Charles"
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"history with a series of seminal victories in the Supreme Court defending "
"individual rights; my colleague and dean, Kathleen Sullivan, who had argued "
"many cases in the Court, and who had advised us early on about a First "
-"Amendment strategy; and finally, former solicitor general Charles Fried."
+"Amendment strategy; and finally, former solicitor general Charles Fried. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"samme innsats på balanse ble reflektert i det juridiske teamet vi samles for "
"å skrive våre truser i tilfelle. jones dag advokater hadde blitt med oss fra "
"He had helped craft the line of cases that limited Congress's power in the "
"context of the Commerce Clause. And while he had argued many positions in "
"the Supreme Court that I personally disagreed with, his joining the cause "
-"was a vote of confidence in our argument."
+"was a vote of confidence in our argument. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
"stekt var en spesiell seier for vår side. hver andre tidligere advokat "
"generelt ble ansatt av den andre siden, å forsvare congress's kraft til å gi "
"media selskapene var ikke overraskende. de har mest å tjene på loven. "
"congressmen var ikke overraskende enten—de var å forsvare sin makt, og "
"indirekte, Kjøttsaft tog av bidrag slik makt indusert. og selvfølgelig var "
-"det ikke overraskende at rettighetshavere ville forsvare ideen om at de bør "
+"det ikke overraskende at rettighetshavere ville forsvare idéen om at de bør "
"fortsette å ha rett til å kontrollere hvem som gjorde hva med innhold de "
"ønsket å kontroll."
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S. "
-"(2003) (No. 01-618), 19."
+"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. "
+"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19."
msgstr ""
"kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 "
"amerikanske (2003) (nr 01-618), 19."
#, mtrans, fuzzy
msgid ""
"Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins "
-"the Fray,\" New York Times, 28 March 1998, B7."
+"the Fray,\" <citetitle>New York Times</citetitle>, 28 March 1998, B7."
msgstr ""
"dinitia smith, \"udødelig ord, udødelig royalties? selv Mikke Mus tiltrer "
"fray,\"new york times, 28 mars 1998, b7."
-#. PAGE BREAK 241
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Gershwin, George"
+msgstr "Gershwin, George"
+
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Dr. Seuss's representatives, for example, argued that it was better for the "
"drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> "
"That was also the motive of the Gershwin estate, which defended its "
"\"protection\" of the work of George Gershwin. They refuse, for example, to "
-"license Porgy and Bess to anyone who refuses to use African Americans in the "
-"cast.<placeholder type=\"footnote\" id=\"1\"/> That's their view of how this "
-"part of American culture should be controlled, and they wanted this law to "
-"help them effect that control."
+"license <citetitle>Porgy and Bess</citetitle> to anyone who refuses to use "
+"African Americans in the cast.<placeholder type=\"footnote\" id=\"1\"/> "
+"That's their view of how this part of American culture should be controlled, "
+"and they wanted this law to help them effect that control. <placeholder "
+"type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. type: Content of: <book><chapter><sect1><para>
"\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives "
"included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice "
"Kennedy, and Justice Thomas. These five had been the most consistent in "
-"limiting Congress's power. They were the five who had supported the Lopez/"
-"Morrison line of cases that said that an enumerated power had to be "
-"interpreted to assure that Congress's powers had limits."
+"limiting Congress's power. They were the five who had supported the "
+"<citetitle>Lopez/Morrison</citetitle> line of cases that said that an "
+"enumerated power had to be interpreted to assure that Congress's powers had "
+"limits."
msgstr ""
#. type: Content of: <book><chapter><sect1><indexterm><primary>
#, mtrans, fuzzy
msgid ""
"This then was the core of our strategy—a strategy for which I am "
-"responsible. We would get the Court to see that just as with the Lopez case, "
-"under the government's argument here, Congress would always have unlimited "
-"power to extend existing terms. If anything was plain about Congress's power "
-"under the Progress Clause, it was that this power was supposed to be "
-"\"limited.\" Our aim would be to get the Court to reconcile Eldred with "
-"Lopez: If Congress's power to regulate commerce was limited, then so, too, "
-"must Congress's power to regulate copyright be limited."
+"responsible. We would get the Court to see that just as with the "
+"<citetitle>Lopez</citetitle> case, under the government's argument here, "
+"Congress would always have unlimited power to extend existing terms. If "
+"anything was plain about Congress's power under the Progress Clause, it was "
+"that this power was supposed to be \"limited.\" Our aim would be to get the "
+"Court to reconcile <citetitle>Eldred</citetitle> with <citetitle>Lopez</"
+"citetitle>: If Congress's power to regulate commerce was limited, then so, "
+"too, must Congress's power to regulate copyright be limited."
msgstr ""
"Dette var deretter kjernen i vår strategi—en strategi som jeg er "
"ansvarlig. Vi ville få retten å se at akkurat som du er med under "
"makt til å angi vilkår. Going med regjeringen ville bety at vilkårene vil "
"være effektivt ubegrenset; Going med oss ville gi Kongressen en klar linje å "
"følge: ikke utvide eksisterende vilkår. moots var en effektiv praksis, Jeg "
-"har funnet måter å ta alle spørsmål tilbake til dette sentrale ideen."
+"har funnet måter å ta alle spørsmål tilbake til dette sentrale idéen."
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
"One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He "
"had served in the Reagan Justice Department with Solicitor General Charles "
"Fried. He had argued many cases before the Supreme Court. And in his review "
-"of the moot, he let his concern speak:"
+"of the moot, he let his concern speak: <placeholder type=\"indexterm\" id="
+"\"0\"/>"
msgstr ""
"en moot var før jurister på jones dag. Don ayer var skeptisk. Han "
"tjenestegjorde i Justisdepartementet reagan med advokat general charles "
#, mtrans, fuzzy
msgid ""
"The second came from the Chief, for whom the whole case had been crafted. "
-"For the Chief Justice had crafted the Lopez ruling, and we hoped that he "
-"would see this case as its second cousin."
+"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, "
+"and we hoped that he would see this case as its second cousin."
msgstr ""
"andre kom fra sjefen, som hele saken hadde blitt utformet. for "
"justisministeren hadde utformet lopez avgjørelse, og vi håpet at ville han "
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"My reasoning. Here was a case that pitted all the money in the world against "
-"reasoning. And here was the last naïve law professor, scouring the pages, "
-"looking for reasoning."
+"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money "
+"in the world against <emphasis>reasoning</emphasis>. And here was the last "
+"naïve law professor, scouring the pages, looking for reasoning."
msgstr ""
"mitt resonnement. Her var en sak som pitted alle pengene i verden mot "
"resonnement. og her var den siste naivt lov professoren, scouring sider, på "
#, mtrans, fuzzy
msgid ""
"I first scoured the opinion, looking for how the Court would distinguish the "
-"principle in this case from the principle in Lopez. The argument was nowhere "
-"to be found. The case was not even cited. The argument that was the core "
-"argument of our case did not even appear in the Court's opinion."
+"principle in this case from the principle in <citetitle>Lopez</citetitle>. "
+"The argument was nowhere to be found. The case was not even cited. The "
+"argument that was the core argument of our case did not even appear in the "
+"Court's opinion."
msgstr ""
"Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i "
"dette tilfellet fra prinsippet i lopez. argumentet var ingensteds å bli "
#, mtrans, fuzzy
msgid ""
"Her opinion was perfectly reasonable—for her, and for Justice Souter. "
-"Neither believes in Lopez. It would be too much to expect them to write an "
-"opinion that recognized, much less explained, the doctrine they had worked "
-"so hard to defeat."
+"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to "
+"expect them to write an opinion that recognized, much less explained, the "
+"doctrine they had worked so hard to defeat."
msgstr ""
"hennes mening var helt rimelig—for henne, og for rettferdighet souter. "
"Ingen av dem tror på lopez. det ville være for mye å forvente dem til å "
"reading. I had said there was no way this Court could reconcile limited "
"powers with the Commerce Clause and unlimited powers with the Progress "
"Clause. It had never even occurred to me that they could reconcile the two "
-"simply by not addressing the argument. There was no inconsistency because "
-"they would not talk about the two together. There was therefore no "
-"principle that followed from the Lopez case: In that context, Congress's "
-"power would be limited, but in this context it would not."
+"simply <emphasis>by not addressing the argument</emphasis>. There was no "
+"inconsistency because they would not talk about the two together. There was "
+"therefore no principle that followed from the <citetitle>Lopez</citetitle> "
+"case: In that context, Congress's power would be limited, but in this "
+"context it would not."
msgstr ""
"men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg "
"hadde sagt det var ingen måte denne retten kan avstemme begrenset krefter "
#, mtrans, fuzzy
msgid ""
"These two justices understood all the arguments we had made. But because "
-"neither believed in the Lopez case, neither was willing to push it as a "
-"reason to reject this extension. The case was decided without anyone having "
-"addressed the argument that we had carried from Judge Sentelle. It was "
-"Hamlet without the Prince."
+"neither believed in the <citetitle>Lopez</citetitle> case, neither was "
+"willing to push it as a reason to reject this extension. The case was "
+"decided without anyone having addressed the argument that we had carried "
+"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince."
msgstr ""
"disse to justiariusene forstått alle argumentene vi hadde gjort. men fordi "
"ingen trodde i lopez-saken, heller ikke var villig til å skyve den som en "
#, mtrans, fuzzy
msgid ""
"It was first anger with the five \"Conservatives.\" It would have been one "
-"thing for them to have explained why the principle of Lopez didn't apply in "
-"this case. That wouldn't have been a very convincing argument, I don't "
-"believe, having read it made by others, and having tried to make it myself. "
-"But it at least would have been an act of integrity. These justices in "
-"particular have repeatedly said that the proper mode of interpreting the "
-"Constitution is \"originalism\"—to first understand the framers' text, "
-"interpreted in their context, in light of the structure of the Constitution. "
-"That method had produced Lopez and many other \"originalist\" rulings. Where "
+"thing for them to have explained why the principle of <citetitle>Lopez</"
+"citetitle> didn't apply in this case. That wouldn't have been a very "
+"convincing argument, I don't believe, having read it made by others, and "
+"having tried to make it myself. But it at least would have been an act of "
+"integrity. These justices in particular have repeatedly said that the "
+"proper mode of interpreting the Constitution is \"originalism\"—to "
+"first understand the framers' text, interpreted in their context, in light "
+"of the structure of the Constitution. That method had produced "
+"<citetitle>Lopez</citetitle> and many other \"originalist\" rulings. Where "
"was their \"originalism\" now?"
msgstr ""
"Det var første sinne på fem \"konservative.\" det ville ha vært en ting for "
"idealismen om domstoler Generelt og denne Høyesterett spesielt. de fleste "
"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet "
"basert på om jeg kunne overbevise de to andre justiariusene at verdiene for "
-"de underskrev var viktig, jeg kjempet ideen, fordi jeg ikke ønsker å tro at "
+"de underskrev var viktig, jeg kjempet idéen, fordi jeg ikke ønsker å tro at "
"det er hvordan denne retten bestemmer. jeg insisterte på kranglet denne "
"saken som om den var en enkel Påføring av et sett prinsipper. Jeg hadde et "
"argument som fulgte i logikken. Jeg trengte ikke å kaste bort min tid viser "
msgid ""
"Would it have been different if I had argued it differently? Would it have "
"been different if Don Ayer had argued it? Or Charles Fried? Or Kathleen "
-"Sullivan?"
+"Sullivan? <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"ville det ha vært annerledes hvis jeg hadde hevdet det annerledes? ville det "
"ha vært annerledes hvis don ayer hadde hevdet det? eller charles stekt? "
"been skeptical of the Court's activism in other cases. Deference was a good "
"thing, even if it left standing a silly law. But where the decision was "
"attacked, it was attacked because it left standing a silly and harmful law. "
-"The New York Times wrote in its editorial,"
+"<citetitle>The New York Times</citetitle> wrote in its editorial,"
msgstr ""
"etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han "
"var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, "
"menneskeheten er en av grunnene til at vi lever i en tid med slike fruktbart "
"kreative gjære."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Bolling, Ruben"
+msgstr "Bolling, Ruben"
+
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"images—of Mickey in jail and the like. The best, from my view of the "
"case, was Ruben Bolling's, reproduced on the next page. The \"powerful and "
"wealthy\" line is a bit unfair. But the punch in the face felt exactly like "
-"that."
+"that. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"de beste svarene var i tegneserier. Det var en gaggle av morsom bilder—"
"av mickey i fengsel og lignende. best, fra min mening i saken, var ruben "
#, mtrans, fuzzy
msgid ""
"The image that will always stick in my head is that evoked by the quote from "
-"The New York Times. That \"grand experiment\" we call the \"public domain\" "
-"is over? When I can make light of it, I think, \"Honey, I shrunk the "
-"Constitution.\" But I can rarely make light of it. We had in our "
-"Constitution a commitment to free culture. In the case that I fathered, the "
-"Supreme Court effectively renounced that commitment. A better lawyer would "
-"have made them see differently."
+"<citetitle>The New York Times</citetitle>. That \"grand experiment\" we call "
+"the \"public domain\" is over? When I can make light of it, I think, "
+"\"Honey, I shrunk the Constitution.\" But I can rarely make light of it. We "
+"had in our Constitution a commitment to free culture. In the case that I "
+"fathered, the Supreme Court effectively renounced that commitment. A better "
+"lawyer would have made them see differently."
msgstr ""
"bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new "
"york times. at \"store eksperimentet\" vi kaller \"public domain\" er over? "
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"The day Eldred was decided, fate would have it that I was to travel to "
-"Washington, D.C. (The day the rehearing petition in Eldred was denied—"
-"meaning the case was really finally over—fate would have it that I was "
-"giving a speech to technologists at Disney World.) This was a particularly "
-"long flight to my least favorite city. The drive into the city from Dulles "
-"was delayed because of traffic, so I opened up my computer and wrote an op-"
-"ed piece."
+"The day <citetitle>Eldred</citetitle> was decided, fate would have it that I "
+"was to travel to Washington, D.C. (The day the rehearing petition in "
+"<citetitle>Eldred</citetitle> was denied—meaning the case was really "
+"finally over—fate would have it that I was giving a speech to "
+"technologists at Disney World.) This was a particularly long flight to my "
+"least favorite city. The drive into the city from Dulles was delayed because "
+"of traffic, so I opened up my computer and wrote an op-ed piece."
msgstr ""
"dag-eldred ble besluttet, men skjebnen ville at som jeg var å reise til "
"washington, DC (dagen rehearing protestskriv i eldred ble nektet—noe "
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
-"The New York Times published the piece. In it, I proposed a simple fix: "
-"Fifty years after a work has been published, the copyright owner would be "
-"required to register the work and pay a small fee. If he paid the fee, he "
-"got the benefit of the full term of copyright. If he did not, the work "
-"passed into the public domain."
+"<citetitle>The New York Times</citetitle> published the piece. In it, I "
+"proposed a simple fix: Fifty years after a work has been published, the "
+"copyright owner would be required to register the work and pay a small fee. "
+"If he paid the fee, he got the benefit of the full term of copyright. If he "
+"did not, the work passed into the public domain."
msgstr ""
"new york times publisert arb. i den, jeg foreslått en enkel Fiks: femti år "
"etter at et arbeid er publisert, eieren av opphavsretten ville være "
msgstr ""
"eller en annen to navn. for avhengig av ditt perspektiv, dette er enten "
"\"public domain forbedring act\" eller den \"copyright begrepet "
-"dereguleringen act.\" Uansett, essensen av ideen er klar og tydelig: fjerne "
+"dereguleringen act.\" Uansett, essensen av idéen er klar og tydelig: fjerne "
"copyright der det gjør ingenting bortsett fra blokkerer tilgang og spredning "
"av kunnskap. La det for så lenge Kongressen tillater for disse arbeider der "
"er verdt minst $1. men for alt annet, kan du la til innhold gå."
"there is no real difference between Democrats and Republicans on this issue. "
"Anyone can recognize the stupid harm of the present system."
msgstr ""
-"reaksjon på denne ideen var utrolig sterk. Steve forbes vedtok det i en "
+"reaksjon på denne idéen var utrolig sterk. Steve forbes vedtok det i en "
"redaksjonell. Jeg mottok en skred av e-post og brev som uttrykker støtte. "
"Når du fokuserer problemet på tapt kreativitet, kan folk se opphavsretten "
"til systemet gir ingen mening. som en god republikansk kan si, komme her "
"books published in the United Kingdom must be deposited in the British "
"Library. The German Copyright Act provides for a Registrar of Authors where "
"the author's true name can be filed in the case of anonymous or pseudonymous "
-"works. Paul Goldstein, International Intellectual Property Law, Cases and "
-"Materials (New York: Foundation Press, 2001), 153–54."
+"works. Paul Goldstein, <citetitle>International Intellectual Property Law, "
+"Cases and Materials</citetitle> (New York: Foundation Press, 2001), "
+"153–54."
msgstr ""
"før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett "
"lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med "
"to require copyright terms of life plus fifty years, as well as the "
"abolition of copyright formalities. The formalities were hated because the "
"stories of inadvertent loss were increasingly common. It was as if a Charles "
-"Dickens character ran all copyright offices, and the failure to dot an i or "
-"cross a t resulted in the loss of widows' only income."
+"Dickens character ran all copyright offices, and the failure to dot an "
+"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the "
+"loss of widows' only income."
msgstr ""
"kampen mot formaliteter oppnådde sin første virkelige seier i berlin i 1908. "
"internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til å "
"eiendommen eier, men de byrdene produserer et mye bedre system av "
"beskyttelse for egenskapen generelt."
-#. PAGE BREAK 259
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"And like a car, there's no way to buy and sell creative property with "
"confidence unless there is some simple way to authenticate who is the author "
"and what rights he has. Simple transactions are destroyed in a world without "
-"formalities. Complex, expensive, lawyer transactions take their place."
+"formalities. Complex, expensive, <emphasis>lawyer</emphasis> transactions "
+"take their place. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"på samme måte er det spesielle fysikk som gjør formaliteter viktig i lov om "
"opphavsrett. i motsetning til en snekker tabell er det ingenting i naturen "
"burden on the creative process. If the only way a library can offer an "
"Internet exhibit about the New Deal is to hire a lawyer to clear the rights "
"to every image and sound, then the copyright system is burdening creativity "
-"in a way that has never been seen before because there are no formalities."
+"in a way that has never been seen before <emphasis>because there are no "
+"formalities</emphasis>."
msgstr ""
"men nå som opphavsrett kan være omtrent et århundre lang, manglende evne til "
"å vite hva er beskyttet og hva er ikke beskyttet blir en stor og åpenbare "
"completely agree that the Copyright Office has done a terrible job (no doubt "
"because they are terribly funded) in enabling simple and cheap "
"registrations. Any real solution to the problem of formalities must address "
-"the real problem of governments standing at the core of any system of "
-"formalities. In this book, I offer such a solution. That solution "
-"essentially remakes the Copyright Office. For now, assume it was Amazon that "
-"ran the registration system. Assume it was one-click registration. The "
-"Eldred Act would propose a simple, one-click registration fifty years after "
-"a work was published. Based upon historical data, that system would move up "
-"to 98 percent of commercial work, commercial work that no longer had a "
-"commercial life, into the public domain within fifty years. What do you "
-"think?"
+"the real problem of <emphasis>governments</emphasis> standing at the core of "
+"any system of formalities. In this book, I offer such a solution. That "
+"solution essentially remakes the Copyright Office. For now, assume it was "
+"Amazon that ran the registration system. Assume it was one-click "
+"registration. The Eldred Act would propose a simple, one-click registration "
+"fifty years after a work was published. Based upon historical data, that "
+"system would move up to 98 percent of commercial work, commercial work that "
+"no longer had a commercial life, into the public domain within fifty years. "
+"What do you think?"
msgstr ""
"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nå er "
"grufult. Jeg helt enig at opphavsrettkontoret har gjort en dårlig jobb "
"willing to introduce the Eldred Act. And I had a few who directly suggested "
"that they might be willing to take the first step."
msgstr ""
-"Da Steve Forbes støttet ideen, begynte enkelte i Washington å følge med. "
+"Da Steve Forbes støttet idéen, begynte enkelte i Washington å følge med. "
"Mange kontaktet meg med tips til representanter som kan være villig til å "
"introdusere en Eldred-lov. og jeg hadde noen få som foreslo direkte at de "
"kan være villige til å ta det første skrittet."
+#. type: Content of: <book><chapter><sect1><para><indexterm><primary>
+msgid "Lofgren, Zoe"
+msgstr "Lofgren, Zoe"
+
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"One representative, Zoe Lofgren of California, went so far as to get the "
"imposed the simplest requirement upon copyright owners possible. In May "
"2003, it looked as if the bill would be introduced. On May 16, I posted on "
"the Eldred Act blog, \"we are close.\" There was a general reaction in the "
-"blog community that something good might happen here."
+"blog community that something good might happen here. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"En representant, Zoe Lofgren fra California, gikk så langt som å få "
"lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal "
"lov. Det påla de enklest mulige forutsetninger på innehaverne av "
"opphavsretter. I mai 2003 så det ut som om loven skulle være introdusert. "
"16. mai, postet jeg på Eldred Act-bloggen, \"vi er nære\". Det oppstod en "
-"generell reaksjon i blogg-samfunnet om at noe godt kanne skje her."
+"generell reaksjon i blogg-samfunnet om at noe godt kunne skje her. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"With very little effort, the warriors could protect their content. So the "
"effort to block something like the Eldred Act is not really about protecting "
-"their content. The effort to block the Eldred Act is an effort to assure "
-"that nothing more passes into the public domain. It is another step to "
-"assure that the public domain will never compete, that there will be no use "
-"of content that is not commercially controlled, and that there will be no "
-"commercial use of content that doesn't require their permission first."
+"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an "
+"effort to assure that nothing more passes into the public domain. It is "
+"another step to assure that the public domain will never compete, that there "
+"will be no use of content that is not commercially controlled, and that "
+"there will be no commercial use of content that doesn't require "
+"<emphasis>their</emphasis> permission first."
msgstr ""
"med svært liten innsats, kunne warriors beskytte deres innhold. så innsatsen "
"for å blokkere noe som eldred loven er ikke virkelig om å beskytte sitt "
"The opposition to the Eldred Act reveals how extreme the other side is. The "
"most powerful and sexy and well loved of lobbies really has as its aim not "
"the protection of \"property\" but the rejection of a tradition. Their aim "
-"is not simply to protect what is theirs. Their aim is to assure that all "
-"there is is what is theirs."
+"is not simply to protect what is theirs. <emphasis>Their aim is to assure "
+"that all there is is what is theirs</emphasis>."
msgstr ""
"motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. "
"mektigste og sexy og godt elsket av lobbies virkelig har som målet ikke "
"only 230,000 of the 6 million who need drugs in the developing world receive "
"them—and half of them are in Brazil."
msgstr ""
+"Commission on Intellectual Property Rights, \"Final Report: Integrating "
+"Intellectual Property Rights and Development Policy\" (London, 2002), "
+"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</"
+"ulink>. I følge en pressemelding fra verdens helseorganisasjon sendt ut 9. "
+"juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i "
+"utviklingsland dem de trenger—og halvparten av dem er i Brasil."
#. type: Content of: <book><chapter><para>
msgid ""
msgstr "Braithwaite, John"
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns "
+#| "the Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder "
+#| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgid ""
-"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
-"Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder type="
-"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"See Peter Drahos with John Braithwaite, Information Feudalism: "
+"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New "
+"Press, 2003), 37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
+"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Se Peter Drahos og John Braithwaite, Information Feudalism: Who Owns the "
"Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder type="
#. f3.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
-"International Intellectual Property Institute (IIPI), Patent Protection and "
-"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared "
-"for the World Intellectual Property Organization (Washington, D.C., 2000), "
-"14, available at <ulink url=\"http://free-culture.cc/notes/\">link #56</"
-"ulink>. For a firsthand account of the struggle over South Africa, see "
-"Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human "
-"Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. "
-"No. 106-126 (22 July 1999), 150–57 (statement of James Love)."
+"International Intellectual Property Institute (IIPI), <citetitle>Patent "
+"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
+"Report Prepared for the World Intellectual Property Organization</citetitle> "
+"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture."
+"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over "
+"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug "
+"Policy, and Human Resources, House Committee on Government Reform, H. Rep., "
+"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James "
+"Love)."
msgstr ""
#. f4.
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "International Intellectual Property Institute (IIPI), Patent Protection "
+#| "and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report "
+#| "Prepared for the World Intellectual Property Organization (Washington, D."
+#| "C., 2000), 15."
msgid ""
-"International Intellectual Property Institute (IIPI), Patent Protection and "
-"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared "
-"for the World Intellectual Property Organization (Washington, D.C., 2000), "
-"15."
+"International Intellectual Property Institute (IIPI), <citetitle>Patent "
+"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
+"Report Prepared for the World Intellectual Property Organization</citetitle> "
+"(Washington, D.C., 2000), 15."
msgstr ""
"International Intellectual Property Institute (IIPI), Patent Protection and "
"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en rapport "
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at "
-"Odds with Firms' Profit Motive,\" San Francisco Chronicle, 24 May 1999, A1, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #57</ulink> "
-"(\"compulsory licenses and gray markets pose a threat to the entire system "
-"of intellectual property protection\"); Robert Weissman, \"AIDS and "
-"Developing Countries: Democratizing Access to Essential Medicines,\" Foreign "
-"Policy in Focus 4:23 (August 1999), available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #58</ulink> (describing U.S. policy); John A. "
-"Harrelson, \"TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding "
-"the Proper Balance Between Intellectual Property Rights and Compassion, a "
-"Synopsis,\" Widener Law Symposium Journal (Spring 2001): 175."
+"Odds with Firms' Profit Motive,\" <citetitle>San Francisco Chronicle</"
+"citetitle>, 24 May 1999, A1, available at <ulink url=\"http://free-culture."
+"cc/notes/\">link #57</ulink> (\"compulsory licenses and gray markets pose a "
+"threat to the entire system of intellectual property protection\"); Robert "
+"Weissman, \"AIDS and Developing Countries: Democratizing Access to Essential "
+"Medicines,\" <citetitle>Foreign Policy in Focus</citetitle> 4:23 (August "
+"1999), available at <ulink url=\"http://free-culture.cc/notes/\">link #58</"
+"ulink> (describing U.S. policy); John A. Harrelson, \"TRIPS, Pharmaceutical "
+"Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between "
+"Intellectual Property Rights and Compassion, a Synopsis,\" "
+"<citetitle>Widener Law Symposium Journal</citetitle> (Spring 2001): 175."
msgstr ""
#. type: Content of: <book><chapter><para>
#. PAGE BREAK 268
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"A different problem, however, could not be overcome. This is the fear of the "
"grandstanding politician who would call the presidents of the drug companies "
"die. And that rational strategy thus becomes framed in terms of this "
"ideal—the sanctity of an idea called \"intellectual property.\""
msgstr ""
-"Et annet problem er derimot ikke enkelt å løse. Det er frykten for at en "
-"politiker som skal vise seg og kaller inn lederne hos medisinprodusentene "
-"til høring i senatet eller overhuset og spør, \"hvordan har det seg at du "
-"kan selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille "
-"koster en amerikansker $1500?\" fordi ingen har et \"kjapt svar\" på det "
-"spørsmålet, effekten ville være å indusere regulering av priser i Amerika. "
-"stoffet selskaper dermed unngå denne spiral ved å unngå det første trinnet. "
-"de forsterke ideen om at egenskapen skal være hellig. de vedta en rasjonell "
-"strategi i en irrasjonell kontekst, med de utilsiktede konsekvensene som "
-"kanskje millioner dø. og at rasjonell strategi dermed ramme når det gjelder "
-"dette ideelle—sanctity av en idé som kalles \"immaterielle.\""
+"Et annet problem kan derimot ikke løses. Det er frykten for at en politiker "
+"som skal vise seg og kaller inn lederne hos medisinprodusentene til høring i "
+"senatet eller representantenes hus og spør, \"hvordan har det seg at du kan "
+"selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille koster "
+"en amerikansker $1500?\" Da det ikke finnes et \"kjapt svar\" på det "
+"spørsmålet, ville effekten bli regulering av priser i Amerika. "
+"Medisinprodusentene unngård dermed denne spiralen ved å sikre at det første "
+"steget ikke tas. De forsterker idéen om at eierrettigheter skal være "
+"ukrenkelige. De legger seg på en rasjonell strategi i en irrasjonell "
+"omgivelse, med den utilsiktede konsekvens at kanskje millioner dør. Og den "
+"rasjonelle strategien rammes dermed inn ved hjel av dette ideal—"
+"helligheten til en idé som kalles \"immaterielle rettigheter\"."
#. type: Content of: <book><chapter><para>
msgid ""
"kritiske blikket som hjelper oss til å se forkjellen mellom sannhet og "
"ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vår "
"tradisjon, hersker nå i vår kultur—sært, og med konsekvenser mer "
-"alvorlig for spredningen av ideer og kultur enn nesten enhver annen politisk "
-"enkeltavgjørelse vi som demokrati kan fatte. En enkel ide blender oss, og "
+"alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk "
+"enkeltavgjørelse vi som demokrati kan fatte. En enkel idé blender oss, og "
"under dekke av mørket skjer mye som de fleste av oss ville avvist hvis vi "
-"hadde fulgt med. Så ukritisk aksepterer vi ideen om eierskap til ideer at "
+"hadde fulgt med. Så ukritisk aksepterer vi idéen om eierskap til idéer at "
"vi ikke engang legger merke til hvor uhyrlig det er å nekte tilgang til "
-"ideer for et folk som dør uten dem. Så ukritisk aksepterer vi ideen om "
+"idéer for et folk som dør uten dem. Så ukritisk aksepterer vi idéen om "
"eiendom til kulturen at vi ikke engang stiller spørsmål ved når kontrollen "
"over denne eiendommen fjerner vår evne, som folk, til å utvikle vår kultur "
"demokratisk. Blindhet blir vår sunne fornuft, og utfordringen for enhver "
msgstr ""
"Så langt sover sunn fornuft. Det er intet opprør. Sunn fornuft ser ennå "
"ikke hva det er å gjøre opprør mot. Ekstremismen som nå domunerer denne "
-"debatten resonerer med ideer som virker naturlige, og resonansen er "
+"debatten resonerer med idéer som virker naturlige, og resonansen er "
"forsterket av våre moderne RCA-ene. De fører en frenetisk krig for å "
"bekjempe \"piratvirksomhet\" og knuser kreativitetskultur. De forsvarer "
-"ideen om \"kreativt eierskap\", mens de endrer ekte skapere til moderne "
-"leilendinger. De blir fornermet av ideen om at rettigheter skulle være "
+"idéen om \"kreativt eierskap\", mens de endrer ekte skapere til moderne "
+"leilendinger. De blir fornermet av idéen om at rettigheter skulle være "
"balanserte, selv om hver av hovedaktørene i denne innholdskrigen selv hadde "
"fordeler av et mer balansert ideal. Hykleriet rår. Men i en by som "
"Washington blir ikke hykleriet en gang lakt merke til. Mektige lobbyister, "
#. f6.
#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, August "
-"2003, E1, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#59</ulink>; William New, \"Global Group's Shift on `Open Source' Meeting "
-"Spurs Stir,\" National Journal's Technology Daily, 19 August 2003, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; William "
-"New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" National "
-"Journal's Technology Daily, 19 August 2003, available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #61</ulink>."
+#, fuzzy
+#| msgid ""
+#| "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, "
+#| "August 2003, E1, available at <ulink url=\"http://free-culture.cc/notes/"
+#| "\">link #59</ulink>; William New, \"Global Group's Shift on `Open Source' "
+#| "Meeting Spurs Stir,\" National Journal's Technology Daily, 19 August "
+#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #60</"
+#| "ulink>; William New, \"U.S. Official Opposes `Open Source' Talks at WIPO,"
+#| "\" National Journal's Technology Daily, 19 August 2003, available at "
+#| "<ulink url=\"http://free-culture.cc/notes/\">link #61</ulink>."
+msgid ""
+"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington "
+"Post</citetitle>, August 2003, E1, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #59</ulink>; William New, \"Global Group's Shift on "
+"`Open Source' Meeting Spurs Stir,\" <citetitle>National Journal's Technology "
+"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #60</ulink>; William New, \"U.S. Official Opposes "
+"`Open Source' Talks at WIPO,\" <citetitle>National Journal's Technology "
+"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #61</ulink>."
msgstr ""
"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, august "
"2003, E1, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
"National Journal's Technology Daily, 19. august 2003, tilgjengelig fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #61</ulink>."
-#. PAGE BREAK 270
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "PLoS (Public Library of Science)"
+msgstr ""
+
#. type: Content of: <book><chapter><para>
msgid ""
"In August 2003, a fight broke out in the United States about a decision by "
"Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, "
"Novartis, Pfizer, and Searle.) It included the Global Positioning System, "
"which Ronald Reagan set free in the early 1980s. And it included \"open "
-"source and free software.\""
-msgstr ""
+"source and free software.\" <placeholder type=\"indexterm\" id=\"1\"/>"
+msgstr ""
+"I august 2003 brøt en kamp ut i USA om en avgjørelse fra World Intellectual "
+"Property Organiation om å avlyse et møte.<placeholder type=\"footnote\" id="
+"\"0\"/> På forespørsel fra en lang rekke med interresenter hadde WIPO "
+"bestemt å avholde et møte for å diskutere \"åpne og sammarbeidende "
+"prosjekter for å skape goder for felleskapet\". Disse prosjektene som hadde "
+"lyktes i å produsere goder for fellesskapet uten å basere seg eksklusivt på "
+"bruken av proprietære immaterielle rettigheter. Eksempler inkluderer "
+"internettet og verdensveven, begge som ble utviklet på grunnlag av "
+"protokoller i allemannseie. Det hadde med en begynnende trend for å støtte "
+"åpne akademiske tidsskrifter, og inkluderte Public Library of Science-"
+"prosjektet som jeg beskriver i etterordet. Det inkluderte et prosjekt for a "
+"utvikle enkeltnukleotidforskjeller (SNPs), som er antatt å få stor betydning "
+"i biomedisinsk forskning. (Dette ideelle prosjektet besto av et konsortium "
+"av Wellcome Trust og farmasøytiske og teknologiske selskaper, inkludert "
+"Amersham Biosciences, AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, "
+"Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, og "
+"Searle.) Det inkluderte Globalt posisjonssystem (GPS) som Ronald Reagen "
+"frigjorde tidlig på 1980-tallet. Og det inkluderte \"åpen kildekode og fri "
+"programvare\". <placeholder type=\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><chapter><para>
msgid ""
"discussion, since WIPO is the preeminent international body dealing with "
"intellectual property issues."
msgstr ""
+"Dermed var, fra perspektivet i denne boken, denne konferansen ideell."
+"<placeholder type=\"footnote\" id=\"0\"/> Prosjektene innenfor temaet var "
+"både kommersielle og ikkekommersielle verker. De involverte i hovedsak "
+"vitenskapet, men fra mange perspektiver. Og WIPO var et ideelt sted for "
+"denne diskusjonen, siden WIPO var den fremstående internasjonale aktør som "
+"drev med immaterielle rettighetsspørsmål."
#. PAGE BREAK 271
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Indeed, I was once publicly scolded for not recognizing this fact about "
"WIPO. In February 2003, I delivered a keynote address to a preparatory "
"much intellectual property is needed, since in my view, the very idea of "
"balance in intellectual property had been lost."
msgstr ""
-"faktisk var jeg en gang offentlig scolded for ikke å kjenne igjen dette "
-"faktum om wipo. i februar 2003 leveres jeg en keynote-adressen til en "
-"forberedende konferanse for toppmøtet i verden på informasjonssamfunnet "
-"(wsis). på en pressekonferanse før adressen, ble jeg spurt hva jeg vil si. "
-"Jeg svarte at jeg skulle snakke litt om betydningen av balanse i "
-"immaterielle for utviklingen av en informasjonssamfunn. moderator for "
-"hendelsen deretter umiddelbart avbrutt for å informere meg og sammensatte "
-"journalister at ingen tvil om immaterielle vil bli diskutert av wsis, siden "
-"disse spørsmålene var at et eksklusivt domene av wipo. i talk at jeg hadde "
-"forberedt, hadde jeg faktisk gjorde saken av åndsverk som er relativt små. "
-"men etter denne forbløffende erklæringen, jeg gjorde immaterielle eneste "
-"fokus på mitt snakk. Det var ikke mulig å snakke om en "
-"\"informasjonssamfunnet\", med mindre en også snakket om omfanget av "
-"informasjon og kultur som vil være gratis. min snakk gjorde ikke min "
-"immoderate moderator veldig glad. og hun var uten tvil riktig at omfanget av "
-"beskyttelse av intellektuell eiendom var vanligvis ting av wipo. men etter "
-"min mening, det kunne ikke være for mye av en samtale om hvor mye "
-"immaterielle er nødvendig, siden etter mitt syn er selve ideen om balanse i "
-"immaterielle hadde gått tapt."
+"Faktisk fikk jeg en gang offentlig kjeft for å ikke anerkjenne dette faktum "
+"om WIPO. I februar 2003 leverte jeg et hovedinnlegg på en forberedende "
+"konferanse for World Summit on the Information Society (WSIS). På en "
+"pressekonferanse før innlegget, ble jeg spurt hva jeg skulle snakke om. Jeg "
+"svarte at jeg skulle snakke litt om viktigheten av balanse rundt "
+"immaterielle verdier for utviklingen av informasjonssamfunnet. Ordstyreren "
+"på arrangementet avbrøt meg da brått for å informere meg og journalistene "
+"tilstede at ingen spørsmål rundt immaterielle verdier ville bli diskutert av "
+"WSIS, da slike spørsmål kun skulle diskuteres i WIPO. I innlegget jeg hadde "
+"forberedt var temaet om immaterielle verdier en forholdvis liten del av det "
+"hele. Men etter denne forbløffende uttalelsen, gjorde jeg immaterielle "
+"verdier til hovedfokus for mitt innlegg. Det var ikke mulig å snakke om et "
+"\"informasjonssamfunn\" uten at en også snakket om andelen av informasjon og "
+"kultur som ikke er vernet av opphavsretten. Mitt innlegg gjorde ikke min "
+"overivrige moderator veldig glad. Og hun hadde uten tvil rett i at omfanget "
+"til vern av immaterielle rettigheter normalt hørte inn under WIPO. Men "
+"etter mitt syn, kunne det ikke bli for mye diskusjon om hvor mye "
+"immaterielle rettigheter som trengs, siden etter mitt syn, hadde selve ideen "
+"om en balanse rundt immaterielle rettigheter hadde gått tapt."
#. type: Content of: <book><chapter><para>
msgid ""
#. f8.
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Microsoft's position about free and open source software is more "
+#| "sophisticated. As it has repeatedly asserted, it has no problem with "
+#| "\"open source\" software or software in the public domain. Microsoft's "
+#| "principal opposition is to \"free software\" licensed under a \"copyleft"
+#| "\" license, meaning a license that requires the licensee to adopt the "
+#| "same terms on any derivative work. See Bradford L. Smith, \"The Future of "
+#| "Software: Enabling the Marketplace to Decide,\" Government Policy Toward "
+#| "Open Source Software (Washington, D.C.: AEI-Brookings Joint Center for "
+#| "Regulatory Studies, American Enterprise Institute for Public Policy "
+#| "Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/"
+#| "notes/\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice "
+#| "president, The Commercial Software Model, discussion at New York "
+#| "University Stern School of Business (3 May 2001), available at <ulink url="
+#| "\"http://free-culture.cc/notes/\">link #63</ulink>."
msgid ""
"Microsoft's position about free and open source software is more "
"sophisticated. As it has repeatedly asserted, it has no problem with \"open "
"opposition is to \"free software\" licensed under a \"copyleft\" license, "
"meaning a license that requires the licensee to adopt the same terms on any "
"derivative work. See Bradford L. Smith, \"The Future of Software: Enabling "
-"the Marketplace to Decide,\" Government Policy Toward Open Source Software "
-"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, "
-"American Enterprise Institute for Public Policy Research, 2002), 69, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. "
-"See also Craig Mundie, Microsoft senior vice president, The Commercial "
-"Software Model, discussion at New York University Stern School of Business "
-"(3 May 2001), available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#63</ulink>."
-msgstr ""
+"the Marketplace to Decide,\" <citetitle>Government Policy Toward Open Source "
+"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for "
+"Regulatory Studies, American Enterprise Institute for Public Policy "
+"Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice president, "
+"<citetitle>The Commercial Software Model</citetitle>, discussion at New York "
+"University Stern School of Business (3 May 2001), available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #63</ulink>."
+msgstr ""
+"Microsofts posisjon om åpen kildekode og fri programvare er mer "
+"sofistikert. De har flere ganger forklart at de har ikke noe problem med "
+"programvare som er \"åpen kildekode\" eller programvare som er "
+"allemannseie. Microsofts prinsipielle motstand er mot \"fri programvare\" "
+"lisensiert med en \"copyleft\"-lisens, som betyr at lisensen krever at de "
+"som lisensierer skal adoptere same vilkår for ethvert avledet verk. Se "
+"Bradford L. Smith, \"The Future of Software: Enabling the Marketplace to "
+"Decide,\" Government Policy Toward Open Source Software (Washington, D.C.: "
+"AEI-Brookings Joint Center for Regulatory Studies, American Enterprise "
+"Institute for Public Policy Research, 2002), 69, tilgjengelig fra <ulink url="
+"\"http://free-culture.cc/notes/\">link #62</ulink>. Se også Craig Mundie, "
+"Microsoft senior vice president, The Commercial Software Model, diskusjon "
+"ved New York University Stern School of Business (3. mai 2001), tilgjengelig "
+"fra <ulink url=\"http://free-culture.cc/notes/\">link #63</ulink>."
#. type: Content of: <book><chapter><para>
msgid ""
"entities. It is, instead, to support a mode of software development that is "
"different from Microsoft's.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
+"Jeg mener ikke å gå inn i den debatten her. Det er viktig kun for å gjøre "
+"det klart at skillet ikke er mellom kommersiell og ikke-kommersiell "
+"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av "
+"fri programvare, der IBM er den mest fremtredende. IBM har i stadig større "
+"grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berømte "
+"biten av \"fri programvare\"—og IBM er helt klart en kommernsiell "
+"aktør. Dermed er det å støtte \"fri programvare\" ikke å motsette seg "
+"kommersielle aktører. Det er i stedet å støtte en måte å drive "
+"programvareutvikling som er forskjellig fra Microsofts.<placeholder type="
+"\"footnote\" id=\"0\"/>"
#. PAGE BREAK 272
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"More important for our purposes, to support \"open source and free software"
"\" is not to oppose copyright. \"Open source and free software\" is not "
"impose the same kind of requirements on its adopters. It thus depends upon "
"copyright law just as Microsoft does."
msgstr ""
-"Mer viktig for vårt formål, er at å støtte \"åpen kildekode og fri "
-"programvare\" ikke er å motsette seg opphavsrett. \"åpen kildekode og fri "
-"programvare\" er ikke programvare i allemanseie. I stedet, som med "
-"Microsofts programvare, insisterer opphavsrettsinnehaverne av fri og åpen "
-"kildekode-programvare ganske sterkt at vilkårene i deres programvarelisens "
-"respekteres av de som tar i bruk fri og åpen kilde-programvare. Vilkårene i "
-"slike lisenser er helt klart forskjellige fra vilkårene i en proprietær "
-"programvarelisens. Fri programvare lisensiert under den generelle "
-"offentlige lisensen (GPL), krever for eksempel at kildekoden for "
-"programvaren gjøres tilgjengelig av alle som endrer og redistribuerer "
-"programvaren. men at kravet er effektivt bare hvis copyright styrer "
-"programvare. Hvis copyright ikke styre programvare, kan deretter fri "
-"programvare ikke pålegge samme type krav på sin adoptert. det dermed "
-"avhenger lov om opphavsrett på samme måte som microsoft."
+"Mer viktig for våre formål, er at å støtte \"åpen kildekode og fri "
+"programvare\" ikke er å motsette seg opphasvrett. \"Åpen kildekode og fri "
+"programvare\" er ikke programvare uten opphavsrettslig vern. Istedet, på "
+"samme måte som programvare fra Microsoft, insisterer opphavsrettsinnehaverne "
+"av fri programvare ganske sterkt at vilkårene i deres programvarelisens blir "
+"respektert av de som tar i bruk fri programvare. Vilkårene i den lisensen "
+"er uten tvil forskjellig fra vilkårene i en proprietær programvarelisens. "
+"For eksempel krever fri programvare lisensiert med den generelle offentlige "
+"lisensen (GPL), at kildekoden for programvare gjøres tilgjengelig for alle "
+"som endrer og redistribuerer programvaren. Men dette kravet er kun "
+"effektivt hvis opphavsrett råder over programvare. Hvis opphavsretten ikke "
+"råder over programvare, så kunne ikke fri programvare pålegge slike krav på "
+"de som tar i bruk programvaren. Den er dermed like avhengig av "
+"opphavsrettsloven som Microsoft."
#. f9.
#. type: Content of: <book><chapter><para><footnote><para>
"\"http://free-culture.cc/notes/\">link #64</ulink>."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "It is therefore understandable that as a proprietary software developer, "
+#| "Microsoft would oppose this WIPO meeting, and understandable that it "
+#| "would use its lobbyists to get the United States government to oppose it, "
+#| "as well. And indeed, that is just what was reported to have happened. "
+#| "According to Jonathan Krim of the Washington Post, Microsoft's lobbyists "
+#| "succeeded in getting the United States government to veto the meeting."
+#| "<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, the "
+#| "meeting was canceled."
msgid ""
"It is therefore understandable that as a proprietary software developer, "
"Microsoft would oppose this WIPO meeting, and understandable that it would "
"use its lobbyists to get the United States government to oppose it, as well. "
"And indeed, that is just what was reported to have happened. According to "
-"Jonathan Krim of the Washington Post, Microsoft's lobbyists succeeded in "
-"getting the United States government to veto the meeting.<placeholder type="
-"\"footnote\" id=\"0\"/> And without U.S. backing, the meeting was canceled."
+"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's "
+"lobbyists succeeded in getting the United States government to veto the "
+"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, "
+"the meeting was canceled."
msgstr ""
"Det er dermed forståelig at Microsoft, som utviklere av proprietær "
"programvare, gikk imot et slikt WIPO-møte, og like fullt forståelig at de "
"utfordringer rundt immaterielle rettigheter."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Second, who ever said that WIPO's exclusive aim was to \"promote\" "
"intellectual property maximally? As I had been scolded at the preparatory "
"it have been better if the protocols of the Internet had been patented?"
msgstr ""
"For det andre, hvem har noen gang hevdet at WIPOs eksklusive mål var å "
-"\"fremme\" immaterielle maksimalt? som jeg hadde vært scolded på "
-"forberedende konferansen av WSIS, WIPO er å vurdere hvordan man best kan "
-"beskytte åndsverk, men også hva beste balanse av åndsverk. som alle økonom "
-"og advokat vet, er det vanskelige spørsmålet i lovgivning for immaterielle å "
-"finne denne balansen. men at det bør være grensene er, jeg hadde tenkt, "
-"ubestridt. man ønsker å spørre ms. Boland, er generiske legemidler "
-"(legemidler basert på narkotika med patent har utløpt) i strid med wipo-"
-"oppdrag? allemannseie svekke immaterielle? ville det ha vært bedre hvis "
-"protokoller av Internett hadde vært patenterte?"
+"\"fremme\" immaterielle rettigheter maksimalt? Som jeg fikk kjeft om på den "
+"forberedende konferansen til WSIS, skal WIPO vurdere ikke bare hvordan best "
+"beskytte immaterielle rettigheter, men også hva som er den beste balansen "
+"rundt immaterielle rettigheter. Som enhver økonom og advokat vet, er det "
+"vanskelige spørsmålet i immaterielle rettighetsjuss å finne den balansen. "
+"Men at det skulle være en grense, trodde jeg, var ubestridt. Man ønsker å "
+"spørre Ms. boland om generelle medisiner (medisiner basert på medisiner med "
+"patenter som er utløpt) i strid med WIPOs oppdrag? Svekker allemannseie "
+"immaterielle rettigheter? Ville det vært bedre om internettets protokoller "
+"hadde vært patentert?"
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Third, even if one believed that the purpose of WIPO was to maximize "
+#| "intellectual property rights, in our tradition, intellectual property "
+#| "rights are held by individuals and corporations. They get to decide what "
+#| "to do with those rights because, again, they are their rights. If they "
+#| "want to \"waive\" or \"disclaim\" their rights, that is, within our "
+#| "tradition, totally appropriate. When Bill Gates gives away more than $20 "
+#| "billion to do good in the world, that is not inconsistent with the "
+#| "objectives of the property system. That is, on the contrary, just what a "
+#| "property system is supposed to be about: giving individuals the right to "
+#| "decide what to do with their property. <placeholder type=\"indexterm\" "
+#| "id=\"0\"/>"
msgid ""
"Third, even if one believed that the purpose of WIPO was to maximize "
"intellectual property rights, in our tradition, intellectual property rights "
"are held by individuals and corporations. They get to decide what to do with "
-"those rights because, again, they are their rights. If they want to \"waive"
-"\" or \"disclaim\" their rights, that is, within our tradition, totally "
-"appropriate. When Bill Gates gives away more than $20 billion to do good in "
-"the world, that is not inconsistent with the objectives of the property "
-"system. That is, on the contrary, just what a property system is supposed to "
-"be about: giving individuals the right to decide what to do with their "
-"property."
-msgstr ""
-"tredje, selv om en antatt at hensikten med wipo var å maksimere immaterielle "
-"rettigheter, i vår tradisjon, immaterielle rettigheter er holdt av individer "
-"og selskaper. de kommer til å bestemme hva de skal gjøre med disse "
-"rettighetene fordi, igjen, de er deres rettigheter. Hvis de ønsker å "
-"\"frafalle\" eller \"fraskriver\" deres rettigheter, det vil si at innen vår "
-"tradisjon, helt riktig. Når bill gates gir bort mer enn $20 milliarder til å "
-"gjøre godt i verden, det er ikke uforenlig med målene for egenskapen "
-"systemet. det vil si tvert imot, bare hva et egenskapen system er ment for å "
-"være om: å gi enkeltpersoner retten til å avgjøre hva å gjøre med deres "
-"eiendom."
+"those rights because, again, they are <emphasis>their</emphasis> rights. If "
+"they want to \"waive\" or \"disclaim\" their rights, that is, within our "
+"tradition, totally appropriate. When Bill Gates gives away more than $20 "
+"billion to do good in the world, that is not inconsistent with the "
+"objectives of the property system. That is, on the contrary, just what a "
+"property system is supposed to be about: giving individuals the right to "
+"decide what to do with <emphasis>their</emphasis> property. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
+msgstr ""
+"For det tredje, selv om en tror at formålet med WIPO var å maksimere "
+"immaterielle rettigheter, så innehas immaterielle rettigheter, i vår "
+"tradisjon, av individer og selskaper. De får bestemme hva som skal gjøres "
+"med disse rettighetene, igjen fordi det er de som eier rettigetene. Hvis de "
+"ønsker å \"frafalle\" eller \"frasi\" seg sine rettigheter, så er det helt "
+"etter boka i vår tradisjon. Når Bill Gates gir bort mer enn $20 milliarder "
+"til gode formål, så er ikke det uforenelig med målene til eiendomssystemet. "
+"Det er heller tvert i mot, akkurat hva eiendomssysstemet er ment å oppnå, at "
+"individer har retten til å bestemme hva de vil gjøre med sin eiendom. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
#. PAGE BREAK 274
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"When Ms. Boland says that there is something wrong with a meeting \"which "
"has as its purpose to disclaim or waive such rights,\" she's saying that "
"property rights be maximized, but that they also should be exercised in the "
"most extreme and restrictive way possible."
msgstr ""
-"Når MS boland sier at det er noe galt med et møte \"som har som sitt formål "
-"å fraskriver seg eller frafalle slike rettigheter, sier hun sier at wipo har "
-"en interesse i forstyrre valgene av enkeltpersoner som selv immaterielle "
-"rettigheter. at noe wipo's målet bør være å stoppe en person fra \"waiving\" "
-"eller \"fraskrivelser\" en eiendomsrett. at interesse av wipo ikke er bare "
-"at immaterielle rettigheter er maksimert, men at de også kan vere mest "
-"ekstreme og restriktiv mulig."
+"Når Ms. Boland sier at det er noe galt med et møte \"som har som sitt formål "
+"å fraskrive eller frafalle slike rettigheter\", så sier hun at WIPO har en "
+"interesse i å påvirke valgene til enkeltpersoner som eier immaterielle "
+"rettigheter. At på en eller annen WIPOs oppdrag bør være å stoppe individer "
+"fra å \"frakrive\" eller \"frafalle\" seg sine immaterielle rettigheter. At "
+"interessen til WIPO ikke bare er maksimale immaterielle rettigheter, men "
+"også at de skal utøves på den mest ekstreme og restriktive mulig måten."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"There is a history of just such a property system that is well known in the "
"Anglo-American tradition. It is called \"feudalism.\" Under feudalism, not "
"depended upon maximum control and concentration. It fought any freedom that "
"might interfere with that control."
msgstr ""
-"Det er en historie om bare slikt egenskapen system som er godt kjent i anglo-"
-"amerikanske tradisjonen. Det kalles \"føydalisme.\" under føydalisme, ikke "
-"bare var egenskapen holdt av et relativt lite antall individer og entiteter. "
-"og ikke bare var de samme rettighetene som kjørte med egenskapen kraftig og "
-"omfattende. men føydale systemet hadde en sterk interesse for å sikre at "
-"eiendom holders i dette systemet ikke svekke føydalisme av frigjørende "
-"personer eller egenskapen innenfor deres kontroll til det frie markedet. "
-"Føydalisme depended upon maksimal kontroll og konsentrasjon. det kjempet "
-"noen friheten som kan forstyrre denne kontrollen."
+"Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den "
+"anglo-amerikansk tradisjon. Det kalles \"føydalisme\". Under føydalismen "
+"var eiendommer ikke bare kontrollert av et relativt lite antall individer og "
+"aktører. Men det føydale systemet hadde en sterk interesse i å sikre at "
+"landeier i systemet ikke svekke føydalismen ved å frigjøre folkene og "
+"eiendomene som de kontrollerte til det frie markedet. Føydalismen var "
+"avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet "
+"som kunne forstyrre denne kontrollen."
#. type: Content of: <book><chapter><para><footnote><para>
-#, mtrans, fuzzy
-#| msgid "See Drahos with Braithwaite, Information Feudalism, 210–20."
+#, fuzzy
+#| msgid ""
+#| "See Drahos with Braithwaite, Information Feudalism, 210–20. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"See Drahos with Braithwaite, Information Feudalism, 210–20. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr "Se Drahos og Braithwaite, Information Feudalism, 210–20."
+"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
+"210–20. <placeholder type=\"indexterm\" id=\"0\"/>"
+msgstr ""
+"Se Drahos og Braithwaite, Information Feudalism, 210–20. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "As Peter Drahos and John Braithwaite relate, this is precisely the choice "
+#| "we are now making about intellectual property.<placeholder type=\"footnote"
+#| "\" id=\"0\"/> We will have an information society. That much is certain. "
+#| "Our only choice now is whether that information society will be free or "
+#| "feudal. The trend is toward the feudal."
msgid ""
"As Peter Drahos and John Braithwaite relate, this is precisely the choice we "
"are now making about intellectual property.<placeholder type=\"footnote\" id="
"\"0\"/> We will have an information society. That much is certain. Our only "
-"choice now is whether that information society will be free or feudal. The "
-"trend is toward the feudal."
+"choice now is whether that information society will be <emphasis>free</"
+"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal."
msgstr ""
+"Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget "
+"vi nå gjør om immaterielle rettigheter.<placeholder type=\"footnote\" id="
+"\"0\"/> Vi kommer til å få et informasjonssamfunn. Så mye er sikkert. Vårt "
+"eneste valg nå er hvorvidt dette informasjonssamfunnet skal være fritt eller "
+"føydalt. Trenden er mot det føydale."
#. type: Content of: <book><chapter><para>
msgid ""
"En må alltid være oppmerksom på forskjellen mellom Lessigs og vår verden."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"I missed the irony the first time I read it. I read it quickly and thought "
"the poster was supporting the idea that seeking balance was what our "
"only illusion apparently is about whether our government should speak the "
"truth or not.)"
msgstr ""
-"Jeg gikk glipp av ironien først gangen jeg leste den. jeg lese det raskt og "
-"trodde plakaten var støtter ideen om at søker balansen var hva vår regjering "
-"bør gjøre. (selvfølgelig, min kritikk av ms. Boland var ikke om om hun var "
-"søker balansen eller ikke; min kritikk var at hennes kommentarer forrådt en "
-"første året law student-feil. Jeg har noen illusjon om ekstremisme av vår "
-"regjering om republikaner eller demokrat. min eneste illusjon angivelig er "
-"om om vår regjering bør snakke sannheten eller ikke.)"
+"Jeg gikk glipp av ironien først gangen jeg leste den. Jeg lese den raskt og "
+"trodde forfatteren støttet idéen om at det våre myndigheter burde gjøre var "
+"å søke balanse. (Min kritikk av Ms Boland, selvfølgelig, var ikke om "
+"hvorvidt hun søkte balanse eller ikke; min kritikk var at hennes kommentarer "
+"avslørte en feil kun en førsteårs jussstudent burde kunne gjøre. Jeg har "
+"noen illusjon om ekstremismen hos våre myndigheter, uansett om de er "
+"republikanere eller demokrater. Min eneste tilsynelatende illusjon er "
+"hvorvidt våre myndigheter bør snakke sant eller ikke.)"
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"Obviously, however, the poster was not supporting that idea. Instead, the "
"poster was ridiculing the very idea that in the real world, the \"goal\" of "
"believed, my own silly utopianism. \"Typical for an academic,\" the poster "
"might well have continued."
msgstr ""
-"åpenbart, men plakaten var ikke støtter at ideen. i stedet, plakaten var "
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-"tydeligvis dum til ham. og det åpenbart forrådt, han mente, min egen dum "
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+"Det var dermot åpenbart at den som postet meldingen ikke støttet idéen. I "
+"stedet latterliggjorde forfatteren selve idéen om at i den virkelig verden "
+"skulle \"målet\" til myndighetene være \"å fremme den riktige balanse\" for "
+"immaterielle rettigheter. Det var åpenbart tåpelig for ham. Og det "
+"avslørte åpenbart, trodde han, min egen tåpelige utopisme. \"Typisk for en "
+"akademiker\", kunne forfatteren like gjerne ha fortsatt."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"I understand criticism of academic utopianism. I think utopianism is silly, "
"too, and I'd be the first to poke fun at the absurdly unrealistic ideals of "
"academics throughout history (and not just in our own country's history)."
msgstr ""
-"Jeg forstår kritikk av akademisk utopianism. Jeg tror utopianism er dum, "
-"også, og jeg vil være først til å rote det gøy på absurd urealistisk idealer "
-"akademikere gjennom historien (og ikke bare i vårt eget land historie)."
+"Jeg forstår kritikken av akademisk utopisme. Jeg mener også at utopisme er "
+"tåpelig, og jeg vil være blant de første til å gjøre narr av de aburde "
+"urealisistiske idealer til akademikere gjennom historien (og ikke bare i "
+"vårt eget lands historie)."
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"But when it has become silly to suppose that the role of our government "
"should be to \"seek balance,\" then count me with the silly, for that means "
"the government that it speak truth and not lies is just naïve, then who "
"have we, the most powerful democracy in the world, become?"
msgstr ""
-"men når det har blitt dum å anta at rollen som vår regjering bør være å "
-"\"søke balanse\", deretter teller meg med dum, for det betyr at dette har "
-"blitt ganske alvorlig faktisk. Hvis det skal være klart for alle at "
-"regjeringen ikke søker balanse, at regjeringen er ganske enkelt de mektigste "
-"lobbyister verktøyet, at ideen om å holde regjeringen å en annen standard er "
-"absurd, at ideen om krevende av regjeringen at det taler sannheten og ikke "
-"løgn er bare naiv, og som har vi, det mektigste demokratiet i verden, bli?"
+"Men når det har blitt dumt å anta at rollen til våre myndigheter bør være å "
+"\"oppnå balanse\", da kan du regne meg blant de dumme, for det betyr at "
+"dette faktisk har blitt ganske seriøst. Hvis det bør være åpenbart for alle "
+"at myndighetene ikke søker å oppnå balanse, at myndighetene ganske enkelt et "
+"verktøy for de mektigste lobbyistene, at ideen om å forvente bedre av "
+"myndighetene er absurd, at ideen om å kreve at myndighetene snakker sant og "
+"ikke lyver bare er naiv, hva har da vi, det mektigste demokratiet i verden, "
+"blitt?"
#. PAGE BREAK 276
#. type: Content of: <book><chapter><para>
"for å bevare en tradisjon som har vært en del av vår tradisjon for "
"mesteparten av vår historie—fri kultur."
+#. type: Content of: <book><chapter><para><indexterm><primary>
+msgid "Turner, Ted"
+msgstr "Turner, Ted"
+
#. type: Content of: <book><chapter><para>
msgid ""
"If this is crazy, then let there be more crazies. Soon. There are moments "
"interests as diverse as the NRA, the ACLU, Moveon.org, William Safire, Ted "
"Turner, and CodePink Women for Peace organized to oppose this change in FCC "
"policy. An astonishing 700,000 letters were sent to the FCC, demanding more "
-"hearings and a different result."
+"hearings and a different result. <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Hvis dette er galskap, så la det være mer gærninger. Snart. Det finnes "
"øyeblikk av håp i denne kampen. Og øyeblikk som overrasker. Da FCC vurderte "
"organiserte interesser så forskjellige som NRA, ACLU, moveon.org, William "
"Safire, Ted Turner og Codepink Women for Piece seg for å protestere på denne "
"endringen i FCC-reglene. Så mange som 700 000 brev ble sendt til FCC med "
-"krav om flere høringer og et annet resultat."
+"krav om flere høringer og et annet resultat. <placeholder type=\"indexterm"
+"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><chapter><para>
msgid ""
"til endringer i opphavsretten. Det er ikke kun at det er noen mektige "
"selskaper som styrer en stadig voksende andel av mediene. Det er at denne "
"konsentrasjonen kan påkalle en like oppsvulmet rekke rettigheter—"
-"eiendomsrettigheter i en historisk ekstrem form—som gjør deres storhet "
+"eiendomsrettigheter i en historisk ekstrem form—som gjør størrelsen "
"ille."
#. type: Content of: <book><chapter><para>
"exercised within this tradition anymore."
msgstr ""
"Det ville vært noe nytt, og noe veldig viktig, hvis like mange kan være med "
-"på en kampanje for å bekjempe økende ekstremisme bygget inn i ideen om "
+"på en kampanje for å bekjempe økende ekstremisme bygget inn i idéen om "
"\"intellektuell eiendom\". Ikke fordi balanse er fremmed for vår tradisjon. "
"Jeg agumenterer for at balanse er vår tradisjon. Men fordi evnen til å "
"tenke kritisk på omfanget av alt som kalles \"eiendom\" ikke er lenger er "
#. f11.
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September "
+#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</"
+#| "ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 "
+#| "September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+#| "\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, "
+#| "\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New "
+#| "York Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits "
+#| "Meet Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. "
+#| "Among Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, "
+#| "\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, "
+#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #67</"
+#| "ulink>."
msgid ""
"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September "
"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</"
"ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 "
"September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, "
+"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" "
+"<citetitle>New York Daily News</citetitle>, 9 September 2003, 3; Frank "
+"Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in Calif., "
+"12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington Post</"
+"citetitle>, 10 September 2003, E1; Katie Dean, \"Schoolgirl Settles with "
+"RIAA,\" <citetitle>Wired News</citetitle>, 10 September 2003, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."
+msgstr ""
+"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, september "
+"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
+"#65</ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, "
+"8 september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
+"\">link #66</ulink>; Soni Sangha og Phyllis Furman sammen med Robert Gearty, "
"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New York "
-"Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet "
+"Daily News, 9. september 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet "
"Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among "
-"Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, "
-"\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."
-msgstr ""
+"Defendants,\" Washington Post, 10. september 2003, E1; Katie Dean, "
+"\"Schoolgirl Settles with RIAA,\" Wired News, 10. september 2003, "
+"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #67</"
+"ulink>."
#. f12.
#. type: Content of: <book><chapter><para><footnote><para>
#. PAGE BREAK 280
#. type: Content of: <book><chapter><para>
-#, mtrans, fuzzy
msgid ""
"At least some who have read this far will agree with me that something must "
"be done to change where we are heading. The balance of this book maps what "
"might be done."
msgstr ""
-"minst noen som har lest dette langt vil være enig med meg at noe må gjøres "
-"hvis du vil endre hvor vi er på vei. saldoen på denne boken tilordner hva "
-"kan gjøres."
+"I hvert fall noen av de som har lest helt hit vil være enig med meg om at "
+"noe må gjøres for å endre retningen vi holder. Balansen i denne boken "
+"kartlegger hva som kan gjøres."
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
"kan gjøre for å sikre bedre en fri kultur."
#. type: Content of: <book><chapter><sect1><title>
-#, mtrans, fuzzy
msgid "US, NOW"
-msgstr "oss nå"
+msgstr "Oss, nå"
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"gjenopprette et sett med andre friheter som vi bare kunne ta for gitt før."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Rebuilding Freedoms Previously Presumed: Examples"
-msgstr "å gjenoppbygge friheter tidligere antatt: eksempler"
+msgstr "Gjenoppbygging av friheter som tidligere var antatt: Eksempler"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See, for example, Marc Rotenberg, \"Fair Information Practices and the "
-"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law "
-"Review 1 (2001): par. 6–18, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #72</ulink> (describing examples in which "
-"technology defines privacy policy). See also Jeffrey Rosen, The Naked Crowd: "
-"Reclaiming Security and Freedom in an Anxious Age (New York: Random House, "
-"2004) (mapping tradeoffs between technology and privacy)."
+"Architecture of Privacy (What Larry Doesn't Get),\" <citetitle>Stanford "
+"Technology Law Review</citetitle> 1 (2001): par. 6–18, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing "
+"examples in which technology defines privacy policy). See also Jeffrey "
+"Rosen, <citetitle>The Naked Crowd: Reclaiming Security and Freedom in an "
+"Anxious Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs "
+"between technology and privacy)."
msgstr ""
#. PAGE BREAK 284
"Således, som med personvern og med programvare, en skiftende teknologi og "
"markedet forminske en frihet tatt for gitt før."
-#. PAGE BREAK 287
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"peer review. If accepted, the work is then deposited in a public, electronic "
"archive and made permanently available for free. PLoS also sells a print "
"version of its work, but the copyright for the print journal does not "
-"inhibit the right of anyone to redistribute the work for free."
+"inhibit the right of anyone to redistribute the work for free. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Denne krympende friheten har ført mange å ta bekreftende trinnene for å "
"gjenopprette frihet som har gått tapt. public library of science (plos), for "
"bidrar til å spre kunnskap og vitenskap."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "Rebuilding Free Culture: One Idea"
-msgstr "å gjenoppbygge fri kultur: en idé"
+msgstr "Gjenoppbyggeing av fri kultur: En idé"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Enter the Creative Commons. The Creative Commons is a nonprofit corporation "
"established in Massachusetts, but with its home at Stanford University. Its "
-"aim is to build a layer of reasonable copyright on top of the extremes that "
-"now reign. It does this by making it easy for people to build upon other "
-"people's work, by making it simple for creators to express the freedom for "
-"others to take and build upon their work. Simple tags, tied to human-"
-"readable descriptions, tied to bulletproof licenses, make this possible."
+"aim is to build a layer of <emphasis>reasonable</emphasis> copyright on top "
+"of the extremes that now reign. It does this by making it easy for people to "
+"build upon other people's work, by making it simple for creators to express "
+"the freedom for others to take and build upon their work. Simple tags, tied "
+"to human-readable descriptions, tied to bulletproof licenses, make this "
+"possible."
msgstr ""
"Angi creative commons. creative commons er et nonprofit selskap etablert i "
"massachusetts, men med sitt hjem ved stanford university. Målet er å bygge "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"Simple—which means without a middleman, or without a lawyer. By "
-"developing a free set of licenses that people can attach to their content, "
-"Creative Commons aims to mark a range of content that can easily, and "
-"reliably, be built upon. These tags are then linked to machine-readable "
-"versions of the license that enable computers automatically to identify "
-"content that can easily be shared. These three expressions together—a "
-"legal license, a human-readable description, and machine-readable tags—"
-"constitute a Creative Commons license. A Creative Commons license "
-"constitutes a grant of freedom to anyone who accesses the license, and more "
-"importantly, an expression of the ideal that the person associated with the "
-"license believes in something different than the \"All\" or \"No\" extremes. "
-"Content is marked with the CC mark, which does not mean that copyright is "
-"waived, but that certain freedoms are given."
+"<emphasis>Simple</emphasis>—which means without a middleman, or "
+"without a lawyer. By developing a free set of licenses that people can "
+"attach to their content, Creative Commons aims to mark a range of content "
+"that can easily, and reliably, be built upon. These tags are then linked to "
+"machine-readable versions of the license that enable computers automatically "
+"to identify content that can easily be shared. These three expressions "
+"together—a legal license, a human-readable description, and machine-"
+"readable tags—constitute a Creative Commons license. A Creative "
+"Commons license constitutes a grant of freedom to anyone who accesses the "
+"license, and more importantly, an expression of the ideal that the person "
+"associated with the license believes in something different than the \"All\" "
+"or \"No\" extremes. Content is marked with the CC mark, which does not mean "
+"that copyright is waived, but that certain freedoms are given."
msgstr ""
"enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved å "
"utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, "
"enkeltpersoner og skaperne vil gjøre dette innholdet tilgjengelig. og at "
"innholdet i sin tur kan vi bygge et offentlig-domene."
-#. PAGE BREAK 289
+#. type: Content of: <book><chapter><sect1><sect2><para><indexterm><primary>
+msgid "Garlick, Mia"
+msgstr "Garlick, Mia"
+
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"movement of consumers and producers of content (\"content conducers,\" as "
"attorney Mia Garlick calls them) who help build the public domain and, by "
"their work, demonstrate the importance of the public domain to other "
-"creativity."
+"creativity. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Dette er bare ett prosjekt blant mange innenfor creative commons. og "
"selvfølgelig, creative commons er ikke den eneste organisasjonen å forfølge "
msgid ""
"Why would creators participate in giving up total control? Some participate "
"to better spread their content. Cory Doctorow, for example, is a science "
-"fiction author. His first novel, Down and Out in the Magic Kingdom, was "
-"released on-line and for free, under a Creative Commons license, on the same "
-"day that it went on sale in bookstores."
+"fiction author. His first novel, <citetitle>Down and Out in the Magic "
+"Kingdom</citetitle>, was released on-line and for free, under a Creative "
+"Commons license, on the same day that it went on sale in bookstores."
msgstr ""
"Hvorfor ville skaperne delta i å gi opp full kontroll? noen delta for å "
"bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-"
"bad-(1)s. Some part of (2) will download Cory's book, like it, and then "
"decide to buy it. Call them (2)-goods. If there are more (2)-goods than bad-"
"(1)s, the strategy of releasing Cory's book free on-line will probably "
-"increase sales of Cory's book."
+"<emphasis>increase</emphasis> sales of Cory's book."
msgstr ""
"Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at "
"hans publisher begrunnet som dette: det finnes to grupper av mennesker der "
msgid ""
"The idea that free content might increase the value of nonfree content was "
"confirmed by the experience of another author. Peter Wayner, who wrote a "
-"book about the free software movement titled Free for All, made an "
-"electronic version of his book free on-line under a Creative Commons license "
-"after the book went out of print. He then monitored used book store prices "
-"for the book. As predicted, as the number of downloads increased, the used "
-"book price for his book increased, as well."
+"book about the free software movement titled <citetitle>Free for All</"
+"citetitle>, made an electronic version of his book free on-line under a "
+"Creative Commons license after the book went out of print. He then monitored "
+"used book store prices for the book. As predicted, as the number of "
+"downloads increased, the used book price for his book increased, as well."
msgstr ""
-"ideen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av "
+"idéen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av "
"opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri "
"programvare-bevegelsen med tittelen gratis for alle, en elektronisk versjon "
"av sin bok gratis on-line under en creative commons-lisens etter at boken "
#. f2.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"Willful Infringement: A Report from the Front Lines of the Real Culture Wars "
-"(2003), produced by Jed Horovitz, directed by Greg Hittelman, a Fiat Lucre "
-"production, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#72</ulink>."
+"<citetitle>Willful Infringement: A Report from the Front Lines of the Real "
+"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg "
+"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #72</ulink>."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"noncommercial purposes, to sample content from the licensed work; they are "
"just not free to make full copies of the licensed work available to others. "
"This is consistent with their own art—they, too, sample from others. "
-"Because the legal costs of sampling are so high (Walter Leaphart, manager of "
-"the rap group Public Enemy, which was born sampling the music of others, has "
-"stated that he does not \"allow\" Public Enemy to sample anymore, because "
-"the legal costs are so high<placeholder type=\"footnote\" id=\"0\"/>), these "
-"artists release into the creative environment content that others can build "
-"upon, so that their form of creativity might grow."
+"Because the <emphasis>legal</emphasis> costs of sampling are so high (Walter "
+"Leaphart, manager of the rap group Public Enemy, which was born sampling the "
+"music of others, has stated that he does not \"allow\" Public Enemy to "
+"sample anymore, because the legal costs are so high<placeholder type="
+"\"footnote\" id=\"0\"/>), these artists release into the creative "
+"environment content that others can build upon, so that their form of "
+"creativity might grow."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
"at vi tror forskjellen, aktiverer kreativitet å spre lettere."
#. type: Content of: <book><chapter><sect1><title>
-#, mtrans, fuzzy
msgid "THEM, SOON"
-msgstr "dem snart"
+msgstr "Dem, snart"
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgstr ""
"Vi vil ikke gjenvinne en fri kultur av handling alene. det vil også ta "
"viktige reformer av lover. Vi har en lang vei å gå før politikerne vil lytte "
-"til disse ideene og implementere disse reformene. men det betyr også at vi "
+"til disse idéene og implementere disse reformene. men det betyr også at vi "
"har tid til å bygge opp bevisstheten rundt endringene som vi trenger."
#. type: Content of: <book><chapter><sect1><para>
"til vår side."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "1. More Formalities"
-msgstr "1. mer formaliteter"
+msgstr "1. Flere formaliteter"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
"records, there is no system to trace— there is no simple way to know "
"how to get permission. Yet given the massive increase in the scope of "
"copyright's rule, getting permission is a necessary step for any work that "
-"builds upon our past. And thus, the lack of formalities forces many into "
-"silence where they otherwise could speak."
+"builds upon our past. And thus, the <emphasis>lack</emphasis> of formalities "
+"forces many into silence where they otherwise could speak."
msgstr ""
"men Internett endrer alt dette. formaliteter trenger i dag ikke være en "
"byrde. verden uten formaliteter er heller verden som byrder kreativitet. i "
"by other countries as well."
msgstr ""
"forslaget jeg er fremme her ville gjelde american Works bare. Selvfølgelig, "
-"jeg tror det vil være fordelaktig for samme ideen om å bli vedtatt av andre "
+"jeg tror det vil være fordelaktig for samme idéen om å bli vedtatt av andre "
"land også."
#. type: Content of: <book><chapter><sect1><sect2><para>
"prosessen, unntatt for formålet å godkjenne standarder utviklet av andre."
#. type: Content of: <book><chapter><sect1><sect2><sect3><title>
-#, mtrans, fuzzy
msgid "REGISTRATION AND RENEWAL"
-msgstr "registrering og fornyelse"
+msgstr "Registrering og fornying"
#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, fuzzy
"minimere byrden av registrering; det hadde også få insentiver til å minimere "
"gebyret. og så opphavsrett kontoret ikke er hovedmålet for regjeringen "
"policymaking, kontoret har historisk sett vært veldig underfunded. Således, "
-"når folk som vet noe om prosessen hører denne ideen om formaliteter, deres "
+"når folk som vet noe om prosessen hører denne idéen om formaliteter, deres "
"første reaksjon er panikk—ingenting kunne være verre enn tvinge folk "
"til å håndtere rotet som er copyright kontoret."
"som ville forenkler lisensiering av innhold."
#. type: Content of: <book><chapter><sect1><sect2><sect3><title>
-#, mtrans, fuzzy
msgid "MARKING"
-msgstr "merking"
+msgstr "Merking"
#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, fuzzy
"marking CDs, it would propose that to the Copyright Office. The Copyright "
"Office would hold a hearing, at which other proposals could be made. The "
"Copyright Office would then select the proposal that it judged preferable, "
-"and it would base that choice solely upon the consideration of which method "
-"could best be integrated into the registration and renewal system. We would "
-"not count on the government to innovate; but we would count on the "
-"government to keep the product of innovation in line with its other "
-"important functions."
+"and it would base that choice <emphasis>solely</emphasis> upon the "
+"consideration of which method could best be integrated into the registration "
+"and renewal system. We would not count on the government to innovate; but we "
+"would count on the government to keep the product of innovation in line with "
+"its other important functions."
msgstr ""
"for eksempel hvis en recording industry association devises en metode for å "
"merke CDer, ville det foreslå som til opphavsrett kontoret. opphavsrett "
"påstanden på riktig tidspunkt."
#. type: Content of: <book><chapter><sect1><sect2><title>
-#, mtrans, fuzzy
msgid "2. Shorter Terms"
-msgstr "2. kortere vilkår"
+msgstr "2. Kortere vernetid"
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
#. f3.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, "
+#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #74</"
+#| "ulink>."
msgid ""
-"\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #74</ulink>."
+"\"A Radical Rethink,\" <citetitle>Economist</citetitle>, 366:8308 (25 "
+"January 2003): 15, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #74</ulink>."
msgstr ""
+"\"A Radical Rethink,\" Economist, 366:8308 (25. januar 2003): 15, "
+"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #74</"
+"ulink>."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
-"In The Future of Ideas, I proposed a seventy-five-year term, granted in five-"
-"year increments with a requirement of renewal every five years. That seemed "
-"radical enough at the time. But after we lost Eldred v. Ashcroft, the "
-"proposals became even more radical. The Economist endorsed a proposal for a "
-"fourteen-year copyright term.<placeholder type=\"footnote\" id=\"0\"/> "
-"Others have proposed tying the term to the term for patents."
+"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-"
+"year term, granted in five-year increments with a requirement of renewal "
+"every five years. That seemed radical enough at the time. But after we lost "
+"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the "
+"proposals became even more radical. <citetitle>The Economist</citetitle> "
+"endorsed a proposal for a fourteen-year copyright term.<placeholder type="
+"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for "
+"patents."
msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><para>
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
-"Keep it short: The term should be as long as necessary to give incentives to "
-"create, but no longer. If it were tied to very strong protections for "
-"authors (so authors were able to reclaim rights from publishers), rights to "
-"the same work (not derivative works) might be extended further. The key is "
-"not to tie the work up with legal regulations when it no longer benefits an "
-"author."
+"<emphasis>Keep it short:</emphasis> The term should be as long as necessary "
+"to give incentives to create, but no longer. If it were tied to very strong "
+"protections for authors (so authors were able to reclaim rights from "
+"publishers), rights to the same work (not derivative works) might be "
+"extended further. The key is not to tie the work up with legal regulations "
+"when it no longer benefits an author."
msgstr ""
"holde det kort: begrepet skal være så lenge som nødvendig for å gi "
"insentiver til å opprette, men ikke lenger. Hvis det var knyttet til veldig "
#. PAGE BREAK 298
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, fuzzy
-msgid ""
-"Keep it simple: The line between the public domain and protected content "
-"must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the "
-"distinction between \"ideas\" and \"expression.\" That kind of law gives "
-"them lots of work. But our framers had a simpler idea in mind: protected "
-"versus unprotected. The value of short terms is that there is little need "
-"to build exceptions into copyright when the term itself is kept short. A "
-"clear and active \"lawyer-free zone\" makes the complexities of \"fair use\" "
-"and \"idea/expression\" less necessary to navigate."
-msgstr ""
-"Gjør det enkelt: Skillet mellom allmannseie og beskyttet innhold må holdes "
-"klart. Advokater liker uklarheten til \"rimelig bruk\" og forskjellen "
-"mellom \"ideer\" og \"uttrykk\". Denne type lovverk gir dem masse arbeide. "
-"Men de som skrev grunnloven hadde en enklere ide: beskyttet versus "
-"ubeskyttet. Verdien av korte vernetider er at det er lite behov for å bygge "
-"inn unntak i opphavsretten når vernetiden holdes kort. En klar og aktiv "
-"\"advokat-fri sone\" gjør komplesiteten av \"rimelig bruk\" og \"ide/uttrykk"
-"\" mindre nødvendig å navigere."
+#| msgid ""
+#| "Keep it simple: The line between the public domain and protected content "
+#| "must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the "
+#| "distinction between \"ideas\" and \"expression.\" That kind of law gives "
+#| "them lots of work. But our framers had a simpler idea in mind: protected "
+#| "versus unprotected. The value of short terms is that there is little "
+#| "need to build exceptions into copyright when the term itself is kept "
+#| "short. A clear and active \"lawyer-free zone\" makes the complexities of "
+#| "\"fair use\" and \"idea/expression\" less necessary to navigate."
+msgid ""
+"<emphasis>Keep it simple:</emphasis> The line between the public domain and "
+"protected content must be kept clear. Lawyers like the fuzziness of \"fair "
+"use,\" and the distinction between \"ideas\" and \"expression.\" That kind "
+"of law gives them lots of work. But our framers had a simpler idea in mind: "
+"protected versus unprotected. The value of short terms is that there is "
+"little need to build exceptions into copyright when the term itself is kept "
+"short. A clear and active \"lawyer-free zone\" makes the complexities of "
+"\"fair use\" and \"idea/expression\" less necessary to navigate."
+msgstr ""
+"Gjør det enkelt: Skillelinjen mellom verker uten opphavsrettslig vern og "
+"innhold som er beskyttet må forbli klart. Advokater liker uklarheten som "
+"\"rimelig bruk\" og forskjellen mellom \"idéer\" og \"uttrykk\" har. Denne "
+"type lovverk gir dem en masse arbeid. Men de som skrev grunnloven hadde en "
+"enklere idé: vernet versus ikke vernet. Verdien av korte vernetider er at "
+"det er lite behov for å bygge inn unntak i opphavsretten når vernetiden "
+"holdes kort. En klar og aktiv \"advokat-fri sone\" gjør komplesiteten av "
+"\"rimelig bruk\" og \"idé/uttrykk\" mindre nødvendig å håndtere."
#. f4.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><footnote><para>
"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #75</ulink>."
msgstr ""
+"Department of Veterans Affairs, Veteran's Application for Compensation and/"
+"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra "
+"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>."
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><indexterm><primary>
+msgid "veterans' pensions"
+msgstr ""
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
msgid ""
-"Keep it alive: Copyright should have to be renewed. Especially if the "
-"maximum term is long, the copyright owner should be required to signal "
-"periodically that he wants the protection continued. This need not be an "
-"onerous burden, but there is no reason this monopoly protection has to be "
-"granted for free. On average, it takes ninety minutes for a veteran to apply "
-"for a pension.<placeholder type=\"footnote\" id=\"0\"/> If we make veterans "
-"suffer that burden, I don't see why we couldn't require authors to spend ten "
-"minutes every fifty years to file a single form."
+"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. "
+"Especially if the maximum term is long, the copyright owner should be "
+"required to signal periodically that he wants the protection continued. This "
+"need not be an onerous burden, but there is no reason this monopoly "
+"protection has to be granted for free. On average, it takes ninety minutes "
+"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/"
+"> If we make veterans suffer that burden, I don't see why we couldn't "
+"require authors to spend ten minutes every fifty years to file a single "
+"form. <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. (4)
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
-"Keep it prospective: Whatever the term of copyright should be, the clearest "
-"lesson that economists teach is that a term once given should not be "
-"extended. It might have been a mistake in 1923 for the law to offer authors "
-"only a fifty-six-year term. I don't think so, but it's possible. If it was a "
-"mistake, then the consequence was that we got fewer authors to create in "
-"1923 than we otherwise would have. But we can't correct that mistake today "
-"by increasing the term. No matter what we do today, we will not increase the "
-"number of authors who wrote in 1923. Of course, we can increase the reward "
-"that those who write now get (or alternatively, increase the copyright "
-"burden that smothers many works that are today invisible). But increasing "
-"their reward will not increase their creativity in 1923. What's not done is "
-"not done, and there's nothing we can do about that now."
+"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright "
+"should be, the clearest lesson that economists teach is that a term once "
+"given should not be extended. It might have been a mistake in 1923 for the "
+"law to offer authors only a fifty-six-year term. I don't think so, but it's "
+"possible. If it was a mistake, then the consequence was that we got fewer "
+"authors to create in 1923 than we otherwise would have. But we can't correct "
+"that mistake today by increasing the term. No matter what we do today, we "
+"will not increase the number of authors who wrote in 1923. Of course, we can "
+"increase the reward that those who write now get (or alternatively, increase "
+"the copyright burden that smothers many works that are today invisible). But "
+"increasing their reward will not increase their creativity in 1923. What's "
+"not done is not done, and there's nothing we can do about that now."
msgstr ""
"holde det potensielle: hva begrepet av opphavsrett skal være, klareste "
"lærdommen om at økonomer lære er at en term når gitt ikke bør utvides. Det "
"er ikke gjort er ikke gjort, og det er ingenting vi kan gjøre med det nå."
#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "These changes together should produce an average copyright term that is "
+#| "much shorter than the current term. Until 1976, the average term was just "
+#| "32.2 years. We should be aiming for the same."
msgid ""
-"These changes together should produce an average copyright term that is much "
-"shorter than the current term. Until 1976, the average term was just 32.2 "
-"years. We should be aiming for the same."
+"These changes together should produce an <emphasis>average</emphasis> "
+"copyright term that is much shorter than the current term. Until 1976, the "
+"average term was just 32.2 years. We should be aiming for the same."
msgstr ""
-"Disse endringene vil sammen gi en gjennomsnittlig opphavsrettslig "
-"vernetid som er mye kortere enn den gjeldende vernetiden. Frem til "
-"1976 var gjennomsnittelig vernetid kun 32.2 år. Vårt mål bør være det "
-"samme."
+"Disse endringene vil sammen gi en gjennomsnittlig opphavsrettslig vernetid "
+"som er mye kortere enn den gjeldende vernetiden. Frem til 1976 var "
+"gjennomsnittelig vernetid kun 32.2 år. Vårt mål bør være det samme."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"the term under Richard Nixon. How \"radical\" can it be to ask for a more "
"generous copyright law than Richard Nixon presided over?"
msgstr ""
-"Uten tvil vil ekstremistene kalle disse ideene \"radikale\". (Tross alt, så "
+"Uten tvil vil ekstremistene kalle disse idéene \"radikale\". (Tross alt, så "
"kaller jeg dem \"ekstremister\".) Men igjen, vernetiden jeg anbefalte var "
-"lengre enn vernetiden under Richard Nixon. hvor \"radikalt\" kan det være "
-"å be om en mer sjenerøs opphavsrettighet enn da Richard Nixon var president?"
+"lengre enn vernetiden under Richard Nixon. hvor \"radikalt\" kan det være å "
+"be om en mer sjenerøs opphavsrettighet enn da Richard Nixon var president?"
#. type: Content of: <book><chapter><sect1><sect2><title>
msgid "3. Free Use Vs. Fair Use"
#. f5.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia "
+#| "University Press, 1967), 32."
msgid ""
+"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New "
+"York: Columbia University Press, 1967), 32."
+msgstr ""
"Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia "
"University Press, 1967), 32."
-msgstr ""
-"Benjamin kaplan, en makelige visning av opphavsrett (new york: columbia "
-"university press, 1967), 32."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"de har ikke noen mening som en formløse grant. vurdere hver begrensning "
"igjen."
-#. PAGE BREAK 300
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"Term: If Congress wants to grant a derivative right, then that right should "
-"be for a much shorter term. It makes sense to protect John Grisham's right "
-"to sell the movie rights to his latest novel (or at least I'm willing to "
-"assume it does); but it does not make sense for that right to run for the "
-"same term as the underlying copyright. The derivative right could be "
-"important in inducing creativity; it is not important long after the "
-"creative work is done."
+"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, "
+"then that right should be for a much shorter term. It makes sense to protect "
+"John Grisham's right to sell the movie rights to his latest novel (or at "
+"least I'm willing to assume it does); but it does not make sense for that "
+"right to run for the same term as the underlying copyright. The derivative "
+"right could be important in inducing creativity; it is not important long "
+"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for "
"en mye kortere sikt. Det er fornuftig å beskytte john grisham's rett til å "
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
-"Scope: Likewise should the scope of derivative rights be narrowed. Again, "
-"there are some cases in which derivative rights are important. Those should "
-"be specified. But the law should draw clear lines around regulated and "
-"unregulated uses of copyrighted material. When all \"reuse\" of creative "
-"material was within the control of businesses, perhaps it made sense to "
-"require lawyers to negotiate the lines. It no longer makes sense for lawyers "
-"to negotiate the lines. Think about all the creative possibilities that "
-"digital technologies enable; now imagine pouring molasses into the machines. "
-"That's what this general requirement of permission does to the creative "
-"process. Smothers it."
+"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights "
+"be narrowed. Again, there are some cases in which derivative rights are "
+"important. Those should be specified. But the law should draw clear lines "
+"around regulated and unregulated uses of copyrighted material. When all "
+"\"reuse\" of creative material was within the control of businesses, perhaps "
+"it made sense to require lawyers to negotiate the lines. It no longer makes "
+"sense for lawyers to negotiate the lines. Think about all the creative "
+"possibilities that digital technologies enable; now imagine pouring molasses "
+"into the machines. That's what this general requirement of permission does "
+"to the creative process. Smothers it."
msgstr ""
"område: på samme måte bør omfanget av avledede rettigheter bli innsnevret. "
"igjen, det er noen tilfeller der avledede rettigheter er viktig. de skal "
"her, ville en lovfestet rett gjøre mye mer fornuftig."
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>
-#, mtrans, fuzzy
msgid "Goldstein, Paul"
msgstr "Goldstein, Paul"
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial "
+#| "Jukebox (Stanford: Stanford University Press, 2003), 187–216. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
+"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the "
+"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), "
+"187–216. <placeholder type=\"indexterm\" id=\"0\"/>"
+msgstr ""
"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox "
"(Stanford: Stanford University Press, 2003), 187–216. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Paul goldstein, copyright's highway: fra gutenberg til den himmelske "
-"jukeboksen (stanford: stanford university press, 2003), 187216."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"sjelden får vi service på den hastigheten som er både opp og ned. Selv om "
"trådløs tilgang er økende, få de fleste av oss fortsatt tilgang på tvers av "
"ledninger. de fleste bare få tilgang gjennom en maskin med et tastatur. "
-"ideen om den alltid på, alltid tilkoblet Internett er hovedsakelig bare en "
+"idéen om den alltid på, alltid tilkoblet Internett er hovedsakelig bare en "
"idé."
#. PAGE BREAK 303
"In that world, it will be extremely easy to connect to services that give "
"you access to content on the fly—such as Internet radio, content that "
"is streamed to the user when the user demands. Here, then, is the critical "
-"point: When it is extremely easy to connect to services that give access to "
-"content, it will be easier to connect to services that give you access to "
-"content than it will be to download and store content on the many devices "
-"you will have for playing content. It will be easier, in other words, to "
-"subscribe than it will be to be a database manager, as everyone in the "
-"download-sharing world of Napster-like technologies essentially is. Content "
-"services will compete with content sharing, even if the services charge "
-"money for the content they give access to. Already cell-phone services in "
-"Japan offer music (for a fee) streamed over cell phones (enhanced with plugs "
-"for headphones). The Japanese are paying for this content even though \"free"
-"\" content is available in the form of MP3s across the Web.<placeholder type="
+"point: When it is <emphasis>extremely</emphasis> easy to connect to services "
+"that give access to content, it will be <emphasis>easier</emphasis> to "
+"connect to services that give you access to content than it will be to "
+"download and store content <emphasis>on the many devices you will have for "
+"playing content</emphasis>. It will be easier, in other words, to subscribe "
+"than it will be to be a database manager, as everyone in the download-"
+"sharing world of Napster-like technologies essentially is. Content services "
+"will compete with content sharing, even if the services charge money for the "
+"content they give access to. Already cell-phone services in Japan offer "
+"music (for a fee) streamed over cell phones (enhanced with plugs for "
+"headphones). The Japanese are paying for this content even though \"free\" "
+"content is available in the form of MP3s across the Web.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"lav lovbestemte sats for kommersielle deling av innhold som ikke ble tilbudt "
"for salg av en kommersiell utgiver, og hvis den hastigheten ble automatisk "
"overført til en tillit til fordel for kunstneren, deretter bedrifter kan "
-"utvikle rundt ideen om handel dette innholdet, og kunstnere vil dra nytte av "
+"utvikle rundt idéen om handel dette innholdet, og kunstnere vil dra nytte av "
"denne handelen."
#. type: Content of: <book><chapter><sect1><sect2><para>
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
-"William Fisher, Digital Music: Problems and Possibilities (last revised: 10 "
-"October 2000), available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #77</ulink>; William Fisher, Promises to Keep: Technology, Law, and "
-"the Future of Entertainment (forthcoming) (Stanford: Stanford University "
+"William Fisher, <citetitle>Digital Music: Problems and Possibilities</"
+"citetitle> (last revised: 10 October 2000), available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #77</ulink>; William Fisher, "
+"<citetitle>Promises to Keep: Technology, Law, and the Future of "
+"Entertainment</citetitle> (forthcoming) (Stanford: Stanford University "
"Press, 2004), ch. 6, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #78</ulink>. Professor Netanel has proposed a related idea that "
"would exempt noncommercial sharing from the reach of copyright and would "
"Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. "
"For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" "
-"Washington Post, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman "
-"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate "
-"Foreign Relations Committee, 26 February 2002, available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, A Quick "
-"Case for Intellectual Property Use Fee (IPUF), 3 March 2002, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson "
-"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" USA Today, 13 "
-"May 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#82</ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum "
-"Online, 1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" "
-"CNET News.com, 27 August 2002, available at <ulink url=\"http://free-culture."
-"cc/notes/\">link #84</ulink>. Fisher's proposal is very similar to Richard "
+"<citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip S. "
+"Corwin on behalf of Sharman Networks, A Letter to Senator Joseph R. Biden, "
+"Jr., Chairman of the Senate Foreign Relations Committee, 26 February 2002, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #80</ulink>; "
+"Serguei Osokine, <citetitle>A Quick Case for Intellectual Property Use Fee "
+"(IPUF)</citetitle>, 3 March 2002, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #81</ulink>; Jefferson Graham, \"Kazaa, Verizon "
+"Propose to Pay Artists Directly,\" <citetitle>USA Today</citetitle>, 13 May "
+"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</"
+"ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum Online, "
+"1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" CNET News."
+"com, 27 August 2002, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #84</ulink>. Fisher's proposal is very similar to Richard "
"Stallman's proposal for DAT. Unlike Fisher's, Stallman's proposal would not "
"pay artists directly proportionally, though more popular artists would get "
"more than the less popular. As is typical with Stallman, his proposal "
#, mtrans, fuzzy
msgid ""
"Fisher's proposal is careful and comprehensive. It raises a million "
-"questions, most of which he answers well in his upcoming book, Promises to "
-"Keep. The modification that I would make is relatively simple: Fisher "
-"imagines his proposal replacing the existing copyright system. I imagine it "
-"complementing the existing system. The aim of the proposal would be to "
-"facilitate compensation to the extent that harm could be shown. This "
-"compensation would be temporary, aimed at facilitating a transition between "
-"regimes. And it would require renewal after a period of years. If it "
-"continues to make sense to facilitate free exchange of content, supported "
-"through a taxation system, then it can be continued. If this form of "
-"protection is no longer necessary, then the system could lapse into the old "
-"system of controlling access."
+"questions, most of which he answers well in his upcoming book, "
+"<citetitle>Promises to Keep</citetitle>. The modification that I would make "
+"is relatively simple: Fisher imagines his proposal replacing the existing "
+"copyright system. I imagine it complementing the existing system. The aim "
+"of the proposal would be to facilitate compensation to the extent that harm "
+"could be shown. This compensation would be temporary, aimed at facilitating "
+"a transition between regimes. And it would require renewal after a period of "
+"years. If it continues to make sense to facilitate free exchange of content, "
+"supported through a taxation system, then it can be continued. If this form "
+"of protection is no longer necessary, then the system could lapse into the "
+"old system of controlling access."
msgstr ""
"fisher's forslag er grundige og omfattende. det reiser en million "
"spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. "
"democracy if there were few limitations on what one was allowed to do with "
"the content itself."
msgstr ""
-"Fisher vil balk på ideen om å la systemet synker. hans mål er ikke bare for "
+"Fisher vil balk på idéen om å la systemet synker. hans mål er ikke bare for "
"å sikre at kunstnere er betalt, men også å sikre at systemet støtter en "
"rekke ulike \"semiotic demokrati\" mulig. men målene for semiotic demokrati "
"ville være fornøyd hvis endringene jeg beskrevet ble oppnådd—spesielt "
"Dette konkurranseregimet, med en sikringsmekanisme å sikre at kunstnere ikke "
"taper, ville bidra mye til nyskapning innen levering av innhold. "
"Konkurransen ville fortsette å redusere type-A-deling. Det ville inspirere "
-"en ekstraordinær rekke av nye inovatører—som ville ha retten til a "
-"bruke innhold, og ikke lenger fryke usikre og barbarisk strenge straffer fra "
-"loven."
+"en ekstraordinær rekke av nye innovatører—som ville ha retten til a "
+"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer "
+"fra loven."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid "In summary, then, my proposal is this:"
#. PAGE BREAK 308
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
"The Internet is in transition. We should not be regulating a technology in "
"transition. We should instead be regulating to minimize the harm to "
"interests affected by this technological change, while enabling, and "
"encouraging, the most efficient technology we can create."
msgstr ""
-"Internett er i endring. Vi bør ikke regulerer en teknologi i endring. Vi bør "
-"i stedet regulerer for å minimere skade på interesser som er berørt av denne "
-"teknologiske endringen, samtidig som du gir, og oppmuntre, den mest "
-"effektive teknologien vi kan opprette."
+"Internett er i endring. Vi bør ikke regulere en teknologi i endring. Vi bør "
+"i stedet regulere for å minimere skaden påført interesser som er berørt av "
+"denne teknologiske endringen, samtidig vi muliggjør, og oppmuntrer, den mest "
+"effektive teknologien vi kan lage."
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid "We can minimize that harm while maximizing the benefit to innovation by"
msgstr ""
-"Vi kan minimere den skade samtidig maksimere fordelen til innovasjon av"
+"Vi kan minimere skaden og samtidig maksimere fordelen med innovasjon ved å"
#. 1.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
-#, mtrans, fuzzy
msgid "guaranteeing the right to engage in type D sharing;"
-msgstr "garantere retten til å engasjere seg i type-d dele;"
+msgstr "garantere retten til å engasjere seg i type-D-deling;"
#. 2.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
-#, mtrans, fuzzy
msgid ""
"permitting noncommercial type C sharing without liability, and commercial "
"type C sharing at a low and fixed rate set by statute;"
msgstr ""
-"tillater ikke-kommersiell type c deling uten erstatningsansvar og "
-"kommersielle type c deling med en lav og fast hastighet ved lov;"
+"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og "
+"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov."
#. 3.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
-#, mtrans, fuzzy
msgid ""
"while in this transition, taxing and compensating for type A sharing, to the "
"extent actual harm is demonstrated."
msgstr ""
-"mens du er i denne overgangen, taxing og kompensere for typen en deling, i "
-"grad er faktiske skade vist."
+"mens denne overgangen pågår, skattlegge og kompensere for type-A-deling, i "
+"den grad faktiske skade kan påvises."
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Burde loven gjøre noe da?"
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
+#, fuzzy
+#| msgid ""
+#| "Yes, it should. But, again, what it should do depends upon how the facts "
+#| "develop. These changes may not eliminate type A sharing. But the real "
+#| "issue is not whether it eliminates sharing in the abstract. The real "
+#| "issue is its effect on the market. Is it better (a) to have a technology "
+#| "that is 95 percent secure and produces a market of size x, or (b) to have "
+#| "a technology that is 50 percent secure but produces a market of five "
+#| "times x? Less secure might produce more unauthorized sharing, but it is "
+#| "likely to also produce a much bigger market in authorized sharing. The "
+#| "most important thing is to assure artists' compensation without breaking "
+#| "the Internet. Once that's assured, then it may well be appropriate to "
+#| "find ways to track down the petty pirates."
msgid ""
"Yes, it should. But, again, what it should do depends upon how the facts "
"develop. These changes may not eliminate type A sharing. But the real issue "
"is not whether it eliminates sharing in the abstract. The real issue is its "
"effect on the market. Is it better (a) to have a technology that is 95 "
-"percent secure and produces a market of size x, or (b) to have a technology "
-"that is 50 percent secure but produces a market of five times x? Less secure "
-"might produce more unauthorized sharing, but it is likely to also produce a "
-"much bigger market in authorized sharing. The most important thing is to "
-"assure artists' compensation without breaking the Internet. Once that's "
-"assured, then it may well be appropriate to find ways to track down the "
-"petty pirates."
-msgstr ""
-"Ja, det skal. men igjen, hva det gjør avhenger hvordan fakta utvikle. disse "
-"endringene kan ikke eliminere type en deling. men det virkelige problemet er "
-"ikke om det eliminerer deling i abstrakt. det virkelige problemet er sin "
-"effekt på markedet. er det bedre (a) å ha en teknologi som er 95 prosent "
-"sikker og produserer et marked av størrelse x, eller (b) for å ha en "
-"teknologi som er 50 prosent sikker, men gir et marked av fem ganger x? "
-"mindre sikker kan gi mer uautorisert deling, men det er sannsynlig å "
-"produsere også et mye større marked i autoriserte deling. viktigste er å "
-"sikre kunstneres kompensasjon uten å bryte Internett. Når som er trygg, kan "
-"deretter det godt være riktig å finne måter å spore opp smålig pirates."
+"percent secure and produces a market of size <citetitle>x</citetitle>, or "
+"(b) to have a technology that is 50 percent secure but produces a market of "
+"five times <citetitle>x</citetitle>? Less secure might produce more "
+"unauthorized sharing, but it is likely to also produce a much bigger market "
+"in authorized sharing. The most important thing is to assure artists' "
+"compensation without breaking the Internet. Once that's assured, then it may "
+"well be appropriate to find ways to track down the petty pirates."
+msgstr ""
+"Ja, det bør den. Men, nok en gang, hva den bør gjøre avhenger hvordan "
+"realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-"
+"deling. Men det virkelige spørmålet er ikke om de eliminerer deling i "
+"abstrakt betydning. Det virkelige spørsmålet er hvilken effekt det har på "
+"markedet. Er det bedre (a) å ha en teknologi som er 95 prosent sikker og "
+"gir et marked av størrelse x, eller (b) å ha en teknologi som er 50 prosent "
+"sikker, og som gir et marked som er fem ganger større enn x? Mindre sikker "
+"kan gi mer uautorisert deling, men det vil sannsynligvis også gi et mye "
+"større marked for autorisert deling. Det viktigste er å sikre kunstneres "
+"kompensasjon uten å ødelegge internettet. Når det er på plass, kan det "
+"hende det er riktig å finne måter å spore opp de smålige piratene."
#. PAGE BREAK 309
#. type: Content of: <book><chapter><sect1><sect2><para>
-#, mtrans, fuzzy
msgid ""
"But we're a long way away from whittling the problem down to this subset of "
"type A sharers. And our focus until we're there should not be on finding "
"make sure the artists are paid, while protecting the space for innovation "
"and creativity that the Internet is."
msgstr ""
-"men vi er langt unna whittling problemet ned til dette delsettet av typen en "
-"sharers. og vårt fokus før vi er det bør ikke være på å finne måter å bryte "
-"Internett. vårt fokus før vi er det bør være på hvordan du kontrollerer "
-"kunstnerne er betalt, og beskytter området for innovasjon og kreativitet som "
-"Internett er."
+"Men vi er langt unna å spikke problemet ned til dette delsettet av type-A-"
+"delere. Og vårt fokus inntil er der bør ikke være å finne måter å ødelegge "
+"internettet. Var fokus inntil vi er der bør være hvordan sikre at artister "
+"får betalt, mens vi beskytter rommet for nyskapning og kreativitet som "
+"internettet er."
#. type: Content of: <book><chapter><sect1><sect2><title>
msgid "5. Fire Lots of Lawyers"
#. f10.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
+#| "Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069–70."
msgid ""
"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
-"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069–70."
+"Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, "
+"1069–70."
msgstr ""
"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
"Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069–70."
"copyright, Melville Nimmer, thought it obvious.<placeholder type=\"footnote"
"\" id=\"0\"/>"
msgstr ""
+"Indisiene for slik bøyning er overbevisene. Jeg er angrepet som en \"radikal"
+"\" av mange innenfor yrket, og likevel er meningene jeg argumenterer for "
+"nøyaktig de meningene til mange av de mest moderate og betydningsfulle "
+"personene i historien til denne delen av loven. Mange trodde for eksempel at "
+"vår utfordring til lovforslaget om å utvide opphavsrettens vernetid var "
+"galskap. Mens bare tredve år siden mente den dominerende foreleser og "
+"utøver i opphavsrettsfeltet, Melville Nimmer, at den var åpenbar."
+"<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere "
"om vår manglende evne til å faktisk ta inn over oss hva loven koster."
-#. f11.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "A good example is the work of Professor Stan Liebowitz. Liebowitz is to "
+#| "be commended for his careful review of data about infringement, leading "
+#| "him to question his own publicly stated position—twice. He "
+#| "initially predicted that downloading would substantially harm the "
+#| "industry. He then revised his view in light of the data, and he has since "
+#| "revised his view again. Compare Stan J. Liebowitz, Rethinking the "
+#| "Network Economy: The True Forces That Drive the Digital Marketplace (New "
+#| "York: Amacom, 2002), (reviewing his original view but expressing "
+#| "skepticism) with Stan J. Liebowitz, \"Will MP3s Annihilate the Record "
+#| "Industry?\" working paper, June 2003, available at <ulink url=\"http://"
+#| "free-culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis "
+#| "is extremely valuable in estimating the effect of file-sharing "
+#| "technology. In my view, however, he underestimates the costs of the legal "
+#| "system. See, for example, Rethinking, 174–76. <placeholder type="
+#| "\"indexterm\" id=\"0\"/>"
msgid ""
"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be "
"commended for his careful review of data about infringement, leading him to "
"question his own publicly stated position—twice. He initially "
"predicted that downloading would substantially harm the industry. He then "
"revised his view in light of the data, and he has since revised his view "
-"again. Compare Stan J. Liebowitz, Rethinking the Network Economy: The True "
-"Forces That Drive the Digital Marketplace (New York: Amacom, 2002), "
-"(reviewing his original view but expressing skepticism) with Stan J. "
-"Liebowitz, \"Will MP3s Annihilate the Record Industry?\" working paper, June "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #86</"
-"ulink>. Liebowitz's careful analysis is extremely valuable in estimating "
-"the effect of file-sharing technology. In my view, however, he "
-"underestimates the costs of the legal system. See, for example, Rethinking, "
-"174–76."
+"again. Compare Stan J. Liebowitz, <citetitle>Rethinking the Network "
+"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New "
+"York: Amacom, 2002), (reviewing his original view but expressing skepticism) "
+"with Stan J. Liebowitz, \"Will MP3s Annihilate the Record Industry?\" "
+"working paper, June 2003, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #86</ulink>. Liebowitz's careful analysis is extremely "
+"valuable in estimating the effect of file-sharing technology. In my view, "
+"however, he underestimates the costs of the legal system. See, for example, "
+"<citetitle>Rethinking</citetitle>, 174–76. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
+"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør få "
+"ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til "
+"å stille spørsmål med sin egen uttalte posisjon—to ganger. I starten "
+"predicated han at nedlasting ville påføre industrien vesentlig skade. Han "
+"endret så sitt syn etter i lys av dataene, og han har siden endret sitt syn "
+"på nytt. Sammenlign Stan J. Liebowitz, Rethinking the Network Economy: The "
+"True Forces That Drive the Digital Marketplace (New York: Amacom, 2002), "
+"(gikk igjennom hans originale syn men uttrykte skepsis) med Stan J. "
+"Liebowitz, \"Will MP3s Annihilate the Record Industry?\" artikkelutkast, "
+"juni 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
+"\">link #86</ulink>. Den nøye analysen til Liebowitz er ekstremt verdifull "
+"i sin estimering av effekten av fildelingsteknologi. Etter mitt syn "
+"underestimerer han forøvrig kostnaden til det juridiske system. Se, for "
+"eksempel, Rethinking, 174–76. <placeholder type=\"indexterm\" id="
+"\"0\"/>"
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"work. Yet that careful work costs too much, except in the most high-profile "
"and costly cases."
msgstr ""
-"Disse konstnadene forstyrrer fri kultur pa mange vis. En advokats tid "
+"Disse kostnadene forstyrrer fri kultur på mange vis. En advokats tid "
"faktureres hos de største firmaene for mer enn $400 pr. time. Hvor mye tid "
"bør en slik advokat bruke på å lese sakene nøye, eller undersøke obskure "
"rettskilder. Svaret er i økende grad: svært lite. Jussen er avhengig av "
"teknologi—filmen, musikken, web-siden, bloggen. Eller tenk på de "
"fantastiske tingene ditt fellesskap kunne få til med digital teknologi—"
"en wiki, oppsetting av låve, kampanje til å endre noe. Tenk på alle de "
-"kreative tingene, og tenk deretter på kald sirup heldt inn i maskinene. "
-"Dette er hva et hvert regime som krever tillatelser fører til. Dette er "
+"kreative tingene, og tenk deretter på kald sirup helt inn i maskinene. Dette "
+"er hva et hvert regime som krever tillatelser fører til. Dette er "
"virkeligheten slik den var i Brezhnevs Russland."
#. PAGE BREAK 311
"ustabile. Jeg har forsøkt å motvirke denne ustabiliteten ved å omdirigere "
"lesere til den originale kilden gjennom en nettside som hører til denne "
"boken. For hver lenke under, så kan du gå til http://free-culture.cc/notes "
-"og finne den originale kilden ved å klikke på nummeret etter #-tegnet. If "
+"og finne den originale kilden ved å klikke på nummeret etter #-tegnet. Hvis "
"den originale lenken fortsatt er i live, så vil du bli omdirigert til den "
"lenken. Hvis den originale lenken har forsvunnet, så vil du bli omdirigert "
"til en passende referanse til materialet."
"Tadashi Shiraishi and Kiyokazu Yamagami for their generous help while I was "
"there."
msgstr ""
-"Yuko Noguchi hjalp meg å forstå lovene i japan, så vel som japans kultur. "
+"Yuko Noguchi hjalp meg å forstå lovene i Japan, så vel som Japans kultur. "
"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med "
"forundersøkelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto "
"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro "
"på at det ville være endeløs lykke utenfor disse kampene, og som alltid har "
"hatt rett. Denne trege eleven er som alltid takknemlig for hennes "
"evigvarende tålmodighet og kjærlighet."
+
+#, fuzzy
+#~ msgid ""
+#~ "For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., "
+#~ "50 S.E."
+#~ msgstr ""
+#~ "for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. "
+#~ "co, 50 se"
projects / text-free-culture-lessig.git / blobdiff