--- /dev/null
+# Copyright (C) 2012 Free Software Foundation, Inc.
+# This file is distributed under the same license as the PACKAGE package.
+#
+# Petter Reinholdtsen <pere@hungry.com>, 2012.
+msgid ""
+msgstr ""
+"Project-Id-Version: \n"
+"POT-Creation-Date: 2012-07-09 09:10+0300\n"
+"PO-Revision-Date: 2012-07-07 09:02+0200\n"
+"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n"
+"Language-Team: Norwegian Bokmål <i18n-nb@lister.ping.uio.no>\n"
+"Language: \n"
+"MIME-Version: 1.0\n"
+"Content-Type: text/plain; charset=UTF-8\n"
+"Content-Transfer-Encoding: 8bit\n"
+"X-Generator: Lokalize 1.0\n"
+"Plural-Forms: nplurals=2; plural=n != 1;\n"
+
+#. type: Attribute 'lang' of: <book>
+msgid "en"
+msgstr "no"
+
+#. type: Content of: <book><bookinfo><title>
+msgid "Free Culture"
+msgstr "Fri kultur"
+
+#. type: Content of: <book><bookinfo>
+msgid "<abbrev>\"freeculture\"</abbrev>"
+msgstr "<abbrev>\"frikultur\"</abbrev>"
+
+#. type: Content of: <book><bookinfo><subtitle>
+msgid "Version 2004-02-10"
+msgstr "Versjon 2004-02-10"
+
+#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
+msgid "Lawrence"
+msgstr "Lawrence"
+
+#. type: Content of: <book><bookinfo><authorgroup><author><surname>
+msgid "Lessig"
+msgstr "Lessig"
+
+#. type: Content of: <book><bookinfo>
+msgid ""
+"<copyright> <year>2004</year> <holder> Lawrence Lessig. This version of "
+"Free Culture is licensed under a Creative Commons license. This license "
+"permits non-commercial use of this work, so long as attribution is given. "
+"For more information about the license, click the icon above, or visit "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://"
+"creativecommons.org/licenses/by-nc/1.0/</ulink> </holder> </copyright>"
+msgstr ""
+
+#. type: Content of: <book><bookinfo><abstract><title>
+msgid "ABOUT THE AUTHOR"
+msgstr "Om forfatteren"
+
+#. type: Content of: <book><bookinfo><abstract><para>
+msgid ""
+"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org/\">http://www.lessig."
+"org</ulink>), professor of law and a John A. Wilson Distinguished Faculty "
+"Scholar at Stanford Law School, is founder of the Stanford Center for "
+"Internet and Society and is chairman of the Creative Commons (<ulink url="
+"\"http://creativecommons.org/\">http://creativecommons.org</ulink>). The "
+"author of The Future of Ideas (Random House, 2001) and Code: And Other Laws "
+"of Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the "
+"Public Library of Science, the Electronic Frontier Foundation, and Public "
+"Knowledge. He was the winner of the Free Software Foundation's Award for the "
+"Advancement of Free Software, twice listed in BusinessWeek's \"e.biz 25,\" "
+"and named one of Scientific American's \"50 visionaries.\" A graduate of the "
+"University of Pennsylvania, Cambridge University, and Yale Law School, "
+"Lessig clerked for Judge Richard Posner of the U.S. Seventh Circuit Court of "
+"Appeals."
+msgstr ""
+
+#. type: Content of: <book><chapter><title>
+msgid "Info"
+msgstr "Info"
+
+#. type: Content of: <book><chapter><para>
+msgid "You can buy a copy of this book by clicking on one of the links below:"
+msgstr ""
+"Du kan kjøpe en kopi av denne boken ved å klikke på en av koblingene "
+"nedenfor:"
+
+#. type: Content of: <book><chapter><itemizedlist><listitem><para>
+msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>"
+msgstr ""
+
+#. type: Content of: <book><chapter><itemizedlist><listitem><para>
+msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>"
+msgstr ""
+
+#. type: Content of: <book><chapter><itemizedlist><listitem><para>
+msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"ALSO BY LAWRENCE LESSIG The Future of Ideas: The Fate of the Commons in a "
+"Connected World Code: And Other Laws of Cyberspace"
+msgstr ""
+"også av lawrence lessig fremtidens ideer: skjebnen av commons i en tilkoblet "
+"verden-kode: og andre lover av cyberspace"
+
+#. type: Content of: <book><chapter><para>
+msgid "THE PENGUIN PRESS NEW YORK"
+msgstr "penguin trykk new york"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"FREE CULTURE HOW BIG MEDIA USES TECHNOLOGY AND THE HOW BIG MEDIA USES "
+"TECHNOLOGY AND LAW TO LOCK DOWN CULTURE AND CONTROL THE LAW TO LOCK DOWN "
+"CULTURE CREATIVITY AND CONTROL CREATIVITY LAWRENCE LESSIG"
+msgstr ""
+"fri kultur hvor store media bruker teknologi og hvor stor media bruker "
+"teknologi og lov til å låse kultur og kontrollere lov å låse ned kultur "
+"kreativitet og kontroll kreativitet lawrence lessig"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"THE PENGUIN PRESS a member of Penguin Group (USA) Inc. 375 Hudson Street "
+"New York, New York Copyright © Lawrence Lessig, All rights reserved 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. Cartoon by Paul Conrad on page 159. Copyright "
+"Tribune Media Services, Inc. All rights reserved. Reprinted with "
+"permission. Diagram on page 164 courtesy of the office of FCC Commissioner, "
+"Michael J. Copps. Library of Congress Cataloging-in-Publication Data "
+"Lessig, Lawrence. Free culture : how big media uses technology and the law "
+"to lock down culture and control creativity / Lawrence Lessig. p. cm. "
+"Includes index. ISBN 1-59420-006-8 (hardcover) 1. Intellectual property--"
+"United States. 2. Mass media--United States. 3. Technological innovations--"
+"United States. 4. Art--United States. I. Title. KF2979.L47 343.7309'9--dc22 "
+"This book is printed on acid-free paper. Printed in the United States of "
+"America 1 3 5 7 9 10 8 6 4 Designed by Marysarah Quinn Without limiting the "
+"rights under copyright reserved above, no part of this publication may be "
+"reproduced, stored in or introduced into a retrieval system, or transmitted, "
+"in any form or by any means (electronic, mechanical, photocopying, recording "
+"or otherwise), without the prior written permission of both the copyright "
+"owner and the above publisher of this book. The scanning, uploading, and "
+"distribution of this book via the Internet or via any other means without "
+"the permission of the publisher is illegal and punishable by law. Please "
+"purchase only authorized electronic editions and do not participate in or "
+"encourage electronic piracy of copyrighted materials. Your support of the "
+"author's rights is appreciated."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"To Eric Eldred--whose work first drew me to this cause, and for whom it "
+"continues still."
+msgstr ""
+"til eric eldred--hvis arbeid først trakk meg til denne saken, og for hvem "
+"den fortsetter fremdeles."
+
+#. type: Content of: <book><chapter><figure><title>
+msgid "Creative Commons, Some rights reserved"
+msgstr "Creative commons, noen rettigheter"
+
+#. type: Content of: <book><chapter><figure>
+msgid "<graphic fileref=\"webcc.gif\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><lot><title>
+msgid "List of figures"
+msgstr "figurliste"
+
+#. type: Content of: <book><chapter><title>
+msgid "PREFACE"
+msgstr "Forord"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"At the end of his review of my first book, Code: And Other Laws of "
+"Cyberspace, David Pogue, a brilliant writer and author of countless "
+"technical and computer-related texts, wrote this:"
+msgstr ""
+"på slutten av sin gjennomgang av min første bok, kode: og andre lover av "
+"cyberspace, david pogue, en glimrende skribent og forfatter av utallige "
+"tekniske og -relaterte tekster, skrev dette:"
+
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+msgid ""
+"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January "
+"2000."
+msgstr ""
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"Unlike actual law, Internet software has no capacity to punish. It doesn't "
+"affect people who aren't online (and only a tiny minority of the world "
+"population is). And if you don't like the Internet's system, you can always "
+"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+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."
+msgstr ""
+
+#. PAGE BREAK 12
+#. type: Content of: <book><chapter><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."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But unlike Code, the argument here is not much about the Internet itself. It "
+"is instead about the consequence of the Internet to a part of our tradition "
+"that is much more fundamental, and, as hard as this is for a geek-wanna-be "
+"to admit, much more important."
+msgstr ""
+"men i motsetning til koden, argumentet her er ikke mye om Internett selv. i "
+"stedet er det om konsekvens av Internett til en del av vår tradisjon som er "
+"mye mer grunnleggende, og så hardt som dette er for en geek-wanna-be "
+"innrømme, mye viktigere."
+
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Richard M. Stallman, Free Software, Free Societies 57 ( Joshua Gay, ed. "
+"2002)."
+msgstr ""
+"Richard m stallman, fri programvare, gratis samfunn 57 (joshua homofil, ed. "
+"2002)."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"That tradition is the way our culture gets made. As I explain in the pages "
+"that follow, we come from a tradition of \"free culture\"--not \"free\" as "
+"in \"free beer\" (to borrow a phrase from the founder of the freesoftware "
+"movement<placeholder type=\"footnote\" id=\"0\"/>), but \"free\" as in "
+"\"free speech,\" \"free markets,\" \"free trade,\" \"free enterprise,\" "
+"\"free will,\" and \"free elections.\" A free culture supports and protects "
+"creators and innovators. It does this directly by granting intellectual "
+"property rights. But it does so indirectly by limiting the reach of those "
+"rights, to guarantee that follow-on creators and innovators remain as free "
+"as possible from the control of the past. A free culture is not a culture "
+"without property, just as a free market is not a market in which everything "
+"is free. The opposite of a free culture is a \"permission culture\"--a "
+"culture in which creators get to create only with the permission of the "
+"powerful, or of creators from the past."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"If we understood this change, I believe we would resist it. Not \"we\" on "
+"the Left or \"you\" on the Right, but we who have no stake in the particular "
+"industries of culture that defined the twentieth century. Whether you are "
+"on the Left or the Right, if you are in this sense disinterested, then the "
+"story I tell here will trouble you. For the changes I describe affect values "
+"that both sides of our political culture deem fundamental."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As "
+"the FCC considered changes in media ownership rules that would relax limits "
+"on media concentration, an extraordinary coalition generated more than "
+"700,000 letters to the FCC opposing the change. As William Safire described "
+"marching \"uncomfortably alongside CodePink Women for Peace and the National "
+"Rifle Association, between liberal Olympia Snowe and conservative Ted "
+"Stevens,\" he formulated perhaps most simply just what was at stake: the "
+"concentration of power. And as he asked,"
+msgstr ""
+
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+msgid "William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003."
+msgstr ""
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"Does that sound unconservative? Not to me. The concentration of power--"
+"political, corporate, media, cultural--should be anathema to conservatives. "
+"The diffusion of power through local control, thereby encouraging individual "
+"participation, is the essence of federalism and the greatest expression of "
+"democracy.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. 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 ""
+
+#. PAGE BREAK 14
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I accept that criticism, if indeed it is a criticism. The work of a lawyer "
+"is always derivative, and I mean to do nothing more in this book than to "
+"remind a culture about a tradition that has always been its own. Like "
+"Stallman, I defend that tradition on the basis of values. Like Stallman, I "
+"believe those are the values of freedom. And like Stallman, I believe those "
+"are values of our past that will need to be defended in our future. A free "
+"culture has been our past, but it will only be our future if we change the "
+"path we are on right now. xv Like Stallman's arguments for free software, "
+"an argument for free culture stumbles on a confusion that is hard to avoid, "
+"and even harder to understand. A free culture is not a culture without "
+"property; it is not a culture in which artists don't get paid. A culture "
+"without property, or in which creators can't get paid, is anarchy, not "
+"freedom. Anarchy is not what I advance here."
+msgstr ""
+"Jeg godtar at kritikk, hvis det er faktisk en kritikk. arbeidet med en "
+"advokat er alltid avledede produkter, og jeg mener å gjøre ingenting mer i "
+"denne boken enn å minne en kultur om en tradisjon som har alltid vært sin "
+"egen. som stallman forsvare jeg denne tradisjonen på grunnlag av verdiene. "
+"som stallman tror jeg det er verdiene av frihet. og som stallman, jeg tror "
+"de er verdiene for vår fortid som må forsvares i vår fremtid. en fri kultur "
+"har vært vår fortid, men det vil bare være vår fremtid hvis vi endrer banen "
+"vi er på akkurat nå. XV som Stallmans argumenter gratis programvare, et "
+"argument for fri kultur stumbles på en forvirring som er vanskelig å unngå, "
+"og enda vanskeligere å forstå. en fri kultur er ikke en kultur uten "
+"egenskapen; Det er ikke en kultur der kunstnere ikke får betalt. en kultur "
+"uten egenskapen eller i hvilke skaperne kan ikke få betalt, er anarki, ikke "
+"frihet. Anarki er ikke hva jeg forhånd her."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Instead, the free culture that I defend in this book is a balance between "
+"anarchy and control. A free culture, like a free market, is filled with "
+"property. It is filled with rules of property and contract that get enforced "
+"by the state. But just as a free market is perverted if its property becomes "
+"feudal, so too can a free culture be queered by extremism in the property "
+"rights that define it. That is what I fear about our culture today. It is "
+"against that extremism that this book is written."
+msgstr ""
+"i stedet er for fri kultur som jeg forsvare i denne boken en balanse mellom "
+"anarki og kontroll. en gratis kultur, som et fritt marked, er fylt med "
+"egenskapen. Det er fylt med regler for egenskapen og kontrakt som få "
+"håndheves av staten. men akkurat som et fritt marked er perverted Hvis "
+"egenskapen blir føydale, slik også kan en fri kultur være queered av "
+"ekstremisme i eiendomsrettigheter som definerer det. Det er det jeg frykter "
+"om vår kultur i dag. Det er mot at ekstremisme som denne boken er skrevet."
+
+#. type: Content of: <book><chapter><title>
+msgid "INTRODUCTION"
+msgstr "Introduksjon"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"On December 17, 1903, on a windy North Carolina beach for just shy of one "
+"hundred seconds, the Wright brothers demonstrated that a heavier-than-air, "
+"self-propelled vehicle could fly. The moment was electric and its importance "
+"widely understood. Almost immediately, there was an explosion of interest in "
+"this newfound technology of manned flight, and a gaggle of innovators began "
+"to build upon it."
+msgstr ""
+"på 17 desember 1903 viste på en vind Nord carolina strand for bare sjenert "
+"av hundre sekunder, wright-brødrene at en tyngre enn luft, selvdrevne "
+"kjøretøy kan fly. øyeblikket var elektrisk, og dens betydning forstått "
+"allment. nesten umiddelbart, det var en eksplosjon av interesse i denne ny "
+"teknologien av bemannede fly, og en gaggle av innovators 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."
+msgstr ""
+"St. george tucker, blackstone's kommentarer 3 (south hackensack, NJ: rothman "
+"opptrykk, 1969), 18."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"At the time the Wright brothers invented the airplane, American law held "
+"that a property owner presumptively owned not just the surface of his land, "
+"but all the land below, down to the center of the earth, and all the space "
+"above, to \"an indefinite extent, upwards.\"<placeholder type=\"footnote\" "
+"id=\"0\"/> For many years, scholars had puzzled about how best to interpret "
+"the idea that rights in land ran to the heavens. Did that mean that you "
+"owned the stars? Could you prosecute geese for their willful and regular "
+"trespass?"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Then came airplanes, and for the first time, this principle of American law--"
+"deep within the foundations of our tradition, and acknowledged by the most "
+"important legal thinkers of our past--mattered. If my land reaches to the "
+"heavens, what happens when United flies over my field? Do I have the right "
+"to banish it from my property? Am I allowed to enter into an exclusive "
+"license with Delta Airlines? Could we set up an auction to decide how much "
+"these rights are worth?"
+msgstr ""
+"så kom fly, og for første gang, dette prinsippet av amerikansk lov--dypt i "
+"grunnlaget for vår tradisjon og anerkjent av de viktigste juridiske tenkerne "
+"fra vår fortid--mattered. Hvis mitt land kommer til himmelen, hva skjer når "
+"united flyr over mitt felt? har rett til å forvise landet fra min eiendom? "
+"kan jeg til å inngå en eksklusiv lisens med delta airlines? kan vi sette opp "
+"en auksjon til å bestemme hvor mye disse rettighetene er verdt?"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"In 1945, these questions became a federal case. When North Carolina farmers "
+"Thomas Lee and Tinie Causby started losing chickens because of low-flying "
+"military aircraft (the terrified chickens apparently flew into the barn "
+"walls and died), the Causbys filed a lawsuit saying that the government was "
+"trespassing on their land. The airplanes, of course, never touched the "
+"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had "
+"said, their land reached to \"an indefinite extent, upwards,\" then the "
+"government was trespassing on their property, and the Causbys wanted it to "
+"stop."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The Supreme Court agreed to hear the Causbys' case. Congress had declared "
+"the airways public, but if one's property really extended to the heavens, "
+"then Congress's declaration could well have been an unconstitutional \"taking"
+"\" of property without compensation. The Court acknowledged that \"it is "
+"ancient doctrine that common law ownership of the land extended to the "
+"periphery of the universe.\" But Justice Douglas had no patience for ancient "
+"doctrine. In a single paragraph, hundreds of years of property law were "
+"erased. As he wrote for the Court,"
+msgstr ""
+
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find "
+#| "that there could be a \\\"taking\\\" if the government's use of its land "
+#| "effectively destroyed the value of the Causbys' land. This example was "
+#| "suggested to me by Keith Aoki's wonderful piece, \\\"(Intellectual) "
+#| "Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,"
+#| "\\\" Stanford Law Review 48 (1996): 1293, 1333. See also Paul Goldstein, "
+#| "Real Property (Mineola, N.Y.: Foundation Press, 1984), 111213."
+msgid ""
+"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
+"there could be a \"taking\" if the government's use of its land effectively "
+"destroyed the value of the Causbys' land. This example was suggested to me "
+"by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: "
+"Notes Toward a Cultural Geography of Authorship,\" Stanford Law Review 48 "
+"(1996): 1293, 1333. See also Paul Goldstein, Real Property (Mineola, N.Y.: "
+"Foundation Press, 1984), 111213."
+msgstr ""
+"USA v. causby, amerikanske 328 (1946): 256, 261. domstolen fant at det kan "
+"bli en \\\"tar\\\" Hvis regjeringens bruken av sine land ødelagt effektivt "
+"verdien av causbys' land. i dette eksemplet ble foreslått for meg av keith "
+"aoki flott stykke, \\\"(immaterielle) og suverenitet: notater mot en "
+"kulturelle geografi forfatterskap,\\\" stanford law gå gjennom 48 (1996): "
+"året etter, 1333. Se også paul goldstein, fast eiendom (mineola, n.y.: "
+"foundation press (1984)), 111213."
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"[The] doctrine has no place in the modern world. The air is a public "
+"highway, as Congress has declared. Were that not true, every "
+"transcontinental flight would subject the operator to countless trespass "
+"suits. Common sense revolts at the idea. To recognize such private claims to "
+"the airspace would clog these highways, seriously interfere with their "
+"control and development in the public interest, and transfer into private "
+"ownership that to which only the public has a just claim.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid "\"Common sense revolts at the idea.\""
+msgstr ""
+
+#. PAGE BREAK 18
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This is how the law usually works. Not often this abruptly or impatiently, "
+"but eventually, this is how it works. It was Douglas's style not to dither. "
+"Other justices would have blathered on for pages to reach the conclusion "
+"that Douglas holds in a single line: \"Common sense revolts at the idea.\" "
+"But whether it takes pages or a few words, it is the special genius of a "
+"common law system, as ours is, that the law adjusts to the technologies of "
+"the time. And as it adjusts, it changes. Ideas that were as solid as rock in "
+"one age crumble in another."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Or at least, this is how things happen when there's no one powerful on the "
+"other side of the change. The Causbys were just farmers. And though there "
+"were no doubt many like them who were upset by the growing traffic in the "
+"air (though one hopes not many chickens flew themselves into walls), the "
+"Causbys of the world would find it very hard to unite and stop the idea, and "
+"the technology, that the Wright brothers had birthed. The Wright brothers "
+"spat airplanes into the technological meme pool; the idea then spread like a "
+"virus in a chicken coop; farmers like the Causbys found themselves "
+"surrounded by \"what seemed reasonable\" given the technology that the "
+"Wrights had produced. They could stand on their farms, dead chickens in "
+"hand, and shake their fists at these newfangled technologies all they "
+"wanted. They could call their representatives or even file a lawsuit. But "
+"in the end, the force of what seems \"obvious\" to everyone else--the power "
+"of \"common sense\"--would prevail. Their \"private interest\" would not be "
+"allowed to defeat an obvious public gain."
+msgstr ""
+
+#. PAGE BREAK 19
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Edwin Howard Armstrong is one of America's forgotten inventor geniuses. He "
+"came to the great American inventor scene just after the titans Thomas "
+"Edison and Alexander Graham Bell. But his work in the area of radio "
+"technology was perhaps the most important of any single inventor in the "
+"first fifty years of radio. He was better educated than Michael Faraday, who "
+"as a bookbinder's apprentice had discovered electric induction in 1831. But "
+"he had the same intuition about how the world of radio worked, and on at "
+"least three occasions, Armstrong invented profoundly important technologies "
+"that advanced our understanding of radio."
+msgstr ""
+"Edwin howard armstrong er en av Amerikas glemt oppfinner genier. Han kom til "
+"den store amerikanske oppfinner scenen rett etter the Titans skriver thomas "
+"edison og alexander graham bell. men hans arbeid i området i radioteknologi "
+"var kanskje den viktigste av alle enkelt oppfinner i de første femti årene "
+"av radio. Han utdannet seg bedre enn michael faraday, som en bookbinder "
+"lærling hadde oppdaget elektrisk induksjon i 1831. men han hadde samme "
+"intuisjon om hvordan verden av radio virket, og på minst tre anledninger, "
+"armstrong oppfunnet svært viktig teknologier som avanserte vår forståelse av "
+"radio."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"On the day after Christmas, 1933, four patents were issued to Armstrong for "
+"his most significant invention--FM radio. Until then, consumer radio had "
+"been amplitude-modulated (AM) radio. The theorists of the day had said that "
+"frequency-modulated (FM) radio could never work. They were right about FM "
+"radio in a narrow band of spectrum. But Armstrong discovered that frequency-"
+"modulated radio in a wide band of spectrum would deliver an astonishing "
+"fidelity of sound, with much less transmitter power and static."
+msgstr ""
+"på dagen etter jul, var 1933, fire patenter utstedt til armstrong for hans "
+"viktigste oppfinnelse--fm-radio. inntil da, hadde forbruker radio vært "
+"amplitude modulated (am)-radio. teoretikere av dagen hadde sagt at frekvens-"
+"modulated (fm)-radio kan aldri fungere. de var rett om fm-radio i et smale "
+"band av spekteret. men armstrong oppdaget at frekvens-modulated radio i et "
+"bredt spektrum-band ville levere en forbløffende gjengivelse av lyd, med mye "
+"mindre transmitter strøm og statisk."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"On November 5, 1935, he demonstrated the technology at a meeting of the "
+"Institute of Radio Engineers at the Empire State Building in New York City. "
+"He tuned his radio dial across a range of AM stations, until the radio "
+"locked on a broadcast that he had arranged from seventeen miles away. The "
+"radio fell totally silent, as if dead, and then with a clarity no one else "
+"in that room had ever heard from an electrical device, it produced the sound "
+"of an announcer's voice: \"This is amateur station W2AG at Yonkers, New "
+"York, operating on frequency modulation at two and a half meters.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid "The audience was hearing something no one had thought possible:"
+msgstr "publikum var høre noe ingen trodde mulig:"
+
+#. 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."
+msgstr ""
+"Lawrence lessing, mann av Hi-Fi: edwin howard armstrong (philadelphia: j. b. "
+"lipincott selskap, 1956), 209."
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"A glass of water was poured before the microphone in Yonkers; it sounded "
+"like a glass of water being poured. . . . A paper was crumpled and torn; it "
+"sounded like paper and not like a crackling forest fire. . . . Sousa marches "
+"were played from records and a piano solo and guitar number were "
+"performed. . . . The music was projected with a live-ness rarely if ever "
+"heard before from a radio \"music box.\"<placeholder type=\"footnote\" id="
+"\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 20
+#. type: Content of: <book><chapter><para>
+msgid ""
+"As our own common sense tells us, Armstrong had discovered a vastly superior "
+"radio technology. But at the time of his invention, Armstrong was working "
+"for RCA. RCA was the dominant player in the then dominant AM radio market. "
+"By 1935, there were a thousand radio stations across the United States, but "
+"the stations in large cities were all owned by a handful of networks."
+msgstr ""
+"som vår egen sunn fornuft forteller oss, hadde armstrong oppdaget en "
+"telefonsamtale radioteknologi. men på tidspunktet for hans oppfinnelse, "
+"armstrong var i arbeid for rca. RCA var den dominerende aktør i det deretter "
+"dominerende am radiomarkedet. som 1935, var det tusen radiostasjoner over "
+"hele USA, men stasjonene i store byer var eid av en håndfull av nettverk."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that "
+"Armstrong discover a way to remove static from AM radio. So Sarnoff was "
+"quite excited when Armstrong told him he had a device that removed static "
+"from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff was "
+"not pleased."
+msgstr ""
+
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+msgid ""
+"See \"Saints: The Heroes and Geniuses of the Electronic Era,\" First "
+"Electronic Church of America, at www.webstationone.com/fecha, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"I thought Armstrong would invent some kind of a filter to remove static from "
+"our AM radio. I didn't think he'd start a revolution-- start up a whole damn "
+"new industry to compete with RCA.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Armstrong's invention threatened RCA's AM empire, so the company launched a "
+"campaign to smother FM radio. While FM may have been a superior technology, "
+"Sarnoff was a superior tactician. As one author described,"
+msgstr ""
+"Armstrongs oppfinnelse truet rca's am imperium, slik at selskapet lansert en "
+"kampanje for å smother fm-radio. mens fm kan ha vært en overlegen teknologi, "
+"var sarnoff en overlegen taktiker. som en forfatter som beskrevet,"
+
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+msgid "Lessing, 226."
+msgstr "Lessing, 226."
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"The forces for FM, largely engineering, could not overcome the weight of "
+"strategy devised by the sales, patent, and legal offices to subdue this "
+"threat to corporate position. For FM, if allowed to develop unrestrained, "
+"posed . . . a complete reordering of radio power . . . and the eventual "
+"overthrow of the carefully restricted AM system on which RCA had grown to "
+"power.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"RCA at first kept the technology in house, insisting that further tests were "
+"needed. When, after two years of testing, Armstrong grew impatient, RCA "
+"began to use its power with the government to stall FM radio's deployment "
+"generally. In 1936, RCA hired the former head of the FCC and assigned him "
+"the task of assuring that the FCC assign spectrum in a way that would "
+"castrate FM--principally by moving FM radio to a different band of spectrum. "
+"At first, these efforts failed. But when Armstrong and the nation were "
+"distracted by World War II, RCA's work began to be more successful. Soon "
+"after the war ended, the FCC announced a set of policies that would have one "
+"clear effect: FM radio would be crippled. As Lawrence Lessing described it,"
+msgstr ""
+"RCA først holdt teknologien i huset, insistere på at ytterligere tester var "
+"nødvendig. Når, etter to år med testing, armstrong vokste utålmodige, "
+"begynte rca å bruke sin makt med regjeringen til stall fm-radio distribusjon "
+"generelt. i 1936, rca ansatt tidligere leder av fcc og tilordnet ham "
+"oppgaven med å sikre at fcc tilordne spekteret på en måte som ville castrate "
+"fm--hovedsakelig ved å flytte fm-radio til et annet band av spekteret. ved "
+"første, dette arbeidet ikke. men når armstrong og nasjonen ble distrahert av "
+"andre verdenskrig, rca's arbeid begynte å bli mer vellykket. snart etter at "
+"krigen sluttet, fcc annonsert et sett med policyer som ville ha en klar "
+"effekt: fm-radio ville være invalidiserte. som lawrence beskrevet lessing "
+"det,"
+
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+msgid "Lessing, 256."
+msgstr "Lessing, 256."
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"The series of body blows that FM radio received right after the war, in a "
+"series of rulings manipulated through the FCC by the big radio interests, "
+"were almost incredible in their force and deviousness.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"To make room in the spectrum for RCA's latest gamble, television, FM radio "
+"users were to be moved to a totally new spectrum band. The power of FM radio "
+"stations was also cut, meaning FM could no longer be used to beam programs "
+"from one part of the country to another. (This change was strongly "
+"supported by AT&T, because the loss of FM relaying stations would mean "
+"radio stations would have to buy wired links from AT&T.) The spread of "
+"FM radio was thus choked, at least temporarily."
+msgstr ""
+"Hvis du vil lage plass i spekteret for de nyeste gamble, TV, fm radio "
+"brukere var å bli flyttet til et helt nytt spektrum band. kraften til fm-"
+"radiostasjoner ble også kuttet, betydning fm kan ikke lenger brukes til å "
+"overføre trådløst programmer fra én del av landet til en annen. (denne "
+"endringen var sterkt støttes av at&t, fordi tapet av fm relésending "
+"stasjoner ville bety radiostasjoner må kjøpe kablet koblinger fra at&t.) "
+"spredningen av fm-radio ble dermed choked, minst midlertidig."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's "
+"patents. After incorporating FM technology into the emerging standard for "
+"television, RCA declared the patents invalid--baselessly, and almost fifteen "
+"years after they were issued. It thus refused to pay him royalties. For six "
+"years, Armstrong fought an expensive war of litigation to defend the "
+"patents. Finally, just as the patents expired, RCA offered a settlement so "
+"low that it would not even cover Armstrong's lawyers' fees. Defeated, "
+"broken, and now broke, in 1954 Armstrong wrote a short note to his wife and "
+"then stepped out of a thirteenth-story window to his death."
+msgstr ""
+"Armstrong motstått rca's innsats. svar motstått rca Armstrongs patenter. "
+"etter innlemme fm-teknologien i den nye standarden for TV, rca erklærte "
+"patentene ugyldig--baselessly og nesten femten år etter at de ble utstedt. "
+"det dermed nektet å betale royalties til ham. i seks år kjempet armstrong en "
+"kostbar krig til søksmål for å forsvare patentene. til slutt, akkurat som "
+"patentene utløpt, rca tilbudt en utligning som er så lav at det ikke ville "
+"selv dekke Armstrongs lawyers avgifter. beseiret, ødelagte og nå blakk, i "
+"1954 armstrong skrev en kort notat til kona og deretter gikk ut av et "
+"trettende-etasjers vindu til hans død."
+
+#. PAGE BREAK 22
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This is how the law sometimes works. Not often this tragically, and rarely "
+"with heroic drama, but sometimes, this is how it works. From the beginning, "
+"government and government agencies have been subject to capture. They are "
+"more likely captured when a powerful interest is threatened by either a "
+"legal or technical change. That powerful interest too often exerts its "
+"influence within the government to get the government to protect it. The "
+"rhetoric of this protection is of course always public spirited; the reality "
+"is something different. Ideas that were as solid as rock in one age, but "
+"that, left to themselves, would crumble in another, are sustained through "
+"this subtle corruption of our political process. RCA had what the Causbys "
+"did not: the power to stifle the effect of technological change."
+msgstr ""
+"Dette er hvordan loven fungerer noen ganger. ikke ofte dette tragisk, og "
+"sjelden med heltemodig drama, men noen ganger, dette er hvordan det "
+"fungerer. fra begynnelsen, har regjeringen og departementer vært utsatt for "
+"fangst. de er mer sannsynlig fanget når en sterk interesse er truet av en "
+"juridisk eller teknisk endring. Denne kraftige interessen har for ofte sin "
+"innflytelse i regjeringen å få regjeringen til å beskytte den. retorikken i "
+"denne beskyttelsen er selvfølgelig alltid offentlig energisk; virkeligheten "
+"er noe annet. ideer som var som solid som en stein i en alder, men som, "
+"igjen til seg selv, vil forvitre i en annen, er vedvarende gjennom denne "
+"subtile korrupsjon av våre politiske prosessen. RCA hadde hva causbys gjorde "
+"ikke: makt til å undertrykke effekten av teknologiske endringer."
+
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Amanda Lenhart, \"The Ever-Shifting Internet Population: A New Look at "
+"Internet Access and the Digital Divide,\" Pew Internet and American Life "
+"Project, 15 April 2003: 6, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #2</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"There's no single inventor of the Internet. Nor is there any good date upon "
+"which to mark its birth. Yet in a very short time, the Internet has become "
+"part of ordinary American life. According to the Pew Internet and American "
+"Life Project, 58 percent of Americans had access to the Internet in 2002, up "
+"from 49 percent two years before.<placeholder type=\"footnote\" id=\"0\"/> "
+"That number could well exceed two thirds of the nation by the end of 2004."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"As the Internet has been integrated into ordinary life, it has changed "
+"things. Some of these changes are technical--the Internet has made "
+"communication faster, it has lowered the cost of gathering data, and so on. "
+"These technical changes are not the focus of this book. They are important. "
+"They are not well understood. But they are the sort of thing that would "
+"simply go away if we all just switched the Internet off. They don't affect "
+"people who don't use the Internet, or at least they don't affect them "
+"directly. They are the proper subject of a book about the Internet. But this "
+"is not a book about the Internet."
+msgstr ""
+"som Internett er blitt integrert i ordinært liv, endret ting. noen av disse "
+"endringene er teknisk--Internett har gjort kommunikasjon raskere, det har "
+"senket kostnadene for samle inn data, og så videre. Disse tekniske endringer "
+"er ikke fokus for denne boken. de er viktig. de er ikke godt forstått. men "
+"de er slags ting som ville bare gå bort hvis vi alle bare slått Internett "
+"av. de påvirker ikke personer som ikke bruker Internett, eller i det minste "
+"de påvirker ikke dem direkte. de er riktig gjenstand for en bok om "
+"Internett. men dette er ikke en bok om Internett."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Instead, this book is about an effect of the Internet beyond the Internet "
+"itself: an effect upon how culture is made. My claim is that the Internet "
+"has induced an important and unrecognized change in that process. That "
+"change will radically transform a tradition that is as old as the Republic "
+"itself. Most, if they recognized this change, would reject it. Yet most "
+"don't even see the change that the Internet has introduced."
+msgstr ""
+"i stedet, denne boken er om en effekt av Internett utover Internett i seg "
+"selv: en effekt på hvordan kultur er laget. min påstand er at Internett har "
+"indusert en viktig og ukjent endring i denne prosessen. Denne endringen vil "
+"radikalt transformere en tradisjon som er like gammel som Republikken seg "
+"selv. mest, hvis de gjenkjent denne endringen, vil avvise det. de fleste ser "
+"ikke ennå endringen som Internett har introdusert."
+
+#. PAGE BREAK 23
+#. type: Content of: <book><chapter><para>
+msgid ""
+"We can glimpse a sense of this change by distinguishing between commercial "
+"and noncommercial culture, and by mapping the law's regulation of each. By "
+"\"commercial culture\" I mean that part of our culture that is produced and "
+"sold or produced to be sold. By \"noncommercial culture\" I mean all the "
+"rest. When old men sat around parks or on street corners telling stories "
+"that kids and others consumed, that was noncommercial culture. When Noah "
+"Webster published his \"Reader,\" or Joel Barlow his poetry, that was "
+"commercial culture."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"At the beginning of our history, and for just about the whole of our "
+"tradition, noncommercial culture was essentially unregulated. Of course, if "
+"your stories were lewd, or if your song disturbed the peace, then the law "
+"might intervene. But the law was never directly concerned with the creation "
+"or spread of this form of culture, and it left this culture \"free.\" The "
+"ordinary ways in which ordinary individuals shared and transformed their "
+"culture--telling stories, reenacting scenes from plays or TV, participating "
+"in fan clubs, sharing music, making tapes--were left alone by the law."
+msgstr ""
+
+#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "This is not the only purpose of copyright, though it is the "
+#| "overwhelmingly primary purpose of the copyright established in the "
+#| "federal constitution. State copyright law historically protected not "
+#| "just the commercial interest in publication, but also a privacy interest. "
+#| "By granting authors the exclusive right to first publication, state "
+#| "copyright law gave authors the power to control the spread of facts about "
+#| "them. See Samuel D. Warren and Louis D. Brandeis, \\\"The Right to "
+#| "Privacy,\\\" Harvard Law Review 4 (1890): 193, 198200."
+msgid ""
+"This is not the only purpose of copyright, though it is the overwhelmingly "
+"primary purpose of the copyright established in the federal constitution. "
+"State copyright law historically protected not just the commercial interest "
+"in publication, but also a privacy interest. By granting authors the "
+"exclusive right to first publication, state copyright law gave authors the "
+"power to control the spread of facts about them. See Samuel D. Warren and "
+"Louis D. Brandeis, \"The Right to Privacy,\" Harvard Law Review 4 (1890): "
+"193, 198200."
+msgstr ""
+"Dette er ikke det eneste formålet med opphavsrett, men det er overveldende "
+"Hovedformålet med opphavsretten etablert i federal grunnlov. copyright "
+"lovene i delstaten beskyttet historisk ikke bare kommersielle interesse i "
+"publikasjonen, men også en interesse for personvern. ved å gi forfattere "
+"eneretten til første publikasjon, ga copyright lovene i delstaten forfattere "
+"makt til å kontrollere spredningen av fakta om dem. se d. samuel d. warren "
+"og louis brandeis, \\\"rett til personvern,\\\" harvard law gå gjennom 4 "
+"(1890): 193, 198200."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The focus of the law was on commercial creativity. At first slightly, then "
+"quite extensively, the law protected the incentives of creators by granting "
+"them exclusive rights to their creative work, so that they could sell those "
+"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" "
+"id=\"0\"/> This is also, of course, an important part of creativity and "
+"culture, and it has become an increasingly important part in America. But in "
+"no sense was it dominant within our tradition. It was instead just one part, "
+"a controlled part, balanced with the free."
+msgstr ""
+
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), "
+"ch. 13."
+msgstr ""
+"se jessica litman, digitale copyright (new york: prometheus bøker, 2001), "
+"ch. 13."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This rough divide between the free and the controlled has now been erased."
+"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for "
+"this erasure and, pushed by big media, the law has now affected it. For the "
+"first time in our tradition, the ordinary ways in which individuals create "
+"and share culture fall within the reach of the regulation of the law, which "
+"has expanded to draw within its control a vast amount of culture and "
+"creativity that it never reached before. The technology that preserved the "
+"balance of our history--between uses of our culture that were free and uses "
+"of our culture that were only upon permission--has been undone. The "
+"consequence is that we are less and less a free culture, more and more a "
+"permission culture."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This change gets justified as necessary to protect commercial creativity. "
+"And indeed, protectionism is precisely its motivation. But the protectionism "
+"that justifies the changes that I will describe below is not the limited and "
+"balanced sort that has defined the law in the past. This is not a "
+"protectionism to protect artists. It is instead a protectionism to protect "
+"certain forms of business. Corporations threatened by the potential of the "
+"Internet to change the way both commercial and noncommercial culture are "
+"made and shared have united to induce lawmakers to use the law to protect "
+"them. It is the story of RCA and Armstrong; it is the dream of the Causbys."
+msgstr ""
+"Denne endringen blir rettferdiggjort når det er nødvendig å beskytte "
+"kommersielle kreativitet. og proteksjonistisk er faktisk nettopp sin "
+"motivasjon. men proteksjonistisk som rettferdiggjør endringene som jeg vil "
+"beskrive nedenfor er ikke begrenset og balansert Sorter som har definert "
+"loven i siste. Dette er ikke en proteksjonistisk å beskytte kunstnere. i "
+"stedet er det en proteksjonistisk å beskytte visse former for virksomheten. "
+"selskaper truet av potensial av Internett til å endre måten både "
+"kommersielle og ikke-kommersiell kultur er laget og delt har forent å "
+"indusere lovgivere til å bruke loven til å beskytte dem. Det er historien om "
+"rca og armstrong; Det er drømmen av causbys."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"For the Internet has unleashed an extraordinary possibility for many to "
+"participate in the process of building and cultivating a culture that "
+"reaches far beyond local boundaries. That power has changed the marketplace "
+"for making and cultivating culture generally, and that change in turn "
+"threatens established content industries. The Internet is thus to the "
+"industries that built and distributed content in the twentieth century what "
+"FM radio was to AM radio, or what the truck was to the railroad industry of "
+"the nineteenth century: the beginning of the end, or at least a substantial "
+"transformation. Digital technologies, tied to the Internet, could produce a "
+"vastly more competitive and vibrant market for building and cultivating "
+"culture; that market could include a much wider and more diverse range of "
+"creators; those creators could produce and distribute a much more vibrant "
+"range of creativity; and depending upon a few important factors, those "
+"creators could earn more on average from this system than creators do today--"
+"all so long as the RCAs of our day don't use the law to protect themselves "
+"against this competition."
+msgstr ""
+"for Internett har utløste en ekstraordinære mulighet for mange til å delta i "
+"ferd med å bygge og pleie en kultur som går langt ut over lokale grenser. at "
+"strøm er endret markedet for å lage og dyrke kultur Generelt, og at "
+"endringen i sin tur truer etablert innhold bransjer. Internett er dermed til "
+"bransjer som bygget og distribuerte innholdet i det tjuende århundret hva fm-"
+"radio var på am-radio, eller hva bilen var til jernbane industrien av det "
+"nittende århundre: begynnelsen av slutten, eller minst en betydelig "
+"transformasjon. Digital teknologi, knyttet til Internett, kunne produsere en "
+"langt mer konkurransedyktig og vibrerende markedet for å bygge og pleie "
+"kultur; Dette markedet kan omfatte en mye større og mer variert utvalg av "
+"skaperne; disse skaperne kunne produsere og distribuere en mye mer levende "
+"rekke kreativitet; og avhengig av noen viktige faktorer, de skaperne kunne "
+"tjene mer i gjennomsnitt fra dette systemet enn skaperne gjør i dag--alle, "
+"så lenge rcas i dag ikke bruker lov til å beskytte seg mot denne "
+"konkurransen."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Yet, as I argue in the pages that follow, that is precisely what is "
+"happening in our culture today. These modern-day equivalents of the early "
+"twentieth-century radio or nineteenth-century railroads are using their "
+"power to get the law to protect them against this new, more efficient, more "
+"vibrant technology for building culture. They are succeeding in their plan "
+"to remake the Internet before the Internet remakes them."
+msgstr ""
+"Likevel, som jeg hevder på sidene som følger, som er nøyaktig hva som skjer "
+"i vår kultur i dag. Disse moderne-dag-ekvivalenter av tidlig 1900-tallet-"
+"radio eller av 1800-tallet jernbaner bruker deres makt for å få lov til å "
+"beskytte dem mot dette nye, mer effektive, mer levende teknologi for bygging "
+"av kultur. de lykkes i sin plan å remake Internett før Internett remakes dem."
+
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
+"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 "
+"January 2002."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"It doesn't seem this way to many. The battles over copyright and the "
+"Internet seem remote to most. To the few who follow them, they seem mainly "
+"about a much simpler brace of questions--whether \"piracy\" will be "
+"permitted, and whether \"property\" will be protected. The \"war\" that has "
+"been waged against the technologies of the Internet--what Motion Picture "
+"Association of America (MPAA) president Jack Valenti calls his \"own "
+"terrorist war\"<placeholder type=\"footnote\" id=\"0\"/>--has been framed as "
+"a battle about the rule of law and respect for property. To know which side "
+"to take in this war, most think that we need only decide whether we're for "
+"property or against it."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"If those really were the choices, then I would be with Jack Valenti and the "
+"content industry. I, too, am a believer in property, and especially in the "
+"importance of what Mr. Valenti nicely calls \"creative property.\" I believe "
+"that \"piracy\" is wrong, and that the law, properly tuned, should punish "
+"\"piracy,\" whether on or off the Internet."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But those simple beliefs mask a much more fundamental question and a much "
+"more dramatic change. My fear is that unless we come to see this change, the "
+"war to rid the world of Internet \"pirates\" will also rid our culture of "
+"values that have been integral to our tradition from the start."
+msgstr ""
+
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law "
+"Journal 106 (1996): 283."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"These values built a tradition that, for at least the first 180 years of our "
+"Republic, guaranteed creators the right to build freely upon their past, and "
+"protected creators and innovators from either state or private control. The "
+"First Amendment protected creators against state control. And as Professor "
+"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> "
+"copyright law, properly balanced, protected creators against private "
+"control. Our tradition was thus neither Soviet nor the tradition of patrons. "
+"It instead carved out a wide berth within which creators could cultivate and "
+"extend our culture."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Yet the law's response to the Internet, when tied to changes in the "
+#| "technology of the Internet itself, has massively increased the effective "
+#| "regulation of creativity in America. To build upon or critique the "
+#| "culture around us one must ask, Oliver Twistlike, for permission first. "
+#| "Permission is, of course, often granted--but it is not often granted to "
+#| "the critical or the independent. We have built a kind of cultural "
+#| "nobility; those within the noble class live easily; those outside it "
+#| "don't. But it is nobility of any form that is alien to our tradition."
+msgid ""
+"Yet the law's response to the Internet, when tied to changes in the "
+"technology of the Internet itself, has massively increased the effective "
+"regulation of creativity in America. To build upon or critique the culture "
+"around us one must ask, Oliver Twistlike, for permission first. Permission "
+"is, of course, often granted--but it is not often granted to the critical or "
+"the independent. We have built a kind of cultural nobility; those within the "
+"noble class live easily; those outside it don't. But it is nobility of any "
+"form that is alien to our tradition."
+msgstr ""
+"lovens svar på Internett, når knyttet til endringer i teknologi for "
+"Internett selv, øket ennå svært effektiv regulering av kreativitet i "
+"Amerika. Hvis du vil bygge på eller kritikk kultur rundt oss må du be om, "
+"oliver twistlike, om tillatelse først. tillatelsen er selvfølgelig ofte "
+"gitt--, men det er ikke ofte gis til den kritiske eller independent. Vi har "
+"bygd opp en slags kulturelle adel; de i edle klassen leve enkelt; dem "
+"utenfor ikke. men det er adel noen form som er fremmed for vår tradisjon."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The story that follows is about this war. Is it not about the \"centrality "
+"of technology\" to ordinary life. I don't believe in gods, digital or "
+"otherwise. Nor is it an effort to demonize any individual or group, for "
+"neither do I believe in a devil, corporate or otherwise. It is not a "
+"morality tale. Nor is it a call to jihad against an industry."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"It is instead an effort to understand a hopelessly destructive war inspired "
+"by the technologies of the Internet but reaching far beyond its code. And by "
+"understanding this battle, it is an effort to map peace. There is no good "
+"reason for the current struggle around Internet technologies to continue. "
+"There will be great harm to our tradition and culture if it is allowed to "
+"continue unchecked. We must come to understand the source of this war. We "
+"must resolve it soon."
+msgstr ""
+"i stedet er det et forsøk på å forstå en håpløst ødeleggende krig som er "
+"inspirert av teknologien av Internett, men nå langt utenfor koden. og ved å "
+"forstå dette slaget, det er et forsøk på å tilordne fred. Det er ingen god "
+"grunn for gjeldende kampen rundt Internett-teknologier for å fortsette. det "
+"vil være stor skade på vår tradisjon og kultur Hvis det er lov til å "
+"fortsette ukontrollert. Vi må komme til å forstå kilden til denne krigen. Vi "
+"må løse det snart."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Like the Causbys' battle, this war is, in part, about \"property.\" The "
+"property of this war is not as tangible as the Causbys', and no innocent "
+"chicken has yet to lose its life. Yet the ideas surrounding this \"property"
+"\" are as obvious to most as the Causbys' claim about the sacredness of "
+"their farm was to them. We are the Causbys. Most of us take for granted the "
+"extraordinarily powerful claims that the owners of \"intellectual property\" "
+"now assert. Most of us, like the Causbys, treat these claims as obvious. And "
+"hence we, like the Causbys, object when a new technology interferes with "
+"this property. It is as plain to us as it was to them that the new "
+"technologies of the Internet are \"trespassing\" upon legitimate claims of "
+"\"property.\" It is as plain to us as it was to them that the law should "
+"intervene to stop this trespass."
+msgstr ""
+
+#. PAGE BREAK 27
+#. type: Content of: <book><chapter><para>
+msgid ""
+"And thus, when geeks and technologists defend their Armstrong or Wright "
+"brothers technology, most of us are simply unsympathetic. Common sense does "
+"not revolt. Unlike in the case of the unlucky Causbys, common sense is on "
+"the side of the property owners in this war. Unlike the lucky Wright "
+"brothers, the Internet has not inspired a revolution on its side."
+msgstr ""
+"og dermed når geeks og Teknologorganisasjon forsvare sin armstrong eller "
+"wright brødre teknologi, de fleste av oss er bare usympatiske. sunn fornuft "
+"opprør ikke. i motsetning til når det gjelder uheldig causbys er sunn "
+"fornuft på siden av bolig i denne krigen. i motsetning til heldig wright "
+"brødrene, har Internett ikke inspirert en revolusjon på høykant."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"My hope is to push this common sense along. I have become increasingly "
+"amazed by the power of this idea of intellectual property and, more "
+"importantly, its power to disable critical thought by policy makers and "
+"citizens. There has never been a time in our history when more of our "
+"\"culture\" was as \"owned\" as it is now. And yet there has never been a "
+"time when the concentration of power to control the uses of culture has been "
+"as unquestioningly accepted as it is now."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The puzzle is, Why? Is it because we have come to understand a truth about "
+"the value and importance of absolute property over ideas and culture? Is it "
+"because we have discovered that our tradition of rejecting such an absolute "
+"claim was wrong?"
+msgstr ""
+"puslespillet er, hvorfor? er det fordi vi har begynt å forstå en sannheten "
+"om verdien og betydningen av absolutt egenskapen over ideer og kultur? er "
+"det fordi vi har oppdaget at vår tradisjon for å avvise slikt et absolutt "
+"krav var galt?"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Or is it because the idea of absolute property over ideas and culture "
+"benefits the RCAs of our time and fits our own unreflective intuitions?"
+msgstr ""
+"eller er det fordi ideen om absolutt egenskapen over ideer og kultur "
+"fordeler rcas i vår tid og passer vår egen virke ureflekterende intuisjoner?"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Is the radical shift away from our tradition of free culture an instance of "
+"America correcting a mistake from its past, as we did after a bloody war "
+"with slavery, and as we are slowly doing with inequality? Or is the radical "
+"shift away from our tradition of free culture yet another example of a "
+"political system captured by a few powerful special interests?"
+msgstr ""
+"er det radikalt skiftet bort fra vår tradisjon for fri kultur en forekomst "
+"av Amerika korrigere en feil fra sin fortid som vi gjorde etter en blodig "
+"krig med slaveri, og som vi sakte gjør med ulikhet? eller er radikalt skifte "
+"bort fra vår tradisjon for fri kultur ennå et annet eksempel på et politisk "
+"system som fanges opp av noen kraftige spesielle interesser?"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Does common sense lead to the extremes on this question because common sense "
+"actually believes in these extremes? Or does common sense stand silent in "
+"the face of these extremes because, as with Armstrong versus RCA, the more "
+"powerful side has ensured that it has the more powerful view?"
+msgstr ""
+"sunn fornuft fører til ekstreme på dette spørsmålet fordi sunn fornuft "
+"faktisk tror på disse ekstreme? eller gjør sunn fornuft stå stille i "
+"ansiktet av disse ytterpunktene fordi, som med armstrong versus rca, "
+"kraftigere siden har sikret at det har kraftigere visningen?"
+
+#. PAGE BREAK 28
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I don't mean to be mysterious. My own views are resolved. I believe it was "
+"right for common sense to revolt against the extremism of the Causbys. I "
+"believe it would be right for common sense to revolt against the extreme "
+"claims made today on behalf of \"intellectual property.\" What the law "
+"demands today is increasingly as silly as a sheriff arresting an airplane "
+"for trespass. But the consequences of this silliness will be much more "
+"profound."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The struggle that rages just now centers on two ideas: \"piracy\" and "
+"\"property.\" My aim in this book's next two parts is to explore these two "
+"ideas."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"My method is not the usual method of an academic. I don't want to plunge you "
+"into a complex argument, buttressed with references to obscure French "
+"theorists--however natural that is for the weird sort we academics have "
+"become. Instead I begin in each part with a collection of stories that set a "
+"context within which these apparently simple ideas can be more fully "
+"understood."
+msgstr ""
+"min metode er ikke vanlig metode av en akademiker. Jeg ønsker ikke å satse "
+"du i en kompleks argument, buttressed med referanser til obskure franske "
+"teoretikere--men naturlig som gjelder rare sorteringen vi akademikere har "
+"blitt. i stedet begynner jeg i hver del med en samling av historier som "
+"angir en kontekst som er innenfor disse tilsynelatende enkle ideer kan være "
+"mer fullt forstått."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The two sections set up the core claim of this book: that while the Internet "
+"has indeed produced something fantastic and new, our government, pushed by "
+"big media to respond to this \"something new,\" is destroying something very "
+"old. Rather than understanding the changes the Internet might permit, and "
+"rather than taking time to let \"common sense\" resolve how best to respond, "
+"we are allowing those most threatened by the changes to use their power to "
+"change the law--and more importantly, to use their power to change something "
+"fundamental about who we have always been."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"We allow this, I believe, not because it is right, and not because most of "
+"us really believe in these changes. We allow it because the interests most "
+"threatened are among the most powerful players in our depressingly "
+"compromised process of making law. This book is the story of one more "
+"consequence of this form of corruption--a consequence to which most of us "
+"remain oblivious."
+msgstr ""
+"Vi tillater dette, jeg tror, ikke fordi det er riktig, og ikke fordi de "
+"fleste av oss virkelig tror på disse endringene. Vi tillater det fordi "
+"interesser som er truet mest er blant de mektigste spillerne i våre "
+"depressingly kompromittert prosessen med å lage lov. Denne boken er "
+"historien om en mer konsekvens av denne formen for korrupsjon--en konsekvens "
+"som de fleste av oss fortsatt oblivious."
+
+#. type: Content of: <book><chapter><title>
+msgid "\"PIRACY\""
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Since the inception of the law regulating creative property, there has been "
+"a war against \"piracy.\" The precise contours of this concept, \"piracy,\" "
+"are hard to sketch, but the animating injustice is easy to capture. As Lord "
+"Mansfield wrote in a case that extended the reach of English copyright law "
+"to include sheet music,"
+msgstr ""
+
+#. f1
+#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
+msgstr "Bach v. longman, 98 eng. rep 1274 (1777) (mansfield)."
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"A person may use the copy by playing it, but he has no right to rob the "
+"author of the profit, by multiplying copies and disposing of them for his "
+"own use.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 31
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Today we are in the middle of another \"war\" against \"piracy.\" The "
+"Internet has provoked this war. The Internet makes possible the efficient "
+"spread of content. Peer-to-peer (p2p) file sharing is among the most "
+"efficient of the efficient technologies the Internet enables. Using "
+"distributed intelligence, p2p systems facilitate the easy spread of content "
+"in a way unimagined a generation ago."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This efficiency does not respect the traditional lines of copyright. The "
+"network doesn't discriminate between the sharing of copyrighted and "
+"uncopyrighted content. Thus has there been a vast amount of sharing of "
+"copyrighted content. That sharing in turn has excited the war, as copyright "
+"owners fear the sharing will \"rob the author of the profit.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+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!"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+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 ""
+
+#. type: Content of: <book><chapter><para>
+msgid "The idea goes something like this:"
+msgstr "ideen går omtrent slik:"
+
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"Creative work has value; whenever I use, or take, or build upon the creative "
+"work of others, I am taking from them something of value. Whenever I take "
+"something of value from someone else, I should have their permission. The "
+"taking of something of value from someone else without permission is wrong. "
+"It is a form of piracy."
+msgstr ""
+"skapende arbeid har verdi; Når jeg bruker, eller ta eller bygge på kreative "
+"arbeidet til andre, tar jeg fra dem noe av verdi. Når jeg tar noe av verdi "
+"fra noen andre, skulle jeg ha deres tillatelse. å ta av noe av verdi fra "
+"noen andre uten tillatelse er galt. Det er en form for piratkopiering."
+
+#. f2
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
+"the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397."
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
+"Wall Street Journal, 21 August 1996, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling Off the "
+"Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" Boston "
+"Globe, 24 November 2002."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This view runs deep within the current debates. It is what NYU law professor "
+"Rochelle Dreyfuss criticizes as the \"if value, then right\" theory of "
+"creative property<placeholder type=\"footnote\" id=\"0\"/> --if there is "
+"value, then someone must have a right to that value. It is the perspective "
+"that led a composers' rights organization, ASCAP, to sue the Girl Scouts for "
+"failing to pay for the songs that girls sang around Girl Scout campfires."
+"<placeholder type=\"footnote\" id=\"1\"/> There was \"value\" (the songs) so "
+"there must have been a \"right\"--even against the Girl Scouts."
+msgstr ""
+
+#. PAGE BREAK 32
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This idea is certainly a possible understanding of how creative property "
+"should work. It might well be a possible design for a system of law "
+"protecting creative property. But the \"if value, then right\" theory of "
+"creative property has never been America's theory of creative property. It "
+"has never taken hold within our law."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Instead, in our tradition, intellectual property is an instrument. It sets "
+"the groundwork for a richly creative society but remains subservient to the "
+"value of creativity. The current debate has this turned around. We have "
+"become so concerned with protecting the instrument that we are losing sight "
+"of the value."
+msgstr ""
+"i stedet i vår tradisjon er immaterielle et instrument. det angir "
+"grunnarbeidet for et rikt kreativt samfunn, men er fortsatt servil til "
+"verdien av kreativitet. dagens debatt har dette slått rundt. Vi har blitt så "
+"opptatt av å beskytte instrumentet at vi mister synet av verdien."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The source of this confusion is a distinction that the law no longer takes "
+"care to draw--the distinction between republishing someone's work on the one "
+"hand and building upon or transforming that work on the other. Copyright law "
+"at its birth had only publishing as its concern; copyright law today "
+"regulates both."
+msgstr ""
+"kilden til denne forvirring er en utmerkelse som loven ikke lenger tar seg "
+"til å tegne--skillet mellom republishing noens arbeid på den ene siden og "
+"bygge på eller transformere som fungerer på den andre. lov om opphavsrett på "
+"sin fødsel hadde bare publisering som sin bekymring; lov om opphavsrett "
+"regulerer i dag begge."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Before the technologies of the Internet, this conflation didn't matter all "
+"that much. The technologies of publishing were expensive; that meant the "
+"vast majority of publishing was commercial. Commercial entities could bear "
+"the burden of the law--even the burden of the Byzantine complexity that "
+"copyright law has become. It was just one more expense of doing business."
+msgstr ""
+"før teknologien av Internett, gjorde ikke denne conflation saken alle så "
+"mye. teknologier i publisering var dyrt; Det betydde at det store flertallet "
+"av publisering ble kommersielt. kommersielle selskaper kunne bære byrden av "
+"loven--selv byrden av den bysantinske kompleksiteten som copyright lov har "
+"blitt. Det var bare en mer utgifter ved å gjøre forretninger."
+
+#. f4
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"In The Rise of the Creative Class (New York: Basic Books, 2002), Richard "
+"Florida documents a shift in the nature of labor toward a labor of "
+"creativity. His work, however, doesn't directly address the legal "
+"conditions under which that creativity is enabled or stifled. I certainly "
+"agree with him about the importance and significance of this change, but I "
+"also believe the conditions under which it will be enabled are much more "
+"tenuous."
+msgstr ""
+"i rise of creative klassen (new york: grunnleggende bøker, 2002), richard "
+"florida dokumenter et skifte i natur arbeid mot en arbeidskraft av "
+"kreativitet. hans arbeid, men adressen ikke direkte de juridiske "
+"betingelsene under at kreativiteten er aktivert eller halvkvalt. Jeg er enig "
+"med ham om betydningen og betydningen av denne endringen, men jeg tror også "
+"betingelser som funksjonen vil bli aktivert er mye vanskeligere."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But with the birth of the Internet, this natural limit to the reach of the "
+"law has disappeared. The law controls not just the creativity of commercial "
+"creators but effectively that of anyone. Although that expansion would not "
+"matter much if copyright law regulated only \"copying,\" when the law "
+"regulates as broadly and obscurely as it does, the extension matters a lot. "
+"The burden of this law now vastly outweighs any original benefit--certainly "
+"as it affects noncommercial creativity, and increasingly as it affects "
+"commercial creativity as well. Thus, as we'll see more clearly in the "
+"chapters below, the law's role is less and less to support creativity, and "
+"more and more to protect certain industries against competition. Just at the "
+"time digital technology could unleash an extraordinary range of commercial "
+"and noncommercial creativity, the law burdens this creativity with insanely "
+"complex and vague rules and with the threat of obscenely severe penalties. "
+"We may be seeing, as Richard Florida writes, the \"Rise of the Creative "
+"Class.\"<placeholder type=\"footnote\" id=\"0\"/> Unfortunately, we are also "
+"seeing an extraordinary rise of regulation of this creative class."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+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 ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER ONE: Creators"
+msgstr "Kapittel en: skaperne"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1928, a cartoon character was born. An early Mickey Mouse made his debut "
+"in May of that year, in a silent flop called Plane Crazy. In November, in "
+"New York City's Colony Theater, in the first widely distributed cartoon "
+"synchronized with sound, Steamboat Willie brought to life the character that "
+"would become Mickey Mouse."
+msgstr ""
+"en tegneserie tegnet ble født i 1928. en tidlig Mikke Mus debuterte i mai "
+"samme år, i en stille flop kalt flyet gal. i november, i new york city's "
+"colony theater, i de første spredt utover tegneserie synkronisert med lyden, "
+"steamboat willie brakt til liv tegnet som skulle bli Mikke Mus."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Synchronized sound had been introduced to film a year earlier in the movie "
+"The Jazz Singer. That success led Walt Disney to copy the technique and mix "
+"sound with cartoons. No one knew whether it would work or, if it did work, "
+"whether it would win an audience. But when Disney ran a test in the summer "
+"of 1928, the results were unambiguous. As Disney describes that first "
+"experiment,"
+msgstr ""
+"synkroniserte lyd hadde blitt introdusert til film året tidligere i filmen "
+"jazz sanger. at suksess ledet walt disney å kopiere teknikken og blande lyd "
+"med tegneserier. ingen visste om det ville fungere, eller hvis det virket, "
+"om det ville vinne et publikum. men når disney kjørte en test sommeren 1928, "
+"resultatene var entydig. som disney beskriver det første eksperimentet"
+
+#. PAGE BREAK 35
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"A couple of my boys could read music, and one of them could play a mouth "
+"organ. We put them in a room where they could not see the screen and "
+"arranged to pipe their sound into the room where our wives and friends were "
+"going to see the picture."
+msgstr ""
+"et par av mine gutter kan lese musikk, og en av dem kunne spille en munn "
+"orgel. Vi setter dem i et rom der de ikke kunne se skjermen og arrangert til "
+"datakanal sine lyd inn i rommet hvor våre hustruer og venner var kommer til "
+"å se bildet."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"The boys worked from a music and sound-effects score. After several false "
+"starts, sound and action got off with the gun. The mouth organist played the "
+"tune, the rest of us in the sound department bammed tin pans and blew slide "
+"whistles on the beat. The synchronization was pretty close."
+msgstr ""
+"gutter jobbet fra en musikk og lydeffekter score. etter flere falske starter "
+"kom lyd og handling av med pistolen. munn-organisten spilte melodien, resten "
+"av oss i lyd avdeling bammed tin pans og blåste lysbilde plystre på beat. "
+"synkroniseringen var ganske nær."
+
+#. f1
+#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Leonard Maltin, Of Mice and Magic: A History of American Animated "
+#| "Cartoons (New York: Penguin Books, 1987), 3435."
+msgid ""
+"Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons "
+"(New York: Penguin Books, 1987), 3435."
+msgstr ""
+"Leonard maltin, mus og magic: a history of american animerte-tegneserier "
+"(new york: penguin books, 1987), 3435."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"The effect on our little audience was nothing less than electric. They "
+"responded almost instinctively to this union of sound and motion. I thought "
+"they were kidding me. So they put me in the audience and ran the action "
+"again. It was terrible, but it was wonderful! And it was something new!"
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Disney's then partner, and one of animation's most extraordinary talents, Ub "
+"Iwerks, put it more strongly: \"I have never been so thrilled in my life. "
+"Nothing since has ever equaled it.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Disney had created something very new, based upon something relatively new. "
+"Synchronized sound brought life to a form of creativity that had rarely--"
+"except in Disney's hands--been anything more than filler for other films. "
+"Throughout animation's early history, it was Disney's invention that set the "
+"standard that others struggled to match. And quite often, Disney's great "
+"genius, his spark of creativity, was built upon the work of others."
+msgstr ""
+"Disney hadde opprettet noe veldig nytt, basert på noe relativt nytt. "
+"synkronisert lyd brakt livet til en form av kreativitet som hadde sjelden--"
+"unntatt i disney's hender--blitt noe mer enn filler for andre filmer. "
+"gjennom animasjons tidlig historien var det disney's oppfinnelse som satte "
+"standarden som andre kjempet for å matche. og ganske ofte disney's stor "
+"geni, hans gnist av kreativitet, ble bygd på arbeidet til andre."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This much is familiar. What you might not know is that 1928 also marks "
+"another important transition. In that year, a comic (as opposed to cartoon) "
+"genius created his last independently produced silent film. That genius was "
+"Buster Keaton. The film was Steamboat Bill, Jr."
+msgstr ""
+"så er mye kjent. Hva du kanskje ikke vet er at 1928 også markerer en annen "
+"viktig endring. Dette året produsert en tegneserie (i motsetning til "
+"tegneserie) geni opprettet sitt siste uavhengig stumfilm. at geni var buster "
+"keaton. filmen var steamboat bill, jr."
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"I am grateful to David Gerstein and his careful history, described at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave "
+"Smith of the Disney Archives, Disney paid royalties to use the music for "
+"five songs in Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton"
+"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. "
+"1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in the "
+"Straw,\" was already in the public domain. Letter from David Smith to Harry "
+"Surden, 10 July 2003, on file with author."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Steamboat Bill, Jr. appeared before Disney's cartoon Steamboat Willie. The "
+"coincidence of titles is not coincidental. Steamboat Willie is a direct "
+"cartoon parody of Steamboat Bill,<placeholder type=\"footnote\" id=\"0\"/> "
+"and both are built upon a common song as a source. It is not just from the "
+"invention of synchronized sound in The Jazz Singer that we get Steamboat "
+"Willie. It is also from Buster Keaton's invention of Steamboat Bill, Jr., "
+"itself inspired by the song \"Steamboat Bill,\" that we get Steamboat "
+"Willie, and then from Steamboat Willie, Mickey Mouse."
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"He was also a fan of the public domain. See Chris Sprigman, \"The Mouse that "
+"Ate the Public Domain,\" Findlaw, 5 March 2002, at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #5</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This \"borrowing\" was nothing unique, either for Disney or for the "
+"industry. Disney was always parroting the feature-length mainstream films of "
+"his day.<placeholder type=\"footnote\" id=\"0\"/> So did many others. Early "
+"cartoons are filled with knockoffs--slight variations on winning themes; "
+"retellings of ancient stories. The key to success was the brilliance of the "
+"differences. With Disney, it was sound that gave his animation its spark. "
+"Later, it was the quality of his work relative to the production-line "
+"cartoons with which he competed. Yet these additions were built upon a base "
+"that was borrowed. Disney added to the work of others before him, creating "
+"something new out of something just barely old."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Sometimes this borrowing was slight. Sometimes it was significant. Think "
+"about the fairy tales of the Brothers Grimm. If you're as oblivious as I "
+"was, you're likely to think that these tales are happy, sweet stories, "
+"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, "
+"well, for us, grim. It is a rare and perhaps overly ambitious parent who "
+"would dare to read these bloody, moralistic stories to his or her child, at "
+"bedtime or anytime."
+msgstr ""
+"noen ganger var denne lån liten. noen ganger var det betydelig. Tenk på "
+"eventyr av the Sunday. Hvis du er så oblivious som jeg var, er du "
+"sannsynligvis tror at disse fortellingene er glade, søte historier, passer "
+"for alle barn ved sengetid. faktisk grimm eventyr er, vel, for oss, dystre. "
+"Det er en sjelden og kanskje altfor ambisiøse forelder som ville våge å lese "
+"disse blodig, moralistiske fortellingene til hans eller hennes barn, ved "
+"sengetid eller når som helst."
+
+#. PAGE BREAK 37
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+"Disney tok disse historiene og retold dem på en måte som førte dem inn i en "
+"ny tidsalder. Han animert historiene, med både tegn og lys. uten å fjerne "
+"elementene i frykt og fare helt, han gjorde morsomt det var mørkt og "
+"injisert en ekte følelse av medfølelse der før der var frykt. og ikke bare "
+"med et verk av the Sunday. faktisk katalogen disney arbeid tegning på "
+"arbeidet til andre er forbløffende når satt sammen: snø hvit (1937), "
+"fantasia (1940), pinocchio (1940), dumbo (1941), bambi (1942), sang av Sør "
+"(1946), cinderella (1950), alice in wonderland (1951), robin hood (1952), "
+"peter pan (1953), lady og Landstrykeren (1955), mulan (1998), Tornerose "
+"(1959), 101 dalmatians (1961), sverdet i steinen (1963), og Jungelboken "
+"(1967)--ikke å nevne en siste eksempel som vi bør kanskje raskt glemme, "
+"skatt planeten (2003). i alle disse tilfellene, disney (eller disney, inc.) "
+"dratt kreativitet fra kultur rundt ham, blandet at kreativiteten med sin "
+"egen ekstraordinære talent, og deretter brent blanding inn i sjelen til sin "
+"kultur. rippe blande og brenne."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This is a kind of creativity. It is a creativity that we should remember and "
+"celebrate. There are some who would say that there is no creativity except "
+"this kind. We don't need to go that far to recognize its importance. We "
+"could call this \"Disney creativity,\" though that would be a bit "
+"misleading. It is, more precisely, \"Walt Disney creativity\"--a form of "
+"expression and genius that builds upon the culture around us and makes it "
+"something different."
+msgstr ""
+
+#. f4
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Until 1976, copyright law granted an author the possibility of two terms: an "
+"initial term and a renewal term. I have calculated the \"average\" term by "
+"determining the weighted average of total registrations for any particular "
+"year, and the proportion renewing. Thus, if 100 copyrights are registered in "
+"year 1, and only 15 are renewed, and the renewal term is 28 years, then the "
+"average term is 32.2 years. For the renewal data and other relevant data, "
+"see the Web site associated with this book, available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #6</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1928, the culture that Disney was free to draw upon was relatively fresh. "
+"The public domain in 1928 was not very old and was therefore quite vibrant. "
+"The average term of copyright was just around thirty years--for that "
+"minority of creative work that was in fact copyrighted.<placeholder type="
+"\"footnote\" id=\"0\"/> That means that for thirty years, on average, the "
+"authors or copyright holders of a creative work had an \"exclusive right\" "
+"to control certain uses of the work. To use this copyrighted work in limited "
+"ways required the permission of the copyright owner."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"At the end of a copyright term, a work passes into the public domain. No "
+"permission is then needed to draw upon or use that work. No permission and, "
+"hence, no lawyers. The public domain is a \"lawyer-free zone.\" Thus, most "
+"of the content from the nineteenth century was free for Disney to use and "
+"build upon in 1928. It was free for anyone-- whether connected or not, "
+"whether rich or not, whether approved or not--to use and build upon."
+msgstr ""
+
+#. PAGE BREAK 38
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This is the ways things always were--until quite recently. For most of our "
+"history, the public domain was just over the horizon. From until 1978, the "
+"average copyright term was never more than thirty-two years, meaning that "
+"most culture just a generation and a half old was free for anyone to build "
+"upon without the permission of anyone else. Today's equivalent would be for "
+"creative work from the 1960s and 1970s to now be free for the next Walt "
+"Disney to build upon without permission. Yet today, the public domain is "
+"presumptive only for content from before the Great Depression."
+msgstr ""
+"Dette er hvordan ting var alltid--inntil ganske nylig. for de fleste av vår "
+"historie var public domain litt over horisonten. fra 1978 var "
+"gjennomsnittlig opphavsrett begrepet aldri mer enn tretti-to år, noe som "
+"betyr at de fleste kultur bare generasjon og et halvt gamle var gratis for "
+"alle å bygge på uten tillatelse fra noen andre. dagens tilsvarende ville "
+"være til kreativt arbeid fra 1960- og 1970-tallet til nå være gratis for "
+"neste walt disney å bygge på uten tillatelse. ennå i dag, er den offentlige "
+"sfæren presumptive bare for innhold fra før den store depresjonen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor "
+"does America. The norm of free culture has, until recently, and except "
+"within totalitarian nations, been broadly exploited and quite universal."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Consider, for example, a form of creativity that seems strange to many "
+"Americans but that is inescapable within Japanese culture: manga, or comics. "
+"The Japanese are fanatics about comics. Some 40 percent of publications are "
+"comics, and 30 percent of publication revenue derives from comics. They are "
+"everywhere in Japanese society, at every magazine stand, carried by a large "
+"proportion of commuters on Japan's extraordinary system of public "
+"transportation."
+msgstr ""
+"Tenk deg for eksempel en form av kreativitet som synes underlig for mange "
+"amerikanere, men det er uunngåelig i japansk kultur: manga, eller "
+"tegneserier. Japansk er fanatikere om tegneserier. noen 40 prosent av "
+"publikasjoner er tegneserier, og 30 prosent av publikasjonen inntekter "
+"kommer fra tegneserier. de er overalt i japanske samfunnet, på hver "
+"magasinet stå båret av en stor andel av pendlere på Japans ekstraordinære "
+"systemet av offentlig transport."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Americans tend to look down upon this form of culture. That's an "
+"unattractive characteristic of ours. We're likely to misunderstand much "
+"about manga, because few of us have ever read anything close to the stories "
+"that these \"graphic novels\" tell. For the Japanese, manga cover every "
+"aspect of social life. For us, comics are \"men in tights.\" And anyway, "
+"it's not as if the New York subways are filled with readers of Joyce or even "
+"Hemingway. People of different cultures distract themselves in different "
+"ways, the Japanese in this interestingly different way."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But my purpose here is not to understand manga. It is to describe a variant "
+"on manga that from a lawyer's perspective is quite odd, but from a Disney "
+"perspective is quite familiar."
+msgstr ""
+"men min hensikt her er ikke å forstå manga. Det er å beskrive en variant på "
+"manga som fra en advokat perspektiv er ganske rart, men fra en disney "
+"perspektiv er ganske godt kjent."
+
+#. PAGE BREAK 39
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These copycat comics are not a tiny part of the manga market. They are huge. "
+"More than 33,000 \"circles\" of creators from across Japan produce these "
+"bits of Walt Disney creativity. More than 450,000 Japanese come together "
+"twice a year, in the largest public gathering in the country, to exchange "
+"and sell them. This market exists in parallel to the mainstream commercial "
+"manga market. In some ways, it obviously competes with that market, but "
+"there is no sustained effort by those who control the commercial manga "
+"market to shut the doujinshi market down. It flourishes, despite the "
+"competition and despite the law."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The most puzzling feature of the doujinshi market, for those trained in the "
+"law, at least, is that it is allowed to exist at all. Under Japanese "
+"copyright law, which in this respect (on paper) mirrors American copyright "
+"law, the doujinshi market is an illegal one. Doujinshi are plainly "
+"\"derivative works.\" There is no general practice by doujinshi artists of "
+"securing the permission of the manga creators. Instead, the practice is "
+"simply to take and modify the creations of others, as Walt Disney did with "
+"Steamboat Bill, Jr. Under both Japanese and American law, that \"taking\" "
+"without the permission of the original copyright owner is illegal. It is an "
+"infringement of the original copyright to make a copy or a derivative work "
+"without the original copyright owner's permission."
+msgstr ""
+
+#. f5
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"For an excellent history, see Scott McCloud, Reinventing Comics (New York: "
+"Perennial, 2000)."
+msgstr ""
+"Hvis en utmerket historie, kan du se scott mccloud, reinventing tegneserier "
+"(new york: staude, 2000)."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet this illegal market exists and indeed flourishes in Japan, and in the "
+"view of many, it is precisely because it exists that Japanese manga "
+"flourish. As American graphic novelist Judd Winick said to me, \"The early "
+"days of comics in America are very much like what's going on in Japan "
+"now. . . . American comics were born out of copying each other. . . . That's "
+"how [the artists] learn to draw--by going into comic books and not tracing "
+"them, but looking at them and copying them\" and building from them."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"American comics now are quite different, Winick explains, in part because of "
+"the legal difficulty of adapting comics the way doujinshi are allowed. "
+"Speaking of Superman, Winick told me, \"there are these rules and you have "
+"to stick to them.\" There are things Superman \"cannot\" do. \"As a creator, "
+"it's frustrating having to stick to some parameters which are fifty years "
+"old.\""
+msgstr ""
+
+#. f6
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
+"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law Review 55 "
+"(2002): 155, 182. \"[T]here might be a collective economic rationality that "
+"would lead manga and anime artists to forgo bringing legal actions for "
+"infringement. One hypothesis is that all manga artists may be better off "
+"collectively if they set aside their individual self-interest and decide not "
+"to press their legal rights. This is essentially a prisoner's dilemma solved."
+"\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The norm in Japan mitigates this legal difficulty. Some say it is precisely "
+"the benefit accruing to the Japanese manga market that explains the "
+"mitigation. Temple University law professor Salil Mehra, for example, "
+"hypothesizes that the manga market accepts these technical violations "
+"because they spur the manga market to be more wealthy and productive. "
+"Everyone would be worse off if doujinshi were banned, so the law does not "
+"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The problem with this story, however, as Mehra plainly acknowledges, is that "
+"the mechanism producing this laissez faire response is not clear. It may "
+"well be that the market as a whole is better off if doujinshi are permitted "
+"rather than banned, but that doesn't explain why individual copyright owners "
+"don't sue nonetheless. If the law has no general exception for doujinshi, "
+"and indeed in some cases individual manga artists have sued doujinshi "
+"artists, why is there not a more general pattern of blocking this \"free "
+"taking\" by the doujinshi culture?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I spent four wonderful months in Japan, and I asked this question as often "
+"as I could. Perhaps the best account in the end was offered by a friend from "
+"a major Japanese law firm. \"We don't have enough lawyers,\" he told me one "
+"afternoon. There \"just aren't enough resources to prosecute cases like this."
+"\""
+msgstr ""
+
+#. PAGE BREAK 41
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This is a theme to which we will return: that regulation by law is a "
+"function of both the words on the books and the costs of making those words "
+"have effect. For now, focus on the obvious question that is begged: Would "
+"Japan be better off with more lawyers? Would manga be richer if doujinshi "
+"artists were regularly prosecuted? Would the Japanese gain something "
+"important if they could end this practice of uncompensated sharing? Does "
+"piracy here hurt the victims of the piracy, or does it help them? Would "
+"lawyers fighting this piracy help their clients or hurt them? Let's pause "
+"for a moment."
+msgstr ""
+"Dette er et tema som vi kommer tilbake: at regulering av loven er en "
+"funksjon av begge ordene på bøker og kostnadene ved å gjøre disse ordene har "
+"effekt. for nå, fokusere på det åpenbare spørsmålet som er ba: ville japan "
+"være bedre med mer advokater? ville manga bli rikere Hvis doujinshi artister "
+"regelmessig ble rettslig forfulgt? ville den japanske gevinsten noe viktig "
+"hvis de kunne avslutte denne praksisen med uncompensated deling? gjør vondt "
+"piratkopiering her ofre for piratkopiering, eller betyr det hjelpe dem? vil "
+"advokater slåss denne sjørøver hjelpe sine kunder eller skade dem? La oss ta "
+"en pause for et øyeblikk."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"If you're like I was a decade ago, or like most people are when they first "
+"start thinking about these issues, then just about now you should be puzzled "
+"about something you hadn't thought through before."
+msgstr ""
+"Hvis du er som jeg var et tiår siden, eller som folk flest er når de først "
+"begynne å tenke disse problemene, bør så bare om nå du være rådvill om noe "
+"du ikke hadde tenkt gjennom før."
+
+#. f7
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"The term intellectual property is of relatively recent origin. See Siva "
+"Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University "
+"Press, 2001). See also Lawrence Lessig, The Future of Ideas (New York: "
+"Random House, 2001), 293 n. 26. The term accurately describes a set of "
+"\"property\" rights--copyright, patents, trademark, and trade-secret--but "
+"the nature of those rights is very different."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We live in a world that celebrates \"property.\" I am one of those "
+"celebrants. I believe in the value of property in general, and I also "
+"believe in the value of that weird form of property that lawyers call "
+"\"intellectual property.\"<placeholder type=\"footnote\" id=\"0\"/> A large, "
+"diverse society cannot survive without property; a large, diverse, and "
+"modern society cannot flourish without intellectual property."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But it takes just a second's reflection to realize that there is plenty of "
+"value out there that \"property\" doesn't capture. I don't mean \"money "
+"can't buy you love,\" but rather, value that is plainly part of a process of "
+"production, including commercial as well as noncommercial production. If "
+"Disney animators had stolen a set of pencils to draw Steamboat Willie, we'd "
+"have no hesitation in condemning that taking as wrong-- even though trivial, "
+"even if unnoticed. Yet there was nothing wrong, at least under the law of "
+"the day, with Disney's taking from Buster Keaton or from the Brothers Grimm. "
+"There was nothing wrong with the taking from Keaton because Disney's use "
+"would have been considered \"fair.\" There was nothing wrong with the taking "
+"from the Grimms because the Grimms' work was in the public domain."
+msgstr ""
+
+#. PAGE BREAK 42
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Thus, even though the things that Disney took--or more generally, the things "
+"taken by anyone exercising Walt Disney creativity--are valuable, our "
+"tradition does not treat those takings as wrong. Some things remain free for "
+"the taking within a free culture, and that freedom is good."
+msgstr ""
+"Således, selv om tingene som disney tok-- eller mer generelt, tingene som er "
+"tatt av noen utøve walt disney kreativitet--er verdifull, vår tradisjon ikke "
+"behandler disse takings som feil. noen ting fortsatt være gratis for å ta "
+"innenfor en fri kultur, og at frihet er bra."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The same with the doujinshi culture. If a doujinshi artist broke into a "
+"publisher's office and ran off with a thousand copies of his latest work--or "
+"even one copy--without paying, we'd have no hesitation in saying the artist "
+"was wrong. In addition to having trespassed, he would have stolen something "
+"of value. The law bans that stealing in whatever form, whether large or "
+"small."
+msgstr ""
+"det samme med doujinshi kultur. Hvis en doujinshi artist brøt inn i en "
+"publisher office og kjørte med tusen eksemplarer av hans siste verk-- eller "
+"selv en kopi--uten å betale, ville vi har ingen nøle i sier kunstneren var "
+"galt. i tillegg til å ha begått, ville han har stjålet noe av verdi. lov "
+"forbud at stjele i enhver form, enten store eller små."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet there is an obvious reluctance, even among Japanese lawyers, to say that "
+"the copycat comic artists are \"stealing.\" This form of Walt Disney "
+"creativity is seen as fair and right, even if lawyers in particular find it "
+"hard to say why."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It's the same with a thousand examples that appear everywhere once you begin "
+"to look. Scientists build upon the work of other scientists without asking "
+"or paying for the privilege. (\"Excuse me, Professor Einstein, but may I "
+"have permission to use your theory of relativity to show that you were wrong "
+"about quantum physics?\") Acting companies perform adaptations of the works "
+"of Shakespeare without securing permission from anyone. (Does anyone believe "
+"Shakespeare would be better spread within our culture if there were a "
+"central Shakespeare rights clearinghouse that all productions of Shakespeare "
+"must appeal to first?) And Hollywood goes through cycles with a certain kind "
+"of movie: five asteroid films in the late 1990s; two volcano disaster films "
+"in 1997."
+msgstr ""
+
+#. PAGE BREAK 43
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Creators here and everywhere are always and at all times building upon the "
+"creativity that went before and that surrounds them now. That building is "
+"always and everywhere at least partially done without permission and without "
+"compensating the original creator. No society, free or controlled, has ever "
+"demanded that every use be paid for or that permission for Walt Disney "
+"creativity must always be sought. Instead, every society has left a certain "
+"bit of its culture free for the taking--free societies more fully than "
+"unfree, perhaps, but all societies to some degree."
+msgstr ""
+"skaperne er her og overalt alltid og på alle ganger bygge på kreativitet som "
+"gikk før og som omgir dem nå. at bygningen er alltid og overalt i det minste "
+"delvis gjort uten tillatelse, og uten kompenserende den opprinnelige "
+"skaperen. Ingen samfunnet, gratis eller kontrollert og har noensinne krevd "
+"at hver bruk betales for eller tillatelsen for walt disney kreativitet må "
+"alltid bli søkt. i stedet alle samfunn har forlatt en bestemt bit av sin "
+"kultur som er gratis for å ta--gratis samfunn nærmere enn fri, kanskje, men "
+"alle samfunn til en viss grad."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The hard question is therefore not whether a culture is free. All cultures "
+"are free to some degree. The hard question instead is \"How free is this "
+"culture?\" How much, and how broadly, is the culture free for others to take "
+"and build upon? Is that freedom limited to party members? To members of the "
+"royal family? To the top ten corporations on the New York Stock Exchange? Or "
+"is that freedom spread broadly? To artists generally, whether affiliated "
+"with the Met or not? To musicians generally, whether white or not? To "
+"filmmakers generally, whether affiliated with a studio or not?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Free cultures are cultures that leave a great deal open for others to build "
+"upon; unfree, or permission, cultures leave much less. Ours was a free "
+"culture. It is becoming much less so."
+msgstr ""
+"gratis kulturer er kulturer som lar mye åpen for andre å bygge på; Unfree, "
+"eller tillatelse, kulturer la mye mindre. våre var en fri kultur. det blir "
+"mye mindre."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER TWO: \"Mere Copyists\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1839, Louis Daguerre invented the first practical technology for "
+"producing what we would call \"photographs.\" Appropriately enough, they "
+"were called \"daguerreotypes.\" The process was complicated and expensive, "
+"and the field was thus limited to professionals and a few zealous and "
+"wealthy amateurs. (There was even an American Daguerre Association that "
+"helped regulate the industry, as do all such associations, by keeping "
+"competition down so as to keep prices up.)"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet despite high prices, the demand for daguerreotypes was strong. This "
+"pushed inventors to find simpler and cheaper ways to make \"automatic "
+"pictures.\" William Talbot soon discovered a process for making \"negatives."
+"\" But because the negatives were glass, and had to be kept wet, the process "
+"still remained expensive and cumbersome. In the 1870s, dry plates were "
+"developed, making it easier to separate the taking of a picture from its "
+"developing. These were still plates of glass, and thus it was still not a "
+"process within reach of most amateurs."
+msgstr ""
+
+#. PAGE BREAK 45
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The technological change that made mass photography possible didn't happen "
+"until 1888, and was the creation of a single man. George Eastman, himself an "
+"amateur photographer, was frustrated by the technology of photographs made "
+"with plates. In a flash of insight (so to speak), Eastman saw that if the "
+"film could be made to be flexible, it could be held on a single spindle. "
+"That roll could then be sent to a developer, driving the costs of "
+"photography down substantially. By lowering the costs, Eastman expected he "
+"could dramatically broaden the population of photographers."
+msgstr ""
+"teknologiske endringen som gjorde det mulig masse fotografering skje ikke "
+"før 1888, og var etableringen av en enkelt mann. George eastman, selv en "
+"amatør fotograf, var frustrert av fotografier som er laget med plater-"
+"teknologi. i en flash av innsikt (så å si), så eastman at hvis filmen kan "
+"gjøres for å være fleksibel, kunne det bli avholdt på en enkelt spindel. at "
+"roll kunne deretter sendes til en utvikler, senke kostnadene for "
+"fotografering vesentlig. ved å senke kostnadene, forventet eastman han kan "
+"dramatisk utvide befolkningen av fotografer."
+
+#. f1
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University "
+"Press, 1975), 112."
+msgstr ""
+"Reese v. jenkins, bilder og enterprise (baltimore: johns hopkins university "
+"press, 1975), 112."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Eastman developed flexible, emulsion-coated paper film and placed rolls of "
+"it in small, simple cameras: the Kodak. The device was marketed on the basis "
+"of its simplicity. \"You press the button and we do the rest.\"<placeholder "
+"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:"
+msgstr ""
+
+#. f2
+#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
+msgid ""
+"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), "
+"53."
+msgstr ""
+"Brian coe, fødselen av fotografering (new york: taplinger publiserer, 1977), "
+"53."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"The principle of the Kodak system is the separation of the work that any "
+"person whomsoever can do in making a photograph, from the work that only an "
+"expert can do. . . . We furnish anybody, man, woman or child, who has "
+"sufficient intelligence to point a box straight and press a button, with an "
+"instrument which altogether removes from the practice of photography the "
+"necessity for exceptional facilities or, in fact, any special knowledge of "
+"the art. It can be employed without preliminary study, without a darkroom "
+"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Jenkins, 177."
+msgstr "Jenkins, 177."
+
+#. f4
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Based on a chart in Jenkins, p. 178."
+msgstr "basert på et diagram i jenkins, s. 178."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For $25, anyone could make pictures. The camera came preloaded with film, "
+"and when it had been used, the camera was returned to an Eastman factory, "
+"where the film was developed. Over time, of course, the cost of the camera "
+"and the ease with which it could be used both improved. Roll film thus "
+"became the basis for the explosive growth of popular photography. Eastman's "
+"camera first went on sale in 1888; one year later, Kodak was printing more "
+"than six thousand negatives a day. From 1888 through 1909, while industrial "
+"production was rising by 4.7 percent, photographic equipment and material "
+"sales increased by percent.<placeholder type=\"footnote\" id=\"0\"/> Eastman "
+"Kodak's sales during the same period experienced an average annual increase "
+"of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. f5
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Coe, 58."
+msgstr "Coe, 58."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The real significance of Eastman's invention, however, was not economic. It "
+"was social. Professional photography gave individuals a glimpse of places "
+"they would never otherwise see. Amateur photography gave them the ability to "
+"record their own lives in a way they had never been able to do before. As "
+"author Brian Coe notes, \"For the first time the snapshot album provided the "
+"man on the street with a permanent record of his family and its "
+"activities. . . . For the first time in history there exists an authentic "
+"visual record of the appearance and activities of the common man made "
+"without [literary] interpretation or bias.\"<placeholder type=\"footnote\" "
+"id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In this way, the Kodak camera and film were technologies of expression. The "
+"pencil or paintbrush was also a technology of expression, of course. But it "
+"took years of training before they could be deployed by amateurs in any "
+"useful or effective way. With the Kodak, expression was possible much sooner "
+"and more simply. The barrier to expression was lowered. Snobs would sneer at "
+"its \"quality\"; professionals would discount it as irrelevant. But watch a "
+"child study how best to frame a picture and you get a sense of the "
+"experience of creativity that the Kodak enabled. Democratic tools gave "
+"ordinary people a way to express themselves more easily than any tools could "
+"have before."
+msgstr ""
+
+#. f6
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., 50 "
+"S.E."
+msgstr ""
+"for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. co, "
+"50 se"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"What was required for this technology to flourish? Obviously, Eastman's "
+"genius was an important part. But also important was the legal environment "
+"within which Eastman's invention grew. For early in the history of "
+"photography, there was a series of judicial decisions that could well have "
+"changed the course of photography substantially. Courts were asked whether "
+"the photographer, amateur or professional, required permission before he "
+"could capture and print whatever image he wanted. Their answer was no."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 47
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The arguments in favor of requiring permission will sound surprisingly "
+"familiar. The photographer was \"taking\" something from the person or "
+"building whose photograph he shot--pirating something of value. Some even "
+"thought he was taking the target's soul. Just as Disney was not free to take "
+"the pencils that his animators used to draw Mickey, so, too, should these "
+"photographers not be free to take images that they thought valuable."
+msgstr ""
+
+#. f7
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" Harvard "
+"Law Review 4 (1890): 193."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"On the other side was an argument that should be familiar, as well. Sure, "
+"there may be something of value being used. But citizens should have the "
+"right to capture at least those images that stand in public view. (Louis "
+"Brandeis, who would become a Supreme Court Justice, thought the rule should "
+"be different for images from private spaces.<placeholder type=\"footnote\" "
+"id=\"0\"/>) It may be that this means that the photographer gets something "
+"for nothing. Just as Disney could take inspiration from Steamboat Bill, Jr. "
+"or the Brothers Grimm, the photographer should be free to capture an image "
+"without compensating the source."
+msgstr ""
+
+#. f8
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, 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) 398407; White v. Samsung Electronics "
+#| "America, Inc., 971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. "
+#| "951 (1993)."
+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) 398407; White v. Samsung Electronics America, Inc., 971 F. "
+"2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)."
+msgstr ""
+"se melville b. nimmer, \\\"rett publisitet,\\\" lov og moderne problemer 19 "
+"(1954): 203; William l. prosser, \\\"personvern\\\", california lov gå "
+"gjennom 48 (1960) 398407; hvite v. samsung electronics america, inc., 971 f. "
+"2D 1395 (9 cir. 1992), cert. nektet, 508 amerikansk 951 (1993)."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Fortunately for Mr. Eastman, and for photography in general, these early "
+"decisions went in favor of the pirates. In general, no permission would be "
+"required before an image could be captured and shared with others. Instead, "
+"permission was presumed. Freedom was the default. (The law would eventually "
+"craft an exception for famous people: commercial photographers who snap "
+"pictures of famous people for commercial purposes have more restrictions "
+"than the rest of us. But in the ordinary case, the image can be captured "
+"without clearing the rights to do the capturing.<placeholder type=\"footnote"
+"\" id=\"0\"/>)"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We can only speculate about how photography would have developed had the law "
+"gone the other way. If the presumption had been against the photographer, "
+"then the photographer would have had to demonstrate permission. Perhaps "
+"Eastman Kodak would have had to demonstrate permission, too, before it "
+"developed the film upon which images were captured. After all, if permission "
+"were not granted, then Eastman Kodak would be benefiting from the \"theft\" "
+"committed by the photographer. Just as Napster benefited from the copyright "
+"infringements committed by Napster users, Kodak would be benefiting from the "
+"\"image-right\" infringement of its photographers. We could imagine the law "
+"then requiring that some form of permission be demonstrated before a company "
+"developed pictures. We could imagine a system developing to demonstrate that "
+"permission."
+msgstr ""
+
+#. PAGE BREAK 48
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But though we could imagine this system of permission, it would be very hard "
+"to see how photography could have flourished as it did if the requirement "
+"for permission had been built into the rules that govern it. Photography "
+"would have existed. It would have grown in importance over time. "
+"Professionals would have continued to use the technology as they did--since "
+"professionals could have more easily borne the burdens of the permission "
+"system. But the spread of photography to ordinary people would not have "
+"occurred. Nothing like that growth would have been realized. And certainly, "
+"nothing like that growth in a democratic technology of expression would have "
+"been realized. If you drive through San Francisco's Presidio, you might see "
+"two gaudy yellow school buses painted over with colorful and striking "
+"images, and the logo \"Just Think!\" in place of the name of a school. But "
+"there's little that's \"just\" cerebral in the projects that these busses "
+"enable. These buses are filled with technologies that teach kids to tinker "
+"with film. Not the film of Eastman. Not even the film of your VCR. Rather "
+"the \"film\" of digital cameras. Just Think! is a project that enables kids "
+"to make films, as a way to understand and critique the filmed culture that "
+"they find all around them. Each year, these busses travel to more than "
+"thirty schools and enable three hundred to five hundred children to learn "
+"something about media by doing something with media. By doing, they think. "
+"By tinkering, they learn."
+msgstr ""
+
+#. f9
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software "
+"You Need to Create Digital Multimedia Presentations,\" cadalyst, February "
+"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #7</"
+"ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These buses are not cheap, but the technology they carry is increasingly so. "
+"The cost of a high-quality digital video system has fallen dramatically. As "
+"one analyst puts it, \"Five years ago, a good real-time digital video "
+"editing system cost $25,000. Today you can get professional quality for $595."
+"\"<placeholder type=\"footnote\" id=\"0\"/> These buses are filled with "
+"technology that would have cost hundreds of thousands just ten years ago. "
+"And it is now feasible to imagine not just buses like this, but classrooms "
+"across the country where kids are learning more and more of something "
+"teachers call \"media literacy.\""
+msgstr ""
+
+#. PAGE BREAK 49
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Media literacy,\" as Dave Yanofsky, the executive director of Just Think!, "
+"puts it, \"is the ability . . . to understand, analyze, and deconstruct "
+"media images. Its aim is to make [kids] literate about the way media works, "
+"the way it's constructed, the way it's delivered, and the way people access "
+"it.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This may seem like an odd way to think about \"literacy.\" For most people, "
+"literacy is about reading and writing. Faulkner and Hemingway and noticing "
+"split infinitives are the things that \"literate\" people know about."
+msgstr ""
+
+#. f10
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence "
+"Erlbaum Associates, 1990); \"Findings on Family and TV Study,\" Denver Post, "
+"25 May 1997, B6."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Maybe. But in a world where children see on average 390 hours of television "
+"commercials per year, or between 20,000 and 45,000 commercials generally,"
+"<placeholder type=\"footnote\" id=\"0\"/> it is increasingly important to "
+"understand the \"grammar\" of media. For just as there is a grammar for the "
+"written word, so, too, is there one for media. And just as kids learn how to "
+"write by writing lots of terrible prose, kids learn how to write media by "
+"constructing lots of (at least at first) terrible media."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"A growing field of academics and activists sees this form of literacy as "
+"crucial to the next generation of culture. For though anyone who has written "
+"understands how difficult writing is--how difficult it is to sequence the "
+"story, to keep a reader's attention, to craft language to be understandable--"
+"few of us have any real sense of how difficult media is. Or more "
+"fundamentally, few of us have a sense of how media works, how it holds an "
+"audience or leads it through a story, how it triggers emotion or builds "
+"suspense."
+msgstr ""
+"et voksende felt av akademikere og aktivister ser denne formen for "
+"leseferdighet som avgjørende for den neste generasjonen av kultur. for om "
+"noen som har skrevet forstår hvor vanskelig skriving er--hvor vanskelig det "
+"er å sekvens historien, å holde leserens oppmerksomhet, håndverket språk å "
+"være forståelig--få av oss har en reell følelse av hvor vanskelig media er. "
+"eller mer fundamentalt, få av oss har en følelse av hvordan media fungerer, "
+"hvordan det holder et publikum eller fører det gjennom en artikkel, hvordan "
+"det utløser følelser eller bygger spenning."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It took filmmaking a generation before it could do these things well. But "
+"even then, the knowledge was in the filming, not in writing about the film. "
+"The skill came from experiencing the making of a film, not from reading a "
+"book about it. One learns to write by writing and then reflecting upon what "
+"one has written. One learns to write with images by making them and then "
+"reflecting upon what one has created."
+msgstr ""
+"Det tok filmskapning en generasjon før det kunne gjøre disse tingene godt. "
+"men selv da kunnskap var av filming, ikke skriftlig om filmen. ferdigheten "
+"kom fra opplever inngåelse av en film, ikke fra å lese en bok om den. en "
+"lærer å skrive ved å skrive og deretter gjenspeiler på hva man har skrevet. "
+"en lærer å skrive med bilder ved å gjøre dem og deretter reflektere over hva "
+"man har opprettet."
+
+#. f11
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002."
+msgstr "Intervju med elizabeth daley og stephanie barish, 13 desember 2002."
+
+#. f12
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 November "
+"2000, available at <ulink url=\"http://free-culture.cc/notes/\">link #8</"
+"ulink>; \"Timeline,\" 22 November 2000, available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #9</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This grammar has changed as media has changed. When it was just film, as "
+"Elizabeth Daley, executive director of the University of Southern "
+"California's Annenberg Center for Communication and dean of the USC School "
+"of Cinema-Television, explained to me, the grammar was about \"the placement "
+"of objects, color, . . . rhythm, pacing, and texture.\"<placeholder type="
+"\"footnote\" id=\"0\"/> But as computers open up an interactive space where "
+"a story is \"played\" as well as experienced, that grammar changes. The "
+"simple control of narrative is lost, and so other techniques are necessary. "
+"Author Michael Crichton had mastered the narrative of science fiction. But "
+"when he tried to design a computer game based on one of his works, it was a "
+"new craft he had to learn. How to lead people through a game without their "
+"feeling they have been led was not obvious, even to a wildly successful "
+"author.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This skill is precisely the craft a filmmaker learns. As Daley describes, "
+"\"people are very surprised about how they are led through a film. [I]t is "
+"perfectly constructed to keep you from seeing it, so you have no idea. If a "
+"filmmaker succeeds you do not know how you were led.\" If you know you were "
+"led through a film, the film has failed."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet the push for an expanded literacy--one that goes beyond text to include "
+"audio and visual elements--is not about making better film directors. The "
+"aim is not to improve the profession of filmmaking at all. Instead, as "
+"Daley explained,"
+msgstr ""
+"men Skyv for en utvidet leseferdighet--en som går utover tekst til å "
+"inkludere lyd og visuelle elementer--ikke handler om å gjøre bedre film "
+"styremedlemmer. Målet er ikke å forbedre yrket i filmskapning overhodet. i "
+"stedet, som daley forklart,"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"From my perspective, probably the most important digital divide is not "
+"access to a box. It's the ability to be empowered with the language that "
+"that box works in. Otherwise only a very few people can write with this "
+"language, and all the rest of us are reduced to being read-only."
+msgstr ""
+"fra mitt perspektiv er sannsynligvis den viktigste digital dividere ikke "
+"tilgang til en boks. Det er muligheten til å få flere muligheter med språket "
+"at boksen fungerer i. ellers bare en svært få mennesker kan skrive med dette "
+"språket, og resten av oss er redusert til å være skrivebeskyttet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Read-only.\" Passive recipients of culture produced elsewhere. Couch "
+"potatoes. Consumers. This is the world of media from the twentieth century."
+msgstr ""
+
+#. f13
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Interview with Daley and Barish."
+msgstr "Intervju med daley og barish."
+
+#. f31
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid "Ibid."
+msgstr "ibid."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The twenty-first century could be different. This is the crucial point: It "
+"could be both read and write. Or at least reading and better understanding "
+"the craft of writing. Or best, reading and understanding the tools that "
+"enable the writing to lead or mislead. The aim of any literacy, and this "
+"literacy in particular, is to \"empower people to choose the appropriate "
+"language for what they need to create or express.\"<placeholder type="
+"\"footnote\" id=\"0\"/> It is to enable students \"to communicate in the "
+"language of the twenty-first century.\"<placeholder type=\"footnote\" id="
+"\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As with any language, this language comes more easily to some than to "
+"others. It doesn't necessarily come more easily to those who excel in "
+"written language. Daley and Stephanie Barish, director of the Institute for "
+"Multimedia Literacy at the Annenberg Center, describe one particularly "
+"poignant example of a project they ran in a high school. The high school "
+"was a very poor inner-city Los Angeles school. In all the traditional "
+"measures of success, this school was a failure. But Daley and Barish ran a "
+"program that gave kids an opportunity to use film to express meaning about "
+"something the students know something about--gun violence."
+msgstr ""
+"som med alle språk, kommer dette språket lettere til noen enn for andre. det "
+"kommer ikke nødvendigvis mer lett til de som excel i skriftlig språk. Daley "
+"og stephanie barish, direktør for Institutt for multimedia leseferdighet på "
+"arbeidet center, Beskriv et spesielt intens eksempel på et prosjekt de "
+"kjørte på en high school. high school var en svært dårlig indre-city los "
+"angeles skole. i alle de tradisjonelle mål for suksess var denne skolen en "
+"fiasko. men daley og barish kjørte et program som ga barn en mulighet til å "
+"bruke filmen til å uttrykke mening om noe elevene vet noe om--pistol vold."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The class was held on Friday afternoons, and it created a relatively new "
+"problem for the school. While the challenge in most classes was getting the "
+"kids to come, the challenge in this class was keeping them away. The \"kids "
+"were showing up at 6 A.M. and leaving at 5 at night,\" said Barish. They "
+"were working harder than in any other class to do what education should be "
+"about--learning how to express themselves."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Using whatever \"free web stuff they could find,\" and relatively simple "
+"tools to enable the kids to mix \"image, sound, and text,\" Barish said this "
+"class produced a series of projects that showed something about gun violence "
+"that few would otherwise understand. This was an issue close to the lives of "
+"these students. The project \"gave them a tool and empowered them to be able "
+"to both understand it and talk about it,\" Barish explained. That tool "
+"succeeded in creating expression--far more successfully and powerfully than "
+"could have been created using only text. \"If you had said to these "
+"students, `you have to do it in text,' they would've just thrown their hands "
+"up and gone and done something else,\" Barish described, in part, no doubt, "
+"because expressing themselves in text is not something these students can do "
+"well. Yet neither is text a form in which these ideas can be expressed well. "
+"The power of this message depended upon its connection to this form of "
+"expression."
+msgstr ""
+
+#. PAGE BREAK 52
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"But isn't education about teaching kids to write?\" I asked. In part, of "
+"course, it is. But why are we teaching kids to write? Education, Daley "
+"explained, is about giving students a way of \"constructing meaning.\" To "
+"say that that means just writing is like saying teaching writing is only "
+"about teaching kids how to spell. Text is one part--and increasingly, not "
+"the most powerful part--of constructing meaning. As Daley explained in the "
+"most moving part of our interview,"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"What you want is to give these students ways of constructing meaning. If all "
+"you give them is text, they're not going to do it. Because they can't. You "
+"know, you've got Johnny who can look at a video, he can play a video game, "
+"he can do graffiti all over your walls, he can take your car apart, and he "
+"can do all sorts of other things. He just can't read your text. So Johnny "
+"comes to school and you say, \"Johnny, you're illiterate. Nothing you can do "
+"matters.\" Well, Johnny then has two choices: He can dismiss you or he [can] "
+"dismiss himself. If his ego is healthy at all, he's going to dismiss you. "
+"[But i]nstead, if you say, \"Well, with all these things that you can do, "
+"let's talk about this issue. Play for me music that you think reflects that, "
+"or show me images that you think reflect that, or draw for me something that "
+"reflects that.\" Not by giving a kid a video camera and . . . saying, "
+"\"Let's go have fun with the video camera and make a little movie.\" But "
+"instead, really help you take these elements that you understand, that are "
+"your language, and construct meaning about the topic. . . ."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"That empowers enormously. And then what happens, of course, is eventually, "
+"as it has happened in all these classes, they bump up against the fact, \"I "
+"need to explain this and I really need to write something.\" And as one of "
+"the teachers told Stephanie, they would rewrite a paragraph 5, 6, 7, 8 "
+"times, till they got it right."
+msgstr ""
+
+#. PAGE BREAK 53
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"Because they needed to. There was a reason for doing it. They needed to say "
+"something, as opposed to just jumping through your hoops. They actually "
+"needed to use a language that they didn't speak very well. But they had come "
+"to understand that they had a lot of power with this language.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When two planes crashed into the World Trade Center, another into the "
+"Pentagon, and a fourth into a Pennsylvania field, all media around the world "
+"shifted to this news. Every moment of just about every day for that week, "
+"and for weeks after, television in particular, and media generally, retold "
+"the story of the events we had just witnessed. The telling was a retelling, "
+"because we had seen the events that were described. The genius of this awful "
+"act of terrorism was that the delayed second attack was perfectly timed to "
+"assure that the whole world would be watching."
+msgstr ""
+"Når to fly krasjet inn i world trade center, en annen i pentagon og en "
+"fjerde i et felt i pennsylvania, flyttet alle medier rundt om i verden til "
+"denne nyheter. hvert øyeblikk av omtrent hver dag for at uken, og for uker "
+"etter, TV spesielt og media vanligvis retold historien om hendelsene som vi "
+"bare hadde sett. telling var en gjenfortelling, fordi vi hadde sett "
+"hendelsene som ble beskrevet. geni av denne forferdelig handling av "
+"terrorisme var at forsinkede andre angrepet var perfekt timet for å sikre at "
+"hele verden ville være å se."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These retellings had an increasingly familiar feel. There was music scored "
+"for the intermissions, and fancy graphics that flashed across the screen. "
+"There was a formula to interviews. There was \"balance,\" and seriousness. "
+"This was news choreographed in the way we have increasingly come to expect "
+"it, \"news as entertainment,\" even if the entertainment is tragedy."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But in addition to this produced news about the \"tragedy of September 11,\" "
+"those of us tied to the Internet came to see a very different production as "
+"well. The Internet was filled with accounts of the same events. Yet these "
+"Internet accounts had a very different flavor. Some people constructed photo "
+"pages that captured images from around the world and presented them as slide "
+"shows with text. Some offered open letters. There were sound recordings. "
+"There was anger and frustration. There were attempts to provide context. "
+"There was, in short, an extraordinary worldwide barn raising, in the sense "
+"Mike Godwin uses the term in his book Cyber Rights, around a news event that "
+"had captured the attention of the world. There was ABC and CBS, but there "
+"was also the Internet."
+msgstr ""
+
+#. PAGE BREAK 54
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I don't mean simply to praise the Internet--though I do think the people who "
+"supported this form of speech should be praised. I mean instead to point to "
+"a significance in this form of speech. For like a Kodak, the Internet "
+"enables people to capture images. And like in a movie by a student on the "
+"\"Just Think!\" bus, the visual images could be mixed with sound or text."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But unlike any technology for simply capturing images, the Internet allows "
+"these creations to be shared with an extraordinary number of people, "
+"practically instantaneously. This is something new in our tradition--not "
+"just that culture can be captured mechanically, and obviously not just that "
+"events are commented upon critically, but that this mix of captured images, "
+"sound, and commentary can be widely spread practically instantaneously."
+msgstr ""
+"men i motsetning til noen teknologi for bare skjermbilder, Internett kan "
+"disse kreasjoner som skal deles med en ekstraordinære antall mennesker, "
+"nesten umiddelbart. Dette er noe nytt i vår tradisjon--ikke bare som kultur "
+"kan fanges mekanisk, og åpenbart ikke bare at hendelser er kommentert "
+"kritisk, men at denne blandingen av tatt bilder, lyd, og kommentarer kan "
+"være vidt spredt nesten umiddelbart."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"September 11 was not an aberration. It was a beginning. Around the same "
+"time, a form of communication that has grown dramatically was just beginning "
+"to come into public consciousness: the Web-log, or blog. The blog is a kind "
+"of public diary, and within some cultures, such as in Japan, it functions "
+"very much like a diary. In those cultures, it records private facts in a "
+"public way--it's a kind of electronic Jerry Springer, available anywhere in "
+"the world."
+msgstr ""
+"11 september var ikke en villfarelse. Det var en begynnelse. rundt samme "
+"tid, en form for kommunikasjon som har vokst dramatisk var bare begynnelsen "
+"framover i offentlig bevissthet: web-loggen, eller bloggen. bloggen er en "
+"type offentlig dagbok, og i noen kulturer, slik som i japan, det fungerer "
+"veldig mye som en dagbok. i disse kulturer, den registrerer privat fakta i "
+"en offentlig måte--det er en slags elektronisk jerry springer, tilgjengelig "
+"overalt i verden."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But in the United States, blogs have taken on a very different character. "
+"There are some who use the space simply to talk about their private life. "
+"But there are many who use the space to engage in public discourse. "
+"Discussing matters of public import, criticizing others who are mistaken in "
+"their views, criticizing politicians about the decisions they make, offering "
+"solutions to problems we all see: blogs create the sense of a virtual public "
+"meeting, but one in which we don't all hope to be there at the same time and "
+"in which conversations are not necessarily linked. The best of the blog "
+"entries are relatively short; they point directly to words used by others, "
+"criticizing with or adding to them. They are arguably the most important "
+"form of unchoreographed public discourse that we have."
+msgstr ""
+"men i USA, blogger har tatt på en svært forskjellig karakter. Det er noen "
+"som bruker området bare for å snakke om deres private liv. men det er mange "
+"som du engasjere seg i public discourse. diskutere saker av offentlig "
+"import, kritisere andre som er feil i sine synspunkter, kritiserer "
+"politikere om beslutninger som de gjør, som tilbyr løsninger på problemer "
+"som vi alle ser: blogger skape følelse av et virtuelt offentlige møte, men "
+"en i som vi ikke alle håper å være der på samme tid, og der samtaler ikke "
+"nødvendigvis er koblet. best av bloggoppføringene er relativt kort; de peker "
+"direkte til ord som brukes av andre, kritiserer med eller legge til i dem. "
+"de er uten tvil den viktigste formen for unchoreographed offentlige "
+"diskusjon som vi har."
+
+#. PAGE BREAK 55
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"That's a strong statement. Yet it says as much about our democracy as it "
+"does about blogs. This is the part of America that is most difficult for "
+"those of us who love America to accept: Our democracy has atrophied. Of "
+"course we have elections, and most of the time the courts allow those "
+"elections to count. A relatively small number of people vote in those "
+"elections. The cycle of these elections has become totally professionalized "
+"and routinized. Most of us think this is democracy."
+msgstr ""
+"Det er en sterk uttalelse. Likevel står det så mye om vårt demokrati som det "
+"gjør om blogger. Dette er delen av Amerika som er mest vanskelig for de av "
+"oss som elsker Amerika for å godta: vårt demokrati har atrofier. "
+"selvfølgelig vi har valg, og mesteparten av tiden domstolene tillate disse "
+"valgene til å telle. et relativt lite antall folk stemme i disse valgene. "
+"syklusen av disse valgene blir helt professionalized og routinized. de "
+"fleste av oss tror dette er demokrati."
+
+#. f15
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, "
+"trans. Henry Reeve (New York: Bantam Books, 2000), ch. 16."
+msgstr ""
+"Se for eksempel alexis de tocqueville, demokrati i Amerika, bk. 1, trans. "
+"Henry reeve (new york: bantam books, 2000), ch. 16."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But democracy has never just been about elections. Democracy means rule by "
+"the people, but rule means something more than mere elections. In our "
+"tradition, it also means control through reasoned discourse. This was the "
+"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-"
+"century French lawyer who wrote the most important account of early "
+"\"Democracy in America.\" It wasn't popular elections that fascinated him--"
+"it was the jury, an institution that gave ordinary people the right to "
+"choose life or death for other citizens. And most fascinating for him was "
+"that the jury didn't just vote about the outcome they would impose. They "
+"deliberated. Members argued about the \"right\" result; they tried to "
+"persuade each other of the \"right\" result, and in criminal cases at least, "
+"they had to agree upon a unanimous result for the process to come to an end."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f16
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political "
+"Philosophy 10 (2) (2002): 129."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet even this institution flags in American life today. And in its place, "
+"there is no systematic effort to enable citizen deliberation. Some are "
+"pushing to create just such an institution.<placeholder type=\"footnote\" id="
+"\"0\"/> And in some towns in New England, something close to deliberation "
+"remains. But for most of us for most of the time, there is no time or place "
+"for \"democratic deliberation\" to occur."
+msgstr ""
+
+#. f17
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Cass Sunstein, Republic.com (Princeton: Princeton University Press, "
+#| "2001), 6580, 175, 182, 183, 192."
+msgid ""
+"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 ""
+"More bizarrely, there is generally not even permission for it to occur. We, "
+"the most powerful democracy in the world, have developed a strong norm "
+"against talking about politics. It's fine to talk about politics with people "
+"you agree with. But it is rude to argue about politics with people you "
+"disagree with. Political discourse becomes isolated, and isolated discourse "
+"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what "
+"our friends want to hear, and hear very little beyond what our friends say."
+msgstr ""
+
+#. PAGE BREAK 56
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Enter the blog. The blog's very architecture solves one part of this "
+"problem. People post when they want to post, and people read when they want "
+"to read. The most difficult time is synchronous time. Technologies that "
+"enable asynchronous communication, such as e-mail, increase the opportunity "
+"for communication. Blogs allow for public discourse without the public ever "
+"needing to gather in a single public place."
+msgstr ""
+"gå inn i bloggen. bloggens svært arkitektur løser en del av dette problemet. "
+"folk innlegg når de vil bokføre, og folk lese når de ønsker å lese. det mest "
+"vanskelig tid er synkron tid. teknologier som gjør asynkron kommunikasjon, "
+"for eksempel e-post, øke muligheten for kommunikasjon. blogger tillate "
+"public discourse uten publikum noensinne trenger å samles i en enkelt "
+"offentlig sted."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But beyond architecture, blogs also have solved the problem of norms. "
+"There's no norm (yet) in blog space not to talk about politics. Indeed, the "
+"space is filled with political speech, on both the right and the left. Some "
+"of the most popular sites are conservative or libertarian, but there are "
+"many of all political stripes. And even blogs that are not political cover "
+"political issues when the occasion merits."
+msgstr ""
+"Men utover arkitektur, blogger også har løst problemet med normer. Det er "
+"ingen normen (ennå) i bloggen plass for ikke å snakke om politikk. faktisk, "
+"plassen blir fylt med politisk tale, på både høyre og venstre. noen av de "
+"mest populære nettstedene er høyre eller tilhenger av frihetsprinsippet, men "
+"det er mange av alle politiske striper. og med blogger som ikke er politisk "
+"dekker politiske spørsmål når anledningen fortjener."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The significance of these blogs is tiny now, though not so tiny. The name "
+"Howard Dean may well have faded from the 2004 presidential race but for "
+"blogs. Yet even if the number of readers is small, the reading is having an "
+"effect."
+msgstr ""
+"betydningen av disse bloggene er liten nå, men ikke så små. navnet howard "
+"dean kan godt har bleknet fra 2004 presidentvalget rase men for blogger. "
+"Selv om antall lesere er liten, er ennå lesing har en effekt."
+
+#. f18
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New "
+"York Times, 16 January 2003, G5."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"One direct effect is on stories that had a different life cycle in the "
+"mainstream media. The Trent Lott affair is an example. When Lott \"misspoke"
+"\" at a party for Senator Strom Thurmond, essentially praising Thurmond's "
+"segregationist policies, he calculated correctly that this story would "
+"disappear from the mainstream press within forty-eight hours. It did. But he "
+"didn't calculate its life cycle in blog space. The bloggers kept researching "
+"the story. Over time, more and more instances of the same \"misspeaking\" "
+"emerged. Finally, the story broke back into the mainstream press. In the "
+"end, Lott was forced to resign as senate majority leader.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This different cycle is possible because the same commercial pressures don't "
+"exist with blogs as with other ventures. Television and newspapers are "
+"commercial entities. They must work to keep attention. If they lose "
+"readers, they lose revenue. Like sharks, they must move on."
+msgstr ""
+"Denne forskjellige syklusen er mulig fordi de samme kommersielt press ikke "
+"finnes med blogger som med andre ventures. TV og aviser er kommersielle "
+"selskaper. de må arbeide for å holde oppmerksomheten. Hvis de mister lesere, "
+"mister de inntekt. som haier, må de flytte."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But bloggers don't have a similar constraint. They can obsess, they can "
+"focus, they can get serious. If a particular blogger writes a particularly "
+"interesting story, more and more people link to that story. And as the "
+"number of links to a particular story increases, it rises in the ranks of "
+"stories. People read what is popular; what is popular has been selected by a "
+"very democratic process of peer-generated rankings."
+msgstr ""
+"men bloggere har ikke en lignende begrensning. de kan plage, de kan "
+"fokusere, de kan få alvorlige. Hvis en bestemt blogger skriver en spesielt "
+"interessant historie, koble flere og flere mennesker til denne historien. og "
+"som øker antall koblinger i en bestemt artikkel, sitt utspring i rekkene av "
+"historier. folk lese hva som er populært; Hva er populære har blitt valgt av "
+"en veldig demokratisk prosess med node-generert rangeringer."
+
+#. PAGE BREAK 57
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There's a second way, as well, in which blogs have a different cycle from "
+"the mainstream press. As Dave Winer, one of the fathers of this movement and "
+"a software author for many decades, told me, another difference is the "
+"absence of a financial \"conflict of interest.\" \"I think you have to take "
+"the conflict of interest\" out of journalism, Winer told me. \"An amateur "
+"journalist simply doesn't have a conflict of interest, or the conflict of "
+"interest is so easily disclosed that you know you can sort of get it out of "
+"the way.\""
+msgstr ""
+
+#. f19
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Telephone interview with David Winer, 16 April 2003."
+msgstr "telefon intervju med david vin, 16 april 2003."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These conflicts become more important as media becomes more concentrated "
+"(more on this below). A concentrated media can hide more from the public "
+"than an unconcentrated media can--as CNN admitted it did after the Iraq war "
+"because it was afraid of the consequences to its own employees.<placeholder "
+"type=\"footnote\" id=\"0\"/> It also needs to sustain a more coherent "
+"account. (In the middle of the Iraq war, I read a post on the Internet from "
+"someone who was at that time listening to a satellite uplink with a reporter "
+"in Iraq. The New York headquarters was telling the reporter over and over "
+"that her account of the war was too bleak: She needed to offer a more "
+"optimistic story. When she told New York that wasn't warranted, they told "
+"her that they were writing \"the story.\")"
+msgstr ""
+
+#. f20
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information "
+"Online,\" New York Times, 2 February 2003, A28; Staci D. Kramer, \"Shuttle "
+"Disaster Coverage Mixed, but Strong Overall,\" Online Journalism Review, 2 "
+"February 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #10</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Blog space gives amateurs a way to enter the debate--\"amateur\" not in the "
+"sense of inexperienced, but in the sense of an Olympic athlete, meaning not "
+"paid by anyone to give their reports. It allows for a much broader range of "
+"input into a story, as reporting on the Columbia disaster revealed, when "
+"hundreds from across the southwest United States turned to the Internet to "
+"retell what they had seen.<placeholder type=\"footnote\" id=\"0\"/> And it "
+"drives readers to read across the range of accounts and \"triangulate,\" as "
+"Winer puts it, the truth. Blogs, Winer says, are \"communicating directly "
+"with our constituency, and the middle man is out of it\"--with all the "
+"benefits, and costs, that might entail."
+msgstr ""
+
+#. f21
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" New York "
+"Times, 29 September 2003, C4. (\"Not all news organizations have been as "
+"accepting of employees who blog. Kevin Sites, a CNN correspondent in Iraq "
+"who started a blog about his reporting of the war on March 9, stopped "
+"posting 12 days later at his bosses' request. Last year Steve Olafson, a "
+"Houston Chronicle reporter, was fired for keeping a personal Web log, "
+"published under a pseudonym, that dealt with some of the issues and people "
+"he was covering.\")"
+msgstr ""
+
+#. PAGE BREAK 58
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Winer is optimistic about the future of journalism infected with blogs. "
+"\"It's going to become an essential skill,\" Winer predicts, for public "
+"figures and increasingly for private figures as well. It's not clear that "
+"\"journalism\" is happy about this--some journalists have been told to "
+"curtail their blogging.<placeholder type=\"footnote\" id=\"0\"/> But it is "
+"clear that we are still in transition. \"A lot of what we are doing now is "
+"warm-up exercises,\" Winer told me. There is a lot that must mature before "
+"this space has its mature effect. And as the inclusion of content in this "
+"space is the least infringing use of the Internet (meaning infringing on "
+"copyright), Winer said, \"we will be the last thing that gets shut down.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This speech affects democracy. Winer thinks that happens because \"you don't "
+"have to work for somebody who controls, [for] a gatekeeper.\" That is true. "
+"But it affects democracy in another way as well. As more and more citizens "
+"express what they think, and defend it in writing, that will change the way "
+"people understand public issues. It is easy to be wrong and misguided in "
+"your head. It is harder when the product of your mind can be criticized by "
+"others. Of course, it is a rare human who admits that he has been persuaded "
+"that he is wrong. But it is even rarer for a human to ignore when he has "
+"been proven wrong. The writing of ideas, arguments, and criticism improves "
+"democracy. Today there are probably a couple of million blogs where such "
+"writing happens. When there are ten million, there will be something "
+"extraordinary to report."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"John Seely Brown is the chief scientist of the Xerox Corporation. His work, "
+"as his Web site describes it, is \"human learning and . . . the creation of "
+"knowledge ecologies for creating . . . innovation.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Brown thus looks at these technologies of digital creativity a bit "
+"differently from the perspectives I've sketched so far. I'm sure he would be "
+"excited about any technology that might improve democracy. But his real "
+"excitement comes from how these technologies affect learning."
+msgstr ""
+"brun dermed ser på disse teknologiene av digitale kreativitet litt "
+"annerledes fra perspektiver jeg har skisserte så langt. Jeg er sikker på at "
+"han ville bli begeistret for enhver teknologi som kan forbedre demokrati. "
+"men hans håv kommer fra hvordan disse teknologiene berører læring."
+
+#. PAGE BREAK 59
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As Brown believes, we learn by tinkering. When \"a lot of us grew up,\" he "
+"explains, that tinkering was done \"on motorcycle engines, lawnmower "
+"engines, automobiles, radios, and so on.\" But digital technologies enable a "
+"different kind of tinkering--with abstract ideas though in concrete form. "
+"The kids at Just Think! not only think about how a commercial portrays a "
+"politician; using digital technology, they can take the commercial apart and "
+"manipulate it, tinker with it to see how it does what it does. Digital "
+"technologies launch a kind of bricolage, or \"free collage,\" as Brown calls "
+"it. Many get to add to or transform the tinkering of many others."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The best large-scale example of this kind of tinkering so far is free "
+"software or open-source software (FS/OSS). FS/OSS is software whose source "
+"code is shared. Anyone can download the technology that makes a FS/OSS "
+"program run. And anyone eager to learn how a particular bit of FS/OSS "
+"technology works can tinker with the code."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This opportunity creates a \"completely new kind of learning platform,\" as "
+"Brown describes. \"As soon as you start doing that, you . . . unleash a "
+"free collage on the community, so that other people can start looking at "
+"your code, tinkering with it, trying it out, seeing if they can improve it."
+"\" Each effort is a kind of apprenticeship. \"Open source becomes a major "
+"apprenticeship platform.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In this process, \"the concrete things you tinker with are abstract. They "
+"are code.\" Kids are \"shifting to the ability to tinker in the abstract, "
+"and this tinkering is no longer an isolated activity that you're doing in "
+"your garage. You are tinkering with a community platform. . . . You are "
+"tinkering with other people's stuff. The more you tinker the more you "
+"improve.\" The more you improve, the more you learn."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This same thing happens with content, too. And it happens in the same "
+"collaborative way when that content is part of the Web. As Brown puts it, "
+"\"the Web [is] the first medium that truly honors multiple forms of "
+"intelligence.\" Earlier technologies, such as the typewriter or word "
+"processors, helped amplify text. But the Web amplifies much more than text. "
+"\"The Web . . . says if you are musical, if you are artistic, if you are "
+"visual, if you are interested in film . . . [then] there is a lot you can "
+"start to do on this medium. [It] can now amplify and honor these multiple "
+"forms of intelligence.\""
+msgstr ""
+
+#. PAGE BREAK 60
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just "
+"Think! teach: that this tinkering with culture teaches as well as creates. "
+"It develops talents differently, and it builds a different kind of "
+"recognition."
+msgstr ""
+"Brown snakker om hva elizabeth daley, stephanie barish og tror bare! lære: "
+"som fiksing og denne triksing med kultur lærer samt oppretter. det utvikler "
+"talenter annerledes, og det bygger en annen type gjenkjenning."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as "
+"we'll see through the course of this book, that freedom is increasingly "
+"highly contested. While there's no doubt that your father had the right to "
+"tinker with the car engine, there's great doubt that your child will have "
+"the right to tinker with the images she finds all around. The law and, "
+"increasingly, technology interfere with a freedom that technology, and "
+"curiosity, would otherwise ensure."
+msgstr ""
+"frihet til å tinker med disse objektene er ennå ikke garantert. som vi ser "
+"gjennom i løpet av denne boken, er faktisk at freedom stadig svært omstridt. "
+"mens det er ingen tvil om at din far hadde rett til å tinker med motor, er "
+"det stor tvil om at barnet ditt vil ha rett til å tinker med bilder hun "
+"finner rundt. lov og, i økende grad teknologi forstyrre en frihet som "
+"teknologi, og nysgjerrighet, ellers ville sikre."
+
+#. f22
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See, for example, Edward Felten and Andrew Appel, \"Technological Access "
+"Control Interferes with Noninfringing Scholarship,\" Communications of the "
+"Association for Computer Machinery 43 (2000): 9."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These restrictions have become the focus of researchers and scholars. "
+"Professor Ed Felten of Princeton (whom we'll see more of in chapter 10) has "
+"developed a powerful argument in favor of the \"right to tinker\" as it "
+"applies to computer science and to knowledge in general.<placeholder type="
+"\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more "
+"fundamental. It is about the learning that kids can do, or can't do, because "
+"of the law."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"This is where education in the twenty-first century is going,\" Brown "
+"explains. We need to \"understand how kids who grow up digital think and "
+"want to learn.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Yet,\" as Brown continued, and as the balance of this book will evince, "
+"\"we are building a legal system that completely suppresses the natural "
+"tendencies of today's digital kids. . . . We're building an architecture "
+"that unleashes 60 percent of the brain [and] a legal system that closes down "
+"that part of the brain.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We're building a technology that takes the magic of Kodak, mixes moving "
+"images and sound, and adds a space for commentary and an opportunity to "
+"spread that creativity everywhere. But we're building the law to close down "
+"that technology."
+msgstr ""
+"bygger vi en teknologi som tar magiske kodak, mikser flytte bilder og lyd, "
+"og legger til et mellomrom for kommentarer og en mulighet til å spre at "
+"kreativiteten overalt. men bygger vi lov til å lukke den teknologien."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in chapter "
+"9, quipped to me in a rare moment of despondence."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER THREE: Catalogs"
+msgstr "Kapittel 3: kataloger"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In the fall of 2002, Jesse Jordan of Oceanside, New York, enrolled as a "
+"freshman at Rensselaer Polytechnic Institute, in Troy, New York. His major "
+"at RPI was information technology. Though he is not a programmer, in October "
+"Jesse decided to begin to tinker with search engine technology that was "
+"available on the RPI network."
+msgstr ""
+"i høsten 2002, jesse jordan av oceanside, new york, registrert som freshman "
+"ved rensselaer polytechnic institute, i troy, new york. hans store på rpi "
+"var informasjonsteknologi. Selv om han ikke er en programmerer, i oktober "
+"besluttet jesse å begynne å tinker med søkemotorteknologi som var "
+"tilgjengelig på rpi-nettverket."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"RPI is one of America's foremost technological research institutions. It "
+"offers degrees in fields ranging from architecture and engineering to "
+"information sciences. More than 65 percent of its five thousand "
+"undergraduates finished in the top 10 percent of their high school class. "
+"The school is thus a perfect mix of talent and experience to imagine and "
+"then build, a generation for the network age."
+msgstr ""
+"RPI er en av Amerikas fremst teknologiske forskningsinstitusjoner. Det "
+"tilbyr grader i feltene fra arkitektur og konstruksjon til information "
+"sciences. mer enn 65 prosent av sine fem tusen undergraduates ferdig i "
+"toppen 10 prosent av sin high school-klasse. skolen er dermed en perfekt "
+"blanding av talent og erfaring til å tenke og deretter bygge en generasjon "
+"for nettverk-alder."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"RPI's computer network links students, faculty, and administration to one "
+"another. It also links RPI to the Internet. Not everything available on the "
+"RPI network is available on the Internet. But the network is designed to "
+"enable students to get access to the Internet, as well as more intimate "
+"access to other members of the RPI community."
+msgstr ""
+"rpi's datanettverk kobler studenter, lærere og administrasjon til hverandre. "
+"den har også koblinger rpi til Internett. ikke alt som er tilgjengelig på "
+"nettverket rpi er tilgjengelig på Internett. men nettverket er utformet for "
+"å aktivere studenter å få tilgang til Internett, så vel som mer intimt "
+"tilgang til andre medlemmer av samfunnet rpi."
+
+#. PAGE BREAK 62
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Search engines are a measure of a network's intimacy. Google brought the "
+"Internet much closer to all of us by fantastically improving the quality of "
+"search on the network. Specialty search engines can do this even better. The "
+"idea of \"intranet\" search engines, search engines that search within the "
+"network of a particular institution, is to provide users of that institution "
+"with better access to material from that institution. Businesses do this "
+"all the time, enabling employees to have access to material that people "
+"outside the business can't get. Universities do it as well."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These engines are enabled by the network technology itself. Microsoft, for "
+"example, has a network file system that makes it very easy for search "
+"engines tuned to that network to query the system for information about the "
+"publicly (within that network) available content. Jesse's search engine was "
+"built to take advantage of this technology. It used Microsoft's network file "
+"system to build an index of all the files available within the RPI network."
+msgstr ""
+"Disse motorene er aktivert som nettverk teknologien i seg selv. Microsoft, "
+"har et nettverksfilsystem som gjør det svært enkelt for søkemotorer som er "
+"stilt inn på nettverket til å spørre systemet for informasjon om for "
+"eksempel den offentlig (innen nettverket) tilgjengelig innhold. jesse's "
+"søkemotor ble bygget for å dra nytte av denne teknologien. det brukes "
+"Microsofts NFS til å lage en indeks over alle filer som er tilgjengelige "
+"innenfor rpi-nettverket."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Jesse's wasn't the first search engine built for the RPI network. Indeed, "
+"his engine was a simple modification of engines that others had built. His "
+"single most important improvement over those engines was to fix a bug within "
+"the Microsoft file-sharing system that could cause a user's computer to "
+"crash. With the engines that existed before, if you tried to access a file "
+"through a Windows browser that was on a computer that was off-line, your "
+"computer could crash. Jesse modified the system a bit to fix that problem, "
+"by adding a button that a user could click to see if the machine holding the "
+"file was still on-line."
+msgstr ""
+"jesse's var ikke den første søkemotoren som er bygd for rpi-nettverket. "
+"motoren hans var faktisk en enkel endring av motorer som andre hadde bygget. "
+"hans enkelt høyst betydelig forbedring i forhold til disse motorene var å "
+"fikse en feil i microsoft-fildeling systemet som kan føre til en brukers "
+"datamaskin til å krasje. med motorer som fantes før Hvis du prøvde å få "
+"tilgang til en fil via en windows-leser som var på en datamaskin som var "
+"frakoblet, datamaskinen kan krasje. Jesse endret systemet litt for å løse "
+"det problemet, ved å legge til en knapp som en bruker kan klikke for å se om "
+"maskinen holde filen var fortsatt on-line."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Jesse's engine went on-line in late October. Over the following six months, "
+"he continued to tweak it to improve its functionality. By March, the system "
+"was functioning quite well. Jesse had more than one million files in his "
+"directory, including every type of content that might be on users' computers."
+msgstr ""
+"jesse's motor gikk on-line i slutten av oktober. de følgende seks måneder "
+"fortsatte han å tweak det for å forbedre funksjonaliteten. av mars, var "
+"systemet fungerer ganske bra. Jesse hatt mer enn én million filer i hans "
+"mappen, inkludert alle typer innhold som kan være på brukernes datamaskiner."
+
+#. PAGE BREAK 63
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Thus the index his search engine produced included pictures, which students "
+"could use to put on their own Web sites; copies of notes or research; copies "
+"of information pamphlets; movie clips that students might have created; "
+"university brochures--basically anything that users of the RPI network made "
+"available in a public folder of their computer."
+msgstr ""
+"dermed the index sin søkemotor produsert inkludert bilder, som elevene kan "
+"bruke til å sette på sine egne webområder; Kopier av notater eller "
+"forskning; Kopier av informasjon hefter; filmklipp studenter har opprettet; "
+"Universitetet brosjyrer--i utgangspunktet alt som brukere av rpi-nettverket "
+"gjøres tilgjengelig i en fellesmappe på datamaskinen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But the index also included music files. In fact, one quarter of the files "
+"that Jesse's search engine listed were music files. But that means, of "
+"course, that three quarters were not, and--so that this point is absolutely "
+"clear--Jesse did nothing to induce people to put music files in their public "
+"folders. He did nothing to target the search engine to these files. He was a "
+"kid tinkering with a Google-like technology at a university where he was "
+"studying information science, and hence, tinkering was the aim. Unlike "
+"Google, or Microsoft, for that matter, he made no money from this tinkering; "
+"he was not connected to any business that would make any money from this "
+"experiment. He was a kid tinkering with technology in an environment where "
+"tinkering with technology was precisely what he was supposed to do."
+msgstr ""
+"men the index også inkludert musikkfiler. faktisk en fjerdedel av filene som "
+"jesse søkemotor oppført var musikkfiler. men det betyr, selvfølgelig, at tre "
+"firedeler var ikke, og--slik at dette punktet er helt klart--jesse gjorde "
+"noe for å overtale folk til å sette musikkfiler i deres fellesmapper. Han "
+"gjorde ikke noe å målrette søkemotoren til disse filene. Han var en gutt "
+"fiksing og triksing med en google-liknende teknologi på et universitet, der "
+"han studerte informasjonsvitenskap, og dermed, fiksing og triksing var "
+"målet. i motsetning til google eller microsoft, for saks skyld, fikk han "
+"ingen penger fra fiksing og denne triksing; Han ble ikke koblet til enhver "
+"bedrift som ville gjøre noen penger fra dette eksperimentet. Han var en gutt "
+"fiksing og triksing med teknologi i et miljø hvor fiksing og triksing med "
+"teknologi var nøyaktig hva han skulle gjøre."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The "
+"dean informed Jesse that the Recording Industry Association of America, the "
+"RIAA, would be filing a lawsuit against him and three other students whom he "
+"didn't even know, two of them at other universities. A few hours later, "
+"Jesse was served with papers from the suit. As he read these papers and "
+"watched the news reports about them, he was increasingly astonished."
+msgstr ""
+"3. april 2003, ble jesse kontaktet av dean av studenter ved rpi. dean "
+"informert jesse at recording industry association of america, riaa, ville "
+"være innlevering av søksmålet mot ham og tre andre studentene som han ikke "
+"visste selv, to av dem på andre universiteter. noen timer senere, ble jesse "
+"servert med avhandlinger fra dressen. som han lese disse papirene og så "
+"nyhetsrapporter om dem, ble han stadig mer forbauset."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"It was absurd,\" he told me. \"I don't think I did anything wrong. . . . "
+"I don't think there's anything wrong with the search engine that I ran "
+"or . . . what I had done to it. I mean, I hadn't modified it in any way that "
+"promoted or enhanced the work of pirates. I just modified the search engine "
+"in a way that would make it easier to use\"--again, a search engine, which "
+"Jesse had not himself built, using the Windows filesharing system, which "
+"Jesse had not himself built, to enable members of the RPI community to get "
+"access to content, which Jesse had not himself created or posted, and the "
+"vast majority of which had nothing to do with music."
+msgstr ""
+
+#. PAGE BREAK 64
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But the RIAA branded Jesse a pirate. They claimed he operated a network and "
+"had therefore \"willfully\" violated copyright laws. They demanded that he "
+"pay them the damages for his wrong. For cases of \"willful infringement,\" "
+"the Copyright Act specifies something lawyers call \"statutory damages.\" "
+"These damages permit a copyright owner to claim $150,000 per infringement. "
+"As the RIAA alleged more than one hundred specific copyright infringements, "
+"they therefore demanded that Jesse pay them at least $15,000,000."
+msgstr ""
+
+#. f1
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
+"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): "
+"5, available at 2003 WL 55179443."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Similar lawsuits were brought against three other students: one other "
+"student at RPI, one at Michigan Technical University, and one at Princeton. "
+"Their situations were similar to Jesse's. Though each case was different in "
+"detail, the bottom line in each was exactly the same: huge demands for "
+"\"damages\" that the RIAA claimed it was entitled to. If you added up the "
+"claims, these four lawsuits were asking courts in the United States to award "
+"the plaintiffs close to $100 billion--six times the total profit of the film "
+"industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Jesse called his parents. They were supportive but a bit frightened. An "
+"uncle was a lawyer. He began negotiations with the RIAA. They demanded to "
+"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and "
+"other employment. They demanded $12,000 to dismiss the case."
+msgstr ""
+"Jesse kalt hans foreldre. de var støttende, men litt skremt. en onkel var en "
+"advokat. Han begynte forhandlinger med riaa. de forlangte å vite hvor mye "
+"penger jesse hatt. Jesse hadde lagret $12.000 fra sommerjobber og andre "
+"sysselsetting. de krevde $12000 for å avvise saken."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The RIAA wanted Jesse to admit to doing something wrong. He refused. They "
+"wanted him to agree to an injunction that would essentially make it "
+"impossible for him to work in many fields of technology for the rest of his "
+"life. He refused. They made him understand that this process of being sued "
+"was not going to be pleasant. (As Jesse's father recounted to me, the chief "
+"lawyer on the case, Matt Oppenheimer, told Jesse, \"You don't want to pay "
+"another visit to a dentist like me.\") And throughout, the RIAA insisted it "
+"would not settle the case until it took every penny Jesse had saved."
+msgstr ""
+
+#. PAGE BREAK 65
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Jesse's family was outraged at these claims. They wanted to fight. But "
+"Jesse's uncle worked to educate the family about the nature of the American "
+"legal system. Jesse could fight the RIAA. He might even win. But the cost of "
+"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If "
+"he won, he would not recover that money. If he won, he would have a piece of "
+"paper saying he had won, and a piece of paper saying he and his family were "
+"bankrupt."
+msgstr ""
+"jesse's familie ble irritert på disse påstandene. de ønsket å kjempe. men "
+"jesse's onkel arbeidet for å utdanne familien om natur av den amerikanske "
+"juridiske systemet. Jesse kunne bekjempe riaa. han kan selv vinne. men "
+"kostnaden for kjemper en sak som dette, jesse ble fortalt, ville være minst "
+"$250,000. Hvis han vunnet, ville han ikke gjenopprette de pengene. Hvis han "
+"vunnet, ville han ha et stykke papir som sa han hadde vunnet, og et stykke "
+"papir sier han og hans familie var konkurs."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or "
+"$12,000 and a settlement."
+msgstr ""
+"Slik jesse møtt et mafia-lignende valg: $250,000 og en sjanse til å vinne, "
+"eller $12.000 og en bosetning."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Occupational Employment Survey, U.S. Dept. of Labor (2001) (272042--"
+#| "Musicians and Singers). See also National Endowment for the Arts, More "
+#| "Than One in a Blue Moon (2000)."
+msgid ""
+"Occupational Employment Survey, U.S. Dept. of Labor (2001) (272042--"
+"Musicians and Singers). See also National Endowment for the Arts, More Than "
+"One in a Blue Moon (2000)."
+msgstr ""
+"yrkesmessig sysselsetting undersøkelse, US dept. of labor (2001) (272042--"
+"musikere og vokalister). Se også nasjonale legat for arts, mer enn en i en "
+"blå månen (2000)."
+
+#. f3
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall "
+"Street Journal, 10 September 2003, A24."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The recording industry insists this is a matter of law and morality. Let's "
+"put the law aside for a moment and think about the morality. Where is the "
+"morality in a lawsuit like this? What is the virtue in scapegoatism? The "
+"RIAA is an extraordinarily powerful lobby. The president of the RIAA is "
+"reported to make more than $1 million a year. Artists, on the other hand, "
+"are not well paid. The average recording artist makes $45,900.<placeholder "
+"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect "
+"and direct policy. So where is the morality in taking money from a student "
+"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The "
+"case against him was then dismissed. And with this, this kid who had "
+"tinkered a computer into a $15 million lawsuit became an activist:"
+msgstr ""
+"på den 23 juni kablet jesse hans besparelser til advokaten arbeider for "
+"riaa. en sak mot ham ble deretter avvist. og med dette, ble denne gutten som "
+"hadde endret noe en datamaskin til en $15 millioner rettssak en aktivist:"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"I was definitely not an activist [before]. I never really meant to be an "
+"activist. . . . [But] I've been pushed into this. In no way did I ever "
+"foresee anything like this, but I think it's just completely absurd what the "
+"RIAA has done."
+msgstr ""
+"Jeg var definitivt ikke en aktivist [før]. jeg egentlig aldri ment å være en "
+"aktivist.... [men] jeg har blitt skjøvet inn i dette. på ingen måte gjorde "
+"jeg noensinne forutsi noe lignende, men jeg tror det er bare helt absurd det "
+"riaa har gjort."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Jesse's parents betray a certain pride in their reluctant activist. As his "
+"father told me, Jesse \"considers himself very conservative, and so do "
+"I. . . . He's not a tree hugger. . . . I think it's bizarre that they would "
+"pick on him. But he wants to let people know that they're sending the wrong "
+"message. And he wants to correct the record.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER FOUR: \"Pirates\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"If \"piracy\" means using the creative property of others without their "
+"permission--if \"if value, then right\" is true--then the history of the "
+"content industry is a history of piracy. Every important sector of \"big "
+"media\" today--film, records, radio, and cable TV--was born of a kind of "
+"piracy so defined. The consistent story is how last generation's pirates "
+"join this generation's country club--until now."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Film"
+msgstr "filmen"
+
+#. f1
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "I am grateful to Peter DiMauro for pointing me to this extraordinary "
+#| "history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, 8793, "
+#| "which details Edison's \\\"adventures\\\" with copyright and patent."
+msgid ""
+"I am grateful to Peter DiMauro for pointing me to this extraordinary "
+"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, 8793, "
+"which details Edison's \"adventures\" with copyright and patent."
+msgstr ""
+"Jeg er takknemlig til peter dimauro for å sette meg til dette ekstraordinære "
+"historie. Se også siva vaidhyanathan, opphavsrett og copywrongs, 8793, som "
+"inneholder informasjon om edison's \\\"opplevelser\\\" med opphavsrett og "
+"patent."
+
+#. PAGE BREAK 67
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The film industry of Hollywood was built by fleeing pirates.<placeholder "
+"type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East "
+"Coast to California in the early twentieth century in part to escape "
+"controls that patents granted the inventor of filmmaking, Thomas Edison. "
+"These controls were exercised through a monopoly \"trust,\" the Motion "
+"Pictures Patents Company, and were based on Thomas Edison's creative "
+"property--patents. Edison formed the MPPC to exercise the rights this "
+"creative property gave him, and the MPPC was serious about the control it "
+"demanded."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "As one commentator tells one part of the story,"
+msgstr "som en kommentator forteller en del av historien,"
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"A January 1909 deadline was set for all companies to comply with the "
+"license. By February, unlicensed outlaws, who referred to themselves as "
+"independents protested the trust and carried on business without submitting "
+"to the Edison monopoly. In the summer of 1909 the independent movement was "
+"in full-swing, with producers and theater owners using illegal equipment and "
+"imported film stock to create their own underground market."
+msgstr ""
+"en tidsfrist for januar 1909 ble angitt for alle selskaper i samsvar med "
+"lisens. februar, ulisensiert outlaws, som henviste til seg selv som "
+"independents protesterte tillit og videreførte virksomhet uten å sende til "
+"edison-monopol. i løpet av 1909 sommeren var uavhengige bevegelsen i full-"
+"swing, med produsenter og teater eiere bruker ulovlig utstyr og importerte "
+"film lager til å lage sine egne underjordisk marked."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion "
+"Picture Producers (Cobblestone Entertainment, 2000) and expanded texts "
+"posted at \"The Edison Movie Monopoly: The Motion Picture Patents Company "
+"vs. the Independent Outlaws,\" available at <ulink url=\"http://free-culture."
+"cc/notes/\">link #11</ulink>. For a discussion of the economic motive behind "
+"both these limits and the limits imposed by Victor on phonographs, see "
+"Randal C. Picker, \"From Edison to the Broadcast Flag: Mechanisms of Consent "
+"and Refusal and the Propertization of Copyright\" (September 2002), "
+"University of Chicago Law School, James M. Olin Program in Law and "
+"Economics, Working Paper No. 159."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"With the country experiencing a tremendous expansion in the number of "
+"nickelodeons, the Patents Company reacted to the independent movement by "
+"forming a strong-arm subsidiary known as the General Film Company to block "
+"the entry of non-licensed independents. With coercive tactics that have "
+"become legendary, General Film confiscated unlicensed equipment, "
+"discontinued product supply to theaters which showed unlicensed films, and "
+"effectively monopolized distribution with the acquisition of all U.S. film "
+"exchanges, except for the one owned by the independent William Fox who "
+"defied the Trust even after his license was revoked.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Napsters of those days, the \"independents,\" were companies like Fox. "
+"And no less than today, these independents were vigorously resisted. "
+"\"Shooting was disrupted by machinery stolen, and `accidents' resulting in "
+"loss of negatives, equipment, buildings and sometimes life and limb "
+"frequently occurred.\"<placeholder type=\"footnote\" id=\"0\"/> That led the "
+"independents to flee the East Coast. California was remote enough from "
+"Edison's reach that filmmakers there could pirate his inventions without "
+"fear of the law. And the leaders of Hollywood filmmaking, Fox most "
+"prominently, did just that."
+msgstr ""
+
+#. PAGE BREAK 68
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Of course, California grew quickly, and the effective enforcement of federal "
+"law eventually spread west. But because patents grant the patent holder a "
+"truly \"limited\" monopoly (just seventeen years at that time), by the time "
+"enough federal marshals appeared, the patents had expired. A new industry "
+"had been born, in part from the piracy of Edison's creative property."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Recorded Music"
+msgstr "innspilt musikk"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The record industry was born of another kind of piracy, though to see how "
+"requires a bit of detail about the way the law regulates music."
+msgstr ""
+"rullebladet industri ble født av en annen type piratkopiering, om å se "
+"hvordan krever en bit av detaljer om hvordan loven regulerer musikk."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"At the time that Edison and Henri Fourneaux invented machines for "
+"reproducing music (Edison the phonograph, Fourneaux the player piano), the "
+"law gave composers the exclusive right to control copies of their music and "
+"the exclusive right to control public performances of their music. In other "
+"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit \"Happy Mose,\" "
+"the law said I would have to pay for the right to get a copy of the musical "
+"score, and I would also have to pay for the right to perform it publicly."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But what if I wanted to record \"Happy Mose,\" using Edison's phonograph or "
+"Fourneaux's player piano? Here the law stumbled. It was clear enough that I "
+"would have to buy any copy of the musical score that I performed in making "
+"this recording. And it was clear enough that I would have to pay for any "
+"public performance of the work I was recording. But it wasn't totally clear "
+"that I would have to pay for a \"public performance\" if I recorded the song "
+"in my own house (even today, you don't owe the Beatles anything if you sing "
+"their songs in the shower), or if I recorded the song from memory (copies in "
+"your brain are not--yet-- regulated by copyright law). So if I simply sang "
+"the song into a recording device in the privacy of my own home, it wasn't "
+"clear that I owed the composer anything. And more importantly, it wasn't "
+"clear whether I owed the composer anything if I then made copies of those "
+"recordings. Because of this gap in the law, then, I could effectively "
+"pirate someone else's song without paying its composer anything."
+msgstr ""
+
+#. PAGE BREAK 69
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The composers (and publishers) were none too happy about this capacity to "
+"pirate. As South Dakota senator Alfred Kittredge put it,"
+msgstr ""
+"komponister (og utgivere) var ingen så glade om denne kapasiteten til pirat. "
+"som i Sør-dakota senator alfred sa kittredge,"
+
+#. f4
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 "
+"and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st "
+"sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, "
+"chairman), reprinted in Legislative History of the Copyright Act, E. Fulton "
+"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, "
+"1976)."
+msgstr ""
+"endre og konsolidere handlinger som respekterer copyright: hearings på s. "
+"6330 og hr 19853 før (felles) komiteer på patenter, 59th cong. 59, 1 sess. "
+"(1906) (setning av senator alfred b. kittredge av Sør-dakota, formann), "
+"reprinted i lovgivningens bakgrunn av copyright act, e. brylawski for fulton "
+"og abe goldman, Red. (south hackensack, NJ: rothman opptrykk, 1976)."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Imagine the injustice of the thing. A composer writes a song or an opera. A "
+"publisher buys at great expense the rights to the same and copyrights it. "
+"Along come the phonographic companies and companies who cut music rolls and "
+"deliberately steal the work of the brain of the composer and publisher "
+"without any regard for [their] rights.<placeholder type=\"footnote\" id="
+"\"0\"/>"
+msgstr ""
+
+#. f5
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of "
+"Nathan Burkan, attorney for the Music Publishers Association)."
+msgstr ""
+"endre og konsolidere handlinger som respekterer opphavsrett, 223 (setning av "
+"nathan burkan, advokat for musikk publishers association)."
+
+#. f6
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of "
+"Nathan Burkan, attorney for the Music Publishers Association)."
+msgstr ""
+"endre og konsolidere handlinger som respekterer opphavsrett, 226 (setning av "
+"nathan burkan, advokat for musikk publishers association)."
+
+#. f7
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of "
+"John Philip Sousa, composer)."
+msgstr ""
+"endre og konsolidere handlinger som respekterer opphavsrett, 23 (setning av "
+"john philip sousa, komponist)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The innovators who developed the technology to record other people's works "
+"were \"sponging upon the toil, the work, the talent, and genius of American "
+"composers,\"<placeholder type=\"footnote\" id=\"0\"/> and the \"music "
+"publishing industry\" was thereby \"at the complete mercy of this one pirate."
+"\"<placeholder type=\"footnote\" id=\"1\"/> As John Philip Sousa put it, in "
+"as direct a way as possible, \"When they make money out of my pieces, I want "
+"a share of it.\"<placeholder type=\"footnote\" id=\"2\"/>"
+msgstr ""
+
+#. f8
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "To Amend and Consolidate the Acts Respecting Copyright, 28384 (statement "
+#| "of Albert Walker, representative of the Auto-Music Perforating Company of "
+#| "New York)."
+msgid ""
+"To Amend and Consolidate the Acts Respecting Copyright, 28384 (statement of "
+"Albert Walker, representative of the Auto-Music Perforating Company of New "
+"York)."
+msgstr ""
+"endre og konsolidere handlinger som respekterer opphavsrett, 28384 (setning "
+"av albert walker, er representative for auto-musikk perforating selskapet i "
+"new york)."
+
+#. f9
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared "
+"memorandum of Philip Mauro, general patent counsel of the American "
+"Graphophone Company Association)."
+msgstr ""
+"endre og konsolidere handlinger som respekterer opphavsrett, 376 (forberedt "
+"memorandum of philip mauro, patent sjefsjurist for amerikansk graphophone "
+"selskapet association)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These arguments have familiar echoes in the wars of our day. So, too, do the "
+"arguments on the other side. The innovators who developed the player piano "
+"argued that \"it is perfectly demonstrable that the introduction of "
+"automatic music players has not deprived any composer of anything he had "
+"before their introduction.\" Rather, the machines increased the sales of "
+"sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
+"innovators argued, the job of Congress was \"to consider first the interest "
+"of [the public], whom they represent, and whose servants they are.\" \"All "
+"talk about `theft,'\" the general counsel of the American Graphophone "
+"Company wrote, \"is the merest claptrap, for there exists no property in "
+"ideas musical, literary or artistic, except as defined by statute."
+"\"<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. PAGE BREAK 70
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The law soon resolved this battle in favor of the composer and the recording "
+"artist. Congress amended the law to make sure that composers would be paid "
+"for the \"mechanical reproductions\" of their music. But rather than simply "
+"granting the composer complete control over the right to make mechanical "
+"reproductions, Congress gave recording artists a right to record the music, "
+"at a price set by Congress, once the composer allowed it to be recorded "
+"once. This is the part of copyright law that makes cover songs possible. "
+"Once a composer authorizes a recording of his song, others are free to "
+"record the same song, so long as they pay the original composer a fee set by "
+"the law."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"American law ordinarily calls this a \"compulsory license,\" but I will "
+"refer to it as a \"statutory license.\" A statutory license is a license "
+"whose key terms are set by law. After Congress's amendment of the Copyright "
+"Act in 1909, record companies were free to distribute copies of recordings "
+"so long as they paid the composer (or copyright holder) the fee set by the "
+"statute."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is an exception within the law of copyright. When John Grisham writes a "
+"novel, a publisher is free to publish that novel only if Grisham gives the "
+"publisher permission. Grisham, in turn, is free to charge whatever he wants "
+"for that permission. The price to publish Grisham is thus set by Grisham, "
+"and copyright law ordinarily says you have no permission to use Grisham's "
+"work except with permission of Grisham."
+msgstr ""
+"Dette er et unntak i henhold til loven om opphavsrett. Når john grisham "
+"skriver en roman, er en utgiver gratis å publisere denne romanen bare hvis "
+"grisham gir publisher-tillatelse. Grisham, i sin tur er gratis å belaste det "
+"han ønsker for denne tillatelsen. prisen til å publisere grisham dermed er "
+"satt av grisham og lov om opphavsrett sier vanligvis du har ikke tillatelse "
+"til å bruke grisham's arbeide bortsett med tillatelse fra grisham."
+
+#. f10
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and H.R. "
+"11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., 217 "
+"(1908) (statement of Senator Reed Smoot, chairman), reprinted in Legislative "
+"History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. "
+"(South Hackensack, N.J.: Rothman Reprints, 1976)."
+msgstr ""
+"Copyright lov revision: hearings på s. 2499, s. 2900, hr 243 og hr 11794 før "
+"(felles) komiteen på patenter, 60 cong., 1 sess., 217 (1908) (setning av "
+"senator reed smoot, formann), reprinted i lovgivningens bakgrunn av 1909 "
+"copyright act, e. brylawski for fulton og abe goldman, Red. (south "
+"hackensack, NJ: rothman opptrykk, 1976)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But the law governing recordings gives recording artists less. And thus, in "
+"effect, the law subsidizes the recording industry through a kind of piracy--"
+"by giving recording artists a weaker right than it otherwise gives creative "
+"authors. The Beatles have less control over their creative work than Grisham "
+"does. And the beneficiaries of this less control are the recording industry "
+"and the public. The recording industry gets something of value for less than "
+"it otherwise would pay; the public gets access to a much wider range of "
+"musical creativity. Indeed, Congress was quite explicit about its reasons "
+"for granting this right. Its fear was the monopoly power of rights holders, "
+"and that that power would stifle follow-on creativity.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"While the recording industry has been quite coy about this recently, "
+"historically it has been quite a supporter of the statutory license for "
+"records. As a 1967 report from the House Committee on the Judiciary relates,"
+msgstr ""
+"mens musikkindustrien har vært ganske sjenert om dette nylig, historisk har "
+"det vært ganske en tilhenger av lovbestemte lisensen for poster. som en 1967 "
+"relaterer rapport fra house committee på rettsvesenet,"
+
+#. f11
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"Copyright Law Revision: Report to Accompany H.R. 2512, House Committee on "
+"the Judiciary, 90th Cong., 1st sess., House Document no. 83, (8 March 1967). "
+"I am grateful to Glenn Brown for drawing my attention to this report."
+msgstr ""
+"Copyright lov revision: rapporten skal følge med HR 2512, huset committee on "
+"rettsvesenet, 90th cong., 1 sess., huset dokument nr. 83, (8 mars 1967). Jeg "
+"er takknemlig for glenn brun for tegning min oppmerksomhet til denne "
+"rapporten."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"the record producers argued vigorously that the compulsory license system "
+"must be retained. They asserted that the record industry is a half-billion-"
+"dollar business of great economic importance in the United States and "
+"throughout the world; records today are the principal means of disseminating "
+"music, and this creates special problems, since performers need unhampered "
+"access to musical material on nondiscriminatory terms. Historically, the "
+"record producers pointed out, there were no recording rights before 1909 and "
+"the 1909 statute adopted the compulsory license as a deliberate anti-"
+"monopoly condition on the grant of these rights. They argue that the result "
+"has been an outpouring of recorded music, with the public being given lower "
+"prices, improved quality, and a greater choice.<placeholder type=\"footnote"
+"\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"By limiting the rights musicians have, by partially pirating their creative "
+"work, the record producers, and the public, benefit."
+msgstr ""
+"ved å begrense fordel rettighetene musikere har, ved delvis pirating sine "
+"skapende arbeid, registrere produsentene og offentligheten."
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Radio"
+msgstr "Radio"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+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>
+msgid ""
+"See 17 United States Code, sections 106 and 110. At the beginning, record "
+"companies printed \"Not Licensed for Radio Broadcast\" and other messages "
+"purporting to restrict the ability to play a record on a radio station. "
+"Judge Learned Hand rejected the argument that a warning attached to a record "
+"might restrict the rights of the radio station. See RCA Manufacturing Co. v. "
+"Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From "
+"Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
+"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): "
+"281."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When a radio station plays a record on the air, that constitutes a \"public "
+"performance\" of the composer's work.<placeholder type=\"footnote\" id=\"0\"/"
+"> As I described above, the law gives the composer (or copyright holder) an "
+"exclusive right to public performances of his work. The radio station thus "
+"owes the composer money for that performance."
+msgstr ""
+
+#. PAGE BREAK 72
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But when the radio station plays a record, it is not only performing a copy "
+"of the composer's work. The radio station is also performing a copy of the "
+"recording artist's work. It's one thing to have \"Happy Birthday\" sung on "
+"the radio by the local children's choir; it's quite another to have it sung "
+"by the Rolling Stones or Lyle Lovett. The recording artist is adding to the "
+"value of the composition performed on the radio station. And if the law "
+"were perfectly consistent, the radio station would have to pay the recording "
+"artist for his work, just as it pays the composer of the music for his work."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But it doesn't. Under the law governing radio performances, the radio "
+"station does not have to pay the recording artist. The radio station need "
+"only pay the composer. The radio station thus gets a bit of something for "
+"nothing. It gets to perform the recording artist's work for free, even if it "
+"must pay the composer something for the privilege of playing the song."
+msgstr ""
+"men det ikke. under loven styrende radio forestillinger, har radiostasjonen "
+"ikke å betale innspillingen artist. radiostasjonen trenger bare å betale "
+"komponisten. radiostasjonen får dermed en bit av noe for ingenting. det blir "
+"å utføre den Plateartist arbeid gratis, selv om det må betale komponisten "
+"noe for privilegiet av å spille sangen."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This difference can be huge. Imagine you compose a piece of music. Imagine "
+"it is your first. You own the exclusive right to authorize public "
+"performances of that music. So if Madonna wants to sing your song in public, "
+"she has to get your permission."
+msgstr ""
+"denne forskjellen kan være stor. Tenk du komponere musikk. forestille seg "
+"det er din første. du eier den eksklusive retten til å godkjenne "
+"teateroppsetninger av at musikk. så hvis madonna ønsker å synge sangen i det "
+"offentlige, hun har å bli din tillatelse."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Imagine she does sing your song, and imagine she likes it a lot. She then "
+"decides to make a recording of your song, and it becomes a top hit. Under "
+"our law, every time a radio station plays your song, you get some money. But "
+"Madonna gets nothing, save the indirect effect on the sale of her CDs. The "
+"public performance of her recording is not a \"protected\" right. The radio "
+"station thus gets to pirate the value of Madonna's work without paying her "
+"anything."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No doubt, one might argue that, on balance, the recording artists benefit. "
+"On average, the promotion they get is worth more than the performance rights "
+"they give up. Maybe. But even if so, the law ordinarily gives the creator "
+"the right to make this choice. By making the choice for him or her, the law "
+"gives the radio station the right to take something for nothing."
+msgstr ""
+"ingen tvil, kan man argumentere at, på saldo, artistene nytte. i "
+"gjennomsnitt er kampanjen de får verdt mer enn ytelse rettigheter de gir "
+"opp. kanskje. men selv om så, loven vanligvis gir skaperen retten til å "
+"gjøre dette valget. ved å gjøre valg for ham eller henne, gir loven "
+"radiostasjonen retten til å ta noe for ingenting."
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Cable TV"
+msgstr "kabel-tv"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "Cable TV was also born of a kind of piracy."
+msgstr "kabel-tv ble også født av en form for piratkopiering."
+
+#. PAGE BREAK 73
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When cable entrepreneurs first started wiring communities with cable "
+"television in 1948, most refused to pay broadcasters for the content that "
+"they echoed to their customers. Even when the cable companies started "
+"selling access to television broadcasts, they refused to pay for what they "
+"sold. Cable companies were thus Napsterizing broadcasters' content, but more "
+"egregiously than anything Napster ever did-- Napster never charged for the "
+"content it enabled others to give away."
+msgstr ""
+"da kabel gründere startet ledningsnett fellesskap med kabel-TV i 1948, mest "
+"nektet å betale broadcasters for innhold som de echoed til sine kunder. selv "
+"når kabelselskaper begynte å selge tilgang til TV-sendinger, nektet de å "
+"betale for hva de solgte. kabelselskaper var dermed napsterizing "
+"broadcasters' innhold, men mer egregiously enn noe napster gjorde noensinne--"
+"napster belastet aldri for innholdet det aktivert andre til å gi bort."
+
+#. f13
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Copyright Law Revision--CATV: Hearing on S. 1006 Before the Subcommittee on "
+"Patents, Trademarks, and Copyrights of the Senate Committee on the "
+"Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. Hyde, "
+"chairman of the Federal Communications Commission)."
+msgstr ""
+"Copyright lov revision--catv: høre s. 1006 før subcommittee on patenter, "
+"varemerker og opphavsrett for senatets komité på rettsvesenet, 89nde cong., "
+"2nd sess., 78 (1966) (setning av rosel h. hyde, formann i federal "
+"communications commission)."
+
+#. f14
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Copyright Law Revision--CATV, 116 (statement of Douglas A. Anello, general "
+"counsel of the National Association of Broadcasters)."
+msgstr ""
+"Copyright lov revision--catv, 116 (setning av douglas a. anello, sjefsjurist "
+"av national association of broadcasters)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Broadcasters and copyright owners were quick to attack this theft. Rosel "
+"Hyde, chairman of the FCC, viewed the practice as a kind of \"unfair and "
+"potentially destructive competition.\"<placeholder type=\"footnote\" id="
+"\"0\"/> There may have been a \"public interest\" in spreading the reach of "
+"cable TV, but as Douglas Anello, general counsel to the National Association "
+"of Broadcasters, asked Senator Quentin Burdick during testimony, \"Does "
+"public interest dictate that you use somebody else's property?\"<placeholder "
+"type=\"footnote\" id=\"1\"/> As another broadcaster put it,"
+msgstr ""
+
+#. f15
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"Copyright Law Revision--CATV, 126 (statement of Ernest W. Jennes, general "
+"counsel of the Association of Maximum Service Telecasters, Inc.)."
+msgstr ""
+"Copyright lov revision--catv, 126 (setning av ernest w. jennes, sjefsjurist "
+"av tilknytningen for maksimal service telecasters, inc.)."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"The extraordinary thing about the CATV business is that it is the only "
+"business I know of where the product that is being sold is not paid for."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "Again, the demand of the copyright holders seemed reasonable enough:"
+msgstr "igjen, etterspørselen av rettighetshavere virket fornuftig nok:"
+
+#. f16
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"Copyright Law Revision--CATV, 169 (joint statement of Arthur B. Krim, "
+"president of United Artists Corp., and John Sinn, president of United "
+"Artists Television, Inc.)."
+msgstr ""
+"Copyright lov revision--catv, 169 (felleserklæringen av arthur b. Krim, "
+"president i united artists Corporation og john sinn, president i united "
+"artists TV, inc.)."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"All we are asking for is a very simple thing, that people who now take our "
+"property for nothing pay for it. We are trying to stop piracy and I don't "
+"think there is any lesser word to describe it. I think there are harsher "
+"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f17
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+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)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These were \"free-ride[rs],\" Screen Actor's Guild president Charlton Heston "
+"said, who were \"depriving actors of compensation.\"<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But again, there was another side to the debate. As Assistant Attorney "
+"General Edwin Zimmerman put it,"
+msgstr ""
+"men igjen, det var en annen side i debatten. som assistent justisministeren "
+"sa edwin zimmerman,"
+
+#. f18
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"Copyright Law Revision--CATV, 216 (statement of Edwin M. Zimmerman, acting "
+"assistant attorney general)."
+msgstr ""
+"Copyright lov revision--catv, 216 (setning av edwin m. Zimmerman fungerende "
+"assistent justisministeren)."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Our point here is that unlike the problem of whether you have any copyright "
+"protection at all, the problem here is whether copyright holders who are "
+"already compensated, who already have a monopoly, should be permitted to "
+"extend that monopoly. . . . The question here is how much compensation they "
+"should have and how far back they should carry their right to compensation."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Copyright owners took the cable companies to court. Twice the Supreme Court "
+"held that the cable companies owed the copyright owners nothing."
+msgstr ""
+"opphavsrett eiere tok kabelselskaper til retten. Høyesterett holdt to ganger "
+"at kabelselskaper skyldte opphavsrett eierne ingenting."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It took Congress almost thirty years before it resolved the question of "
+"whether cable companies had to pay for the content they \"pirated.\" In the "
+"end, Congress resolved this question in the same way that it resolved the "
+"question about record players and player pianos. Yes, cable companies would "
+"have to pay for the content that they broadcast; but the price they would "
+"have to pay was not set by the copyright owner. The price was set by law, "
+"so that the broadcasters couldn't exercise veto power over the emerging "
+"technologies of cable. Cable companies thus built their empire in part upon "
+"a \"piracy\" of the value created by broadcasters' content."
+msgstr ""
+
+#. 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.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These separate stories sing a common theme. If \"piracy\" means using value "
+"from someone else's creative property without permission from that creator--"
+"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."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER FIVE: \"Piracy\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There is piracy of copyrighted material. Lots of it. This piracy comes in "
+"many forms. The most significant is commercial piracy, the unauthorized "
+"taking of other people's content within a commercial context. Despite the "
+"many justifications that are offered in its defense, this taking is wrong. "
+"No one should condone it, and the law should stop it."
+msgstr ""
+"Det er piratkopiering av opphavsrettsbeskyttet materiale. mye av det. Denne "
+"sjørøver kommer i mange former. den mest betydningsfulle er kommersielle "
+"piratkopiering, uautorisert å ta av andres innhold i en kommersiell "
+"kontekst. til tross for mange justifications som tilbys i sitt forsvar, er "
+"dette tar galt. ingen bør condone det, og loven skal slutte det."
+
+#. PAGE BREAK 76
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But as well as copy-shop piracy, there is another kind of \"taking\" that is "
+"more directly related to the Internet. That taking, too, seems wrong to "
+"many, and it is wrong much of the time. Before we paint this taking \"piracy,"
+"\" however, we should understand its nature a bit more. For the harm of "
+"this taking is significantly more ambiguous than outright copying, and the "
+"law should account for that ambiguity, as it has so often done in the past."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Piracy I"
+msgstr "piratkopiering jeg"
+
+#. f1
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See IFPI (International Federation of the Phonographic Industry), The "
+"Recording Industry Commercial Piracy Report 2003, July 2003, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #14</ulink>. See also Ben "
+"Hunt, \"Companies Warned on Music Piracy Risk,\" Financial Times, 14 "
+"February 2003, 11."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"All across the world, but especially in Asia and Eastern Europe, there are "
+"businesses that do nothing but take others people's copyrighted content, "
+"copy it, and sell it--all without the permission of a copyright owner. The "
+"recording industry estimates that it loses about $4.6 billion every year to "
+"physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out to "
+"one in three CDs sold worldwide). The MPAA estimates that it loses $3 "
+"billion annually worldwide to piracy."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is piracy plain and simple. Nothing in the argument of this book, nor "
+"in the argument that most people make when talking about the subject of this "
+"book, should draw into doubt this simple point: This piracy is wrong."
+msgstr ""
+"Dette er piratkopiering ren og enkel. ingenting i argumentet av denne boken, "
+"og heller ikke i argumentet om at fleste gjør når du snakker om emnet av "
+"denne boken, bør trekke i tvil dette enkle punktet: denne piratkopiering er "
+"galt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Which is not to say that excuses and justifications couldn't be made for it. "
+"We could, for example, remind ourselves that for the first one hundred years "
+"of the American Republic, America did not honor foreign copyrights. We were "
+"born, in this sense, a pirate nation. It might therefore seem hypocritical "
+"for us to insist so strongly that other developing nations treat as wrong "
+"what we, for the first hundred years of our existence, treated as right."
+msgstr ""
+"som er ikke å si at unnskyldninger og justifications ikke kunne laget for "
+"den. Vi kan, for eksempel minne oss at for de første hundre år av den "
+"amerikanske Republikken, Amerika ikke ære utenlandske opphavsrettigheter. Vi "
+"ble født, i denne forstand, en pirat nasjon. Det kan derfor synes "
+"hypocritical for oss å insistere så sterkt at andre utviklingsland behandle "
+"feil hva vi, for de første hundre år av vår eksistens, behandlet som høyre."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"That excuse isn't terribly strong. Technically, our law did not ban the "
+"taking of foreign works. It explicitly limited itself to American works. "
+"Thus the American publishers who published foreign works without the "
+"permission of foreign authors were not violating any rule. The copy shops "
+"in Asia, by contrast, are violating Asian law. Asian law does protect "
+"foreign copyrights, and the actions of the copy shops violate that law. So "
+"the wrong of piracy that they engage in is not just a moral wrong, but a "
+"legal wrong, and not just an internationally legal wrong, but a locally "
+"legal wrong as well."
+msgstr ""
+"den unnskyldning er ikke veldig sterk. teknisk, vår lov ikke Ben å ta av "
+"utenlandske fungerer. det begrenset eksplisitt seg til amerikanske works. "
+"Dermed ble er amerikansk utgivere som publisert utenlandske fungerer uten "
+"tillatelse fra utenlandske forfattere ikke bryter reglementet. "
+"kopieringsfirmaer i asia, derimot, er krenkjer asiatiske lov. asiatiske lov "
+"beskytter utenlandske opphavsrettigheter, og handlingene til "
+"kopieringsfirmaer bryter den lov. så feil for piratvirksomhet som de delta i "
+"er ikke bare en moralsk galt, men en juridisk galt, og ikke bare et "
+"internasjonalt juridiske galt, men en lokalt juridiske galt også."
+
+#. PAGE BREAK 77
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"True, these local rules have, in effect, been imposed upon these countries. "
+"No country can be part of the world economy and choose not to protect "
+"copyright internationally. We may have been born a pirate nation, but we "
+"will not allow any other nation to have a similar childhood."
+msgstr ""
+"sant, disse lokale regler har, i kraft, blitt påtvunget disse landene. ikke "
+"noe land kan være en del av verdensøkonomien og velge ikke å beskytte "
+"opphavsretten internasjonalt. Vi kan ha vært født en pirat nasjon, men vi "
+"tillater ikke noen annen nasjon til å ha en lignende barndom."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns "
+#| "the Knowledge Economy? (New York: The New Press, 2003), 1013, 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."
+msgid ""
+"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
+"Knowledge Economy? (New York: The New Press, 2003), 1013, 209. The Trade-"
+"Related Aspects of Intellectual Property Rights (TRIPS) agreement obligates "
+"member nations to create administrative and enforcement mechanisms for "
+"intellectual property rights, a costly proposition for developing countries. "
+"Additionally, patent rights may lead to higher prices for staple industries "
+"such as agriculture. Critics of TRIPS question the disparity between burdens "
+"imposed upon developing countries and benefits conferred to industrialized "
+"nations. TRIPS does permit governments to use patents for public, "
+"noncommercial uses without first obtaining the patent holder's permission. "
+"Developing nations may be able to use this to gain the benefits of foreign "
+"patents at lower prices. This is a promising strategy for developing nations "
+"within the TRIPS framework."
+msgstr ""
+"se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier "
+"knowledge economy? (new york: ny press, 2003), 1013, 209. handel-relaterte "
+"aspekter av immaterielle rettigheter (turer) avtalen obligates "
+"medlemslandene til å opprette administrative og håndhevelse mekanismer for "
+"immaterielle rettigheter, en kostbar proposition for utviklingsland. i "
+"tillegg kan patentrettigheter føre til høyere priser på stift bransjer som "
+"jordbruk. kritikere av reiser spørsmålet ulikhet mellom byrder påtvang "
+"utviklingsland og fordeler som er gitt til industrilandene. turer tillater "
+"at regjeringene til å bruke patenter for offentlig, ikke-kommersiell bruk "
+"uten først å innhente den patent holder tillatelse. utviklingsland kanskje "
+"kunne bruke dette for å få fordelene med utenlandske patenter til lavere "
+"priser. Dette er en lovende strategi for utviklingsland rammene turer."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If a country is to be treated as a sovereign, however, then its laws are its "
+"laws regardless of their source. The international law under which these "
+"nations live gives them some opportunities to escape the burden of "
+"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my "
+"view, more developing nations should take advantage of that opportunity, but "
+"when they don't, then their laws should be respected. And under the laws of "
+"these nations, this piracy is wrong."
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, 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."
+msgid ""
+"For an analysis of the economic impact of copying technology, see Stan "
+"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), 14490. "
+"\"In some instances . . . the impact of piracy on the copyright holder's "
+"ability to appropriate the value of the work will be negligible. One obvious "
+"instance is the case where the individual engaging in pirating would not "
+"have purchased an original even if pirating were not an option.\" Ibid., 149."
+msgstr ""
+"for en analyse av økonomiske virkningen av kopiering teknologi, kan du se "
+"stan liebowitz, rethinking nettverk økonomien (new york: amacom, 2002), 144"
+"90. \\\"i noen tilfeller... virkningen av piratkopiering på "
+"opphavsrettsinnehavers evne til å tilegne verdien av arbeidet vil være "
+"ubetydelig. en opplagt forekomsten er tilfelle der individuelle engasjerende "
+"i pirating ikke ville ha kjøpt en original selv om pirating var ikke en "
+"alternativet. ibid., 149."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Alternatively, we could try to excuse this piracy by noting that in any "
+"case, it does no harm to the industry. The Chinese who get access to "
+"American CDs at 50 cents a copy are not people who would have bought those "
+"American CDs at $15 a copy. So no one really has any less money than they "
+"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is often true (though I have friends who have purchased many thousands "
+"of pirated DVDs who certainly have enough money to pay for the content they "
+"have taken), and it does mitigate to some degree the harm caused by such "
+"taking. Extremists in this debate love to say, \"You wouldn't go into Barnes "
+"& Noble and take a book off of the shelf without paying; why should it "
+"be any different with on-line music?\" The difference is, of course, that "
+"when you take a book from Barnes & Noble, it has one less book to sell. "
+"By contrast, when you take an MP3 from a computer network, there is not one "
+"less CD that can be sold. The physics of piracy of the intangible are "
+"different from the physics of piracy of the tangible."
+msgstr ""
+
+#. PAGE BREAK 78
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This argument is still very weak. However, although copyright is a property "
+"right of a very special sort, it is a property right. Like all property "
+"rights, the copyright gives the owner the right to decide the terms under "
+"which content is shared. If the copyright owner doesn't want to sell, she "
+"doesn't have to. There are exceptions: important statutory licenses that "
+"apply to copyrighted content regardless of the wish of the copyright owner. "
+"Those licenses give people the right to \"take\" copyrighted content whether "
+"or not the copyright owner wants to sell. But where the law does not give "
+"people the right to take content, it is wrong to take that content even if "
+"the wrong does no harm. If we have a property system, and that system is "
+"properly balanced to the technology of a time, then it is wrong to take "
+"property without the permission of a property owner. That is exactly what "
+"\"property\" means."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Finally, we could try to excuse this piracy with the argument that the "
+"piracy actually helps the copyright owner. When the Chinese \"steal\" "
+"Windows, that makes the Chinese dependent on Microsoft. Microsoft loses the "
+"value of the software that was taken. But it gains users who are used to "
+"life in the Microsoft world. Over time, as the nation grows more wealthy, "
+"more and more people will buy software rather than steal it. And hence over "
+"time, because that buying will benefit Microsoft, Microsoft benefits from "
+"the piracy. If instead of pirating Microsoft Windows, the Chinese used the "
+"free GNU/Linux operating system, then these Chinese users would not "
+"eventually be buying Microsoft. Without piracy, then, Microsoft would lose."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This argument, too, is somewhat true. The addiction strategy is a good one. "
+"Many businesses practice it. Some thrive because of it. Law students, for "
+"example, are given free access to the two largest legal databases. The "
+"companies marketing both hope the students will become so used to their "
+"service that they will want to use it and not the other when they become "
+"lawyers (and must pay high subscription fees)."
+msgstr ""
+"Dette argumentet er også, noe sant. avhengighet-strategi er en god en. mange "
+"virksomheter praktisere det.. noen trives på grunn av den. Law studenter, "
+"for eksempel får du gratis tilgang til de to største juridiske databasene. "
+"selskapene markedsføring håper begge elevene vil så bli brukt til deres "
+"tjeneste som de vil bruke det, og ikke den andre når de blir jurister (og må "
+"betale høy abonnementsavgift)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Still, the argument is not terribly persuasive. We don't give the alcoholic "
+"a defense when he steals his first beer, merely because that will make it "
+"more likely that he will buy the next three. Instead, we ordinarily allow "
+"businesses to decide for themselves when it is best to give their product "
+"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can "
+"give its product away, as it did, for example, with Internet Explorer to "
+"fight Netscape. A property right means giving the property owner the right "
+"to say who gets access to what--at least ordinarily. And if the law properly "
+"balances the rights of the copyright owner with the rights of access, then "
+"violating the law is still wrong."
+msgstr ""
+
+#. PAGE BREAK 79
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Thus, while I understand the pull of these justifications for piracy, and I "
+"certainly see the motivation, in my view, in the end, these efforts at "
+"justifying commercial piracy simply don't cut it. This kind of piracy is "
+"rampant and just plain wrong. It doesn't transform the content it steals; it "
+"doesn't transform the market it competes in. It merely gives someone access "
+"to something that the law says he should not have. Nothing has changed to "
+"draw that law into doubt. This form of piracy is flat out wrong."
+msgstr ""
+"dermed mens jeg forstår drar av disse justifications for piratkopiering, og "
+"jeg absolutt se motivasjon, etter min mening, til slutt, kuttes disse "
+"innsats på rettferdiggjørende kommersielle piratkopiering bare ikke det. "
+"Denne typen piratkopiering er frodig og bare ren galt. det forandre ikke "
+"innholdet det stjeler; det ikke forandre markedet den konkurrerer i. den "
+"bare gir noen tilgang til noe som loven sier han ikke skal ha. ingenting er "
+"endret for å tegne den lov i tvil. denne formen for piratkopiering er flat "
+"ut feil."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But as the examples from the four chapters that introduced this part "
+"suggest, even if some piracy is plainly wrong, not all \"piracy\" is. Or at "
+"least, not all \"piracy\" is wrong if that term is understood in the way it "
+"is increasingly used today. Many kinds of \"piracy\" are useful and "
+"productive, to produce either new content or new ways of doing business. "
+"Neither our tradition nor any tradition has ever banned all \"piracy\" in "
+"that sense of the term."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This doesn't mean that there are no questions raised by the latest piracy "
+"concern, peer-to-peer file sharing. But it does mean that we need to "
+"understand the harm in peer-to-peer sharing a bit more before we condemn it "
+"to the gallows with the charge of piracy."
+msgstr ""
+"Dette betyr ikke at det er ingen spørsmål reist av den nyeste piratkopiering "
+"bekymringen, node-til-node-fildeling. men det betyr at vi må forstå skade i "
+"peer-to-peer deling litt mer før vi fordømmer det til galgen med ansvar for "
+"piratkopiering."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"For (1) like the original Hollywood, p2p sharing escapes an overly "
+"controlling industry; and (2) like the original recording industry, it "
+"simply exploits a new way to distribute content; but (3) unlike cable TV, no "
+"one is selling the content that is shared on p2p services."
+msgstr ""
+"for (1) som den opprinnelige hollywood, p2p fildeling rømming en altfor "
+"kontrollerende industrien; og (2) som opprinnelige recording industry, det "
+"bare utnytter en ny måte å distribuere innhold; men det er (3) i motsetning "
+"til kabel-tv, ingen selger innholdet som er delt på p2p tjenester."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These differences distinguish p2p sharing from true piracy. They should push "
+"us to find a way to protect artists while enabling this sharing to survive."
+msgstr ""
+"disse forskjellene skille p2p fildeling fra sant piratkopiering. de push oss "
+"å finne en måte å beskytte kunstnere samtidig som du gir denne deling til å "
+"overleve."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Piracy II"
+msgstr "piratkopiering ii"
+
+#. f4
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)."
+msgstr "Bach v. longman, 98 eng. rep 1274 (1777)."
+
+#. PAGE BREAK 80
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The key to the \"piracy\" that the law aims to quash is a use that \"rob[s] "
+"the author of [his] profit.\"<placeholder type=\"footnote\" id=\"0\"/> This "
+"means we must determine whether and how much p2p sharing harms before we "
+"know how strongly the law should seek to either prevent it or find an "
+"alternative to assure the author of his profit."
+msgstr ""
+
+#. f5
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, 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, 8992, 139."
+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, 8992, 139."
+msgstr ""
+"se clayton m christensen, nyskapers dilemma: revolusjonerende nasjonale "
+"bestselgeren som endret måten vi gjør forretninger (new york: "
+"harperbusiness, 2000). professor christensen undersøker hvorfor selskaper "
+"som gi opphav til og dominere en Produktområde er ofte ikke i stand til å "
+"komme med de mest kreative, paradigmet-skiftende bruksområdene for sine egne "
+"produkter. denne jobben faller vanligvis til utenfor innovators, som "
+"reassemble eksisterende teknologi på oppfinnsomme måter. for en diskusjon av "
+"Christensens ideer, kan du se lawrence lessig, fremtidige, 8992, 139."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Peer-to-peer sharing was made famous by Napster. But the inventors of the "
+"Napster technology had not made any major technological innovations. Like "
+"every great advance in innovation on the Internet (and, arguably, off the "
+"Internet as well<placeholder type=\"footnote\" id=\"0\"/>), Shawn Fanning "
+"and crew had simply put together components that had been developed "
+"independently."
+msgstr ""
+
+#. f6
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" San "
+"Francisco Chronicle, 24 September 2002, A1; \"Rock 'n' Roll Suicide,\" New "
+"Scientist, 6 July 2002, 42; Benny Evangelista, \"Napster Names CEO, Secures "
+"New Financing,\" San Francisco Chronicle, 23 May 2003, C1; \"Napster's Wake-"
+"Up Call,\" Economist, 24 June 2000, 23; John Naughton, \"Hollywood at War "
+"with the Internet\" (London) Times, 26 July 2002, 18."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The result was spontaneous combustion. Launched in July 1999, Napster "
+"amassed over 10 million users within nine months. After eighteen months, "
+"there were close to 80 million registered users of the system.<placeholder "
+"type=\"footnote\" id=\"0\"/> Courts quickly shut Napster down, but other "
+"services emerged to take its place. (Kazaa is currently the most popular p2p "
+"service. It boasts over 100 million members.) These services' systems are "
+"different architecturally, though not very different in function: Each "
+"enables users to make content available to any number of other users. With a "
+"p2p system, you can share your favorite songs with your best friend-- or "
+"your 20,000 best friends."
+msgstr ""
+
+#. f7
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution "
+"(September 2002), reporting that 28 percent of Americans aged twelve and "
+"older have downloaded music off of the Internet and 30 percent have listened "
+"to digital music files stored on their computers."
+msgstr ""
+"se ipsos-innsikt, tempo: å holde tritt med online musikk distribusjon "
+"(september 2002), rapportering som 28 prosent av amerikanere i alderen tolv "
+"og eldre har lastet ned musikk fra Internett og 30 prosent har lyttet til "
+"digitale musikkfiler som er lagret på datamaskinene sine."
+
+#. f8
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York "
+"Times, 6 June 2003, A1."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"According to a number of estimates, a huge proportion of Americans have "
+"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 "
+"estimated that 60 million Americans had downloaded music--28 percent of "
+"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey "
+"by the NPD group quoted in The New York Times estimated that 43 million "
+"citizens used file-sharing networks to exchange content in May 2003."
+"<placeholder type=\"footnote\" id=\"1\"/> The vast majority of these are not "
+"kids. Whatever the actual figure, a massive quantity of content is being "
+"\"taken\" on these networks. The ease and inexpensiveness of file-sharing "
+"networks have inspired millions to enjoy music in a way that they hadn't "
+"before."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Some of this enjoying involves copyright infringement. Some of it does not. "
+"And even among the part that is technically copyright infringement, "
+"calculating the actual harm to copyright owners is more complicated than one "
+"might think. So consider--a bit more carefully than the polarized voices "
+"around this debate usually do--the kinds of sharing that file sharing "
+"enables, and the kinds of harm it entails."
+msgstr ""
+"noen av denne nyter innebærer brudd på opphavsrettigheter. noen av det ikke. "
+"og selv blant delen som er teknisk brudd på opphavsrettigheter, beregne "
+"faktiske skade til opphavsrett eiere er mer komplisert enn man skulle tro. "
+"så vurdere--litt mer forsiktig enn polarisert stemmene rundt denne debatten "
+"vanligvis gjør--hvilke deler som gir mulighet for fildeling, og hva slags "
+"skade det innebærer."
+
+#. PAGE BREAK 81
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"File sharers share different kinds of content. We can divide these different "
+"kinds into four types."
+msgstr ""
+"fil sharers dele ulike typer innhold. Vi kan dele disse ulike slag i fire "
+"typer."
+
+#. A.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are some who use sharing networks as substitutes for purchasing "
+"content. Thus, when a new Madonna CD is released, rather than buying the CD, "
+"these users simply take it. We might quibble about whether everyone who "
+"takes it would actually have bought it if sharing didn't make it available "
+"for free. Most probably wouldn't have, but clearly there are some who "
+"would. The latter are the target of category A: users who download instead "
+"of purchasing."
+msgstr ""
+"Det er noen som bruker deling nettverk som erstatninger for å kjøpe innhold. "
+"Derfor, når en ny madonna cd frigis, i stedet for å kjøpe cd, disse brukerne "
+"bare ta det. Vi kan liten uenighet om om alle som tar det ville faktisk ha "
+"kjøpt den hvis deling ikke gjøre den tilgjengelig gratis. mest trolig ikke "
+"ville ha, men klart det er noen som ville. sistnevnte er målet for kategori "
+"a: brukere som laster ned i stedet for å kjøpe."
+
+#. B.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are some who use sharing networks to sample music before purchasing "
+"it. Thus, a friend sends another friend an MP3 of an artist he's not heard "
+"of. The other friend then buys CDs by that artist. This is a kind of "
+"targeted advertising, quite likely to succeed. If the friend recommending "
+"the album gains nothing from a bad recommendation, then one could expect "
+"that the recommendations will actually be quite good. The net effect of this "
+"sharing could increase the quantity of music purchased."
+msgstr ""
+"Det er noen som bruker deling nettverk til å sample musikk før du kjøper "
+"den. Således, en venn sender en annen venn en mp3 av kunstner, ikke er han "
+"hørt om. andre venn deretter kjøper CDer av at artist. Dette er en slags "
+"målrettet annonsering, ganske sannsynlig å lykkes. Hvis venn anbefale "
+"albumet får noe fra en dårlig anbefaling, kan man forvente at anbefalingene "
+"vil faktisk være ganske god. netto effekt av en slik deling kan øke antallet "
+"av musikk som er kjøpt."
+
+#. C.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are many who use sharing networks to get access to copyrighted content "
+"that is no longer sold or that they would not have purchased because the "
+"transaction costs off the Net are too high. This use of sharing networks is "
+"among the most rewarding for many. Songs that were part of your childhood "
+"but have long vanished from the marketplace magically appear again on the "
+"network. (One friend told me that when she discovered Napster, she spent a "
+"solid weekend \"recalling\" old songs. She was astonished at the range and "
+"mix of content that was available.) For content not sold, this is still "
+"technically a violation of copyright, though because the copyright owner is "
+"not selling the content anymore, the economic harm is zero--the same harm "
+"that occurs when I sell my collection of 1960s 45-rpm records to a local "
+"collector."
+msgstr ""
+
+#. PAGE BREAK 82
+#. D.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"Finally, there are many who use sharing networks to get access to content "
+"that is not copyrighted or that the copyright owner wants to give away."
+msgstr ""
+"til slutt, det er mange som bruker deling nettverk for å få tilgang til "
+"innhold som ikke er opphavsrettslig beskyttet, eller at eieren av "
+"opphavsretten ønsker å gi bort."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "How do these different types of sharing balance out?"
+msgstr "hvordan disse ulike typer deling balanse?"
+
+#. f9
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid "See Liebowitz, Rethinking the Network Economy,14849."
+msgid "See Liebowitz, Rethinking the Network Economy,14849."
+msgstr "se liebowitz, rethinking nettverk økonomien, 14849."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Let's start with some simple but important points. From the perspective of "
+"the law, only type D sharing is clearly legal. From the perspective of "
+"economics, only type A sharing is clearly harmful.<placeholder type="
+"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. "
+"Type C sharing is illegal, yet good for society (since more exposure to "
+"music is good) and harmless to the artist (since the work is not otherwise "
+"available). So how sharing matters on balance is a hard question to answer--"
+"and certainly much more difficult than the current rhetoric around the issue "
+"suggests."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Whether on balance sharing is harmful depends importantly on how harmful "
+"type A sharing is. Just as Edison complained about Hollywood, composers "
+"complained about piano rolls, recording artists complained about radio, and "
+"broadcasters complained about cable TV, the music industry complains that "
+"type A sharing is a kind of \"theft\" that is \"devastating\" the industry."
+msgstr ""
+
+#. f10
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, 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), 14556."
+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), "
+"14556."
+msgstr ""
+"se cap gemini ernst og unge, teknologiutviklingen og music industriens "
+"business modell krisen (2003), 3. Denne rapporten beskriver musikkbransjens "
+"innsats for å stigmatiserer spirende praksisen med kassett taping på 1970-"
+"tallet, inkludert en reklamekampanje med en kassett-figur skull og "
+"bildeteksten \\\"hjem taping er å drepe musikk.\\\" på tiden digital audio "
+"tape ble en trussel, office of tekniske vurdering gjennomført en "
+"undersøkelse av forbrukernes adferd. i 1988 hadde 40 prosent av forbrukere "
+"som er eldre enn ti tapet musikk til en kassett-format. USA Kongressen, "
+"office of technology vurdering, copyright og hjem kopiering: teknologi "
+"utfordringer loven, ota-cit-422 (washington, DC: USA Government printing "
+"office, oktober 1989), 14556."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"While the numbers do suggest that sharing is harmful, how harmful is harder "
+"to reckon. It has long been the recording industry's practice to blame "
+"technology for any drop in sales. The history of cassette recording is a "
+"good example. As a study by Cap Gemini Ernst & Young put it, \"Rather "
+"than exploiting this new, popular technology, the labels fought it."
+"\"<placeholder type=\"footnote\" id=\"0\"/> The labels claimed that every "
+"album taped was an album unsold, and when record sales fell by 11.4 percent "
+"in 1981, the industry claimed that its point was proved. Technology was the "
+"problem, and banning or regulating technology was the answer."
+msgstr ""
+
+#. f11
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid "U.S. Congress, Copyright and Home Copying, 4."
+msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Yet soon thereafter, and before Congress was given an opportunity to enact "
+"regulation, MTV was launched, and the industry had a record turnaround. \"In "
+"the end,\" Cap Gemini concludes, \"the `crisis' . . . was not the fault of "
+"the tapers--who did not [stop after MTV came into being]--but had to a large "
+"extent resulted from stagnation in musical innovation at the major labels."
+"\"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But just because the industry was wrong before does not mean it is wrong "
+"today. To evaluate the real threat that p2p sharing presents to the industry "
+"in particular, and society in general--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."
+msgstr ""
+"men nettopp fordi industrien var galt før betyr ikke det er galt i dag. Hvis "
+"du vil evaluere den virkelige trusselen at p2p fildeling presenterer til "
+"industrien spesielt, og samfunnet generelt-- eller minst samfunn som arver "
+"tradisjon som ga oss filmindustrien, rullebladet industri, radioen "
+"industrien, kabel-tv og vcr--er spørsmålet ikke bare om en deling er "
+"skadelig. spørsmålet er hvordan skadelige type er også en deling, og hvor "
+"nyttig de andre typene deling er."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We start to answer this question by focusing on the net harm, from the "
+"standpoint of the industry as a whole, that sharing networks cause. The "
+"\"net harm\" to the industry as a whole is the amount by which type A "
+"sharing exceeds type B. If the record companies sold more records through "
+"sampling than they lost through substitution, then sharing networks would "
+"actually benefit music companies on balance. They would therefore have "
+"little static reason to resist them."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Could that be true? Could the industry as a whole be gaining because of file "
+"sharing? Odd as that might sound, the data about CD sales actually suggest "
+"it might be close."
+msgstr ""
+"kan det være sant? kunne industrien som helhet bli stadig mer på grunn av "
+"fildeling? rart som det kan høres, data om cd-salg faktisk tyder det kanskje "
+"Lukk."
+
+#. f12
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Recording Industry Association of America, 2002 Yearend Statistics, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #15</ulink>. "
+"A later report indicates even greater losses. See Recording Industry "
+"Association of America, Some Facts About Music Piracy, 25 June 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: "
+"\"In the past four years, unit shipments of recorded music have fallen by 26 "
+"percent from 1.16 billion units in to 860 million units in 2002 in the "
+"United States (based on units shipped). In terms of sales, revenues are "
+"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on "
+"U.S. dollar value of shipments). The music industry worldwide has gone from "
+"a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based "
+"on U.S. dollar value of shipments).\""
+msgstr ""
+
+#. f13
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13 February "
+"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #17</"
+"ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 "
+"million to 803 million units; revenues fell 6.7 percent.<placeholder type="
+"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The "
+"RIAA blames Internet piracy for the trend, though there are many other "
+"causes that could account for this drop. SoundScan, for example, reports a "
+"more than 20 percent drop in the number of CDs released since 1999. That no "
+"doubt accounts for some of the decrease in sales. Rising prices could "
+"account for at least some of the loss. \"From 1999 to 2001, the average "
+"price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type="
+"\"footnote\" id=\"1\"/> Competition from other forms of media could also "
+"account for some of the decline. As Jane Black of BusinessWeek notes, \"The "
+"soundtrack to the film High Fidelity has a list price of $18.98. You could "
+"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" id="
+"\"2\"/>"
+msgstr ""
+
+#. PAGE BREAK 84
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But let's assume the RIAA is right, and all of the decline in CD sales is "
+"because of Internet sharing. Here's the rub: In the same period that the "
+"RIAA estimates that 803 million CDs were sold, the RIAA estimates that 2.1 "
+"billion CDs were downloaded for free. Thus, although 2.6 times the total "
+"number of CDs sold were downloaded for free, sales revenue fell by just 6.7 "
+"percent."
+msgstr ""
+"men la oss anta at riaa er rett, og alle nedgangen i cd salg er på grunn av "
+"deling av Internett. Her er gni: i samme periode som riaa anslår at 803 "
+"million CDer ble solgt, riaa anslår at 2,1 milliarder CDer ble lastet ned "
+"gratis. Således, selv om 2,6 ganger det totale antallet CDer som selges ble "
+"lastet ned gratis, salgsinntekter falt med bare 6.7 prosent."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There are too many different things happening at the same time to explain "
+"these numbers definitively, but one conclusion is unavoidable: The recording "
+"industry constantly asks, \"What's the difference between downloading a song "
+"and stealing a CD?\"--but their own numbers reveal the difference. If I "
+"steal a CD, then there is one less CD to sell. Every taking is a lost sale. "
+"But on the basis of the numbers the RIAA provides, it is absolutely clear "
+"that the same is not true of downloads. If every download were a lost sale--"
+"if every use of Kazaa \"rob[bed] the author of [his] profit\"--then the "
+"industry would have suffered a 100 percent drop in sales last year, not a 7 "
+"percent drop. If 2.6 times the number of CDs sold were downloaded for free, "
+"and yet sales revenue dropped by just 6.7 percent, then there is a huge "
+"difference between \"downloading a song and stealing a CD.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are the harms--alleged and perhaps exaggerated but, let's assume, "
+"real. What of the benefits? File sharing may impose costs on the recording "
+"industry. What value does it produce in addition to these costs?"
+msgstr ""
+"disse er skadene--påståtte og kanskje overdrevet, men la oss anta, real. Hva "
+"fordelene? fildeling kan pålegge kostnader på musikkindustrien. hva verdien "
+"produserer det i tillegg til disse kostnadene?"
+
+#. f15
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"By one estimate, 75 percent of the music released by the major labels is no "
+"longer in print. See Online Entertainment and Copyright Law--Coming Soon to "
+"a Digital Device Near You: Hearing Before the Senate Committee on the "
+"Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of the "
+"Future of Music Coalition), available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #18</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"One benefit is type C sharing--making available content that is technically "
+"still under copyright but is no longer commercially available. This is not "
+"a small category of content. There are millions of tracks that are no longer "
+"commercially available.<placeholder type=\"footnote\" id=\"0\"/> And while "
+"it's conceivable that some of this content is not available because the "
+"artist producing the content doesn't want it to be made available, the vast "
+"majority of it is unavailable solely because the publisher or the "
+"distributor has decided it no longer makes economic sense to the company to "
+"make it available."
+msgstr ""
+
+#. f16
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"While there are not good estimates of the number of used record stores in "
+"existence, in 2002, there were 7,198 used book dealers in the United States, "
+"an increase of 20 percent since 1993. See Book Hunter Press, The Quiet "
+"Revolution: The Expansion of the Used Book Market (2002), available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records "
+"accounted for $260 million in sales in 2002. See National Association of "
+"Recording Merchandisers, \"2002 Annual Survey Results,\" available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #20</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In real space--long before the Internet--the market had a simple response to "
+"this problem: used book and record stores. There are thousands of used book "
+"and used record stores in America today.<placeholder type=\"footnote\" id="
+"\"0\"/> These stores buy content from owners, then sell the content they "
+"buy. And under American copyright law, when they buy and sell this content, "
+"even if the content is still under copyright, the copyright owner doesn't "
+"get a dime. Used book and record stores are commercial entities; their "
+"owners make money from the content they sell; but as with cable companies "
+"before statutory licensing, they don't have to pay the copyright owner for "
+"the content they sell."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Type C sharing, then, is very much like used book stores or used record "
+"stores. It is different, of course, because the person making the content "
+"available isn't making money from making the content available. It is also "
+"different, of course, because in real space, when I sell a record, I don't "
+"have it anymore, while in cyberspace, when someone shares my 1949 recording "
+"of Bernstein's \"Two Love Songs,\" I still have it. That difference would "
+"matter economically if the owner of the copyright were selling the record in "
+"competition to my sharing. But we're talking about the class of content that "
+"is not currently commercially available. The Internet is making it "
+"available, through cooperative sharing, without competing with the market."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It may well be, all things considered, that it would be better if the "
+"copyright owner got something from this trade. But just because it may well "
+"be better, it doesn't follow that it would be good to ban used book stores. "
+"Or put differently, if you think that type C sharing should be stopped, do "
+"you think that libraries and used book stores should be shut as well?"
+msgstr ""
+"Det kan godt være, alle ting betraktes, at det ville være bedre hvis eieren "
+"av opphavsretten fikk noe fra denne handelen. men bare fordi det kan godt "
+"være bedre, den følger ikke at det ville være fint å forbud brukte "
+"bokhandlere. eller sagt på en annen måte, hvis du tror at typen c deling bør "
+"stoppes, tror du at biblioteker og brukte bokhandlere bør være stengt også?"
+
+#. PAGE BREAK 86
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Finally, and perhaps most importantly, file-sharing networks enable type D "
+"sharing to occur--the sharing of content that copyright owners want to have "
+"shared or for which there is no continuing copyright. This sharing clearly "
+"benefits authors and society. Science fiction author Cory Doctorow, for "
+"example, released his first novel, Down and Out in the Magic Kingdom, both "
+"free on-line and in bookstores on the same day. His (and his publisher's) "
+"thinking was that the on-line distribution would be a great advertisement "
+"for the \"real\" book. People would read part on-line, and then decide "
+"whether they liked the book or not. If they liked it, they would be more "
+"likely to buy it. Doctorow's content is type D content. If sharing networks "
+"enable his work to be spread, then both he and society are better off. "
+"(Actually, much better off: It is a great book!)"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Likewise for work in the public domain: This sharing benefits society with "
+"no legal harm to authors at all. If efforts to solve the problem of type A "
+"sharing destroy the opportunity for type D sharing, then we lose something "
+"important in order to protect type A content."
+msgstr ""
+"det samme gjelder arbeid i public domain: denne deling fordeler samfunnet "
+"med ingen juridiske skade til forfattere i det hele tatt. Hvis innsats for å "
+"løse problemet med skriver du inn en deling ødelegge muligheten for typen d "
+"deling, så vi mister noe viktig for å beskytte type en innhold."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The point throughout is this: While the recording industry understandably "
+"says, \"This is how much we've lost,\" we must also ask, \"How much has "
+"society gained from p2p sharing? What are the efficiencies? What is the "
+"content that otherwise would be unavailable?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"For unlike the piracy I described in the first section of this chapter, much "
+"of the \"piracy\" that file sharing enables is plainly legal and good. And "
+"like the piracy I described in chapter 4, much of this piracy is motivated "
+"by a new way of spreading content caused by changes in the technology of "
+"distribution. Thus, consistent with the tradition that gave us Hollywood, "
+"radio, the recording industry, and cable TV, the question we should be "
+"asking about file sharing is how best to preserve its benefits while "
+"minimizing (to the extent possible) the wrongful harm it causes artists. The "
+"question is one of balance. The law should seek that balance, and that "
+"balance will be found only with time."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"\"But isn't the war just a war against illegal sharing? Isn't the target "
+"just what you call type A sharing?\""
+msgstr ""
+
+#. f17
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 "
+"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an "
+"account of the litigation and its toll on Napster, see Joseph Menn, All the "
+"Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown "
+"Business, 2003), 26982."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"You would think. And we should hope. But so far, it is not. The effect of "
+"the war purportedly on type A sharing alone has been felt far beyond that "
+"one class of sharing. That much is obvious from the Napster case itself. "
+"When Napster told the district court that it had developed a technology to "
+"block the transfer of 99.4 percent of identified infringing material, the "
+"district court told counsel for Napster 99.4 percent was not good enough. "
+"Napster had to push the infringements \"down to zero.\"<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If 99.4 percent is not good enough, then this is a war on file-sharing "
+"technologies, not a war on copyright infringement. There is no way to assure "
+"that a p2p system is used 100 percent of the time in compliance with the "
+"law, any more than there is a way to assure that 100 percent of VCRs or 100 "
+"percent of Xerox machines or 100 percent of handguns are used in compliance "
+"with the law. Zero tolerance means zero p2p. The court's ruling means that "
+"we as a society must lose the benefits of p2p, even for the totally legal "
+"and beneficial uses they serve, simply to assure that there are zero "
+"copyright infringements caused by p2p."
+msgstr ""
+"Hvis 99.4 prosent er ikke god nok, så dette er en krig mot fildelings-"
+"teknologier, ikke en krig mot brudd på opphavsrettigheter. Det er ingen måte "
+"å sikre at en p2p-systemet er brukt 100 prosent av tiden i samsvar med "
+"loven, noe mer enn det er en måte å sikre at 100 prosent av videospillere "
+"eller 100 prosent av xerox maskiner eller 100 prosent av håndvåpen brukes i "
+"overensstemmelse med loven. nulltoleranse betyr null p2p. EFTA-domstolens "
+"avgjørelse betyr at vi som et samfunn må miste fordelene med p2p, selv for "
+"den helt lovlig og fordelaktig bruker de tjener bare for å sikre at det er "
+"null opphavsrett infringements forårsaket av p2p."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Zero tolerance has not been our history. It has not produced the content "
+"industry that we know today. The history of American law has been a process "
+"of balance. As new technologies changed the way content was distributed, the "
+"law adjusted, after some time, to the new technology. In this adjustment, "
+"the law sought to ensure the legitimate rights of creators while protecting "
+"innovation. Sometimes this has meant more rights for creators. Sometimes "
+"less."
+msgstr ""
+"Nulltoleranse er ikke vår historie. Det har ikke produsert innhold bransjen "
+"som vi kjenner i dag. historien til amerikansk lov har vært en prosess av "
+"balanse. som ny teknologi endret måten innhold ble distribuert, loven "
+"justert, etter en stund, til ny teknologi. i denne justeringen søkt loven å "
+"sikre legitime rettighetene til skapere samtidig beskytte innovasjon. noen "
+"ganger har dette betydde mer rettigheter for skapere. noen ganger mindre."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"So, as we've seen, when \"mechanical reproduction\" threatened the interests "
+"of composers, Congress balanced the rights of composers against the "
+"interests of the recording industry. It granted rights to composers, but "
+"also to the recording artists: Composers were to be paid, but at a price set "
+"by Congress. But when radio started broadcasting the recordings made by "
+"these recording artists, and they complained to Congress that their "
+"\"creative property\" was not being respected (since the radio station did "
+"not have to pay them for the creativity it broadcast), Congress rejected "
+"their claim. An indirect benefit was enough."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Cable TV followed the pattern of record albums. When the courts rejected the "
+"claim that cable broadcasters had to pay for the content they rebroadcast, "
+"Congress responded by giving broadcasters a right to compensation, but at a "
+"level set by the law. It likewise gave cable companies the right to the "
+"content, so long as they paid the statutory price."
+msgstr ""
+"kabel-tv fulgt mønster av posten album. Når domstolene avvist kravet som "
+"kabel-TV-stasjoner måtte betale for innholdet de rebroadcast, Kongressen "
+"reagert ved å gi broadcasters erstatningsplikt, men på et nivå som er angitt "
+"av loven. den likeledes ga kabelselskaper rettigheten til innholdet, så "
+"lenge de betalte lovbestemte pris."
+
+#. PAGE BREAK 88
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This compromise, like the compromise affecting records and player pianos, "
+"served two important goals--indeed, the two central goals of any copyright "
+"legislation. First, the law assured that new innovators would have the "
+"freedom to develop new ways to deliver content. Second, the law assured "
+"that copyright holders would be paid for the content that was distributed. "
+"One fear was that if Congress simply required cable TV to pay copyright "
+"holders whatever they demanded for their content, then copyright holders "
+"associated with broadcasters would use their power to stifle this new "
+"technology, cable. But if Congress had permitted cable to use broadcasters' "
+"content for free, then it would have unfairly subsidized cable. Thus "
+"Congress chose a path that would assure compensation without giving the past "
+"(broadcasters) control over the future (cable)."
+msgstr ""
+"denne sårbarheten, som kompromiss som påvirker poster og spilleren pianoer, "
+"servert to viktige mål--faktisk to sentrale målene noen opphavsrett "
+"lovgivning. først, loven forsikret at nye innovators ville ha frihet til å "
+"utvikle nye måter å levere innhold. sekund, loven forsikret at innehaver av "
+"opphavsrett ville bli betalt for innholdet som ble distribuert. en frykt var "
+"at hvis Kongressen kreves bare kabel-tv til å betale innehaver av "
+"opphavsrett hva de krevde for innholdet, og deretter rettighetshavere som er "
+"tilknyttet broadcasters ville bruke sin makt for å undertrykke denne nye "
+"teknologien, kabel. men hvis Kongressen hadde tillatt kabelen til bruk "
+"broadcasters' innhold gratis, ville det ha urettferdig subsidierte kabel. "
+"Dermed Kongressen valgte en bane som ville forsikre kompensasjon uten å gi "
+"siste (broadcasters) kontroll over fremtiden (kabel)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In the same year that Congress struck this balance, two major producers and "
+"distributors of film content filed a lawsuit against another technology, the "
+"video tape recorder (VTR, or as we refer to them today, VCRs) that Sony had "
+"produced, the Betamax. Disney's and Universal's claim against Sony was "
+"relatively simple: Sony produced a device, Disney and Universal claimed, "
+"that enabled consumers to engage in copyright infringement. Because the "
+"device that Sony built had a \"record\" button, the device could be used to "
+"record copyrighted movies and shows. Sony was therefore benefiting from the "
+"copyright infringement of its customers. It should therefore, Disney and "
+"Universal claimed, be partially liable for that infringement."
+msgstr ""
+
+#. PAGE BREAK 89
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There was something to Disney's and Universal's claim. Sony did decide to "
+"design its machine to make it very simple to record television shows. It "
+"could have built the machine to block or inhibit any direct copying from a "
+"television broadcast. Or possibly, it could have built the machine to copy "
+"only if there were a special \"copy me\" signal on the line. It was clear "
+"that there were many television shows that did not grant anyone permission "
+"to copy. Indeed, if anyone had asked, no doubt the majority of shows would "
+"not have authorized copying. And in the face of this obvious preference, "
+"Sony could have designed its system to minimize the opportunity for "
+"copyright infringement. It did not, and for that, Disney and Universal "
+"wanted to hold it responsible for the architecture it chose."
+msgstr ""
+
+#. f18
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Copyright Infringements (Audio and Video Recorders): Hearing on S. 1758 "
+"Before the Senate Committee on the Judiciary, 97th Cong., 1st and 2nd sess., "
+"459 (1982) (testimony of Jack Valenti, president, Motion Picture Association "
+"of America, Inc.)."
+msgstr ""
+"opphavsrett infringements (lyd og video-opptakere): høre s. 1758 før Senatet "
+"committee på rettsvesenet, 97th cong., 1st og 2nd sess., 459 (1982) "
+"(vitnesbyrd om jack valenti, president, motion picture association of "
+"america, inc.)."
+
+#. f19
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid "Copyright Infringements (Audio and Video Recorders), 475."
+msgstr "opphavsrett infringements (lyd og video-opptakere), 475."
+
+#. f20
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C."
+"D. Cal., 1979)."
+msgstr ""
+"Universal city studios, inc. v. sony Corporation of america, 480 f. supp. "
+"429, (klientadgangslisens CAL (CD), 1979)."
+
+#. f21
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
+"Valenti)."
+msgstr ""
+"opphavsrett infringements (lyd og video-opptakere), 485 (vitnesbyrd om jack "
+"valenti)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
+"called VCRs \"tapeworms.\" He warned, \"When there are 20, 30, 40 million of "
+"these VCRs in the land, we will be invaded by millions of `tapeworms,' "
+"eating away at the very heart and essence of the most precious asset the "
+"copyright owner has, his copyright.\"<placeholder type=\"footnote\" id=\"0\"/"
+"> \"One does not have to be trained in sophisticated marketing and creative "
+"judgment,\" he told Congress, \"to understand the devastation on the after-"
+"theater marketplace caused by the hundreds of millions of tapings that will "
+"adversely impact on the future of the creative community in this country. It "
+"is simply a question of basic economics and plain common sense."
+"\"<placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys would later "
+"show, percent of VCR owners had movie libraries of ten videos or "
+"more<placeholder type=\"footnote\" id=\"2\"/> --a use the Court would later "
+"hold was not \"fair.\" By \"allowing VCR owners to copy freely by the means "
+"of an exemption from copyright infringement without creating a mechanism to "
+"compensate copyright owners,\" Valenti testified, Congress would \"take from "
+"the owners the very essence of their property: the exclusive right to "
+"control who may use their work, that is, who may copy it and thereby profit "
+"from its reproduction.\"<placeholder type=\"footnote\" id=\"3\"/>"
+msgstr ""
+
+#. f22
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Universal City Studios, Inc. v. Sony Corp. of America, 659 F. 2d 963 (9th "
+"Cir. 1981)."
+msgstr ""
+"Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 "
+"(9 cir. 1981)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It took eight years for this case to be resolved by the Supreme Court. In "
+"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in "
+"its jurisdiction--leading Judge Alex Kozinski, who sits on that court, "
+"refers to it as the \"Hollywood Circuit\"--held that Sony would be liable "
+"for the copyright infringement made possible by its machines. Under the "
+"Ninth Circuit's rule, this totally familiar technology--which Jack Valenti "
+"had called \"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\"/>"
+msgstr ""
+
+#. PAGE BREAK 90
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But the Supreme Court reversed the decision of the Ninth Circuit. And in "
+"its reversal, the Court clearly articulated its understanding of when and "
+"whether courts should intervene in such disputes. As the Court wrote,"
+msgstr ""
+"men Høyesterett reversert beslutning niende circuit. og i sin reversering, "
+"domstolen klart uttrykte sin forståelse av når og om domstoler bør "
+"intervenere i slike konflikter. som domstol skrev,"
+
+#. f23
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, 431 "
+"(1984)."
+msgstr ""
+"Sony Corporation of america v. universal city studios, inc., 464 amerikanske "
+"417, 431 (1984)."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Sound policy, as well as history, supports our consistent deference to "
+"Congress when major technological innovations alter the market for "
+"copyrighted materials. Congress has the constitutional authority and the "
+"institutional ability to accommodate fully the varied permutations of "
+"competing interests that are inevitably implicated by such new technology."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Congress was asked to respond to the Supreme Court's decision. But as with "
+"the plea of recording artists about radio broadcasts, Congress ignored the "
+"request. Congress was convinced that American film got enough, this \"taking"
+"\" notwithstanding. If we put these cases together, a pattern is clear:"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><table><title>
+msgid "Table"
+msgstr "tabell"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "CASE"
+msgstr "tilfelle"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "WHOSE VALUE WAS \"PIRATED\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "RESPONSE OF THE COURTS"
+msgstr "Svar til domstolene"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "RESPONSE OF CONGRESS"
+msgstr "Responsen til Kongressen"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Recordings"
+msgstr "innspillinger"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Composers"
+msgstr "komponister"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "No protection"
+msgstr "ingen beskyttelse"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Statutory license"
+msgstr "lovbestemte lisens"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Recording artists"
+msgstr "artister"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "N/A"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Nothing"
+msgstr "ingenting"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Broadcasters"
+msgstr "TV-stasjoner"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "VCR"
+msgstr "VCR"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Film creators"
+msgstr "filmen skaperne"
+
+#. f24
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "These are the most important instances in our history, but there are "
+#| "other cases as well. The technology of digital audio tape (DAT), for "
+#| "example, was regulated by Congress to minimize the risk of piracy. The "
+#| "remedy Congress imposed did burden DAT producers, by taxing tape sales "
+#| "and controlling the technology of DAT. See Audio Home Recording Act of "
+#| "1992 (Title 17 of the United States Code), Pub. L. No. 102-563, 106 "
+#| "Stat. 4237, codified at 17 U.S.C. §1001. Again, however, this regulation "
+#| "did not eliminate the opportunity for free riding in the sense I've "
+#| "described. See Lessig, Future, 71. See also Picker, \\\"From Edison to "
+#| "the Broadcast Flag,\\\" University of Chicago Law Review 70 (2003): 29396."
+msgid ""
+"These are the most important instances in our history, but there are other "
+"cases as well. The technology of digital audio tape (DAT), for example, was "
+"regulated by Congress to minimize the risk of piracy. The remedy Congress "
+"imposed did burden DAT producers, by taxing tape sales and controlling the "
+"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the "
+"United States Code), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U."
+"S.C. §1001. Again, however, this regulation did not eliminate the "
+"opportunity for free riding in the sense I've described. See Lessig, Future, "
+"71. See also Picker, \"From Edison to the Broadcast Flag,\" University of "
+"Chicago Law Review 70 (2003): 29396."
+msgstr ""
+"disse er de viktigste forekomstene i vår historie, men det finnes andre "
+"tilfeller også. teknologi for digital audio tape (dat), for eksempel var "
+"regulert av Kongressen for å minimere risikoen for piratkopiering. "
+"rettsmiddel Kongressen pålagt belaster dat produsenter, taxing bånd salg og "
+"kontrollere teknologien for dat. ser lyd Hjem innspillingen act av 1992 "
+"(tittel 17 av USA-koden), pub. l. nr. 102-563, 106 stat. 4237, kodifisert på "
+"17 USC §1001. igjen, men denne forskriften ikke eliminere muligheten gratis "
+"ridning i den forstand jeg har beskrevet. se lessig, fremtidige, 71. Se også "
+"datovelger, \\\"fra edison til flagget kringkasting,\\\" university of "
+"chicago lov gjennomgå 70 (2003): 29396."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In each case throughout our history, a new technology changed the way "
+"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each "
+"case, throughout our history, that change meant that someone got a \"free "
+"ride\" on someone else's work."
+msgstr ""
+
+#. PAGE BREAK 91
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In none of these cases did either the courts or Congress eliminate all free "
+"riding. In none of these cases did the courts or Congress insist that the "
+"law should assure that the copyright holder get all the value that his "
+"copyright created. In every case, the copyright owners complained of "
+"\"piracy.\" In every case, Congress acted to recognize some of the "
+"legitimacy in the behavior of the \"pirates.\" In each case, Congress "
+"allowed some new technology to benefit from content made before. It balanced "
+"the interests at stake."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When you think across these examples, and the other examples that make up "
+"the first four chapters of this section, this balance makes sense. Was Walt "
+"Disney a pirate? Would doujinshi be better if creators had to ask "
+"permission? Should tools that enable others to capture and spread images as "
+"a way to cultivate or criticize our culture be better regulated? Is it "
+"really right that building a search engine should expose you to $15 million "
+"in damages? Would it have been better if Edison had controlled film? Should "
+"every cover band have to hire a lawyer to get permission to record a song?"
+msgstr ""
+"Når du tenker på tvers av disse eksemplene, og den andre eksempler som "
+"utgjør de fire første kapitlene av denne delen, vil denne balansen er "
+"fornuftig. var walt disney en pirat? doujinshi ville være bedre hvis "
+"skaperne måtte be om tillatelse? bør verktøy slik at andre å fange og spre "
+"bildene som en måte å dyrke eller kritisere vår kultur reguleres bedre? er "
+"det virkelig sant at bygge en søkemotor skal utsette deg til $15 millioner i "
+"skader? ville det ha vært bedre hvis edison hadde kontrollert filmen? bør "
+"hver cover band som har til å ansette en advokat for å få tillatelse til å "
+"registrere en sang?"
+
+#. f25
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984)."
+msgstr ""
+"Sony Corporation of america v. universal city studios, inc., 464 amerikanske "
+"417, (1984)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We could answer yes to each of these questions, but our tradition has "
+"answered no. In our tradition, as the Supreme Court has stated, copyright "
+"\"has never accorded the copyright owner complete control over all possible "
+"uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> Instead, the "
+"particular uses that the law regulates have been defined by balancing the "
+"good that comes from granting an exclusive right against the burdens such an "
+"exclusive right creates. And this balancing has historically been done after "
+"a technology has matured, or settled into the mix of technologies that "
+"facilitate the distribution of content."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We should be doing the same thing today. The technology of the Internet is "
+"changing quickly. The way people connect to the Internet (wires vs. "
+"wireless) is changing very quickly. No doubt the network should not become a "
+"tool for \"stealing\" from artists. But neither should the law become a tool "
+"to entrench one particular way in which artists (or more accurately, "
+"distributors) get paid. As I describe in some detail in the last chapter of "
+"this book, we should be securing income to artists while we allow the market "
+"to secure the most efficient way to promote and distribute content. This "
+"will require changes in the law, at least in the interim. These changes "
+"should be designed to balance the protection of the law against the strong "
+"public interest that innovation continue."
+msgstr ""
+
+#. f26
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes "
+"Past Efforts,\" New York Times, 22 September 2003, C3."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is especially true when a new technology enables a vastly superior mode "
+"of distribution. And this p2p has done. P2p technologies can be ideally "
+"efficient in moving content across a widely diverse network. Left to "
+"develop, they could make the network vastly more efficient. Yet these "
+"\"potential public benefits,\" as John Schwartz writes in The New York "
+"Times, \"could be delayed in the P2P fight.\"<placeholder type=\"footnote\" "
+"id=\"0\"/> Yet when anyone begins to talk about \"balance,\" the copyright "
+"warriors raise a different argument. \"All this hand waving about balance "
+"and incentives,\" they say, \"misses a fundamental point. Our content,\" the "
+"warriors insist, \"is our property. Why should we wait for Congress to "
+"`rebalance' our property rights? Do you have to wait before calling the "
+"police when your car has been stolen? And why should Congress deliberate at "
+"all about the merits of this theft? Do we ask whether the car thief had a "
+"good use for the car before we arrest him?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"\"It is our property,\" the warriors insist. \"And it should be protected "
+"just as any other property is protected.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><title>
+msgid "\"PROPERTY\""
+msgstr ""
+
+#. PAGE BREAK 94
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The copyright warriors are right: A copyright is a kind of property. It can "
+"be owned and sold, and the law protects against its theft. Ordinarily, the "
+"copyright owner gets to hold out for any price he wants. Markets reckon the "
+"supply and demand that partially determine the price she can get."
+msgstr ""
+"opphavsrett warriors er rett: opphavsretten er en type bolig. Det kan være "
+"eid og solgt, og loven beskytter mot sin tyveri. vanligvis får eieren av "
+"opphavsretten til å holde for noen pris som han ønsker. markeder regner "
+"tilbud og etterspørsel som delvis bestemmer prisen hun kan få."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But in ordinary language, to call a copyright a \"property\" right is a bit "
+"misleading, for the property of copyright is an odd kind of property. "
+"Indeed, the very idea of property in any idea or any expression is very odd. "
+"I understand what I am taking when I take the picnic table you put in your "
+"backyard. I am taking a thing, the picnic table, and after I take it, you "
+"don't have it. But what am I taking when I take the good idea you had to put "
+"a picnic table in the backyard--by, for example, going to Sears, buying a "
+"table, and putting it in my backyard? What is the thing I am taking then?"
+msgstr ""
+
+#. f1
+#. type: Content of: <book><chapter><para><footnote><para>
+#, 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, 33334."
+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, 33334."
+msgstr ""
+"brev fra thomas jefferson til isaac mcpherson (13 august 1813) i skrifter av "
+"thomas jefferson, vol. 6 (andrew a. lipscomb og albert ellery bergh, Red., "
+"1903), 330, 33334."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The point is not just about the thingness of picnic tables versus ideas, "
+"though that's an important difference. The point instead is that in the "
+"ordinary case--indeed, in practically every case except for a narrow range "
+"of exceptions--ideas released to the world are free. I don't take anything "
+"from you when I copy the way you dress--though I might seem weird if I did "
+"it every day, and especially weird if you are a woman. Instead, as Thomas "
+"Jefferson said (and as is especially true when I copy the way someone else "
+"dresses), \"He who receives an idea from me, receives instruction himself "
+"without lessening mine; as he who lights his taper at mine, receives light "
+"without darkening me.\"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The exceptions to free use are ideas and expressions within the reach of the "
+"law of patent and copyright, and a few other domains that I won't discuss "
+"here. Here the law says you can't take my idea or expression without my "
+"permission: The law turns the intangible into property."
+msgstr ""
+"unntakene til fri bruk er ideer og uttrykk innenfor rekkevidden av loven om "
+"patent og opphavsrett, og noen andre domener som jeg ikke diskutere her. Her "
+"loven sier du ikke kan ta min ide eller uttrykk uten min tillatelse: loven "
+"blir immaterielle eiendom."
+
+#. f2
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"As the legal realists taught American law, all property rights are "
+"intangible. A property right is simply a right that an individual has "
+"against the world to do or not do certain things that may or may not attach "
+"to a physical object. The right itself is intangible, even if the object to "
+"which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What "
+"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 "
+"(2003): 373, 429 n. 241."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But how, and to what extent, and in what form--the details, in other words--"
+"matter. To get a good sense of how this practice of turning the intangible "
+"into property emerged, we need to place this \"property\" in its proper "
+"context.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"My strategy in doing this will be the same as my strategy in the preceding "
+"part. I offer four stories to help put the idea of \"copyright material is "
+"property\" in context. Where did the idea come from? What are its limits? "
+"How does it function in practice? After these stories, the significance of "
+"this true statement--\"copyright material is property\"-- will be a bit more "
+"clear, and its implications will be revealed as quite different from the "
+"implications that the copyright warriors would have us draw."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER SIX: Founders"
+msgstr "kapittel seks: grunnleggerne"
+
+#. type: Content of: <book><chapter><sect1><para>
+#, 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 Romeo and Juliet in 1595. The play was first "
+"published in 1597. It was the eleventh major play that Shakespeare had "
+"written. He would continue to write plays through 1613, and the plays that "
+"he wrote have continued to define Anglo-American culture ever since. So "
+"deeply have the works of a sixteenth-century writer seeped into our culture "
+"that we often don't even recognize their source. I once overheard someone "
+"commenting on Kenneth Branagh's adaptation of Henry V: \"I liked it, but "
+"Shakespeare is so full of clichés.\""
+msgstr ""
+"William shakespeare skrev romeo og Julie i 1595. Skuespillet ble først "
+"utgitt i 1597. Det var ellevte store spill at shakespeare hadde skrevet. han "
+"ville fortsette å skrive skuespill gjennom 1613, og spiller som skrev han "
+"har fortsatt å definere angloamerikanske kultur siden. så dypt har verk av "
+"1500-tallet forfatter seeped inn i vår kultur at vi ofte ikke engang kjenner "
+"kilden. Jeg overheard en gang noen kommentere kenneth branagh tilpasning av "
+"henry v: \\\"Jeg likte det, men shakespeare er så full av clichés.\\\""
+
+#. f1
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, 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): 42431."
+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): 42431."
+msgstr ""
+"Jacob tonson er vanligvis husket for hans assosiasjoner med fremtredende "
+"1700-tallet litterære figurer, spesielt john dryden, og for hans kjekk \\"
+"\"endelige versjoner\\\" av klassiske verk. i tillegg til romeo og Julie, "
+"utga en utrolig rekke fungerer som fortsatt er igjen i hjertet av den "
+"engelske canon, inkludert collected works Shakespeare, ben jonson, john "
+"milton, og john dryden. se Pioquinto Bernal Pioquinto Bernal, \\\"jacob "
+"tonson, bokhandel,\\\" amerikansk forsker-61:3 (1992): 42431."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: "
+#| "Vanderbilt University Press, 1968), 15152."
+msgid ""
+"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: "
+"Vanderbilt University Press, 1968), 15152."
+msgstr ""
+"Lyman rokke patterson, copyright i historisk perspektiv (nashville: "
+"vanderbilt university press, 1968), 15152."
+
+#. PAGE BREAK 97
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-"
+"right\" for the work was still thought by many to be the exclusive right of "
+"a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" id="
+"\"0\"/> Tonson was the most prominent of a small group of publishers called "
+"the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled "
+"bookselling in England during the eighteenth century. The Conger claimed a "
+"perpetual right to control the \"copy\" of books that they had acquired from "
+"authors. That perpetual right meant that no one else could publish copies of "
+"a book to which they held the copyright. Prices of the classics were thus "
+"kept high; competition to produce better or cheaper editions was eliminated."
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
+"\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Now, there's something puzzling about the year 1774 to anyone who knows a "
+"little about copyright law. The better-known year in the history of "
+"copyright is 1710, the year that the British Parliament adopted the first "
+"\"copyright\" act. Known as the Statute of Anne, the act stated that all "
+"published works would get a copyright term of fourteen years, renewable once "
+"if the author was alive, and that all works already published by 1710 would "
+"get a single term of twenty-one additional years.<placeholder type=\"footnote"
+"\" id=\"0\"/> Under this law, Romeo and Juliet should have been free in "
+"1731. So why was there any issue about it still being under Tonson's control "
+"in 1774?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The reason is that the English hadn't yet agreed on what a \"copyright\" "
+"was--indeed, no one had. At the time the English passed the Statute of Anne, "
+"there was no other legislation governing copyrights. The last law "
+"regulating publishers, the Licensing Act of 1662, had expired in 1695. That "
+"law gave publishers a monopoly over publishing, as a way to make it easier "
+"for the Crown to control what was published. But after it expired, there "
+"was no positive law that said that the publishers, or \"Stationers,\" had an "
+"exclusive right to print books."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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 ""
+
+#. PAGE BREAK 98
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This question was important to the publishers, or \"booksellers,\" as they "
+"were called, because there was growing competition from foreign publishers. "
+"The Scottish, in particular, were increasingly publishing and exporting "
+"books to England. That competition reduced the profits of the Conger, which "
+"reacted by demanding that Parliament pass a law to again give them exclusive "
+"control over publishing. That demand ultimately resulted in the Statute of "
+"Anne."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Statute of Anne granted the author or \"proprietor\" of a book an "
+"exclusive right to print that book. In an important limitation, however, and "
+"to the horror of the booksellers, the law gave the bookseller that right for "
+"a limited term. At the end of that term, the copyright \"expired,\" and the "
+"work would then be free and could be published by anyone. Or so the "
+"legislature is thought to have believed."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Now, the thing to puzzle about for a moment is this: Why would Parliament "
+"limit the exclusive right? Not why would they limit it to the particular "
+"limit they set, but why would they limit the right at all?"
+msgstr ""
+"nå, tingen å puzzle om et øyeblikk er dette: Hvorfor ville parlamentet "
+"begrense eneretten? ikke hvorfor ville de begrenser den til den bestemte "
+"limit de satt, men hvorfor ville begrense retten til alle?"
+
+#. type: Content of: <book><chapter><sect1><para>
+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 ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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 ""
+
+#. PAGE BREAK 99
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"First, about copyright. In the last three hundred years, we have come to "
+"apply the concept of \"copyright\" ever more broadly. But in 1710, it wasn't "
+"so much a concept as it was a very particular right. The copyright was born "
+"as a very specific set of restrictions: It forbade others from reprinting a "
+"book. In 1710, the \"copy-right\" was a right to use a particular machine to "
+"replicate a particular work. It did not go beyond that very narrow right. It "
+"did not control any more generally how a work could be used. Today the right "
+"includes a large collection of restrictions on the freedom of others: It "
+"grants the author the exclusive right to copy, the exclusive right to "
+"distribute, the exclusive right to perform, and so on."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So, for example, even if the copyright to Shakespeare's works were "
+"perpetual, all that would have meant under the original meaning of the term "
+"was that no one could reprint Shakespeare's work without the permission of "
+"the Shakespeare estate. It would not have controlled anything, for example, "
+"about how the work could be performed, whether the work could be translated, "
+"or whether Kenneth Branagh would be allowed to make his films. The \"copy-"
+"right\" was only an exclusive right to print--no less, of course, but also "
+"no more."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Even that limited right was viewed with skepticism by the British. They had "
+"had a long and ugly experience with \"exclusive rights,\" especially "
+"\"exclusive rights\" granted by the Crown. The English had fought a civil "
+"war in part about the Crown's practice of handing out monopolies--especially "
+"monopolies for works that already existed. King Henry VIII granted a patent "
+"to print the Bible and a monopoly to Darcy to print playing cards. The "
+"English Parliament began to fight back against this power of the Crown. In "
+"1656, it passed the Statute of Monopolies, limiting monopolies to patents "
+"for new inventions. And by 1710, Parliament was eager to deal with the "
+"growing monopoly in publishing."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Thus the \"copy-right,\" when viewed as a monopoly right, was naturally "
+"viewed as a right that should be limited. (However convincing the claim that "
+"\"it's my property, and I should have it forever,\" try sounding convincing "
+"when uttering, \"It's my monopoly, and I should have it forever.\") The "
+"state would protect the exclusive right, but only so long as it benefited "
+"society. The British saw the harms from specialinterest favors; they passed "
+"a law to stop them."
+msgstr ""
+
+#. f4
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Philip Wittenberg, The Protection and Marketing of Literary Property (New "
+"York: J. Messner, Inc., 1937), 31."
+msgstr ""
+"Philip wittenberg, beskyttelse og markedsføring av litterære egenskapen (new "
+"york: j. messner, inc., 1937), 31."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Second, about booksellers. It wasn't just that the copyright was a monopoly. "
+"It was also that it was a monopoly held by the booksellers. Booksellers "
+"sound quaint and harmless to us. They were not viewed as harmless in "
+"seventeenth-century England. Members of the Conger were increasingly seen as "
+"monopolists of the worst kind--tools of the Crown's repression, selling the "
+"liberty of England to guarantee themselves a monopoly profit. The attacks "
+"against these monopolists were harsh: Milton described them as \"old "
+"patentees and monopolizers in the trade of book-selling\"; they were \"men "
+"who do not therefore labour in an honest profession to which learning is "
+"indetted.\"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Many believed the power the booksellers exercised over the spread of "
+"knowledge was harming that spread, just at the time the Enlightenment was "
+"teaching the importance of education and knowledge spread generally. The "
+"idea that knowledge should be free was a hallmark of the time, and these "
+"powerful commercial interests were interfering with that idea."
+msgstr ""
+"mange trodde makt bokhandlerne utøves over spredning av kunnskap var skade "
+"som spres, bare på tidspunktet opplysning var lærer betydningen av utdanning "
+"og kunnskap spre generelt. ideen at kunnskap bør være gratis var et "
+"kjennetegn på tiden, og disse kraftige kommersielle interesser var "
+"forstyrrer at ideen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"To balance this power, Parliament decided to increase competition among "
+"booksellers, and the simplest way to do that was to spread the wealth of "
+"valuable books. Parliament therefore limited the term of copyrights, and "
+"thereby guaranteed that valuable books would become open to any publisher to "
+"publish after a limited time. Thus the setting of the term for existing "
+"works to just twenty-one years was a compromise to fight the power of the "
+"booksellers. The limitation on terms was an indirect way to assure "
+"competition among publishers, and thus the construction and spread of "
+"culture."
+msgstr ""
+"for å balansere denne kraften, Riksdag besluttet å øke konkurransen blant "
+"bokhandlere, og den enkleste måten å gjøre det var å spre rikdom av "
+"verdifulle bøker. parlamentet derfor begrenset begrepet av opphavsretten, og "
+"garantert dermed at verdifulle bøker skulle bli åpen for noen utgiver å "
+"publisere etter en begrenset tid. innstillingen av begrepet for eksisterende "
+"arbeider til bare tjueen år ble dermed et kompromiss å kjempe kraften i "
+"bokhandlerne. begrensning av vilkårene var en indirekte måte å forsikre "
+"konkurranse mellom utgivere, og dermed konstruksjon og spredning av kultur."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When 1731 (1710 + 21) came along, however, the booksellers were getting "
+"anxious. They saw the consequences of more competition, and like every "
+"competitor, they didn't like them. At first booksellers simply ignored the "
+"Statute of Anne, continuing to insist on the perpetual right to control "
+"publication. But in 1735 and 1737, they tried to persuade Parliament to "
+"extend their terms. Twenty-one years was not enough, they said; they needed "
+"more time."
+msgstr ""
+"Når 1731 (1710-21) kom, men får bokhandlerne engstelig. de så konsekvensene "
+"av mer konkurranse, og som hver konkurrent, de liker ikke dem. på første "
+"bokhandlere ganske enkelt ignorert Vedtektene for anne, fortsetter å "
+"insistere på evigvarende rett til å kontrollere publikasjonen. men i 1735 og "
+"1737, de prøvde å overbevise parlamentet til å utvide sine vilkår. tjueen år "
+"var ikke nok, de sa; de trengte mer tid."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Parliament rejected their requests. As one pamphleteer put it, in words that "
+"echo today,"
+msgstr ""
+"parlamentet avviste forespørsler. som en pamphleteer sa, i ord som echo i "
+"dag,"
+
+#. f5
+#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
+msgid ""
+"A Letter to a Member of Parliament concerning the Bill now depending in the "
+"House of Commons, for making more effectual an Act in the Eighth Year of the "
+"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by "
+"Vesting the Copies of Printed Books in the Authors or Purchasers of such "
+"Copies, during the Times therein mentioned (London, 1735), in Brief Amici "
+"Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) "
+"(No. 01-618)."
+msgstr ""
+"et brev til medlem av parlamentet om bill nå avhengig i house of commons, "
+"for å gjøre mer vid en handling i den åttende år av regimet til dronning "
+"anne, rett, en handling for oppmuntring av læring, ved å samle kopier av "
+"skrives ut bøker i forfatterne eller kjøpere av slike Kopier, under tidene "
+"nevnt der (london1735), kort gikk curiae av tyler t. ochoa et al., 8, eldred "
+"v. ashcroft, 537 amerikanske 186 (2003) (nr 01-618)."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"I see no Reason for granting a further Term now, which will not hold as well "
+"for granting it again and again, as often as the Old ones Expire; so that "
+"should this Bill pass, it will in Effect be establishing a perpetual "
+"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a "
+"great Cramp to Trade, a Discouragement to Learning, no Benefit to the "
+"Authors, but a general Tax on the Publick; and all this only to increase the "
+"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Having failed in Parliament, the publishers turned to the courts in a series "
+"of cases. Their argument was simple and direct: The Statute of Anne gave "
+"authors certain protections through positive law, but those protections were "
+"not intended as replacements for the common law. Instead, they were "
+"intended simply to supplement the common law. Under common law, it was "
+"already wrong to take another person's creative \"property\" and use it "
+"without his permission. The Statute of Anne, the booksellers argued, didn't "
+"change that. Therefore, just because the protections of the Statute of Anne "
+"expired, that didn't mean the protections of the common law expired: Under "
+"the common law they had the right to ban the publication of a book, even if "
+"its Statute of Anne copyright had expired. This, they argued, was the only "
+"way to protect authors."
+msgstr ""
+
+#. f6
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, \\\"Free Speech, Copyright, and Fair Use,\\\" "
+#| "Vanderbilt Law Review 40 (1987): 28. For a wonderfully compelling "
+#| "account, see Vaidhyanathan, 3748."
+msgid ""
+"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt "
+"Law Review 40 (1987): 28. For a wonderfully compelling account, see "
+"Vaidhyanathan, 3748."
+msgstr ""
+"Lyman rokke patterson, \\\"ytringsfriheten, opphavsrett, og rettferdig bruk\\"
+"\" vanderbilt lov gå gjennom 40 (1987): 28. for en fantastisk overbevisende-"
+"konto, kan du se vaidhyanathan, 3748."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This was a clever argument, and one that had the support of some of the "
+"leading jurists of the day. It also displayed extraordinary chutzpah. Until "
+"then, as law professor Raymond Patterson has put it, \"The publishers . . . "
+"had as much concern for authors as a cattle rancher has for cattle."
+"\"<placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care squat "
+"for the rights of the author. His concern was the monopoly profit that the "
+"author's work gave."
+msgstr ""
+
+#. f7
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "For a compelling account, see David Saunders, Authorship and Copyright "
+#| "(London: Routledge, 1992), 6269."
+msgid ""
+"For a compelling account, see David Saunders, Authorship and Copyright "
+"(London: Routledge, 1992), 6269."
+msgstr ""
+"Hvis en overbevisende-konto, kan du se david saunders, forfatterskap og "
+"opphavsrett (london: routledge, 1992), 6269."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The booksellers' argument was not accepted without a fight. The hero of "
+"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f8
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), "
+"92."
+msgstr ""
+"merke rose, forfattere og eiere (cambridge: harvard university press, 1993), "
+"92."
+
+#. f9
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Ibid., 93."
+msgstr "ibid., 93."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Donaldson was an outsider to the London Conger. He began his career in "
+"Edinburgh in 1750. The focus of his business was inexpensive reprints \"of "
+"standard works whose copyright term had expired,\" at least under the "
+"Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> Donaldson's "
+"publishing house prospered and became \"something of a center for literary "
+"Scotsmen.\" \"[A]mong them,\" Professor Mark Rose writes, was \"the young "
+"James Boswell who, together with his friend Andrew Erskine, published an "
+"anthology of contemporary Scottish poems with Donaldson.\"<placeholder type="
+"\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. f10
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting "
+"Borwell)."
+msgstr ""
+"Lyman rokke patterson, copyright i historisk perspektiv, 167 (sitere "
+"borwell)."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When the London booksellers tried to shut down Donaldson's shop in Scotland, "
+"he responded by moving his shop to London, where he sold inexpensive "
+"editions \"of the most popular English books, in defiance of the supposed "
+"common law right of Literary Property.\"<placeholder type=\"footnote\" id="
+"\"0\"/> His books undercut the Conger prices by 30 to 50 percent, and he "
+"rested his right to compete upon the ground that, under the Statute of Anne, "
+"the works he was selling had passed out of protection."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The London booksellers quickly brought suit to block \"piracy\" like "
+"Donaldson's. A number of actions were successful against the \"pirates,\" "
+"the most important early victory being Millar v. Taylor."
+msgstr ""
+
+#. f11
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
+"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): "
+"1152."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Millar was a bookseller who in 1729 had purchased the rights to James "
+"Thomson's poem \"The Seasons.\" Millar complied with the requirements of the "
+"Statute of Anne, and therefore received the full protection of the statute. "
+"After the term of copyright ended, Robert Taylor began printing a competing "
+"volume. Millar sued, claiming a perpetual common law right, the Statute of "
+"Anne notwithstanding.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Astonishingly to modern lawyers, one of the greatest judges in English "
+"history, Lord Mansfield, agreed with the booksellers. Whatever protection "
+"the Statute of Anne gave booksellers, it did not, he held, extinguish any "
+"common law right. The question was whether the common law would protect the "
+"author against subsequent \"pirates.\" Mansfield's answer was yes: The "
+"common law would bar Taylor from reprinting Thomson's poem without Millar's "
+"permission. That common law rule thus effectively gave the booksellers a "
+"perpetual right to control the publication of any book assigned to them."
+msgstr ""
+
+#. PAGE BREAK 103
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Considered as a matter of abstract justice--reasoning as if justice were "
+"just a matter of logical deduction from first principles--Mansfield's "
+"conclusion might make some sense. But what it ignored was the larger issue "
+"that Parliament had struggled with in 1710: How best to limit the monopoly "
+"power of publishers? Parliament's strategy was to offer a term for existing "
+"works that was long enough to buy peace in 1710, but short enough to assure "
+"that culture would pass into competition within a reasonable period of time. "
+"Within twenty-one years, Parliament believed, Britain would mature from the "
+"controlled culture that the Crown coveted to the free culture that we "
+"inherited."
+msgstr ""
+"regnet som et spørsmål om abstrakt rettferdighet--resonnement som om "
+"rettferdighet var bare et spørsmål om logiske fradrag fra første prinsipper--"
+"mansfield's konklusjon kan gjøre noen følelse. men hva den ignorert var "
+"større problemet parlamentet hadde slitt med i 1710: hvordan man best kan "
+"begrense monopol makt utgivere? parlamentets strategi var å tilby en frist "
+"for eksisterende verk som var lang nok til å kjøpe fred i 1710, men kort nok "
+"til å sikre at kultur ville passere inn i konkurransen innen en rimelig "
+"tidsperiode. innen tjueen år, parlamentet trodd, Storbritannia ville modne "
+"fra den kontrollerte kulturen som kronen tatt til gratis kultur som vi har "
+"arvet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The fight to defend the limits of the Statute of Anne was not to end there, "
+"however, and it is here that Donaldson enters the mix."
+msgstr ""
+"kampen for å forsvare grensene for Vedtektene for anne var ikke å avslutte "
+"der, og det er her at donaldson går inn i mix."
+
+#. f12
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Ibid., 1156."
+msgstr "ibid., 1156."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Millar died soon after his victory, so his case was not appealed. His estate "
+"sold Thomson's poems to a syndicate of printers that included Thomas Beckett."
+"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an "
+"unauthorized edition of Thomson's works. Beckett, on the strength of the "
+"decision in Millar, got an injunction against Donaldson. Donaldson appealed "
+"the case to the House of Lords, which functioned much like our own Supreme "
+"Court. In February of 1774, that body had the chance to interpret the "
+"meaning of Parliament's limits from sixty years before."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As few legal cases ever do, Donaldson v. Beckett drew an enormous amount of "
+"attention throughout Britain. Donaldson's lawyers argued that whatever "
+"rights may have existed under the common law, the Statute of Anne terminated "
+"those rights. After passage of the Statute of Anne, the only legal "
+"protection for an exclusive right to control publication came from that "
+"statute. Thus, they argued, after the term specified in the Statute of Anne "
+"expired, works that had been protected by the statute were no longer "
+"protected."
+msgstr ""
+"som noen juridiske tilfeller noensinne gjør, trakk donaldson v. beckett en "
+"enorm mengde oppmerksomhet i hele Storbritannia. donaldson's advokater "
+"hevdet at uansett rettigheter kan ha vært der under felles lov, Vedtektene "
+"for anne avsluttet disse rettighetene. etter passering av Vedtektene for "
+"anne kom bare juridiske beskyttelse for en eksklusiv rett til å kontrollere "
+"publikasjonen fra at vedtekt. Således, de hevdet, etter at begrepet angitt i "
+"Vedtektene for anne utløpt, fungerer som hadde vært beskyttet av Vedtektene "
+"var ikke lenger beskyttet."
+
+#. type: Content of: <book><chapter><sect1><para>
+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 ""
+
+#. PAGE BREAK 104
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The reports about the law lords' votes are mixed. On some counts, it looks "
+"as if perpetual copyright prevailed. But there is no ambiguity about how the "
+"House of Lords voted as whole. By a two-to-one majority (22 to 11) they "
+"voted to reject the idea of perpetual copyrights. Whatever one's "
+"understanding of the common law, now a copyright was fixed for a limited "
+"time, after which the work protected by copyright passed into the public "
+"domain."
+msgstr ""
+"rapporter om loven lords' stemmer er blandet. på enkelte punkter, det ser ut "
+"som om evigvarende copyright prevailed. men det er ingen tvetydighet om "
+"hvordan house of lords stemte som helhet. med en to-til-en-flertall (22 til "
+"11) stemte de for å avvise ideen om evigvarende opphavsrettigheter. Hva en "
+"forståelse av sedvanerett, nå en copyright ble løst i en begrenset periode, "
+"hvoretter arbeidet beskyttet av opphavsrett sendes til public domain."
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+
+#. f13
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "Rose, 97."
+msgstr "Rose, 97."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is hard for us to imagine, but this decision by the House of Lords fueled "
+"an extraordinarily popular and political reaction. In Scotland, where most "
+"of the \"pirate publishers\" did their work, people celebrated the decision "
+"in the streets. As the Edinburgh Advertiser reported, \"No private cause has "
+"so much engrossed the attention of the public, and none has been tried "
+"before the House of Lords in the decision of which so many individuals were "
+"interested.\" \"Great rejoicing in Edinburgh upon victory over literary "
+"property: bonfires and illuminations.\"<placeholder type=\"footnote\" id="
+"\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In London, however, at least among publishers, the reaction was equally "
+"strong in the opposite direction. The Morning Chronicle reported:"
+msgstr ""
+"i london, men var minst blant utgivere, reaksjonen like sterke i motsatt "
+"retning. den morgen krøniken rapportert:"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"By the above decision . . . near 200,000 pounds worth of what was honestly "
+"purchased at public sale, and which was yesterday thought property is now "
+"reduced to nothing. The Booksellers of London and Westminster, many of whom "
+"sold estates and houses to purchase Copy-right, are in a manner ruined, and "
+"those who after many years industry thought they had acquired a competency "
+"to provide for their families now find themselves without a shilling to "
+"devise to their successors.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 105
+#. type: Content of: <book><chapter><sect1><para>
+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 ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"At least, this was the rule in a world where the Parliament is antimonopoly, "
+"resistant to the protectionist pleas of publishers. In a world where the "
+"Parliament is more pliant, free culture would be less protected."
+msgstr ""
+"Dette var minst, regelen i en verden der parlamentet er antimonopoly, "
+"motstandsdyktig mot protectionist pleas av utgivere. i en verden der "
+"parlamentet er mer pliant, ville fri kultur være mindre beskyttet."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER SEVEN: Recorders"
+msgstr "Kapittel 7: opptakere"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Jon Else is a filmmaker. He is best known for his documentaries and has been "
+"very successful in spreading his art. He is also a teacher, and as a teacher "
+"myself, I envy the loyalty and admiration that his students feel for him. (I "
+"met, by accident, two of his students at a dinner party. He was their god.)"
+msgstr ""
+"Jon annet er en filmskaper. Han er best kjent for sin dokumentarer og har "
+"vært svært vellykket i å spre sin kunst. Han er også en lærer, og som lærer "
+"meg selv, jeg misunner lojalitet og beundring at hans elever føler seg for "
+"ham. (jeg møtte, ved et uhell, to av hans studenter ved et middagsselskap. "
+"Han var deres Gud)."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Else worked on a documentary that I was involved in. At a break, he told me "
+"a story about the freedom to create with film in America today."
+msgstr ""
+"Ellers arbeidet på en dokumentar som jeg var involvert i. på en pause, han "
+"fortalte meg en historie om frihet å opprette med film i Amerika i dag."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The "
+"focus was stagehands at the San Francisco Opera. Stagehands are a "
+"particularly funny and colorful element of an opera. During a show, they "
+"hang out below the stage in the grips' lounge and in the lighting loft. They "
+"make a perfect contrast to the art on the stage."
+msgstr ""
+"i 1990, ellers arbeidet på en dokumentar om wagner's ring syklus. fokus var "
+"stagehands ved san francisco opera. stagehands er et spesielt morsom og "
+"fargerike element i en opera. under fremvisningen henger de nedenfor scenen "
+"i fatt lounge og i loft belysning. de gjør en perfekt kontrast til kunst på "
+"scenen."
+
+#. PAGE BREAK 107
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"During one of the performances, Else was shooting some stagehands playing "
+"checkers. In one corner of the room was a television set. Playing on the "
+"television set, while the stagehands played checkers and the opera company "
+"played Wagner, was The Simpsons. As Else judged it, this touch of cartoon "
+"helped capture the flavor of what was special about the scene."
+msgstr ""
+"under en av forestillinger, var ellers skyting noen stagehands spille "
+"brikker. i et hjørne av rommet var en TV-apparatet. spille på TV-apparatet, "
+"mens stagehands spilte brikker og opera selskapet spilte wagner, var "
+"simpsons. som andre dømt det denne touch tegneserie hjalp fangst smaken av "
+"det som var spesielt med scenen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Years later, when he finally got funding to complete the film, Else "
+"attempted to clear the rights for those few seconds of The Simpsons. For of "
+"course, those few seconds are copyrighted; and of course, to use copyrighted "
+"material you need the permission of the copyright owner, unless \"fair use\" "
+"or some other privilege applies."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Else called Simpsons creator Matt Groening's office to get permission. "
+"Groening approved the shot. The shot was a four-and-a-halfsecond image on a "
+"tiny television set in the corner of the room. How could it hurt? Groening "
+"was happy to have it in the film, but he told Else to contact Gracie Films, "
+"the company that produces the program."
+msgstr ""
+"annet kalt simpsons skaperen matt groening's kontor for å få tillatelse. "
+"Groening godkjent skutt. skjøt var en fire og en halfsecond-bilde på en "
+"liten TV satt i hjørnet av rommet. Hvordan kan det vondt? Groening var glade "
+"for å ha det i filmen, men han fortalt annet for å kontakte gracie films, "
+"firmaet som lager programmet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Gracie Films was okay with it, too, but they, like Groening, wanted to be "
+"careful. So they told Else to contact Fox, Gracie's parent company. Else "
+"called Fox and told them about the clip in the corner of the one room shot "
+"of the film. Matt Groening had already given permission, Else said. He was "
+"just confirming the permission with Fox."
+msgstr ""
+"Gracie films var bra med den, også, men de, som groening, ønsket å være "
+"forsiktig. så de fortalte andre for å kontakte fox, gracie's morselskapet. "
+"annet kalt fox og fortalte dem om klippet i hjørnet av ett rom skutt av "
+"filmen. Matt groening hadde allerede gitt tillatelse, andre sier. Han var "
+"bare bekrefte tillatelsen med fox."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Then, as Else told me, \"two things happened. First we discovered . . . that "
+"Matt Groening doesn't own his own creation--or at least that someone [at "
+"Fox] believes he doesn't own his own creation.\" And second, Fox \"wanted "
+"ten thousand dollars as a licensing fee for us to use this four-point-five "
+"seconds of . . . entirely unsolicited Simpsons which was in the corner of "
+"the shot.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Else was certain there was a mistake. He worked his way up to someone he "
+"thought was a vice president for licensing, Rebecca Herrera. He explained "
+"to her, \"There must be some mistake here. . . . We're asking for your "
+"educational rate on this.\" That was the educational rate, Herrera told "
+"Else. A day or so later, Else called again to confirm what he had been told."
+msgstr ""
+
+#. PAGE BREAK 108
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you "
+"have your facts straight,\" she said. It would cost $10,000 to use the clip "
+"of The Simpsons in the corner of a shot in a documentary film about Wagner's "
+"Ring Cycle. And then, astonishingly, Herrera told Else, \"And if you quote "
+"me, I'll turn you over to our attorneys.\" As an assistant to Herrera told "
+"Else later on, \"They don't give a shit. They just want the money.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Else didn't have the money to buy the right to replay what was playing on "
+"the television backstage at the San Francisco Opera. To reproduce this "
+"reality was beyond the documentary filmmaker's budget. At the very last "
+"minute before the film was to be released, Else digitally replaced the shot "
+"with a clip from another film that he had worked on, The Day After Trinity, "
+"from ten years before."
+msgstr ""
+"ellers har ikke penger til å kjøpe retten til å spille hva spilte på TV "
+"backstage ved san francisco opera. Hvis du vil gjenskape denne virkeligheten "
+"var utenfor den dokumentar filmskaper budsjett. i svært siste øyeblikk før "
+"filmen var å bli befridd, erstattet ellers digitalt skutt med et utklipp fra "
+"en annen film som han hadde jobbet på, dagen etter trinity, fra ti år før."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There's no doubt that someone, whether Matt Groening or Fox, owns the "
+"copyright to The Simpsons. That copyright is their property. To use that "
+"copyrighted material thus sometimes requires the permission of the copyright "
+"owner. If the use that Else wanted to make of the Simpsons copyright were "
+"one of the uses restricted by the law, then he would need to get the "
+"permission of the copyright owner before he could use the work in that way. "
+"And in a free market, it is the owner of the copyright who gets to set the "
+"price for any use that the law says the owner gets to control."
+msgstr ""
+"Det er ingen tvil om at noen om matt groening eller fox, eier opphavsretten "
+"til simpsons. at opphavsretten er deres eiendom. for å bruke at "
+"opphavsrettsbeskyttet materiale således noen ganger krever tillatelse fra "
+"eieren av opphavsretten. Hvis Bruk som ellers ville være av simpsons "
+"opphavsrett var en av de bruker begrenset av loven, ville han trenger å få "
+"tillatelse fra eieren av opphavsretten før han kunne bruke arbeidet på den "
+"måten. og i et fritt marked, det er eieren av opphavsretten hvem som kan "
+"angi pris for bruk som loven sier eieren får kontroll."
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+
+#. f1
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"For an excellent argument that such use is \"fair use,\" but that lawyers "
+"don't permit recognition that it is \"fair use,\" see Richard A. Posner with "
+"William F. Patry, \"Fair Use and Statutory Reform in the Wake of Eldred "
+"\" (draft on file with author), University of Chicago Law School, 5 August "
+"2003."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But when lawyers hear this story about Jon Else and Fox, their first thought "
+"is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just "
+"4.5 seconds of an indirect shot of a Simpsons episode is clearly a fair use "
+"of The Simpsons--and fair use does not require the permission of anyone."
+msgstr ""
+
+#. PAGE BREAK 109
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So I asked Else why he didn't just rely upon \"fair use.\" Here's his reply:"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"The Simpsons fiasco was for me a great lesson in the gulf between what "
+"lawyers find irrelevant in some abstract sense, and what is crushingly "
+"relevant in practice to those of us actually trying to make and broadcast "
+"documentaries. I never had any doubt that it was \"clearly fair use\" in an "
+"absolute legal sense. But I couldn't rely on the concept in any concrete "
+"way. Here's why:"
+msgstr ""
+
+#. 1.
+#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
+msgid ""
+"Before our films can be broadcast, the network requires that we buy Errors "
+"and Omissions insurance. The carriers require a detailed \"visual cue sheet"
+"\" listing the source and licensing status of each shot in the film. They "
+"take a dim view of \"fair use,\" and a claim of \"fair use\" can grind the "
+"application process to a halt."
+msgstr ""
+
+#. 2.
+#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
+msgid ""
+"I probably never should have asked Matt Groening in the first place. But I "
+"knew (at least from folklore) that Fox had a history of tracking down and "
+"stopping unlicensed Simpsons usage, just as George Lucas had a very high "
+"profile litigating Star Wars usage. So I decided to play by the book, "
+"thinking that we would be granted free or cheap license to four seconds of "
+"Simpsons. As a documentary producer working to exhaustion on a shoestring, "
+"the last thing I wanted was to risk legal trouble, even nuisance legal "
+"trouble, and even to defend a principle."
+msgstr ""
+"Jeg skulle trolig aldri ha spurt matt groening i utgangspunktet. men jeg "
+"visste (minst fra folklore) at fox hadde en historie for å spore ned og "
+"stopper ulisensiert simpsons-bruk, akkurat som george lucas hadde en meget "
+"høy profil prosedere star wars-bruk. så jeg besluttet å spille av boken, "
+"tenker at vi ville bli gitt gratis eller Billige lisens til fire sekunder av "
+"simpsons. som en dokumentar produsent arbeider til utmattelse på en "
+"shoestring, var den siste tingen jeg ønsket å risikere juridiske problemer, "
+"selv ordensforstyrrelser juridiske problemer, og selv for å forsvare et "
+"prinsipp."
+
+#. 3.
+#. PAGE BREAK 110
+#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
+msgid ""
+"I did, in fact, speak with one of your colleagues at Stanford Law "
+"School . . . who confirmed that it was fair use. He also confirmed that Fox "
+"would \"depose and litigate you to within an inch of your life,\" regardless "
+"of the merits of my claim. He made clear that it would boil down to who had "
+"the bigger legal department and the deeper pockets, me or them."
+msgstr ""
+
+#. 4.
+#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
+msgid ""
+"The question of fair use usually comes up at the end of the project, when we "
+"are up against a release deadline and out of money."
+msgstr ""
+"spørsmålet om rettferdig bruk kommer vanligvis på slutten av prosjektet, når "
+"vi er opp mot en release frist og tom for penger."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In theory, fair use means you need no permission. The theory therefore "
+"supports free culture and insulates against a permission culture. But in "
+"practice, fair use functions very differently. The fuzzy lines of the law, "
+"tied to the extraordinary liability if lines are crossed, means that the "
+"effective fair use for many types of creators is slight. The law has the "
+"right aim; practice has defeated the aim."
+msgstr ""
+"i teorien betyr fair use du trenger ingen tillatelse. teorien derfor støtter "
+"fri kultur og isolerer mot en tillatelse kultur. men i praksis, rettferdig "
+"bruk funksjonene veldig annerledes. krusete linjene av loven, knyttet til "
+"det ekstraordinære ansvaret Hvis linjer er krysset, betyr at effektiv "
+"rettferdig bruk for mange typer skaperne er liten. loven har høyre mål; "
+"praksis har beseiret målet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This practice shows just how far the law has come from its eighteenth-"
+"century roots. The law was born as a shield to protect publishers' profits "
+"against the unfair competition of a pirate. It has matured into a sword that "
+"interferes with any use, transformative or not."
+msgstr ""
+"denne øvelsen viser bare hvor langt loven har kommet fra sine 1700-tallet "
+"røtter. loven ble født som et skjold for å beskytte utgivere fortjeneste mot "
+"urettferdig konkurranse av en pirat. Det har modnet til et sverd som "
+"forstyrrer bruke transformative eller ikke."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER EIGHT: Transformers"
+msgstr "Kapittel åtte: transformatorer"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1993, Alex Alben was a lawyer working at Starwave, Inc. Starwave was an "
+"innovative company founded by Microsoft cofounder Paul Allen to develop "
+"digital entertainment. Long before the Internet became popular, Starwave "
+"began investing in new technology for delivering entertainment in "
+"anticipation of the power of networks."
+msgstr ""
+"i 1993 var alex alben en advokat som jobber på starwave, inc. starwave var "
+"en nyskapende selskap grunnlagt av microsoft cofounder paul allen å utvikle "
+"digital underholdning. lenge før Internett ble populært, begynte starwave å "
+"investere i ny teknologi for å levere underholdning i påvente av the power "
+"of networks."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Alben had a special interest in new technology. He was intrigued by the "
+"emerging market for CD-ROM technology--not to distribute film, but to do "
+"things with film that otherwise would be very difficult. In 1993, he "
+"launched an initiative to develop a product to build retrospectives on the "
+"work of particular actors. The first actor chosen was Clint Eastwood. The "
+"idea was to showcase all of the work of Eastwood, with clips from his films "
+"and interviews with figures important to his career."
+msgstr ""
+"Alben hadde en spesiell interesse i ny teknologi. Han var fascinert av det "
+"voksende markedet for CD-ROM-teknologi--ikke å distribuere film, men å gjøre "
+"ting med film som ellers ville være svært vanskelig. i 1993 lanserte han et "
+"initiativ for å utvikle et produkt for å bygge retrospectives på arbeidet "
+"til bestemt aktører. den første skuespilleren valgt var clint eastwood. "
+"ideen var å presentere alt arbeidet av eastwood, med klipp fra hans filmer "
+"og intervjuer med tallene viktig til sin karriere."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"At that time, Eastwood had made more than fifty films, as an actor and as a "
+"director. Alben began with a series of interviews with Eastwood, asking him "
+"about his career. Because Starwave produced those interviews, it was free to "
+"include them on the CD."
+msgstr ""
+"på den tiden, hadde eastwood gjort mer enn femti filmer, som skuespiller og "
+"som styremedlem. Alben begynte med en rekke intervjuer med eastwood, ber ham "
+"om hans karriere. fordi starwave produsert de intervjuene, var det gratis å "
+"inkludere dem på CD-ROMen."
+
+#. PAGE BREAK 112
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"That alone would not have made a very interesting product, so Starwave "
+"wanted to add content from the movies in Eastwood's career: posters, "
+"scripts, and other material relating to the films Eastwood made. Most of his "
+"career was spent at Warner Brothers, and so it was relatively easy to get "
+"permission for that content."
+msgstr ""
+"som alene ville ikke ha gjort en meget interessant produkt, så starwave "
+"ønsket å legge til innhold fra filmer i Eastwoods karriere: plakater, skript "
+"og annet materiale som er knyttet til filmer eastwood gjort. de fleste av "
+"sin karriere ble brukt på warner brothers, og så var det relativt lett å få "
+"tillatelse for innholdet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Then Alben and his team decided to include actual film clips. \"Our goal was "
+"that we were going to have a clip from every one of Eastwood's films,\" "
+"Alben told me. It was here that the problem arose. \"No one had ever really "
+"done this before,\" Alben explained. \"No one had ever tried to do this in "
+"the context of an artistic look at an actor's career.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, "
+"\"Well, what will it take?\""
+msgstr ""
+
+#. f1
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Technically, the rights that Alben had to clear were mainly those of "
+"publicity--rights an artist has to control the commercial exploitation of "
+"his image. But these rights, too, burden \"Rip, Mix, Burn\" creativity, as "
+"this chapter evinces."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Alben replied, \"Well, we're going to have to clear rights from everyone who "
+"appears in these films, and the music and everything else that we want to "
+"use in these film clips.\" Slade said, \"Great! Go for it.\"<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The problem was that neither Alben nor Slade had any idea what clearing "
+"those rights would mean. Every actor in each of the films could have a claim "
+"to royalties for the reuse of that film. But CD- ROMs had not been specified "
+"in the contracts for the actors, so there was no clear way to know just what "
+"Starwave was to do."
+msgstr ""
+"problemet var at verken alben eller slade hadde noen ide hva å fjerne disse "
+"rettighetene ville bety. hver aktør i hver film kan ha et krav til royalties "
+"for gjenbruk av at filmen. men cd-ROMene hadde ikke angitt i kontrakter for "
+"skuespillerne, så det var ingen klar måte å vite akkurat hva starwave var å "
+"gjøre."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I asked Alben how he dealt with the problem. With an obvious pride in his "
+"resourcefulness that obscured the obvious bizarreness of his tale, Alben "
+"recounted just what they did:"
+msgstr ""
+"Jeg spurte alben hvor han jobbet med problemet. med en opplagt stolthet i "
+"hans resourcefulness som skjult åpenbare bizarreness av hans tale, recounted "
+"alben bare hva de gjorde:"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+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."
+msgstr ""
+
+#. PAGE BREAK 113
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"We decided that it would be fair if we offered them the dayplayer rate for "
+"the right to reuse that performance. We're talking about a clip of less than "
+"a minute, but to reuse that performance in the CD-ROM the rate at the time "
+"was about $600. So we had to identify the people--some of them were hard to "
+"identify because in Eastwood movies you can't tell who's the guy crashing "
+"through the glass--is it the actor or is it the stuntman? And then we just, "
+"we put together a team, my assistant and some others, and we just started "
+"calling people."
+msgstr ""
+"vi besluttet at det ville være rettferdig hvis vi tilbudt dem dayplayer-rate "
+"for retten til å gjenbruke denne prestasjonen. Vi snakker om et klipp av "
+"mindre enn et minutt, men hvis du vil bruke denne prestasjonen på CD-ROM-"
+"hastigheten på tiden var ca $600. så vi hadde å identifisere menneskene – "
+"noen av dem var vanskelig å identifisere fordi i eastwood filmer du ikke kan "
+"fortelle som fyren krasjer gjennom glass – er det skuespiller eller er det "
+"stuntman? og så begynte vi bare, vi satt sammen et team, min assistent og "
+"noen andre, og vi bare ringe personer."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Some actors were glad to help--Donald Sutherland, for example, followed up "
+"himself to be sure that the rights had been cleared. Others were "
+"dumbfounded at their good fortune. Alben would ask, \"Hey, can I pay you "
+"$600 or maybe if you were in two films, you know, $1,200?\" And they would "
+"say, \"Are you for real? Hey, I'd love to get $1,200.\" And some of course "
+"were a bit difficult (estranged ex-wives, in particular). But eventually, "
+"Alben and his team had cleared the rights to this retrospective CD-ROM on "
+"Clint Eastwood's career."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It was one year later--\"and even then we weren't sure whether we were "
+"totally in the clear.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Alben is proud of his work. The project was the first of its kind and the "
+"only time he knew of that a team had undertaken such a massive project for "
+"the purpose of releasing a retrospective."
+msgstr ""
+"Alben er stolte av sitt arbeid. prosjektet ble først i sitt slag, og den "
+"eneste gangen han visste av som et lag hadde påtatt seg et kjempestort "
+"prosjekt for å slippe en retrospektiv."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"Everyone thought it would be too hard. Everyone just threw up their hands "
+"and said, \"Oh, my gosh, a film, it's so many copyrights, there's the music, "
+"there's the screenplay, there's the director, there's the actors.\" But we "
+"just broke it down. We just put it into its constituent parts and said, "
+"\"Okay, there's this many actors, this many directors, . . . this many "
+"musicians,\" and we just went at it very systematically and cleared the "
+"rights."
+msgstr ""
+
+#. PAGE BREAK 114
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"And no doubt, the product itself was exceptionally good. Eastwood loved it, "
+"and it sold very well."
+msgstr ""
+"og ingen tvil, selve produktet var usedvanlig god. Eastwood elsket det, og "
+"det selges godt."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"U.S. Department of Commerce Office of Acquisition Management, Seven Steps to "
+"Performance-Based Services Acquisition, available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #22</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But I pressed Alben about how weird it seems that it would have to take a "
+"year's work simply to clear rights. No doubt Alben had done this "
+"efficiently, but as Peter Drucker has famously quipped, \"There is nothing "
+"so useless as doing efficiently that which should not be done at all."
+"\"<placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked "
+"Alben, that this is the way a new work has to be made?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For, as he acknowledged, \"very few . . . have the time and resources, and "
+"the will to do this,\" and thus, very few such works would ever be made. "
+"Does it make sense, I asked him, from the standpoint of what anybody really "
+"thought they were ever giving rights for originally, that you would have to "
+"go clear rights for these kinds of clips?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"I don't think so. When an actor renders a performance in a movie, he or she "
+"gets paid very well. . . . And then when 30 seconds of that performance is "
+"used in a new product that is a retrospective of somebody's career, I don't "
+"think that that person . . . should be compensated for that."
+msgstr ""
+"jeg tror ikke det. Når en aktør gjengir en forestilling i en film, han eller "
+"hun får svært godt betalt.... og deretter når 30 sekunder av denne "
+"prestasjonen brukes i et nytt produkt som er en retrospektiv av en persons "
+"karriere, jeg tror ikke at vedkommende... skal kompenseres for som."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Or at least, is this how the artist should be compensated? Would it make "
+"sense, I asked, for there to be some kind of statutory license that someone "
+"could pay and be free to make derivative use of clips like this? Did it "
+"really make sense that a follow-on creator would have to track down every "
+"artist, actor, director, musician, and get explicit permission from each? "
+"Wouldn't a lot more be created if the legal part of the creative process "
+"could be made to be more clean?"
+msgstr ""
+"eller minst, er dette hvordan kunstneren skal kompenseres? vil det være "
+"fornuftig, jeg spurte, for det for å være en slags lovbestemte lisens som "
+"noen kunne betale, og være fri til å gjøre avledede bruk av utklipp som "
+"dette? det virkelig fornuftig som en etterarbeid skaperen ville ha til å "
+"spore hver kunstner, skuespiller, regissør, musiker, og få tillatelse fra "
+"hver? ville ikke mye mer opprettes hvis den juridiske delen av den kreative "
+"prosessen kan gjøres for å være mer ren?"
+
+#. PAGE BREAK 115
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"Absolutely. I think that if there were some fair-licensing mechanism--where "
+"you weren't subject to hold-ups and you weren't subject to estranged former "
+"spouses--you'd see a lot more of this work, because it wouldn't be so "
+"daunting to try to put together a retrospective of someone's career and "
+"meaningfully illustrate it with lots of media from that person's career. "
+"You'd build in a cost as the producer of one of these things. You'd build in "
+"a cost of paying X dollars to the talent that performed. But it would be a "
+"known cost. That's the thing that trips everybody up and makes this kind of "
+"product hard to get off the ground. If you knew I have a hundred minutes of "
+"film in this product and it's going to cost me X, then you build your budget "
+"around it, and you can get investments and everything else that you need to "
+"produce it. But if you say, \"Oh, I want a hundred minutes of something and "
+"I have no idea what it's going to cost me, and a certain number of people "
+"are going to hold me up for money,\" then it becomes difficult to put one of "
+"these things together."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Alben worked for a big company. His company was backed by some of the "
+"richest investors in the world. He therefore had authority and access that "
+"the average Web designer would not have. So if it took him a year, how long "
+"would it take someone else? And how much creativity is never made just "
+"because the costs of clearing the rights are so high? These costs are the "
+"burdens of a kind of regulation. Put on a Republican hat for a moment, and "
+"get angry for a bit. The government defines the scope of these rights, and "
+"the scope defined determines how much it's going to cost to negotiate them. "
+"(Remember the idea that land runs to the heavens, and imagine the pilot "
+"purchasing flythrough rights as he negotiates to fly from Los Angeles to San "
+"Francisco.) These rights might well have once made sense; but as "
+"circumstances change, they make no sense at all. Or at least, a well-"
+"trained, regulationminimizing Republican should look at the rights and ask, "
+"\"Does this still make sense?\""
+msgstr ""
+
+#. PAGE BREAK 116
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I've seen the flash of recognition when people get this point, but only a "
+"few times. The first was at a conference of federal judges in California. "
+"The judges were gathered to discuss the emerging topic of cyber-law. I was "
+"asked to be on the panel. Harvey Saferstein, a well-respected lawyer from an "
+"L.A. firm, introduced the panel with a video that he and a friend, Robert "
+"Fairbank, had produced."
+msgstr ""
+"Jeg har sett flash av anerkjennelse når folk får dette punktet, men bare et "
+"par ganger. Først var på en konferanse av føderale dommere i california. "
+"dommernes var samlet for å diskutere nye temaet cyber-loven. Jeg ble bedt om "
+"å være på panelet. Harvey saferstein, et godt respektert advokat fra en l.a. "
+"firmaet, introdusert i panelet med en video som han og en venn, robert "
+"fairbank, hadde produsert."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The video was a brilliant collage of film from every period in the twentieth "
+"century, all framed around the idea of a 60 Minutes episode. The execution "
+"was perfect, down to the sixty-minute stopwatch. The judges loved every "
+"minute of it."
+msgstr ""
+"videoen var en glimrende collage av filmen fra hver periode i det tjuende "
+"århundret, alle innrammet rundt ideen om en 60 minutter-episode. utførelsen "
+"var perfekt, ned til seksti minutter stoppeklokken. dommernes elsket enhver "
+"minutt av den."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When the lights came up, I looked over to my copanelist, David Nimmer, "
+"perhaps the leading copyright scholar and practitioner in the nation. He had "
+"an astonished look on his face, as he peered across the room of over 250 "
+"well-entertained judges. Taking an ominous tone, he began his talk with a "
+"question: \"Do you know how many federal laws were just violated in this "
+"room?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For of course, the two brilliantly talented creators who made this film "
+"hadn't done what Alben did. They hadn't spent a year clearing the rights to "
+"these clips; technically, what they had done violated the law. Of course, "
+"it wasn't as if they or anyone were going to be prosecuted for this "
+"violation (the presence of 250 judges and a gaggle of federal marshals "
+"notwithstanding). But Nimmer was making an important point: A year before "
+"anyone would have heard of the word Napster, and two years before another "
+"member of our panel, David Boies, would defend Napster before the Ninth "
+"Circuit Court of Appeals, Nimmer was trying to get the judges to see that "
+"the law would not be friendly to the capacities that this technology would "
+"enable. Technology means you can now do amazing things easily; but you "
+"couldn't easily do them legally."
+msgstr ""
+"for selvfølgelig to briljant talentfulle skaperne som laget denne filmen "
+"ikke hadde gjort hva alben gjorde. de hadde ikke tilbrakte et år å fjerne "
+"rettighetene til disse klippene; teknisk, hva de hadde gjort brudd på loven. "
+"Selvfølgelig, det var ikke som om de eller noen skulle prosecuted for dette "
+"krenkelse (tilstedeværelse av 250 dommere) og en gaggle av føderale marshals "
+"til tross for. men nimmer var å gjøre et viktig poeng: et år før noen hadde "
+"hørt om word-napster, og to år før et annet medlem av panelet, david boies, "
+"ville forsvare napster før niende circuit court of appeals, nimmer prøvde å "
+"få dommere å se at loven ikke skulle vennlig til kapasitetene som gir denne "
+"teknologien. teknologi betyr at du kan nå gjøre fantastiske ting enkelt; men "
+"du ikke kunne enkelt gjøre dem lovlig."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We live in a \"cut and paste\" culture enabled by technology. Anyone "
+"building a presentation knows the extraordinary freedom that the cut and "
+"paste architecture of the Internet created--in a second you can find just "
+"about any image you want; in another second, you can have it planted in your "
+"presentation."
+msgstr ""
+
+#. PAGE BREAK 117
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But presentations are just a tiny beginning. Using the Internet and its "
+"archives, musicians are able to string together mixes of sound never before "
+"imagined; filmmakers are able to build movies out of clips on computers "
+"around the world. An extraordinary site in Sweden takes images of "
+"politicians and blends them with music to create biting political "
+"commentary. A site called Camp Chaos has produced some of the most biting "
+"criticism of the record industry that there is through the mixing of Flash! "
+"and music."
+msgstr ""
+"men presentasjoner er bare en liten begynnelse. ved hjelp av Internett og "
+"sine arkiver, er musikere i stand til streng sammen mikser lydens aldri før "
+"hadde forestilt deg; filmskapere er i stand til å lage filmer ut av klipp på "
+"datamaskiner rundt om i verden. en ekstraordinære området i Sverige tar "
+"bilder av politikere og blander dem med musikk å opprette bite politiske "
+"kommentarer. et område kalt leiren kaos har produsert noen av de mest skarp "
+"kritikken av rullebladet industri som det er gjennom blanding av flash! og "
+"musikk."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"All of these creations are technically illegal. Even if the creators wanted "
+"to be \"legal,\" the cost of complying with the law is impossibly high. "
+"Therefore, for the law-abiding sorts, a wealth of creativity is never made. "
+"And for that part that is made, if it doesn't follow the clearance rules, it "
+"doesn't get released."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"To some, these stories suggest a solution: Let's alter the mix of rights so "
+"that people are free to build upon our culture. Free to add or mix as they "
+"see fit. We could even make this change without necessarily requiring that "
+"the \"free\" use be free as in \"free beer.\" Instead, the system could "
+"simply make it easy for follow-on creators to compensate artists without "
+"requiring an army of lawyers to come along: a rule, for example, that says "
+"\"the royalty owed the copyright owner of an unregistered work for the "
+"derivative reuse of his work will be a flat 1 percent of net revenues, to be "
+"held in escrow for the copyright owner.\" Under this rule, the copyright "
+"owner could benefit from some royalty, but he would not have the benefit of "
+"a full property right (meaning the right to name his own price) unless he "
+"registers the work."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Who could possibly object to this? And what reason would there be for "
+"objecting? We're talking about work that is not now being made; which if "
+"made, under this plan, would produce new income for artists. What reason "
+"would anyone have to oppose it?"
+msgstr ""
+"Hvem ville muligens objektet til dette? og hva grunn ville det være for "
+"objecting? Vi snakker om arbeid som ikke nå blir gjort; som hvis gjort, "
+"under denne plan, ville produsere nye inntekter for kunstnere. Hva grunn "
+"ville alle ha til å motsette seg det?"
+
+#. PAGE BREAK 118
+#. type: Content of: <book><chapter><sect1><para>
+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.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The announcement called this \"film sampling.\" As Myers explained, \"Film "
+"Sampling is an exciting way to put an original spin on existing films and "
+"allow audiences to see old movies in a new light. Rap artists have been "
+"doing this for years with music and now we are able to take that same "
+"concept and apply it to film.\" Steven Spielberg is quoted as saying, \"If "
+"anyone can create a way to bring old films to new audiences, it is Mike.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Spielberg is right. Film sampling by Myers will be brilliant. But if you "
+"don't think about it, you might miss the truly astonishing point about this "
+"announcement. As the vast majority of our film heritage remains under "
+"copyright, the real meaning of the DreamWorks announcement is just this: It "
+"is Mike Myers and only Mike Myers who is free to sample. Any general freedom "
+"to build upon the film archive of our culture, a freedom in other contexts "
+"presumed for us all, is now a privilege reserved for the funny and famous--"
+"and presumably rich."
+msgstr ""
+"Spielberg er rett. filmen prøvetaking av myers vil bli strålende. men hvis "
+"du ikke tenke på det, du vil kanskje savne helt utrolig punktet om denne "
+"kunngjøringen. som de aller fleste av vår film arv, forblir under "
+"opphavsrett, den virkelige betydningen av dreamworks utlysningen er bare "
+"dette: det er mike myers og bare mike myers som er gratis å prøve. noen "
+"generelle frihet til å bygge på film arkiv av vår kultur, en frihet i andre "
+"sammenhenger antatt for oss alle, er nå et privilegium reservert for morsomt "
+"og berømte-- og antagelig rik."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This privilege becomes reserved for two sorts of reasons. The first "
+"continues the story of the last chapter: the vagueness of \"fair use.\" Much "
+"of \"sampling\" should be considered \"fair use.\" But few would rely upon "
+"so weak a doctrine to create. That leads to the second reason that the "
+"privilege is reserved for the few: The costs of negotiating the legal rights "
+"for the creative reuse of content are astronomically high. These costs "
+"mirror the costs with fair use: You either pay a lawyer to defend your fair "
+"use rights or pay a lawyer to track down permissions so you don't have to "
+"rely upon fair use rights. Either way, the creative process is a process of "
+"paying lawyers--again a privilege, or perhaps a curse, reserved for the few."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER NINE: Collectors"
+msgstr "kapittel 9: samlere"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In April 1996, millions of \"bots\"--computer codes designed to \"spider,\" "
+"or automatically search the Internet and copy content--began running across "
+"the Net. Page by page, these bots copied Internet-based information onto a "
+"small set of computers located in a basement in San Francisco's Presidio. "
+"Once the bots finished the whole of the Internet, they started again. Over "
+"and over again, once every two months, these bits of code took copies of the "
+"Internet and stored them."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"By October 2001, the bots had collected more than five years of copies. And "
+"at a small announcement in Berkeley, California, the archive that these "
+"copies created, the Internet Archive, was opened to the world. Using a "
+"technology called \"the Way Back Machine,\" you could enter a Web page, and "
+"see all of its copies going back to 1996, as well as when those pages "
+"changed."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This is the thing about the Internet that Orwell would have appreciated. In "
+"the dystopia described in 1984, old newspapers were constantly updated to "
+"assure that the current view of the world, approved of by the government, "
+"was not contradicted by previous news reports."
+msgstr ""
+"Dette er ting om Internett som orwell ville ha verdsatt. i dystopia "
+"beskrevet i 1984, ble gamle aviser stadig oppdatert for å sikre som "
+"gjeldende visning av verden, godkjent av regjeringen, ikke var motsagt av "
+"forrige nyhetsrapporter."
+
+#. PAGE BREAK 120
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Thousands of workers constantly reedited the past, meaning there was no way "
+"ever to know whether the story you were reading today was the story that was "
+"printed on the date published on the paper."
+msgstr ""
+"tusenvis av arbeidstakere stadig reedited fortiden, noe som betyr at det var "
+"ingen måte noen gang å vite om historien du lese i dag var historie som ble "
+"skrevet ut på dato publisert på papiret."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It's the same with the Internet. If you go to a Web page today, there's no "
+"way for you to know whether the content you are reading is the same as the "
+"content you read before. The page may seem the same, but the content could "
+"easily be different. The Internet is Orwell's library--constantly updated, "
+"without any reliable memory."
+msgstr ""
+"Det er det samme med Internett. Hvis du går til en webside i dag, er det "
+"ingen måte for deg å vite om innholdet du leser er det samme som innholdet "
+"du lese før. siden kan virke det samme, men innholdet kan være forskjellige. "
+"Internett er orwell's bibliotek--oppdatert hele tiden, uten noen pålitelig "
+"minne."
+
+#. f1
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"The temptations remain, however. Brewster Kahle reports that the White House "
+"changes its own press releases without notice. A May 13, 2003, press release "
+"stated, \"Combat Operations in Iraq Have Ended.\" That was later changed, "
+"without notice, to \"Major Combat Operations in Iraq Have Ended.\" E-mail "
+"from Brewster Kahle, 1 December 2003."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Until the Way Back Machine, at least. With the Way Back Machine, and the "
+"Internet Archive underlying it, you can see what the Internet was. You have "
+"the power to see what you remember. More importantly, perhaps, you also have "
+"the power to find what you don't remember and what others might prefer you "
+"forget.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We take it for granted that we can go back to see what we remember reading. "
+"Think about newspapers. If you wanted to study the reaction of your hometown "
+"newspaper to the race riots in Watts in 1965, or to Bull Connor's water "
+"cannon in 1963, you could go to your public library and look at the "
+"newspapers. Those papers probably exist on microfiche. If you're lucky, they "
+"exist in paper, too. Either way, you are free, using a library, to go back "
+"and remember--not just what it is convenient to remember, but remember "
+"something close to the truth."
+msgstr ""
+"vi ta det for gitt at vi kan gå tilbake til å se hva vi husker jeg leser. "
+"Tenk på aviser. Hvis du ønsker å studere reaksjon i hjembyen avisa på rase "
+"opptøyene i watt i 1965, eller til bull connor's vannkanon i 1963, kan du gå "
+"til din offentlige bibliotek og se på avisene. Disse papirene finnes "
+"sannsynligvis på mikrokort. Hvis du er heldig, finnes de i papir, også. "
+"Uansett, du er fri, ved hjelp av et bibliotek, for å gå tilbake og huske--"
+"ikke bare hva det er praktisk å huske, men husker noe nær sannheten."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is said that those who fail to remember history are doomed to repeat it. "
+"That's not quite correct. We all forget history. The key is whether we have "
+"a way to go back to rediscover what we forget. More directly, the key is "
+"whether an objective past can keep us honest. Libraries help do that, by "
+"collecting content and keeping it, for schoolchildren, for researchers, for "
+"grandma. A free society presumes this knowedge."
+msgstr ""
+"Det sies at de som ikke klarer å huske historie er dømt til å gjenta den. "
+"Det er ikke helt riktig. vi alle glemme historie. nøkkelen er om vi har en "
+"måte å gå tilbake til Gjenoppdag hva vi glemme. nøkkelen er mer direkte om "
+"en objektiv siste kan holde oss ærlig. biblioteker hjelpe gjøre det, ved å "
+"samle innhold og holde den, for skolebarn, til forskere for bestemor. et "
+"fritt samfunn forutsetter dette knowedge."
+
+#. PAGE BREAK 121
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Internet was an exception to this presumption. Until the Internet "
+"Archive, there was no way to go back. The Internet was the quintessentially "
+"transitory medium. And yet, as it becomes more important in forming and "
+"reforming society, it becomes more and more important to maintain in some "
+"historical form. It's just bizarre to think that we have scads of archives "
+"of newspapers from tiny towns around the world, yet there is but one copy of "
+"the Internet--the one kept by the Internet Archive."
+msgstr ""
+"Internett var et unntak til denne antagelse. før internet archive var det "
+"ikke mulig å gå tilbake. Internett var typiske forbigående medium. og ennå, "
+"som det blir viktigere i forming og reformere samfunn, det blir mer og mer "
+"viktig å opprettholde i noen historiske form. Det er bare bisarre å tro at "
+"vi har scads av arkiver av aviser fra bittesmå byer rundt om i verden, men "
+"det er én kopi av Internett--det ettall holdt av internet archive."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Brewster Kahle is the founder of the Internet Archive. He was a very "
+"successful Internet entrepreneur after he was a successful computer "
+"researcher. In the 1990s, Kahle decided he had had enough business "
+"success. It was time to become a different kind of success. So he launched "
+"a series of projects designed to archive human knowledge. The Internet "
+"Archive was just the first of the projects of this Andrew Carnegie of the "
+"Internet. By December of 2002, the archive had over 10 billion pages, and it "
+"was growing at about a billion pages a month."
+msgstr ""
+"Brewster kahle er grunnleggeren av internet archive. Han var en svært "
+"vellykket Internett entreprenør etter at han var vellykket datamaskinen "
+"forsker. i 1990-årene besluttet kahle han hadde hatt nok suksess. Det var "
+"tid for å bli en annen type suksess. så han lansert en rekke prosjekter som "
+"er utformet for å arkivere menneskelig kunnskap. internet archive var bare "
+"først av prosjekter av denne andrew carnegie av Internett. ved desember "
+"2002, arkivet hadde over 10 milliarder sider, og det ble vokser om en "
+"milliard sider per måned."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Way Back Machine is the largest archive of human knowledge in human "
+"history. At the end of 2002, it held \"two hundred and thirty terabytes of "
+"material\"--and was \"ten times larger than the Library of Congress.\" And "
+"this was just the first of the archives that Kahle set out to build. In "
+"addition to the Internet Archive, Kahle has been constructing the Television "
+"Archive. Television, it turns out, is even more ephemeral than the Internet. "
+"While much of twentieth-century culture was constructed through television, "
+"only a tiny proportion of that culture is available for anyone to see today. "
+"Three hours of news are recorded each evening by Vanderbilt University--"
+"thanks to a specific exemption in the copyright law. That content is "
+"indexed, and is available to scholars for a very low fee. \"But other than "
+"that, [television] is almost unavailable,\" Kahle told me. \"If you were "
+"Barbara Walters you could get access to [the archives], but if you are just "
+"a graduate student?\" As Kahle put it,"
+msgstr ""
+
+#. PAGE BREAK 122
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"Do you remember when Dan Quayle was interacting with Murphy Brown? Remember "
+"that back and forth surreal experience of a politician interacting with a "
+"fictional television character? If you were a graduate student wanting to "
+"study that, and you wanted to get those original back and forth exchanges "
+"between the two, the 60 Minutes episode that came out after it . . . it "
+"would be almost impossible. . . . Those materials are almost "
+"unfindable. . . ."
+msgstr ""
+"husker du når dan quayle samhandlet med murphy brown? Husk at frem og "
+"tilbake surrealistisk opplevelse av en politiker samarbeidsstil et fiktive "
+"TV-tegn? Hvis du var utdannet student som ønsker å studere som, og du vil få "
+"de opprinnelige frem og tilbake utveksling mellom to, den 60 minutter "
+"episoden som kom ut etter det... det ville være nesten umulig.... disse "
+"materialene er nesten unfindable...."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Why is that? Why is it that the part of our culture that is recorded in "
+"newspapers remains perpetually accessible, while the part that is recorded "
+"on videotape is not? How is it that we've created a world where researchers "
+"trying to understand the effect of media on nineteenthcentury America will "
+"have an easier time than researchers trying to understand the effect of "
+"media on twentieth-century America?"
+msgstr ""
+"Hvorfor er det? Hvorfor er det at delen av vår kultur som er registrert i "
+"aviser forblir perpetually tilgjengelig, mens delen som er registrert på "
+"videobåndet ikke er? Hvordan er det at vi har laget en verden hvor forskere "
+"prøver å forstå virkningen av media på nineteenthcentury Amerika vil ha en "
+"enklere tid enn forskere prøver å forstå virkningen av media på 1900-tallet "
+"Amerika?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In part, this is because of the law. Early in American copyright law, "
+"copyright owners were required to deposit copies of their work in "
+"libraries. These copies were intended both to facilitate the spread of "
+"knowledge and to assure that a copy of the work would be around once the "
+"copyright expired, so that others might access and copy the work."
+msgstr ""
+"Dette er delvis på grunn av loven. tidlig i amerikansk lov om opphavsrett "
+"var opphavsrett eiere nødvendige for å sette inn kopier av sitt arbeid på "
+"bibliotekene. Disse kopiene var ment å forenkle spredning av kunnskap og å "
+"sikre at en kopi av arbeidet vil være rundt når opphavsretten utløpt, slik "
+"at andre kan få tilgang til og kopiere arbeidet."
+
+#. f2
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Doug Herrick, \\\"Toward a National Film Collection: Motion Pictures at "
+#| "the Library of Congress,\\\" Film Library Quarterly 13 nos. 23 (1980): 5; "
+#| "Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the "
+#| "United States ( Jefferson, N.C.: McFarland & Co., 1992), 36."
+msgid ""
+"Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the "
+"Library of Congress,\" Film Library Quarterly 13 nos. 23 (1980): 5; Anthony "
+"Slide, Nitrate Won't Wait: A History of Film Preservation in the United "
+"States ( Jefferson, N.C.: McFarland & Co., 1992), 36."
+msgstr ""
+"Doug herrick, \\\"mot en nasjonal Filmsamling: filmindustrien på library of "
+"congress,\\\" film biblioteket kvartalsvise 13 nr 23 (1980): 5; Anthony "
+"lysbildet, nitrat vil ikke vente: en historie om filmen bevaring i USA "
+"(jefferson, NC: mcfarland & Co, 1992), 36."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These rules applied to film as well. But in 1915, the Library of Congress "
+"made an exception for film. Film could be copyrighted so long as such "
+"deposits were made. But the filmmaker was then allowed to borrow back the "
+"deposits--for an unlimited time at no cost. In 1915 alone, there were more "
+"than 5,475 films deposited and \"borrowed back.\" Thus, when the copyrights "
+"to films expire, there is no copy held by any library. The copy exists--if "
+"it exists at all--in the library archive of the film company.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The same is generally true about television. Television broadcasts were "
+"originally not copyrighted--there was no way to capture the broadcasts, so "
+"there was no fear of \"theft.\" But as technology enabled capturing, "
+"broadcasters relied increasingly upon the law. The law required they make a "
+"copy of each broadcast for the work to be \"copyrighted.\" But those copies "
+"were simply kept by the broadcasters. No library had any right to them; the "
+"government didn't demand them. The content of this part of American culture "
+"is practically invisible to anyone who would look."
+msgstr ""
+
+#. PAGE BREAK 123
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Kahle was eager to correct this. Before September 11, 2001, he and his "
+"allies had started capturing television. They selected twenty stations from "
+"around the world and hit the Record button. After September 11, Kahle, "
+"working with dozens of others, selected twenty stations from around the "
+"world and, beginning October 11, 2001, made their coverage during the week "
+"of September 11 available free on-line. Anyone could see how news reports "
+"from around the world covered the events of that day."
+msgstr ""
+"Kahle var ivrig etter å rette opp dette. før september 11, 2001, hadde han "
+"og hans allierte begynt å fange TV. de tyve radiostasjoner fra hele verden "
+"er merket, og trykk på record-knappen. etter 11 september, kahle, arbeide "
+"med mange andre, merkede tjue radiostasjoner fra hele verden, og starter 11. "
+"oktober 2001, gjort sin dekning i uken av 11 september tilgjengelig gratis "
+"on-line. alle kunne se hvordan nyhetsrapporter fra rundt om i verden dekkes "
+"hendelsene den dagen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Kahle had the same idea with film. Working with Rick Prelinger, whose "
+"archive of film includes close to 45,000 \"ephemeral films\" (meaning films "
+"other than Hollywood movies, films that were never copyrighted), Kahle "
+"established the Movie Archive. Prelinger let Kahle digitize 1,300 films in "
+"this archive and post those films on the Internet to be downloaded for free. "
+"Prelinger's is a for-profit company. It sells copies of these films as stock "
+"footage. What he has discovered is that after he made a significant chunk "
+"available for free, his stock footage sales went up dramatically. People "
+"could easily find the material they wanted to use. Some downloaded that "
+"material and made films on their own. Others purchased copies to enable "
+"other films to be made. Either way, the archive enabled access to this "
+"important part of our culture. Want to see a copy of the \"Duck and Cover\" "
+"film that instructed children how to save themselves in the middle of "
+"nuclear attack? Go to archive.org, and you can download the film in a few "
+"minutes--for free."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Here again, Kahle is providing access to a part of our culture that we "
+"otherwise could not get easily, if at all. It is yet another part of what "
+"defines the twentieth century that we have lost to history. The law doesn't "
+"require these copies to be kept by anyone, or to be deposited in an archive "
+"by anyone. Therefore, there is no simple way to find them."
+msgstr ""
+"Her igjen, gir kahle tilgang til en del av vår kultur som vi ellers ikke "
+"kunne få enkelt, hvis i det hele tatt. Det er ennå en annen del av det som "
+"definerer det tjuende århundre at vi har mistet til historie. loven krever "
+"ikke disse kopiene skal holdes av alle, eller for å bli satt i et arkiv av "
+"alle. derfor finnes det ingen enkel måte å finne dem."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The key here is access, not price. Kahle wants to enable free access to this "
+"content, but he also wants to enable others to sell access to it. His aim is "
+"to ensure competition in access to this important part of our culture. Not "
+"during the commercial life of a bit of creative property, but during a "
+"second life that all creative property has--a noncommercial life."
+msgstr ""
+"nøkkelen her er tilgang, ikke pris. Kahle ønsker å aktivere gratis tilgang "
+"til dette innholdet, men han ønsker også å gjøre andre til å selge tilgang "
+"til den. hans mål er å sikre konkurranse i tilgang til denne viktige delen "
+"av vår kultur. ikke under kommersielle livet av en bit av kreative eiendom, "
+"men under en second life som alle kreative egenskapen har--et ikke-"
+"kommersiell liv."
+
+#. PAGE BREAK 124
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For here is an idea that we should more clearly recognize. Every bit of "
+"creative property goes through different \"lives.\" In its first life, if "
+"the creator is lucky, the content is sold. In such cases the commercial "
+"market is successful for the creator. The vast majority of creative property "
+"doesn't enjoy such success, but some clearly does. For that content, "
+"commercial life is extremely important. Without this commercial market, "
+"there would be, many argue, much less creativity."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"After the commercial life of creative property has ended, our tradition has "
+"always supported a second life as well. A newspaper delivers the news every "
+"day to the doorsteps of America. The very next day, it is used to wrap fish "
+"or to fill boxes with fragile gifts or to build an archive of knowledge "
+"about our history. In this second life, the content can continue to inform "
+"even if that information is no longer sold."
+msgstr ""
+"etter kommersielle livet av creative-egenskapen er avsluttet, har vår "
+"tradisjon alltid støttet en second life også. en avis leverer nyheter hver "
+"dag til doorsteps av Amerika. svært neste dag, brukes den til å bryte fisk "
+"eller for å fylle bokser med skjøre gaver eller for å bygge et arkiv av "
+"kunnskap om vår historie. i denne second life, kan innholdet fortsette å "
+"informere selv om denne informasjonen ikke lenger er solgt."
+
+#. f3
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar "
+"Owner Starts a New Chapter by Adopting Business,\" Chicago Tribune, 5 "
+"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, "
+"only 2.2 percent were in print in 2002. R. Anthony Reese, \"The First Sale "
+"Doctrine in the Era of Digital Networks,\" Boston College Law Review 44 "
+"(2003): 593 n. 51."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The same has always been true about books. A book goes out of print very "
+"quickly (the average today is after about a year<placeholder type=\"footnote"
+"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores "
+"without the copyright owner getting anything and stored in libraries, where "
+"many get to read the book, also for free. Used book stores and libraries are "
+"thus the second life of a book. That second life is extremely important to "
+"the spread and stability of culture."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet increasingly, any assumption about a stable second life for creative "
+"property does not hold true with the most important components of popular "
+"culture in the twentieth and twenty-first centuries. For these--television, "
+"movies, music, radio, the Internet--there is no guarantee of a second life. "
+"For these sorts of culture, it is as if we've replaced libraries with Barnes "
+"& Noble superstores. With this culture, what's accessible is nothing but "
+"what a certain limited market demands. Beyond that, culture disappears."
+msgstr ""
+"ennå i økende grad holder noen antakelse om en stabil second life for "
+"kreative egenskapen ikke true med de viktigste komponentene i "
+"populærkulturen i de tjuende og tjueførste århundrene. for disse--TV, "
+"filmer, musikk, radio, Internett - det er ingen garanti for en second life. "
+"for disse slags kultur er det som om vi har erstattet biblioteker med barnes "
+"& noble superstores. med denne kulturen, hva er tilgjengelig er noe "
+"annet enn hva en viss begrenset marked krav. utover det forsvinner kultur."
+
+#. PAGE BREAK 125
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For most of the twentieth century, it was economics that made this so. It "
+"would have been insanely expensive to collect and make accessible all "
+"television and film and music: The cost of analog copies is extraordinarily "
+"high. So even though the law in principle would have restricted the ability "
+"of a Brewster Kahle to copy culture generally, the real restriction was "
+"economics. The market made it impossibly difficult to do anything about this "
+"ephemeral culture; the law had little practical effect."
+msgstr ""
+"for det meste av det tjuende århundre var det økonomi som gjorde dette så. "
+"det ville ha vært sinnsykt dyrt å samle og gjøre tilgjengelig alle TV og "
+"film og musikk: kostnaden for analoge Kopier er svært høy. så selv om loven "
+"i prinsippet ville har begrenset mulighet til en brewster kahle å kopiere "
+"kultur Generelt, ekte begrensningen var økonomi. markedet gjorde det "
+"impossibly vanskelig å gjøre noe med denne flyktige kultur; loven hadde lite "
+"praktiske effekten."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Perhaps the single most important feature of the digital revolution is that "
+"for the first time since the Library of Alexandria, it is feasible to "
+"imagine constructing archives that hold all culture produced or distributed "
+"publicly. Technology makes it possible to imagine an archive of all books "
+"published, and increasingly makes it possible to imagine an archive of all "
+"moving images and sound."
+msgstr ""
+"kanskje er enkelt viktigste funksjon i den digitale revolusjonen at for "
+"første gang siden biblioteket i alexandria, er det mulig å forestille seg å "
+"opprette arkiver som holder alle kultur produsert eller distribueres "
+"offentlig. teknologien gjør det mulig å forestille seg et arkiv over alle "
+"bøker som er utgitt og stadig mer gjør det mulig å forestille seg et arkiv "
+"over alle bevegelige bilder og lyd."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The scale of this potential archive is something we've never imagined "
+"before. The Brewster Kahles of our history have dreamed about it; but we are "
+"for the first time at a point where that dream is possible. As Kahle "
+"describes,"
+msgstr ""
+"omfanget av dette potensielle arkivet er noe vi har aldri forestilt meg før. "
+"brewster kahles i vår historie har drømt om det; men vi er for første gang "
+"ved et punkt der det er mulig at drømmen. som kahle beskriver,"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"It looks like there's about two to three million recordings of music. Ever. "
+"There are about a hundred thousand theatrical releases of movies, . . . and "
+"about one to two million movies [distributed] during the twentieth century. "
+"There are about twenty-six million different titles of books. All of these "
+"would fit on computers that would fit in this room and be able to be "
+"afforded by a small company. So we're at a turning point in our history. "
+"Universal access is the goal. And the opportunity of leading a different "
+"life, based on this, is . . . thrilling. It could be one of the things "
+"humankind would be most proud of. Up there with the Library of Alexandria, "
+"putting a man on the moon, and the invention of the printing press."
+msgstr ""
+"Det ser ut som det er om to til tre millioner opptak av musikk. noensinne. "
+"Det er om lag hundre tusen teatralsk utgivelser av filmer,... og om ett til "
+"to millioner filmer [fordelt] under det tjuende århundre. Det er om lag tjue "
+"- seks millioner forskjellige titler på bøker. alle disse ville passe på "
+"datamaskiner som ville passe inn i dette rommet og kunne ha råd av et lite "
+"selskap. så er vi ved et vendepunkt i vår historie. særlige er målet. og "
+"muligheten til å lede et annet liv, basert på dette, er... spennende. Det "
+"kan være en av tingene som menneskeheten ville være mest stolt av. å sette "
+"en mann på månen, og oppfinnelsen av trykkpressen oppe med biblioteket i "
+"alexandria."
+
+#. PAGE BREAK 126
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+"Kahle er ikke den eneste bibliotekar. internet archive er ikke det eneste "
+"arkivet. men kahle og internet archive foreslå hva fremtiden for biblioteker "
+"eller Arkiver kan være. Når kommersielle livet av kreative egenskapen "
+"avsluttes, vet jeg ikke. men det gjør. og når den gjør det, kahle og hans "
+"arkiv hint på en verden der denne kunnskap og kultur, forblir perpetually "
+"tilgjengelig. noen vil trekke på det å forstå det. noen å kritisere den. "
+"noen vil bruke den, som walt disney gjorde, for å gjenopprette siste for "
+"fremtiden. disse teknologiene lover noe som hadde blitt ufattelig for mye av "
+"vår fortid--en fremtid for vår fortid. teknologi for digital arts kan gjøre "
+"drømmen om biblioteket i alexandria virkelig igjen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Technologists have thus removed the economic costs of building such an "
+"archive. But lawyers' costs remain. For as much as we might like to call "
+"these \"archives,\" as warm as the idea of a \"library\" might seem, the "
+"\"content\" that is collected in these digital spaces is also someone's "
+"\"property.\" And the law of property restricts the freedoms that Kahle and "
+"others would exercise."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER TEN: \"Property\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+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>
+msgid ""
+"The MPAA is the American branch of the international Motion Picture "
+"Association. It was formed in 1922 as a trade association whose goal was to "
+"defend American movies against increasing domestic criticism. The "
+"organization now represents not only filmmakers but producers and "
+"distributors of entertainment for television, video, and cable. Its board is "
+"made up of the chairmen and presidents of the seven major producers and "
+"distributors of motion picture and television programs in the United States: "
+"Walt Disney, Sony Pictures Entertainment, MGM, Paramount Pictures, Twentieth "
+"Century Fox, Universal Studios, and Warner Brothers."
+msgstr ""
+"mpaa er den amerikanske avdelingen av internasjonale motion picture "
+"association. Det ble dannet i 1922 som en handelsforening som har mål var å "
+"forsvare amerikanske filmer mot økende innenriks kritikk. organisasjonen nå "
+"representerer ikke bare filmskapere men produsenter og distributører av "
+"underholdning for TV, video og kabel. Styret består av formenn og "
+"presidenter av de sju store produsentene og distributører av filmselskaper "
+"og TV-programmer i USA: walt disney, sony pictures entertainment, mgm, "
+"paramount bilder, 20th century fox, universal studios og warner brothers."
+
+#. PAGE BREAK 128
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Valenti is only the third president of the MPAA. No president before him has "
+"had as much influence over that organization, or over Washington. As a "
+"Texan, Valenti has mastered the single most important political skill of a "
+"Southerner--the ability to appear simple and slow while hiding a lightning-"
+"fast intellect. To this day, Valenti plays the simple, humble man. But this "
+"Harvard MBA, and author of four books, who finished high school at the age "
+"of fifteen and flew more than fifty combat missions in World War II, is no "
+"Mr. Smith. When Valenti went to Washington, he mastered the city in a "
+"quintessentially Washingtonian way."
+msgstr ""
+"Valenti er bare den tredje presidenten av mpaa. Ingen president før ham har "
+"hatt så stor innflytelse over denne organisasjonen eller over washington. "
+"som en Texas har valenti mestret enkelt viktigste politiske ferdigheter til "
+"en southerner--muligheten til å vises enkle og treg mens skjule en lynrask "
+"intellekt. til denne dag har spiller valenti enkel, ydmyke mann. men denne "
+"harvard mba, og forfatter av fire bøker, som fullført videregående skole i "
+"en alder av femten, og fløy mer enn femti bekjempe oppdrag i andre "
+"verdenskrig, er ingen mr. smith. Når valenti gikk til washington, han "
+"mestret byen i en typiske washingtonian måte."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In defending artistic liberty and the freedom of speech that our culture "
+"depends upon, the MPAA has done important good. In crafting the MPAA rating "
+"system, it has probably avoided a great deal of speech-regulating harm. But "
+"there is an aspect to the organization's mission that is both the most "
+"radical and the most important. This is the organization's effort, "
+"epitomized in Valenti's every act, to redefine the meaning of \"creative "
+"property.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1982, Valenti's testimony to Congress captured the strategy perfectly:"
+msgstr ""
+"i 1982 innspilt valenti's vitnesbyrd til Kongressen strategien perfekt:"
+
+#. f1
+#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
+msgid ""
+"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. "
+"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, "
+"Civil Liberties, and the Administration of Justice of the Committee on the "
+"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 "
+"(testimony of Jack Valenti)."
+msgstr ""
+"Hjem registrering av opphavsrettslig beskyttet verk: hearings på hr 4783, hr "
+"4794, hr 4808, hr 5250, hr 5488 og hr 5705 før subcommittee on domstoler, "
+"borgerrettigheter og administrasjonen av rettferdighet av committee on "
+"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 "
+"(vitnesbyrd om jack valenti)."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"No matter the lengthy arguments made, no matter the charges and the counter-"
+"charges, no matter the tumult and the shouting, reasonable men and women "
+"will keep returning to the fundamental issue, the central theme which "
+"animates this entire debate: Creative property owners must be accorded the "
+"same rights and protection resident in all other property owners in the "
+"nation. That is the issue. That is the question. And that is the rostrum on "
+"which this entire hearing and the debates to follow must rest.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 129
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The strategy of this rhetoric, like the strategy of most of Valenti's "
+"rhetoric, is brilliant and simple and brilliant because simple. The "
+"\"central theme\" to which \"reasonable men and women\" will return is this: "
+"\"Creative property owners must be accorded the same rights and protections "
+"resident in all other property owners in the nation.\" There are no second-"
+"class citizens, Valenti might have continued. There should be no second-"
+"class property owners."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This claim has an obvious and powerful intuitive pull. It is stated with "
+"such clarity as to make the idea as obvious as the notion that we use "
+"elections to pick presidents. But in fact, there is no more extreme a claim "
+"made by anyone who is serious in this debate than this claim of Valenti's. "
+"Jack Valenti, however sweet and however brilliant, is perhaps the nation's "
+"foremost extremist when it comes to the nature and scope of \"creative "
+"property.\" His views have no reasonable connection to our actual legal "
+"tradition, even if the subtle pull of his Texan charm has slowly redefined "
+"that tradition, at least in Washington."
+msgstr ""
+
+#. f2
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Lawyers speak of \\\"property\\\" not as an absolute thing, but as a "
+#| "bundle of rights that are sometimes associated with a particular object. "
+#| "Thus, my \\\"property right\\\" to my car gives me the right to exclusive "
+#| "use, but not the right to drive at 150 miles an hour. For the best effort "
+#| "to connect the ordinary meaning of \\\"property\\\" to \\\"lawyer talk,\\"
+#| "\" see Bruce Ackerman, Private Property and the Constitution (New Haven: "
+#| "Yale University Press, 1977), 2627."
+msgid ""
+"Lawyers speak of \"property\" not as an absolute thing, but as a bundle of "
+"rights that are sometimes associated with a particular object. Thus, my "
+"\"property right\" to my car gives me the right to exclusive use, but not "
+"the right to drive at 150 miles an hour. For the best effort to connect the "
+"ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, "
+"Private Property and the Constitution (New Haven: Yale University Press, "
+"1977), 2627."
+msgstr ""
+"advokater snakker om \\\"property\\\" ikke som en absolute ting, men som en "
+"bunt av rettigheter som er noen ganger knyttet til bestemte objekter. Dermed "
+"gir min \\\"eiendom rett\\\" til bilen min meg retten til eksklusiv bruk, "
+"men ikke rettigheten til å kjøre på 150 miles i timen. å koble den vanlige "
+"betydningen av \\\"eiendom\\\" til \\\"advokat talk\\\" beste innsats, kan "
+"du se bruce ackerman, privat eiendom og grunnloven (new haven: yale "
+"university press, 1977), 2627."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"While \"creative property\" is certainly \"property\" in a nerdy and precise "
+"sense that lawyers are trained to understand,<placeholder type=\"footnote\" "
+"id=\"0\"/> it has never been the case, nor should it be, that \"creative "
+"property owners\" have been \"accorded the same rights and protection "
+"resident in all other property owners.\" Indeed, if creative property owners "
+"were given the same rights as all other property owners, that would effect a "
+"radical, and radically undesirable, change in our tradition."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Valenti knows this. But he speaks for an industry that cares squat for our "
+"tradition and the values it represents. He speaks for an industry that is "
+"instead fighting to restore the tradition that the British overturned in "
+"1710. In the world that Valenti's changes would create, a powerful few would "
+"exercise powerful control over how our creative culture would develop."
+msgstr ""
+"Valenti vet dette. men han taler for en bransje som bryr seg undersetsig om "
+"vår tradisjon og verdiene den representerer. han snakker for en bransje som "
+"er i stedet kjemper for å gjenopprette tradisjon som britene overturned i "
+"1710. i verden som vil opprette valenti's endringer, vil noen kraftige utøve "
+"kraftig kontroll over hvordan vår kreative kultur ville utvikle."
+
+#. PAGE BREAK 130
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I have two purposes in this chapter. The first is to convince you that, "
+"historically, Valenti's claim is absolutely wrong. The second is to convince "
+"you that it would be terribly wrong for us to reject our history. We have "
+"always treated rights in creative property differently from the rights "
+"resident in all other property owners. They have never been the same. And "
+"they should never be the same, because, however counterintuitive this may "
+"seem, to make them the same would be to fundamentally weaken the opportunity "
+"for new creators to create. Creativity depends upon the owners of "
+"creativity having less than perfect control."
+msgstr ""
+"Jeg har to formål i dette kapitlet. først er å overbevise deg om at, "
+"historisk valenti's krav er helt galt. andre er å overbevise deg om at det "
+"ville være veldig galt for oss å avvise vår historie. Vi har alltid "
+"behandlet rettigheter i kreative egenskapen annerledes fra rettigheter som "
+"er bosatt i alle andre bolig. de har aldri vært den samme. og de aldri skal "
+"være den samme, fordi, men counterintuitive dette kan synes å gjøre dem det "
+"samme vil være å svekke fundamentalt mulighet for nye skapere å lage. "
+"kreativitet, avhenger av eierne av kreativitet som har mindre enn perfekt "
+"kontroll."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Organizations such as the MPAA, whose board includes the most powerful of "
+"the old guard, have little interest, their rhetoric notwithstanding, in "
+"assuring that the new can displace them. No organization does. No person "
+"does. (Ask me about tenure, for example.) But what's good for the MPAA is "
+"not necessarily good for America. A society that defends the ideals of free "
+"culture must preserve precisely the opportunity for new creativity to "
+"threaten the old. To get just a hint that there is something fundamentally "
+"wrong in Valenti's argument, we need look no further than the United States "
+"Constitution itself."
+msgstr ""
+"organisasjoner som mpaa, der styret består av den mektigste av de gamle "
+"garde, har liten interesse, deres retorikk til tross for, i å sikre at den "
+"nye kan forskyve dem. Ingen organisasjon gjør. Ingen person gjør. (spør meg "
+"om var ansatt, for eksempel.) men hva er bra for mpaa er ikke nødvendigvis "
+"bra for Amerika. et samfunn som forsvarer idealene om fri kultur må "
+"videreføre nøyaktig mulighet for nye kreativitet å true gamle. for å få bare "
+"et snev at det er noe fundamentalt galt i valenti's-argumentet, må vi se "
+"lenger enn USA Grunnloven selv."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The framers of our Constitution loved \"property.\" Indeed, so strongly did "
+"they love property that they built into the Constitution an important "
+"requirement. If the government takes your property--if it condemns your "
+"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."
+msgstr ""
+
+#. PAGE BREAK 131
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet the very same Constitution speaks very differently about what Valenti "
+"calls \"creative property.\" In the clause granting Congress the power to "
+"create \"creative property,\" the Constitution requires that after a "
+"\"limited time,\" Congress take back the rights that it has granted and set "
+"the \"creative property\" free to the public domain. Yet when Congress does "
+"this, when the expiration of a copyright term \"takes\" your copyright and "
+"turns it over to the public domain, Congress does not have any obligation to "
+"pay \"just compensation\" for this \"taking.\" Instead, the same "
+"Constitution that requires compensation for your land requires that you lose "
+"your \"creative property\" right without any compensation at all."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Constitution thus on its face states that these two forms of property "
+"are not to be accorded the same rights. They are plainly to be treated "
+"differently. Valenti is therefore not just asking for a change in our "
+"tradition when he argues that creative-property owners should be accorded "
+"the same rights as every other property-right owner. He is effectively "
+"arguing for a change in our Constitution itself."
+msgstr ""
+"grunnlov dermed på sitt ansikt sier at disse to former for egenskapen ikke "
+"skal får de samme rettighetene. de er tydelig å bli behandlet annerledes. "
+"Valenti er derfor ikke bare ber om en endring i vår tradisjon når han hevder "
+"at creative-bolig bør substansiell de samme rettighetene som hver andre "
+"eiendomsrett eier. Han er effektivt kranglet for en endring i våre "
+"Grunnloven selv."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Arguing for a change in our Constitution is not necessarily wrong. There "
+"was much in our original Constitution that was plainly wrong. The "
+"Constitution of 1789 entrenched slavery; it left senators to be appointed "
+"rather than elected; it made it possible for the electoral college to "
+"produce a tie between the president and his own vice president (as it did in "
+"1800). The framers were no doubt extraordinary, but I would be the first to "
+"admit that they made big mistakes. We have since rejected some of those "
+"mistakes; no doubt there could be others that we should reject as well. So "
+"my argument is not simply that because Jefferson did it, we should, too."
+msgstr ""
+"kranglet for en endring i vår grunnlov er ikke nødvendigvis galt. Det var "
+"mye i vår opprinnelige grunnlov som var tydelig galt. Grunnloven av 1789 "
+"entrenched slaveri, det venstre senators du kan være utnevnt stedet valgt; "
+"det gjorde det mulig for de valg Agder å produsere uavgjort mellom president "
+"og sin egen vice president (som det gjorde i 1800). underskrev var uten tvil "
+"ekstraordinære, men jeg vil være først til å innrømme at de gjorde en stor "
+"feil. Vi har siden avvist noen av disse feilene; ingen tvil om kan det være "
+"andre som vi bør avvise også. så mitt argument ikke er bare at fordi "
+"jefferson gjorde det, vi bør, også."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Instead, my argument is that because Jefferson did it, we should at least "
+"try to understand why. Why did the framers, fanatical property types that "
+"they were, reject the claim that creative property be given the same rights "
+"as all other property? Why did they require that for creative property there "
+"must be a public domain?"
+msgstr ""
+"i stedet, mitt argument er at fordi jefferson gjorde det, vi bør i det "
+"minste prøver å forstå hvorfor. Hvorfor underskrev, fanatical egenskapstyper "
+"som de var, avvise påstanden om at creative egenskapen gis samme rettigheter "
+"som alle andre eiendom? Hvorfor de krever at for kreative egenskapen det må "
+"være et frivare?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"To answer this question, we need to get some perspective on the history of "
+"these \"creative property\" rights, and the control that they enabled. Once "
+"we see clearly how differently these rights have been defined, we will be in "
+"a better position to ask the question that should be at the core of this "
+"war: Not whether creative property should be protected, but how. Not whether "
+"we will enforce the rights the law gives to creative-property owners, but "
+"what the particular mix of rights ought to be. Not whether artists should be "
+"paid, but whether institutions designed to assure that artists get paid need "
+"also control how culture develops."
+msgstr ""
+
+#. PAGE BREAK 132
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"To answer these questions, we need a more general way to talk about how "
+"property is protected. More precisely, we need a more general way than the "
+"narrow language of the law allows. In Code and Other Laws of Cyberspace, I "
+"used a simple model to capture this more general perspective. For any "
+"particular right or regulation, this model asks how four different "
+"modalities of regulation interact to support or weaken the right or "
+"regulation. I represented it with this diagram:"
+msgstr ""
+"Hvis du vil svare på disse spørsmålene, trenger vi en mer generell måte å "
+"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer "
+"generell måte enn smale språket i loven tillater. i koden og andre lover av "
+"cyberspace brukte jeg en enkel modell for å fange dette mer generelle "
+"perspektivet. for en bestemt rettighet eller regulering, denne modellen spør "
+"hvordan fire forskjellige modalitetene for regulering samhandler for å "
+"støtte eller svekke høyre eller regulering. Jeg representerte det med dette "
+"diagrammet:"
+
+#. type: Content of: <book><chapter><sect1><figure>
+msgid "<graphic fileref=\"1331.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 133
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"At the center of this picture is a regulated dot: the individual or group "
+"that is the target of regulation, or the holder of a right. (In each case "
+"throughout, we can describe this either as regulation or as a right. For "
+"simplicity's sake, I will speak only of regulations.) The ovals represent "
+"four ways in which the individual or group might be regulated-- either "
+"constrained or, alternatively, enabled. Law is the most obvious constraint "
+"(to lawyers, at least). It constrains by threatening punishments after the "
+"fact if the rules set in advance are violated. So if, for example, you "
+"willfully infringe Madonna's copyright by copying a song from her latest CD "
+"and posting it on the Web, you can be punished with a $150,000 fine. The "
+"fine is an ex post punishment for violating an ex ante rule. It is imposed "
+"by the state."
+msgstr ""
+"midt på dette bildet er et regulert punkt: på personen eller gruppen som er "
+"målet for regulering eller innehaveren av en rettighet. (i hvert fall i "
+"hele, vi kan beskrive dette som regulering eller som en rett. for enkelhet "
+"skyld, vil jeg snakke eneste av forskrifter.) ellipser representerer fire "
+"måter der personen eller gruppen kan reguleres--enten begrenset eller, "
+"alternativt, aktivert. loven er den mest åpenbare begrensningen (til "
+"advokater, minst). den begrenser ved truende straffene etter faktum Hvis "
+"reglene satt på forhånd er brutt. så hvis for eksempel du willfully krenke "
+"madonna's copyright ved å kopiere en sang fra hennes siste CD-ROMen, og "
+"bokføre det\\/den på weben, kan du bli straffet med en $150.000 fine. fine "
+"er en ex post straff for å bryte en ex ante regelen. Det er pålagt av staten."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Norms are a different kind of constraint. They, too, punish an individual "
+"for violating a rule. But the punishment of a norm is imposed by a "
+"community, not (or not only) by the state. There may be no law against "
+"spitting, but that doesn't mean you won't be punished if you spit on the "
+"ground while standing in line at a movie. The punishment might not be harsh, "
+"though depending upon the community, it could easily be more harsh than many "
+"of the punishments imposed by the state. The mark of the difference is not "
+"the severity of the rule, but the source of the enforcement."
+msgstr ""
+"normer er en annen type betingelse. de, også, straffe en person for å bryte "
+"en regel. men straffen av en normen er pålagt av et fellesskap, ikke (eller "
+"ikke bare) av staten. Det finnes kanskje ingen lov mot spytter, men det "
+"betyr ikke at du ikke vil bli straffet dersom du spytte på bakken mens du "
+"står i kø på en film. straff kan ikke være harde, men avhengig av samfunnet, "
+"det kan lett bli mer harde enn mange av straffene pålagt av staten. Merk av "
+"differansen er ikke av alvorlighetsgraden av regelen, men kilden for "
+"håndhevelse."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The market is a third type of constraint. Its constraint is effected through "
+"conditions: You can do X if you pay Y; you'll be paid M if you do N. These "
+"constraints are obviously not independent of law or norms--it is property "
+"law that defines what must be bought if it is to be taken legally; it is "
+"norms that say what is appropriately sold. But given a set of norms, and a "
+"background of property and contract law, the market imposes a simultaneous "
+"constraint upon how an individual or group might behave."
+msgstr ""
+"markedet er en tredje type betingelse. betingelsen er berørt gjennom "
+"betingelser: du kan gjøre x Hvis du betaler y; vil du få betalt m Hvis du "
+"gjør n. slike betingelser er åpenbart ikke uavhengig av loven eller normer--"
+"det er regler som definerer hva må kjøpes Hvis det er å bli tatt lovlig; Det "
+"er normer som sier hva selges på riktig måte. men gitt et sett av normer og "
+"bakgrunn av eiendom og kontrakt lov, markedet pålegger en samtidige "
+"begrensning på hvor en person eller gruppe kan oppføre seg."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Finally, and for the moment, perhaps, most mysteriously, \"architecture\"--"
+"the physical world as one finds it--is a constraint on behavior. A fallen "
+"bridge might constrain your ability to get across a river. Railroad tracks "
+"might constrain the ability of a community to integrate its social life. As "
+"with the market, architecture does not effect its constraint through ex post "
+"punishments. Instead, also as with the market, architecture effects its "
+"constraint through simultaneous conditions. These conditions are imposed not "
+"by courts enforcing contracts, or by police punishing theft, but by nature, "
+"by \"architecture.\" If a 500-pound boulder blocks your way, it is the law "
+"of gravity that enforces this constraint. If a $500 airplane ticket stands "
+"between you and a flight to New York, it is the market that enforces this "
+"constraint."
+msgstr ""
+
+#. PAGE BREAK 134
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So the first point about these four modalities of regulation is obvious: "
+"They interact. Restrictions imposed by one might be reinforced by another. "
+"Or restrictions imposed by one might be undermined by another."
+msgstr ""
+"så det første punktet om disse fire metoder av regulering er åpenbare: de "
+"samhandler. restriksjoner pålagt av en kan bli forsterket av en annen. eller "
+"restriksjoner pålagt av en kan bli undergravd av en annen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The second point follows directly: If we want to understand the effective "
+"freedom that anyone has at a given moment to do any particular thing, we "
+"have to consider how these four modalities interact. Whether or not there "
+"are other constraints (there may well be; my claim is not about "
+"comprehensiveness), these four are among the most significant, and any "
+"regulator (whether controlling or freeing) must consider how these four in "
+"particular interact."
+msgstr ""
+"det andre punktet følger direkte: Hvis vi ønsker å forstå effektiv friheten "
+"som noen har på et gitt øyeblikk å gjøre noen bestemt ting, vi har til å "
+"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser "
+"(det kan godt være; min påstand er ikke om objektivitet), disse fire er "
+"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjør) "
+"må vurdere hvordan disse fire spesielt samhandle."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So, for example, consider the \"freedom\" to drive a car at a high speed. "
+"That freedom is in part restricted by laws: speed limits that say how fast "
+"you can drive in particular places at particular times. It is in part "
+"restricted by architecture: speed bumps, for example, slow most rational "
+"drivers; governors in buses, as another example, set the maximum rate at "
+"which the driver can drive. The freedom is in part restricted by the market: "
+"Fuel efficiency drops as speed increases, thus the price of gasoline "
+"indirectly constrains speed. And finally, the norms of a community may or "
+"may not constrain the freedom to speed. Drive at 50 mph by a school in your "
+"own neighborhood and you're likely to be punished by the neighbors. The same "
+"norm wouldn't be as effective in a different town, or at night."
+msgstr ""
+
+#. f3
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "By describing the way law affects the other three modalities, I don't "
+#| "mean to suggest that the other three don't affect law. Obviously, they "
+#| "do. Law's only distinction is that it alone speaks as if it has a right "
+#| "self-consciously to change the other three. The right of the other three "
+#| "is more timidly expressed. See Lawrence Lessig, Code: And Other Laws of "
+#| "Cyberspace (New York: Basic Books, 1999): 9095; Lawrence Lessig, \\\"The "
+#| "New Chicago School,\\\" Journal of Legal Studies, June 1998."
+msgid ""
+"By describing the way law affects the other three modalities, I don't mean "
+"to suggest that the other three don't affect law. Obviously, they do. Law's "
+"only distinction is that it alone speaks as if it has a right self-"
+"consciously to change the other three. The right of the other three is more "
+"timidly expressed. See Lawrence Lessig, Code: And Other Laws of Cyberspace "
+"(New York: Basic Books, 1999): 9095; Lawrence Lessig, \"The New Chicago "
+"School,\" Journal of Legal Studies, June 1998."
+msgstr ""
+"ved å beskrive hvordan trenger ikke loven påvirker andre tre metoder, jeg "
+"bety å foreslå at tre andre ikke påvirker lov. Selvfølgelig, de gjør. law's "
+"eneste forskjellen er at det alene snakker som om den har en rett "
+"selvbevisst til å endre de andre tre. høyre for tre andre uttrykkes mer "
+"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new "
+"york: grunnleggende bøker, 1999): 9095; Lawrence lessig, \\\"den nye chicago "
+"skolen,\\\" journal of Jusstudier, Juni 1998."
+
+#. PAGE BREAK 135
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The final point about this simple model should also be fairly clear: While "
+"these four modalities are analytically independent, law has a special role "
+"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in "
+"other words, sometimes operates to increase or decrease the constraint of a "
+"particular modality. Thus, the law might be used to increase taxes on "
+"gasoline, so as to increase the incentives to drive more slowly. The law "
+"might be used to mandate more speed bumps, so as to increase the difficulty "
+"of driving rapidly. The law might be used to fund ads that stigmatize "
+"reckless driving. Or the law might be used to require that other laws be "
+"more strict--a federal requirement that states decrease the speed limit, for "
+"example--so as to decrease the attractiveness of fast driving."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><figure>
+msgid "<graphic fileref=\"1361.jpg\"></graphic>"
+msgstr ""
+
+#. f4
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Some people object to this way of talking about \"liberty.\" They object "
+"because their focus when considering the constraints that exist at any "
+"particular moment are constraints imposed exclusively by the government. For "
+"instance, if a storm destroys a bridge, these people think it is meaningless "
+"to say that one's liberty has been restrained. A bridge has washed out, and "
+"it's harder to get from one place to another. To talk about this as a loss "
+"of freedom, they say, is to confuse the stuff of politics with the vagaries "
+"of ordinary life. I don't mean to deny the value in this narrower view, "
+"which depends upon the context of the inquiry. I do, however, mean to argue "
+"against any insistence that this narrower view is the only proper view of "
+"liberty. As I argued in Code, we come from a long tradition of political "
+"thought with a broader focus than the narrow question of what the government "
+"did when. John Stuart Mill defended freedom of speech, for example, from "
+"the tyranny of narrow minds, not from the fear of government prosecution; "
+"John Stuart Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. "
+"John R. Commons famously defended the economic freedom of labor from "
+"constraints imposed by the market; John R. Commons, \"The Right to Work,\" "
+"in Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected "
+"Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act "
+"increases the liberty of people with physical disabilities by changing the "
+"architecture of certain public places, thereby making access to those places "
+"easier; 42 United States Code, section 12101 (2000). Each of these "
+"interventions to change existing conditions changes the liberty of a "
+"particular group. The effect of those interventions should be accounted for "
+"in order to understand the effective liberty that each of these groups might "
+"face."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These constraints can thus change, and they can be changed. To understand "
+"the effective protection of liberty or protection of property at any "
+"particular moment, we must track these changes over time. A restriction "
+"imposed by one modality might be erased by another. A freedom enabled by one "
+"modality might be displaced by another.<placeholder type=\"footnote\" id="
+"\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Why Hollywood Is Right"
+msgstr "Hvorfor hollywood er rett"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The most obvious point that this model reveals is just why, or just how, "
+"Hollywood is right. The copyright warriors have rallied Congress and the "
+"courts to defend copyright. This model helps us see why that rallying makes "
+"sense."
+msgstr ""
+"det mest åpenbare punktet som denne modellen avslører er bare hvorfor eller "
+"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og "
+"domstolene å forsvare copyright. Denne modellen hjelper oss se hvorfor denne "
+"samlingspunkt fornuftig."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Let's say this is the picture of copyright's regulation before the Internet:"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1371.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 136
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There is balance between law, norms, market, and architecture. The law "
+"limits the ability to copy and share content, by imposing penalties on those "
+"who copy and share content. Those penalties are reinforced by technologies "
+"that make it hard to copy and share content (architecture) and expensive to "
+"copy and share content (market). Finally, those penalties are mitigated by "
+"norms we all recognize--kids, for example, taping other kids' records. These "
+"uses of copyrighted material may well be infringement, but the norms of our "
+"society (before the Internet, at least) had no problem with this form of "
+"infringement."
+msgstr ""
+"Det er balansen mellom lov, normer, markedet og arkitektur. loven begrenser "
+"muligheten til å kopiere og dele innhold, ved å angi strafferammer for de "
+"som kopiere og dele innhold. disse straffer er forsterket av teknologier som "
+"gjør det vanskelig å kopiere og dele innhold (arkitektur) og det er dyrt å "
+"kopiere og dele innhold (markedet). til slutt, disse straffer er mitigated "
+"ved normer vi gjenkjenner--barn, for eksempel taping andre barn poster. "
+"disse bruk av opphavsrettsbeskyttet materiale kan være brudd, men normer for "
+"vårt samfunn (før Internett, minst) hadde ingen problemer med denne form for "
+"krenkelse av."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Enter the Internet, or, more precisely, technologies such as MP3s and p2p "
+"sharing. Now the constraint of architecture changes dramatically, as does "
+"the constraint of the market. And as both the market and architecture relax "
+"the regulation of copyright, norms pile on. The happy balance (for the "
+"warriors, at least) of life before the Internet becomes an effective state "
+"of anarchy after the Internet."
+msgstr ""
+"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. "
+"nå begrensningen av arkitektur endres dramatisk, som gjør begrensningen av "
+"markedet. og som både markedet og arkitektur kan du slappe av med regulering "
+"av copyright, normer haug på. happy saldoen (for krigere, minst) av livet "
+"før Internett blir en effektiv stat av anarchy etter Internett."
+
+#. PAGE BREAK 137
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Thus the sense of, and justification for, the warriors' response. "
+"Technology has changed, the warriors say, and the effect of this change, "
+"when ramified through the market and norms, is that a balance of protection "
+"for the copyright owners' rights has been lost. This is Iraq after the fall "
+"of Saddam, but this time no government is justifying the looting that "
+"results."
+msgstr ""
+"Således følelse av, og den begrunnelsen for warriors' svar. teknologi er "
+"endret, krigere, sier, og effekten av denne endringen, når ramified gjennom "
+"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes "
+"rettigheter har gått tapt. Dette er Irak etter fallet av saddam, men denne "
+"gangen ingen regjering er rettferdiggjørende looting resultater."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1381.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Neither this analysis nor the conclusions that follow are new to the "
+"warriors. Indeed, in a \"White Paper\" prepared by the Commerce Department "
+"(one heavily influenced by the copyright warriors) in 1995, this mix of "
+"regulatory modalities had already been identified and the strategy to "
+"respond already mapped. In response to the changes the Internet had "
+"effected, the White Paper argued (1) Congress should strengthen intellectual "
+"property law, (2) businesses should adopt innovative marketing techniques, "
+"(3) technologists should push to develop code to protect copyrighted "
+"material, and (4) educators should educate kids to better protect copyright."
+msgstr ""
+
+#. PAGE BREAK 138
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This mixed strategy is just what copyright needed--if it was to preserve the "
+"particular balance that existed before the change induced by the Internet. "
+"And it's just what we should expect the content industry to push for. It is "
+"as American as apple pie to consider the happy life you have as an "
+"entitlement, and to look to the law to protect it if something comes along "
+"to change that happy life. Homeowners living in a flood plain have no "
+"hesitation appealing to the government to rebuild (and rebuild again) when a "
+"flood (architecture) wipes away their property (law). Farmers have no "
+"hesitation appealing to the government to bail them out when a virus "
+"(architecture) devastates their crop. Unions have no hesitation appealing to "
+"the government to bail them out when imports (market) wipe out the U.S. "
+"steel industry."
+msgstr ""
+"Dette blandet strategi er bare hva copyright needed--Hvis det var å bevare "
+"bestemt saldoen som eksisterte før endringen indusert av Internett. og det "
+"er akkurat hva vi kan forvente innhold industrien å presse for. Det er så "
+"amerikanske som eplepai å vurdere det lykkelige liv som du har som en "
+"rettighet, og for å se til lov til å beskytte det hvis noe kommer til å "
+"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nøle "
+"appellere til regjeringen å gjenoppbygge (og gjenoppbygging igjen) når en "
+"flom (arkitektur) tørke bort deres eiendom (lov). bønder har ingen nøle "
+"appellere til regjeringen å kausjon dem ut når et virus (arkitektur) "
+"devastates deres Beskjær. fagforeninger har ingen nøle appellere til "
+"regjeringen å kausjon dem. Når import (markedet) tørke ut amerikanske stål "
+"industrien."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Thus, there's nothing wrong or surprising in the content industry's campaign "
+"to protect itself from the harmful consequences of a technological "
+"innovation. And I would be the last person to argue that the changing "
+"technology of the Internet has not had a profound effect on the content "
+"industry's way of doing business, or as John Seely Brown describes it, its "
+"\"architecture of revenue.\""
+msgstr ""
+
+#. f5
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Geoffrey Smith, \"Film vs. Digital: Can Kodak Build a Bridge?\" "
+"BusinessWeek online, 2 August 1999, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #23</ulink>. For a more recent analysis of Kodak's "
+"place in the market, see Chana R. Schoenberger, \"Can Kodak Make Up for Lost "
+"Moments?\" Forbes.com, 6 October 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #24</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But just because a particular interest asks for government support, it "
+"doesn't follow that support should be granted. And just because technology "
+"has weakened a particular way of doing business, it doesn't follow that the "
+"government should intervene to support that old way of doing business. "
+"Kodak, for example, has lost perhaps as much as 20 percent of their "
+"traditional film market to the emerging technologies of digital cameras."
+"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government "
+"should ban digital cameras just to support Kodak? Highways have weakened the "
+"freight business for railroads. Does anyone think we should ban trucks from "
+"roads for the purpose of protecting the railroads? Closer to the subject of "
+"this book, remote channel changers have weakened the \"stickiness\" of "
+"television advertising (if a boring commercial comes on the TV, the remote "
+"makes it easy to surf ), and it may well be that this change has weakened "
+"the television advertising market. But does anyone believe we should "
+"regulate remotes to reinforce commercial television? (Maybe by limiting them "
+"to function only once a second, or to switch to only ten channels within an "
+"hour?)"
+msgstr ""
+
+#. f6
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 17071."
+msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 17071."
+msgstr "fred warshofsky, patent krigene (new york: wiley, 1994), 17071."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The obvious answer to these obviously rhetorical questions is no. In a free "
+"society, with a free market, supported by free enterprise and free trade, "
+"the government's role is not to support one way of doing business against "
+"others. Its role is not to pick winners and protect them against loss. If "
+"the government did this generally, then we would never have any progress. As "
+"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software "
+"patents, \"established companies have an interest in excluding future "
+"competitors.\"<placeholder type=\"footnote\" id=\"0\"/> And relative to a "
+"startup, established companies also have the means. (Think RCA and FM "
+"radio.) A world in which competitors with new ideas must fight not only the "
+"market but also the government is a world in which competitors with new "
+"ideas will not succeed. It is a world of stasis and increasingly "
+"concentrated stagnation. It is the Soviet Union under Brezhnev."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Thus, while it is understandable for industries threatened with new "
+"technologies that change the way they do business to look to the government "
+"for protection, it is the special duty of policy makers to guarantee that "
+"that protection not become a deterrent to progress. It is the duty of policy "
+"makers, in other words, to assure that the changes they create, in response "
+"to the request of those hurt by changing technology, are changes that "
+"preserve the incentives and opportunities for innovation and change."
+msgstr ""
+"dermed mens det er forståelig for bransjer som er truet med nye teknologier "
+"som endrer måten de gjør forretninger å se til regjeringen for beskyttelse, "
+"er det en spesiell plikt for beslutningstakere å garantere at beskyttelse "
+"ikke blir et avskrekkende til fremgang. Det er plikten til "
+"beslutningstakere, med andre ord, å sikre at endringene de oppretter, svar "
+"på forespørsel fra de vondt ved å endre teknologi, er endringer som bevare "
+"insentiver og muligheter for innovasjon og endre."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In the context of laws regulating speech--which include, obviously, "
+"copyright law--that duty is even stronger. When the industry complaining "
+"about changing technologies is asking Congress to respond in a way that "
+"burdens speech and creativity, policy makers should be especially wary of "
+"the request. It is always a bad deal for the government to get into the "
+"business of regulating speech markets. The risks and dangers of that game "
+"are precisely why our framers created the First Amendment to our "
+"Constitution: \"Congress shall make no law . . . abridging the freedom of "
+"speech.\" So when Congress is being asked to pass laws that would \"abridge"
+"\" the freedom of speech, it should ask-- carefully--whether such regulation "
+"is justified."
+msgstr ""
+
+#. PAGE BREAK 140
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"My argument just now, however, has nothing to do with whether the changes "
+"that are being pushed by the copyright warriors are \"justified.\" My "
+"argument is about their effect. For before we get to the question of "
+"justification, a hard question that depends a great deal upon your values, "
+"we should first ask whether we understand the effect of the changes the "
+"content industry wants."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "Here's the metaphor that will capture the argument to follow."
+msgstr "Her er til metaforen vil fange opp argumentet å følge."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist "
+#| "Paul Hermann Müller won the Nobel Prize for his work demonstrating the "
+#| "insecticidal properties of DDT. By the 1950s, the insecticide was widely "
+#| "used around the world to kill disease-carrying pests. It was also used to "
+#| "increase farm production."
+msgid ""
+"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul "
+"Hermann Müller won the Nobel Prize for his work demonstrating the "
+"insecticidal properties of DDT. By the 1950s, the insecticide was widely "
+"used around the world to kill disease-carrying pests. It was also used to "
+"increase farm production."
+msgstr ""
+"i 1873, ble kjemiske ddt først syntetisert. i 1948, sveitsisk apotek paul "
+"hermann müller vant nobel prisen for sitt arbeid demonstrere egenskapene "
+"insecticidal av ddt. av 1950-tallet, var det mye brukt insektmiddel rundt om "
+"i verden til å drepe sykdom-bærer skadedyr. Det ble også brukt til å øke "
+"produksjonen av gården."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "No one doubts that killing disease-carrying pests or increasing crop "
+#| "production is a good thing. No one doubts that the work of Müller was "
+#| "important and valuable and probably saved lives, possibly millions."
+msgid ""
+"No one doubts that killing disease-carrying pests or increasing crop "
+"production is a good thing. No one doubts that the work of Müller was "
+"important and valuable and probably saved lives, possibly millions."
+msgstr ""
+"ingen tvil at drepte sykdom-bærer skadedyr eller økende beskjære produksjon "
+"som er en god ting. ingen tvil at arbeidet med müller var viktig og "
+"verdifull og sannsynligvis lagret liv, kanskje millioner."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But in 1962, Rachel Carson published Silent Spring, which argued that DDT, "
+"whatever its primary benefits, was also having unintended environmental "
+"consequences. Birds were losing the ability to reproduce. Whole chains of "
+"the ecology were being destroyed."
+msgstr ""
+"men i 1962, rachel carson publisert stille våren, som hevdet at ddt, uansett "
+"dens primære fordeler, hadde også utilsiktede miljømessige konsekvenser. "
+"fugler var å miste muligheten til å reprodusere. hele kjeder av økologi ble "
+"blir ødelagt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "No one set out to destroy the environment. Paul Müller certainly did not "
+#| "aim to harm any birds. But the effort to solve one set of problems "
+#| "produced another set which, in the view of some, was far worse than the "
+#| "problems that were originally attacked. Or more accurately, the problems "
+#| "DDT caused were worse than the problems it solved, at least when "
+#| "considering the other, more environmentally friendly ways to solve the "
+#| "problems that DDT was meant to solve."
+msgid ""
+"No one set out to destroy the environment. Paul Müller certainly did not aim "
+"to harm any birds. But the effort to solve one set of problems produced "
+"another set which, in the view of some, was far worse than the problems that "
+"were originally attacked. Or more accurately, the problems DDT caused were "
+"worse than the problems it solved, at least when considering the other, more "
+"environmentally friendly ways to solve the problems that DDT was meant to "
+"solve."
+msgstr ""
+"ingen fastsatt til å ødelegge miljøet. Paul müller sikkert ikke mål å skade "
+"noen fugler. men arbeidet med å løse ett sett med problemer produsert et "
+"annet sett som i visningen av noen, var langt verre enn problemene som "
+"opprinnelig ble angrepet. eller mer nøyaktig problemer ddt forårsaket var "
+"verre enn problemer det løst, minst når de vurderer den andre, mer "
+"miljøvennlig måten å løse problemer som ddt var ment å løse."
+
+#. f7
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See, for example, James Boyle, \"A Politics of Intellectual Property: "
+"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."
+msgstr ""
+
+#. PAGE BREAK 141
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It is to this image precisely that Duke University law professor James Boyle "
+"appeals when he argues that we need an \"environmentalism\" for culture."
+"<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I want to "
+"develop in the balance of this chapter, is not that the aims of copyright "
+"are flawed. Or that authors should not be paid for their work. Or that music "
+"should be given away \"for free.\" The point is that some of the ways in "
+"which we might protect authors will have unintended consequences for the "
+"cultural environment, much like DDT had for the natural environment. And "
+"just as criticism of DDT is not an endorsement of malaria or an attack on "
+"farmers, so, too, is criticism of one particular set of regulations "
+"protecting copyright not an endorsement of anarchy or an attack on authors. "
+"It is an environment of creativity that we seek, and we should be aware of "
+"our actions' effects on the environment."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"My argument, in the balance of this chapter, tries to map exactly this "
+"effect. No doubt the technology of the Internet has had a dramatic effect on "
+"the ability of copyright owners to protect their content. But there should "
+"also be little doubt that when you add together the changes in copyright law "
+"over time, plus the change in technology that the Internet is undergoing "
+"just now, the net effect of these changes will not be only that copyrighted "
+"work is effectively protected. Also, and generally missed, the net effect of "
+"this massive increase in protection will be devastating to the environment "
+"for creativity."
+msgstr ""
+"mitt argument, i balanse av dette kapitlet, prøver å tilordne nøyaktig denne "
+"effekten. teknologi på Internett har ingen tvil hadde en dramatisk effekt på "
+"evnen til eiere av opphavsretter å beskytte innholdet sitt. men det bør også "
+"være liten tvil om at når du legger sammen endringene i lov om opphavsrett "
+"over tid, i tillegg til endringen i teknologi som Internett er under akkurat "
+"nå, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet "
+"arbeid effektivt er beskyttet. også, og generelt savnet, vil netto effekt av "
+"denne massive økningen i beskyttelse være ødeleggende for miljøet for "
+"kreativitet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In a line: To kill a gnat, we are spraying DDT with consequences for free "
+"culture that will be far more devastating than that this gnat will be lost."
+msgstr ""
+"i en linje: for å drepe en mygg, er vi sprøyting ddt med konsekvenser, for "
+"fri kultur som vil være langt mer ødeleggende enn denne mygg, vil gå tapt."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Beginnings"
+msgstr "begynnelse"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"America copied English copyright law. Actually, we copied and improved "
+"English copyright law. Our Constitution makes the purpose of \"creative "
+"property\" rights clear; its express limitations reinforce the English aim "
+"to avoid overly powerful publishers."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The power to establish \"creative property\" rights is granted to Congress "
+"in a way that, for our Constitution, at least, is very odd. Article I, "
+"section 8, clause 8 of our Constitution states that:"
+msgstr ""
+
+#. PAGE BREAK 142
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Congress has the power to promote the Progress of Science and useful Arts, "
+"by securing for limited Times to Authors and Inventors the exclusive Right "
+"to their respective Writings and Discoveries. We can call this the "
+"\"Progress Clause,\" for notice what this clause does not say. It does not "
+"say Congress has the power to grant \"creative property rights.\" It says "
+"that Congress has the power to promote progress. The grant of power is its "
+"purpose, and its purpose is a public one, not the purpose of enriching "
+"publishers, nor even primarily the purpose of rewarding authors."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Progress Clause expressly limits the term of copyrights. As we saw in "
+"chapter 6, the English limited the term of copyright so as to assure that a "
+"few would not exercise disproportionate control over culture by exercising "
+"disproportionate control over publishing. We can assume the framers followed "
+"the English for a similar purpose. Indeed, unlike the English, the framers "
+"reinforced that objective, by requiring that copyrights extend \"to Authors"
+"\" only."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The design of the Progress Clause reflects something about the "
+"Constitution's design in general. To avoid a problem, the framers built "
+"structure. To prevent the concentrated power of publishers, they built a "
+"structure that kept copyrights away from publishers and kept them short. To "
+"prevent the concentrated power of a church, they banned the federal "
+"government from establishing a church. To prevent concentrating power in the "
+"federal government, they built structures to reinforce the power of the "
+"states--including the Senate, whose members were at the time selected by the "
+"states, and an electoral college, also selected by the states, to select the "
+"president. In each case, a structure built checks and balances into the "
+"constitutional frame, structured to prevent otherwise inevitable "
+"concentrations of power."
+msgstr ""
+"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens "
+"design generelt. for å unngå et problem, bygget underskrev struktur. Hvis du "
+"vil hindre at konsentrert strøm av utgivere, bygget de en struktur som holdt "
+"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at "
+"konsentrert strøm av en kirke, forbudt de den føderale regjeringen fra å "
+"etablere en kirke. å hindre konsentrere seg makten i den føderale "
+"regjeringen, de bygget strukturer for å forsterke kraften i USA--inkludert "
+"Senatet, der medlemmene var på tiden som er valgt av USA, og en valg "
+"college, også valgt av USA, å velge presidenten. i hvert tilfelle, en "
+"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, "
+"strukturert for å hindre at ellers uunngåelig konsentrasjoner av makt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I doubt the framers would recognize the regulation we call \"copyright\" "
+"today. The scope of that regulation is far beyond anything they ever "
+"considered. To begin to understand what they did, we need to put our "
+"\"copyright\" in context: We need to see how it has changed in the 210 years "
+"since they first struck its design."
+msgstr ""
+
+#. PAGE BREAK 143
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Some of these changes come from the law: some in light of changes in "
+"technology, and some in light of changes in technology given a particular "
+"concentration of market power. In terms of our model, we started here:"
+msgstr ""
+"noen av disse endringene kommer fra loven: noen i lys av endringer i "
+"teknologi, og noen i lys av endringer i teknologi gitt en bestemt "
+"konsentrasjon av markedets makt. Når det gjelder vår modell startet vi her:"
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1441.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "We will end here:"
+msgstr "Vi vil ende her:"
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1442.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 144
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "Let me explain how."
+msgstr "La meg forklare hvordan."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Law: Duration"
+msgstr "loven: varighet"
+
+#. f8
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "William W. Crosskey, Politics and the Constitution in the History of the "
+#| "United States (London: Cambridge University Press, 1953), vol. 1, 48586: "
+#| "\\\"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)."
+msgid ""
+"William W. Crosskey, Politics and the Constitution in the History of the "
+"United States (London: Cambridge University Press, 1953), vol. 1, 48586: "
+"\"extinguish[ing], by plain implication of `the supreme Law of the Land,' "
+"the perpetual rights which authors had, or were supposed by some to have, "
+"under the Common Law\" (emphasis added)."
+msgstr ""
+"William w. crosskey, politikk og Grunnloven i historien av USA (london: "
+"cambridge university press, 1953), vol. 1, 48586: \\\"slukke [ing], ved "
+"vanlig implikasjon av\\\"øverstkommanderende lov av land\\\", evigvarende "
+"rettigheter som forfattere hadde eller skulle etter noen å ha, under felles "
+"lov\\\" (vekt legges til)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When the first Congress enacted laws to protect creative property, it faced "
+"the same uncertainty about the status of creative property that the English "
+"had confronted in 1774. Many states had passed laws protecting creative "
+"property, and some believed that these laws simply supplemented common law "
+"rights that already protected creative authorship.<placeholder type="
+"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public "
+"domain in the United States in 1790. If copyrights were protected by the "
+"common law, then there was no simple way to know whether a work published in "
+"the United States was controlled or free. Just as in England, this lingering "
+"uncertainty would make it hard for publishers to rely upon a public domain "
+"to reprint and distribute works."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"That uncertainty ended after Congress passed legislation granting "
+"copyrights. Because federal law overrides any contrary state law, federal "
+"protections for copyrighted works displaced any state law protections. Just "
+"as in England the Statute of Anne eventually meant that the copyrights for "
+"all English works expired, a federal statute meant that any state copyrights "
+"expired as well."
+msgstr ""
+"det usikkerheten endte etter congress passert lovgivning gi "
+"opphavsrettigheter. fordi føderal lov overstyrer lovverket strid tilstand, "
+"fortrenges føderale beskyttelser av opphavsrettslig beskyttet verk noen "
+"staten lov beskyttelse. akkurat som i england betydde Vedtektene for anne "
+"til slutt at opphavsretten for alle engelsk arbeider utløpt, en føderale "
+"vedtekter betydde at staten opphavsrettigheter utløpt også."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1790, Congress enacted the first copyright law. It created a federal "
+"copyright and secured that copyright for fourteen years. If the author was "
+"alive at the end of that fourteen years, then he could opt to renew the "
+"copyright for another fourteen years. If he did not renew the copyright, his "
+"work passed into the public domain."
+msgstr ""
+"i 1790 vedtatt Kongressen den første lov om opphavsrett. den opprettet en "
+"føderale copyright og sikret at copyright for fjorten år. Hvis forfatteren "
+"var Live på slutten av at fjorten år, kan han velge for å fornye "
+"opphavsretten for en annen fjorten år. Hvis han ikke fornye opphavsretten, "
+"bestått hans arbeid i public domain."
+
+#. f9
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Although 13,000 titles were published in the United States from 1790 to "
+"1799, only 556 copyright registrations were filed; John Tebbel, A History of "
+"Book Publishing in the United States, vol. 1, The Creation of an Industry, "
+"16301865 (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, 710 (2002), available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #25</ulink>. Thus, the overwhelming majority of "
+"works fell immediately into the public domain. Even those works that were "
+"copyrighted fell into the public domain quickly, because the term of "
+"copyright was short. The initial term of copyright was fourteen years, with "
+"the option of renewal for an additional fourteen years. Copyright Act of May "
+"31, 1790, §1, 1 stat. 124."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"While there were many works created in the United States in the first ten "
+"years of the Republic, only 5 percent of the works were actually registered "
+"under the federal copyright regime. Of all the work created in the United "
+"States both before 1790 and from 1790 through 1800, 95 percent immediately "
+"passed into the public domain; the balance would pass into the pubic domain "
+"within twenty-eight years at most, and more likely within fourteen years."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 145
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This system of renewal was a crucial part of the American system of "
+"copyright. It assured that the maximum terms of copyright would be granted "
+"only for works where they were wanted. After the initial term of fourteen "
+"years, if it wasn't worth it to an author to renew his copyright, then it "
+"wasn't worth it to society to insist on the copyright, either."
+msgstr ""
+"Dette systemet fornyelse var en avgjørende del av det amerikanske systemet "
+"av opphavsrett. det sikret at maksimal vilkårene i copyright ville gis bare "
+"for arbeider der de ble ønsket. etter den første sikt av fjorten år, hvis "
+"det ikke var verdt det en forfatter å fornye sin opphavsrett, deretter det "
+"var ikke verdt det for samfunnet å insistere på opphavsretten, enten."
+
+#. f10
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Few copyright holders ever chose to renew their copyrights. For instance, "
+#| "of the 25,006 copyrights registered in 1883, only 894 were renewed in "
+#| "1910. For a year-by-year analysis of copyright renewal rates, see Barbara "
+#| "A. Ringer, \\\"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, 498501, and accompanying figures."
+msgid ""
+"Few copyright holders ever chose to renew their copyrights. For instance, of "
+"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For "
+"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, "
+"\"Study No. 31: Renewal of Copyright,\" Studies on Copyright, vol. 1 (New "
+"York: Practicing Law Institute, 1963), 618. For a more recent and "
+"comprehensive analysis, see William M. Landes and Richard A. Posner, "
+"\"Indefinitely Renewable Copyright,\" University of Chicago Law Review 70 "
+"(2003): 471, 498501, and accompanying figures."
+msgstr ""
+"noen rettighetshavere valgte noensinne å fornye sine opphavsrettigheter. for "
+"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i "
+"1910. for et år etter år analyse av opphavsrett fornyelse priser, kan du se "
+"barbara a. ringer, \\\"studere nr. 31: fornyelse av opphavsrett,\\\" studier "
+"på opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. "
+"Hvis en nyere og omfattende analyse, se william m landes og richard en. "
+"Posner, \\\"på ubestemt tid fornybar copyright,\\\" university of chicago "
+"lov gå gjennom 70 (2003): 471, 498501 og tilhørende tallene."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Fourteen years may not seem long to us, but for the vast majority of "
+"copyright owners at that time, it was long enough: Only a small minority of "
+"them renewed their copyright after fourteen years; the balance allowed their "
+"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f11
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid "See Ringer, ch. 9, n. 2."
+msgstr "se ringer, ch. 9, n. 2."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Even today, this structure would make sense. Most creative work has an "
+"actual commercial life of just a couple of years. Most books fall out of "
+"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that "
+"happens, the used books are traded free of copyright regulation. Thus the "
+"books are no longer effectively controlled by copyright. The only practical "
+"commercial use of the books at that time is to sell the books as used books; "
+"that use--because it does not involve publication--is effectively free."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In the first hundred years of the Republic, the term of copyright was "
+"changed once. In 1831, the term was increased from a maximum of 28 years to "
+"a maximum of 42 by increasing the initial term of copyright from 14 years to "
+"28 years. In the next fifty years of the Republic, the term increased once "
+"again. In 1909, Congress extended the renewal term of 14 years to 28 years, "
+"setting a maximum term of 56 years."
+msgstr ""
+"i de første hundre år av republikken ble av copyright endret én gang. i "
+"1831, ble begrepet økt fra maksimum 28 år til maksimalt 42 ved å øke første "
+"begrepet av opphavsrett fra 14 år til 28 år. i de neste femti årene av "
+"Republikken begrepet økt igjen. i 1909 utvidet Kongressen begrepet fornyelse "
+"av 14 år til 28 år, angi en maksimal periode på 56 år."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Then, beginning in 1962, Congress started a practice that has defined "
+"copyright law since. Eleven times in the last forty years, Congress has "
+"extended the terms of existing copyrights; twice in those forty years, "
+"Congress extended the term of future copyrights. Initially, the extensions "
+"of existing copyrights were short, a mere one to two years. In 1976, "
+"Congress extended all existing copyrights by nineteen years. And in 1998, "
+"in the Sonny Bono Copyright Term Extension Act, Congress extended the term "
+"of existing and future copyrights by twenty years."
+msgstr ""
+"så, begynner i 1962, Kongressen begynte en praksis som har definert "
+"opphavsrett siden. elleve ganger i de siste 40 årene, har Kongressen utvidet "
+"vilkårene i eksisterende opphavsrettigheter; to ganger i de førti år utvidet "
+"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var "
+"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to år. i "
+"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten år. "
+"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen "
+"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue år."
+
+#. PAGE BREAK 146
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The effect of these extensions is simply to toll, or delay, the passing of "
+"works into the public domain. This latest extension means that the public "
+"domain will have been tolled for thirty-nine out of fifty-five years, or 70 "
+"percent of the time since 1962. Thus, in the twenty years after the Sonny "
+"Bono Act, while one million patents will pass into the public domain, zero "
+"copyrights will pass into the public domain by virtue of the expiration of a "
+"copyright term."
+msgstr ""
+"effekten av disse tilleggene er ganske enkelt å tollpenger, eller "
+"forsinkelse, bestått av works i public domain. Denne siste utvidelsen betyr "
+"at allemannseie vil ha blitt kirkeklokkene for trettini fifty-fem år, eller "
+"70 prosent av tiden siden 1962. i tjue år etter sonny bono loven, mens en "
+"million patenter vil passere i den offentlige sfæren, vil dermed null "
+"opphavsrett passerer i public domain kraft av utløpet av en opphavsrett sikt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The effect of these extensions has been exacerbated by another, little-"
+"noticed change in the copyright law. Remember I said that the framers "
+"established a two-part copyright regime, requiring a copyright owner to "
+"renew his copyright after an initial term. The requirement of renewal meant "
+"that works that no longer needed copyright protection would pass more "
+"quickly into the public domain. The works remaining under protection would "
+"be those that had some continuing commercial value."
+msgstr ""
+"effekten av disse tilleggene har blitt forverret av en annen, lite merke "
+"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt "
+"opphavsrett regime, som krever en rettighetsinnehaveren å fornye sin "
+"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som "
+"ikke lenger nødvendig opphavsrettsbeskyttelse ville passere raskere i public "
+"domain. works gjenværende under beskyttelse vil være de som hadde noen "
+"vedvarende kommersiell verdi."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The United States abandoned this sensible system in 1976. For all works "
+"created after 1978, there was only one copyright term--the maximum term. For "
+"\"natural\" authors, that term was life plus fifty years. For corporations, "
+"the term was seventy-five years. Then, in 1992, Congress abandoned the "
+"renewal requirement for all works created before 1978. All works still under "
+"copyright would be accorded the maximum term then available. After the Sonny "
+"Bono Act, that term was ninety-five years."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This change meant that American law no longer had an automatic way to assure "
+"that works that were no longer exploited passed into the public domain. And "
+"indeed, after these changes, it is unclear whether it is even possible to "
+"put works into the public domain. The public domain is orphaned by these "
+"changes in copyright law. Despite the requirement that terms be \"limited,\" "
+"we have no evidence that anything will limit them."
+msgstr ""
+
+#. f12
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"These statistics are understated. Between the years 1910 and 1962 (the first "
+"year the renewal term was extended), the average term was never more than "
+"thirty-two years, and averaged thirty years. See Landes and Posner, "
+"\"Indefinitely Renewable Copyright,\" loc. cit."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The effect of these changes on the average duration of copyright is "
+"dramatic. In 1973, more than 85 percent of copyright owners failed to renew "
+"their copyright. That meant that the average term of copyright in 1973 was "
+"just 32.2 years. Because of the elimination of the renewal requirement, the "
+"average term of copyright is now the maximum term. In thirty years, then, "
+"the average term has tripled, from 32.2 years to 95 years.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Law: Scope"
+msgstr "loven: Virkeområde"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The \"scope\" of a copyright is the range of rights granted by the law. The "
+"scope of American copyright has changed dramatically. Those changes are not "
+"necessarily bad. But we should understand the extent of the changes if we're "
+"to keep this debate in context."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1790, that scope was very narrow. Copyright covered only \"maps, charts, "
+"and books.\" That means it didn't cover, for example, music or architecture. "
+"More significantly, the right granted by a copyright gave the author the "
+"exclusive right to \"publish\" copyrighted works. That means someone else "
+"violated the copyright only if he republished the work without the copyright "
+"owner's permission. Finally, the right granted by a copyright was an "
+"exclusive right to that particular book. The right did not extend to what "
+"lawyers call \"derivative works.\" It would not, therefore, interfere with "
+"the right of someone other than the author to translate a copyrighted book, "
+"or to adapt the story to a different form (such as a drama based on a "
+"published book)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This, too, has changed dramatically. While the contours of copyright today "
+"are extremely hard to describe simply, in general terms, the right covers "
+"practically any creative work that is reduced to a tangible form. It covers "
+"music as well as architecture, drama as well as computer programs. It gives "
+"the copyright owner of that creative work not only the exclusive right to "
+"\"publish\" the work, but also the exclusive right of control over any "
+"\"copies\" of that work. And most significant for our purposes here, the "
+"right gives the copyright owner control over not only his or her particular "
+"work, but also any \"derivative work\" that might grow out of the original "
+"work. In this way, the right covers more creative work, protects the "
+"creative work more broadly, and protects works that are based in a "
+"significant way on the initial creative work."
+msgstr ""
+
+#. PAGE BREAK 148
+#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "At the same time that the scope of copyright has expanded, procedural "
+#| "limitations on the right have been relaxed. I've already described the "
+#| "complete removal of the renewal requirement in 1992. In addition to the "
+#| "renewal requirement, for most of the history of American copyright law, "
+#| "there was a requirement that a work be registered before it could receive "
+#| "the protection of a copyright. There was also a requirement that any "
+#| "copyrighted work be marked either with that famous © 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."
+msgid ""
+"At the same time that the scope of copyright has expanded, procedural "
+"limitations on the right have been relaxed. I've already described the "
+"complete removal of the renewal requirement in 1992. In addition to the "
+"renewal requirement, for most of the history of American copyright law, "
+"there was a requirement that a work be registered before it could receive "
+"the protection of a copyright. There was also a requirement that any "
+"copyrighted work be marked either with that famous © or the word copyright. "
+"And for most of the history of American copyright law, there was a "
+"requirement that works be deposited with the government before a copyright "
+"could be secured."
+msgstr ""
+"på samme tid som har utvidet omfanget av copyright, er fremgangsmåter for "
+"begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig "
+"fjerning av kravet om fornyelse i 1992. i tillegg til fornyelse behovet, for "
+"det meste av historien til amerikansk lov om opphavsrett, det var et krav at "
+"et arbeid registreres før den kan motta beskyttelse av opphavsretten. Det "
+"var også et krav at opphavsrettsbeskyttet arbeid merkes enten med det "
+"berømte © eller word-copyright. og for de fleste av historien til amerikansk "
+"lov om opphavsrett, det var et krav at works settes med regjeringen før "
+"opphavsretten som kan sikres."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The reason for the registration requirement was the sensible understanding "
+"that for most works, no copyright was required. Again, in the first ten "
+"years of the Republic, 95 percent of works eligible for copyright were never "
+"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't "
+"need copyright, so registration narrowed the regulation of the law to the "
+"few that did. The same reasoning justified the requirement that a work be "
+"marked as copyrighted--that way it was easy to know whether a copyright was "
+"being claimed. The requirement that works be deposited was to assure that "
+"after the copyright expired, there would be a copy of the work somewhere so "
+"that it could be copied by others without locating the original author."
+msgstr ""
+"årsaken til registreringskrav var fornuftig forståelsen om at for de fleste "
+"arbeider, ingen opphavsrett var nødvendig. igjen, i de første ti årene av "
+"Republikken, 95 prosent av verker som er kvalifisert for opphavsrett ble "
+"aldri opphavsrettsbeskyttet. dermed regelen reflektert normen: de fleste "
+"works tilsynelatende ikke trenger opphavsrett, slik at registrering "
+"begrenses regulering av loven til noen som gjorde. samme begrunnelsen "
+"berettiget krav som et verk bli merket som opphavsrettsbeskyttet--måten det "
+"var lett å vite om en copyright ble hevdet. kravet som fungerer være var "
+"avsatt å sikre at etter at opphavsretten utløpt, det ville være en kopi av "
+"arbeidet et sted slik at den kan kopieres av andre uten å finne den "
+"opprinnelige forfatteren."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+#, fuzzy
+#| msgid ""
+#| "All of these \\\"formalities\\\" were abolished in the American system "
+#| "when we decided to follow European copyright law. There is no requirement "
+#| "that you register a work to get a copyright; the copyright now is "
+#| "automatic; the copyright exists whether or not you mark your work with a "
+#| "©; and the copyright exists whether or not you actually make a copy "
+#| "available for others to copy."
+msgid ""
+"All of these \"formalities\" were abolished in the American system when we "
+"decided to follow European copyright law. There is no requirement that you "
+"register a work to get a copyright; the copyright now is automatic; the "
+"copyright exists whether or not you mark your work with a ©; and the "
+"copyright exists whether or not you actually make a copy available for "
+"others to copy."
+msgstr ""
+"alle disse \\\"formaliteter\\\" ble avskaffet i det amerikanske systemet når "
+"vi besluttet å følge europeiske lov om opphavsrett. Det er ingen krav at du "
+"registrerer et arbeid for å få en copyright; opphavsretten nå er automatisk; "
+"opphavsretten finnes om du merker arbeidet med en ©; og opphavsretten finnes "
+"om du faktisk lage en kopi tilgjengelig for andre å kopiere."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Consider a practical example to understand the scope of these differences."
+msgstr "vurdere et praktisk eksempel å forstå omfanget av disse forskjellene."
+
+#. f13
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, 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, 17901800 (U.S. G.P.O., 1987)."
+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, "
+"17901800 (U.S. G.P.O., 1987)."
+msgstr ""
+"se thomas bender og david sampliner, \\\"poeter, pirater og etableringen av "
+"amerikansk litteratur,\\\" 29 new york university journal of internasjonal "
+"lov og politikk 255 (1997), og james gilraeth, ed., føderale opphavsrett "
+"records, 17901800 (US g.p.o., 1987)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If, in 1790, you wrote a book and you were one of the 5 percent who actually "
+"copyrighted that book, then the copyright law protected you against another "
+"publisher's taking your book and republishing it without your permission. "
+"The aim of the act was to regulate publishers so as to prevent that kind of "
+"unfair competition. In 1790, there were 174 publishers in the United States."
+"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny "
+"regulation of a tiny proportion of a tiny part of the creative market in the "
+"United States--publishers."
+msgstr ""
+
+#. PAGE BREAK 149
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The act left other creators totally unregulated. If I copied your poem by "
+"hand, over and over again, as a way to learn it by heart, my act was totally "
+"unregulated by the 1790 act. If I took your novel and made a play based upon "
+"it, or if I translated it or abridged it, none of those activities were "
+"regulated by the original copyright act. These creative activities remained "
+"free, while the activities of publishers were restrained."
+msgstr ""
+"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet "
+"for hånd, igjen og igjen, som en måte å lære det ved hjertet, var min "
+"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en "
+"spiller som er basert på det, eller hvis jeg har oversatt eller utdrag det, "
+"var ingen av disse aktivitetene regulert av opprinnelige copyright act. "
+"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere "
+"var behersket."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+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."
+msgstr ""
+"i dag historien er svært forskjellige: Hvis du skriver en bok, boken er "
+"automatisk beskyttet. faktisk, ikke bare i adresseboken. hver e-post, hver "
+"merknad til din ektefelle, hver doodle, alle kreative handle som er redusert "
+"til en håndgripelig form--alt dette automatisk beskyttet med "
+"kopirettigheter. Det er ikke nødvendig å registrere deg eller merke arbeidet "
+"ditt. beskyttelse følger etablering, ikke trinnene du ta for å beskytte den."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"That protection gives you the right (subject to a narrow range of fair use "
+"exceptions) to control how others copy the work, whether they copy it to "
+"republish it or to share an excerpt."
+msgstr ""
+"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use "
+"unntak) til å kontrollere hvordan andre kopierer arbeidet, om de kopiere den "
+"til å publisere den på nytt, eller for å dele et utdrag."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"That much is the obvious part. Any system of copyright would control "
+"competing publishing. But there's a second part to the copyright of today "
+"that is not at all obvious. This is the protection of \"derivative rights.\" "
+"If you write a book, no one can make a movie out of your book without "
+"permission. No one can translate it without permission. CliffsNotes can't "
+"make an abridgment unless permission is granted. All of these derivative "
+"uses of your original work are controlled by the copyright holder. The "
+"copyright, in other words, is now not just an exclusive right to your "
+"writings, but an exclusive right to your writings and a large proportion of "
+"the writings inspired by them."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It is this derivative right that would seem most bizarre to our framers, "
+"though it has become second nature to us. Initially, this expansion was "
+"created to deal with obvious evasions of a narrower copyright. If I write a "
+"book, can you change one word and then claim a copyright in a new and "
+"different book? Obviously that would make a joke of the copyright, so the "
+"law was properly expanded to include those slight modifications as well as "
+"the verbatim original work."
+msgstr ""
+"Det er denne derivat høyre som vil synes mest bisarre til våre underskrev, "
+"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne "
+"ekspansjonen opprettet for å håndtere åpenbare evasions av en smalere "
+"opphavsrett. Hvis jeg skriver en bok, kan du endre ett ord og deretter "
+"hevder en opphavsrett i en ny og annerledes bok? som ville selvsagt gjøre en "
+"spøk av opphavsretten, slik loven ble riktig utvidet til å omfatte disse små "
+"endringer, så vel som ordrett opprinnelige arbeidet."
+
+#. f14
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #26</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In preventing that joke, the law created an astonishing power within a free "
+"culture--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."
+msgstr ""
+
+#. f15
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Professor Rubenfeld has presented a powerful constitutional argument "
+#| "about the difference that copyright law should draw (from the perspective "
+#| "of the First Amendment) between mere \\\"copies\\\" and derivative works. "
+#| "See Jed Rubenfeld, \\\"The Freedom of Imagination: Copyright's "
+#| "Constitutionality,\\\" Yale Law Journal 112 (2002): 160 (see especially "
+#| "pp. 5359)."
+msgid ""
+"Professor Rubenfeld has presented a powerful constitutional argument about "
+"the difference that copyright law should draw (from the perspective of the "
+"First Amendment) between mere \"copies\" and derivative works. See Jed "
+"Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" "
+"Yale Law Journal 112 (2002): 160 (see especially pp. 5359)."
+msgstr ""
+"professor rubenfeld har presentert en kraftig konstitusjonelle argument om "
+"forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den "
+"første endringen) bare \\\"Kopier\\\" og avledede produkter. se jed "
+"rubenfeld, \\\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\\"
+"\" yale law journal 112 (2002): 160 (se spesielt s. 5359)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Yet copyright law treats these two different wrongs in the same way. I can "
+"go to court and get an injunction against your pirating my book. I can go to "
+"court and get an injunction against your transformative use of my book."
+"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my "
+"creative work are treated the same."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This again may seem right to you. If I wrote a book, then why should you be "
+"able to write a movie that takes my story and makes money from it without "
+"paying me or crediting me? Or if Disney creates a creature called \"Mickey "
+"Mouse,\" why should you be able to make Mickey Mouse toys and be the one to "
+"trade on the value that Disney originally created?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are good arguments, and, in general, my point is not that the "
+"derivative right is unjustified. My aim just now is much narrower: simply to "
+"make clear that this expansion is a significant change from the rights "
+"originally granted."
+msgstr ""
+"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat høyre "
+"er grunnløs. meg sikte akkurat nå er mye smalere: bare for å gjøre det klart "
+"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Law and Architecture: Reach"
+msgstr "lov og arkitektur: nå"
+
+#. f16
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Whereas originally the law regulated only publishers, the change in "
+"copyright's scope means that the law today regulates publishers, users, and "
+"authors. It regulates them because all three are capable of making copies, "
+"and the core of the regulation of copyright law is copies.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 151
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"\"Copies.\" That certainly sounds like the obvious thing for copyright law "
+"to regulate. But as with Jack Valenti's argument at the start of this "
+"chapter, that \"creative property\" deserves the \"same rights\" as all "
+"other property, it is the obvious that we need to be most careful about. For "
+"while it may be obvious that in the world before the Internet, copies were "
+"the obvious trigger for copyright law, upon reflection, it should be obvious "
+"that in the world with the Internet, copies should not be the trigger for "
+"copyright law. More precisely, they should not always be the trigger for "
+"copyright law."
+msgstr ""
+
+#. f17
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Thus, my argument is not that in each place that copyright law extends, we "
+"should repeal it. It is instead that we should have a good argument for its "
+"extending where it does, and should not determine its reach on the basis of "
+"arbitrary and automatic changes caused by technology."
+msgstr ""
+"Således, mitt argument er ikke at i hvert sett at lov om opphavsrett "
+"utvider, vi bør oppheve den. Det er i stedet at vi bør ha et godt argument "
+"for dens utvidelse der den does, og bør ikke avgjøre sin rekkevidde på "
+"grunnlag av vilkårlig og automatiske endringer forårsaket av teknologi."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is perhaps the central claim of this book, so let me take this very "
+"slowly so that the point is not easily missed. My claim is that the Internet "
+"should at least force us to rethink the conditions under which the law of "
+"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> "
+"because it is clear that the current reach of copyright was never "
+"contemplated, much less chosen, by the legislators who enacted copyright law."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We can see this point abstractly by beginning with this largely empty circle."
+msgstr ""
+"Vi kan se dette punktet abstractly begynner med dette i stor grad tom sirkel."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1521.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 152
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Think about a book in real space, and imagine this circle to represent all "
+"its potential uses. Most of these uses are unregulated by copyright law, "
+"because the uses don't create a copy. If you read a book, that act is not "
+"regulated by copyright law. If you give someone the book, that act is not "
+"regulated by copyright law. If you resell a book, that act is not regulated "
+"(copyright law expressly states that after the first sale of a book, the "
+"copyright owner can impose no further conditions on the disposition of the "
+"book). If you sleep on the book or use it to hold up a lamp or let your "
+"puppy chew it up, those acts are not regulated by copyright law, because "
+"those acts do not make a copy."
+msgstr ""
+"Tenk på en bok i virkelige rommet, og tenke denne sirkelen til å "
+"representere alle dens potensial bruker. de fleste av disse bruksområdene er "
+"unregulated ved lov om opphavsrett, fordi bruker ikke opprette en kopi. Hvis "
+"du leser en bok, er ikke det handle regulert av lov om opphavsrett. Hvis du "
+"gir noen boken, er ikke det handle regulert av lov om opphavsrett. Hvis du "
+"selge en bok, loven er ikke regulert (lov om opphavsrett uttrykkelig sier at "
+"etter første salg av en bok, eieren av opphavsretten kan pålegge uten "
+"ytterligere betingelser om tilstanden i boken). Hvis du sove på boken eller "
+"bruke den til å holde opp en lampe eller la din valp tygge den opp, vil ikke "
+"disse handlinger er regulert av lov om opphavsrett, fordi disse handlinger "
+"ikke gjør en kopi."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1531.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Obviously, however, some uses of a copyrighted book are regulated by "
+"copyright law. Republishing the book, for example, makes a copy. It is "
+"therefore regulated by copyright law. Indeed, this particular use stands at "
+"the core of this circle of possible uses of a copyrighted work. It is the "
+"paradigmatic use properly regulated by copyright regulation (see first "
+"diagram on next page)."
+msgstr ""
+"åpenbart, men noen bruker av en opphavsrettsbeskyttet bok er regulert av lov "
+"om opphavsrett. republishing boken, for eksempel lager en kopi. Det er "
+"derfor regulert av lov om opphavsrett. faktisk står bruk i kjernen av denne "
+"kretsen av mulige bruksområder for et opphavsrettslig beskyttet verk. Det er "
+"paradigmatic bruk riktig regulert av opphavsrett regulering (se første "
+"diagrammet på neste side)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Finally, there is a tiny sliver of otherwise regulated copying uses that "
+"remain unregulated because the law considers these \"fair uses.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1541.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are uses that themselves involve copying, but which the law treats as "
+"unregulated because public policy demands that they remain unregulated. You "
+"are free to quote from this book, even in a review that is quite negative, "
+"without my permission, even though that quoting makes a copy. That copy "
+"would ordinarily give the copyright owner the exclusive right to say whether "
+"the copy is allowed or not, but the law denies the owner any exclusive right "
+"over such \"fair uses\" for public policy (and possibly First Amendment) "
+"reasons."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1542.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1551.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 154
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In real space, then, the possible uses of a book are divided into three "
+"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that "
+"are nonetheless deemed \"fair\" regardless of the copyright owner's views."
+msgstr ""
+
+#. f18
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"I don't mean \"nature\" in the sense that it couldn't be different, but "
+"rather that its present instantiation entails a copy. Optical networks need "
+"not make copies of content they transmit, and a digital network could be "
+"designed to delete anything it copies so that the same number of copies "
+"remain."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Enter the Internet--a distributed, digital network where every use of a "
+"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> "
+"And because of this single, arbitrary feature of the design of a digital "
+"network, the scope of category 1 changes dramatically. Uses that before were "
+"presumptively unregulated are now presumptively regulated. No longer is "
+"there a set of presumptively unregulated uses that define a freedom "
+"associated with a copyrighted work. Instead, each use is now subject to the "
+"copyright, because each use also makes a copy--category 1 gets sucked into "
+"category 2. And those who would defend the unregulated uses of copyrighted "
+"work must look exclusively to category 3, fair uses, to bear the burden of "
+"this shift."
+msgstr ""
+
+#. PAGE BREAK 155
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"So let's be very specific to make this general point clear. Before the "
+"Internet, if you purchased a book and read it ten times, there would be no "
+"plausible 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."
+msgstr ""
+"så la oss være svært spesifikke å gjøre herfra Generelt og fjerner. før "
+"Internett, hvis du kjøpte en bok og Les det ti ganger, ville det ikke "
+"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan "
+"gjøre for å kontrollere at bruk av hennes bok. lov om opphavsrett har "
+"ingenting å si om hvorvidt du lese boken en gang, ti ganger eller hver natt "
+"før du gikk til sengs. Ingen av disse forekomstene av bruk--lesing--kan "
+"reguleres av lov om opphavsrett, fordi ingen av de bruker produsert en kopi."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But the same book as an e-book is effectively governed by a different set of "
+"rules. Now if the copyright owner says you may read the book only once or "
+"only once a month, then copyright law would aid the copyright owner in "
+"exercising this degree of control, because of the accidental feature of "
+"copyright law that triggers its application upon there being a copy. Now if "
+"you read the book ten times and the license says you may read it only five "
+"times, then whenever you read the book (or any portion of it) beyond the "
+"fifth time, you are making a copy of the book contrary to the copyright "
+"owner's wish."
+msgstr ""
+"men den samme bok som en e-bok styres effektivt av et annet sett med regler. "
+"nå hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller "
+"bare en gang i måneden, så lov om opphavsrett skulle hjelpe eieren av "
+"opphavsretten i utøvelse slik grad av kontroll, på grunn av funksjonen "
+"tilfeldig i lov om opphavsrett som utløser sin søknad på det å være en kopi. "
+"nå hvis du lese boken ti ganger, og lisensen sier du kan lese det bare fem "
+"ganger, deretter hver gang du leser boken (eller deler av det) utover den "
+"femte tid, gjør du en kopi av boken i strid med opphavsrett eierens ønske."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There are some people who think this makes perfect sense. My aim just now is "
+"not to argue about whether it makes sense or not. My aim is only to make "
+"clear the change. Once you see this point, a few other points also become "
+"clear:"
+msgstr ""
+"Det er noen folk som tror dette gjør perfekt forstand. meg sikte er akkurat "
+"nå ikke å krangle om hvorvidt det er fornuftig eller ikke. min målet er bare "
+"å gjøre det klart endringen. Når du ser dette punktet, bli noen andre "
+"punkter også klar:"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"First, making category 1 disappear is not anything any policy maker ever "
+"intended. Congress did not think through the collapse of the presumptively "
+"unregulated uses of copyrighted works. There is no evidence at all that "
+"policy makers had this idea in mind when they allowed our policy here to "
+"shift. Unregulated uses were an important part of free culture before the "
+"Internet."
+msgstr ""
+"Først gjør Kategori 1 forsvinne er ikke noe alle politikk-maker noensinne "
+"ment. Kongressen ikke tenke gjennom sammenbruddet av presumptively "
+"unregulated bruk av opphavsrettslig beskyttet verk. Det er ingen bevis på "
+"alle at beslutningstakere hadde denne ideen i tankene når de tillater vår "
+"policy her for å skifte. unregulated bruker var en viktig del av fri kultur "
+"før Internett."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Second, this shift is especially troubling in the context of transformative "
+"uses of creative content. Again, we can all understand the wrong in "
+"commercial piracy. But the law now purports to regulate any transformation "
+"you make of creative work using a machine. \"Copy and paste\" and \"cut and "
+"paste\" become crimes. Tinkering with a story and releasing it to others "
+"exposes the tinkerer to at least a requirement of justification. However "
+"troubling the expansion with respect to copying a particular work, it is "
+"extraordinarily troubling with respect to transformative uses of creative "
+"work."
+msgstr ""
+
+#. PAGE BREAK 156
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Third, this shift from category 1 to category 2 puts an extraordinary burden "
+"on category 3 (\"fair use\") that fair use never before had to bear. If a "
+"copyright owner now tried to control how many times I could read a book on-"
+"line, the natural response would be to argue that this is a violation of my "
+"fair use rights. But there has never been any litigation about whether I "
+"have a fair use right to read, because before the Internet, reading did not "
+"trigger the application of copyright law and hence the need for a fair use "
+"defense. The right to read was effectively protected before because reading "
+"was not regulated."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This point about fair use is totally ignored, even by advocates for free "
+"culture. We have been cornered into arguing that our rights depend upon fair "
+"use--never even addressing the earlier question about the expansion in "
+"effective regulation. A thin protection grounded in fair use makes sense "
+"when the vast majority of uses are unregulated. But when everything becomes "
+"presumptively regulated, then the protections of fair use are not enough."
+msgstr ""
+"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis "
+"kultur. Vi har vært cornered til kranglet at våre rettigheter er avhengige "
+"av fair use--adressering aldri selv tidligere spørsmålet om utvidelse i "
+"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig når det "
+"store flertallet av bruker er unregulated. men når alt blir presumptively "
+"regulert, deretter beskyttelse av fair use er ikke nok."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The case of Video Pipeline is a good example. Video Pipeline was in the "
+"business of making \"trailer\" advertisements for movies available to video "
+"stores. The video stores displayed the trailers as a way to sell videos. "
+"Video Pipeline got the trailers from the film distributors, put the trailers "
+"on tape, and sold the tapes to the retail stores."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The company did this for about fifteen years. Then, in 1997, it began to "
+"think about the Internet as another way to distribute these previews. The "
+"idea was to expand their \"selling by sampling\" technique by giving on-line "
+"stores the same ability to enable \"browsing.\" Just as in a bookstore you "
+"can read a few pages of a book before you buy the book, so, too, you would "
+"be able to sample a bit from the movie on-line before you bought it."
+msgstr ""
+
+#. PAGE BREAK 157
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1998, Video Pipeline informed Disney and other film distributors that it "
+"intended to distribute the trailers through the Internet (rather than "
+"sending the tapes) to distributors of their videos. Two years later, Disney "
+"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to "
+"talk about the matter--he had built a business on distributing this content "
+"as a way to help sell Disney films; he had customers who depended upon his "
+"delivering this content. Disney would agree to talk only if Video Pipeline "
+"stopped the distribution immediately. Video Pipeline thought it was within "
+"their \"fair use\" rights to distribute the clips as they had. So they filed "
+"a lawsuit to ask the court to declare that these rights were in fact their "
+"rights."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Disney countersued--for $100 million in damages. Those damages were "
+"predicated upon a claim that Video Pipeline had \"willfully infringed\" on "
+"Disney's copyright. When a court makes a finding of willful infringement, it "
+"can award damages not on the basis of the actual harm to the copyright "
+"owner, but on the basis of an amount set in the statute. Because Video "
+"Pipeline had distributed seven hundred clips of Disney movies to enable "
+"video stores to sell copies of those movies, Disney was now suing Video "
+"Pipeline for $100 million."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Disney has the right to control its property, of course. But the video "
+"stores that were selling Disney's films also had some sort of right to be "
+"able to sell the films that they had bought from Disney. Disney's claim in "
+"court was that the stores were allowed to sell the films and they were "
+"permitted to list the titles of the films they were selling, but they were "
+"not allowed to show clips of the films as a way of selling them without "
+"Disney's permission."
+msgstr ""
+"Disney har rett til å kontrollere sin eiendom, selvfølgelig. men video "
+"butikkene som solgte Disneys filmer hadde også en slags rett til å være i "
+"stand til å selge filmer som de hadde kjøpt fra disney. disney's krav i "
+"domstol var at butikkene ble tillatt å selge filmene og de ble tillatt å "
+"vise titlene på filmene de solgte, men de var ikke lov til å vise klipp av "
+"filmer som en måte å selge dem uten disney's tillatelse."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Now, you might think this is a close case, and I think the courts would "
+"consider it a close case. My point here is to map the change that gives "
+"Disney this power. Before the Internet, Disney couldn't really control how "
+"people got access to their content. Once a video was in the marketplace, the "
+"\"first-sale doctrine\" would free the seller to use the video as he wished, "
+"including showing portions of it in order to engender sales of the entire "
+"movie video. But with the Internet, it becomes possible for Disney to "
+"centralize control over access to this content. Because each use of the "
+"Internet produces a copy, use on the Internet becomes subject to the "
+"copyright owner's control. The technology expands the scope of effective "
+"control, because the technology builds a copy into every transaction."
+msgstr ""
+
+#. PAGE BREAK 158
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No doubt, a potential is not yet an abuse, and so the potential for control "
+"is not yet the abuse of control. Barnes & Noble has the right to say you "
+"can't touch a book in their store; property law gives them that right. But "
+"the market effectively protects against that abuse. If Barnes & Noble "
+"banned browsing, then consumers would choose other bookstores. Competition "
+"protects against the extremes. And it may well be (my argument so far does "
+"not even question this) that competition would prevent any similar danger "
+"when it comes to copyright. Sure, publishers exercising the rights that "
+"authors have assigned to them might try to regulate how many times you read "
+"a book, or try to stop you from sharing the book with anyone. But in a "
+"competitive market such as the book market, the dangers of this happening "
+"are quite slight."
+msgstr ""
+"ingen tvil, et potensial er ikke et misbruk, og så potensialet for kontroll "
+"er ikke ennå misbruk av kontroll. Barnes & noble har rett til å si du "
+"ikke røre en bok i deres store; opphavsrettslovgivningen gir dem det riktig. "
+"men markedet beskytter effektivt mot at misbruk. Hvis barnes & noble "
+"utestengt surfing, vil deretter forbrukere velge andre bokhandlere. "
+"konkurranse beskytter mot ytterpunktene. og det kan godt være (mitt argument "
+"så langt ikke selv spørsmålet dette) at konkurransen ville hindre noen "
+"lignende fare når det gjelder opphavsrett. sikker, kan utgivere utøve "
+"rettigheter som forfattere har tildelt dem prøver å regulere hvor mange "
+"ganger du leser en bok, eller prøv å opphøre du fra deler av boken med noen. "
+"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer "
+"er ganske liten."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Again, my aim so far is simply to map the changes that this changed "
+"architecture enables. Enabling technology to enforce the control of "
+"copyright means that the control of copyright is no longer defined by "
+"balanced policy. The control of copyright is simply what private owners "
+"choose. In some contexts, at least, that fact is harmless. But in some "
+"contexts it is a recipe for disaster."
+msgstr ""
+"igjen, mitt mål så langt er ganske enkelt å kartlegge endringene som er at "
+"dette endret arkitekturen aktiverer. aktivere teknologien å håndheve "
+"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger "
+"definert av balansert policyen. kontroll på opphavsrett er bare hva privat "
+"eiere velge. i enkelte sammenhenger, minst, er det faktum harmløse. men det "
+"er en oppskrift på katastrofe i enkelte sammenhenger."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Architecture and Law: Force"
+msgstr "arkitektur og lov: tvinge"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The disappearance of unregulated uses would be change enough, but a second "
+"important change brought about by the Internet magnifies its significance. "
+"This second change does not affect the reach of copyright regulation; it "
+"affects how such regulation is enforced."
+msgstr ""
+"forsvinningen av unregulated bruker ville være endre nok, men andre viktige "
+"endringer forårsaket av Internett øker sin betydning. denne andre endringen "
+"påvirker ikke rekkevidden av opphavsrett regulering; det påvirker hvordan "
+"slike regulering fremtvinges."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In the world before digital technology, it was generally the law that "
+"controlled whether and how someone was regulated by copyright law. The law, "
+"meaning a court, meaning a judge: In the end, it was a human, trained in the "
+"tradition of the law and cognizant of the balances that tradition embraced, "
+"who said whether and how the law would restrict your freedom."
+msgstr ""
+"i verden før digital teknologi var det generelt loven som kontrollerte om og "
+"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en "
+"court, som betyr en dommer: til slutt, det var et menneske, utdannet i "
+"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa "
+"om og hvordan loven ville begrense friheten."
+
+#. f19
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See David Lange, \\\"Recognizing the Public Domain,\\\" Law and "
+#| "Contemporary Problems 44 (1981): 17273."
+msgid ""
+"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
+"Problems 44 (1981): 17273."
+msgstr ""
+"se david lange, \\\"erkjenner allemannseie,\\\" lov og moderne problemer 44 "
+"(1981): 17273."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There's a famous story about a battle between the Marx Brothers and Warner "
+"Brothers. The Marxes intended to make a parody of Casablanca. Warner "
+"Brothers objected. They wrote a nasty letter to the Marxes, warning them "
+"that there would be serious legal consequences if they went forward with "
+"their plan.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f20
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 13."
+msgid "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 13."
+msgstr "ibid. se også vaidhyanathan, opphavsrett og copywrongs, 13."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
+"that the Marx Brothers \"were brothers long before you were.\"<placeholder "
+"type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word "
+"brothers, and if Warner Brothers insisted on trying to control Casablanca, "
+"then the Marx Brothers would insist on control over brothers."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"An absurd and hollow threat, of course, because Warner Brothers, like the "
+"Marx Brothers, knew that no court would ever enforce such a silly claim. "
+"This extremism was irrelevant to the real freedoms anyone (including Warner "
+"Brothers) enjoyed."
+msgstr ""
+"en absurd og hul trussel, selvfølgelig, fordi warner brothers, the marx "
+"brothers, visste at ingen domstol ville noensinne håndheve slikt dumt krav. "
+"Denne ekstremisme var irrelevant for ekte friheter nytes alle (inkludert "
+"warner brothers)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"On the Internet, however, there is no check on silly rules, because on the "
+"Internet, increasingly, rules are enforced not by a human but by a machine: "
+"Increasingly, the rules of copyright law, as interpreted by the copyright "
+"owner, get built into the technology that delivers copyrighted content. It "
+"is code, rather than law, that rules. And the problem with code regulations "
+"is that, unlike law, code has no shame. Code would not get the humor of the "
+"Marx Brothers. The consequence of that is not at all funny."
+msgstr ""
+"på Internett, men det er ingen kontroll av dum regler, fordi på Internett, i "
+"økende grad regler gjelder ikke av et menneske, men av en maskin: i økende "
+"grad reglene om opphavsrett, som tolkes av eieren av opphavsretten få "
+"innebygd i teknologien som leverer opphavsrettsbeskyttet innhold. Det er "
+"koden, i stedet for loven, at reglene. og problemet med koden forskrifter er "
+"at, i motsetning til loven, koden har ingen skam. koden ville ikke få humor "
+"av the marx brothers. konsekvensen av dette er overhodet ikke morsomt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "Consider the life of my Adobe eBook Reader."
+msgstr "vurdere livet av min adobe eBok-leser."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"An e-book is a book delivered in electronic form. An Adobe eBook is not a "
+"book that Adobe has published; Adobe simply produces the software that "
+"publishers use to deliver e-books. It provides the technology, and the "
+"publisher delivers the content by using the technology."
+msgstr ""
+"en e-bok er en bok som er levert i elektronisk form. en adobe-eBok er ikke "
+"en bok som adobe har publisert; Adobe gir ganske enkelt programvaren som "
+"utgivere bruker å levere e-bøker. Det gir teknologien, og utgiveren leverer "
+"innholdet ved hjelp av teknologien."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"On the next page is a picture of an old version of my Adobe eBook Reader."
+msgstr ""
+"på neste er siden et bilde av en gammel versjon av min adobe eBok-leser."
+
+#. PAGE BREAK 160
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As you can see, I have a small collection of e-books within this e-book "
+"library. Some of these books reproduce content that is in the public domain: "
+"Middlemarch, for example, is in the public domain. Some of them reproduce "
+"content that is not in the public domain: My own book The Future of Ideas is "
+"not yet within the public domain. Consider Middlemarch first. If you click "
+"on my e-book copy of Middlemarch, you'll see a fancy cover, and then a "
+"button at the bottom called Permissions."
+msgstr ""
+"som du ser, har jeg en liten samling av e-bøker i denne e-boken biblioteket. "
+"noen av disse bøkene reprodusere innholdet i public domain: middlemarch, er "
+"for eksempel i public domain. noen av dem reprodusere innhold som ikke er "
+"allemannseie: min egen bok fremtiden for ideer er ennå ikke i public domain. "
+"vurdere middlemarch først. Hvis du klikker på min e-bok-kopi av middlemarch, "
+"vil du se en fancy cover og deretter en knapp på bunnen kalt tillatelser."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure><title>
+msgid "Acrobat eBook Reader"
+msgstr "Acrobat eBok-leser"
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1611.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If you click on the Permissions button, you'll see a list of the permissions "
+"that the publisher purports to grant with this book."
+msgstr ""
+"Hvis du klikker på knappen tillatelser, ser du en liste over tillatelsene "
+"som utgiveren hensikt å gi med denne boken."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1612.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 161
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"According to my eBook Reader, I have the permission to copy to the clipboard "
+"of the computer ten text selections every ten days. (So far, I've copied no "
+"text to the clipboard.) I also have the permission to print ten pages from "
+"the book every ten days. Lastly, I have the permission to use the Read Aloud "
+"button to hear Middlemarch read aloud through the computer."
+msgstr ""
+"Ifølge min eBok-leser har jeg tillatelse til å kopiere til utklippstavlen på "
+"datamaskinen ti tekstområder ti dager. (så langt jeg har kopiert ingen tekst "
+"til utklippstavlen.) Jeg har også tillatelse til å skrive ut ti sider fra "
+"boken ti dager. til slutt, jeg har tillatelse til å bruke lese høyt knapp "
+"for å høre middlemarch lest høyt gjennom datamaskinen."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Here's the e-book for another work in the public domain (including the "
+"translation): Aristotle's Politics."
+msgstr ""
+"Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert "
+"oversettelse): Aristoteles politikk."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1621.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"According to its permissions, no printing or copying is permitted at all. "
+"But fortunately, you can use the Read Aloud button to hear the book."
+msgstr ""
+"i henhold til tillatelsene, ingen utskrift eller kopiering er tillatt i det "
+"hele tatt. men heldigvis kan du bruke lese høyt knappen for å høre boken."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1622.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Finally (and most embarrassingly), here are the permissions for the original "
+"e-book version of my last book, The Future of Ideas:"
+msgstr ""
+"Endelig (og mest embarrassingly), her er du tillatelsene for den "
+"opprinnelige e-bok-versjonen av boken min siste, fremtiden for ideer:"
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1631.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "No copying, no printing, and don't you dare try to listen to this book!"
+msgstr ""
+"ingen kopiering, ingen utskrift, og ikke våger du prøver å lytte til denne "
+"boken!"
+
+#. f21
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"In principle, a contract might impose a requirement on me. I might, for "
+"example, buy a book from you that includes a contract that says I will read "
+"it only three times, or that I promise to read it three times. But that "
+"obligation (and the limits for creating that obligation) would come from the "
+"contract, not from copyright law, and the obligations of contract would not "
+"necessarily pass to anyone who subsequently acquired the book."
+msgstr ""
+"i prinsippet, kan en kontrakt pålegge et krav på meg. Jeg kan, for eksempel "
+"kjøpe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den "
+"bare tre ganger, eller at jeg lover å lese den tre ganger. men at "
+"forpliktelse (og grensene for å opprette denne plikten) ville komme fra "
+"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville "
+"ikke nødvendigvis gå til alle som senere kjøpt boken."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Now, the Adobe eBook Reader calls these controls \"permissions\"-- as if the "
+"publisher has the power to control how you use these works. For works under "
+"copyright, the copyright owner certainly does have the power--up to the "
+"limits of the copyright law. But for work not under copyright, there is no "
+"such copyright power.<placeholder type=\"footnote\" id=\"0\"/> When my e-"
+"book of Middlemarch says I have the permission to copy only ten text "
+"selections into the memory every ten days, what that really means is that "
+"the eBook Reader has enabled the publisher to control how I use the book on "
+"my computer, far beyond the control that the law would enable."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The control comes instead from the code--from the technology within which "
+"the e-book \"lives.\" Though the e-book says that these are permissions, "
+"they are not the sort of \"permissions\" that most of us deal with. When a "
+"teenager gets \"permission\" to stay out till midnight, she knows (unless "
+"she's Cinderella) that she can stay out till 2 A.M., but will suffer a "
+"punishment if she's caught. But when the Adobe eBook Reader says I have the "
+"permission to make ten copies of the text into the computer's memory, that "
+"means that after I've made ten copies, the computer will not make any more. "
+"The same with the printing restrictions: After ten pages, the eBook Reader "
+"will not print any more pages. It's the same with the silly restriction "
+"that says that you can't use the Read Aloud button to read my book aloud--"
+"it's not that the company will sue you if you do; instead, if you push the "
+"Read Aloud button with my book, the machine simply won't read aloud."
+msgstr ""
+
+#. PAGE BREAK 163
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are controls, not permissions. Imagine a world where the Marx Brothers "
+"sold word processing software that, when you tried to type \"Warner Brothers,"
+"\" erased \"Brothers\" from the sentence."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is the future of copyright law: not so much copyright law as copyright "
+"code. The controls over access to content will not be controls that are "
+"ratified by courts; the controls over access to content will be controls "
+"that are coded by programmers. And whereas the controls that are built into "
+"the law are always to be checked by a judge, the controls that are built "
+"into the technology have no similar built-in check."
+msgstr ""
+"Dette er fremtiden til lov om opphavsrett: ikke så mye copyright lov som "
+"opphavsrett kode. Kontroller over tilgangen til innholdet kan ikke "
+"kontroller som er ratifisert av domstolene; Kontroller over tilgangen til "
+"innholdet vil være kontroller som er kodet av programmerere. og mens "
+"kontrollene som er innebygd i loven er alltid skal kontrolleres av en "
+"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende "
+"innebygde kontroller."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"How significant is this? Isn't it always possible to get around the controls "
+"built into the technology? Software used to be sold with technologies that "
+"limited the ability of users to copy the software, but those were trivial "
+"protections to defeat. Why won't it be trivial to defeat these protections "
+"as well?"
+msgstr ""
+"hvor betydelig er dette? er det ikke alltid mulig å komme seg rundt "
+"kontrollene som er innebygd i teknologien? programvaren brukes til å bli "
+"solgt med teknologier som begrenset mulighet til brukere å kopiere "
+"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke "
+"være trivielt å beseire slik beskyttelse også?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We've only scratched the surface of this story. Return to the Adobe eBook "
+"Reader."
+msgstr ""
+"Vi har bare riper i overflaten av denne historien. gå tilbake til adobe eBok-"
+"leser."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Early in the life of the Adobe eBook Reader, Adobe suffered a public "
+"relations nightmare. Among the books that you could download for free on the "
+"Adobe site was a copy of Alice's Adventures in Wonderland. This wonderful "
+"book is in the public domain. Yet when you clicked on Permissions for that "
+"book, you got the following report:"
+msgstr ""
+"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bøkene "
+"som du kan laste ned gratis på adobe siden var en kopi av alice's adventures "
+"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennå når "
+"du klikket på tillatelser for boken, fikk du det fulgte rapporten:"
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1641.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 164
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Here was a public domain children's book that you were not allowed to copy, "
+"not allowed to lend, not allowed to give, and, as the \"permissions\" "
+"indicated, not allowed to \"read aloud\"!"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The public relations nightmare attached to that final permission. For the "
+"text did not say that you were not permitted to use the Read Aloud button; "
+"it said you did not have the permission to read the book aloud. That led "
+"some people to think that Adobe was restricting the right of parents, for "
+"example, to read the book to their children, which seemed, to say the least, "
+"absurd."
+msgstr ""
+"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si "
+"at du ikke var tillatt å bruke lese høyt knappen; det sa du ikke har "
+"tillatelse til å lese boken høyt. som ledet noen folk å tenke at adobe var "
+"begrense høyre for foreldre, for eksempel å lese boken til sine barn, som "
+"syntes å si mildt, absurd."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Adobe responded quickly that it was absurd to think that it was trying to "
+"restrict the right to read a book aloud. Obviously it was only restricting "
+"the ability to use the Read Aloud button to have the book read aloud. But "
+"the question Adobe never did answer is this: Would Adobe thus agree that a "
+"consumer was free to use software to hack around the restrictions built into "
+"the eBook Reader? If some company (call it Elcomsoft) developed a program to "
+"disable the technological protection built into an Adobe eBook so that a "
+"blind person, say, could use a computer to read the book aloud, would Adobe "
+"agree that such a use of an eBook Reader was fair? Adobe didn't answer "
+"because the answer, however absurd it might seem, is no."
+msgstr ""
+"Adobe svarte raskt at det var absurd å tro at den prøvde å begrense "
+"rettigheten til å lese en bok høyt. Det ble åpenbart bare begrense "
+"muligheten til å bruke lese høyt knappen for å få boken lest høyt. Men "
+"spørsmålet adobe aldri svar er dette: er adobe dermed enig at en forbruker "
+"var fri til å bruke programvare for å banalisere rundt restriksjoner som er "
+"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et "
+"program for å deaktivere teknologiske beskyttelsen som er innebygd i en "
+"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til å lese "
+"boken høyt, vil adobe være enig at slik bruk av en eBok-leser var "
+"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er "
+"ingen."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The point is not to blame Adobe. Indeed, Adobe is among the most innovative "
+"companies developing strategies to balance open access to content with "
+"incentives for companies to innovate. But Adobe's technology enables "
+"control, and Adobe has an incentive to defend this control. That incentive "
+"is understandable, yet what it creates is often crazy."
+msgstr ""
+"Poenget er ikke å klandre adobe. faktisk, adobe er blant de mest innovative "
+"selskapene som utvikler strategier for å balansere åpen tilgang til innhold "
+"med insentiver for bedriftene å skape noe nytt. men Adobes teknologi gjør "
+"det mulig for kontroll, og adobe har et insentiv til å forsvare denne "
+"kontrollen. dette insentiv er forståelig, men hva som skaper er ofte gal."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"To see the point in a particularly absurd context, consider a favorite story "
+"of mine that makes the same point."
+msgstr ""
+"Hvis du vil se punktet i en spesielt absurd sammenheng, bør du vurdere en "
+"favoritt historien om mine som gjør det samme punktet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Consider the robotic dog made by Sony named \"Aibo.\" The Aibo learns "
+"tricks, cuddles, and follows you around. It eats only electricity and that "
+"doesn't leave that much of a mess (at least in your house)."
+msgstr ""
+
+#. PAGE BREAK 165
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Aibo is expensive and popular. Fans from around the world have set up "
+"clubs to trade stories. One fan in particular set up a Web site to enable "
+"information about the Aibo dog to be shared. This fan set up aibopet.com "
+"(and aibohack.com, but that resolves to the same site), and on that site he "
+"provided information about how to teach an Aibo to do tricks in addition to "
+"the ones Sony had taught it."
+msgstr ""
+"aibo er dyrt og populære. fans fra hele verden har satt opp klubber til "
+"handel historier. en vifte spesielt satt opp et webområde slik at "
+"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com "
+"(og aibohack.com, men de løser til det samme området), og han gitt "
+"informasjon om hvordan du lære en aibo å gjøre triks i tillegg til de sony "
+"hadde lært det på det området."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"\"Teach\" here has a special meaning. Aibos are just cute computers. You "
+"teach a computer how to do something by programming it differently. So to "
+"say that aibopet.com was giving information about how to teach the dog to do "
+"new tricks is just to say that aibopet.com was giving information to users "
+"of the Aibo pet about how to hack their computer \"dog\" to make it do new "
+"tricks (thus, aibohack.com)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If you're not a programmer or don't know many programmers, the word hack has "
+"a particularly unfriendly connotation. Nonprogrammers hack bushes or weeds. "
+"Nonprogrammers in horror movies do even worse. But to programmers, or "
+"coders, as I call them, hack is a much more positive term. Hack just means "
+"code that enables the program to do something it wasn't originally intended "
+"or enabled to do. If you buy a new printer for an old computer, you might "
+"find the old computer doesn't run, or \"drive,\" the printer. If you "
+"discovered that, you'd later be happy to discover a hack on the Net by "
+"someone who has written a driver to enable the computer to drive the printer "
+"you just bought."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Some hacks are easy. Some are unbelievably hard. Hackers as a community like "
+"to challenge themselves and others with increasingly difficult tasks. "
+"There's a certain respect that goes with the talent to hack well. There's a "
+"well-deserved respect that goes with the talent to hack ethically."
+msgstr ""
+"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap "
+"liker å utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er "
+"en viss respekt som går med talent å hacke godt. Det er en velfortjent "
+"respekt som går med talent å hacke etisk."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Aibo fan was displaying a bit of both when he hacked the program and "
+"offered to the world a bit of code that would enable the Aibo to dance jazz. "
+"The dog wasn't programmed to dance jazz. It was a clever bit of tinkering "
+"that turned the dog into a more talented creature than Sony had built."
+msgstr ""
+"fan aibo var vise litt av begge når han hacket programmet og tilbød å verden "
+"litt kode som ville gjøre det mulig for aibo å danse jazz. hunden var ikke "
+"programmert å danse jazz. Det var en smart bit av fiksing og triksing som "
+"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget."
+
+#. PAGE BREAK 166
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I've told this story in many contexts, both inside and outside the United "
+"States. Once I was asked by a puzzled member of the audience, is it "
+"permissible for a dog to dance jazz in the United States? We forget that "
+"stories about the backcountry still flow across much of the world. So let's "
+"just be clear before we continue: It's not a crime anywhere (anymore) to "
+"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it "
+"be a crime (though we don't have a lot to go on here) to teach your robot "
+"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines "
+"that the owner of aibopet.com thought, What possible problem could there be "
+"with teaching a robot dog to dance?"
+msgstr ""
+"Jeg har fortalt denne historien i mange sammenhenger, både i og utenfor USA. "
+"Når jeg ble spurt av en rådvill medlem av publikum, er det tillatt for en "
+"hunden å danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles "
+"flyter gjennom store deler av verden. så la oss være klare før vi "
+"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) å danse jazz. "
+"heller ikke er det en forbrytelse å lære din hunden å danse jazz. heller "
+"ikke bør det være en forbrytelse (selv om vi ikke har mye å gå på her) å "
+"lære hunden din robot å danse jazz. dans jazz er en helt lovlig aktivitet. "
+"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det være "
+"med undervisning en robot hunden å danse?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Let's put the dog to sleep for a minute, and turn to a pony show-- not "
+"literally a pony show, but rather a paper that a Princeton academic named Ed "
+"Felten prepared for a conference. This Princeton academic is well known and "
+"respected. He was hired by the government in the Microsoft case to test "
+"Microsoft's claims about what could and could not be done with its own code. "
+"In that trial, he demonstrated both his brilliance and his coolness. Under "
+"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not "
+"about to be bullied into being silent about something he knew very well."
+msgstr ""
+"La oss sette hunden å sove litt, og slå til en ponni Vis--ikke bokstavelig "
+"talt en ponni show, men heller et papir som en princeton akademiske kalt ed "
+"felten forberedt på en konferanse. Denne princeton akademiske er godt kjent "
+"og respektert. Han ble ansatt av regjeringen i microsoft-saken til å teste "
+"Microsofts krav om hva kunne og ikke kunne gjøres med en egen kode. i denne "
+"rettssaken demonstrerte han både hans herlighet og hans coolness. under tung "
+"badgering av microsoft advokater, ed felten stått sin bakken. Han var ikke "
+"om å bli mobba til å være stille om noe han visste godt."
+
+#. f22
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" "
+"Science 293 (2001): 2028; Brendan I. Koerner, \"Play Dead: Sony Muzzles the "
+"Techies Who Teach a Robot Dog New Tricks,\" American Prospect, January 2002; "
+"\"Court Dismisses Computer Scientists' Challenge to DMCA,\" Intellectual "
+"Property Litigation Reporter, 11 December 2001; Bill Holland, \"Copyright "
+"Act Raising Free-Speech Concerns,\" Billboard, May 2001; Janelle Brown, \"Is "
+"the RIAA Running Scared?\" Salon.com, April 2001; Electronic Frontier "
+"Foundation, \"Frequently Asked Questions about Felten and USENIX v. RIAA "
+"Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#27</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But Felten's bravery was really tested in April 2001.<placeholder type="
+"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper "
+"to be submitted at conference. The paper was intended to describe the "
+"weakness in an encryption system being developed by the Secure Digital Music "
+"Initiative as a technique to control the distribution of music."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The SDMI coalition had as its goal a technology to enable content owners to "
+"exercise much better control over their content than the Internet, as it "
+"originally stood, granted them. Using encryption, SDMI hoped to develop a "
+"standard that would allow the content owner to say \"this music cannot be "
+"copied,\" and have a computer respect that command. The technology was to "
+"be part of a \"trusted system\" of control that would get content owners to "
+"trust the system of the Internet much more."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When SDMI thought it was close to a standard, it set up a competition. In "
+"exchange for providing contestants with the code to an SDMI-encrypted bit of "
+"content, contestants were to try to crack it and, if they did, report the "
+"problems to the consortium."
+msgstr ""
+"Når sdmi trodde det var nær en standard, satt det opp en konkurranse. i "
+"bytte for å gi contestants med koden til en sdmi-krypterte bit av innholdet, "
+"var contestants å prøve å sprekk det, og hvis de gjorde, kan du rapportere "
+"problemer til konsortiet."
+
+#. PAGE BREAK 167
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Felten and his team figured out the encryption system quickly. He and the "
+"team saw the weakness of this system as a type: Many encryption systems "
+"would suffer the same weakness, and Felten and his team thought it "
+"worthwhile to point this out to those who study encryption."
+msgstr ""
+"felten og teamet hans funnet ut kryptering systemet raskt. Han og teamet så "
+"svakheten av dette systemet som en type: mange kryptering systemer vil lide "
+"samme svakhet, og felten og teamet hans trodde det verdt å påpeke dette til "
+"de som studerer kryptering."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Let's review just what Felten was doing. Again, this is the United States. "
+"We have a principle of free speech. We have this principle not just because "
+"it is the law, but also because it is a really great idea. A strongly "
+"protected tradition of free speech is likely to encourage a wide range of "
+"criticism. That criticism is likely, in turn, to improve the systems or "
+"people or ideas criticized."
+msgstr ""
+"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et "
+"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er "
+"loven, men også fordi det er en virkelig god idé. en sterkt beskyttet "
+"tradisjon av ytringsfriheten er sannsynlig å oppmuntre til et bredt spekter "
+"av kritikk. at kritikk er sannsynlig, i sin tur til å forbedre systemer "
+"eller personer eller ideer kritisert."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"What Felten and his colleagues were doing was publishing a paper describing "
+"the weakness in a technology. They were not spreading free music, or "
+"building and deploying this technology. The paper was an academic essay, "
+"unintelligible to most people. But it clearly showed the weakness in the "
+"SDMI system, and why SDMI would not, as presently constituted, succeed."
+msgstr ""
+"Hva felten og hans kolleger gjorde var publisering en papiret beskriver "
+"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og "
+"distribusjon av denne teknologien. papiret var en faglige essay, uleselig "
+"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi "
+"ville ikke, så dag konstituert, lykkes."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"What links these two, aibopet.com and Felten, is the letters they then "
+"received. Aibopet.com received a letter from Sony about the aibopet.com "
+"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:"
+msgstr ""
+"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter "
+"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. "
+"Selv om en jazz-dans hunden er helt lovlig, skrev sony:"
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Your site contains information providing the means to circumvent AIBO-ware's "
+"copy protection protocol constituting a violation of the anti-circumvention "
+"provisions of the Digital Millennium Copyright Act."
+msgstr ""
+"nettstedet inneholder informasjon metoder for å omgå aibo-ware "
+"kopibeskyttelse protokollen utgjør et brudd på anti-omgåelse bestemmelsene i "
+"digital millennium copyright act."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"And though an academic paper describing the weakness in a system of "
+"encryption should also be perfectly legal, Felten received a letter from an "
+"RIAA lawyer that read:"
+msgstr ""
+"og selv om en akademisk papiret beskriver svakhet i et system av kryptering "
+"bør også være helt lovlig, felten mottatt et brev fra en riaa advokat som "
+"lese:"
+
+#. PAGE BREAK 168
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Any disclosure of information gained from participating in the Public "
+"Challenge would be outside the scope of activities permitted by the "
+"Agreement and could subject you and your research team to actions under the "
+"Digital Millennium Copyright Act (\"DMCA\")."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In both cases, this weirdly Orwellian law was invoked to control the spread "
+"of information. The Digital Millennium Copyright Act made spreading such "
+"information an offense."
+msgstr ""
+"i begge tilfeller ble denne nifs orwellian loven startet for å kontrollere "
+"spredningen av informasjon. digital millennium copyright act gjort sprer seg "
+"slik informasjon en krenkelser."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The DMCA was enacted as a response to copyright owners' first fear about "
+"cyberspace. The fear was that copyright control was effectively dead; the "
+"response was to find technologies that might compensate. These new "
+"technologies would be copyright protection technologies-- technologies to "
+"control the replication and distribution of copyrighted material. They were "
+"designed as code to modify the original code of the Internet, to reestablish "
+"some protection for copyright owners."
+msgstr ""
+"dmca ble vedtatt som en reaksjon på opphavsrett eiernes første frykt om "
+"cyberspace. frykt var at opphavsrett kontroll var effektivt død; svaret var "
+"å finne teknologier som kan kompensere. disse nye teknologiene ville være "
+"opphavsrettsbeskyttelse teknologier--teknologier for å kontrollere "
+"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble "
+"utviklet som kode for å endre den opprinnelige koden for Internett, for å "
+"gjenopprette noe beskyttelse for eiere av opphavsretter."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The DMCA was a bit of law intended to back up the protection of this code "
+"designed to protect copyrighted material. It was, we could say, legal code "
+"intended to buttress software code which itself was intended to support the "
+"legal code of copyright."
+msgstr ""
+"dmca var litt av loven som er ment å sikkerhetskopiere beskyttelse av denne "
+"koden som er utformet for å beskytte opphavsrettsbeskyttet materiale. Det "
+"var vi kunne si, Juridisk Lisenstekst ment å buttress programvarekode som "
+"selv var ment å støtte Juridisk Lisenstekst av opphavsrett."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But the DMCA was not designed merely to protect copyrighted works to the "
+"extent copyright law protected them. Its protection, that is, did not end at "
+"the line that copyright law drew. The DMCA regulated devices that were "
+"designed to circumvent copyright protection measures. It was designed to ban "
+"those devices, whether or not the use of the copyrighted material made "
+"possible by that circumvention would have been a copyright violation."
+msgstr ""
+"men dmca ble ikke utformet for bare å beskytte opphavsrettslig beskyttet "
+"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si "
+"ikke slutten på linjen som trakk av lov om opphavsrett. dmca regulert "
+"enheter som ble utviklet for å omgå opphavsrettsbeskyttelse tiltak. den ble "
+"utformet for å forby disse enheter, om bruk av opphavsrettslig materiale "
+"gjort mulig ved at omgåelse ville ha vært et brudd på opphavsretten."
+
+#. PAGE BREAK 169
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Aibopet.com and Felten make the point. The Aibo hack circumvented a "
+"copyright protection system for the purpose of enabling the dog to dance "
+"jazz. That enablement no doubt involved the use of copyrighted material. But "
+"as aibopet.com's site was noncommercial, and the use did not enable "
+"subsequent copyright infringements, there's no doubt that aibopet.com's hack "
+"was fair use of Sony's copyrighted material. Yet fair use is not a defense "
+"to the DMCA. The question is not whether the use of the copyrighted material "
+"was a copyright violation. The question is whether a copyright protection "
+"system was circumvented."
+msgstr ""
+"aibopet.com og felten gjøre punktet. det aibo banalisere omgikk et system "
+"for opphavsrettsbeskyttelse for å aktivere hunden å danse jazz. at "
+"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men "
+"som aibopet.com's området var ikke-kommersielt, og bruk ikke aktiverte "
+"etterfølgende opphavsrett infringements, er det ingen tvil om at aibopet.com "
+"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. "
+"rettferdig bruk er ennå ikke krenkelser av dmca. spørsmålet er ikke om bruk "
+"av opphavsrettslig materiale var et brudd på opphavsretten. spørsmålet er om "
+"et system for opphavsrettsbeskyttelse var omgikk."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The threat against Felten was more attenuated, but it followed the same line "
+"of reasoning. By publishing a paper describing how a copyright protection "
+"system could be circumvented, the RIAA lawyer suggested, Felten himself was "
+"distributing a circumvention technology. Thus, even though he was not "
+"himself infringing anyone's copyright, his academic paper was enabling "
+"others to infringe others' copyright."
+msgstr ""
+"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med "
+"resonnement. ved å publisere en papir som beskriver hvordan et system for "
+"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslått, felten "
+"selv var distribuere en omgåelse-teknologi. Således, selv om han ikke var "
+"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre "
+"til å krenke andres opphavsrett."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by "
+"Paul Conrad. At that time, a court in California had held that the VCR could "
+"be banned because it was a copyright-infringing technology: It enabled "
+"consumers to copy films without the permission of the copyright owner. No "
+"doubt there were uses of the technology that were legal: Fred Rogers, aka "
+"\"Mr. Rogers,\" for example, had testified in that case that he wanted "
+"people to feel free to tape Mr. Rogers' Neighborhood."
+msgstr ""
+
+#. f23
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. "
+#| "417, 455 fn. 27 (1984). Rogers never changed his view about the VCR. See "
+#| "James Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught "
+#| "of the VCR (New York: W. W. Norton, 1987), 27071."
+msgid ""
+"Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, "
+"455 fn. 27 (1984). Rogers never changed his view about the VCR. See James "
+"Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR "
+"(New York: W. W. Norton, 1987), 27071."
+msgstr ""
+"Sony corporation of america v. universal city studios, inc., 464 amerikanske "
+"417, 455 fn. 27 (1984). Rogers endret aldri sitt syn om videoopptakeren. se "
+"james lardner, spole fremover: hollywood, japanske og onslaught av "
+"videoopptakeren (new york: w. w. norton, 1987), 27071."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Some public stations, as well as commercial stations, program the "
+"\"Neighborhood\" at hours when some children cannot use it. I think that "
+"it's a real service to families to be able to record such programs and show "
+"them at appropriate times. I have always felt that with the advent of all of "
+"this new technology that allows people to tape the \"Neighborhood\" off-the-"
+"air, and I'm speaking for the \"Neighborhood\" because that's what I "
+"produce, that they then become much more active in the programming of their "
+"family's television life. Very frankly, I am opposed to people being "
+"programmed by others. My whole approach in broadcasting has always been "
+"\"You are an important person just the way you are. You can make healthy "
+"decisions.\" Maybe I'm going on too long, but I just feel that anything that "
+"allows a person to be more active in the control of his or her life, in a "
+"healthy way, is important.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 170
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Even though there were uses that were legal, because there were some uses "
+"that were illegal, the court held the companies producing the VCR "
+"responsible."
+msgstr ""
+"Selv om det var bruker som var juridiske, fordi det var noen bruksområder "
+"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This led Conrad to draw the cartoon below, which we can adopt to the DMCA."
+msgstr ""
+"Dette førte conrad å trekke tegneserie nedenfor, som vi kan vedta å dmca."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "No argument I have can top this picture, but let me try to get close."
+msgstr ""
+"ingen argument jeg har kan topp dette bildet, men la meg prøve å komme nær."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The anticircumvention provisions of the DMCA target copyright circumvention "
+"technologies. Circumvention technologies can be used for different ends. "
+"They can be used, for example, to enable massive pirating of copyrighted "
+"material--a bad end. Or they can be used to enable the use of particular "
+"copyrighted materials in ways that would be considered fair use--a good end."
+msgstr ""
+"anticircumvention bestemmelsene i dmca mot opphavsrett omgåelse teknologier. "
+"omgåelse teknologiene kan brukes for ulike ender. de kan brukes, for "
+"eksempel å aktivere massiv pirating av opphavsrettsbeskyttet materiale--en "
+"dårlig slutt. eller de kan brukes til å aktivere bruken av bestemt "
+"opphavsrettsbeskyttet materiale på måter som vil anses rimelig bruk--en god "
+"slutt."
+
+#. PAGE BREAK 171
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"A handgun can be used to shoot a police officer or a child. Most would agree "
+"such a use is bad. Or a handgun can be used for target practice or to "
+"protect against an intruder. At least some would say that such a use would "
+"be good. It, too, is a technology that has both good and bad uses."
+msgstr ""
+"en pistol kan brukes til å skyte en politimann eller et barn. de fleste vil "
+"være enige slik bruk er dårlig. eller en pistol kan brukes for målet "
+"praksis, eller for å beskytte mot en inntrenger. minst noen vil si at slik "
+"bruk ville vært bra. det, også, er en teknologi som har både gode og dårlige "
+"bruker."
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1711.jpg\"></graphic>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The obvious point of Conrad's cartoon is the weirdness of a world where guns "
+"are legal, despite the harm they can do, while VCRs (and circumvention "
+"technologies) are illegal. Flash: No one ever died from copyright "
+"circumvention. Yet the law bans circumvention technologies absolutely, "
+"despite the potential that they might do some good, but permits guns, "
+"despite the obvious and tragic harm they do."
+msgstr ""
+"den åpenbare punkt conrad's tegneserie er weirdness av en verden der guns er "
+"juridisk, til tross for skade som de kan gjøre, mens videospillere (og "
+"omgåelse teknologier) er ulovlig. Flash: ingen noensinne døde fra "
+"opphavsrett omgåelse. ennå forbud lov omgåelse teknologier absolutt, til "
+"tross for potensialet som de kan gjøre noe godt, men tillater våpen, til "
+"tross for den åpenbare og tragisk skaden de gjør."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Aibo and RIAA examples demonstrate how copyright owners are changing the "
+"balance that copyright law grants. Using code, copyright owners restrict "
+"fair use; using the DMCA, they punish those who would attempt to evade the "
+"restrictions on fair use that they impose through code. Technology becomes a "
+"means by which fair use can be erased; the law of the DMCA backs up that "
+"erasing."
+msgstr ""
+"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som "
+"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter "
+"fair use; bruker dmca, straffe de de som vil forsøke å unngå begrensningene "
+"på rimelig bruk som de innføre gjennom koden. teknologien blir et middel som "
+"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+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."
+msgstr ""
+"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien "
+"for kopiering og tilgang beskyttelse bli regler bryter som er også et brudd "
+"på loven. på denne måten utvider koden loven--øke sin regulering, selv om "
+"emnet den regulerer (aktiviteter som ellers tydelig utgjør rimelig bruk) er "
+"utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode "
+"dermed utvider kontrollen som eiere av opphavsretter effekt--minst for de "
+"innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene som "
+"felten og aibopet.com som er mottatt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There is one final aspect of the interaction between architecture and law "
+"that contributes to the force of copyright's regulation. This is the ease "
+"with which infringements of the law can be detected. For contrary to the "
+"rhetoric common at the birth of cyberspace that on the Internet, no one "
+"knows you're a dog, increasingly, given changing technologies deployed on "
+"the Internet, it is easy to find the dog who committed a legal wrong. The "
+"technologies of the Internet are open to snoops as well as sharers, and the "
+"snoops are increasingly good at tracking down the identity of those who "
+"violate the rules."
+msgstr ""
+"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til "
+"styrken av copyright's regulering. Dette er enkelt som infringements av "
+"loven som kan oppdages. for i motsetning til retorikken felles fødselen av "
+"cyberspace at på Internett, ingen vet du er en hunden, i økende grad er gitt "
+"skiftende teknologier som er deployert på Internett, det enkelt å finne "
+"hunden som har begått en juridisk feil. teknologien av Internett er åpne for "
+"snoops, så vel som brukere, og snoops er stadig gode på sporing ned "
+"identiteten til de som bryter reglene."
+
+#. f24
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, "
+"Copyright, Fan Fiction, and a New Common Law,\" Loyola of Los Angeles "
+"Entertainment Law Journal 17 (1997): 651."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"For example, imagine you were part of a Star Trek fan club. You gathered "
+"every month to share trivia, and maybe to enact a kind of fan fiction about "
+"the show. One person would play Spock, another, Captain Kirk. The characters "
+"would begin with a plot from a real story, then simply continue it."
+"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Before the Internet, this was, in effect, a totally unregulated activity. "
+"No matter what happened inside your club room, you would never be interfered "
+"with by the copyright police. You were free in that space to do as you "
+"wished with this part of our culture. You were allowed to build on it as you "
+"wished without fear of legal control."
+msgstr ""
+"før Internett var dette faktisk, en helt unregulated aktivitet. Uansett hva "
+"som skjedde i club-rommet ditt, vil du aldri bli forstyrret av opphavsrett "
+"politiet. du var gratis i denne plassen å gjøre som du vil. med denne delen "
+"av vår kultur. du ble tillatt å bygge videre på det som du selv ønsker, uten "
+"frykt for juridisk kontroll."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But if you moved your club onto the Internet, and made it generally "
+"available for others to join, the story would be very different. Bots "
+"scouring the Net for trademark and copyright infringement would quickly find "
+"your site. Your posting of fan fiction, depending upon the ownership of the "
+"series that you're depicting, could well inspire a lawyer's threat. And "
+"ignoring the lawyer's threat would be extremely costly indeed. The law of "
+"copyright is extremely efficient. The penalties are severe, and the process "
+"is quick."
+msgstr ""
+"men hvis du har flyttet din klubb til Internett, og gjorde det vanligvis "
+"tilgjengelig for andre til å delta, historien ville være svært forskjellige. "
+"robotsøkeprogrammer scouring nettet for varemerke- og copyright infringement "
+"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av "
+"eierskap av serien som du som viser, kan også inspirere en advokat trussel. "
+"og ignorerer den advokat trussel ville være uhyre kostbart faktisk. loven om "
+"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er "
+"rask."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This change in the effective force of the law is caused by a change in the "
+"ease with which the law can be enforced. That change too shifts the law's "
+"balance radically. It is as if your car transmitted the speed at which you "
+"traveled at every moment that you drove; that would be just one step before "
+"the state started issuing tickets based upon the data you transmitted. That "
+"is, in effect, what is happening here."
+msgstr ""
+"Denne endringen i effektiv makt i loven er forårsaket av en endring i lett "
+"som kan håndheves loven. at endringen også skifter loven er balansere "
+"radikalt. Det er som om bilen overføres hastigheten som du reist på hvert "
+"øyeblikk som du kjørte; det ville være bare ett trinn før staten begynte å "
+"utstede billetter basert på dataene du har overført. det vil si, hva som "
+"skjer her."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Market: Concentration"
+msgstr "markedet: konsentrasjon"
+
+#. PAGE BREAK 173
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"So copyright's duration has increased dramatically--tripled in the past "
+"thirty years. And copyright's scope has increased as well--from regulating "
+"only publishers to now regulating just about everyone. And copyright's reach "
+"has changed, as every action becomes a copy and hence presumptively "
+"regulated. And as technologists find better ways to control the use of "
+"content, and as copyright is increasingly enforced through technology, "
+"copyright's force changes, too. Misuse is easier to find and easier to "
+"control. This regulation of the creative process, which began as a tiny "
+"regulation governing a tiny part of the market for creative work, has become "
+"the single most important regulator of creativity there is. It is a massive "
+"expansion in the scope of the government's control over innovation and "
+"creativity; it would be totally unrecognizable to those who gave birth to "
+"copyright's control."
+msgstr ""
+"Slik copyright's varighet har økt dramatisk--tredoblet de siste tretti "
+"årene. og copyright's omfang har økt samt--fra regulerer bare utgivere å "
+"regulere nå omtrent alle. og copyright's rekkevidde har endret, som hver "
+"handling blir en kopi og dermed presumptively regulert. og som "
+"Teknologorganisasjon finne bedre måter å kontrollere bruken av innhold, og "
+"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft "
+"endringer, også. misbruk er enklere å finne og enklere å kontrollere. Denne "
+"reguleringen av den kreative prosessen, som begynte som en liten regulering "
+"som styrer en liten del av markedet for skapende arbeid, har blitt enkelt "
+"viktigste regulator av kreativitet som det er. Det er en massiv økning i "
+"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville "
+"være helt ugjenkjennelige til de som fødte copyright's kontroll."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Still, in my view, all of these changes would not matter much if it weren't "
+"for one more change that we must also consider. This is a change that is in "
+"some sense the most familiar, though its significance and scope are not well "
+"understood. It is the one that creates precisely the reason to be concerned "
+"about all the other changes I have described."
+msgstr ""
+"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det "
+"ikke var for en enda en endring som må vi også vurdere. Dette er en endring "
+"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er "
+"godt forstått. Det er den som oppretter nettopp grunnen til å være bekymret "
+"for alle andre endringer jeg har beskrevet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is the change in the concentration and integration of the media. In "
+"the past twenty years, the nature of media ownership has undergone a radical "
+"alteration, caused by changes in legal rules governing the media. Before "
+"this change happened, the different forms of media were owned by separate "
+"media companies. Now, the media is increasingly owned by only a few "
+"companies. Indeed, after the changes that the FCC announced in June 2003, "
+"most expect that within a few years, we will live in a world where just "
+"three companies control more than percent of the media."
+msgstr ""
+"Dette er endring i konsentrasjon og integrering av media. i de siste tjue "
+"årene, har natur av media eierskapet gjennomgått en radikal endring, "
+"forårsaket av endringer i juridiske reglene som styrer media. før denne "
+"endringen skjedde, var de ulike formene for media eid av egen media "
+"selskapene. media eies nå, i økende grad av bare et par selskaper. faktisk, "
+"etter endringene som fcc annonsert i juni 2003, mest forventer at innen få "
+"år vil vi lever i en verden der bare tre selskaper kontrollere mer enn "
+"prosent av media."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These changes are of two sorts: the scope of concentration, and its nature."
+msgstr ""
+"disse endringene er i to former: omfanget av konsentrasjon, og dens natur."
+
+#. f25
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"FCC Oversight: Hearing Before the Senate Commerce, Science and "
+"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement "
+"of Senator John McCain)."
+msgstr ""
+"FCC oversight: høring før Senatet commerce, science and transport komiteen, "
+"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)."
+
+#. f26
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" "
+"New York Times, 23 December 2002."
+msgstr ""
+
+#. f27
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 "
+"May 2003."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Changes in scope are the easier ones to describe. As Senator John McCain "
+"summarized the data produced in the FCC's review of media ownership, \"five "
+"companies control 85 percent of our media sources.\"<placeholder type="
+"\"footnote\" id=\"0\"/> The five recording labels of Universal Music Group, "
+"BMG, Sony Music Entertainment, Warner Music Group, and EMI control 84.8 "
+"percent of the U.S. music market.<placeholder type=\"footnote\" id=\"1\"/> "
+"The \"five largest cable companies pipe programming to 74 percent of the "
+"cable subscribers nationwide.\"<placeholder type=\"footnote\" id=\"2\"/>"
+msgstr ""
+
+#. PAGE BREAK 174
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The story with radio is even more dramatic. Before deregulation, the "
+"nation's largest radio broadcasting conglomerate owned fewer than seventy-"
+"five stations. Today one company owns more than 1,200 stations. During that "
+"period of consolidation, the total number of radio owners dropped by 34 "
+"percent. Today, in most markets, the two largest broadcasters control 74 "
+"percent of that market's revenues. Overall, just four companies control 90 "
+"percent of the nation's radio advertising revenues."
+msgstr ""
+"historien med radio er enda mer dramatisk. før dereguleringen, landets "
+"største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag "
+"eier en selskapet mer enn 1 200 stasjoner. i denne perioden av "
+"konsolidering, det totale antallet radio eiere droppet av 34 prosent. i dag, "
+"i de fleste markeder styre de to største broadcasters 74 prosent av dette "
+"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets "
+"radio annonsering inntekter."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Newspaper ownership is becoming more concentrated as well. Today, there are "
+"six hundred fewer daily newspapers in the United States than there were "
+"eighty years ago, and ten companies control half of the nation's "
+"circulation. There are twenty major newspaper publishers in the United "
+"States. The top ten film studios receive 99 percent of all film revenue. The "
+"ten largest cable companies account for 85 percent of all cable revenue. "
+"This is a market far from the free press the framers sought to protect. "
+"Indeed, it is a market that is quite well protected-- by the market."
+msgstr ""
+"avisen eierskap er i ferd med å bli mer konsentrert også. i dag, er det seks "
+"hundre færre daglige aviser i USA enn det var åtti år siden og ti selskaper "
+"kontroll halvparten av landets sirkulasjon. Det er tjue stor avis utgivere i "
+"USA. topp ti film studioer motta 99 prosent av alle inntekter for filmen. ti "
+"største kabelselskaper konto for 85 prosent av alle inntekter for kabel. "
+"Dette er et marked langt fra fri presse underskrev søkt å beskytte. Det er "
+"faktisk et marked som er svært godt beskyttet--av markedet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Concentration in size alone is one thing. The more invidious change is in "
+"the nature of that concentration. As author James Fallows put it in a recent "
+"article about Rupert Murdoch,"
+msgstr ""
+"konsentrasjon i størrelse alene er én ting. mer invidious endringen er i "
+"natur at konsentrasjon. som forfatter james fallows sette den i en fersk "
+"artikkel om rupert murdoch,"
+
+#. f28
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): 89."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Murdoch's companies now constitute a production system unmatched in its "
+"integration. They supply content--Fox movies . . . Fox TV shows . . . Fox-"
+"controlled sports broadcasts, plus newspapers and books. They sell the "
+"content to the public and to advertisers--in newspapers, on the broadcast "
+"network, on the cable channels. And they operate the physical distribution "
+"system through which the content reaches the customers. Murdoch's satellite "
+"systems now distribute News Corp. content in Europe and Asia; if Murdoch "
+"becomes DirecTV's largest single owner, that system will serve the same "
+"function in the United States.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The pattern with Murdoch is the pattern of modern media. Not just large "
+"companies owning many radio stations, but a few companies owning as many "
+"outlets of media as possible. A picture describes this pattern better than a "
+"thousand words could do:"
+msgstr ""
+"mønsteret med murdoch er mønsteret av moderne medier. ikke bare store "
+"selskaper å eie mange radiostasjoner, men noen selskaper å eie så mange "
+"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjøre "
+"dette mønsteret:"
+
+#. type: Content of: <book><chapter><sect1><sect2><figure>
+msgid "<graphic fileref=\"1761.jpg\"></graphic>"
+msgstr ""
+
+#. PAGE BREAK 175
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Does this concentration matter? Will it affect what is made, or what is "
+"distributed? Or is it merely a more efficient way to produce and distribute "
+"content?"
+msgstr ""
+"har denne konsentrasjonen saken? vil det påvirke hva er gjort, eller hva er "
+"distribuert? eller er det bare en mer effektiv måte å produsere og "
+"distribuere innhold?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"My view was that concentration wouldn't matter. I thought it was nothing "
+"more than a more efficient financial structure. But now, after reading and "
+"listening to a barrage of creators try to convince me to the contrary, I am "
+"beginning to change my mind."
+msgstr ""
+"Jeg var at konsentrasjon ikke ville saken. Jeg trodde det var ingenting mer "
+"enn en mer effektive økonomiske strukturen. men nå, etter at lese og lytte "
+"til en barrage av skaperne prøver å overbevise meg om det motsatte, jeg "
+"begynner å endre meg sinn."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Here's a representative story that begins to suggest how this integration "
+"may matter."
+msgstr ""
+"Her er en representant historie som begynner å foreslå hvordan denne "
+"integreringen kan saken."
+
+#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
+msgid "ABC"
+msgstr "ABC"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1969, Norman Lear created a pilot for All in the Family. He took the "
+"pilot to ABC. The network didn't like it. It was too edgy, they told Lear. "
+"Make it again. Lear made a second pilot, more edgy than the first. ABC was "
+"exasperated. You're missing the point, they told Lear. We wanted less edgy, "
+"not more."
+msgstr ""
+"i 1969, norman lear opprettet en pilot for alle i familien. Han tok piloten "
+"til abc. nettverket liker ikke det. Det var også irritabel, fortalte de "
+"lear. gjøre det igjen. Lear gjort en andre pilot, mer irritabel enn først. "
+"ABC var exasperated. du mangler punktet, fortalte de lear. Vi ønsket mindre "
+"irritabel, ikke mer."
+
+#. f29
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Leonard Hill, \"The Axis of Access,\" remarks before Weidenbaum Center "
+"Forum, \"Entertainment Economics: The Movie Industry,\" St. Louis, Missouri, "
+"3 April 2003 (transcript of prepared remarks available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #28</ulink>; for the Lear story, not "
+"included in the prepared remarks, see <ulink url=\"http://free-culture.cc/"
+"notes/\">link #29</ulink>)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Rather than comply, Lear simply took the show elsewhere. CBS was happy to "
+"have the series; ABC could not stop Lear from walking. The copyrights that "
+"Lear held assured an independence from network control.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 176
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The network did not control those copyrights because the law forbade the "
+"networks from controlling the content they syndicated. The law required a "
+"separation between the networks and the content producers; that separation "
+"would guarantee Lear freedom. And as late as 1992, because of these rules, "
+"the vast majority of prime time television--75 percent of it--was "
+"\"independent\" of the networks."
+msgstr ""
+
+#. f30
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media "
+"Ownership Before the Senate Commerce Committee, 108th Cong., 1st sess. "
+"(2003) (testimony of Gene Kimmelman on behalf of Consumers Union and the "
+"Consumer Federation of America), available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #30</ulink>. Kimmelman quotes Victoria Riskin, "
+"president of Writers Guild of America, West, in her Remarks at FCC En Banc "
+"Hearing, Richmond, Virginia, 27 February 2003."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1994, the FCC abandoned the rules that required this independence. After "
+"that change, the networks quickly changed the balance. In 1985, there were "
+"twenty-five independent television production studios; in 2002, only five "
+"independent television studios remained. \"In 1992, only 15 percent of new "
+"series were produced for a network by a company it controlled. Last year, "
+"the percentage of shows produced by controlled companies more than "
+"quintupled to 77 percent.\" \"In 1992, 16 new series were produced "
+"independently of conglomerate control, last year there was one."
+"\"<placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime "
+"time television was owned by the networks that ran it. \"In the ten-year "
+"period between 1992 and 2002, the number of prime time television hours per "
+"week produced by network studios increased over 200%, whereas the number of "
+"prime time television hours per week produced by independent studios "
+"decreased 63%.\"<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Today, another Norman Lear with another All in the Family would find that he "
+"had the choice either to make the show less edgy or to be fired: The content "
+"of any show developed for a network is increasingly owned by the network."
+msgstr ""
+"i dag, en annen norman lear med en annen alle i familien ville finne at han "
+"måtte velge å gjøre showet mindre irritabel eller sparken: innholdet i et "
+"hvilket som helst Vis utviklet for et nettverk er i økende grad eid av "
+"nettverket."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"While the number of channels has increased dramatically, the ownership of "
+"those channels has narrowed to an ever smaller and smaller few. As Barry "
+"Diller said to Bill Moyers,"
+msgstr ""
+"mens antall kanaler har økt dramatisk, har eierskap av disse kanalene "
+"begrenses til en stadig mindre og mindre få. som barry diller sa til bill "
+"moyers,"
+
+#. f32
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill "
+"Moyers, 25 April 2003, edited transcript available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #31</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"Well, if you have companies that produce, that finance, that air on their "
+"channel and then distribute worldwide everything that goes through their "
+"controlled distribution system, then what you get is fewer and fewer actual "
+"voices participating in the process. [We u]sed to have dozens and dozens of "
+"thriving independent production companies producing television programs. Now "
+"you have less than a handful.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This narrowing has an effect on what is produced. The product of such large "
+"and concentrated networks is increasingly homogenous. Increasingly safe. "
+"Increasingly sterile. The product of news shows from networks like this is "
+"increasingly tailored to the message the network wants to convey. This is "
+"not the communist party, though from the inside, it must feel a bit like the "
+"communist party. No one can question without risk of consequence--not "
+"necessarily banishment to Siberia, but punishment nonetheless. Independent, "
+"critical, different views are quashed. This is not the environment for a "
+"democracy."
+msgstr ""
+"dette begrense har en effekt på det som produseres. produktet av slike store "
+"og konsentrert nettverk er stadig mer homogene. stadig mer trygg. stadig "
+"sterilt. produktet av nyhetsprogrammer fra nettverk som dette er stadig "
+"skreddersydd til meldingen nettverket ønsker å formidle. Dette er ikke det "
+"kommunistiske parten, selv om fra innsiden, må det føles litt som det "
+"kommunistiske parten. Ingen kan spørsmålet uten risiko for konsekvens--ikke "
+"nødvendigvis banishment til Sibir, men straff likevel. uavhengige, kritiske, "
+"forskjellige visninger er ødela. Dette er ikke miljø for et demokrati."
+
+#. 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): 23551. 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)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Economics itself offers a parallel that explains why this integration "
+"affects creativity. Clay Christensen has written about the \"Innovator's "
+"Dilemma\": the fact that large traditional firms find it rational to ignore "
+"new, breakthrough technologies that compete with their core business. The "
+"same analysis could help explain why large, traditional media companies "
+"would find it rational to ignore new cultural trends.<placeholder type="
+"\"footnote\" id=\"0\"/> Lumbering giants not only don't, but should not, "
+"sprint. Yet if the field is only open to the giants, there will be far too "
+"little sprinting."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I don't think we know enough about the economics of the media market to say "
+"with certainty what concentration and integration will do. The efficiencies "
+"are important, and the effect on culture is hard to measure."
+msgstr ""
+"Jeg tror ikke vi vet nok om økonomien i media markedet å si med sikkerhet "
+"hva konsentrasjon og integrering vil gjøre. effektiviteten er viktig, og "
+"effekten på kultur er vanskelig å måle."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But there is a quintessentially obvious example that does strongly suggest "
+"the concern."
+msgstr "men det er en typiske åpenbare eksempel som sterkt at bekymringen."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In addition to the copyright wars, we're in the middle of the drug wars. "
+"Government policy is strongly directed against the drug cartels; criminal "
+"and civil courts are filled with the consequences of this battle."
+msgstr ""
+"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. "
+"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker "
+"og sivile domstolene er fylt med konsekvensene av denne kampen."
+
+#. PAGE BREAK 178
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Let me hereby disqualify myself from any possible appointment to any "
+"position in government by saying I believe this war is a profound mistake. I "
+"am not pro drugs. Indeed, I come from a family once wrecked by drugs--though "
+"the drugs that wrecked my family were all quite legal. I believe this war is "
+"a profound mistake because the collateral damage from it is so great as to "
+"make waging the war insane. When you add together the burdens on the "
+"criminal justice system, the desperation of generations of kids whose only "
+"real economic opportunities are as drug warriors, the queering of "
+"constitutional protections because of the constant surveillance this war "
+"requires, and, most profoundly, the total destruction of the legal systems "
+"of many South American nations because of the power of the local drug "
+"cartels, I find it impossible to believe that the marginal benefit in "
+"reduced drug consumption by Americans could possibly outweigh these costs."
+msgstr ""
+"La meg herved diskvalifisere meg selv fra en hvilken som helst mulig avtale "
+"til enhver posisjon i regjeringen ved å si jeg tror denne krigen er en dyp "
+"feil. Jeg er ikke pro narkotika. faktisk, jeg kommer fra en familie en gang "
+"havarerte av narkotika--om narkotika som havarerte familien min var alle "
+"helt lovlig. Jeg tror at denne krigen er en dyp feil fordi "
+"sikkerhetsstillelse skade fra det som er så stor at gjøre føre krig galskap. "
+"Når du legger til sammen byrdene på det strafferettslige systemet, "
+"desperasjon generasjoner av barna som har bare ekte økonomiske muligheter er "
+"som narkotika krigere, queering av konstitusjonelle vern på grunn av "
+"konstant overvåking krever at denne krigen, og, mest dypt total ødeleggelse "
+"av juridiske systemer av mange søramerikanske land på grunn av kraften i "
+"lokale stoffet cartelsJeg finner det umulig å tro at marginal nytte i "
+"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse "
+"kostnadene."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"You may not be convinced. That's fine. We live in a democracy, and it is "
+"through votes that we are to choose policy. But to do that, we depend "
+"fundamentally upon the press to help inform Americans about these issues."
+msgstr ""
+"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og "
+"det er gjennom stemmer at vi skal velge policyen. men for å gjøre det, vi "
+"avhengig fundamentalt pressen for å informere amerikanerne om disse "
+"problemene."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Beginning in 1998, the Office of National Drug Control Policy launched a "
+"media campaign as part of the \"war on drugs.\" The campaign produced scores "
+"of short film clips about issues related to illegal drugs. In one series "
+"(the Nick and Norm series) two men are in a bar, discussing the idea of "
+"legalizing drugs as a way to avoid some of the collateral damage from the "
+"war. One advances an argument in favor of drug legalization. The other "
+"responds in a powerful and effective way against the argument of the first. "
+"In the end, the first guy changes his mind (hey, it's television). The plug "
+"at the end is a damning attack on the pro-legalization campaign."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Fair enough. It's a good ad. Not terribly misleading. It delivers its "
+"message well. It's a fair and reasonable message."
+msgstr ""
+"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding "
+"godt. Det er en rettferdig og rimelig melding."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But let's say you think it is a wrong message, and you'd like to run a "
+"countercommercial. Say you want to run a series of ads that try to "
+"demonstrate the extraordinary collateral harm that comes from the drug war. "
+"Can you do it?"
+msgstr ""
+"men la oss si at du tror det er en feil melding, og du ønsker å kjøre en "
+"countercommercial. si du vil kjøre en rekke annonser som prøver å "
+"demonstrere den ekstraordinære sikkerhetsstillelse skaden som kommer fra "
+"stoffet krigen. kan du gjøre det?"
+
+#. PAGE BREAK 179
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Well, obviously, these ads cost lots of money. Assume you raise the money. "
+"Assume a group of concerned citizens donates all the money in the world to "
+"help you get your message out. Can you be sure your message will be heard "
+"then?"
+msgstr ""
+"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve "
+"penger. Anta at en gruppe av berørte borgere donerer alle pengene i verden "
+"for å hjelpe deg å få budskapet. kan du være sikker på at meldingen vil "
+"deretter bli hørt?"
+
+#. f34
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"The Marijuana Policy Project, in February 2003, sought to place ads that "
+"directly responded to the Nick and Norm series on stations within the "
+"Washington, D.C., area. Comcast rejected the ads as \"against [their] policy."
+"\" The local NBC affiliate, WRC, rejected the ads without reviewing them. "
+"The local ABC affiliate, WJOA, originally agreed to run the ads and accepted "
+"payment to do so, but later decided not to run the ads and returned the "
+"collected fees. Interview with Neal Levine, 15 October 2003. These "
+"restrictions are, of course, not limited to drug policy. See, for example, "
+"Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection "
+"from TV Networks,\" New York Times, 13 March 2003, C4. Outside of election-"
+"related air time there is very little that the FCC or the courts are willing "
+"to do to even the playing field. For a general overview, see Rhonda Brown, "
+"\"Ad Hoc Access: The Regulation of Editorial Advertising on Television and "
+"Radio,\" Yale Law and Policy Review 6 (1988): 44979, and for a more recent "
+"summary of the stance of the FCC and the courts, see Radio-Television News "
+"Directors Association v. FCC, 184 F. 3d 872 (D.C. Cir. 1999). Municipal "
+"authorities exercise the same authority as the networks. In a recent example "
+"from San Francisco, the San Francisco transit authority rejected an ad that "
+"criticized its Muni diesel buses. Phillip Matier and Andrew Ross, "
+"\"Antidiesel Group Fuming After Muni Rejects Ad,\" SFGate.com, 16 June 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #32</ulink>. "
+"The ground was that the criticism was \"too controversial.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No. You cannot. Television stations have a general policy of avoiding "
+"\"controversial\" ads. Ads sponsored by the government are deemed "
+"uncontroversial; ads disagreeing with the government are controversial. "
+"This selectivity might be thought inconsistent with the First Amendment, but "
+"the Supreme Court has held that stations have the right to choose what they "
+"run. Thus, the major channels of commercial media will refuse one side of a "
+"crucial debate the opportunity to present its case. And the courts will "
+"defend the rights of the stations to be this biased.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I'd be happy to defend the networks' rights, as well--if we lived in a media "
+"market that was truly diverse. But concentration in the media throws that "
+"condition into doubt. If a handful of companies control access to the media, "
+"and that handful of companies gets to decide which political positions it "
+"will allow to be promoted on its channels, then in an obvious and important "
+"way, concentration matters. You might like the positions the handful of "
+"companies selects. But you should not like a world in which a mere few get "
+"to decide which issues the rest of us get to know about."
+msgstr ""
+"Jeg ville være glad for å forsvare nettverk rettigheter, samt--hvis vi bodde "
+"i en medier markedet som var virkelig mangfoldig. men konsentrasjon i media "
+"kaster den betingelsen i tvil. Hvis en håndfull selskaper kontrollere "
+"tilgangen til media, og at håndfull selskaper kommer til å bestemme hvilke "
+"politiske holdninger som den gjør det mulig å bli forfremmet på sine "
+"kanaler, så i en åpenbare og viktig måte, konsentrasjon teller. du kanskje "
+"liker posisjoner håndfull selskaper velger. men du bør ikke liker en verden "
+"der bare en noen kommer til å bestemme hvilke problemer med resten av oss få "
+"vite om."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Together"
+msgstr "sammen"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There is something innocent and obvious about the claim of the copyright "
+"warriors that the government should \"protect my property.\" In the "
+"abstract, it is obviously true and, ordinarily, totally harmless. No sane "
+"sort who is not an anarchist could disagree."
+msgstr ""
+
+#. PAGE BREAK 180
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But when we see how dramatically this \"property\" has changed-- when we "
+"recognize how it might now interact with both technology and markets to mean "
+"that the effective constraint on the liberty to cultivate our culture is "
+"dramatically different--the claim begins to seem less innocent and obvious. "
+"Given (1) the power of technology to supplement the law's control, and (2) "
+"the power of concentrated markets to weaken the opportunity for dissent, if "
+"strictly enforcing the massively expanded \"property\" rights granted by "
+"copyright fundamentally changes the freedom within this culture to cultivate "
+"and build upon our past, then we have to ask whether this property should be "
+"redefined."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Not starkly. Or absolutely. My point is not that we should abolish copyright "
+"or go back to the eighteenth century. That would be a total mistake, "
+"disastrous for the most important creative enterprises within our culture "
+"today."
+msgstr ""
+"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bør avskaffe "
+"copyright eller gå tilbake til 1700-tallet. det ville være en totalt feil, "
+"katastrofalt for de viktigste kreative bedriftene i vår kultur i dag."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But there is a space between zero and one, Internet culture "
+"notwithstanding. And these massive shifts in the effective power of "
+"copyright regulation, tied to increased concentration of the content "
+"industry and resting in the hands of technology that will increasingly "
+"enable control over the use of culture, should drive us to consider whether "
+"another adjustment is called for. Not an adjustment that increases "
+"copyright's power. Not an adjustment that increases its term. Rather, an "
+"adjustment to restore the balance that has traditionally defined copyright's "
+"regulation--a weakening of that regulation, to strengthen creativity."
+msgstr ""
+"men det er et mellomrom mellom null og én, Internett-kultur til tross for. "
+"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet "
+"til økt konsentrasjon av innhold industrien og hvile i hendene på teknologi "
+"som i økende grad vil aktivere kontroll over bruken av kultur, bør kjøre oss "
+"til å vurdere om en annen justering kalles for. ikke en justering som øker "
+"copyright's strøm. ikke en justering som øker sin sikt. snarere en justering "
+"for å gjenopprette balansen som tradisjonelt har definert copyright's "
+"regulering--en svekkelse av den reguleringen, å styrke kreativitet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Copyright law has not been a rock of Gibraltar. It's not a set of constant "
+"commitments that, for some mysterious reason, teenagers and geeks now flout. "
+"Instead, copyright power has grown dramatically in a short period of time, "
+"as the technologies of distribution and creation have changed and as "
+"lobbyists have pushed for more control by copyright holders. Changes in the "
+"past in response to changes in technology suggest that we may well need "
+"similar changes in the future. And these changes have to be reductions in "
+"the scope of copyright, in response to the extraordinary increase in control "
+"that technology and the market enable."
+msgstr ""
+"lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett "
+"med konstant forpliktelser gir at for noen mystisk grunn, tenåringer og "
+"geeks nå blaffen. i stedet, opphavsrett makt har vokst dramatisk i en kort "
+"periode, som teknologien av distribusjons- og etableringen er endret og som "
+"lobbyister har presset for mer kontroll av innehaver av opphavsrett. "
+"endringer i siste endringene i teknologi tyder på at vi kan godt trenger "
+"lignende endringer i fremtiden. og disse endringene må være reduksjoner i "
+"omfanget av opphavsrett, svar på det ekstraordinære økning i kontrollen som "
+"teknologi og markedet aktivere."
+
+#. PAGE BREAK 181
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"For the single point that is lost in this war on pirates is a point that we "
+"see only after surveying the range of these changes. When you add together "
+"the effect of changing law, concentrated markets, and changing technology, "
+"together they produce an astonishing conclusion: Never in our history have "
+"fewer had a legal right to control more of the development of our culture "
+"than now."
+msgstr ""
+"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi "
+"ser bare etter kartlegging på rekke disse endringene. Når du legger sammen "
+"til effekten av å endre loven, konsentrert markeder, og endre teknologien, "
+"sammen de produserer en forbløffende konklusjon: aldri i vår historie har "
+"færre hadde en lovfestet rett til å styre flere av utviklingen av vår kultur "
+"enn nå."
+
+#. f35
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Siva Vaidhyanathan captures a similar point in his \\\"four surrenders\\"
+#| "\" of copyright law in the digital age. See Vaidhyanathan, 15960."
+msgid ""
+"Siva Vaidhyanathan captures a similar point in his \"four surrenders\" of "
+"copyright law in the digital age. See Vaidhyanathan, 15960."
+msgstr ""
+"Siva vaidhyanathan registrerer en liknende punktet i sin \\\"fire etableres\\"
+"\" om opphavsrett i den digitale tidsalderen. se vaidhyanathan, 15960."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Not when copyrights were perpetual, for when copyrights were perpetual, they "
+"affected only that precise creative work. Not when only publishers had the "
+"tools to publish, for the market then was much more diverse. Not when there "
+"were only three television networks, for even then, newspapers, film "
+"studios, radio stations, and publishers were independent of the networks. "
+"Never has copyright protected such a wide range of rights, against as broad "
+"a range of actors, for a term that was remotely as long. This form of "
+"regulation--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>
+msgid "This has been a long chapter. Its point can now be briefly stated."
+msgstr "Dette har vært en lang kapittel. sitt punkt kan nå kort oppgis."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"At the start of this book, I distinguished between commercial and "
+"noncommercial culture. In the course of this chapter, I have distinguished "
+"between copying a work and transforming it. We can now combine these two "
+"distinctions and draw a clear map of the changes that copyright law has "
+"undergone. In 1790, the law looked like this:"
+msgstr ""
+"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell "
+"kultur. i løpet av dette kapitlet, har jeg skilte mellom kopiere et arbeid "
+"og transformerer det. Vi kan nå kombinere disse to utmerkelser og tegne en "
+"Fjern tilordning av endringene som har gjennomgått en lov om opphavsrett. i "
+"1790, loven så ut som dette:"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "PUBLISH"
+msgstr "publisere"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "TRANSFORM"
+msgstr "transformere"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Commercial"
+msgstr "kommersielle"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "©"
+msgstr "�"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Free"
+msgstr "gratis"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "Noncommercial"
+msgstr "reklamefrie"
+
+#. PAGE BREAK 182
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The act of publishing a map, chart, and book was regulated by copyright law. "
+"Nothing else was. Transformations were free. And as copyright attached only "
+"with registration, and only those who intended to benefit commercially would "
+"register, copying through publishing of noncommercial work was also free."
+msgstr ""
+"loven av publisering på et kart, diagram og boken var regulert av lov om "
+"opphavsrett. ingenting annet var. transformasjoner var gratis. og som "
+"copyright tilknyttet bare med registrering, og bare de som ment å gagne "
+"kommersielt ville registrere, kopiere gjennom publisering av ikke-"
+"kommersielt arbeid var også gratis."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "By the end of the nineteenth century, the law had changed to this:"
+msgstr "ved slutten av det nittende århundre, hadde loven endres til dette:"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Derivative works were now regulated by copyright law--if published, which "
+"again, given the economics of publishing at the time, means if offered "
+"commercially. But noncommercial publishing and transformation were still "
+"essentially free."
+msgstr ""
+"avledede var nå regulert av lov om opphavsrett--Hvis publisert, som igjen, "
+"gitt økonomien i publisering på tiden, betyr hvis tilbudt kommersielt. men "
+"ikke-kommersiell publisering og transformasjon var fortsatt hovedsakelig "
+"gratis."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1909 the law changed to regulate copies, not publishing, and after this "
+"change, the scope of the law was tied to technology. As the technology of "
+"copying became more prevalent, the reach of the law expanded. Thus by 1975, "
+"as photocopying machines became more common, we could say the law began to "
+"look like this:"
+msgstr ""
+"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne "
+"endringen omfanget av loven var knyttet til teknologi. som teknologi med å "
+"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, "
+"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte å se "
+"slik ut:"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
+msgid "COPY"
+msgstr "Kopier"
+
+#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
+msgid "©/Free"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The law was interpreted to reach noncommercial copying through, say, copy "
+"machines, but still much of copying outside of the commercial market "
+"remained free. But the consequence of the emergence of digital technologies, "
+"especially in the context of a digital network, means that the law now looks "
+"like this:"
+msgstr ""
+"loven ble tolket for å nå reklamefrie kopiering gjennom, si, kopimaskiner, "
+"men fortsatt mye med å kopiere utenfor det kommersielle markedet vært "
+"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i "
+"sammenheng med en digital network, betyr at loven nå ser slik ut:"
+
+#. PAGE BREAK 183
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Every realm is governed by copyright law, whereas before most creativity was "
+"not. The law now regulates the full range of creativity-- commercial or not, "
+"transformative or not--with the same rules designed to regulate commercial "
+"publishers."
+msgstr ""
+"hver riket er underlagt lov om opphavsrett, mens før de fleste kreativitet "
+"ikke var. loven regulerer nå hele omfanget av kreativitet--kommersielle "
+"eller ikke, transformative eller ikke – med de samme reglene som er utformet "
+"for å regulere kommersielle utgivere."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Obviously, copyright law is not the enemy. The enemy is regulation that does "
+"no good. So the question that we should be asking just now is whether "
+"extending the regulations of copyright law into each of these domains "
+"actually does any good."
+msgstr ""
+"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som "
+"virker ikke godt. Så spørsmålet som vi bør spørre akkurat nå er enten utvide "
+"forskrifter om opphavsrett i hver av disse domenene faktisk gjør noe bra."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I have no doubt that it does good in regulating commercial copying. But I "
+"also have no doubt that it does more harm than good when regulating (as it "
+"regulates just now) noncommercial copying and, especially, noncommercial "
+"transformation. And increasingly, for the reasons sketched especially in "
+"chapters 7 and 8, one might well wonder whether it does more harm than good "
+"for commercial transformation. More commercial transformative work would be "
+"created if derivative rights were more sharply restricted."
+msgstr ""
+"Jeg har ingen tvil om at den gjør bra i regulerer kommersielle kopiering. "
+"men jeg har ingen tvil om at det gjør mer skade enn bra når regulerer (som "
+"den regulerer akkurat nå) ikke-kommersiell kopiering og, spesielt, ikke-"
+"kommersiell transformasjon også. og i økende grad av årsaker som skisserte "
+"spesielt i kapitlene 7 og 8, en kan vel rart om det gjør mer skade enn godt "
+"for kommersielle transformasjon. mer kommersielt transformative arbeid vil "
+"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset."
+
+#. f36
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"It was the single most important contribution of the legal realist movement "
+"to demonstrate that all property rights are always crafted to balance public "
+"and private interests. See Thomas C. Grey, \"The Disintegration of Property,"
+"\" in Nomos XXII: Property, J. Roland Pennock and John W. Chapman, eds. "
+"(New York: New York University Press, 1980)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The issue is therefore not simply whether copyright is property. Of course "
+"copyright is a kind of \"property,\" and of course, as with any property, "
+"the state ought to protect it. But first impressions notwithstanding, "
+"historically, this property right (as with all property rights<placeholder "
+"type=\"footnote\" id=\"0\"/>) has been crafted to balance the important "
+"need to give authors and artists incentives with the equally important need "
+"to assure access to creative work. This balance has always been struck in "
+"light of new technologies. And for almost half of our tradition, the "
+"\"copyright\" did not control at all the freedom of others to build upon or "
+"transform a creative work. American culture was born free, and for almost "
+"180 years our country consistently protected a vibrant and rich free culture."
+msgstr ""
+
+#. PAGE BREAK 184
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We achieved that free culture because our law respected important limits on "
+"the scope of the interests protected by \"property.\" The very birth of "
+"\"copyright\" as a statutory right recognized those limits, by granting "
+"copyright owners protection for a limited time only (the story of chapter "
+"6). The tradition of \"fair use\" is animated by a similar concern that is "
+"increasingly under strain as the costs of exercising any fair use right "
+"become unavoidably high (the story of chapter 7). Adding statutory rights "
+"where markets might stifle innovation is another familiar limit on the "
+"property right that copyright is (chapter 8). And granting archives and "
+"libraries a broad freedom to collect, claims of property notwithstanding, is "
+"a crucial part of guaranteeing the soul of a culture (chapter 9). Free "
+"cultures, like free markets, are built with property. But the nature of the "
+"property that builds a free culture is very different from the extremist "
+"vision that dominates the debate today."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Free culture is increasingly the casualty in this war on piracy. In response "
+"to a real, if not yet quantified, threat that the technologies of the "
+"Internet present to twentieth-century business models for producing and "
+"distributing culture, the law and technology are being transformed in a way "
+"that will undermine our tradition of free culture. The property right that "
+"is copyright is no longer the balanced right that it was, or was intended to "
+"be. The property right that is copyright has become unbalanced, tilted "
+"toward an extreme. The opportunity to create and transform becomes weakened "
+"in a world in which creation requires permission and creativity must check "
+"with a lawyer."
+msgstr ""
+"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar på "
+"en ekte, hvis ikke kvantifisert, trusselen som teknologien av Internett "
+"presentere til 1900-tallet forretningsmodeller for produksjon og "
+"distribusjon av kultur, blir lov og teknologi forvandlet på en måte som vil "
+"undergrave vår tradisjon for fri kultur. eiendommen er copyright ikke lenger "
+"rettigheten balansert som det var, eller var ment å være. egenskapen akkurat "
+"det vil si opphavsrett har blitt ubalansert, skråstilt mot en ekstrem. "
+"muligheten til å opprette og transformere blir svekket i en verden der "
+"oppretting krever tillatelse og kreativitet må kontrollere med en advokat."
+
+#. type: Content of: <book><chapter><title>
+msgid "PUZZLES"
+msgstr "puslespill"
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER ELEVEN: Chimera"
+msgstr "Kapittel 11: chimera"
+
+#. f1.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, The "
+"Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: "
+"Oxford University Press, 1996)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In a well-known short story by H. G. Wells, a mountain climber named Nunez "
+"trips (literally, down an ice slope) into an unknown and isolated valley in "
+"the Peruvian Andes.<placeholder type=\"footnote\" id=\"0\"/> The valley is "
+"extraordinarily beautiful, with \"sweet water, pasture, an even climate, "
+"slopes of rich brown soil with tangles of a shrub that bore an excellent "
+"fruit.\" But the villagers are all blind. Nunez takes this as an "
+"opportunity. \"In the Country of the Blind,\" he tells himself, \"the One-"
+"Eyed Man is King.\" So he resolves to live with the villagers to explore "
+"life as a king."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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 ""
+
+#. PAGE BREAK 187
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The villagers don't leave him alone. Nor do they see (so to speak) the "
+"virtue of his special power. Not even the ultimate target of his affection, "
+"a young woman who to him seems \"the most beautiful thing in the whole of "
+"creation,\" understands the beauty of sight. Nunez's description of what he "
+"sees \"seemed to her the most poetical of fancies, and she listened to his "
+"description of the stars and the mountains and her own sweet white-lit "
+"beauty as though it was a guilty indulgence.\" \"She did not believe,\" "
+"Wells tells us, and \"she could only half understand, but she was "
+"mysteriously delighted.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When Nunez announces his desire to marry his \"mysteriously delighted\" "
+"love, the father and the village object. \"You see, my dear,\" her father "
+"instructs, \"he's an idiot. He has delusions. He can't do anything right.\" "
+"They take Nunez to the village doctor."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"After a careful examination, the doctor gives his opinion. \"His brain is "
+"affected,\" he reports."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"What affects it?\" the father asks. \"Those queer things that are called "
+"the eyes . . . are diseased . . . in such a way as to affect his brain.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The doctor continues: \"I think I may say with reasonable certainty that in "
+"order to cure him completely, all that we need to do is a simple and easy "
+"surgical operation--namely, to remove these irritant bodies [the eyes].\""
+msgstr ""
+
+#. PAGE BREAK 188
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Thank Heaven for science!\" says the father to the doctor. They inform "
+"Nunez of this condition necessary for him to be allowed his bride. (You'll "
+"have to read the original to learn what happens in the end. I believe in "
+"free culture, but never in giving away the end of a story.) It sometimes "
+"happens that the eggs of twins fuse in the mother's womb. That fusion "
+"produces a \"chimera.\" A chimera is a single creature with two sets of DNA. "
+"The DNA in the blood, for example, might be different from the DNA of the "
+"skin. This possibility is an underused plot for murder mysteries. \"But the "
+"DNA shows with 100 percent certainty that she was not the person whose blood "
+"was at the scene. . . .\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Before I had read about chimeras, I would have said they were impossible. A "
+"single person can't have two sets of DNA. The very idea of DNA is that it is "
+"the code of an individual. Yet in fact, not only can two individuals have "
+"the same set of DNA (identical twins), but one person can have two different "
+"sets of DNA (a chimera). Our understanding of a \"person\" should reflect "
+"this reality."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The more I work to understand the current struggle over copyright and "
+"culture, which I've sometimes called unfairly, and sometimes not unfairly "
+"enough, \"the copyright wars,\" the more I think we're dealing with a "
+"chimera. For example, in the battle over the question \"What is p2p file "
+"sharing?\" both sides have it right, and both sides have it wrong. One side "
+"says, \"File sharing is just like two kids taping each others' records--the "
+"sort of thing we've been doing for the last thirty years without any "
+"question at all.\" That's true, at least in part. When I tell my best friend "
+"to try out a new CD that I've bought, but rather than just send the CD, I "
+"point him to my p2p server, that is, in all relevant respects, just like "
+"what every executive in every recording company no doubt did as a kid: "
+"sharing music."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But the description is also false in part. For when my p2p server is on a "
+"p2p network through which anyone can get access to my music, then sure, my "
+"friends can get access, but it stretches the meaning of \"friends\" beyond "
+"recognition to say \"my ten thousand best friends\" can get access. Whether "
+"or not sharing my music with my best friend is what \"we have always been "
+"allowed to do,\" we have not always been allowed to share music with \"our "
+"ten thousand best friends.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Likewise, when the other side says, \"File sharing is just like walking into "
+"a Tower Records and taking a CD off the shelf and walking out with it,\" "
+"that's true, at least in part. If, after Lyle Lovett (finally) releases a "
+"new album, rather than buying it, I go to Kazaa and find a free copy to "
+"take, that is very much like stealing a copy from Tower."
+msgstr ""
+
+#. PAGE BREAK 189
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But it is not quite stealing from Tower. After all, when I take a CD from "
+"Tower Records, Tower has one less CD to sell. And when I take a CD from "
+"Tower Records, I get a bit of plastic and a cover, and something to show on "
+"my shelves. (And, while we're at it, we could also note that when I take a "
+"CD from Tower Records, the maximum fine that might be imposed on me, under "
+"California law, at least, is $1,000. According to the RIAA, by contrast, if "
+"I download a ten-song CD, I'm liable for $1,500,000 in damages.)"
+msgstr ""
+"men det er ikke helt stjele fra tårnet. tross alt, når jeg tar en cd fra "
+"tower records, har tårnet en mindre cd å selge. og når jeg tar en cd fra "
+"tower records, får jeg en bit av plast og et dekke, og noe å vise på min "
+"hyller. (og mens vi er i gang, vi kan også oppmerksom på at når jeg tar en "
+"cd fra tower records, maksimum fine som kan bli pålagt på meg, under "
+"california lov, i det minste er $1000. Ifølge riaa, derimot, er hvis jeg "
+"dataoverføre en ti-sang-cd, jeg ansvarlig for $1,500,000 i skader.)"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The point is not that it is as neither side describes. The point is that it "
+"is both--both as the RIAA describes it and as Kazaa describes it. It is a "
+"chimera. And rather than simply denying what the other side asserts, we need "
+"to begin to think about how we should respond to this chimera. What rules "
+"should govern it?"
+msgstr ""
+"Poenget er ikke at det er som verken side beskriver. Poenget er at det er "
+"både--både som riaa beskriver det og som kazaa beskriver den. Det er en "
+"chimera. og i stedet for bare nekte på den andre siden hevder, vi trenger "
+"for å begynne å tenke på hvordan vi skal reagere på denne chimera. hvilke "
+"regler bør styre det?"
+
+#. f2.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"For an excellent summary, see the report prepared by GartnerG2 and the "
+"Berkman Center for Internet and Society at Harvard Law School, \"Copyright "
+"and Digital Media in a Post-Napster World,\" 27 June 2003, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #33</ulink>. Reps. John "
+"Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill "
+"that would treat unauthorized on-line copying as a felony offense with "
+"punishments ranging as high as five years imprisonment; see Jon Healey, "
+"\"House Bill Aims to Up Stakes on Piracy,\" Los Angeles Times, 17 July 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. "
+"Civil penalties are currently set at $150,000 per copied song. For a recent "
+"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal "
+"the identity of a user accused of sharing more than 600 songs through a "
+"family computer, see RIAA v. Verizon Internet Services (In re. Verizon "
+"Internet Services), 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could "
+"face liability ranging as high as $90 million. Such astronomical figures "
+"furnish the RIAA with a powerful arsenal in its prosecution of file sharers. "
+"Settlements ranging from $12,000 to $17,500 for four students accused of "
+"heavy file sharing on university networks must have seemed a mere pittance "
+"next to the $98 billion the RIAA could seek should the matter proceed to "
+"court. See Elizabeth Young, \"Downloading Could Lead to Fines,\" redandblack."
+"com, August 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #35</ulink>. For an example of the RIAA's targeting of student file "
+"sharing, and of the subpoenas issued to universities to reveal student file-"
+"sharer identities, see James Collins, \"RIAA Steps Up Bid to Force BC, MIT "
+"to Name Students,\" Boston Globe, 8 August 2003, D3, available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #36</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We could respond by simply pretending that it is not a chimera. We could, "
+"with the RIAA, decide that every act of file sharing should be a felony. We "
+"could prosecute families for millions of dollars in damages just because "
+"file sharing occurred on a family computer. And we can get universities to "
+"monitor all computer traffic to make sure that no computer is used to commit "
+"this crime. These responses might be extreme, but each of them has either "
+"been proposed or actually implemented.<placeholder type=\"footnote\" id="
+"\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Alternatively, we could respond to file sharing the way many kids act as "
+"though we've responded. We could totally legalize it. Let there be no "
+"copyright liability, either civil or criminal, for making copyrighted "
+"content available on the Net. Make file sharing like gossip: regulated, if "
+"at all, by social norms but not by law."
+msgstr ""
+"Alternativt kan vi svare på fildeling måten mange barn handle som om vi har "
+"svart. Vi kunne helt legalisere det. La det være ingen opphavsrett ansvar, "
+"sivil- eller strafferettslige, for å gjøre opphavsrettsbeskyttet innhold "
+"tilgjengelig på nettet. gjøre fildeling som sladder: regulert, hvis i det "
+"hele tatt, av sosiale normer, men ikke av loven."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Either response is possible. I think either would be a mistake. Rather than "
+"embrace one of these two extremes, we should embrace something that "
+"recognizes the truth in both. And while I end this book with a sketch of a "
+"system that does just that, my aim in the next chapter is to show just how "
+"awful it would be for us to adopt the zero-tolerance extreme. I believe "
+"either extreme would be worse than a reasonable alternative. But I believe "
+"the zero-tolerance solution would be the worse of the two extremes."
+msgstr ""
+"enten svar er mulig. Jeg tror enten ville være feil. i stedet for å omfavne "
+"en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i "
+"begge. og mens jeg ender denne boken med en skisse av et system som gjør "
+"bare at målet mitt i neste kapittel er å vise hvor forferdelig det ville "
+"være for oss å vedta nulltoleranse ekstreme. Jeg tror begge ekstrem ville "
+"være verre enn et rimelig alternativ. men jeg tror den nulltoleranse "
+"løsningen ville være verre av to ytterpunktene."
+
+#. PAGE BREAK 190
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet zero tolerance is increasingly our government's policy. In the middle of "
+"the chaos that the Internet has created, an extraordinary land grab is "
+"occurring. The law and technology are being shifted to give content holders "
+"a kind of control over our culture that they have never had before. And in "
+"this extremism, many an opportunity for new innovation and new creativity "
+"will be lost."
+msgstr ""
+"Nulltoleranse er ennå stadig våre regjeringens politikk. midt i kaoset som "
+"Internett har opprettet, skjer en ekstraordinære land grip. lov og teknologi "
+"er flyttet for å gi innhold holdere en type kontroll over vår kultur at de "
+"aldri har hatt før. og i denne ekstremisme, mange en mulighet for ny "
+"innovasjon og nye kreativitet går tapt."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I'm not talking about the opportunities for kids to \"steal\" music. My "
+"focus instead is the commercial and cultural innovation that this war will "
+"also kill. We have never seen the power to innovate spread so broadly among "
+"our citizens, and we have just begun to see the innovation that this power "
+"will unleash. Yet the Internet has already seen the passing of one cycle of "
+"innovation around technologies to distribute content. The law is responsible "
+"for this passing. As the vice president for global public policy at one of "
+"these new innovators, eMusic.com, put it when criticizing the DMCA's added "
+"protection for copyrighted material,"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"eMusic opposes music piracy. We are a distributor of copyrighted material, "
+"and we want to protect those rights."
+msgstr ""
+"eMusic motsetter musikk piratkopiering. Vi er distributør av "
+"opphavsrettsbeskyttet materiale, og vi ønsker å beskytte disse rettighetene."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"But building a technology fortress that locks in the clout of the major "
+"labels is by no means the only way to protect copyright interests, nor is it "
+"necessarily the best. It is simply too early to answer that question. Market "
+"forces operating naturally may very well produce a totally different "
+"industry model."
+msgstr ""
+"men bygge en teknologi festning som låser i innflytelse av de store "
+"etikettene er ikke den eneste måten å beskytte opphavsretten interesser, og "
+"heller ikke er det nødvendigvis best. Det er rett og Slett for tidlig å "
+"besvare det spørsmålet. markedskrefter operere naturlig kan godt gi en helt "
+"annen industri-modell."
+
+#. f3.
+#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
+msgid ""
+"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital "
+"Entertainment on the Internet and Other Media: Hearing Before the "
+"Subcommittee on Telecommunications, Trade, and Consumer Protection, House "
+"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, "
+"vice president, Global Public Policy and Standards, EMusic.com), available "
+"in LEXIS, Federal Document Clearing House Congressional Testimony File."
+msgstr ""
+"WIPO og dmca ett år senere: vurdering av forbruker tilgang til digital "
+"underholdning på Internett og andre medier: høre før subcommittee on "
+"telekommunikasjon, handel og consumer protection, huset committee on "
+"commerce, 106th cong. 29 (1999) (setning av peter harter, vice president, "
+"global offentlig politikk og standarder, emusic.com), tilgjengelig i lexis, "
+"føderale dokumentet å fjerne huset Kongressens vitnesbyrd fil."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"This is a critical point. The choices that industry sectors make with "
+"respect to these systems will in many ways directly shape the market for "
+"digital media and the manner in which digital media are distributed. This in "
+"turn will directly influence the options that are available to consumers, "
+"both in terms of the ease with which they will be able to access digital "
+"media and the equipment that they will require to do so. Poor choices made "
+"this early in the game will retard the growth of this market, hurting "
+"everyone's interests.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the "
+"major labels.\" Its position on these matters has now changed."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Reversing our tradition of tolerance now will not merely quash piracy. It "
+"will sacrifice values that are important to this culture, and will kill "
+"opportunities that could be extraordinarily valuable."
+msgstr ""
+"snu vår tradisjon toleranse nå vil ikke bare quash piratkopiering. det vil "
+"ofre verdier som er viktig for denne kulturen og vil drepe muligheter som "
+"kan være svært verdifull."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER TWELVE: Harms"
+msgstr "Kapittel 12: skader"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"To fight \"piracy,\" to protect \"property,\" the content industry has "
+"launched a war. Lobbying and lots of campaign contributions have now brought "
+"the government into this war. As with any war, this one will have both "
+"direct and collateral damage. As with any war of prohibition, these damages "
+"will be suffered most by our own people."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"My aim so far has been to describe the consequences of this war, in "
+"particular, the consequences for \"free culture.\" But my aim now is to "
+"extend this description of consequences into an argument. Is this war "
+"justified?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In my view, it is not. There is no good reason why this time, for the first "
+"time, the law should defend the old against the new, just when the power of "
+"the property called \"intellectual property\" is at its greatest in our "
+"history."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet \"common sense\" does not see it this way. Common sense is still on the "
+"side of the Causbys and the content industry. The extreme claims of control "
+"in the name of property still resonate; the uncritical rejection of \"piracy"
+"\" still has play."
+msgstr ""
+
+#. PAGE BREAK 193
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There will be many consequences of continuing this war. I want to describe "
+"just three. All three might be said to be unintended. I am quite confident "
+"the third is unintended. I'm less sure about the first two. The first two "
+"protect modern RCAs, but there is no Howard Armstrong in the wings to fight "
+"today's monopolists of culture."
+msgstr ""
+"det vil være mange konsekvensene av fortsetter denne krigen. Jeg vil "
+"beskrive bare tre. alle tre kan sies å være utilsiktede. Jeg er ganske "
+"sikker på tredjepart er utilsiktet. Jeg er mindre sikker på om to første. to "
+"første beskytte moderne rcas, men det er ingen howard armstrong i vingene å "
+"bekjempe dagens monopolists kultur."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Constraining Creators"
+msgstr "Begrensende skaperne"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In the next ten years we will see an explosion of digital technologies. "
+"These technologies will enable almost anyone to capture and share content. "
+"Capturing and sharing content, of course, is what humans have done since the "
+"dawn of man. It is how we learn and communicate. But capturing and sharing "
+"through digital technology is different. The fidelity and power are "
+"different. You could send an e-mail telling someone about a joke you saw on "
+"Comedy Central, or you could send the clip. You could write an essay about "
+"the inconsistencies in the arguments of the politician you most love to "
+"hate, or you could make a short film that puts statement against statement. "
+"You could write a poem to express your love, or you could weave together a "
+"string--a mash-up-- of songs from your favorite artists in a collage and "
+"make it available on the Net."
+msgstr ""
+"i de neste ti årene vil vi se en eksplosjon av digitale teknologier. disse "
+"teknologiene kan nesten hvem som helst å fange opp og dele innhold. å fange "
+"og dele innhold, selvfølgelig, er det mennesker har gjort siden begynnelsen "
+"av mannen. Det er hvordan vi lære og kommunisere. men å fange og dele "
+"gjennom digital teknologi er forskjellig. gjengivelse og makt er "
+"forskjellige. Du kan sende en e-postmelding fortelle noen om en spøk-du så "
+"på comedy central, eller du kan sende klippet. Du kan skrive et essay om "
+"inkonsekvenser i argumentene politiker du mest elsker å hate, eller du kan "
+"lage en kortfilm som setter setning mot setningen. Du kan skrive et dikt for "
+"å uttrykke din kjærlighet, eller du kan veve sammen en streng--en Mashup--av "
+"sanger fra dine favoritt artister i en collage og gjøre den tilgjengelig på "
+"nettet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This digital \"capturing and sharing\" is in part an extension of the "
+"capturing and sharing that has always been integral to our culture, and in "
+"part it is something new. It is continuous with the Kodak, but it explodes "
+"the boundaries of Kodak-like technologies. The technology of digital "
+"\"capturing and sharing\" promises a world of extraordinarily diverse "
+"creativity that can be easily and broadly shared. And as that creativity is "
+"applied to democracy, it will enable a broad range of citizens to use "
+"technology to express and criticize and contribute to the culture all around."
+msgstr ""
+
+#. PAGE BREAK 194
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Technology has thus given us an opportunity to do something with culture "
+"that has only ever been possible for individuals in small groups, isolated "
+"from others. Think about an old man telling a story to a collection of "
+"neighbors in a small town. Now imagine that same storytelling extended "
+"across the globe."
+msgstr ""
+"teknologien har dermed gitt oss en mulighet til å gjøre noe med kultur som "
+"bare har vært mulig for enkeltpersoner i små grupper, isolert fra andre. "
+"Tenk på en gammel mann forteller en historie til en samling med naboer i en "
+"liten by. Nå forestille det samme fortellinger utvidet over hele verden."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Yet all this is possible only if the activity is presumptively legal. In the "
+"current regime of legal regulation, it is not. Forget file sharing for a "
+"moment. Think about your favorite amazing sites on the Net. Web sites that "
+"offer plot summaries from forgotten television shows; sites that catalog "
+"cartoons from the 1960s; sites that mix images and sound to criticize "
+"politicians or businesses; sites that gather newspaper articles on remote "
+"topics of science or culture. There is a vast amount of creative work spread "
+"across the Internet. But as the law is currently crafted, this work is "
+"presumptively illegal."
+msgstr ""
+"ennå er alt dette mulig bare hvis aktiviteten er presumptively lovlig. i "
+"dagens regime av juridiske regulering er det ikke. glem fildeling for et "
+"øyeblikk. Tenk på din favoritt fantastiske nettsteder på nettet. webområder "
+"som tilbyr tomten sammendrag fra glemt TV viser; områder katalogen "
+"tegneserier fra 1960-tallet; områder som blande bilder og lyd å kritisere "
+"politikere eller foretak. områder som samler avisartikler på ekstern emner "
+"av vitenskap eller kultur. Det er en enorm mengde skapende arbeid spredt "
+"over Internett. men som loven er nå laget, dette arbeidet er presumptively "
+"ugyldig."
+
+#. f1.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, "
+"N.J.: John Wiley & Sons, 2003), 176, 204; for details of the settlement, "
+"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC "
+"Settlement\" (7 July 2003), available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #37</ulink>."
+msgstr ""
+
+#. f2.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"The bill, modeled after California's tort reform model, was passed in the "
+"House of Representatives but defeated in a Senate vote in July 2003. For an "
+"overview, see Tanya Albert, \"Measure Stalls in Senate: `We'll Be Back,' Say "
+"Tort Reformers,\" amednews.com, 28 July 2003, available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #38</ulink>, and \"Senate Turns Back "
+"Malpractice Caps,\" CBSNews.com, 9 July 2003, available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #39</ulink>. President Bush has "
+"continued to urge tort reform in recent months."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"That presumption will increasingly chill creativity, as the examples of "
+"extreme penalties for vague infringements continue to proliferate. It is "
+"impossible to get a clear sense of what's allowed and what's not, and at the "
+"same time, the penalties for crossing the line are astonishingly harsh. The "
+"four students who were threatened by the RIAA ( Jesse Jordan of chapter 3 "
+"was just one) were threatened with a $98 billion lawsuit for building search "
+"engines that permitted songs to be copied. Yet World-Com--which defrauded "
+"investors of $11 billion, resulting in a loss to investors in market "
+"capitalization of over $200 billion--received a fine of a mere $750 million."
+"<placeholder type=\"footnote\" id=\"0\"/> And under legislation being pushed "
+"in Congress right now, a doctor who negligently removes the wrong leg in an "
+"operation would be liable for no more than $250,000 in damages for pain and "
+"suffering.<placeholder type=\"footnote\" id=\"1\"/> Can common sense "
+"recognize the absurdity in a world where the maximum fine for downloading "
+"two songs off the Internet is more than the fine for a doctor's negligently "
+"butchering a patient?"
+msgstr ""
+
+#. f3.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Danit Lidor, \"Artists Just Wanna Be Free,\" Wired, 7 July 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #40</ulink>. "
+"For an overview of the exhibition, see <ulink url=\"http://free-culture.cc/"
+"notes/\">link #41</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The consequence of this legal uncertainty, tied to these extremely high "
+"penalties, is that an extraordinary amount of creativity will either never "
+"be exercised, or never be exercised in the open. We drive this creative "
+"process underground by branding the modern-day Walt Disneys \"pirates.\" We "
+"make it impossible for businesses to rely upon a public domain, because the "
+"boundaries of the public domain are designed to be unclear. It never pays to "
+"do anything except pay for the right to create, and hence only those who can "
+"pay are allowed to create. As was the case in the Soviet Union, though for "
+"very different reasons, we will begin to see a world of underground art--not "
+"because the message is necessarily political, or because the subject is "
+"controversial, but because the very act of creating the art is legally "
+"fraught. Already, exhibits of \"illegal art\" tour the United States."
+"<placeholder type=\"footnote\" id=\"0\"/> In what does their \"illegality\" "
+"consist? In the act of mixing the culture around us with an expression that "
+"is critical or reflective."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Part of the reason for this fear of illegality has to do with the changing "
+"law. I described that change in detail in chapter 10. But an even bigger "
+"part has to do with the increasing ease with which infractions can be "
+"tracked. As users of file-sharing systems discovered in 2002, it is a "
+"trivial matter for copyright owners to get courts to order Internet service "
+"providers to reveal who has what content. It is as if your cassette tape "
+"player transmitted a list of the songs that you played in the privacy of "
+"your own home that anyone could tune into for whatever reason they chose."
+msgstr ""
+"en del av årsaken til denne frykten for illegality har å gjøre med endring "
+"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda "
+"større del har å gjøre med den økende enkelt som brudd kan spores. som "
+"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell "
+"sak for opphavsrett eiere å få domstoler å bestille Internett-leverandører å "
+"avsløre hvem som har hvilket innhold. Det er som hvis tape kassettspilleren "
+"sendt en liste over sanger som du har spilt i personvernet til din egen "
+"hjemmeside som noen kunne tune inn uansett grunn de valgte."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Never in our history has a painter had to worry about whether his painting "
+"infringed on someone else's work; but the modern-day painter, using the "
+"tools of Photoshop, sharing content on the Web, must worry all the time. "
+"Images are all around, but the only safe images to use in the act of "
+"creation are those purchased from Corbis or another image farm. And in "
+"purchasing, censoring happens. There is a free market in pencils; we needn't "
+"worry about its effect on creativity. But there is a highly regulated, "
+"monopolized market in cultural icons; the right to cultivate and transform "
+"them is not similarly free."
+msgstr ""
+"aldri i vår historie har en maler hadde å bekymre deg om hans maleri krenket "
+"på noen andre 's arbeid; men dagens maleren, ved hjelp av verktøyene i "
+"photoshop, deling av innhold på nettet, må bekymre deg hele tiden. bilder er "
+"rundt, men de eneste sikre bildene som skal brukes i loven av etableringen "
+"er de kjøpt fra corbis eller en annen bilde farm. og i å kjøpe, sensurere "
+"skjer. Det er et fritt marked i blyanter; Vi trenger ikke bekymre deg om sin "
+"effekt på kreativitet. men det er en svært regulert, monopolized markedet i "
+"kulturelle: ikoner; retten til å dyrke og forvandle dem er ikke på samme "
+"måte gratis."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Lawyers rarely see this because lawyers are rarely empirical. As I described "
+"in chapter 7, in response to the story about documentary filmmaker Jon Else, "
+"I have been lectured again and again by lawyers who insist Else's use was "
+"fair use, and hence I am wrong to say that the law regulates such a use."
+msgstr ""
+"advokater se sjelden dette fordi advokater er sjelden empirisk. som jeg "
+"beskrevet i kapittel 7, som svar på historien om dokumentar filmskaper jon "
+"annet, jeg har vært forelest igjen og igjen av advokater som insisterer "
+"ellers har bruk var rettferdig bruk, og derfor er jeg feil å si at loven "
+"regulerer slik bruk."
+
+#. PAGE BREAK 196
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But fair use in America simply means the right to hire a lawyer to defend "
+"your right to create. And as lawyers love to forget, our system for "
+"defending rights such as fair use is astonishingly bad--in practically every "
+"context, but especially here. It costs too much, it delivers too slowly, and "
+"what it delivers often has little connection to the justice underlying the "
+"claim. The legal system may be tolerable for the very rich. For everyone "
+"else, it is an embarrassment to a tradition that prides itself on the rule "
+"of law."
+msgstr ""
+"men rimelig bruk i Amerika betyr ganske enkelt rett til å leie en advokat "
+"for å forsvare din rett til å opprette. og som advokater elsker å glemme, "
+"systemet vårt for å forsvare rettigheter for eksempel rimelig bruk er "
+"astonishingly dårlig--i praktisk talt alle sammenheng, men spesielt her. Det "
+"koster for mye, det leverer for tregt, og hva leverer ofte har liten "
+"forbindelse til rettferdighet underliggende kravet. Det kan hende at "
+"juridisk system utholdelig for de svært rike. for alle andre er det en "
+"forlegenhet til en tradisjon som prides seg på rettssikkerhet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Judges and lawyers can tell themselves that fair use provides adequate "
+"\"breathing room\" between regulation by the law and the access the law "
+"should allow. But it is a measure of how out of touch our legal system has "
+"become that anyone actually believes this. The rules that publishers impose "
+"upon writers, the rules that film distributors impose upon filmmakers, the "
+"rules that newspapers impose upon journalists-- these are the real laws "
+"governing creativity. And these rules have little relationship to the \"law"
+"\" with which judges comfort themselves."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"For in a world that threatens $150,000 for a single willful infringement of "
+"a copyright, and which demands tens of thousands of dollars to even defend "
+"against a copyright infringement claim, and which would never return to the "
+"wrongfully accused defendant anything of the costs she suffered to defend "
+"her right to speak--in that world, the astonishingly broad regulations that "
+"pass under the name \"copyright\" silence speech and creativity. And in that "
+"world, it takes a studied blindness for people to continue to believe they "
+"live in a culture that is free."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me,"
+msgstr "som jed horovitz, forretningsmann bak video rørledning, sa til meg,"
+
+#. PAGE BREAK 197
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"We're losing [creative] opportunities right and left. Creative people are "
+"being forced not to express themselves. Thoughts are not being expressed. "
+"And while a lot of stuff may [still] be created, it still won't get "
+"distributed. Even if the stuff gets made . . . you're not going to get it "
+"distributed in the mainstream media unless you've got a little note from a "
+"lawyer saying, \"This has been cleared.\" You're not even going to get it on "
+"PBS without that kind of permission. That's the point at which they control "
+"it."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Constraining Innovators"
+msgstr "Begrensende innovators"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The story of the last section was a crunchy-lefty story--creativity quashed, "
+"artists who can't speak, yada yada yada. Maybe that doesn't get you going. "
+"Maybe you think there's enough weird art out there, and enough expression "
+"that is critical of what seems to be just about everything. And if you "
+"think that, you might think there's little in this story to worry you."
+msgstr ""
+"historien om den siste delen var en crunchy lefty historie--kreativitet "
+"ødela, kunstnere som ikke kan snakke, yada babbelet. kanskje det ikke komme "
+"i gang. kanskje tror du det er nok rare kunst der ute, og nok uttrykk som er "
+"kritisk til hva synes å være omtrent alt. og hvis du tror at du kanskje tror "
+"det er lite i denne historien å bekymre deg over."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But there's an aspect of this story that is not lefty in any sense. Indeed, "
+"it is an aspect that could be written by the most extreme promarket "
+"ideologue. And if you're one of these sorts (and a special one at that, 188 "
+"pages into a book like this), then you can see this other aspect by "
+"substituting \"free market\" every place I've spoken of \"free culture.\" "
+"The point is the same, even if the interests affecting culture are more "
+"fundamental."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The charge I've been making about the regulation of culture is the same "
+"charge free marketers make about regulating markets. Everyone, of course, "
+"concedes that some regulation of markets is necessary--at a minimum, we need "
+"rules of property and contract, and courts to enforce both. Likewise, in "
+"this culture debate, everyone concedes that at least some framework of "
+"copyright is also required. But both perspectives vehemently insist that "
+"just because some regulation is good, it doesn't follow that more regulation "
+"is better. And both perspectives are constantly attuned to the ways in which "
+"regulation simply enables the powerful industries of today to protect "
+"themselves against the competitors of tomorrow."
+msgstr ""
+"Jeg har vært å gjøre om regulering av kultur er samme tillegget gratis "
+"markedsførere gjøre om regulerer markeder. enhver, selvfølgelig innrømme at "
+"noen regulering av markeder er nødvendig--et minimum, vi trenger reglene for "
+"egenskapen og kontrakt og domstolene for å håndheve begge. på samme måte i "
+"denne kultur debatten innrømme enhver at minst noen rammen av copyright er "
+"også nødvendig. men begge perspektiver insisterer vehemently at bare fordi "
+"noen regulering er bra, ikke det følger at mer regulering er bedre. og begge "
+"perspektiver er stadig attuned til måtene i hvilke regulering aktiverer bare "
+"de kraftige industriene i dag for å beskytte seg mot konkurrenter i morgen."
+
+#. PAGE BREAK 198
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is the single most dramatic effect of the shift in regulatory strategy "
+"that I described in chapter 10. The consequence of this massive threat of "
+"liability tied to the murky boundaries of copyright law is that innovators "
+"who want to innovate in this space can safely innovate only if they have the "
+"sign-off from last generation's dominant industries. That lesson has been "
+"taught through a series of cases that were designed and executed to teach "
+"venture capitalists a lesson. That lesson--what former Napster CEO Hank "
+"Barry calls a \"nuclear pall\" that has fallen over the Valley--has been "
+"learned."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Consider one example to make the point, a story whose beginning I told in "
+"The Future of Ideas and which has progressed in a way that even I (pessimist "
+"extraordinaire) would never have predicted."
+msgstr ""
+"vurdere ett eksempel for å gjøre punktet, en historie som begynnelsen jeg "
+"fortalt i fremtiden for ideer og som har kommet i en måte at selv jeg "
+"(pessimist extraordinaire) ville aldri ha forutsett."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In 1997, Michael Roberts launched a company called MP3.com. MP3.com was "
+"keen to remake the music business. Their goal was not just to facilitate new "
+"ways to get access to content. Their goal was also to facilitate new ways to "
+"create content. Unlike the major labels, MP3.com offered creators a venue to "
+"distribute their creativity, without demanding an exclusive engagement from "
+"the creators."
+msgstr ""
+"i 1997, michael roberts lansert et firma som heter mp3.com. MP3.com var "
+"opptatt av å remake musikkbransjen. deres mål var ikke bare for å lette nye "
+"måter å få tilgang til innhold. deres mål var også å lette nye måter å lage "
+"innhold. i motsetning til de store plateselskapene tilbudt mp3.com skaperne "
+"en arena for å distribuere sine kreativitet, uten å kreve en eksklusiv "
+"engasjement fra skaperne."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"To make this system work, however, MP3.com needed a reliable way to "
+"recommend music to its users. The idea behind this alternative was to "
+"leverage the revealed preferences of music listeners to recommend new "
+"artists. If you like Lyle Lovett, you're likely to enjoy Bonnie Raitt. And "
+"so on."
+msgstr ""
+"Hvis du vil gjøre dette systemet fungerer, men trengte mp3.com en pålitelig "
+"måte å anbefale musikk til sine brukere. Ideen bak denne alternative var å "
+"utnytte åpenbarte innstillingene av musikk lyttere å anbefale nye artister. "
+"Hvis du liker lyle lovett, sannsynligvis du til å nyte bonnie raitt. og så "
+"videre."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This idea required a simple way to gather data about user preferences. MP3."
+"com came up with an extraordinarily clever way to gather this preference "
+"data. In January 2000, the company launched a service called my.mp3.com. "
+"Using software provided by MP3.com, a user would sign into an account and "
+"then insert into her computer a CD. The software would identify the CD, and "
+"then give the user access to that content. So, for example, if you inserted "
+"a CD by Jill Sobule, then wherever you were--at work or at home--you could "
+"get access to that music once you signed into your account. The system was "
+"therefore a kind of music-lockbox."
+msgstr ""
+
+#. PAGE BREAK 199
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No doubt some could use this system to illegally copy content. But that "
+"opportunity existed with or without MP3.com. The aim of the my.mp3.com "
+"service was to give users access to their own content, and as a by-product, "
+"by seeing the content they already owned, to discover the kind of content "
+"the users liked."
+msgstr ""
+"ingen tvil kan noen bruker dette systemet til å kopiere ulovlig innhold. men "
+"at mulighet eksistert med eller uten mp3.com. målet for my.mp3.com-tjenesten "
+"var å gi brukere tilgang til sitt eget innhold, og er et biprodukt ved å se "
+"innholdet de allerede eid, til å oppdage hva slags innhold som brukerne "
+"likte."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"To make this system function, however, MP3.com needed to copy 50,000 CDs to "
+"a server. (In principle, it could have been the user who uploaded the music, "
+"but that would have taken a great deal of time, and would have produced a "
+"product of questionable quality.) It therefore purchased 50,000 CDs from a "
+"store, and started the process of making copies of those CDs. Again, it "
+"would not serve the content from those copies to anyone except those who "
+"authenticated that they had a copy of the CD they wanted to access. So while "
+"this was 50,000 copies, it was 50,000 copies directed at giving customers "
+"something they had already bought."
+msgstr ""
+"Hvis du vil gjøre denne systemfunksjon, men mp3.com nødvendig å kopiere "
+"50.000 CDer til en server. (i prinsippet, det kunne ha vært brukeren som "
+"lastet opp musikken, men som ville ha tatt mye tid, og ville har produsert "
+"et produkt av tvilsom kvalitet.) Det er derfor kjøpt 50.000 CDer fra en "
+"butikk, og startet prosessen med å lage kopier av disse CDene. igjen, det "
+"ville ikke tjene innholdet fra de kopiene til alle bortsett fra de som "
+"godkjent at de hadde en kopi av cd de ønsket å få tilgang til. så selv om "
+"dette var 50 000 eksemplarer, det var 50,000 kopier som er rettet mot å gi "
+"kunder noe de hadde allerede kjøpt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Nine days after MP3.com launched its service, the five major labels, headed "
+"by the RIAA, brought a lawsuit against MP3.com. MP3.com settled with four of "
+"the five. Nine months later, a federal judge found MP3.com to have been "
+"guilty of willful infringement with respect to the fifth. Applying the law "
+"as it is, the judge imposed a fine against MP3.com of $118 million. MP3.com "
+"then settled with the remaining plaintiff, Vivendi Universal, paying over "
+"$54 million. Vivendi purchased MP3.com just about a year later."
+msgstr ""
+"ni dager etter mp3.com lansert sin tjeneste, brakte de fem store etikettene, "
+"ledet av riaa, en sak mot mp3.com. MP3.com utlignet med fire av de fem. ni "
+"måneder senere, en føderal dommer funnet mp3.com å ha vært skyldig i willful "
+"brudd med hensyn til femte. å bruke loven som det er, pålagt dommeren en bot "
+"mot mp3.com av 118 millioner. MP3.com deretter utlignet med gjenstående "
+"saksøker, vivendi universal, betaler over $54 millioner. Vivendi kjøpt mp3."
+"com omtrent et år senere."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "That part of the story I have told before. Now consider its conclusion."
+msgstr "som en del av historien jeg har fortalt før. nå Vurder sin konklusjon."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"After Vivendi purchased MP3.com, Vivendi turned around and filed a "
+"malpractice lawsuit against the lawyers who had advised it that they had a "
+"good faith claim that the service they wanted to offer would be considered "
+"legal under copyright law. This lawsuit alleged that it should have been "
+"obvious that the courts would find this behavior illegal; therefore, this "
+"lawsuit sought to punish any lawyer who had dared to suggest that the law "
+"was less restrictive than the labels demanded."
+msgstr ""
+"etter at vivendi kjøpt mp3.com, vivendi slått rundt og arkivert en "
+"malpractice prosess mot jurister som hadde anbefales det at de hadde en god "
+"tro hevder at de ønsket å tilby tjenesten vil bli vurdert juridiske lover om "
+"opphavsrett. Dette søksmålet påstått at det burde vært åpenbart at "
+"domstolene ville finne denne virkemåten ulovlig; Derfor var dette søksmålet "
+"søkt å straffe noen advokat som hadde våget å foreslå at loven mindre "
+"restriktive enn etikettene krevde."
+
+#. PAGE BREAK 200
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The clear purpose of this lawsuit (which was settled for an unspecified "
+"amount shortly after the story was no longer covered in the press) was to "
+"send an unequivocal message to lawyers advising clients in this space: It is "
+"not just your clients who might suffer if the content industry directs its "
+"guns against them. It is also you. So those of you who believe the law "
+"should be less restrictive should realize that such a view of the law will "
+"cost you and your firm dearly."
+msgstr ""
+"Fjern hensikten med dette søksmålet (som ble avgjort i en uspesifisert "
+"periode kort tid etter at historien ble ikke lenger dekket i pressen) var å "
+"sende en utvetydig melding til advokater rådgivning klienter i dette rommet: "
+"det er ikke bare klientene som kanskje lider Hvis innhold industrien "
+"dirigerer sine våpen mot dem. Det er også deg. så de av dere som tror loven "
+"bør være mindre bør restriktive innse at slikt syn på loven vil koste deg og "
+"ditt firma dyrt."
+
+#. f4.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" Los Angeles Times, "
+"23 April 2003. For a parallel argument about the effects on innovation in "
+"the distribution of music, see Janelle Brown, \"The Music Revolution Will "
+"Not Be Digitized,\" Salon.com, 1 June 2001, available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #42</ulink>. See also Jon Healey, \"Online "
+"Music Services Besieged,\" Los Angeles Times, 28 May 2001."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This strategy is not just limited to the lawyers. In April 2003, Universal "
+"and EMI brought a lawsuit against Hummer Winblad, the venture capital firm "
+"(VC) that had funded Napster at a certain stage of its development, its "
+"cofounder ( John Hummer), and general partner (Hank Barry).<placeholder type="
+"\"footnote\" id=\"0\"/> The claim here, as well, was that the VC should have "
+"recognized the right of the content industry to control how the industry "
+"should develop. They should be held personally liable for funding a company "
+"whose business turned out to be beyond the law. Here again, the aim of the "
+"lawsuit is transparent: Any VC now recognizes that if you fund a company "
+"whose business is not approved of by the dinosaurs, you are at risk not just "
+"in the marketplace, but in the courtroom as well. Your investment buys you "
+"not only a company, it also buys you a lawsuit. So extreme has the "
+"environment become that even car manufacturers are afraid of technologies "
+"that touch content. In an article in Business 2.0, Rafe Needleman describes "
+"a discussion with BMW:"
+msgstr ""
+
+#. f5.
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid ""
+"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #43</ulink>. "
+"I am grateful to Dr. Mohammad Al-Ubaydli for this example."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"I asked why, with all the storage capacity and computer power in the car, "
+"there was no way to play MP3 files. I was told that BMW engineers in Germany "
+"had rigged a new vehicle to play MP3s via the car's built-in sound system, "
+"but that the company's marketing and legal departments weren't comfortable "
+"with pushing this forward for release stateside. Even today, no new cars are "
+"sold in the United States with bona fide MP3 players. . . . <placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is the world of the mafia--filled with \"your money or your life\" "
+"offers, governed in the end not by courts but by the threats that the law "
+"empowers copyright holders to exercise. It is a system that will obviously "
+"and necessarily stifle new innovation. It is hard enough to start a company. "
+"It is impossibly hard if that company is constantly threatened by litigation."
+msgstr ""
+
+#. PAGE BREAK 201
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The point is not that businesses should have a right to start illegal "
+"enterprises. The point is the definition of \"illegal.\" The law is a mess "
+"of uncertainty. We have no good way to know how it should apply to new "
+"technologies. Yet by reversing our tradition of judicial deference, and by "
+"embracing the astonishingly high penalties that copyright law imposes, that "
+"uncertainty now yields a reality which is far more conservative than is "
+"right. If the law imposed the death penalty for parking tickets, we'd not "
+"only have fewer parking tickets, we'd also have much less driving. The same "
+"principle applies to innovation. If innovation is constantly checked by this "
+"uncertain and unlimited liability, we will have much less vibrant innovation "
+"and much less creativity."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The point is directly parallel to the crunchy-lefty point about fair use. "
+"Whatever the \"real\" law is, realism about the effect of law in both "
+"contexts is the same. This wildly punitive system of regulation will "
+"systematically stifle creativity and innovation. It will protect some "
+"industries and some creators, but it will harm industry and creativity "
+"generally. Free market and free culture depend upon vibrant competition. "
+"Yet the effect of the law today is to stifle just this kind of competition. "
+"The effect is to produce an overregulated culture, just as the effect of too "
+"much control in the market is to produce an overregulatedregulated market."
+msgstr ""
+
+#. PAGE BREAK 202
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The building of a permission culture, rather than a free culture, is the "
+"first important way in which the changes I have described will burden "
+"innovation. A permission culture means a lawyer's culture--a culture in "
+"which the ability to create requires a call to your lawyer. Again, I am not "
+"antilawyer, at least when they're kept in their proper place. I am certainly "
+"not antilaw. But our profession has lost the sense of its limits. And "
+"leaders in our profession have lost an appreciation of the high costs that "
+"our profession imposes upon others. The inefficiency of the law is an "
+"embarrassment to our tradition. And while I believe our profession should "
+"therefore do everything it can to make the law more efficient, it should at "
+"least do everything it can to limit the reach of the law where the law is "
+"not doing any good. The transaction costs buried within a permission culture "
+"are enough to bury a wide range of creativity. Someone needs to do a lot of "
+"justifying to justify that result. The uncertainty of the law is one burden "
+"on innovation. There is a second burden that operates more directly. This is "
+"the effort by many in the content industry to use the law to directly "
+"regulate the technology of the Internet so that it better protects their "
+"content."
+msgstr ""
+"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den første "
+"viktige måten der vil endringene jeg har beskrevet byrden innovasjon. en "
+"tillatelse kultur betyr en advokat kultur--en kultur der muligheten til å "
+"opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke "
+"antilawyer, minst når de er holdt i deres riktig sted. Jeg er sikkert ikke "
+"antilaw. Men vårt yrke har mistet følelsen av sine grenser. og ledere i vår "
+"profesjon har mistet en styrking av de høye kostnadene som vårt yrke "
+"pålegger over andre. ineffektiviteten i loven er en forlegenhet til vår "
+"tradisjon. og mens jeg tror vårt yrke bør derfor gjøre alt den kan for å "
+"effektivisere loven, det bør minst gjøre alt den kan for å begrense "
+"rekkevidden av loven der loven ikke gjør noe bra. transaksjonskostnader "
+"begravde innen en tillatelse kultur er nok å begrave et bredt spekter av "
+"kreativitet. noen må gjøre en masse rettferdiggjørende for å rettferdiggjøre "
+"dette resultatet. Usikkerheten av loven er en byrde på innovasjon. Det er en "
+"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen "
+"innhold for å bruke loven til å regulere direkte teknologi på Internett slik "
+"at det bedre beskytter innholdet."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The motivation for this response is obvious. The Internet enables the "
+"efficient spread of content. That efficiency is a feature of the Internet's "
+"design. But from the perspective of the content industry, this feature is a "
+"\"bug.\" The efficient spread of content means that content distributors "
+"have a harder time controlling the distribution of content. One obvious "
+"response to this efficiency is thus to make the Internet less efficient. If "
+"the Internet enables \"piracy,\" then, this response says, we should break "
+"the kneecaps of the Internet."
+msgstr ""
+
+#. f6.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"\"Copyright and Digital Media in a Post-Napster World,\" GartnerG2 and the "
+"Berkman Center for Internet and Society at Harvard Law School (2003), 3335, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #44</ulink>."
+msgstr ""
+
+#. f7.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid "GartnerG2, 2627."
+msgid "GartnerG2, 2627."
+msgstr "gartnerg2, 2627."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The examples of this form of legislation are many. At the urging of the "
+"content industry, some in Congress have threatened legislation that would "
+"require computers to determine whether the content they access is protected "
+"or not, and to disable the spread of protected content.<placeholder type="
+"\"footnote\" id=\"0\"/> Congress has already launched proceedings to explore "
+"a mandatory \"broadcast flag\" that would be required on any device capable "
+"of transmitting digital video (i.e., a computer), and that would disable the "
+"copying of any content that is marked with a broadcast flag. Other members "
+"of Congress have proposed immunizing content providers from liability for "
+"technology they might deploy that would hunt down copyright violators and "
+"disable their machines.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. PAGE BREAK 203
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In one sense, these solutions seem sensible. If the problem is the code, why "
+"not regulate the code to remove the problem. But any regulation of technical "
+"infrastructure will always be tuned to the particular technology of the day. "
+"It will impose significant burdens and costs on the technology, but will "
+"likely be eclipsed by advances around exactly those requirements."
+msgstr ""
+"i en forstand synes disse løsningene fornuftig. Hvis problemet er koden, "
+"hvorfor ikke regulere koden for å fjerne problemet. men noen regulering av "
+"tekniske infrastruktur vil alltid er stilt inn på bestemt teknologi av "
+"dagen. det vil innføre betydelig byrder og kostnader på teknologi, men vil "
+"trolig være eclipsed av fremskritt rundt akkurat disse kravene."
+
+#. f8.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See David McGuire, \"Tech Execs Square Off Over Piracy,\" Newsbytes, "
+"February 2002 (Entertainment)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In March 2002, a broad coalition of technology companies, led by Intel, "
+"tried to get Congress to see the harm that such legislation would impose."
+"<placeholder type=\"footnote\" id=\"0\"/> Their argument was obviously not "
+"that copyright should not be protected. Instead, they argued, any protection "
+"should not do more harm than good."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There is one more obvious way in which this war has harmed innovation--"
+"again, a story that will be quite familiar to the free market crowd."
+msgstr ""
+"Det er en tydeligere måte der denne krigen har skadet innovasjon - igjen, en "
+"historie som vil være ganske kjent for fritt marked publikum."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Copyright may be property, but like all property, it is also a form of "
+"regulation. It is a regulation that benefits some and harms others. When "
+"done right, it benefits creators and harms leeches. When done wrong, it is "
+"regulation the powerful use to defeat competitors."
+msgstr ""
+"Copyright kanskje eiendom, men som all eiendom, det er også en form for "
+"regulering. Det er en forordning som fordeler noen og skader andre. Når det "
+"gjøres riktig, det fordeler skaperne og skader leeches. Når gjort galt, det "
+"er regulering kraftig bruk å beseire konkurrenter."
+
+#. f9.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Jessica Litman, Digital Copyright (Amherst, N.Y.: Prometheus Books, 2001)."
+msgstr ""
+"Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As I described in chapter 10, despite this feature of copyright as "
+"regulation, and subject to important qualifications outlined by Jessica "
+"Litman in her book Digital Copyright,<placeholder type=\"footnote\" id=\"0\"/"
+"> overall this history of copyright is not bad. As chapter 10 details, when "
+"new technologies have come along, Congress has struck a balance to assure "
+"that the new is protected from the old. Compulsory, or statutory, licenses "
+"have been one part of that strategy. Free use (as in the case of the VCR) "
+"has been another."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But that pattern of deference to new technologies has now changed with the "
+"rise of the Internet. Rather than striking a balance between the claims of a "
+"new technology and the legitimate rights of content creators, both the "
+"courts and Congress have imposed legal restrictions that will have the "
+"effect of smothering the new to benefit the old."
+msgstr ""
+"men dette mønsteret av deference til nye teknologier er nå endret med "
+"veksten av Internett. i stedet for å treffe en balanse mellom kravene til en "
+"ny teknologi og legitime rettighetene til skapere av innhold, har både "
+"domstoler og Kongressen innført juridiske restriksjoner som vil ha effekten "
+"av smothering ny for å dra nytte av gamle."
+
+#. f10.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"The only circuit court exception is found in Recording Industry Association "
+"of America (RIAA) v. Diamond Multimedia Systems, 180 F. 3d 1072 (9th Cir. "
+"1999). There the court of appeals for the Ninth Circuit reasoned that makers "
+"of a portable MP3 player were not liable for contributory copyright "
+"infringement for a device that is unable to record or redistribute music (a "
+"device whose only copying function is to render portable a music file "
+"already stored on a user's hard drive). At the district court level, the "
+"only exception is found in Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, "
+"Ltd., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found the "
+"link between the distributor and any given user's conduct too attenuated to "
+"make the distributor liable for contributory or vicarious infringement "
+"liability."
+msgstr ""
+"Det eneste unntaket fra circuit court er funnet i innspillingen industry "
+"association of america (riaa) v. diamond multimedia systems, 180 f. 3d 1072 "
+"(9 cir. 1999). det begrunnet court of appeals for niende circuit at skaperne "
+"av en bærbar mp3-spiller ikke var ansvarlig for medvirkende opphavsretten "
+"for en enhet som ikke kan registrere eller videredistribuere musikk (en "
+"enhet Hvis bare kopiering funksjon er å gjengi bærbare en musikkfil som "
+"allerede er lagret på brukerens harddisk). på district court-nivå, er det "
+"eneste unntaket funnet i metro-goldwyn-mayer studios, inc. v. grokster, "
+"ltd., 259 f. supp. 2d 1029 (Deportivo klientadgangslisens (CAL), 2003), der "
+"domstolen fant koblingen mellom distributøren og noen gitt bruker 's "
+"gjennomføre for attenuated å gjøre distributøren ansvarlig for krenkelse av "
+"medvirkende eller stedfortredende erstatningsansvar."
+
+#. f11.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"For example, in July 2002, Representative Howard Berman introduced the Peer-"
+"to-Peer Piracy Prevention Act (H.R. 5211), which would immunize copyright "
+"holders from liability for damage done to computers when the copyright "
+"holders use technology to stop copyright infringement. In August 2002, "
+"Representative Billy Tauzin introduced a bill to mandate that technologies "
+"capable of rebroadcasting digital copies of films broadcast on TV (i.e., "
+"computers) respect a \"broadcast flag\" that would disable copying of that "
+"content. And in March of the same year, Senator Fritz Hollings introduced "
+"the Consumer Broadband and Digital Television Promotion Act, which mandated "
+"copyright protection technology in all digital media devices. See GartnerG2, "
+"\"Copyright and Digital Media in a Post-Napster World,\" 27 June 2003, 3334, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #44</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The response by the courts has been fairly universal.<placeholder type="
+"\"footnote\" id=\"0\"/> It has been mirrored in the responses threatened and "
+"actually implemented by Congress. I won't catalog all of those responses "
+"here.<placeholder type=\"footnote\" id=\"1\"/> But there is one example that "
+"captures the flavor of them all. This is the story of the demise of Internet "
+"radio."
+msgstr ""
+
+#. PAGE BREAK 204
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As I described in chapter 4, when a radio station plays a song, the "
+"recording artist doesn't get paid for that \"radio performance\" unless he "
+"or she is also the composer. So, for example if Marilyn Monroe had recorded "
+"a version of \"Happy Birthday\"--to memorialize her famous performance "
+"before President Kennedy at Madison Square Garden-- then whenever that "
+"recording was played on the radio, the current copyright owners of \"Happy "
+"Birthday\" would get some money, whereas Marilyn Monroe would not."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The reasoning behind this balance struck by Congress makes some sense. The "
+"justification was that radio was a kind of advertising. The recording artist "
+"thus benefited because by playing her music, the radio station was making it "
+"more likely that her records would be purchased. Thus, the recording artist "
+"got something, even if only indirectly. Probably this reasoning had less to "
+"do with the result than with the power of radio stations: Their lobbyists "
+"were quite good at stopping any efforts to get Congress to require "
+"compensation to the recording artists."
+msgstr ""
+"begrunnelsen bak denne balansen truffet av Kongressen gjør noe fornuftig. "
+"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte "
+"dermed fordi ved å spille musikken hennes, radiostasjonen var å gjøre det "
+"mer sannsynlig at hennes poster ville være kjøpt. dermed Plateartist fikk "
+"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre å "
+"gjøre med resultatet enn med makten av radiostasjoner: deres lobbyister var "
+"ganske god til å stoppe enhver innsats for å få Kongressen til å kreve "
+"kompensasjon for artistene."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Enter Internet radio. Like regular radio, Internet radio is a technology to "
+"stream content from a broadcaster to a listener. The broadcast travels "
+"across the Internet, not across the ether of radio spectrum. Thus, I can "
+"\"tune in\" to an Internet radio station in Berlin while sitting in San "
+"Francisco, even though there's no way for me to tune in to a regular radio "
+"station much beyond the San Francisco metropolitan area."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This feature of the architecture of Internet radio means that there are "
+"potentially an unlimited number of radio stations that a user could tune in "
+"to using her computer, whereas under the existing architecture for broadcast "
+"radio, there is an obvious limit to the number of broadcasters and clear "
+"broadcast frequencies. Internet radio could therefore be more competitive "
+"than regular radio; it could provide a wider range of selections. And "
+"because the potential audience for Internet radio is the whole world, niche "
+"stations could easily develop and market their content to a relatively large "
+"number of users worldwide. According to some estimates, more than eighty "
+"million users worldwide have tuned in to this new form of radio."
+msgstr ""
+"Denne funksjonen i arkitekturen av Internett-radio betyr at det er "
+"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn "
+"til å bruke sin datamaskin, mens under den eksisterende arkitekturen for "
+"kringkasting, det er en åpenbar grense for hvor mange broadcasters og fjerne "
+"kringkastingsfrekvenser. Internett-radio kan derfor være mer "
+"konkurransedyktige enn vanlige radio; den kunne gi et bredere spekter av "
+"valgene. og fordi potensielle publikum for Internett-radio er hele verden, "
+"nisje-stasjoner kan lett utvikle og markedsføre innholdet til et relativt "
+"stort antall brukere over hele verden. Ifølge noen anslag har mer enn åtti "
+"millioner brukere over hele verden stilt inn på denne nye formen for radio."
+
+#. PAGE BREAK 205
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Internet radio is thus to radio what FM was to AM. It is an improvement "
+"potentially vastly more significant than the FM improvement over AM, since "
+"not only is the technology better, so, too, is the competition. Indeed, "
+"there is a direct parallel between the fight to establish FM radio and the "
+"fight to protect Internet radio. As one author describes Howard Armstrong's "
+"struggle to enable FM radio,"
+msgstr ""
+"Internett-radio er dermed til radio hva fm var å am. Det er en forbedring "
+"potensielt vesentlig større betydning enn fm-forbedring over am, siden ikke "
+"bare er teknologien bedre, så, også, er konkurransen. faktisk er det en "
+"direkte parallell mellom kampen for å etablere fm-radio og kampen for å "
+"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp "
+"for å aktivere fm-radio,"
+
+#. f12.
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid "Lessing, 239."
+msgstr "Lessing, 239."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"An almost unlimited number of FM stations was possible in the shortwaves, "
+"thus ending the unnatural restrictions imposed on radio in the crowded "
+"longwaves. If FM were freely developed, the number of stations would be "
+"limited only by economics and competition rather than by technical "
+"restrictions. . . . Armstrong likened the situation that had grown up in "
+"radio to that following the invention of the printing press, when "
+"governments and ruling interests attempted to control this new instrument of "
+"mass communications by imposing restrictive licenses on it. This tyranny was "
+"broken only when it became possible for men freely to acquire printing "
+"presses and freely to run them. FM in this sense was as great an invention "
+"as the printing presses, for it gave radio the opportunity to strike off its "
+"shackles.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f13.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid "Ibid., 229."
+msgstr "ibid., 229."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This potential for FM radio was never realized--not because Armstrong was "
+"wrong about the technology, but because he underestimated the power of "
+"\"vested interests, habits, customs and legislation\"<placeholder type="
+"\"footnote\" id=\"0\"/> to retard the growth of this competing technology."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Now the very same claim could be made about Internet radio. For again, there "
+"is no technical limitation that could restrict the number of Internet radio "
+"stations. The only restrictions on Internet radio are those imposed by the "
+"law. Copyright law is one such law. So the first question we should ask is, "
+"what copyright rules would govern Internet radio?"
+msgstr ""
+"nå kunne samme kravet gjort om Internett-radio. for på nytt finnes det ingen "
+"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de "
+"eneste begrensningene på Internett-radio som er pålagt av loven. lov om "
+"opphavsrett er en slik lov. så det første spørsmålet som vi bør spørre er, "
+"hvilke opphavsrett regler ville styre Internett-radio?"
+
+#. PAGE BREAK 206
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But here the power of the lobbyists is reversed. Internet radio is a new "
+"industry. The recording artists, on the other hand, have a very powerful "
+"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet "
+"radio in 1995, the lobbyists had primed Congress to adopt a different rule "
+"for Internet radio than the rule that applies to terrestrial radio. While "
+"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when "
+"it plays her hypothetical recording of \"Happy Birthday\" on the air, "
+"Internet radio does. Not only is the law not neutral toward Internet radio--"
+"the law actually burdens Internet radio more than it burdens terrestrial "
+"radio."
+msgstr ""
+
+#. f14.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"This example was derived from fees set by the original Copyright Arbitration "
+"Royalty Panel (CARP) proceedings, and is drawn from an example offered by "
+"Professor William Fisher. Conference Proceedings, iLaw (Stanford), 3 July "
+"2003, on file with author. Professors Fisher and Zittrain submitted "
+"testimony in the CARP proceeding that was ultimately rejected. See Jonathan "
+"Zittrain, Digital Performance Right in Sound Recordings and Ephemeral "
+"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent "
+"analysis making a similar point, see Randal C. Picker, \"Copyright as Entry "
+"Policy: The Case of Digital Distribution,\" Antitrust Bulletin (Summer/Fall "
+"2002): 461: \"This was not confusion, these are just old-fashioned entry "
+"barriers. Analog radio stations are protected from digital entrants, "
+"reducing entry in radio and diversity. Yes, this is done in the name of "
+"getting royalties to copyright holders, but, absent the play of powerful "
+"interests, that could have been done in a media-neutral way.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This financial burden is not slight. As Harvard law professor William Fisher "
+"estimates, if an Internet radio station distributed adfree popular music to "
+"(on average) ten thousand listeners, twenty-four hours a day, the total "
+"artist fees that radio station would owe would be over $1 million a year."
+"<placeholder type=\"footnote\" id=\"0\"/> A regular radio station "
+"broadcasting the same content would pay no equivalent fee."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The burden is not financial only. Under the original rules that were "
+"proposed, an Internet radio station (but not a terrestrial radio station) "
+"would have to collect the following data from every listening transaction:"
+msgstr ""
+"byrden er ikke økonomiske bare. under de opprinnelige reglene som ble "
+"foreslått, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) "
+"ville ha til å samle inn følgende data fra hver lytting transaksjon:"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "name of the service;"
+msgstr "navnet på tjenesten,"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "channel of the program (AM/FM stations use station ID);"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "type of program (archived/looped/live);"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "date of transmission;"
+msgstr "dato for overføring;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "time of transmission;"
+msgstr "tidspunktet for overføring;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "time zone of origination of transmission;"
+msgstr "tidssonen til opprinnelse av overføring;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"numeric designation of the place of the sound recording within the program;"
+msgstr "numeriske angivelsen av i stedet for lydopptak programmet;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "duration of transmission (to nearest second);"
+msgstr "varigheten av overføring (til nærmeste sekund):"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "sound recording title;"
+msgstr "Lydinnspilling-tittel;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "ISRC code of the recording;"
+msgstr "ISRC-koden på opptaket;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"release year of the album per copyright notice and in the case of "
+"compilation albums, the release year of the album and copy- right date of "
+"the track;"
+msgstr ""
+"gi år av albumet per opphavsrett og når det gjelder samlealbum, utgivelsesår "
+"av albumet og kopi høyre datoen for spor;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "featured recording artist;"
+msgstr "anbefalte Plateartist;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "retail album title;"
+msgstr "detaljhandel albumtittel;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "recording label;"
+msgstr "plateselskap;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "UPC code of the retail album;"
+msgstr "UPC koden for selge i detalj albumet;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "catalog number;"
+msgstr "katalognummer;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "copyright owner information;"
+msgstr "opphavsrettsinnehaveren informasjon;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "musical genre of the channel or program (station format);"
+msgstr "musikksjanger av kanal eller -programmet (stasjon format);"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "name of the service or entity;"
+msgstr "navnet på tjenesten eller selskap;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "channel or program;"
+msgstr "kanal eller program;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "date and time that the user logged in (in the user's time zone);"
+msgstr "datoen og klokkeslettet da brukeren logget på (i brukerens tidssone);"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "date and time that the user logged out (in the user's time zone);"
+msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "time zone where the signal was received (user);"
+msgstr "tidssone der signalet ble mottatt (bruker);"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "Unique User identifier;"
+msgstr "unik bruker identifikator;"
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "the country in which the user received the transmissions."
+msgstr "landet som brukeren mottok sendinger."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Librarian of Congress eventually suspended these reporting requirements, "
+"pending further study. And he also changed the original rates set by the "
+"arbitration panel charged with setting rates. But the basic difference "
+"between Internet radio and terrestrial radio remains: Internet radio has to "
+"pay a type of copyright fee that terrestrial radio does not."
+msgstr ""
+"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, "
+"ventende videre studium. og han endret også de opprinnelige prisene ved "
+"voldgift panelet belastet med angivelse av priser. men den grunnleggende "
+"forskjellen mellom Internett-radio og bakkesendte radio gjenstår: Internett "
+"radio har å betale en type opphavsrett gebyr som bakkesendte radio ikke."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Why? What justifies this difference? Was there any study of the economic "
+"consequences from Internet radio that would justify these differences? Was "
+"the motive to protect artists against piracy?"
+msgstr ""
+"hvorfor? Hva rettferdiggjør denne forskjellen? var det noen studier av "
+"økonomiske konsekvensene fra Internett-radio som ville forsvare disse "
+"forskjellene? var motivet å beskytte kunstnere mot piratkopiering?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In a rare bit of candor, one RIAA expert admitted what seemed obvious to "
+"everyone at the time. As Alex Alben, vice president for Public Policy at "
+"Real Networks, told me,"
+msgstr ""
+"i sjeldne litt candor innrømmet én riaa ekspert hva syntes åpenbar for alle "
+"samtidig. som alex alben fortalte visepresident for public policy på real "
+"networks, meg:"
+
+#. PAGE BREAK 208
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"The RIAA, which was representing the record labels, presented some testimony "
+"about what they thought a willing buyer would pay to a willing seller, and "
+"it was much higher. It was ten times higher than what radio stations pay to "
+"perform the same songs for the same period of time. And so the attorneys "
+"representing the webcasters asked the RIAA, . . . \"How do you come up with "
+"a rate that's so much higher? Why is it worth more than radio? Because here "
+"we have hundreds of thousands of webcasters who want to pay, and that should "
+"establish the market rate, and if you set the rate so high, you're going to "
+"drive the small webcasters out of business. . . .\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"And the RIAA experts said, \"Well, we don't really model this as an industry "
+"with thousands of webcasters, we think it should be an industry with, you "
+"know, five or seven big players who can pay a high rate and it's a stable, "
+"predictable market.\" (Emphasis added.)"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Translation: The aim is to use the law to eliminate competition, so that "
+"this platform of potentially immense competition, which would cause the "
+"diversity and range of content available to explode, would not cause pain to "
+"the dinosaurs of old. There is no one, on either the right or the left, who "
+"should endorse this use of the law. And yet there is practically no one, on "
+"either the right or the left, who is doing anything effective to prevent it."
+msgstr ""
+"oversettelse: målet er å bruke loven til å eliminere konkurranse, slik at "
+"denne plattformen av potensielt enorme konkurransen, som ville føre til "
+"mangfoldet og omfanget av innholdet tilgjengelig til å eksplodere, ikke "
+"ville forårsake smerte til dinosaurs av gamle. Det er ingen, enten til høyre "
+"eller venstre, som bør bifaller denne bruken av loven. og ennå er det "
+"praktisk talt ingen, enten til høyre eller venstre, som gjør noe effektivt "
+"for å hindre den."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Corrupting Citizens"
+msgstr "ødelegge borgere"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Overregulation stifles creativity. It smothers innovation. It gives "
+"dinosaurs a veto over the future. It wastes the extraordinary opportunity "
+"for a democratic creativity that digital technology enables."
+msgstr ""
+"overregulation stifles kreativitet. det smothers innovasjon. Det gir "
+"dinosaurer vetorett over fremtiden. det avfall ekstraordinær mulighet for en "
+"demokratisk kreativitet som digital teknologi gjør det mulig."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In addition to these important harms, there is one more that was important "
+"to our forebears, but seems forgotten today. Overregulation corrupts "
+"citizens and weakens the rule of law."
+msgstr ""
+"i tillegg til disse viktige skadene er det en mer som var viktig for våre "
+"forfedre, men synes glemt i dag. overregulation skader borgere og svekker "
+"rettssikkerhet."
+
+#. f15.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Mike Graziano and Lee Rainie, \"The Music Downloading Deluge,\" Pew Internet "
+"and American Life Project (24 April 2001), available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #46</ulink>. The Pew Internet and American "
+"Life Project reported that 37 million Americans had downloaded music files "
+"from the Internet by early 2001."
+msgstr ""
+
+#. PAGE BREAK 209
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The war that is being waged today is a war of prohibition. As with every war "
+"of prohibition, it is targeted against the behavior of a very large number "
+"of citizens. According to The New York Times, 43 million Americans "
+"downloaded music in May 2002.<placeholder type=\"footnote\" id=\"0\"/> "
+"According to the RIAA, the behavior of those 43 million Americans is a "
+"felony. We thus have a set of rules that transform 20 percent of America "
+"into criminals. As the RIAA launches lawsuits against not only the Napsters "
+"and Kazaas of the world, but against students building search engines, and "
+"increasingly against ordinary users downloading content, the technologies "
+"for sharing will advance to further protect and hide illegal use. It is an "
+"arms race or a civil war, with the extremes of one side inviting a more "
+"extreme response by the other."
+msgstr ""
+
+#. f16.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" Los "
+"Angeles Times, 10 September 2003, Business."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The content industry's tactics exploit the failings of the American legal "
+"system. When the RIAA brought suit against Jesse Jordan, it knew that in "
+"Jordan it had found a scapegoat, not a defendant. The threat of having to "
+"pay either all the money in the world in damages ($15,000,000) or almost all "
+"the money in the world to defend against paying all the money in the world "
+"in damages ($250,000 in legal fees) led Jordan to choose to pay all the "
+"money he had in the world ($12,000) to make the suit go away. The same "
+"strategy animates the RIAA's suits against individual users. In September "
+"2003, the RIAA sued 261 individuals--including a twelve-year-old girl living "
+"in public housing and a seventy-year-old man who had no idea what file "
+"sharing was.<placeholder type=\"footnote\" id=\"0\"/> As these scapegoats "
+"discovered, it will always cost more to defend against these suits than it "
+"would cost to simply settle. (The twelve year old, for example, like Jesse "
+"Jordan, paid her life savings of $2,000 to settle the case.) Our law is an "
+"awful system for defending rights. It is an embarrassment to our tradition. "
+"And the consequence of our law as it is, is that those with the power can "
+"use the law to quash any rights they oppose."
+msgstr ""
+
+#. f17.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During "
+"Prohibition,\" American Economic Review 81, no. 2 (1991): 242."
+msgstr ""
+
+#. f18.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"National Drug Control Policy: Hearing Before the House Government Reform "
+"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. "
+"Walters, director of National Drug Control Policy)."
+msgstr ""
+"nasjonale narkotikapolitikken kontroll: høre før house government reform "
+"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, "
+"direktør for nasjonale narkotikapolitikken kontroll)."
+
+#. f19.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "
+"Journal of Economic Literature 36 (1998): 818 (survey of compliance "
+"literature)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Wars of prohibition are nothing new in America. This one is just something "
+"more extreme than anything we've seen before. We experimented with alcohol "
+"prohibition, at a time when the per capita consumption of alcohol was 1.5 "
+"gallons per capita per year. The war against drinking initially reduced that "
+"consumption to just 30 percent of its preprohibition levels, but by the end "
+"of prohibition, consumption was up to 70 percent of the preprohibition "
+"level. Americans were drinking just about as much, but now, a vast number "
+"were criminals.<placeholder type=\"footnote\" id=\"0\"/> We have launched a "
+"war on drugs aimed at reducing the consumption of regulated narcotics that 7 "
+"percent (or 16 million) Americans now use.<placeholder type=\"footnote\" id="
+"\"1\"/> That is a drop from the high (so to speak) in 1979 of 14 percent of "
+"the population. We regulate automobiles to the point where the vast majority "
+"of Americans violate the law every day. We run such a complex tax system "
+"that a majority of cash businesses regularly cheat.<placeholder type="
+"\"footnote\" id=\"2\"/> We pride ourselves on our \"free society,\" but an "
+"endless array of ordinary behavior is regulated within our society. And as a "
+"result, a huge proportion of Americans regularly violate at least some law."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This state of affairs is not without consequence. It is a particularly "
+"salient issue for teachers like me, whose job it is to teach law students "
+"about the importance of \"ethics.\" As my colleague Charlie Nesson told a "
+"class at Stanford, each year law schools admit thousands of students who "
+"have illegally downloaded music, illegally consumed alcohol and sometimes "
+"drugs, illegally worked without paying taxes, illegally driven cars. These "
+"are kids for whom behaving illegally is increasingly the norm. And then we, "
+"as law professors, are supposed to teach them how to behave ethically--how "
+"to say no to bribes, or keep client funds separate, or honor a demand to "
+"disclose a document that will mean that your case is over. Generations of "
+"Americans--more significantly in some parts of America than in others, but "
+"still, everywhere in America today--can't live their lives both normally and "
+"legally, since \"normally\" entails a certain degree of illegality."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The response to this general illegality is either to enforce the law more "
+"severely or to change the law. We, as a society, have to learn how to make "
+"that choice more rationally. Whether a law makes sense depends, in part, at "
+"least, upon whether the costs of the law, both intended and collateral, "
+"outweigh the benefits. If the costs, intended and collateral, do outweigh "
+"the benefits, then the law ought to be changed. Alternatively, if the costs "
+"of the existing system are much greater than the costs of an alternative, "
+"then we have a good reason to consider the alternative."
+msgstr ""
+"response til denne generelle illegality er å håndheve loven mer alvorlig "
+"eller endre loven. Vi har som et samfunn å lære hvordan du gjør mer "
+"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om "
+"kostnadene ved loven, både tiltenkte og sikkerhetsstillelse, oppveier "
+"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, "
+"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet "
+"er mye større enn kostnadene for et alternativ, vi har en god grunn til å "
+"vurdere alternativet."
+
+#. PAGE BREAK 211
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"My point is not the idiotic one: Just because people violate a law, we "
+"should therefore repeal it. Obviously, we could reduce murder statistics "
+"dramatically by legalizing murder on Wednesdays and Fridays. But that "
+"wouldn't make any sense, since murder is wrong every day of the week. A "
+"society is right to ban murder always and everywhere."
+msgstr ""
+"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bør "
+"derfor oppheve den. Vi kan selvfølgelig redusere mord statistikk dramatisk "
+"ved legalizing drap for på onsdager og fredager. men det ville ikke gi noen "
+"mening, siden drap er galt hver dag i uken. et samfunn er rett å utestenge "
+"drap alltid og overalt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"My point is instead one that democracies understood for generations, but "
+"that we recently have learned to forget. The rule of law depends upon people "
+"obeying the law. The more often, and more repeatedly, we as citizens "
+"experience violating the law, the less we respect the law. Obviously, in "
+"most cases, the important issue is the law, not respect for the law. I don't "
+"care whether the rapist respects the law or not; I want to catch and "
+"incarcerate the rapist. But I do care whether my students respect the law. "
+"And I do care if the rules of law sow increasing disrespect because of the "
+"extreme of regulation they impose. Twenty million Americans have come of "
+"age since the Internet introduced this different idea of \"sharing.\" We "
+"need to be able to call these twenty million Americans \"citizens,\" not "
+"\"felons.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When at least forty-three million citizens download content from the "
+"Internet, and when they use tools to combine that content in ways "
+"unauthorized by copyright holders, the first question we should be asking is "
+"not how best to involve the FBI. The first question should be whether this "
+"particular prohibition is really necessary in order to achieve the proper "
+"ends that copyright law serves. Is there another way to assure that artists "
+"get paid without transforming forty-three million Americans into felons? "
+"Does it make sense if there are other ways to assure that artists get paid "
+"without transforming America into a nation of felons?"
+msgstr ""
+"Når minst førti - tre millioner innbyggere dataoverføre innhold fra "
+"Internett, og når de bruker verktøy til å kombinere at innhold på måter "
+"uautorisert ved innehaver av opphavsrett, det første spørsmålet som vi bør "
+"spørre ikke er hvordan man best kan innebære fbi. det første spørsmålet bør "
+"være om dette bestemte forbudet er virkelig nødvendig for å oppnå riktig "
+"ender som serverer lov om opphavsrett. er det en annen måte å forsikre at "
+"artister får betalt uten å transformere førti - tre millioner amerikanere i "
+"felons? betyr det fornuftig hvis det finnes andre måter å sikre at artister "
+"får betalt uten å transformere Amerika til en nasjon av felons?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "This abstract point can be made more clear with a particular example."
+msgstr "Denne abstrakte punkt kan gjøres mer tydelig med en bestemt eksempel."
+
+#. PAGE BREAK 212
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We all own CDs. Many of us still own phonograph records. These pieces of "
+"plastic encode music that in a certain sense we have bought. The law "
+"protects our right to buy and sell that plastic: It is not a copyright "
+"infringement for me to sell all my classical records at a used record store "
+"and buy jazz records to replace them. That \"use\" of the recordings is free."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But as the MP3 craze has demonstrated, there is another use of phonograph "
+"records that is effectively free. Because these recordings were made without "
+"copy-protection technologies, I am \"free\" to copy, or \"rip,\" music from "
+"my records onto a computer hard disk. Indeed, Apple Corporation went so far "
+"as to suggest that \"freedom\" was a right: In a series of commercials, "
+"Apple endorsed the \"Rip, Mix, Burn\" capacities of digital technologies."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This \"use\" of my records is certainly valuable. I have begun a large "
+"process at home of ripping all of my and my wife's CDs, and storing them in "
+"one archive. Then, using Apple's iTunes, or a wonderful program called "
+"Andromeda, we can build different play lists of our music: Bach, Baroque, "
+"Love Songs, Love Songs of Significant Others--the potential is endless. And "
+"by reducing the costs of mixing play lists, these technologies help build a "
+"creativity with play lists that is itself independently valuable. "
+"Compilations of songs are creative and meaningful in their own right."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This use is enabled by unprotected media--either CDs or records. But "
+"unprotected media also enable file sharing. File sharing threatens (or so "
+"the content industry believes) the ability of creators to earn a fair return "
+"from their creativity. And thus, many are beginning to experiment with "
+"technologies to eliminate unprotected media. These technologies, for "
+"example, would enable CDs that could not be ripped. Or they might enable spy "
+"programs to identify ripped content on people's machines."
+msgstr ""
+"denne bruken er aktivert av ubeskyttet media--CDer eller poster. men "
+"ubeskyttet media også aktivere fildeling. fildeling truer (eller så innhold "
+"industrien mener) evne til skaperne å tjene en god avkastning fra sin "
+"kreativitet. og dermed mange begynner å eksperimentere med teknologier for å "
+"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere "
+"CDer som ikke blir rippet. eller de kan aktivere spion programmer å "
+"identifisere rippede innhold på folks maskiner."
+
+#. PAGE BREAK 213
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If these technologies took off, then the building of large archives of your "
+"own music would become quite difficult. You might hang in hacker circles, "
+"and get technology to disable the technologies that protect the content. "
+"Trading in those technologies is illegal, but maybe that doesn't bother you "
+"much. In any case, for the vast majority of people, these protection "
+"technologies would effectively destroy the archiving use of CDs. The "
+"technology, in other words, would force us all back to the world where we "
+"either listened to music by manipulating pieces of plastic or were part of a "
+"massively complex \"digital rights management\" system."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If the only way to assure that artists get paid were the elimination of the "
+"ability to freely move content, then these technologies to interfere with "
+"the freedom to move content would be justifiable. But what if there were "
+"another way to assure that artists are paid, without locking down any "
+"content? What if, in other words, a different system could assure "
+"compensation to artists while also preserving the freedom to move content "
+"easily?"
+msgstr ""
+"Hvis den eneste måten å sikre at artister får betalt var eliminering av "
+"muligheten til å fritt flytte innhold, ville så disse teknologiene å "
+"forstyrre bevege innhold være forsvarlig. men hva hvis det var en annen måte "
+"å forsikre at kunstnere er betalt, uten å låse ned innhold? Hva om, med "
+"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig "
+"som du beholder også bevege innhold lett?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"My point just now is not to prove that there is such a system. I offer a "
+"version of such a system in the last chapter of this book. For now, the only "
+"point is the relatively uncontroversial one: If a different system achieved "
+"the same legitimate objectives that the existing copyright system achieved, "
+"but left consumers and creators much more free, then we'd have a very good "
+"reason to pursue this alternative--namely, freedom. The choice, in other "
+"words, would not be between property and piracy; the choice would be between "
+"different property systems and the freedoms each allowed."
+msgstr ""
+"Mitt poeng er akkurat nå ikke for å bevise at det er et slikt system. Jeg "
+"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for "
+"nå, det eneste punktet er den relativt ukontroversiell: Hvis et annet system "
+"oppnådd målene er samme legitime som eksisterende opphavsretten til systemet "
+"oppnådd, men forlot forbrukere og skaperne mye mer gratis, så vi ville ha en "
+"svært god grunn til å forfølge denne alternative--nemlig frihet. valg, med "
+"andre ord, ville ikke være mellom eiendom og piratkopiering; valget ville "
+"være mellom forskjellige eiendom systemer og frihetene hver tillatt."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I believe there is a way to assure that artists are paid without turning "
+"forty-three million Americans into felons. But the salient feature of this "
+"alternative is that it would lead to a very different market for producing "
+"and distributing creativity. The dominant few, who today control the vast "
+"majority of the distribution of content in the world, would no longer "
+"exercise this extreme of control. Rather, they would go the way of the horse-"
+"drawn buggy."
+msgstr ""
+"Jeg tror det er en måte å sikre at kunstnere er betalt uten å slå førti - "
+"tre millioner amerikanere i felons. men funksjonen fremspringende i denne "
+"alternativ er at det ville føre til en svært forskjellige markedet for "
+"produksjon og distribusjon av kreativitet. de dominerende få, som i dag "
+"kontrollerer det store flertallet av distribusjon av innhold i verden, ville "
+"ikke lenger utøve denne ekstreme av kontroll. de ville heller gå veien for "
+"hest trukket buggy."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Except that this generation's buggy manufacturers have already saddled "
+"Congress, and are riding the law to protect themselves against this new form "
+"of competition. For them the choice is between fortythree million Americans "
+"as criminals and their own survival."
+msgstr ""
+"bortsett fra at denne generasjon vognen produsenter har allerede saddled "
+"Kongressen, og sykle loven for å beskytte seg mot denne nye formen for "
+"konkurranse. for dem er valget mellom fortythree millioner amerikanere som "
+"kriminelle og deres egen overlevelse."
+
+#. PAGE BREAK 214
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It is understandable why they choose as they do. It is not understandable "
+"why we as a democracy continue to choose as we do. Jack Valenti is charming; "
+"but not so charming as to justify giving up a tradition as deep and "
+"important as our tradition of free culture. There's one more aspect to this "
+"corruption that is particularly important to civil liberties, and follows "
+"directly from any war of prohibition. As Electronic Frontier Foundation "
+"attorney Fred von Lohmann describes, this is the \"collateral damage\" that "
+"\"arises whenever you turn a very large percentage of the population into "
+"criminals.\" This is the collateral damage to civil liberties generally."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains,"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"then all of a sudden a lot of basic civil liberty protections evaporate to "
+"one degree or another. . . . If you're a copyright infringer, how can you "
+"hope to have any privacy rights? If you're a copyright infringer, how can "
+"you hope to be secure against seizures of your computer? How can you hope to "
+"continue to receive Internet access? . . . Our sensibilities change as soon "
+"as we think, \"Oh, well, but that person's a criminal, a lawbreaker.\" Well, "
+"what this campaign against file sharing has done is turn a remarkable "
+"percentage of the American Internet-using population into \"lawbreakers.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"And the consequence of this transformation of the American public into "
+"criminals is that it becomes trivial, as a matter of due process, to "
+"effectively erase much of the privacy most would presume."
+msgstr ""
+"og konsekvens av denne transformasjonen av den amerikanske offentligheten "
+"til kriminelle er at den blir triviell, som et spørsmål om grunn prosessen "
+"til å effektivt viske ut mye av personvernet mest ville anta."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Users of the Internet began to see this generally in 2003 as the RIAA "
+"launched its campaign to force Internet service providers to turn over the "
+"names of customers who the RIAA believed were violating copyright law. "
+"Verizon fought that demand and lost. With a simple request to a judge, and "
+"without any notice to the customer at all, the identity of an Internet user "
+"is revealed."
+msgstr ""
+"brukere av Internett begynte å se dette vanligvis i 2003 som riaa lanserte "
+"sin kampanje for å tvinge nettleverandører til å snu navnene på kundene som "
+"riaa trodde var bryter loven om opphavsrett. Verizon kjempet som krever, og "
+"tapte. med en enkel forespørsel til en dommer, og uten varsel til kunden i "
+"det hele tatt, er identiteten til en Internett-bruker avslørt."
+
+#. f20.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in "
+"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" Washington Post, 10 "
+"September 2003, E1; Chris Cobbs, \"Worried Parents Pull Plug on File "
+"`Stealing'; With the Music Industry Cracking Down on File Swapping, Parents "
+"are Yanking Software from Home PCs to Avoid Being Sued,\" Orlando Sentinel "
+"Tribune, 30 August 2003, C1; Jefferson Graham, \"Recording Industry Sues "
+"Parents,\" USA Today, 15 September 2003, 4D; John Schwartz, \"She Says She's "
+"No Music Pirate. No Snoop Fan, Either,\" New York Times, 25 September 2003, "
+"C1; Margo Varadi, \"Is Brianna a Criminal?\" Toronto Star, 18 September "
+"2003, P7."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The RIAA then expanded this campaign, by announcing a general strategy to "
+"sue individual users of the Internet who are alleged to have downloaded "
+"copyrighted music from file-sharing systems. But as we've seen, the "
+"potential damages from these suits are astronomical: If a family's computer "
+"is used to download a single CD's worth of music, the family could be liable "
+"for $2 million in damages. That didn't stop the RIAA from suing a number of "
+"these families, just as they had sued Jesse Jordan.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f21.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See \"Revealed: How RIAA Tracks Downloaders: Music Industry Discloses Some "
+"Methods Used,\" CNN.com, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #47</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Even this understates the espionage that is being waged by the RIAA. A "
+"report from CNN late last summer described a strategy the RIAA had adopted "
+"to track Napster users.<placeholder type=\"footnote\" id=\"0\"/> Using a "
+"sophisticated hashing algorithm, the RIAA took what is in effect a "
+"fingerprint of every song in the Napster catalog. Any copy of one of those "
+"MP3s will have the same \"fingerprint.\""
+msgstr ""
+
+#. f22.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" Boston "
+"Globe, 18 May 2003, City Weekly, 1; Frank Ahrens, \"Four Students Sued over "
+"Music Sites; Industry Group Targets File Sharing at Colleges,\" Washington "
+"Post, 4 April 2003, E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at "
+"Their Own Risk,\" Christian Science Monitor, 2 September 2003, 20; Robert "
+"Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two Students "
+"Names Are Handed Over; Lawsuit Possible,\" Chicago Tribune, 16 July 2003, "
+"1C; Beth Cox, \"RIAA Trains Antipiracy Guns on Universities,\" Internet "
+"News, 30 January 2003, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #48</ulink>; Benny Evangelista, \"Download Warning 101: "
+"Freshman Orientation This Fall to Include Record Industry Warnings Against "
+"File Sharing,\" San Francisco Chronicle, 11 August 2003, E11; \"Raid, "
+"Letters Are Weapons at Universities,\" USA Today, 26 September 2000, 3D."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"So imagine the following not-implausible scenario: Imagine a friend gives a "
+"CD to your daughter--a collection of songs just like the cassettes you used "
+"to make as a kid. You don't know, and neither does your daughter, where "
+"these songs came from. But she copies these songs onto her computer. She "
+"then takes her computer to college and connects it to a college network, and "
+"if the college network is \"cooperating\" with the RIAA's espionage, and she "
+"hasn't properly protected her content from the network (do you know how to "
+"do that yourself ?), then the RIAA will be able to identify your daughter as "
+"a \"criminal.\" And under the rules that universities are beginning to "
+"deploy,<placeholder type=\"footnote\" id=\"0\"/> your daughter can lose the "
+"right to use the university's computer network. She can, in some cases, be "
+"expelled."
+msgstr ""
+
+#. PAGE BREAK 216
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Now, of course, she'll have the right to defend herself. You can hire a "
+"lawyer for her (at $300 per hour, if you're lucky), and she can plead that "
+"she didn't know anything about the source of the songs or that they came "
+"from Napster. And it may well be that the university believes her. But the "
+"university might not believe her. It might treat this \"contraband\" as "
+"presumptive of guilt. And as any number of college students have already "
+"learned, our presumptions about innocence disappear in the middle of wars of "
+"prohibition. This war is no different. Says von Lohmann,"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"So when we're talking about numbers like forty to sixty million Americans "
+"that are essentially copyright infringers, you create a situation where the "
+"civil liberties of those people are very much in peril in a general matter. "
+"[I don't] think [there is any] analog where you could randomly choose any "
+"person off the street and be confident that they were committing an unlawful "
+"act that could put them on the hook for potential felony liability or "
+"hundreds of millions of dollars of civil liability. Certainly we all speed, "
+"but speeding isn't the kind of an act for which we routinely forfeit civil "
+"liberties. Some people use drugs, and I think that's the closest analog, "
+"[but] many have noted that the war against drugs has eroded all of our civil "
+"liberties because it's treated so many Americans as criminals. Well, I think "
+"it's fair to say that file sharing is an order of magnitude larger number of "
+"Americans than drug use. . . . If forty to sixty million Americans have "
+"become lawbreakers, then we're really on a slippery slope to lose a lot of "
+"civil liberties for all forty to sixty million of them."
+msgstr ""
+"så når vi snakker om tall som førti til seksti millioner amerikanere som er "
+"egentlig opphavsrett varemerkerettigheter, oppretter du en situasjon der "
+"borgerrettigheter av dem er svært mye i fare i en generell sak. [jeg ikke] "
+"[det er noen] analog hvor du kunne tilfeldig velge en person av gaten og "
+"være trygg på at de var begå en ulovlig handling som kan sette dem på kroken "
+"for potensielle forbrytelse erstatningsansvar eller hundrevis av millioner "
+"av dollar til sivilrettslig ansvar. sikkert vi alle hastighet, men fart er "
+"ikke typen en handling som vi miste rutinemessig borgerrettigheter. noen "
+"mennesker bruker narkotika, og jeg tror det er den nærmeste analoge, [men] "
+"mange har bemerket at krigen mot narkotika har eroded alle våre "
+"borgerrettigheter fordi det har behandlet så mange amerikanere som "
+"kriminelle. Vel, jeg tror det er rimelig å si at fildeling er en bestilling "
+"av omfanget større antall amerikanere enn narkotikabruk.... Hvis førti til "
+"seksti millioner amerikanere har blitt lawbreakers, da er vi virkelig på en "
+"glatt skråning å miste mye av borgerrettigheter for alle førti til seksti "
+"millioner av dem."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"When forty to sixty million Americans are considered \"criminals\" under the "
+"law, and when the law could achieve the same objective-- securing rights to "
+"authors--without these millions being considered \"criminals,\" who is the "
+"villain? Americans or the law? Which is American, a constant war on our own "
+"people or a concerted effort through our democracy to change our law?"
+msgstr ""
+
+#. type: Content of: <book><chapter><title>
+msgid "BALANCES"
+msgstr "saldoer"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"So here's the picture: You're standing at the side of the road. Your car is "
+"on fire. You are angry and upset because in part you helped start the fire. "
+"Now you don't know how to put it out. Next to you is a bucket, filled with "
+"gasoline. Obviously, gasoline won't put the fire out."
+msgstr ""
+"så her er bildet: du står på siden av veien. bilen er på brann. du er sint "
+"og lei fordi delvis du hjalp starte til brann. nå vet du hvordan du setter "
+"det. siden du er en bøtte, fylt med bensin. åpenbart, bensin vil ikke sette "
+"brann ut."
+
+#. type: Content of: <book><chapter><para>
+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 "
+"understands just why she should stop--the bucket is in the air. The "
+"gasoline is about to hit the blazing car. And the fire that gasoline will "
+"ignite is about to ignite everything around."
+msgstr ""
+"som du tenke rotet, kommer noen andre. i en panikk griper hun bøtte. før du "
+"har en sjanse til å fortelle henne til å slutte-- eller før hun forstår bare "
+"hvorfor hun bør stoppe--bøtte er i luften. til bensin er om å treffe Lynrask "
+"bilen. og brann som bensin vil antennes er om å antennes alt rundt."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"A war about copyright rages all around--and we're all focusing on the wrong "
+"thing. No doubt, current technologies threaten existing businesses. No "
+"doubt they may threaten artists. But technologies change. The industry and "
+"technologists have plenty of ways to use technology to protect themselves "
+"against the current threats of the Internet. This is a fire that if let "
+"alone would burn itself out."
+msgstr ""
+"en krig om opphavsrett rages rundt-- og vi alle fokuserer på feil. ingen "
+"tvil, truer aktuell teknologi eksisterende virksomheter. de kan uten tvil "
+"True kunstnere. men teknologier endre. næringen og Teknologorganisasjon har "
+"masse av veier å bruke teknologi for å beskytte seg mot gjeldende trusler på "
+"Internett. Dette er en brann at hvis enn si ville brenne seg."
+
+#. PAGE BREAK 219
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Yet policy makers are not willing to leave this fire to itself. Primed with "
+"plenty of lobbyists' money, they are keen to intervene to eliminate the "
+"problem they perceive. But the problem they perceive is not the real threat "
+"this culture faces. For while we watch this small fire in the corner, there "
+"is a massive change in the way culture is made that is happening all around."
+msgstr ""
+"beslutningstakere er ennå ikke villige til å forlate denne brann til seg "
+"selv. primed med masse lobbyister penger, er de opptatt av å intervenere for "
+"å eliminere problemet de oppfatter. men problemet de oppfatter er ikke den "
+"virkelige trusselen denne kulturen står overfor. for mens vi se denne liten "
+"brann i hjørnet, det er massiv gjøres en endring i måten kultur som skjer "
+"rundt."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Somehow we have to find a way to turn attention to this more important and "
+"fundamental issue. Somehow we have to find a way to avoid pouring gasoline "
+"onto this fire."
+msgstr ""
+"noe har vi å finne en måte å slå oppmerksomhet til dette mer viktig og "
+"grunnleggende problemet. noe har vi å finne en måte å unngå pouring bensin "
+"bort på denne brann."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"We have not found that way yet. Instead, we seem trapped in a simpler, "
+"binary view. However much many people push to frame this debate more "
+"broadly, it is the simple, binary view that remains. We rubberneck to look "
+"at the fire when we should be keeping our eyes on the road."
+msgstr ""
+"Vi har ikke funnet den måten ennå. i stedet synes vi fanget i en enklere, "
+"binære visning. men mye mange folk skyve for å ramme denne debatten mer "
+"forstand, det er den enkle, binære visningen som gjenstår. Vi rubberneck for "
+"å se på ilden når vi skal holde våre øyne på veien."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This challenge has been my life these last few years. It has also been my "
+"failure. In the two chapters that follow, I describe one small brace of "
+"efforts, so far failed, to find a way to refocus this debate. We must "
+"understand these failures if we're to understand what success will require."
+msgstr ""
+"denne utfordringen har vært livet disse siste årene. Det har også vært min "
+"feil. i to kapitlene som følger, beskriver jeg en liten klammeparentes av "
+"innsats, så langt ikke klart, å finne en måte å refokusere denne debatten. "
+"Hvis vi å forstå hva suksess vil kreve, må vi forstå disse feil."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER THIRTEEN: Eldred"
+msgstr "Kapittel tretten: eldred"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In 1995, a father was frustrated that his daughters didn't seem to like "
+"Hawthorne. No doubt there was more than one such father, but at least one "
+"did something about it. Eric Eldred, a retired computer programmer living in "
+"New Hampshire, decided to put Hawthorne on the Web. An electronic version, "
+"Eldred thought, with links to pictures and explanatory text, would make this "
+"nineteenth-century author's work come alive."
+msgstr ""
+"i 1995 var en far frustrert at hans døtre ikke synes å ha hawthorne. uten "
+"tvil var det flere slike far, men minst én gjorde noe med det. Eric eldred, "
+"en pensjonert datamaskinen programmerer bor i new hampshire, besluttet å "
+"sette hawthorne på nettet. en elektronisk versjon eldred trodde, med "
+"koblinger til bilder og forklarende tekst, ville gjøre av 1800-tallet "
+"forfatterens arbeid blir levende."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It didn't work--at least for his daughters. They didn't find Hawthorne any "
+"more interesting than before. But Eldred's experiment gave birth to a hobby, "
+"and his hobby begat a cause: Eldred would build a library of public domain "
+"works by scanning these works and making them available for free."
+msgstr ""
+"den gjorde ikke arbeide--minst for hans døtre. de finner ikke hawthorne noe "
+"mer interessant enn før. men eldred's eksperimentet fødte en hobby og hans "
+"hobby fikk en årsak: eldred ville bygge et bibliotek med bøker ved skanning "
+"disse verkene og gjøre dem tilgjengelig gratis."
+
+#. PAGE BREAK 221
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Eldred's library was not simply a copy of certain public domain works, "
+"though even a copy would have been of great value to people across the world "
+"who can't get access to printed versions of these works. Instead, Eldred was "
+"producing derivative works from these public domain works. Just as Disney "
+"turned Grimm into stories more accessible to the twentieth century, Eldred "
+"transformed Hawthorne, and many others, into a form more accessible--"
+"technically accessible--today."
+msgstr ""
+"eldred's biblioteket var ikke bare en kopi av visse bøker, men ville ha vært "
+"enda en kopi av stor verdi til folk over hele verden som ikke kan få tilgang "
+"til trykte versjoner av disse verkene. eldred var i stedet brukes til å "
+"produsere avledede produkter fra disse offentlige verker. akkurat som disney "
+"omgjort grimm til historier mer tilgjengelig for det tjuende århundre, "
+"eldred transformert hawthorne, og mange andre, til et skjema som er mer "
+"tilgjengelig--teknisk tilgjengelig--i dag."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Eldred's freedom to do this with Hawthorne's work grew from the same source "
+"as Disney's. Hawthorne's Scarlet Letter had passed into the public domain in "
+"1907. It was free for anyone to take without the permission of the Hawthorne "
+"estate or anyone else. Some, such as Dover Press and Penguin Classics, take "
+"works from the public domain and produce printed editions, which they sell "
+"in bookstores across the country. Others, such as Disney, take these stories "
+"and turn them into animated cartoons, sometimes successfully (Cinderella), "
+"sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all "
+"commercial publications of public domain works."
+msgstr ""
+"eldred's frihet til å gjøre dette med hawthorne's arbeid vokste fra den "
+"samme kilden som disney's. hawthorne's sange hadde gått inn i den offentlige "
+"sfæren, i 1907. Det var gratis for alle å ta uten tillatelse fra den "
+"hawthorne eiendommen eller noen andre. noen, for eksempel dover trykk og "
+"penguin klassikere, ta works fra public domain og produsere trykte utgavene, "
+"som de selger i bokhandler over hele landet. andre, for eksempel disney, ta "
+"disse historiene og slå dem i animerte-tegneserier, noen ganger lykkes "
+"(cinderella), noen ganger ikke (hunchback i notre dame, skatt planeten). "
+"disse er alle kommersielle publikasjoner av offentlige verker."
+
+#. f1.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"There's a parallel here with pornography that is a bit hard to describe, but "
+"it's a strong one. One phenomenon that the Internet created was a world of "
+"noncommercial pornographers--people who were distributing porn but were not "
+"making money directly or indirectly from that distribution. Such a class "
+"didn't exist before the Internet came into being because the costs of "
+"distributing porn were so high. Yet this new class of distributors got "
+"special attention in the Supreme Court, when the Court struck down the "
+"Communications Decency Act of 1996. It was partly because of the burden on "
+"noncommercial speakers that the statute was found to exceed Congress's "
+"power. The same point could have been made about noncommercial publishers "
+"after the advent of the Internet. The Eric Eldreds of the world before the "
+"Internet were extremely few. Yet one would think it at least as important to "
+"protect the Eldreds of the world as to protect noncommercial pornographers."
+msgstr ""
+"Det er en parallell her med pornografi som er litt vanskelig å beskrive, men "
+"det er en sterk en. ett fenomen som Internett opprettet var en verden av "
+"ikke-kommersiell pornographers--personer som var distribuere porno, men var "
+"ikke å gjøre penger direkte eller indirekte fra at distribusjonen. slike en "
+"klasse eksisterte ikke før Internett kom til å være fordi kostnadene ved å "
+"distribuere porno var så høy. ennå fikk dette ny klasse med distributører "
+"spesiell oppmerksomhet i Høyesterett, når domstolen slått ned kommunikasjon "
+"sømmelighet act of 1996. Det var delvis på grunn av byrden på ikke-"
+"kommersiell høyttalere som Vedtektene ble funnet for å overgå Kongressens "
+"makt. samme punkt kunne vært gjort om ikke-kommersiell utgivere etter advent "
+"av Internett. eric eldreds av verden før Internett var svært få. ennå skulle "
+"en tro det minst like viktig å beskytte eldreds av verden som beskytter ikke-"
+"kommersiell pornographers."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Internet created the possibility of noncommercial publications of public "
+"domain works. Eldred's is just one example. There are literally thousands of "
+"others. Hundreds of thousands from across the world have discovered this "
+"platform of expression and now use it to share works that are, by law, free "
+"for the taking. This has produced what we might call the \"noncommercial "
+"publishing industry,\" which before the Internet was limited to people with "
+"large egos or with political or social causes. But with the Internet, it "
+"includes a wide range of individuals and groups dedicated to spreading "
+"culture generally.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+"som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av "
+"dikt i new hampshire slated skjedde i public domain. Eldred ønsket å legge "
+"samlingen i hans gratis offentlig bibliotek. men landsmøtet fått i veien. "
+"som jeg beskrevet i kapittel 10, i 1998, for ellevte gang i førti år, "
+"utvidet Kongressen vilkårene i eksisterende opphavsrettigheter--denne tiden "
+"av tjue år. Eldred ville ikke være fri til å legge til et hvilket som helst "
+"works som er nyere enn 1923 i sin samling 2020. Faktisk ville ingen "
+"opphavsrettsbeskyttede passere i public domain til samme år (og ikke engang "
+"deretter, hvis Kongressen utvider sikt igjen). derimot i samme periode, vil "
+"mer enn 1 million patenter passere i public domain."
+
+#. f2.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"The full text is: \"Sonny [Bono] wanted the term of copyright protection to "
+"last forever. I am informed by staff that such a change would violate the "
+"Constitution. I invite all of you to work with me to strengthen our "
+"copyright laws in all of the ways available to us. As you know, there is "
+"also Jack Valenti's proposal for a term to last forever less one day. "
+"Perhaps the Committee may look at that next Congress,\" 144 Cong. Rec. "
+"H9946, 9951-2 (October 7, 1998)."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in "
+"memory of the congressman and former musician Sonny Bono, who, his widow, "
+"Mary Bono, says, believed that \"copyrights should be forever.\"<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Eldred decided to fight this law. He first resolved to fight it through "
+"civil disobedience. In a series of interviews, Eldred announced that he "
+"would publish as planned, CTEA notwithstanding. But because of a second law "
+"passed in 1998, the NET (No Electronic Theft) Act, his act of publishing "
+"would make Eldred a felon--whether or not anyone complained. This was a "
+"dangerous strategy for a disabled programmer to undertake."
+msgstr ""
+"Eldred besluttet å kjempe denne loven. han først løst å bekjempe den gjennom "
+"sivil ulydighet. i en rekke intervjuer kunngjort eldred at han vil publisere "
+"som planlagt, ctea til tross for. men på grunn av en andre lov vedtatt i "
+"1998, net (ingen elektronisk tyveri)-act hans handling av publisering ville "
+"gjøre eldred en forbryter--om noen klaget. Dette var en farlig strategi for "
+"en deaktivert programmerer å gjennomføre."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It was here that I became involved in Eldred's battle. I was a "
+"constitutional scholar whose first passion was constitutional "
+"interpretation. And though constitutional law courses never focus upon the "
+"Progress Clause of the Constitution, it had always struck me as importantly "
+"different. As you know, the Constitution says,"
+msgstr ""
+"Det var her at jeg ble involvert i slaget ved eldred's. Jeg var en "
+"konstitusjonelle lærd der første lidenskap var konstitusjonelle tolkning. og "
+"selv om konstitusjonell rett kurs aldri fokus på setningsdelen fremdriften "
+"av Grunnloven, hadde det alltid slo meg som viktigere forskjellige. som du "
+"vet, Grunnloven sier,"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"Congress has the power to promote the Progress of Science . . . by securing "
+"for limited Times to Authors . . . exclusive Right to their . . . "
+"Writings. . . ."
+msgstr ""
+"Kongressen har makt til å fremme utviklingen av vitenskap... ved å sikre for "
+"begrenset ganger til forfattere... eksklusive rett til deres... skrifter...."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As I've described, this clause is unique within the power-granting clause of "
+"Article I, section 8 of our Constitution. Every other clause granting power "
+"to Congress simply says Congress has the power to do something--for example, "
+"to regulate \"commerce among the several states\" or \"declare War.\" But "
+"here, the \"something\" is something quite specific--to \"promote . . . "
+"Progress\"--through means that are also specific-- by \"securing\" "
+"\"exclusive Rights\" (i.e., copyrights) \"for limited Times.\""
+msgstr ""
+
+#. PAGE BREAK 223
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In the past forty years, Congress has gotten into the practice of extending "
+"existing terms of copyright protection. What puzzled me about this was, if "
+"Congress has the power to extend existing terms, then the Constitution's "
+"requirement that terms be \"limited\" will have no practical effect. If "
+"every time a copyright is about to expire, Congress has the power to extend "
+"its term, then Congress can achieve what the Constitution plainly forbids--"
+"perpetual terms \"on the installment plan,\" as Professor Peter Jaszi so "
+"nicely put it."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As an academic, my first response was to hit the books. I remember sitting "
+"late at the office, scouring on-line databases for any serious consideration "
+"of the question. No one had ever challenged Congress's practice of extending "
+"existing terms. That failure may in part be why Congress seemed so "
+"untroubled in its habit. That, and the fact that the practice had become so "
+"lucrative for Congress. Congress knows that copyright owners will be willing "
+"to pay a great deal of money to see their copyright terms extended. And so "
+"Congress is quite happy to keep this gravy train going."
+msgstr ""
+"som en akademiker var min første reaksjon å trykke bøker. Jeg husker "
+"sittende sent på kontoret, scouring on-line databaser for noen seriøs "
+"vurdering av spørsmålet. Ingen hadde noen gang utfordret congress's praksis "
+"for å utvide eksisterende vilkår. at feil kan delvis være grunnen kongress "
+"syntes så untroubled i sin vane. det, og det faktum at praksis hadde blitt "
+"så lukrative for Kongressen. landsmøtet vet at eiere av opphavsretter vil "
+"være villig til å betale mye penger å se sine opphavsrett vilkår utvidet. og "
+"så congress er ganske fornøyd med å holde denne Kjøttsaft tog går."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For this is the core of the corruption in our present system of government. "
+"\"Corruption\" not in the sense that representatives are bribed. Rather, "
+"\"corruption\" in the sense that the system induces the beneficiaries of "
+"Congress's acts to raise and give money to Congress to induce it to act. "
+"There's only so much time; there's only so much Congress can do. Why not "
+"limit its actions to those things it must do--and those things that pay? "
+"Extending copyright terms pays."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"If that's not obvious to you, consider the following: Say you're one of the "
+"very few lucky copyright owners whose copyright continues to make money one "
+"hundred years after it was created. The Estate of Robert Frost is a good "
+"example. Frost died in 1963. His poetry continues to be extraordinarily "
+"valuable. Thus the Robert Frost estate benefits greatly from any extension "
+"of copyright, since no publisher would pay the estate any money if the poems "
+"Frost wrote could be published by anyone for free."
+msgstr ""
+"Hvis det ikke er åpenbart for deg, kan du vurdere følgende: si du er en av "
+"svært få heldige opphavsrett eierne som har copyright fortsetter å gjøre "
+"penger ett hundre år etter at den ble opprettet. eiendom av robert frost er "
+"et godt eksempel. Frost døde i 1963. hans poesi fortsetter å være svært "
+"verdifull. Dermed kan robert frost eiendom fordelene sterkt fra noen "
+"utvidelse av opphavsrett, siden ingen publisher vil betale eiendom noen "
+"penger hvis dikt frost skrev publiseres av alle gratis."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So imagine the Robert Frost estate is earning $100,000 a year from three of "
+"Frost's poems. And imagine the copyright for those poems is about to expire. "
+"You sit on the board of the Robert Frost estate. Your financial adviser "
+"comes to your board meeting with a very grim report:"
+msgstr ""
+"så forestille robert frost eiendom er tjener $100.000 i året fra tre av "
+"frost's dikt. og forestille seg opphavsretten for disse diktene er i ferd "
+"med å utløpe. du sitter i styret for robert frost eiendom. finansiell "
+"rådgiver kommer til din styremøte med en svært dystre rapport:"
+
+#. PAGE BREAK 224
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Next year,\" the adviser announces, \"our copyrights in works A, B, and C "
+"will expire. That means that after next year, we will no longer be receiving "
+"the annual royalty check of $100,000 from the publishers of those works."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"There's a proposal in Congress, however,\" she continues, \"that could "
+"change this. A few congressmen are floating a bill to extend the terms of "
+"copyright by twenty years. That bill would be extraordinarily valuable to "
+"us. So we should hope this bill passes.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Hope?\" a fellow board member says. \"Can't we be doing something about it?"
+"\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Well, obviously, yes,\" the adviser responds. \"We could contribute to the "
+"campaigns of a number of representatives to try to assure that they support "
+"the bill.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"You hate politics. You hate contributing to campaigns. So you want to know "
+"whether this disgusting practice is worth it. \"How much would we get if "
+"this extension were passed?\" you ask the adviser. \"How much is it worth?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Well,\" the adviser says, \"if you're confident that you will continue to "
+"get at least $100,000 a year from these copyrights, and you use the "
+"`discount rate' that we use to evaluate estate investments (6 percent), then "
+"this law would be worth $1,146,000 to the estate.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"You're a bit shocked by the number, but you quickly come to the correct "
+"conclusion:"
+msgstr ""
+"du er litt sjokkert av nummeret, men du komme raskt til riktig konklusjon:"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"So you're saying it would be worth it for us to pay more than $1,000,000 "
+"in campaign contributions if we were confident those contributions would "
+"assure that the bill was passed?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"Absolutely,\" the adviser responds. \"It is worth it to you to contribute "
+"up to the `present value' of the income you expect from these copyrights. "
+"Which for us means over $1,000,000.\""
+msgstr ""
+
+#. PAGE BREAK 225
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"You quickly get the point--you as the member of the board and, I trust, you "
+"the reader. Each time copyrights are about to expire, every beneficiary in "
+"the position of the Robert Frost estate faces the same choice: If they can "
+"contribute to get a law passed to extend copyrights, they will benefit "
+"greatly from that extension. And so each time copyrights are about to "
+"expire, there is a massive amount of lobbying to get the copyright term "
+"extended."
+msgstr ""
+"du raskt få poeng--du som medlem av styret, og jeg stoler du leseren. hver "
+"gang opphavsrett er om å opphøre, hver mottaker i posisjon av robert frost "
+"eiendom står overfor det samme valget: Hvis de kan bidra til å få en lov "
+"vedtatt for å utvide opphavsrettigheter, de vil ha stor nytte fra denne "
+"filtypen. og så hver gang opphavsrett er om å opphøre, det er en enorm "
+"mengde lobbyvirksomhet for å få opphavsrett begrepet utvidet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Thus a congressional perpetual motion machine: So long as legislation can be "
+"bought (albeit indirectly), there will be all the incentive in the world to "
+"buy further extensions of copyright."
+msgstr ""
+"dermed en Kongressens evighetsmaskin maskin: så lenge lovgivning kan kjøpes "
+"(riktignok indirekte), vil det være alle ansporingen i verden til å kjøpe "
+"ytterligere utvidelser av copyright."
+
+#. f3.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
+"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago "
+"Tribune, 17 October 1998, 22."
+msgstr ""
+
+#. f4.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #49</ulink>."
+msgstr ""
+
+#. f5.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional "
+"Quarterly This Week, 8 August 1990, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #50</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In the lobbying that led to the passage of the Sonny Bono Copyright Term "
+"Extension Act, this \"theory\" about incentives was proved real. Ten of the "
+"thirteen original sponsors of the act in the House received the maximum "
+"contribution from Disney's political action committee; in the Senate, eight "
+"of the twelve sponsors received contributions.<placeholder type=\"footnote\" "
+"id=\"0\"/> The RIAA and the MPAA are estimated to have spent over $1.5 "
+"million lobbying in the 1998 election cycle. They paid out more than "
+"$200,000 in campaign contributions.<placeholder type=\"footnote\" id=\"1\"/> "
+"Disney is estimated to have contributed more than $800,000 to reelection "
+"campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Constitutional law is not oblivious to the obvious. Or at least, it need not "
+"be. So when I was considering Eldred's complaint, this reality about the "
+"never-ending incentives to increase the copyright term was central to my "
+"thinking. In my view, a pragmatic court committed to interpreting and "
+"applying the Constitution of our framers would see that if Congress has the "
+"power to extend existing terms, then there would be no effective "
+"constitutional requirement that terms be \"limited.\" If they could extend "
+"it once, they would extend it again and again and again."
+msgstr ""
+
+#. PAGE BREAK 226
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It was also my judgment that this Supreme Court would not allow Congress to "
+"extend existing terms. As anyone close to the Supreme Court's work knows, "
+"this Court has increasingly restricted the power of Congress when it has "
+"viewed Congress's actions as exceeding the power granted to it by the "
+"Constitution. Among constitutional scholars, the most famous example of this "
+"trend was the Supreme Court's decision in 1995 to strike down a law that "
+"banned the possession of guns near schools."
+msgstr ""
+"Det var også mitt skjønn at denne Høyesterett ikke ville tillate at "
+"Kongressen til å utvide eksisterende vilkår. alle nær Høyesterett arbeid "
+"vet, har denne retten i økende grad begrenset kraften i Kongressen når det "
+"har sett congress's handlinger som overstiger makt som er gitt til det av "
+"Grunnloven. blant konstitusjonelle forskere var det mest kjente eksempelet "
+"av denne trenden Høyesterett beslutning i 1995 å ramme en lov som forbød "
+"besittelse av våpen i nærheten av skoler."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Since 1937, the Supreme Court had interpreted Congress's granted powers very "
+"broadly; so, while the Constitution grants Congress the power to regulate "
+"only \"commerce among the several states\" (aka \"interstate commerce\"), "
+"the Supreme Court had interpreted that power to include the power to "
+"regulate any activity that merely affected interstate commerce."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As the economy grew, this standard increasingly meant that there was no "
+"limit to Congress's power to regulate, since just about every activity, when "
+"considered on a national scale, affects interstate commerce. A Constitution "
+"designed to limit Congress's power was instead interpreted to impose no "
+"limit."
+msgstr ""
+"som økonomien vokste, mente denne standarden stadig at det var ingen grense "
+"congress's makt til å regulere, siden omtrent hver aktivitet, når det i "
+"nasjonal skala, påvirker utdanningen handel. en konstitusjon som er utformet "
+"for å begrense Kongressens makt ble i stedet tolket for å innføre ingen "
+"grense."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
+"United States v. Lopez. The government had argued that possessing guns near "
+"schools affected interstate commerce. Guns near schools increase crime, "
+"crime lowers property values, and so on. In the oral argument, the Chief "
+"Justice asked the government whether there was any activity that would not "
+"affect interstate commerce under the reasoning the government advanced. The "
+"government said there was not; if Congress says an activity affects "
+"interstate commerce, then that activity affects interstate commerce. The "
+"Supreme Court, the government said, was not in the position to second-guess "
+"Congress."
+msgstr ""
+"Høyesterett, under chief justice rehnquist kommando, endret som i USA v. "
+"lopez. regjeringen hadde hevdet at ha våpen i nærheten av skoler berørt "
+"utdanningen handel. våpen i nærheten av skoler øke kriminalitet, "
+"kriminalitet senker egenskapsverdier, og så videre. i argumentet muntlig "
+"bedt justisministeren regjeringen om det var noen aktivitet som ikke vil "
+"påvirke utdanningen handel under begrunnelsen regjeringen Avansert. "
+"regjeringen sa det var ikke; Hvis Kongressen sier en aktivitet påvirker "
+"utdanningen handel, påvirker den aktiviteten utdanningen handel. "
+"Høyesterett, regjeringen sa, var ikke i posisjon til å second-guess "
+"Kongressen."
+
+#. f6.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)."
+msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)."
+
+#. f7.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid "United States v. Morrison, 529 U.S. 598 (2000)."
+msgstr "USA v. morrison, 529 amerikanske 598 (2000)."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"We pause to consider the implications of the government's arguments,\" the "
+"Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If anything "
+"Congress says is interstate commerce must therefore be considered interstate "
+"commerce, then there would be no limit to Congress's power. The decision in "
+"Lopez was reaffirmed five years later in United States v. Morrison."
+"<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. f8.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"If it is a principle about enumerated powers, then the principle carries "
+"from one enumerated power to another. The animating point in the context of "
+"the Commerce Clause was that the interpretation offered by the government "
+"would allow the government unending power to regulate commerce--the "
+"limitation to interstate commerce notwithstanding. The same point is true in "
+"the context of the Copyright Clause. Here, too, the government's "
+"interpretation would allow the government unending power to regulate "
+"copyrights--the limitation to \"limited times\" notwithstanding."
+msgstr ""
+
+#. PAGE BREAK 227
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"If a principle were at work here, then it should apply to the Progress "
+"Clause as much as the Commerce Clause.<placeholder type=\"footnote\" id="
+"\"0\"/> And if it is applied to the Progress Clause, the principle should "
+"yield the conclusion that Congress can't extend an existing term. If "
+"Congress could extend an existing term, then there would be no \"stopping "
+"point\" to Congress's power over terms, though the Constitution expressly "
+"states that there is such a limit. Thus, the same principle applied to the "
+"power to grant copyrights should entail that Congress is not allowed to "
+"extend the term of existing copyrights."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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 interpretation of the "
+"Constitution. The idea that the Supreme Court decides cases based upon its "
+"politics struck me as extraordinarily boring. I was not going to devote my "
+"life to teaching constitutional law if these nine Justices were going to be "
+"petty politicians."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+"Nå la oss pause for et øyeblikk å sørge for at vi forstår hva argumentet i "
+"eldred ikke var om. ved å insistere på grunnlovens grenser for opphavsrett, "
+"var åpenbart eldred ikke støttet piratkopiering. faktisk i en åpenbar "
+"forstand kjemper han en form for piratkopiering--piratkopiering av den "
+"offentlige sfæren. da robert frost skrev hans arbeid og når walt disney "
+"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks år. på "
+"grunn av midlertidige endringer, hadde frost og disney allerede likte "
+"monopol sytti-fem år for deres arbeid. de hadde fått fordelen av handel som "
+"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-"
+"seks år, de opprettet nytt arbeid. men nå disse enhetene bruker deres makt--"
+"uttrykt gjennom strømmen av lobbyister penger--for å få en annen tyve års "
+"dollop av monopol. at tyve års Dollop dollop ville bli Hentet fra public "
+"domain. Eric eldred var kjemper en piratkopiering som påvirker oss alle."
+
+#. f9.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U."
+"S. 186 (2003) (No. 01-618), n.10, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #51</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Some people view the public domain with contempt. In their brief before the "
+"Supreme Court, the Nashville Songwriters Association wrote that the public "
+"domain is nothing more than \"legal piracy.\"<placeholder type=\"footnote\" "
+"id=\"0\"/> But it is not piracy when the law allows it; and in our "
+"constitutional system, our law requires it. Some may not like the "
+"Constitution's requirements, but that doesn't make the Constitution a "
+"pirate's charter."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As we've seen, our constitutional system requires limits on copyright as a "
+"way to assure that copyright holders do not too heavily influence the "
+"development and distribution of our culture. Yet, as Eric Eldred discovered, "
+"we have set up a system that assures that copyright terms will be repeatedly "
+"extended, and extended, and extended. We have created the perfect storm for "
+"the public domain. Copyrights have not expired, and will not expire, so long "
+"as Congress is free to be bought to extend them again."
+msgstr ""
+"som vi har sett, krever systemet vårt konstitusjonelle begrensninger på "
+"opphavsrett som en måte å sikre at innehaver av opphavsrett ikke for sterkt "
+"påvirke utviklingen og distribueringen av vår kultur. ennå, som eric eldred "
+"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkårene vil "
+"være gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den "
+"perfekte stormen for public domain. opphavsrett er utløpt ikke, og utløper "
+"ikke, så lenge congress er gratis kjøpes for å utvide dem igjen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is valuable copyrights that are responsible for terms being extended. "
+"Mickey Mouse and \"Rhapsody in Blue.\" These works are too valuable for "
+"copyright owners to ignore. But the real harm to our society from copyright "
+"extensions is not that Mickey Mouse remains Disney's. Forget Mickey Mouse. "
+"Forget Robert Frost. Forget all the works from the 1920s and 1930s that have "
+"continuing commercial value. The real harm of term extension comes not from "
+"these famous works. The real harm is to the works that are not famous, not "
+"commercially exploited, and no longer available as a result."
+msgstr ""
+
+#. f10.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"The figure of 2 percent is an extrapolation from the study by the "
+"Congressional Research Service, in light of the estimated renewal ranges. "
+"See Brief of Petitioners, Eldred v. Ashcroft, 7, available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #52</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"If you look at the work created in the first twenty years (1923 to 1942) "
+"affected by the Sonny Bono Copyright Term Extension Act, 2 percent of that "
+"work has any continuing commercial value. It was the copyright holders for "
+"that 2 percent who pushed the CTEA through. But the law and its effect were "
+"not limited to that 2 percent. The law extended the terms of copyright "
+"generally.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 229
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Think practically about the consequence of this extension--practically, as a "
+"businessperson, and not as a lawyer eager for more legal work. In 1930, "
+"10,047 books were published. In 2000, 174 of those books were still in "
+"print. Let's say you were Brewster Kahle, and you wanted to make available "
+"to the world in your iArchive project the remaining 9,873. What would you "
+"have to do?"
+msgstr ""
+"Tenk praktisk talt konsekvens av denne utvidelsen--praktisk talt, som en "
+"businessperson, og ikke som en advokat ivrige etter å få mer juridisk "
+"arbeid. i 1930, ble 10,047 bøker utgitt. i 2000 var 174 av bøkene fortsatt i "
+"utskriften. La oss si at du var brewster kahle, og du vil gjøre tilgjengelig "
+"for verden i iarchive prosjektet gjenværende 9,873. Hva ville du trenger å "
+"gjøre?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Well, first, you'd have to determine which of the 9,873 books were still "
+"under copyright. That requires going to a library (these data are not on-"
+"line) and paging through tomes of books, cross-checking the titles and "
+"authors of the 9,873 books with the copyright registration and renewal "
+"records for works published in 1930. That will produce a list of books still "
+"under copyright."
+msgstr ""
+"Vel, først, ville du har til å bestemme hvilke av de 9,873 bøkene var "
+"fortsatt under copyright. som krever skal et bibliotek (disse dataene ikke "
+"er on-line) og sidevekslingsfilen gjennom tomes bøker, på tvers av "
+"kontrollere titler og forfatterne av 9,873 bøker med copyright registrering "
+"og fornyelse postene for verk utgitt i 1930. som vil produsere en liste over "
+"bøker som fortsatt under opphavsrett."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Then for the books still under copyright, you would need to locate the "
+"current copyright owners. How would you do that?"
+msgstr ""
+"deretter for bøkene fortsatt under opphavsrett trenger du å finne gjeldende "
+"opphavsrett eiere. How 'd du gjøre det?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Most people think that there must be a list of these copyright owners "
+"somewhere. Practical people think this way. How could there be thousands and "
+"thousands of government monopolies without there being at least a list?"
+msgstr ""
+"de fleste mennesker tror at det må være en liste over disse eiere av "
+"opphavsretter et sted. praktisk folk tror på denne måten. Hvordan kunne det "
+"være tusenvis og tusenvis av regjeringen monopoler uten det er minst en "
+"liste?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But there is no list. There may be a name from 1930, and then in 1959, of "
+"the person who registered the copyright. But just think practically about "
+"how impossibly difficult it would be to track down thousands of such "
+"records--especially since the person who registered is not necessarily the "
+"current owner. And we're just talking about 1930!"
+msgstr ""
+"men det er ingen liste. Det kan være et navn fra 1930, og deretter i 1959, "
+"på personen som registrerte opphavsretten. men det er bare tenke praktisk "
+"talt på hvordan impossibly vanskelig det ville være å spore opp tusenvis av "
+"slike poster--spesielt siden personen som registrert ikke er nødvendigvis "
+"gjeldende eier. og vi snakker bare om 1930!"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"But there isn't a list of who owns property generally,\" the apologists "
+"for the system respond. \"Why should there be a list of copyright owners?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Well, actually, if you think about it, there are plenty of lists of who owns "
+"what property. Think about deeds on houses, or titles to cars. And where "
+"there isn't a list, the code of real space is pretty good at suggesting who "
+"the owner of a bit of property is. (A swing set in your backyard is probably "
+"yours.) So formally or informally, we have a pretty good way to know who "
+"owns what tangible property."
+msgstr ""
+"Vel, egentlig, er Hvis du tenker på det, det masse av lister av hvem som "
+"eier hva egenskapen. Tenk på gjerninger på hus eller titler til biler. og "
+"der det ikke finnes en liste, koden for virkelige rommet er ganske god til å "
+"foreslå som eieren av en bit av egenskapen er. (en sving i bakgården er "
+"sannsynligvis ditt.) så har formelt eller uformelt, vi en ganske god måte å "
+"vite hvem som eier hvilke konkrete-egenskapen."
+
+#. PAGE BREAK 230
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"So: You walk down a street and see a house. You can know who owns the house "
+"by looking it up in the courthouse registry. If you see a car, there is "
+"ordinarily a license plate that will link the owner to the car. If you see a "
+"bunch of children's toys sitting on the front lawn of a house, it's fairly "
+"easy to determine who owns the toys. And if you happen to see a baseball "
+"lying in a gutter on the side of the road, look around for a second for some "
+"kids playing ball. If you don't see any kids, then okay: Here's a bit of "
+"property whose owner we can't easily determine. It is the exception that "
+"proves the rule: that we ordinarily know quite well who owns what property."
+msgstr ""
+"slik: du gå ned en gate og ser et hus. du vet hvem som eier huset ved slå "
+"opp i courthouse registret. Hvis du ser en bil, er det vanligvis en lisens "
+"plate som skal knytte eieren til bilen. Hvis du ser en rekke barneleker "
+"sitter på fremsiden plen av et hus, er det ganske enkelt å finne ut hvem som "
+"eier leketøy. og hvis du tilfeldigvis ser en baseball liggende i en "
+"innbindingsmarg på siden av veien, se deg rundt for andre for noen barn "
+"spille ball. Hvis du ikke ser noen barn, deretter OK: Her er litt av eiendom "
+"der eieren vi ikke finner lett. Det er unntaket som beviser regelen: at vi "
+"vanligvis vet svært godt hvem som eier hva egenskapen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Compare this story to intangible property. You go into a library. The "
+"library owns the books. But who owns the copyrights? As I've already "
+"described, there's no list of copyright owners. There are authors' names, of "
+"course, but their copyrights could have been assigned, or passed down in an "
+"estate like Grandma's old jewelry. To know who owns what, you would have to "
+"hire a private detective. The bottom line: The owner cannot easily be "
+"located. And in a regime like ours, in which it is a felony to use such "
+"property without the property owner's permission, the property isn't going "
+"to be used."
+msgstr ""
+"sammenligne denne historien til immaterielle eiendom. du går inn i et "
+"bibliotek. biblioteket eier bøkene. men hvem som eier opphavsretten? som jeg "
+"allerede har beskrevet, er det ingen liste over eiere av opphavsretter. Det "
+"finnes forfatternes navn, selvfølgelig, men sine opphavsrettigheter kan er "
+"tilordnet, eller gått ned i en eiendom som grandma's gamle smykker. Hvis du "
+"vil vite hvem som eier hva, ville du har til å ansette en privat "
+"etterforsker. Bunnlinjen: eieren ikke lett blir funnet. og i et regime som "
+"vårt, der er det en forbrytelse å bruke slike eiendom uten egenskapen "
+"eierens tillatelse, egenskapen er ikke skal brukes."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The consequence with respect to old books is that they won't be digitized, "
+"and hence will simply rot away on shelves. But the consequence for other "
+"creative works is much more dire."
+msgstr ""
+"konsekvens med hensyn til gamle bøker er at de ikke digitalisert, og dermed "
+"vil bare rot bort på hyller. men konsekvensen for andre kreative verker er "
+"mye mer dire."
+
+#. f11.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" Los "
+"Angeles Times, 6 October 2002; David Streitfeld, \"Classic Movies, Songs, "
+"Books at Stake; Supreme Court Hears Arguments Today on Striking Down "
+"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Consider the story of Michael Agee, chairman of Hal Roach Studios, which "
+"owns the copyrights for the Laurel and Hardy films. Agee is a direct "
+"beneficiary of the Bono Act. The Laurel and Hardy films were made between "
+"1921 and 1951. Only one of these films, The Lucky Dog, is currently out of "
+"copyright. But for the CTEA, films made after 1923 would have begun entering "
+"the public domain. Because Agee controls the exclusive rights for these "
+"popular films, he makes a great deal of money. According to one estimate, "
+"\"Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's "
+"silent films.\"<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet Agee opposed the CTEA. His reasons demonstrate a rare virtue in this "
+"culture: selflessness. He argued in a brief before the Supreme Court that "
+"the Sonny Bono Copyright Term Extension Act will, if left standing, destroy "
+"a whole generation of American film."
+msgstr ""
+"ennå imot agee ctea. hans grunner demonstrere en sjelden dyd i denne "
+"kulturen: selflessness. Han hevdet i en kort før Høyesterett at sonny bono "
+"opphavsrett begrepet filtypen act vil, hvis stå stående, ødelegge en hel "
+"generasjon av american film."
+
+#. PAGE BREAK 231
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"His argument is straightforward. A tiny fraction of this work has any "
+"continuing commercial value. The rest--to the extent it survives at all--"
+"sits in vaults gathering dust. It may be that some of this work not now "
+"commercially valuable will be deemed to be valuable by the owners of the "
+"vaults. For this to occur, however, the commercial benefit from the work "
+"must exceed the costs of making the work available for distribution."
+msgstr ""
+"hans argument er enkelt. en liten brøkdel av dette arbeidet har noen "
+"vedvarende kommersiell verdi. resten--i den grad det er blitt bevart på "
+"alle--sitter i vaults samle støv. Det kan være at noe av dette arbeidet ikke "
+"nå kommersielt verdifull, anses for å være verdifulle av eierne av vaults. "
+"for at dette skal skje, men må kommersiell fordel fra arbeidet overskride "
+"kostnadene ved å gjøre arbeidet tilgjengelig for distribusjon."
+
+#. f12.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
+"Petitoners, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See "
+"also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet "
+"Archive, Eldred v. Ashcroft, available at <ulink url=\"http://free-culture."
+"cc/notes/\">link #53</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We can't know the benefits, but we do know a lot about the costs. For most "
+"of the history of film, the costs of restoring film were very high; digital "
+"technology has lowered these costs substantially. While it cost more than "
+"$10,000 to restore a ninety-minute black-and-white film in 1993, it can now "
+"cost as little as $100 to digitize one hour of mm film.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Restoration technology is not the only cost, nor the most important. "
+"Lawyers, too, are a cost, and increasingly, a very important one. In "
+"addition to preserving the film, a distributor needs to secure the rights. "
+"And to secure the rights for a film that is under copyright, you need to "
+"locate the copyright owner."
+msgstr ""
+"restaurering teknologien er ikke den eneste kostnaden, og heller ikke det "
+"viktigste. advokater, er også en kostnad, og i økende grad, en meget "
+"betydelig ettall. i tillegg til bevare filmen, må en distributør å sikre "
+"rettighetene. og for å sikre rettighetene for en film som er under "
+"opphavsrett, du trenger å finne eieren av opphavsretten."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Or more accurately, owners. As we've seen, there isn't only a single "
+"copyright associated with a film; there are many. There isn't a single "
+"person whom you can contact about those copyrights; there are as many as can "
+"hold the rights, which turns out to be an extremely large number. Thus the "
+"costs of clearing the rights to these films is exceptionally high."
+msgstr ""
+"eller mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt "
+"copyright tilknyttet en film; Det er mange. Det er ikke en eneste person "
+"hvem du kan kontakte om m├Ñte av opphavsrettighetene; Det er så mange som "
+"kan holde rettigheter, som viser seg for å være et svært stort tall. dermed "
+"kostnadene ved å fjerne rettighetene til disse filmene er usedvanlig høy."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"But can't you just restore the film, distribute it, and then pay the "
+"copyright owner when she shows up?\" Sure, if you want to commit a felony. "
+"And even if you're not worried about committing a felony, when she does show "
+"up, she'll have the right to sue you for all the profits you have made. So, "
+"if you're successful, you can be fairly confident you'll be getting a call "
+"from someone's lawyer. And if you're not successful, you won't make enough "
+"to cover the costs of your own lawyer. Either way, you have to talk to a "
+"lawyer. And as is too often the case, saying you have to talk to a lawyer is "
+"the same as saying you won't make any money."
+msgstr ""
+
+#. PAGE BREAK 232
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"For some films, the benefit of releasing the film may well exceed these "
+"costs. But for the vast majority of them, there is no way the benefit would "
+"outweigh the legal costs. Thus, for the vast majority of old films, Agee "
+"argued, the film will not be restored and distributed until the copyright "
+"expires."
+msgstr ""
+"for noen filmer, kan fordelen av å slippe filmen godt overskride disse "
+"kostnadene. men for de aller fleste av dem, det er ikke mulig nytte ville "
+"oppveier saksomkostninger. Således, for de aller fleste av gamle filmer, "
+"agee hevdet, filmen vil ikke bli restaurert og distribuert til opphavsretten "
+"utløper."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But by the time the copyright for these films expires, the film will have "
+"expired. These films were produced on nitrate-based stock, and nitrate stock "
+"dissolves over time. They will be gone, and the metal canisters in which "
+"they are now stored will be filled with nothing more than dust."
+msgstr ""
+"men da opphavsretten for disse filmene utløper, vil filmen har utløpt. disse "
+"filmene ble produsert på nitrat-basert lager, og nitrat lager oppløser over "
+"tid. de vil være borte, og metall canisters der de er nå lagret bli fylt med "
+"noe mer enn støv."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Of all the creative work produced by humans anywhere, a tiny fraction has "
+"continuing commercial value. For that tiny fraction, the copyright is a "
+"crucially important legal device. For that tiny fraction, the copyright "
+"creates incentives to produce and distribute the creative work. For that "
+"tiny fraction, the copyright acts as an \"engine of free expression.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But even for that tiny fraction, the actual time during which the creative "
+"work has a commercial life is extremely short. As I've indicated, most books "
+"go out of print within one year. The same is true of music and film. "
+"Commercial culture is sharklike. It must keep moving. And when a creative "
+"work falls out of favor with the commercial distributors, the commercial "
+"life ends."
+msgstr ""
+"men selv for at liten brøkdel, den faktiske tiden da skapende arbeid har en "
+"kommersiell levetid er ekstremt kort. som jeg har angitt, vil de fleste "
+"bøker gå ut av Skriv ut innen ett år. det samme gjelder av musikk og film. "
+"kommersielle kultur er sharklike. Det må bevege. og når en skapende arbeid "
+"faller ut av tjeneste med kommersielle distributører, kommersiell levetid "
+"slutter."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet that doesn't mean the life of the creative work ends. We don't keep "
+"libraries of books in order to compete with Barnes & Noble, and we don't "
+"have archives of films because we expect people to choose between spending "
+"Friday night watching new movies and spending Friday night watching a 1930 "
+"news documentary. The noncommercial life of culture is important and "
+"valuable--for entertainment but also, and more importantly, for knowledge. "
+"To understand who we are, and where we came from, and how we have made the "
+"mistakes that we have, we need to have access to this history."
+msgstr ""
+"Det betyr ennå ikke livet av endene skapende arbeid. vi holde ikke "
+"biblioteker av bøker for å konkurrere med barnes & noble, og vi har ikke "
+"arkiver av filmer fordi forventer vi folk til å velge mellom utgifter fredag "
+"kveld å se nye filmer og utgifter fredag kveld å se en 1930 nyheter "
+"dokumentar. ikke-kommersiell livet av kultur er viktig og verdifull--for "
+"underholdning men også, og enda viktigere, for kunnskap. for å forstå hvem "
+"vi er, og der vi kom fra, og hvordan vi har gjort feil som vi har, trenger "
+"vi å ha tilgang til denne historien."
+
+#. PAGE BREAK 233
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Copyrights in this context do not drive an engine of free expression. In "
+"this context, there is no need for an exclusive right. Copyrights in this "
+"context do no good."
+msgstr ""
+"opphavsrettigheter i denne konteksten Kjør ikke en motor gratis "
+"uttrykksmåter. i denne sammenheng er det ikke behov for en eksklusiv rett. "
+"opphavsrettigheter i denne konteksten ikke nytter."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet, for most of our history, they also did little harm. For most of our "
+"history, when a work ended its commercial life, there was no copyright-"
+"related use that would be inhibited by an exclusive right. When a book went "
+"out of print, you could not buy it from a publisher. But you could still "
+"buy it from a used book store, and when a used book store sells it, in "
+"America, at least, there is no need to pay the copyright owner anything. "
+"Thus, the ordinary use of a book after its commercial life ended was a use "
+"that was independent of copyright law."
+msgstr ""
+"Likevel, for det meste av vår historie, de også gjorde lite skade. for de "
+"fleste av vår historie, når et arbeid endte sin kommersielle liv, var det "
+"ingen copyright-relaterte bruk som ville være inhibited med en eksklusiv "
+"rett. Når en bok gikk ut av print, kan du ikke kjøpe det fra en utgiver. men "
+"du kan fortsatt kjøpe den fra brukt boka store, og når brukt boka store "
+"selger den, i Amerika, minst, det er ikke nødvendig å betale eieren av "
+"opphavsretten noe. dermed var vanlig bruk av en bok etter sin kommersiell "
+"levetid avsluttet en bruk som var uavhengig av lov om opphavsrett."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The same was effectively true of film. Because the costs of restoring a "
+"film--the real economic costs, not the lawyer costs--were so high, it was "
+"never at all feasible to preserve or restore film. Like the remains of a "
+"great dinner, when it's over, it's over. Once a film passed out of its "
+"commercial life, it may have been archived for a bit, but that was the end "
+"of its life so long as the market didn't have more to offer."
+msgstr ""
+"det samme var effektivt sant av film. fordi kostnadene for å gjenopprette en "
+"film--den virkelige økonomiske kostnader, ikke advokat kostnadene--var så "
+"høyt, det var aldri i det hele tatt mulig å beholde eller gjenopprette "
+"filmen. som restene av en stor middag, når det er over, er over. Når en film "
+"gikk ut av sine kommersielle livet, det kan ha blitt arkivert for litt, men "
+"det var slutten av sitt liv så lenge markedet ikke har mer å tilby."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In other words, though copyright has been relatively short for most of our "
+"history, long copyrights wouldn't have mattered for the works that lost "
+"their commercial value. Long copyrights for these works would not have "
+"interfered with anything."
+msgstr ""
+"med andre ord, om copyright har vært relativt kort for mesteparten av vår "
+"historie, ville ikke lang opphavsrett ha mattered for arbeider som mistet "
+"sin kommersiell verdi. lang opphavsretten for disse arbeider ville ikke har "
+"interfered med noe."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid "But this situation has now changed."
+msgstr "men denne situasjonen er nå endret."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"One crucially important consequence of the emergence of digital technologies "
+"is to enable the archive that Brewster Kahle dreams of. Digital "
+"technologies now make it possible to preserve and give access to all sorts "
+"of knowledge. Once a book goes out of print, we can now imagine digitizing "
+"it and making it available to everyone, forever. Once a film goes out of "
+"distribution, we could digitize it and make it available to everyone, "
+"forever. Digital technologies give new life to copyrighted material after it "
+"passes out of its commercial life. It is now possible to preserve and assure "
+"universal access to this knowledge and culture, whereas before it was not."
+msgstr ""
+"en svært viktig konsekvens av fremveksten av digital teknologi er å aktivere "
+"arkivet at brewster kahle drømmer om. Digital teknologi gjør det nå mulig å "
+"bevare og gi tilgang til alle slags kunnskap. Når en bok går ute av print, "
+"kan vi nå forestille digitalisere det og gjøre den tilgjengelig for alle, "
+"evig. Når en film går ut av distribusjon, kunne vi digitalisere det og gjøre "
+"den tilgjengelig for alle, evig. Digital teknologi gi nytt liv til "
+"opphavsrettsbeskyttet materiale når den sender ut av sin kommersiell "
+"levetid. Det er nå mulig å bevare og forsikrer særlige til denne kunnskap og "
+"kultur, mens før det ikke var."
+
+#. PAGE BREAK 234
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"And now copyright law does get in the way. Every step of producing this "
+"digital archive of our culture infringes on the exclusive right of "
+"copyright. To digitize a book is to copy it. To do that requires permission "
+"of the copyright owner. The same with music, film, or any other aspect of "
+"our culture protected by copyright. The effort to make these things "
+"available to history, or to researchers, or to those who just want to "
+"explore, is now inhibited by a set of rules that were written for a "
+"radically different context."
+msgstr ""
+"og nå lov om opphavsrett komme i veien. hvert trinn for å produsere denne "
+"digitalt arkiv av vår kultur krenker på eksklusive rett er copyright. Hvis "
+"du vil digitalisere en bok er å kopiere den. Hvis du vil gjøre som krever "
+"tillatelse fra eieren av opphavsretten. det samme med musikk, film eller "
+"noen andre aspekter av vår kultur som er beskyttet av opphavsrett. innsatsen "
+"for å gjøre disse tingene tilgjengelig til historien, forskere, eller til de "
+"som ønsker å utforske, er nå inhibited med et sett med regler som ble "
+"skrevet for en radikalt annen sammenheng."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Here is the core of the harm that comes from extending terms: Now that "
+"technology enables us to rebuild the library of Alexandria, the law gets in "
+"the way. And it doesn't get in the way for any useful copyright purpose, for "
+"the purpose of copyright is to enable the commercial market that spreads "
+"culture. No, we are talking about culture after it has lived its commercial "
+"life. In this context, copyright is serving no purpose at all related to the "
+"spread of knowledge. In this context, copyright is not an engine of free "
+"expression. Copyright is a brake."
+msgstr ""
+"Her er kjernen av skade kommer fra utvide vilkår: nå som teknologi gjør det "
+"mulig for oss å gjenoppbygge biblioteket i alexandria, loven kommer i veien. "
+"og det ikke komme i veien for nyttig opphavsrett formål, med det formål å "
+"copyright er å aktivere det kommersielle markedet som sprer kultur. Nei, vi "
+"snakker om kultur etter at det har bodd sin kommersiell levetid. i denne "
+"sammenhengen er copyright serverer ingen formål på alle relatert til "
+"spredning av kunnskap. i denne sammenheng er copyright ikke en motor gratis "
+"uttrykksmåter. Copyright er en brems."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"You may well ask, \"But if digital technologies lower the costs for Brewster "
+"Kahle, then they will lower the costs for Random House, too. So won't "
+"Random House do as well as Brewster Kahle in spreading culture widely?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Maybe. Someday. But there is absolutely no evidence to suggest that "
+"publishers would be as complete as libraries. If Barnes & Noble offered "
+"to lend books from its stores for a low price, would that eliminate the need "
+"for libraries? Only if you think that the only role of a library is to serve "
+"what \"the market\" would demand. But if you think the role of a library is "
+"bigger than this--if you think its role is to archive culture, whether "
+"there's a demand for any particular bit of that culture or not--then we "
+"can't count on the commercial market to do our library work for us."
+msgstr ""
+
+#. f13.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 "
+"December 2002, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #54</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I would be the first to agree that it should do as much as it can: We should "
+"rely upon the market as much as possible to spread and enable culture. My "
+"message is absolutely not antimarket. But where we see the market is not "
+"doing the job, then we should allow nonmarket forces the freedom to fill the "
+"gaps. As one researcher calculated for American culture, 94 percent of the "
+"films, books, and music produced between and 1946 is not commercially "
+"available. However much you love the commercial market, if access is a "
+"value, then 6 percent is a failure to provide that value.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal "
+"district court in Washington, D.C., asking the court to declare the Sonny "
+"Bono Copyright Term Extension Act unconstitutional. The two central claims "
+"that we made were (1) that extending existing terms violated the "
+"Constitution's \"limited Times\" requirement, and (2) that extending terms "
+"by another twenty years violated the First Amendment."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The district court dismissed our claims without even hearing an argument. A "
+"panel of the Court of Appeals for the D.C. Circuit also dismissed our "
+"claims, though after hearing an extensive argument. But that decision at "
+"least had a dissent, by one of the most conservative judges on that court. "
+"That dissent gave our claims life."
+msgstr ""
+"district court avvist påstander om våre uten å selv høre et argument. et "
+"panel av court of appeals for DC-kretsen også oppsagt våre krav, men etter "
+"høre et omfattende argument. men at beslutningen hadde minst en dissens, av "
+"en av de mest konservative dommerne på at domstolen. at ga dissens livet "
+"vårt krav."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Judge David Sentelle said the CTEA violated the requirement that copyrights "
+"be for \"limited Times\" only. His argument was as elegant as it was simple: "
+"If Congress can extend existing terms, then there is no \"stopping point\" "
+"to Congress's power under the Copyright Clause. The power to extend existing "
+"terms means Congress is not required to grant terms that are \"limited.\" "
+"Thus, Judge Sentelle argued, the court had to interpret the term \"limited "
+"Times\" to give it meaning. And the best interpretation, Judge Sentelle "
+"argued, would be to deny Congress the power to extend existing terms."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We asked the Court of Appeals for the D.C. Circuit as a whole to hear the "
+"case. Cases are ordinarily heard in panels of three, except for important "
+"cases or cases that raise issues specific to the circuit as a whole, where "
+"the court will sit \"en banc\" to hear the case."
+msgstr ""
+
+#. PAGE BREAK 236
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Court of Appeals rejected our request to hear the case en banc. This "
+"time, Judge Sentelle was joined by the most liberal member of the D.C. "
+"Circuit, Judge David Tatel. Both the most conservative and the most liberal "
+"judges in the D.C. Circuit believed Congress had overstepped its bounds."
+msgstr ""
+"lagmannsrett avvist vår anmodning om å høre case no banc. Denne gangen "
+"vurdere sentelle ble med seg mest liberale medlem av DC-krets, bedømme david "
+"tatel. både den mest konservative og mest liberale dommere i DC-krets mente "
+"Kongressen hadde overstepped sin grensene."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It was here that most expected Eldred v. Ashcroft would die, for the Supreme "
+"Court rarely reviews any decision by a court of appeals. (It hears about one "
+"hundred cases a year, out of more than five thousand appeals.) And it "
+"practically never reviews a decision that upholds a statute when no other "
+"court has yet reviewed the statute."
+msgstr ""
+"Det var her at de fleste forventet eldred v. ashcroft ville dø, for "
+"Høyesterett vurderinger sjelden noen avgjørelse av en domstol i appeller. "
+"(det hører rundt hundre tilfeller et år, ut av mer enn fem tusen appeller.) "
+"og det praktisk talt aldri vurderinger en beslutning som opprettholder en "
+"vedtekt når ingen andre domstolen har gjennomgått vedtektene."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But in February 2002, the Supreme Court surprised the world by granting our "
+"petition to review the D.C. Circuit opinion. Argument was set for October of "
+"2002. The summer would be spent writing briefs and preparing for argument."
+msgstr ""
+"men i februar 2002, Høyesterett overrasket verden ved å gi vår "
+"underskriftskampanje for å gå gjennom DC krets oppfatning. argumentet ble "
+"satt for oktober 2002. sommeren ville være utbrent skrive truser og "
+"forberede for argumentet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is over a year later as I write these words. It is still astonishingly "
+"hard. If you know anything at all about this story, you know that we lost "
+"the appeal. And if you know something more than just the minimum, you "
+"probably think there was no way this case could have been won. After our "
+"defeat, I received literally thousands of missives by well-wishers and "
+"supporters, thanking me for my work on behalf of this noble but doomed "
+"cause. And none from this pile was more significant to me than the e-mail "
+"from my client, Eric Eldred."
+msgstr ""
+"Det er over et år senere som jeg skriver disse ordene. Det er fortsatt "
+"astonishingly vanskelig. Hvis du vet noe om denne historien, vet du at vi "
+"mistet appell. og hvis du vet noe mer enn bare minste, du tror sannsynligvis "
+"det var ingen måte dette tilfellet kunne ha blitt vunnet. etter vårt "
+"nederlag fikk jeg bokstavelig talt tusenvis av missives ved godt wishers og "
+"støttespillere, takke meg for mitt arbeid på vegne av denne edle men dømt "
+"årsaken. og ingen fra jordhaugen var mer betydelig for meg enn e-post fra "
+"min klient, eric eldred."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But my client and these friends were wrong. This case could have been won. "
+"It should have been won. And no matter how hard I try to retell this story "
+"to myself, I can never escape believing that my own mistake lost it."
+msgstr ""
+"men min klient og disse venner var galt. denne saken kunne ha blitt vunnet. "
+"Det burde ha blitt vunnet. og uansett hvor hardt jeg prøver å retell denne "
+"historien til meg selv, jeg kan aldri unnslippe å tro at min egen feil "
+"mistet den."
+
+#. PAGE BREAK 237
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The mistake was made early, though it became obvious only at the very end. "
+"Our case had been supported from the very beginning by an extraordinary "
+"lawyer, Geoffrey Stewart, and by the law firm he had moved to, Jones, Day, "
+"Reavis and Pogue. Jones Day took a great deal of heat from its copyright-"
+"protectionist clients for supporting us. They ignored this pressure "
+"(something that few law firms today would ever do), and throughout the case, "
+"they gave it everything they could."
+msgstr ""
+"feil ble gjort tidlig, skjønt det ble åpenbart bare på til slutten. vårt "
+"tilfelle hadde vært støttes helt fra begynnelsen av en ekstraordinære "
+"advokat, geoffrey stewart, og ved advokatfirmaet hadde han flyttet til "
+"jones, dag, reavis og pogue. Jones dag tok mye varme fra klientene copyright-"
+"protectionist for å støtte oss. de ignorert dette presset (noe som noen "
+"advokatfirmaer i dag ville gjøre), og i hele saken, de ga det alt de kunne."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There were three key lawyers on the case from Jones Day. Geoff Stewart was "
+"the first, but then Dan Bromberg and Don Ayer became quite involved. "
+"Bromberg and Ayer in particular had a common view about how this case would "
+"be won: We would only win, they repeatedly told me, if we could make the "
+"issue seem \"important\" to the Supreme Court. It had to seem as if dramatic "
+"harm were being done to free speech and free culture; otherwise, they would "
+"never vote against \"the most powerful media companies in the world.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I hate this view of the law. Of course I thought the Sonny Bono Act was a "
+"dramatic harm to free speech and free culture. Of course I still think it "
+"is. But the idea that the Supreme Court decides the law based on how "
+"important they believe the issues are is just wrong. It might be \"right\" "
+"as in \"true,\" I thought, but it is \"wrong\" as in \"it just shouldn't be "
+"that way.\" As I believed that any faithful interpretation of what the "
+"framers of our Constitution did would yield the conclusion that the CTEA was "
+"unconstitutional, and as I believed that any faithful interpretation of what "
+"the First Amendment means would yield the conclusion that the power to "
+"extend existing copyright terms is unconstitutional, I was not persuaded "
+"that we had to sell our case like soap. Just as a law that bans the "
+"swastika is unconstitutional not because the Court likes Nazis but because "
+"such a law would violate the Constitution, so too, in my view, would the "
+"Court decide whether Congress's law was constitutional based on the "
+"Constitution, not based on whether they liked the values that the framers "
+"put in the Constitution."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In any case, I thought, the Court must already see the danger and the harm "
+"caused by this sort of law. Why else would they grant review? There was no "
+"reason to hear the case in the Supreme Court if they weren't convinced that "
+"this regulation was harmful. So in my view, we didn't need to persuade them "
+"that this law was bad, we needed to show why it was unconstitutional."
+msgstr ""
+"Uansett, jeg tenkte, domstolen må allerede se faren og skade som skyldes "
+"denne typen lov. Hvorfor ville de gir gjennomgang? Det var ingen grunn å "
+"høre tilfelle i Høyesterett hvis de ikke var overbevist om at denne "
+"reguleringen var skadelig. så etter min mening, vi ikke trenger å overtale "
+"dem at denne loven var ille, vi trengte å vise hvorfor det var "
+"forfatningsstridig."
+
+#. PAGE BREAK 238
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There was one way, however, in which I felt politics would matter and in "
+"which I thought a response was appropriate. I was convinced that the Court "
+"would not hear our arguments if it thought these were just the arguments of "
+"a group of lefty loons. This Supreme Court was not about to launch into a "
+"new field of judicial review if it seemed that this field of review was "
+"simply the preference of a small political minority. Although my focus in "
+"the case was not to demonstrate how bad the Sonny Bono Act was but to "
+"demonstrate that it was unconstitutional, my hope was to make this argument "
+"against a background of briefs that covered the full range of political "
+"views. To show that this claim against the CTEA was grounded in law and not "
+"politics, then, we tried to gather the widest range of credible critics--"
+"credible not because they were rich and famous, but because they, in the "
+"aggregate, demonstrated that this law was unconstitutional regardless of "
+"one's politics."
+msgstr ""
+"Det var en måte, men i som jeg følte politikk ville saken og som jeg trodde "
+"et svar var riktig. Jeg var overbevist om at domstolen ikke ville høre våre "
+"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty "
+"loons. Denne Høyesterett var ikke om å lansere i et nytt felt med juridisk "
+"vurdering Hvis det syntes at dette feltet av nytt var bare preferanse av et "
+"lite politisk mindretall. Selv om mitt fokus i tilfelle var ikke til å "
+"demonstrere hvor ille sonny bono handle var, men for å demonstrere at det "
+"var forfatningsstridig, mitt håp var å gjøre dette argumentet mot et "
+"bakteppe av truser som dekket hele spekteret av politiske synspunkter. å "
+"vise at denne påstanden mot ctea ble jordet i loven og ikke politikk, så vi "
+"prøvde å samle så mange søkeordresultater troverdig kritikere--troverdig "
+"ikke fordi de var rike og berømte, men fordi de, i samlet, vist at denne "
+"loven var forfatningsstridig uavhengig av ens politikk."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The first step happened all by itself. Phyllis Schlafly's organization, "
+"Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. "
+"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she "
+"wrote a stinging editorial attacking the Republican Congress for allowing "
+"the law to pass. As she wrote, \"Do you sometimes wonder why bills that "
+"create a financial windfall to narrow special interests slide easily through "
+"the intricate legislative process, while bills that benefit the general "
+"public seem to get bogged down?\" The answer, as the editorial documented, "
+"was the power of money. Schlafly enumerated Disney's contributions to the "
+"key players on the committees. It was money, not justice, that gave Mickey "
+"Mouse twenty more years in Disney's control, Schlafly argued."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In the Court of Appeals, Eagle Forum was eager to file a brief supporting "
+"our position. Their brief made the argument that became the core claim in "
+"the Supreme Court: If Congress can extend the term of existing copyrights, "
+"there is no limit to Congress's power to set terms. That strong "
+"conservative argument persuaded a strong conservative judge, Judge Sentelle."
+msgstr ""
+"i lagmannsrett var eagle forum ivrig etter å inngi en kort som støtter vår "
+"posisjon. sine kort gjort argumentet om at ble kjernen kravet i Høyesterett: "
+"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen "
+"grense for Kongressens makt til å angi vilkår. som sterkt konservativ "
+"argumentet overtalt en sterk konservative dommer, dommer sentelle."
+
+#. PAGE BREAK 239
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In the Supreme Court, the briefs on our side were about as diverse as it "
+"gets. They included an extraordinary historical brief by the Free Software "
+"Foundation (home of the GNU project that made GNU/ Linux possible). They "
+"included a powerful brief about the costs of uncertainty by Intel. There "
+"were two law professors' briefs, one by copyright scholars and one by First "
+"Amendment scholars. There was an exhaustive and uncontroverted brief by the "
+"world's experts in the history of the Progress Clause. And of course, there "
+"was a new brief by Eagle Forum, repeating and strengthening its arguments."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Those briefs framed a legal argument. Then to support the legal argument, "
+"there were a number of powerful briefs by libraries and archives, including "
+"the Internet Archive, the American Association of Law Libraries, and the "
+"National Writers Union."
+msgstr ""
+"disse truser innrammet et juridisk argument. deretter for å støtte "
+"argumentet juridiske, var det en rekke kraftige truser av biblioteker og "
+"arkiver, inkludert internet archive, american association av loven "
+"biblioteker og den nasjonale forfattere unionen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But two briefs captured the policy argument best. One made the argument I've "
+"already described: A brief by Hal Roach Studios argued that unless the law "
+"was struck, a whole generation of American film would disappear. The other "
+"made the economic argument absolutely clear."
+msgstr ""
+"men to truser fanget argumentet policyen best. en gjort argumentet jeg har "
+"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven "
+"ble truffet, en hel generasjon av american film ville forsvinne. den andre "
+"gjort argumentet økonomiske helt klart."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This economists' brief was signed by seventeen economists, including five "
+"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton "
+"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of "
+"Nobel winners demonstrates, spanned the political spectrum. Their "
+"conclusions were powerful: There was no plausible claim that extending the "
+"terms of existing copyrights would do anything to increase incentives to "
+"create. Such extensions were nothing more than \"rent-seeking\"--the fancy "
+"term economists use to describe special-interest legislation gone wild."
+msgstr ""
+
+#. PAGE BREAK 240
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The same effort at balance was reflected in the legal team we gathered to "
+"write our briefs in the case. The Jones Day lawyers had been with us from "
+"the start. But when the case got to the Supreme Court, we added three "
+"lawyers to help us frame this argument to this Court: Alan Morrison, a "
+"lawyer from Public Citizen, a Washington group that had made constitutional "
+"history with a series of seminal victories in the Supreme Court defending "
+"individual rights; my colleague and dean, Kathleen Sullivan, who had argued "
+"many cases in the Court, and who had advised us early on about a First "
+"Amendment strategy; and finally, former solicitor general Charles Fried."
+msgstr ""
+"samme innsats på balanse ble reflektert i det juridiske teamet vi samles for "
+"å skrive våre truser i tilfelle. jones dag advokater hadde blitt med oss fra "
+"starten. men da saken kom til Høyesterett, vi har lagt tre advokater for å "
+"hjelpe oss ramme dette argumentet til denne retten: alan morrison, en "
+"advokat fra offentlige borger, en washington gruppe som hadde gjort "
+"konstitusjonelle historie med en rekke banebrytende seire i Høyesterett "
+"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde "
+"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en "
+"første endring strategi; og endelig, tidligere advokat general charles stekt."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Fried was a special victory for our side. Every other former solicitor "
+"general was hired by the other side to defend Congress's power to give media "
+"companies the special favor of extended copyright terms. Fried was the only "
+"one who turned down that lucrative assignment to stand up for something he "
+"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. "
+"He had helped craft the line of cases that limited Congress's power in the "
+"context of the Commerce Clause. And while he had argued many positions in "
+"the Supreme Court that I personally disagreed with, his joining the cause "
+"was a vote of confidence in our argument."
+msgstr ""
+"stekt var en spesiell seier for vår side. hver andre tidligere advokat "
+"generelt ble ansatt av den andre siden, å forsvare congress's kraft til å gi "
+"medieselskaper spesiell gunst utvidet opphavsrett vilkårene. stekt var den "
+"eneste som slått ned lukrative tildelingen til å stå opp for noe han mente "
+"i. han hadde vært ronald reagan's sjef advokat i Høyesterett. Han hadde "
+"bidratt til å skape linjen i tilfeller som begrenset Kongressens makt i "
+"forbindelse med handel-setningsdel. og mens han hadde hevdet mange "
+"posisjoner i Høyesterett som jeg personlig uenige med, hans begynte årsaken "
+"var en stemme av tilliten i vår argumentet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The government, in defending the statute, had its collection of friends, as "
+"well. Significantly, however, none of these \"friends\" included historians "
+"or economists. The briefs on the other side of the case were written "
+"exclusively by major media companies, congressmen, and copyright holders."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The media companies were not surprising. They had the most to gain from the "
+"law. The congressmen were not surprising either--they were defending their "
+"power and, indirectly, the gravy train of contributions such power induced. "
+"And of course it was not surprising that the copyright holders would defend "
+"the idea that they should continue to have the right to control who did what "
+"with content they wanted to control."
+msgstr ""
+"media selskapene var ikke overraskende. de har mest å tjene på loven. "
+"congressmen var ikke overraskende enten--de var å forsvare sin makt, og "
+"indirekte, Kjøttsaft tog av bidrag slik makt indusert. og selvfølgelig var "
+"det ikke overraskende at rettighetshavere ville forsvare ideen om at de bør "
+"fortsette å ha rett til å kontrollere hvem som gjorde hva med innhold de "
+"ønsket å kontroll."
+
+#. f14.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S. "
+"(2003) (No. 01-618), 19."
+msgstr ""
+"kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 "
+"amerikanske (2003) (nr 01-618), 19."
+
+#. f15.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+msgid ""
+"Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins "
+"the Fray,\" New York Times, 28 March 1998, B7."
+msgstr ""
+
+#. PAGE BREAK 241
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Dr. Seuss's representatives, for example, argued that it was better for the "
+"Dr. Seuss estate to control what happened to Dr. Seuss's work-- better than "
+"allowing it to fall into the public domain--because if this creativity were "
+"in the public domain, then people could use it to \"glorify drugs or to "
+"create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> That was also "
+"the motive of the Gershwin estate, which defended its \"protection\" of the "
+"work of George Gershwin. They refuse, for example, to license Porgy and Bess "
+"to anyone who refuses to use African Americans in the cast.<placeholder type="
+"\"footnote\" id=\"1\"/> That's their view of how this part of American "
+"culture should be controlled, and they wanted this law to help them effect "
+"that control."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This argument made clear a theme that is rarely noticed in this debate. "
+"When Congress decides to extend the term of existing copyrights, Congress is "
+"making a choice about which speakers it will favor. Famous and beloved "
+"copyright owners, such as the Gershwin estate and Dr. Seuss, come to "
+"Congress and say, \"Give us twenty years to control the speech about these "
+"icons of American culture. We'll do better with them than anyone else.\" "
+"Congress of course likes to reward the popular and famous by giving them "
+"what they want. But when Congress gives people an exclusive right to speak "
+"in a certain way, that's just what the First Amendment is traditionally "
+"meant to block."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We argued as much in a final brief. Not only would upholding the CTEA mean "
+"that there was no limit to the power of Congress to extend copyrights--"
+"extensions that would further concentrate the market; it would also mean "
+"that there was no limit to Congress's power to play favorites, through "
+"copyright, with who has the right to speak. Between February and October, "
+"there was little I did beyond preparing for this case. Early on, as I said, "
+"I set the strategy."
+msgstr ""
+"Vi hevdet så mye i en endelige kort. ikke bare vil opprettholde ctea bety at "
+"det var ingen grense for strøm av Kongressen for å forlenge opphavsrett--"
+"utvidelser som ytterligere konsentrere seg markedet; det vil også bety at "
+"det var ingen grense congress's kraft til å spille favoritter, gjennom "
+"opphavsrett, med som har rett til å snakke. mellom februar og oktober var "
+"det lite jeg gjorde utover forbereder for denne saken. tidlig som jeg sa, "
+"satt jeg strategien."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Supreme Court was divided into two important camps. One camp we called "
+"\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives "
+"included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice "
+"Kennedy, and Justice Thomas. These five had been the most consistent in "
+"limiting Congress's power. They were the five who had supported the Lopez/"
+"Morrison line of cases that said that an enumerated power had to be "
+"interpreted to assure that Congress's powers had limits."
+msgstr ""
+
+#. PAGE BREAK 242
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Rest were the four Justices who had strongly opposed limits on "
+"Congress's power. These four--Justice Stevens, Justice Souter, Justice "
+"Ginsburg, and Justice Breyer--had repeatedly argued that the Constitution "
+"gives Congress broad discretion to decide how best to implement its powers. "
+"In case after case, these justices had argued that the Court's role should "
+"be one of deference. Though the votes of these four justices were the votes "
+"that I personally had most consistently agreed with, they were also the "
+"votes that we were least likely to get."
+msgstr ""
+"resten var fire justiariusene som hadde sterkt imot begrensninger på "
+"Kongressens makt. disse fire--rettferdighet stevens, rettferdighet souter, "
+"rettferdighet ginsburg og rettferdighet breyer--hadde gjentatte ganger "
+"hevdet at grunnloven gir Kongressen bred skjønn å bestemme hvordan du best å "
+"implementere sin myndighet. i sak etter sak, hadde disse to andre "
+"justiariusene hevdet at retten rolle bør være en av deference. om stemmene "
+"til disse fire justiariusene var stemmene som jeg personlig hadde mest "
+"konsekvent avtalt med, var de også stemmene som vi var minst sannsynlig å få."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In particular, the least likely was Justice Ginsburg's. In addition to her "
+"general view about deference to Congress (except where issues of gender are "
+"involved), she had been particularly deferential in the context of "
+"intellectual property protections. She and her daughter (an excellent and "
+"well-known intellectual property scholar) were cut from the same "
+"intellectual property cloth. We expected she would agree with the writings "
+"of her daughter: that Congress had the power in this context to do as it "
+"wished, even if what Congress wished made little sense."
+msgstr ""
+"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes "
+"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjønn er "
+"involvert), hadde hun vært spesielt deferential i forbindelse med "
+"beskyttelse av intellektuell eiendom. Hun og hennes datter (en glimrende og "
+"velkjente immaterielle scholar) ble kuttet fra samme immaterielle klut. vi "
+"ventet Hun vil være enig med skriftene til datteren: at Kongressen hadde "
+"makt i denne sammenheng å gjøre som det ønsket, selv om hva Kongressen "
+"ønsket gjort lite fornuftig."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Close behind Justice Ginsburg were two justices whom we also viewed as "
+"unlikely allies, though possible surprises. Justice Souter strongly favored "
+"deference to Congress, as did Justice Breyer. But both were also very "
+"sensitive to free speech concerns. And as we strongly believed, there was a "
+"very important free speech argument against these retrospective extensions."
+msgstr ""
+"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi også sett på "
+"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter "
+"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. "
+"men begge var også svært sensitive til ytringsfriheten bekymringer. og som "
+"vi sterkt mente, det var en svært viktig ytringsfriheten argument mot disse "
+"retrospektiv utvidelser."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The only vote we could be confident about was that of Justice Stevens. "
+"History will record Justice Stevens as one of the greatest judges on this "
+"Court. His votes are consistently eclectic, which just means that no simple "
+"ideology explains where he will stand. But he had consistently argued for "
+"limits in the context of intellectual property generally. We were fairly "
+"confident he would recognize limits here."
+msgstr ""
+"den eneste stemme som vi kan være trygg på var at for rettferdighet stevens. "
+"historie registrerer rettferdighet stevens som en av de største dommerne på "
+"denne retten. hans stemmer er konsekvent variert, som betyr bare at ingen "
+"enkel ideologi forklarer hvor han vil stå. men han hadde konsekvent "
+"argumentert for grenser i forbindelse med immaterielle generelt. Vi var "
+"ganske trygg på han ville anerkjenne grenser her."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This analysis of \"the Rest\" showed most clearly where our focus had to be: "
+"on the Conservatives. To win this case, we had to crack open these five and "
+"get at least a majority to go our way. Thus, the single overriding argument "
+"that animated our claim rested on the Conservatives' most important "
+"jurisprudential innovation--the argument that Judge Sentelle had relied upon "
+"in the Court of Appeals, that Congress's power must be interpreted so that "
+"its enumerated powers have limits."
+msgstr ""
+
+#. PAGE BREAK 243
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The argument on the government's side came down to this: Congress has done "
+"it before. It should be allowed to do it again. The government claimed that "
+"from the very beginning, Congress has been extending the term of existing "
+"copyrights. So, the government argued, the Court should not now say that "
+"practice is unconstitutional."
+msgstr ""
+"argumentet på regjeringens side kom ned til dette: Kongressen har gjort det "
+"før. det skal være tillatt å gjøre det igjen. regjeringen hevdet at helt fra "
+"starten, Kongressen har blitt utvidelse av eksisterende opphavsrettigheter. "
+"så regjeringen hevdet, domstolen bør ikke nå si at praksis er "
+"unconstitutional."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There was some truth to the government's claim, but not much. We certainly "
+"agreed that Congress had extended existing terms in and in 1909. And of "
+"course, in 1962, Congress began extending existing terms regularly--eleven "
+"times in forty years."
+msgstr ""
+"Det var noen sannhet til regjeringens krav, men ikke mye. Vi absolutt avtalt "
+"at Kongressen hadde utvidet eksisterende vilkårene i og i 1909. og "
+"selvfølgelig, i 1962, Kongressen begynte utvide eksisterende regelmessig--"
+"betingelser elleve ganger i førti år."
+
+#. PAGE BREAK 244
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But this \"consistency\" should be kept in perspective. Congress extended "
+"existing terms once in the first hundred years of the Republic. It then "
+"extended existing terms once again in the next fifty. Those rare extensions "
+"are in contrast to the now regular practice of extending existing terms. "
+"Whatever restraint Congress had had in the past, that restraint was now "
+"gone. Congress was now in a cycle of extensions; there was no reason to "
+"expect that cycle would end. This Court had not hesitated to intervene where "
+"Congress was in a similar cycle of extension. There was no reason it "
+"couldn't intervene here. Oral argument was scheduled for the first week in "
+"October. I arrived in D.C. two weeks before the argument. During those two "
+"weeks, I was repeatedly \"mooted\" by lawyers who had volunteered to help in "
+"the case. Such \"moots\" are basically practice rounds, where wannabe "
+"justices fire questions at wannabe winners."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I was convinced that to win, I had to keep the Court focused on a single "
+"point: that if this extension is permitted, then there is no limit to the "
+"power to set terms. Going with the government would mean that terms would be "
+"effectively unlimited; going with us would give Congress a clear line to "
+"follow: Don't extend existing terms. The moots were an effective practice; I "
+"found ways to take every question back to this central idea."
+msgstr ""
+"Jeg var overbevist om at for å vinne, jeg måtte holde domstolen fokusert på "
+"et enkelt punkt: at hvis denne utvidelsen er tillatt, så det er ingen grense "
+"makt til å angi vilkår. Going med regjeringen ville bety at vilkårene vil "
+"være effektivt ubegrenset; Going med oss ville gi Kongressen en klar linje å "
+"følge: ikke utvide eksisterende vilkår. moots var en effektiv praksis, Jeg "
+"har funnet måter å ta alle spørsmål tilbake til dette sentrale ideen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He "
+"had served in the Reagan Justice Department with Solicitor General Charles "
+"Fried. He had argued many cases before the Supreme Court. And in his review "
+"of the moot, he let his concern speak:"
+msgstr ""
+"en moot var før jurister på jones dag. Don ayer var skeptisk. Han "
+"tjenestegjorde i Justisdepartementet reagan med advokat general charles "
+"stekt. Han hadde hevdet mange tilfeller før Høyesterett. og han la sin "
+"bekymring snakke i sin anmeldelse av moot:"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"\"I'm just afraid that unless they really see the harm, they won't be "
+"willing to upset this practice that the government says has been a "
+"consistent practice for two hundred years. You have to make them see the "
+"harm--passionately get them to see the harm. For if they don't see that, "
+"then we haven't any chance of winning.\""
+msgstr ""
+
+#. PAGE BREAK 245
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"He may have argued many cases before this Court, I thought, but he didn't "
+"understand its soul. As a clerk, I had seen the Justices do the right thing--"
+"not because of politics but because it was right. As a law professor, I had "
+"spent my life teaching my students that this Court does the right thing--not "
+"because of politics but because it is right. As I listened to Ayer's plea "
+"for passion in pressing politics, I understood his point, and I rejected it. "
+"Our argument was right. That was enough. Let the politicians learn to see "
+"that it was also good. The night before the argument, a line of people "
+"began to form in front of the Supreme Court. The case had become a focus of "
+"the press and of the movement to free culture. Hundreds stood in line for "
+"the chance to see the proceedings. Scores spent the night on the Supreme "
+"Court steps so that they would be assured a seat."
+msgstr ""
+"han kanskje har hevdet mange tilfeller før denne retten, jeg tenkte, men han "
+"forstod ikke sin sjel. Jeg hadde sett justiariusene gjøre rette--ikke på "
+"grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde "
+"tilbrakt livet undervise elevene mine at denne retten gjør rette--ikke på "
+"grunn av politikk som en lov professor, men fordi det er riktig. da jeg "
+"lyttet til ayer's påstand om lidenskap i presserende politikk, jeg forsto "
+"hans punkt, og jeg avviste den. Vårt argument var rett. Det var nok. La "
+"politikerne lære å se at det var også god. natten før argumentet, en linje "
+"av mennesker begynte å form foran Høyesterett. saken hadde blitt et fokus av "
+"pressen og bevegelse for fri kultur. hundrevis sto i kø for sjansen til å se "
+"proceedings. score tilbragte natten på Høyesterett trinnene slik at de ville "
+"være trygg på et sete."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Not everyone has to wait in line. People who know the Justices can ask for "
+"seats they control. (I asked Justice Scalia's chambers for seats for my "
+"parents, for example.) Members of the Supreme Court bar can get a seat in a "
+"special section reserved for them. And senators and congressmen have a "
+"special place where they get to sit, too. And finally, of course, the press "
+"has a gallery, as do clerks working for the Justices on the Court. As we "
+"entered that morning, there was no place that was not taken. This was an "
+"argument about intellectual property law, yet the halls were filled. As I "
+"walked in to take my seat at the front of the Court, I saw my parents "
+"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting "
+"in the special section ordinarily reserved for family of the Justices."
+msgstr ""
+"ikke alle har til å vente på linjen. folk som vet de to andre justiariusene "
+"kan be om seter de kontroll. (jeg spurte rettferdighet scalia kamre for "
+"plasser for mine foreldre, for eksempel.) medlemmer av Høyesterett baren kan "
+"få et sete i en spesiell del reservert for dem. og senators og congressmen "
+"har et spesielt sted hvor de får å sitte, også. og til slutt, selvfølgelig, "
+"pressen har et galleri som gjør clerks som jobber for de to andre "
+"justiariusene på domstol. som vi har angitt den morgenen, var det ikke noe "
+"sted som ikke ble tatt. Dette var et argument om lovgivning for "
+"immaterielle, men hallene var fylt. så jeg gikk i å ta min plass på forsiden "
+"av retten, så jeg mine foreldre som sitter til venstre. som jeg satte meg "
+"ned ved bordet, så jeg jack valenti sitter i delen spesielle vanligvis "
+"forbeholdt familie av de to andre justiariusene."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When the Chief Justice called me to begin my argument, I began where I "
+"intended to stay: on the question of the limits on Congress's power. This "
+"was a case about enumerated powers, I said, and whether those enumerated "
+"powers had any limit."
+msgstr ""
+"Når justisministeren ringte meg å starte mitt argument, jeg begynte hvor jeg "
+"skal bo: på spørsmålet om begrensninger på Kongressens makt. Dette var en "
+"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen "
+"grense."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Justice O'Connor stopped me within one minute of my opening. The history "
+"was bothering her."
+msgstr ""
+"rettferdighet o'connor stoppet meg ett minutts min åpning. historien var "
+"plaget henne."
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"justice o'connor: Congress has extended the term so often through the years, "
+"and if you are right, don't we run the risk of upsetting previous extensions "
+"of time? I mean, this seems to be a practice that began with the very first "
+"act."
+msgstr ""
+"rettferdighet o'connor: Kongressen har utvidet begrepet så ofte gjennom "
+"årene, og hvis du har rett, ikke vi kjøre risikoen for upsetting tidligere "
+"utvidelser av tid? Jeg mener, dette synes å være en praksis som begynte med "
+"svært første akt."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"She was quite willing to concede \"that this flies directly in the face of "
+"what the framers had in mind.\" But my response again and again was to "
+"emphasize limits on Congress's power."
+msgstr ""
+
+#. PAGE BREAK 246
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"mr. lessig: Well, if it flies in the face of what the framers had in mind, "
+"then the question is, is there a way of interpreting their words that gives "
+"effect to what they had in mind, and the answer is yes."
+msgstr ""
+"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, "
+"så spørsmålet er, er det en måte å tolke sine ord som gir kraft til hva de "
+"hadde i tankene, og svaret er Ja."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"There were two points in this argument when I should have seen where the "
+"Court was going. The first was a question by Justice Kennedy, who observed,"
+msgstr ""
+"Det var to poeng i dette argumentet når jeg burde ha sett hvor domstolen "
+"skulle. Først var et spørsmål av rettferdighet kennedy, som observert,"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"justice kennedy: Well, I suppose implicit in the argument that the '76 act, "
+"too, should have been declared void, and that we might leave it alone "
+"because of the disruption, is that for all these years the act has impeded "
+"progress in science and the useful arts. I just don't see any empirical "
+"evidence for that."
+msgstr ""
+"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, "
+"også, bør har blitt gjort ugyldige, og at vi kan la det være på grunn av "
+"avbrudd, er som for alle disse årene loven har hindret fremgang i vitenskap "
+"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Here follows my clear mistake. Like a professor correcting a student, I "
+"answered,"
+msgstr ""
+"Her følger min klart feil. som professor korrigere en student, svarte jeg,"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"mr. lessig: Justice, we are not making an empirical claim at all. Nothing "
+"in our Copyright Clause claim hangs upon the empirical assertion about "
+"impeding progress. Our only argument is this is a structural limit necessary "
+"to assure that what would be an effectively perpetual term not be permitted "
+"under the copyright laws."
+msgstr ""
+"Mr. lessig: rettferdighet, vi ikke gjør en empirisk krav på alle. ingenting "
+"i våre opphavsrett-setningsdel krav henger på empirisk påstanden om hindrer "
+"fremdrift. vår eneste argumentet er at dette er en strukturell begrensning "
+"som er nødvendig for å sikre at det ville være et effektivt evigvarende sikt "
+"ikke tillates under lover om opphavsrett."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"That was a correct answer, but it wasn't the right answer. The right answer "
+"was instead that there was an obvious and profound harm. Any number of "
+"briefs had been written about it. He wanted to hear it. And here was the "
+"place Don Ayer's advice should have mattered. This was a softball; my answer "
+"was a swing and a miss."
+msgstr ""
+"Det var riktig svar, men det var ikke riktig svar. riktig svar var i stedet "
+"at det var en opplagt og dyptgripende skade. en rekke truser hadde vært "
+"skrevet om den. han ønsket å høre den. og her var sted don ayer's råd skal "
+"ha mattered. Dette var en softball; mitt svar var en swing og en glipp."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The second came from the Chief, for whom the whole case had been crafted. "
+"For the Chief Justice had crafted the Lopez ruling, and we hoped that he "
+"would see this case as its second cousin."
+msgstr ""
+"andre kom fra sjefen, som hele saken hadde blitt utformet. for "
+"justisministeren hadde utformet lopez avgjørelse, og vi håpet at ville han "
+"se denne saken som sin andre fetter."
+
+#. PAGE BREAK 247
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It was clear a second into his question that he wasn't at all sympathetic. "
+"To him, we were a bunch of anarchists. As he asked:"
+msgstr ""
+"Det var klart en andre i sin spørsmålet at han ikke var på alle sympatisk. "
+"til ham var vi en gjeng med anarkistene. så han spurte:"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"chief justice: Well, but you want more than that. You want the right to copy "
+"verbatim other people's books, don't you?"
+msgstr ""
+"Chief justice: godt, men du ønsker mer enn som. du vil ha rett til å kopiere "
+"ordrett andres bøker, ikke du?"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"mr. lessig: We want the right to copy verbatim works that should be in the "
+"public domain and would be in the public domain but for a statute that "
+"cannot be justified under ordinary First Amendment analysis or under a "
+"proper reading of the limits built into the Copyright Clause."
+msgstr ""
+"Mr. lessig: vi vil ha rett til å kopiere ordrett verk som bør være i den "
+"offentlige sfæren, og ville være allemannseie, men for en vedtekter som ikke "
+"kan begrunnes under vanlige første endring analyse eller under en riktig "
+"lesing av grensene som er innebygd i setningsdelen opphavsrett."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Things went better for us when the government gave its argument; for now the "
+"Court picked up on the core of our claim. As Justice Scalia asked Solicitor "
+"General Olson,"
+msgstr ""
+"ting gikk bedre for oss når regjeringen ga argumentet; for nå domstolen "
+"plukket opp på kjernen av våre krav. som rettferdighet spurte scalia advokat "
+"generelt olson"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"justice scalia: You say that the functional equivalent of an unlimited time "
+"would be a violation [of the Constitution], but that's precisely the "
+"argument that's being made by petitioners here, that a limited time which is "
+"extendable is the functional equivalent of an unlimited time."
+msgstr ""
+"rettferdighet scalia: du si at samme en ubegrenset tid ville være et brudd "
+"[av Grunnloven], men det er nettopp argumentet som gjøres av petitioners "
+"her, det en begrenset periode som er utvidbart er samme en ubegrenset tid."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When Olson was finished, it was my turn to give a closing rebuttal. Olson's "
+"flailing had revived my anger. But my anger still was directed to the "
+"academic, not the practical. The government was arguing as if this were the "
+"first case ever to consider limits on Congress's Copyright and Patent Clause "
+"power. Ever the professor and not the advocate, I closed by pointing out the "
+"long history of the Court imposing limits on Congress's power in the name of "
+"the Copyright and Patent Clause-- indeed, the very first case striking a law "
+"of Congress as exceeding a specific enumerated power was based upon the "
+"Copyright and Patent Clause. All true. But it wasn't going to move the Court "
+"to my side."
+msgstr ""
+"Når olson var ferdig, var det min tur til å gi en avsluttende rebuttal. "
+"olson's flailing hadde gjenopplivet sinnet mitt. men min vrede fortsatt ble "
+"sendt til akademiske, ikke praktiske. regjeringen var kranglet som om dette "
+"var det første tilfellet noensinne å vurdere begrensninger på congress's "
+"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg "
+"lukket noensinne ved å peke på den lange historien av domstolen innføre "
+"begrensninger på Kongressens makt i navnet på opphavsrett og patent-"
+"setningsdel--faktisk, det aller første tilfellet støtning en lov av "
+"Kongressen som overskrider en bestemt, nummerert makt var basert på "
+"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til å flytte "
+"retten til min side."
+
+#. PAGE BREAK 248
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As I left the court that day, I knew there were a hundred points I wished I "
+"could remake. There were a hundred questions I wished I had answered "
+"differently. But one way of thinking about this case left me optimistic."
+msgstr ""
+"som jeg venstre retten denne dagen, jeg visste det var en hundre punkter jeg "
+"ønsket at jeg kunne remake. var det en hundre spørsmål jeg ønsket at jeg "
+"hadde svart på en annen måte. men en måte å tenke på dette tilfellet forlatt "
+"meg optimistisk."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The government had been asked over and over again, what is the limit? Over "
+"and over again, it had answered there is no limit. This was precisely the "
+"answer I wanted the Court to hear. For I could not imagine how the Court "
+"could understand that the government believed Congress's power was unlimited "
+"under the terms of the Copyright Clause, and sustain the government's "
+"argument. The solicitor general had made my argument for me. No matter how "
+"often I tried, I could not understand how the Court could find that "
+"Congress's power under the Commerce Clause was limited, but under the "
+"Copyright Clause, unlimited. In those rare moments when I let myself believe "
+"that we may have prevailed, it was because I felt this Court--in particular, "
+"the Conservatives--would feel itself constrained by the rule of law that it "
+"had established elsewhere."
+msgstr ""
+"regjeringen hadde blitt spurt om og om igjen, hva er grensen? igjen og "
+"igjen, det hadde besvart det er ingen begrensning. Dette var nettopp svaret "
+"jeg ville retten å høre. for jeg ikke kan forestille meg hvordan domstol "
+"kunne forstå at regjeringen trodde congress's makt var ubegrenset under "
+"betingelsene i setningsdelen opphavsrett, og opprettholde regjeringens "
+"argumentet. advokat-general hadde gjort mitt argument for meg. uansett hvor "
+"ofte jeg forsøkt, kunne jeg ikke forstå hvordan domstol finner at "
+"Kongressens makt under handel-setningsdel var begrenset, men under den "
+"opphavsrett setningen, ubegrenset. i de sjeldne øyeblikkene når jeg la meg "
+"tro at vi kan ha kommet, det var fordi jeg følte denne retten--spesielt "
+"ville konservative--føle seg begrenset av rettssikkerhet at det hadde "
+"etablert andre steder."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The morning of January 15, 2003, I was five minutes late to the office and "
+"missed the 7:00 A.M. call from the Supreme Court clerk. Listening to the "
+"message, I could tell in an instant that she had bad news to report.The "
+"Supreme Court had affirmed the decision of the Court of Appeals. Seven "
+"justices had voted in the majority. There were two dissents."
+msgstr ""
+"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og "
+"ubesvarte anropet 7: 00 am fra Høyesterett kontorist. lytte til meldingen, "
+"jeg kunne fortelle på et øyeblikk at hun hadde dårlige nyheter til report."
+"the hadde Høyesterett bekreftet avgjørelsen til court of appeals. syv "
+"justiariusene hadde stemt i fleste. Det var to Dissensene."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"A few seconds later, the opinions arrived by e-mail. I took the phone off "
+"the hook, posted an announcement to our blog, and sat down to see where I "
+"had been wrong in my reasoning."
+msgstr ""
+"noen sekunder senere, kom meninger via e-post. Jeg tok telefonen av kroken, "
+"postet en kunngjøring til vår blogg, og satte meg ned for å se hvor jeg "
+"hadde vært feil i mitt resonnement."
+
+#. type: Content of: <book><chapter><sect1><para>
+#, 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."
+msgid ""
+"My reasoning. Here was a case that pitted all the money in the world against "
+"reasoning. And here was the last naïve law professor, scouring the pages, "
+"looking for reasoning."
+msgstr ""
+"mitt resonnement. Her var en sak som pitted alle pengene i verden mot "
+"resonnement. og her var den siste naivt lov professoren, scouring sider, på "
+"jakt etter resonnement."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I first scoured the opinion, looking for how the Court would distinguish the "
+"principle in this case from the principle in Lopez. The argument was nowhere "
+"to be found. The case was not even cited. The argument that was the core "
+"argument of our case did not even appear in the Court's opinion."
+msgstr ""
+"Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i "
+"dette tilfellet fra prinsippet i lopez. argumentet var ingensteds å bli "
+"funnet. saken ble ikke selv sitert. argumentet som ble argumentet kjernen i "
+"vårt tilfelle ikke engang vises i retten mening."
+
+#. PAGE BREAK 249
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Justice Ginsburg simply ignored the enumerated powers argument. Consistent "
+"with her view that Congress's power was not limited generally, she had found "
+"Congress's power not limited here."
+msgstr ""
+"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. "
+"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, "
+"hun hadde funnet Kongressens makt ikke begrenset her."
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+"hennes mening var helt rimelig--for henne, og for rettferdighet souter. "
+"Ingen av dem tror på lopez. det ville være for mye å forvente dem til å "
+"skrive en uttalelse som gjenkjennes, mye mindre forklart, doktrine som de "
+"hadde arbeidet så hardt for å beseire."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But as I realized what had happened, I couldn't quite believe what I was "
+"reading. I had said there was no way this Court could reconcile limited "
+"powers with the Commerce Clause and unlimited powers with the Progress "
+"Clause. It had never even occurred to me that they could reconcile the two "
+"simply by not addressing the argument. There was no inconsistency because "
+"they would not talk about the two together. There was therefore no "
+"principle that followed from the Lopez case: In that context, Congress's "
+"power would be limited, but in this context it would not."
+msgstr ""
+"men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg "
+"hadde sagt det var ingen måte denne retten kan avstemme begrenset krefter "
+"med handel-setningsdelen og ubegrensede krefter med fremgang-setningsdelen. "
+"det hadde aldri skjedd for meg at de kunne forene to ved adressering ikke "
+"argumentet. Det var ingen inkonsekvens fordi de ikke ville snakker om to "
+"sammen. Det ble derfor ingen prinsippet som fulgt av lopez tilfelle: i den "
+"sammenhengen, Kongressens makt ville være begrenset, men i denne sammenheng "
+"vil det ikke."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Yet by what right did they get to choose which of the framers' values they "
+"would respect? By what right did they--the silent five--get to select the "
+"part of the Constitution they would enforce based on the values they thought "
+"important? We were right back to the argument that I said I hated at the "
+"start: I had failed to convince them that the issue here was important, and "
+"I had failed to recognize that however much I might hate a system in which "
+"the Court gets to pick the constitutional values that it will respect, that "
+"is the system we have."
+msgstr ""
+"ennå ved hvilken rett de fikk til å velge hvilke av de underskrev verdiene "
+"de ville respekt? ved hvilken rett gjorde de--de stille fem--får å velge "
+"delen av Grunnloven de ville håndheve basert på verdiene de trodde viktig? "
+"Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg hadde "
+"mislyktes med å overbevise dem om at problemet her var viktig, og jeg hadde "
+"unnlot å innse at det er systemet vi har, men mye jeg kan hater et system "
+"der domstolen får velge konstitusjonelle verdiene som det vil respektere,."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion "
+"was crafted internal to the law: He argued that the tradition of "
+"intellectual property law should not support this unjustified extension of "
+"terms. He based his argument on a parallel analysis that had governed in the "
+"context of patents (so had we). But the rest of the Court discounted the "
+"parallel--without explaining how the very same words in the Progress Clause "
+"could come to mean totally different things depending upon whether the words "
+"were about patents or copyrights. The Court let Justice Stevens's charge go "
+"unanswered."
+msgstr ""
+"to andre justiariusene breyer og stevens skrev veldig sterk Dissensene. "
+"Stevens mening laget interne til loven: han hevdet at tradisjonen med "
+"lovgivning for immaterielle ikke bør støtter dette uberettiget forlengelse "
+"av vilkårene. han basert hans argument på en parallell analyse som hadde "
+"styrt i sammenheng med patenter (så hadde vi). men resten av domstolen "
+"nedsatte parallelt--uten å forklare hvordan de samme ord i fremgang-"
+"setningsdelen kan komme til å bety helt forskjellige ting som er avhengig av "
+"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens "
+"kostnad gå ubesvart."
+
+#. PAGE BREAK 250
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Justice Breyer's opinion, perhaps the best opinion he has ever written, was "
+"external to the Constitution. He argued that the term of copyrights has "
+"become so long as to be effectively unlimited. We had said that under the "
+"current term, a copyright gave an author 99.8 percent of the value of a "
+"perpetual term. Breyer said we were wrong, that the actual number was "
+"99.9997 percent of a perpetual term. Either way, the point was clear: If the "
+"Constitution said a term had to be \"limited,\" and the existing term was so "
+"long as to be effectively unlimited, then it was unconstitutional."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These two justices understood all the arguments we had made. But because "
+"neither believed in the Lopez case, neither was willing to push it as a "
+"reason to reject this extension. The case was decided without anyone having "
+"addressed the argument that we had carried from Judge Sentelle. It was "
+"Hamlet without the Prince."
+msgstr ""
+"disse to justiariusene forstått alle argumentene vi hadde gjort. men fordi "
+"ingen trodde i lopez-saken, heller ikke var villig til å skyve den som en "
+"grunn til å avvise denne utvidelsen. tilfellet var besluttet uten at noen "
+"har adressert argumentet om at vi hadde fraktet fra dommer sentelle. Det var "
+"hamlet uten prinsen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Defeat brings depression. They say it is a sign of health when depression "
+"gives way to anger. My anger came quickly, but it didn't cure the "
+"depression. This anger was of two sorts."
+msgstr ""
+"tap bringer depresjon. de sier det er et tegn på helse når depresjon gir "
+"måte å sinne. min vrede kom raskt, men det gjorde ikke kurere depresjon. "
+"Dette sinne var inälvor."
+
+#. type: Content of: <book><chapter><sect1><para>
+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 "
+"was their \"originalism\" now?"
+msgstr ""
+
+#. PAGE BREAK 251
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Here, they had joined an opinion that never once tried to explain what the "
+"framers had meant by crafting the Progress Clause as they did; they joined "
+"an opinion that never once tried to explain how the structure of that clause "
+"would affect the interpretation of Congress's power. And they joined an "
+"opinion that didn't even try to explain why this grant of power could be "
+"unlimited, whereas the Commerce Clause would be limited. In short, they had "
+"joined an opinion that did not apply to, and was inconsistent with, their "
+"own method for interpreting the Constitution. This opinion may well have "
+"yielded a result that they liked. It did not produce a reason that was "
+"consistent with their own principles."
+msgstr ""
+"her, de hadde med seg en oppfatning at aldri en gang prøvde å forklare hva "
+"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de "
+"sluttet seg en oppfatning at aldri en gang forsøkt å forklare hvordan "
+"strukturen i som ledd vil påvirke tolkningen av Kongressens makt. og de med "
+"seg en mening som ikke engang forsøke å forklare hvorfor dette stipendet av "
+"makt kan være ubegrenset, mens handel-setningsdel ville være begrenset. kort "
+"sagt, hadde de sluttet en uttalelse som ikke gjelde, og var inkonsekvent med "
+"sin egen metode for tolking av Grunnloven. denne mening kan også har gitt et "
+"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin "
+"egen prinsipper."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"My anger with the Conservatives quickly yielded to anger with myself. For I "
+"had let a view of the law that I liked interfere with a view of the law as "
+"it is."
+msgstr ""
+"mitt sinne med høyre raskt gitt til sinne med meg selv. for jeg hadde la en "
+"visning av loven som jeg likte forstyrre en visning av loven som det er."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Most lawyers, and most law professors, have little patience for idealism "
+"about courts in general and this Supreme Court in particular. Most have a "
+"much more pragmatic view. When Don Ayer said that this case would be won "
+"based on whether I could convince the Justices that the framers' values were "
+"important, I fought the idea, because I didn't want to believe that that is "
+"how this Court decides. I insisted on arguing this case as if it were a "
+"simple application of a set of principles. I had an argument that followed "
+"in logic. I didn't need to waste my time showing it should also follow in "
+"popularity."
+msgstr ""
+"de fleste jurister og de fleste lov professorer, har liten tålmodighet for "
+"idealismen om domstoler Generelt og denne Høyesterett spesielt. de fleste "
+"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet "
+"basert på om jeg kunne overbevise de to andre justiariusene at verdiene for "
+"de underskrev var viktig, jeg kjempet ideen, fordi jeg ikke ønsker å tro at "
+"det er hvordan denne retten bestemmer. jeg insisterte på kranglet denne "
+"saken som om den var en enkel Påføring av et sett prinsipper. Jeg hadde et "
+"argument som fulgte i logikken. Jeg trengte ikke å kaste bort min tid viser "
+"det bør også følge i popularitet."
+
+#. PAGE BREAK 252
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As I read back over the transcript from that argument in October, I can see "
+"a hundred places where the answers could have taken the conversation in "
+"different directions, where the truth about the harm that this unchecked "
+"power will cause could have been made clear to this Court. Justice Kennedy "
+"in good faith wanted to be shown. I, idiotically, corrected his question. "
+"Justice Souter in good faith wanted to be shown the First Amendment harms. "
+"I, like a math teacher, reframed the question to make the logical point. I "
+"had shown them how they could strike this law of Congress if they wanted to. "
+"There were a hundred places where I could have helped them want to, yet my "
+"stubbornness, my refusal to give in, stopped me. I have stood before "
+"hundreds of audiences trying to persuade; I have used passion in that effort "
+"to persuade; but I refused to stand before this audience and try to persuade "
+"with the passion I had used elsewhere. It was not the basis on which a court "
+"should decide the issue."
+msgstr ""
+"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg "
+"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, "
+"der sannheten om skade som denne ukontrollert makt vil forårsake kunne vært "
+"gjort klart til denne retten. rettferdighet kennedy i god tro ville være "
+"vist. Jeg, idiotically, rettet opp sine spørsmål. rettferdighet souter i god "
+"tro ville være vist den første endringen skader. Jeg, reframed som en "
+"matematikk-lærer spørsmål for å gjøre det logiske punktet. Jeg hadde vist "
+"dem hvordan de kunne streik denne lov av Kongressen hvis de ville. Det var "
+"en hundre steder hvor jeg kunne ha hjulpet dem vil, men min vrangvilje, mine "
+"nektet å gi i, stoppet meg. Jeg har stått før hundrevis av målgrupper prøver "
+"å overtale; Jeg har brukt lidenskap i at forsøk på å overtale; men jeg "
+"nektet å stå denne målgruppen og prøver å overtale med lidenskap jeg hadde "
+"brukt et annet sted. Det var ikke grunnlag som en domstol bør avgjøre "
+"problemet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Would it have been different if I had argued it differently? Would it have "
+"been different if Don Ayer had argued it? Or Charles Fried? Or Kathleen "
+"Sullivan?"
+msgstr ""
+"ville det ha vært annerledes hvis jeg hadde hevdet det annerledes? ville det "
+"ha vært annerledes hvis don ayer hadde hevdet det? eller charles stekt? "
+"eller kathleen sullivan?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"My friends huddled around me to insist it would not. The Court was not "
+"ready, my friends insisted. This was a loss that was destined. It would take "
+"a great deal more to show our society why our framers were right. And when "
+"we do that, we will be able to show that Court."
+msgstr ""
+"mine venner huddled rundt meg å insistere det ikke ville. domstolen ikke var "
+"klar, insisterte mine venner. Dette var et tap som var bestemt. det vil ta "
+"mye mer å vise vårt samfunn hvorfor våre underskrev hadde rett. og når vi "
+"gjør det, vil vi være i stand til å vise at domstolen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Maybe, but I doubt it. These Justices have no financial interest in doing "
+"anything except the right thing. They are not lobbied. They have little "
+"reason to resist doing right. I can't help but think that if I had stepped "
+"down from this pretty picture of dispassionate justice, I could have "
+"persuaded."
+msgstr ""
+"kanskje, men jeg tviler på det. disse to andre justiariusene har ingen "
+"økonomiske interesse i å gjøre noe annet enn rette. de er ikke planlagt. de "
+"har liten grunn til å motstå gjør akkurat. Jeg kan ikke hjelpe, men mener at "
+"hvis jeg hadde trappet ned fra denne pen bilde av dispassionate "
+"rettferdighet, jeg kunne har overbevist."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"And even if I couldn't, then that doesn't excuse what happened in January. "
+"For at the start of this case, one of America's leading intellectual "
+"property professors stated publicly that my bringing this case was a "
+"mistake. \"The Court is not ready,\" Peter Jaszi said; this issue should not "
+"be raised until it is."
+msgstr ""
+
+#. PAGE BREAK 253
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"After the argument and after the decision, Peter said to me, and publicly, "
+"that he was wrong. But if indeed that Court could not have been persuaded, "
+"then that is all the evidence that's needed to know that here again Peter "
+"was right. Either I was not ready to argue this case in a way that would do "
+"some good or they were not ready to hear this case in a way that would do "
+"some good. Either way, the decision to bring this case--a decision I had "
+"made four years before--was wrong. While the reaction to the Sonny Bono Act "
+"itself was almost unanimously negative, the reaction to the Court's decision "
+"was mixed. No one, at least in the press, tried to say that extending the "
+"term of copyright was a good idea. We had won that battle over ideas. Where "
+"the decision was praised, it was praised by papers that had been skeptical "
+"of the Court's activism in other cases. Deference was a good thing, even if "
+"it left standing a silly law. But where the decision was attacked, it was "
+"attacked because it left standing a silly and harmful law. The New York "
+"Times wrote in its editorial,"
+msgstr ""
+"etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han "
+"var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, "
+"deretter som er alle bevis som trengs for å vite at her igjen peter var "
+"rett. Jeg var ikke klar til å argumentere denne saken på en måte som ville "
+"gjøre noen gode eller de var ikke klar til å høre dette tilfellet på en måte "
+"som ville gjøre noen gode. Uansett, beslutningen om å bringe denne saken--en "
+"beslutning om jeg hadde gjort fire år før--var galt. mens reaksjonen til "
+"sonny bono handle selv var nesten enstemmig negativ, var reaksjonen til "
+"domstolens avgjørelse blandet. Ingen, minst i pressen, prøvde å si at "
+"utvidelse av copyright var en god idé. Vi hadde vant den kampen over ideer. "
+"der beslutningen ble rost, ble det rost av papir som hadde vært skeptisk til "
+"retten aktivisme i andre tilfeller. ærbødighet var bra, selv om det igjen en "
+"dum lov. men der beslutningen ble angrepet, den ble angrepet fordi det igjen "
+"en dum og skadelig lov. new york times skrev i sin redaksjonell,"
+
+#. type: Content of: <book><chapter><sect1><blockquote><para>
+msgid ""
+"In effect, the Supreme Court's decision makes it likely that we are seeing "
+"the beginning of the end of public domain and the birth of copyright "
+"perpetuity. The public domain has been a grand experiment, one that should "
+"not be allowed to die. The ability to draw freely on the entire creative "
+"output of humanity is one of the reasons we live in a time of such fruitful "
+"creative ferment."
+msgstr ""
+"i kraft gjør av Høyesterett beslutningen det sannsynlig at vi ser "
+"begynnelsen på slutten av public domain og fødselen av opphavsrett "
+"perpetuity. public domain har vært en store eksperimentet, som ikke skal "
+"tillates å dø. muligheten til å trekke fritt på hele kreativ produksjon av "
+"menneskeheten er en av grunnene til at vi lever i en tid med slike fruktbart "
+"kreative gjære."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The best responses were in the cartoons. There was a gaggle of hilarious "
+"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."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The image that will always stick in my head is that evoked by the quote from "
+"The New York Times. That \"grand experiment\" we call the \"public domain\" "
+"is over? When I can make light of it, I think, \"Honey, I shrunk the "
+"Constitution.\" But I can rarely make light of it. We had in our "
+"Constitution a commitment to free culture. In the case that I fathered, the "
+"Supreme Court effectively renounced that commitment. A better lawyer would "
+"have made them see differently."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "CHAPTER FOURTEEN: Eldred II"
+msgstr "Kapittel fjorten: eldred ii"
+
+#. type: Content of: <book><chapter><sect1><para>
+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."
+msgstr ""
+"dag-eldred ble besluttet, men skjebnen ville at som jeg var å reise til "
+"washington, DC (dagen rehearing protestskriv i eldred ble nektet--noe som "
+"betyr at saken var virkelig endelig over--skjebnen ville at at jeg ga en "
+"tale til Teknologorganisasjon på disney verden.) dette var en spesielt lang "
+"flytur til min minst favoritt by. stasjonen til byen fra dulles ble "
+"forsinket på grunn av trafikk, så jeg åpnet opp min datamaskin, og skrev en "
+"op-ed brikke."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It was an act of contrition. During the whole of the flight from San "
+"Francisco to Washington, I had heard over and over again in my head the same "
+"advice from Don Ayer: You need to make them see why it is important. And "
+"alternating with that command was the question of Justice Kennedy: \"For all "
+"these years the act has impeded progress in science and the useful arts. I "
+"just don't see any empirical evidence for that.\" And so, having failed in "
+"the argument of constitutional principle, finally, I turned to an argument "
+"of politics."
+msgstr ""
+
+#. PAGE BREAK 256
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The New York Times published the piece. In it, I proposed a simple fix: "
+"Fifty years after a work has been published, the copyright owner would be "
+"required to register the work and pay a small fee. If he paid the fee, he "
+"got the benefit of the full term of copyright. If he did not, the work "
+"passed into the public domain."
+msgstr ""
+"new york times publisert arb. i den, jeg foreslått en enkel Fiks: femti år "
+"etter at et arbeid er publisert, eieren av opphavsretten ville være "
+"nødvendig å registrere arbeidet og betale en liten avgift. Hvis han betalt "
+"gebyret, fikk han fordelen med full sikt av opphavsrett. Hvis han ikke "
+"gjorde bestått arbeidet i public domain."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We called this the Eldred Act, but that was just to give it a name. Eric "
+"Eldred was kind enough to let his name be used once again, but as he said "
+"early on, it won't get passed unless it has another name."
+msgstr ""
+"Vi kalte denne loven eldred, men det var bare for å gi det et navn. Eric "
+"eldred var slag nok å la hans navn brukes igjen, men som han sa tidlig, det "
+"vil ikke få gått med mindre det er et annet navn."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Or another two names. For depending upon your perspective, this is either "
+"the \"Public Domain Enhancement Act\" or the \"Copyright Term Deregulation "
+"Act.\" Either way, the essence of the idea is clear and obvious: Remove "
+"copyright where it is doing nothing except blocking access and the spread of "
+"knowledge. Leave it for as long as Congress allows for those works where its "
+"worth is at least $1. But for everything else, let the content go."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The reaction to this idea was amazingly strong. Steve Forbes endorsed it in "
+"an editorial. I received an avalanche of e-mail and letters expressing "
+"support. When you focus the issue on lost creativity, people can see the "
+"copyright system makes no sense. As a good Republican might say, here "
+"government regulation is simply getting in the way of innovation and "
+"creativity. And as a good Democrat might say, here the government is "
+"blocking access and the spread of knowledge for no good reason. Indeed, "
+"there is no real difference between Democrats and Republicans on this issue. "
+"Anyone can recognize the stupid harm of the present system."
+msgstr ""
+"reaksjon på denne ideen var utrolig sterk. Steve forbes vedtok det i en "
+"redaksjonell. Jeg mottok en skred av e-post og brev som uttrykker støtte. "
+"Når du fokuserer problemet på tapt kreativitet, kan folk se opphavsretten "
+"til systemet gir ingen mening. som en god republikansk kan si, komme her "
+"regjeringen regulering bare i veien innovasjon og kreativitet. og som en god "
+"demokratisk kan si, regjeringen blokkerer her tilgang og spredning av "
+"kunnskap for ingen god grunn. faktisk, det er ingen reell forskjell mellom "
+"demokratene og republikanerne på dette problemet. noen kan gjenkjenne de "
+"dumme skader som dagens ordning."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Indeed, many recognized the obvious benefit of the registration "
+"requirement. For one of the hardest things about the current system for "
+"people who want to license content is that there is no obvious place to look "
+"for the current copyright owners. Since registration is not required, since "
+"marking content is not required, since no formality at all is required, it "
+"is often impossibly hard to locate copyright owners to ask permission to use "
+"or license their work. This system would lower these costs, by establishing "
+"at least one registry where copyright owners could be identified."
+msgstr ""
+"faktisk anerkjent mange den åpenbare fordelen med kravet om registrering. "
+"for en av de vanskeligste tingene om dagens system for folk som ønsker å "
+"lisens innholdet er at det er ingen åpenbare sted å lete etter gjeldende "
+"opphavsrett eierne. siden registrering ikke er nødvendig, siden merking "
+"innhold ikke er påkrevd, siden ingen formalitet i det hele tatt er "
+"nødvendig, er det ofte impossibly vanskelig å finne eiere av opphavsretter "
+"for å be om tillatelse til å bruke eller lisensierer sitt arbeid. Dette "
+"systemet vil redusere disse kostnadene ved å etablere minst én registret der "
+"eiere av opphavsretter kan identifiseres."
+
+#. f1.
+#. type: Content of: <book><chapter><sect1><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Until the 1908 Berlin Act of the Berne Convention, national copyright "
+#| "legislation sometimes made protection depend upon compliance with "
+#| "formalities such as registration, deposit, and affixation of notice of "
+#| "the author's claim of copyright. However, starting with the 1908 act, "
+#| "every text of the Convention has provided that \\\"the enjoyment and the "
+#| "exercise\\\" of rights guaranteed by the Convention \\\"shall not be "
+#| "subject to any formality.\\\" The prohibition against formalities is "
+#| "presently embodied in Article 5(2) of the Paris Text of the Berne "
+#| "Convention. Many countries continue to impose some form of deposit or "
+#| "registration requirement, albeit not as a condition of copyright. French "
+#| "law, for example, requires the deposit of copies of works in national "
+#| "repositories, principally the National Museum. Copies of books published "
+#| "in the United Kingdom must be deposited in the British Library. The "
+#| "German Copyright Act provides for a Registrar of Authors where the "
+#| "author's true name can be filed in the case of anonymous or pseudonymous "
+#| "works. Paul Goldstein, International Intellectual Property Law, Cases and "
+#| "Materials (New York: Foundation Press, 2001), 15354."
+msgid ""
+"Until the 1908 Berlin Act of the Berne Convention, national copyright "
+"legislation sometimes made protection depend upon compliance with "
+"formalities such as registration, deposit, and affixation of notice of the "
+"author's claim of copyright. However, starting with the 1908 act, every text "
+"of the Convention has provided that \"the enjoyment and the exercise\" of "
+"rights guaranteed by the Convention \"shall not be subject to any formality."
+"\" The prohibition against formalities is presently embodied in Article 5(2) "
+"of the Paris Text of the Berne Convention. Many countries continue to impose "
+"some form of deposit or registration requirement, albeit not as a condition "
+"of copyright. French law, for example, requires the deposit of copies of "
+"works in national repositories, principally the National Museum. Copies of "
+"books published in the United Kingdom must be deposited in the British "
+"Library. The German Copyright Act provides for a Registrar of Authors where "
+"the author's true name can be filed in the case of anonymous or pseudonymous "
+"works. Paul Goldstein, International Intellectual Property Law, Cases and "
+"Materials (New York: Foundation Press, 2001), 15354."
+msgstr ""
+"før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett "
+"lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med "
+"formaliteter som registrering, innskudd og affixation av forfatterens "
+"reklamasjon av opphavsrett. imidlertid, starter med 1908 act, hver tekst av "
+"konvensjonen gitt som \\\"få glede og øvelsen\\\" av rettigheter garanteres "
+"ved konvensjonen \\\"skal ikke være gjenstand for alle formalitet.\\\" "
+"forbud mot formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten "
+"i berne konvensjonen. mange land fortsatt å innføre noen form for innskudd "
+"eller registrering kravet, om enn ikke som en betingelse for opphavsrett. "
+"Fransk lov, krever for eksempel innskudd på kopier av works i nasjonale, "
+"for, hovedsakelig nasjonalmuseet. Kopier av bøker som er utgitt i "
+"Storbritannia må settes i british library. tysk opphavsrett lov gir en "
+"registrar av forfattere der forfatterens sanne navn kan være arkivert i "
+"tilfelle av anonym eller pseudonymous fungerer. Paul goldstein, lovgivning "
+"for immaterielle, saker og materialer (new york: foundation press, 2001), 153"
+"54."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"As I described in chapter 10, formalities in copyright law were removed in "
+"1976, when Congress followed the Europeans by abandoning any formal "
+"requirement before a copyright is granted.<placeholder type=\"footnote\" id="
+"\"0\"/> The Europeans are said to view copyright as a \"natural right.\" "
+"Natural rights don't need forms to exist. Traditions, like the Anglo-"
+"American tradition that required copyright owners to follow form if their "
+"rights were to be protected, did not, the Europeans thought, properly "
+"respect the dignity of the author. My right as a creator turns on my "
+"creativity, not upon the special favor of the government."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"That's great rhetoric. It sounds wonderfully romantic. But it is absurd "
+"copyright policy. It is absurd especially for authors, because a world "
+"without formalities harms the creator. The ability to spread \"Walt Disney "
+"creativity\" is destroyed when there is no simple way to know what's "
+"protected and what's not."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The fight against formalities achieved its first real victory in Berlin in "
+"1908. International copyright lawyers amended the Berne Convention in 1908, "
+"to require copyright terms of life plus fifty years, as well as the "
+"abolition of copyright formalities. The formalities were hated because the "
+"stories of inadvertent loss were increasingly common. It was as if a Charles "
+"Dickens character ran all copyright offices, and the failure to dot an i or "
+"cross a t resulted in the loss of widows' only income."
+msgstr ""
+"kampen mot formaliteter oppnådde sin første virkelige seier i berlin i 1908. "
+"internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til å "
+"kreve opphavsrett vilkårene i livet pluss femti år, i tillegg til "
+"avskaffelse av opphavsrett formaliteter. formaliteter ble hatet fordi "
+"historiene til utilsiktet tap var stadig vanligere. Det var som om et "
+"charles dickens tegn kjørte alle opphavsrett kontorer, og unnlatelse av å "
+"dot en i eller på tvers av en t ført til tap av enker eneste inntekt."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"These complaints were real and sensible. And the strictness of the "
+"formalities, especially in the United States, was absurd. The law should "
+"always have ways of forgiving innocent mistakes. There is no reason "
+"copyright law couldn't, as well. Rather than abandoning formalities totally, "
+"the response in Berlin should have been to embrace a more equitable system "
+"of registration."
+msgstr ""
+"disse klager var reelle og fornuftig. og kravene i formaliteter, særlig i "
+"USA, var absurd. loven skal alltid har måter å forgiving uskyldige feil. Det "
+"er ingen grunn lov om opphavsrett kunne også. i stedet for å forlate "
+"formaliteter helt, burde svaret i berlin vært å omfavne en mer rettferdig "
+"system for registrering."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Even that would have been resisted, however, because registration in the "
+"nineteenth and twentieth centuries was still expensive. It was also a "
+"hassle. The abolishment of formalities promised not only to save the "
+"starving widows, but also to lighten an unnecessary regulatory burden "
+"imposed upon creators."
+msgstr ""
+"selv som ville har vært motstått, men fordi registrering i 1800 og 1900-"
+"tallet var fortsatt dyrt. Det var også en problemfri. oppløsning av "
+"formaliteter lovet ikke bare å lagre sultende enker, men også å lette en "
+"unødvendig regulatoriske belastning påtvang skapere."
+
+#. PAGE BREAK 258
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In addition to the practical complaint of authors in 1908, there was a moral "
+"claim as well. There was no reason that creative property should be a second-"
+"class form of property. If a carpenter builds a table, his rights over the "
+"table don't depend upon filing a form with the government. He has a "
+"property right over the table \"naturally,\" and he can assert that right "
+"against anyone who would steal the table, whether or not he has informed the "
+"government of his ownership of the table."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This argument is correct, but its implications are misleading. For the "
+"argument in favor of formalities does not depend upon creative property "
+"being second-class property. The argument in favor of formalities turns upon "
+"the special problems that creative property presents. The law of "
+"formalities responds to the special physics of creative property, to assure "
+"that it can be efficiently and fairly spread."
+msgstr ""
+"Dette argumentet er riktig, men dens implikasjoner er misvisende. for "
+"argumentet til fordel for formaliteter ikke avhenger av på kreative "
+"egenskapen blir annenklasses egenskapen. argumentet for formaliteter slår på "
+"spesielle problemer som creative egenskapen presenterer. loven om "
+"formaliteter svarer på spesielle fysikk av kreative eiendom, å sikre at det "
+"kan være effektivt og ganske spredt."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"No one thinks, for example, that land is second-class property just because "
+"you have to register a deed with a court if your sale of land is to be "
+"effective. And few would think a car is second-class property just because "
+"you must register the car with the state and tag it with a license. In both "
+"of those cases, everyone sees that there is an important reason to secure "
+"registration--both because it makes the markets more efficient and because "
+"it better secures the rights of the owner. Without a registration system for "
+"land, landowners would perpetually have to guard their property. With "
+"registration, they can simply point the police to a deed. Without a "
+"registration system for cars, auto theft would be much easier. With a "
+"registration system, the thief has a high burden to sell a stolen car. A "
+"slight burden is placed on the property owner, but those burdens produce a "
+"much better system of protection for property generally."
+msgstr ""
+"Ingen mener for eksempel at landet er annenklasses egenskapen bare fordi du "
+"har å register en gjerning med en domstol Hvis din salg av land er å være "
+"effektive. og få tror en bil er annenklasses egenskapen bare fordi du må "
+"registrere bilen med staten og merke den med en lisens. i begge disse "
+"tilfellene ser alle at det er en viktig grunn til å sikre registrering--både "
+"fordi det gjør markedene mer effektiv, og fordi det sikrer bedre "
+"rettighetene til eieren. uten en registreringssystemet for land måtte "
+"grunneiere perpetually vokte deres eiendom. med registrering, kan de bare "
+"peker politiet til en gjerning. uten en registreringssystemet for biler, "
+"ville auto tyveri være mye enklere. med en registreringssystemet har tyven "
+"en høy belastning å selge en stjålet bil. en liten byrde er plassert på "
+"eiendommen eier, men de byrdene produserer et mye bedre system av "
+"beskyttelse for egenskapen generelt."
+
+#. PAGE BREAK 259
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is similarly special physics that makes formalities important in "
+"copyright law. Unlike a carpenter's table, there's nothing in nature that "
+"makes it relatively obvious who might own a particular bit of creative "
+"property. A recording of Lyle Lovett's latest album can exist in a billion "
+"places without anything necessarily linking it back to a particular owner. "
+"And like a car, there's no way to buy and sell creative property with "
+"confidence unless there is some simple way to authenticate who is the author "
+"and what rights he has. Simple transactions are destroyed in a world without "
+"formalities. Complex, expensive, lawyer transactions take their place."
+msgstr ""
+"på samme måte er det spesielle fysikk som gjør formaliteter viktig i lov om "
+"opphavsrett. i motsetning til en snekker tabell er det ingenting i naturen "
+"som gjør det relativt åpenbare som kan eie en bestemt bit av kreative-"
+"egenskapen. et opptak av lyle lovett siste albumet kan finnes i en milliard "
+"steder uten noe nødvendigvis knytte det tilbake til en bestemt eieren. og "
+"som en bil, det er ingen måte å kjøpe og selge kreative egenskapen med "
+"tillit med mindre det er noen enkel måte å godkjenne hvem er forfatter og "
+"hvilke rettigheter han har. enkle transaksjoner er ødelagt i en verden uten "
+"formaliteter. komplisert, dyrt, advokat transaksjoner ta sin plass."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This was the understanding of the problem with the Sonny Bono Act that we "
+"tried to demonstrate to the Court. This was the part it didn't \"get.\" "
+"Because we live in a system without formalities, there is no way easily to "
+"build upon or use culture from our past. If copyright terms were, as Justice "
+"Story said they would be, \"short,\" then this wouldn't matter much. For "
+"fourteen years, under the framers' system, a work would be presumptively "
+"controlled. After fourteen years, it would be presumptively uncontrolled."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But now that copyrights can be just about a century long, the inability to "
+"know what is protected and what is not protected becomes a huge and obvious "
+"burden on the creative process. If the only way a library can offer an "
+"Internet exhibit about the New Deal is to hire a lawyer to clear the rights "
+"to every image and sound, then the copyright system is burdening creativity "
+"in a way that has never been seen before because there are no formalities."
+msgstr ""
+"men nå som opphavsrett kan være omtrent et århundre lang, manglende evne til "
+"å vite hva er beskyttet og hva er ikke beskyttet blir en stor og åpenbare "
+"byrde på den kreative prosessen. Hvis det er den eneste måten et bibliotek "
+"kan tilby en Internett-utstilling om new deal til å ansette en advokat for å "
+"fjerne rettighetene til hver bildefil og lydfil, er opphavsretten til "
+"systemet bebyrde kreativitet på en måte som aldri har vært sett før fordi "
+"det er ingen formaliteter."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The Eldred Act was designed to respond to exactly this problem. If it is "
+"worth $1 to you, then register your work and you can get the longer term. "
+"Others will know how to contact you and, therefore, how to get your "
+"permission if they want to use your work. And you will get the benefit of an "
+"extended copyright term."
+msgstr ""
+"eldred act ble utformet for å svare på akkurat dette problemet. Hvis det er "
+"verdt $1 til deg, deretter registrere ditt arbeid, og du kan få på lengre "
+"sikt. andre vil vite hvordan du kontakter du, og derfor, hvordan du får din "
+"tillatelse hvis de vil bruke arbeidet. og du vil få nytte av en utvidet "
+"opphavsrett sikt."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"If it isn't worth it to you to register to get the benefit of an extended "
+"term, then it shouldn't be worth it for the government to defend your "
+"monopoly over that work either. The work should pass into the public domain "
+"where anyone can copy it, or build archives with it, or create a movie based "
+"on it. It should become free if it is not worth $1 to you."
+msgstr ""
+"Hvis det ikke er verdt det for deg å registrere for å få utbytte av en "
+"utvidet periode, bør ikke så det være verdt det for regjeringen å forsvare "
+"ditt monopol over som fungerer heller. arbeidet skal passere i public domain "
+"der alle kan kopiere den, eller bygge arkivet med det eller opprette en film "
+"basert på den. Det bør bli gratis hvis det ikke er verdt $1 for deg."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Some worry about the burden on authors. Won't the burden of registering the "
+"work mean that the $1 is really misleading? Isn't the hassle worth more than "
+"$1? Isn't that the real problem with registration?"
+msgstr ""
+"noen bekymre byrden på forfattere. ikke byrden med å registrere arbeidet "
+"mener at $1 er egentlig misvisende? er ikke hassle verdt mer enn $1? er ikke "
+"det virkelige problemet med registrering?"
+
+#. PAGE BREAK 260
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is. The hassle is terrible. The system that exists now is awful. I "
+"completely agree that the Copyright Office has done a terrible job (no doubt "
+"because they are terribly funded) in enabling simple and cheap "
+"registrations. Any real solution to the problem of formalities must address "
+"the real problem of governments standing at the core of any system of "
+"formalities. In this book, I offer such a solution. That solution "
+"essentially remakes the Copyright Office. For now, assume it was Amazon that "
+"ran the registration system. Assume it was one-click registration. The "
+"Eldred Act would propose a simple, one-click registration fifty years after "
+"a work was published. Based upon historical data, that system would move up "
+"to 98 percent of commercial work, commercial work that no longer had a "
+"commercial life, into the public domain within fifty years. What do you "
+"think?"
+msgstr ""
+"Det er. stresset er forferdelig. systemet som finnes nå er forferdelig. Jeg "
+"helt enig at opphavsrett kontoret har gjort en fryktelig jobb (ingen tvil "
+"fordi de er veldig finansiert) ved å aktivere enkel og billig "
+"registreringer. alle ekte løsning på problemet med formaliteter må adressen "
+"den virkelige problemet av regjeringer stående i kjernen av et system av "
+"formaliteter. i denne boken tilby jeg en slik løsning. Denne løsningen "
+"remakes hovedsak copyright kontoret. for nå, kan du anta at det var amazon "
+"som kjørte registreringssystemet. anta det var ett klikk registrering. "
+"eldred act ville foreslå en enkel, ett klikk registrering femti år etter et "
+"arbeid ble offentliggjort. basert på historiske data, at systemet ville "
+"flytte opptil 98 prosent av kommersielle arbeid, kommersielle fungerer som "
+"ikke lenger hadde en kommersiell levetid, i public domain innen femti år. "
+"hva tror du?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When Steve Forbes endorsed the idea, some in Washington began to pay "
+"attention. Many people contacted me pointing to representatives who might be "
+"willing to introduce the Eldred Act. And I had a few who directly suggested "
+"that they might be willing to take the first step."
+msgstr ""
+"Når steve forbes støttet ideen, enkelte i washington begynte å betale "
+"oppmerksomhet. mange kontaktet meg peker til representanter som kan være "
+"villig til å introdusere eldred act. og jeg hadde noen som direkte foreslo "
+"at de kan være villige til å ta det første skrittet."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"One representative, Zoe Lofgren of California, went so far as to get the "
+"bill drafted. The draft solved any problem with international law. It "
+"imposed the simplest requirement upon copyright owners possible. In May "
+"2003, it looked as if the bill would be introduced. On May 16, I posted on "
+"the Eldred Act blog, \"we are close.\" There was a general reaction in the "
+"blog community that something good might happen here."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But at this stage, the lobbyists began to intervene. Jack Valenti and the "
+"MPAA general counsel came to the congresswoman's office to give the view of "
+"the MPAA. Aided by his lawyer, as Valenti told me, Valenti informed the "
+"congresswoman that the MPAA would oppose the Eldred Act. The reasons are "
+"embarrassingly thin. More importantly, their thinness shows something clear "
+"about what this debate is really about."
+msgstr ""
+"men på dette stadiet, lobbyister begynte å intervenere. Jack valenti og mpaa "
+"sjefsjurist kom til congresswoman's office å gi oversikt over mpaa. hjulpet "
+"av sin advokat, som valenti fortalte meg, informert valenti i congresswoman "
+"at mpaa vil motsette seg eldred act. årsakene er embarrassingly tynn. enda "
+"viktigere, viser deres tykkelse noe klart om hva denne debatten er virkelig "
+"om."
+
+#. PAGE BREAK 261
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The MPAA argued first that Congress had \"firmly rejected the central "
+"concept in the proposed bill\"--that copyrights be renewed. That was true, "
+"but irrelevant, as Congress's \"firm rejection\" had occurred long before "
+"the Internet made subsequent uses much more likely. Second, they argued "
+"that the proposal would harm poor copyright owners--apparently those who "
+"could not afford the $1 fee. Third, they argued that Congress had determined "
+"that extending a copyright term would encourage restoration work. Maybe in "
+"the case of the small percentage of work covered by copyright law that is "
+"still commercially valuable, but again this was irrelevant, as the proposal "
+"would not cut off the extended term unless the $1 fee was not paid. Fourth, "
+"the MPAA argued that the bill would impose \"enormous\" costs, since a "
+"registration system is not free. True enough, but those costs are certainly "
+"less than the costs of clearing the rights for a copyright whose owner is "
+"not known. Fifth, they worried about the risks if the copyright to a story "
+"underlying a film were to pass into the public domain. But what risk is "
+"that? If it is in the public domain, then the film is a valid derivative use."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Finally, the MPAA argued that existing law enabled copyright owners to do "
+"this if they wanted. But the whole point is that there are thousands of "
+"copyright owners who don't even know they have a copyright to give. Whether "
+"they are free to give away their copyright or not--a controversial claim in "
+"any case--unless they know about a copyright, they're not likely to."
+msgstr ""
+"Endelig, mpaa hevdet at eksisterende lov aktivert opphavsrett eiere til å "
+"gjøre dette hvis de ville. men hele poenget er at det er tusenvis av "
+"opphavsrett eiere som ikke selv vet de har opphavsretten til å gi. enten de "
+"er fri til å gi bort deres copyright eller ikke--kontroversielle krav i alle "
+"fall--hvis de ikke kjenner om opphavsretten, sannsynligvis de ikke."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"At the beginning of this book, I told two stories about the law reacting to "
+"changes in technology. In the one, common sense prevailed. In the other, "
+"common sense was delayed. The difference between the two stories was the "
+"power of the opposition--the power of the side that fought to defend the "
+"status quo. In both cases, a new technology threatened old interests. But in "
+"only one case did those interest's have the power to protect themselves "
+"against this new competitive threat."
+msgstr ""
+"i begynnelsen av denne boken fortalte jeg to historier om loven reagerer på "
+"endringer i teknologi. i den prevailed sunn fornuft. i den andre, ble sunn "
+"fornuft forsinket. forskjellen mellom to historiene var strømmen av "
+"opposisjonen--kraften til siden som kjempet for å forsvare status quo. i "
+"begge tilfeller truet en ny teknologi gamle interesser. men i bare ett "
+"tilfelle gjorde de interessen har makt til å beskytte seg mot denne nye "
+"konkurransedyktig trusselen."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"I used these two cases as a way to frame the war that this book has been "
+"about. For here, too, a new technology is forcing the law to react. And "
+"here, too, we should ask, is the law following or resisting common sense? If "
+"common sense supports the law, what explains this common sense?"
+msgstr ""
+"Jeg brukte disse to tilfellene som en måte å ramme som denne boken har vært "
+"om krigen. for her, også, er en ny teknologi tvinge lov til å reagere. og "
+"her vi bør spørre, også, er loven etter eller motsette sunn fornuft? Hvis "
+"sunn fornuft støtter loven, forklarer hva denne sunn fornuft?"
+
+#. PAGE BREAK 262
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When the issue is piracy, it is right for the law to back the copyright "
+"owners. The commercial piracy that I described is wrong and harmful, and the "
+"law should work to eliminate it. When the issue is p2p sharing, it is easy "
+"to understand why the law backs the owners still: Much of this sharing is "
+"wrong, even if much is harmless. When the issue is copyright terms for the "
+"Mickey Mouses of the world, it is possible still to understand why the law "
+"favors Hollywood: Most people don't recognize the reasons for limiting "
+"copyright terms; it is thus still possible to see good faith within the "
+"resistance."
+msgstr ""
+"Når problemet er piratkopiering, er det riktig for loven tilbake opphavsrett "
+"eierne. kommersielle piratkopiering som jeg beskrevet er galt og skadelig, "
+"og loven bør arbeide for å fjerne den. Når problemet er p2p deling, det er "
+"lett å forstå hvorfor loven backs eierne fortsatt: mye av denne deling er "
+"feil, selv om mye er harmløse. Når problemet er copyright vilkår for Mikke "
+"Mus av verden, er det mulig for fortsatt å forstå hvorfor loven favoriserer "
+"hollywood: de fleste folk ikke gjenkjenner årsakene til å begrense "
+"opphavsrett vilkår; Det er derfor fremdeles mulig å se god tro i motstanden."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"But when the copyright owners oppose a proposal such as the Eldred Act, "
+"then, finally, there is an example that lays bare the naked selfinterest "
+"driving this war. This act would free an extraordinary range of content that "
+"is otherwise unused. It wouldn't interfere with any copyright owner's desire "
+"to exercise continued control over his content. It would simply liberate "
+"what Kevin Kelly calls the \"Dark Content\" that fills archives around the "
+"world. So when the warriors oppose a change like this, we should ask one "
+"simple question:"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid "What does this industry really want?"
+msgstr "Hva denne industrien virkelig vil?"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"With very little effort, the warriors could protect their content. So the "
+"effort to block something like the Eldred Act is not really about protecting "
+"their content. The effort to block the Eldred Act is an effort to assure "
+"that nothing more passes into the public domain. It is another step to "
+"assure that the public domain will never compete, that there will be no use "
+"of content that is not commercially controlled, and that there will be no "
+"commercial use of content that doesn't require their permission first."
+msgstr ""
+"med svært liten innsats, kunne warriors beskytte deres innhold. så innsatsen "
+"for å blokkere noe som eldred loven er ikke virkelig om å beskytte sitt "
+"innhold. innsatsen for å blokkere eldred loven er et forsøk på å sikre at "
+"ingenting mer passerer i public domain. Det er et skritt for å sikre at den "
+"offentlige sfæren vil aldri konkurrere, at det vil være ingen bruk av "
+"innhold som ikke er kommersielt kontrollert, og at det vil være ingen "
+"kommersiell bruk av innhold som ikke krever at deres tillatelse først."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The opposition to the Eldred Act reveals how extreme the other side is. The "
+"most powerful and sexy and well loved of lobbies really has as its aim not "
+"the protection of \"property\" but the rejection of a tradition. Their aim "
+"is not simply to protect what is theirs. Their aim is to assure that all "
+"there is is what is theirs."
+msgstr ""
+
+#. PAGE BREAK 263
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"It is not hard to understand why the warriors take this view. It is not hard "
+"to see why it would benefit them if the competition of the public domain "
+"tied to the Internet could somehow be quashed. Just as RCA feared the "
+"competition of FM, they fear the competition of a public domain connected to "
+"a public that now has the means to create with it and to share its own "
+"creation."
+msgstr ""
+"Det er ikke vanskelig å forstå hvorfor warriors ta denne visningen. Det er "
+"ikke vanskelig å se hvorfor det ville ha nytte dem. Hvis kunne noe ødela "
+"konkurransen av den offentlige sfæren knyttet til Internett. akkurat som rca "
+"fryktet konkurransen av fm, frykter de konkurransen av et offentlig-domene "
+"som er koblet til et offentlig som nå har mulighet til å opprette med det og "
+"dele sin egen etablering."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"What is hard to understand is why the public takes this view. It is as if "
+"the law made airplanes trespassers. The MPAA stands with the Causbys and "
+"demands that their remote and useless property rights be respected, so that "
+"these remote and forgotten copyright holders might block the progress of "
+"others."
+msgstr ""
+"Hva er vanskelig å forstå er grunnen til at offentligheten tar denne "
+"visningen. Det er som om loven gjort fly trespassers. mpaa står med causbys "
+"og krav at deres ekstern og unyttig eiendomsrettigheter bli respektert, slik "
+"at disse eksterne og glemt innehaver av opphavsrett kan blokkere fremdriften "
+"for andre."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"All this seems to follow easily from this untroubled acceptance of the "
+"\"property\" in intellectual property. Common sense supports it, and so long "
+"as it does, the assaults will rain down upon the technologies of the "
+"Internet. The consequence will be an increasing \"permission society.\" The "
+"past can be cultivated only if you can identify the owner and gain "
+"permission to build upon his work. The future will be controlled by this "
+"dead (and often unfindable) hand of the past."
+msgstr ""
+
+#. type: Content of: <book><chapter><title>
+msgid "CONCLUSION"
+msgstr "konklusjon"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"There are more than 35 million people with the AIDS virus worldwide. Twenty-"
+"five million of them live in sub-Saharan Africa. Seventeen million have "
+"already died. Seventeen million Africans is proportional percentage-wise to "
+"seven million Americans. More importantly, it is seventeen million Africans."
+msgstr ""
+"Det er mer enn 35 millioner mennesker med aids-viruset over hele verden. "
+"tyve - fem millioner av dem bor i Subsaharisk Afrika. sytten millioner har "
+"allerede døde. sytten millioner afrikanere er proporsjonal percentage-wise "
+"syv millioner amerikanere. enda viktigere er det 17 millioner afrikanere."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"There is no cure for AIDS, but there are drugs to slow its progression. "
+"These antiretroviral therapies are still experimental, but they have already "
+"had a dramatic effect. In the United States, AIDS patients who regularly "
+"take a cocktail of these drugs increase their life expectancy by ten to "
+"twenty years. For some, the drugs make the disease almost invisible."
+msgstr ""
+"Det er ingen kur for aids, men det er narkotika å redusere sin progresjon. "
+"disse antiretroviral terapi er fortsatt eksperimentelle, men de har allerede "
+"hatt en dramatisk effekt. i USA øke aids-pasienter som regelmessig tar en "
+"cocktail av disse stoffene deres levealder ved ti til tjue år. for noen "
+"gjøre narkotika sykdommen nesten usynlig."
+
+#. f1.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Commission on Intellectual Property Rights, \"Final Report: Integrating "
+"Intellectual Property Rights and Development Policy\" (London, 2002), "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. "
+"According to a World Health Organization press release issued 9 July 2002, "
+"only 230,000 of the 6 million who need drugs in the developing world receive "
+"them--and half of them are in Brazil."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"These drugs are expensive. When they were first introduced in the United "
+"States, they cost between $10,000 and $15,000 per person per year. Today, "
+"some cost $25,000 per year. At these prices, of course, no African nation "
+"can afford the drugs for the vast majority of its population: $15,000 is "
+"thirty times the per capita gross national product of Zimbabwe. At these "
+"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id="
+"\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 265
+#. type: Content of: <book><chapter><para>
+msgid ""
+"These prices are not high because the ingredients of the drugs are "
+"expensive. These prices are high because the drugs are protected by patents. "
+"The drug companies that produced these life-saving mixes enjoy at least a "
+"twenty-year monopoly for their inventions. They use that monopoly power to "
+"extract the most they can from the market. That power is in turn used to "
+"keep the prices high."
+msgstr ""
+"disse prisene er ikke høy fordi ingrediensene av narkotika er dyrt. disse "
+"prisene er høy fordi narkotika er beskyttet av patenter. stoffet selskaper "
+"som produsert disse livreddende blander nyte minst tjue år monopol på sine "
+"oppfinnelser. de bruker den monopol makten til å trekke ut mest de kan fra "
+"markedet. den kraften i sin tur til å holde prisene som er høy."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"There are many who are skeptical of patents, especially drug patents. I am "
+"not. Indeed, of all the areas of research that might be supported by "
+"patents, drug research is, in my view, the clearest case where patents are "
+"needed. The patent gives the drug company some assurance that if it is "
+"successful in inventing a new drug to treat a disease, it will be able to "
+"earn back its investment and more. This is socially an extremely valuable "
+"incentive. I am the last person who would argue that the law should abolish "
+"it, at least without other changes."
+msgstr ""
+"Det er mange som er skeptiske til patenter, spesielt narkotika patenter. jeg "
+"er ikke. faktisk av alle områder av forskning som kan være støttet av "
+"patenter, er drug research, etter min mening, klareste tilfelle der patenter "
+"er nødvendig. patent gir farmasøytisk firma noen forsikring om at hvis det "
+"er vellykket i inventing et nytt medikament for å behandle en sykdom, vil "
+"det kunne tjene tilbake sine investeringer og mer. Dette er sosialt et "
+"ekstremt verdifullt insentiv. Jeg er den siste personen som vil hevde at "
+"loven skal avskaffe det, i det minste uten andre endringer."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But it is one thing to support patents, even drug patents. It is another "
+"thing to determine how best to deal with a crisis. And as African leaders "
+"began to recognize the devastation that AIDS was bringing, they started "
+"looking for ways to import HIV treatments at costs significantly below the "
+"market price."
+msgstr ""
+"men det er én ting å støtte patenter, selv stoffet patenter. Det er en annen "
+"ting å vurdere den beste måten å håndtere en krise. og som afrikanske ledere "
+"begynte å gjenkjenne ødeleggelsen aids var bringe, de begynte på utkikk "
+"etter måter å importere hiv behandlinger på kostnader betydelig under "
+"markedspris."
+
+#. f2.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
+"Knowledge Economy? (New York: The New Press, 2003), 37."
+msgstr ""
+"se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier "
+"knowledge economy? (new york: ny press, 2003), 37."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"In 1997, South Africa tried one tack. It passed a law to allow the "
+"importation of patented medicines that had been produced or sold in another "
+"nation's market with the consent of the patent owner. For example, if the "
+"drug was sold in India, it could be imported into Africa from India. This is "
+"called \"parallel importation,\" and it is generally permitted under "
+"international trade law and is specifically permitted within the European "
+"Union.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. f3.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"International Intellectual Property Institute (IIPI), Patent Protection and "
+"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared "
+"for the World Intellectual Property Organization (Washington, D.C., 2000), "
+"14, available at <ulink url=\"http://free-culture.cc/notes/\">link #56</"
+"ulink>. For a firsthand account of the struggle over South Africa, see "
+"Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human "
+"Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. "
+"No. 106-126 (22 July 1999), 15057 (statement of James Love)."
+msgstr ""
+
+#. f4.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"International Intellectual Property Institute (IIPI), Patent Protection and "
+"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared "
+"for the World Intellectual Property Organization (Washington, D.C., 2000), "
+"15."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"However, the United States government opposed the bill. Indeed, more than "
+"opposed. As the International Intellectual Property Association "
+"characterized it, \"The U.S. government pressured South Africa . . . not to "
+"permit compulsory licensing or parallel imports.\"<placeholder type="
+"\"footnote\" id=\"0\"/> Through the Office of the United States Trade "
+"Representative, the government asked South Africa to change the law--and to "
+"add pressure to that request, in 1998, the USTR listed South Africa for "
+"possible trade sanctions. That same year, more than forty pharmaceutical "
+"companies began proceedings in the South African courts to challenge the "
+"government's actions. The United States was then joined by other governments "
+"from the EU. Their claim, and the claim of the pharmaceutical companies, was "
+"that South Africa was violating its obligations under international law by "
+"discriminating against a particular kind of patent-- pharmaceutical patents. "
+"The demand of these governments, with the United States in the lead, was "
+"that South Africa respect these patents as it respects any other patent, "
+"regardless of any effect on the treatment of AIDS within South Africa."
+"<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"We should place the intervention by the United States in context. No doubt "
+"patents are not the most important reason that Africans don't have access to "
+"drugs. Poverty and the total absence of an effective health care "
+"infrastructure matter more. But whether patents are the most important "
+"reason or not, the price of drugs has an effect on their demand, and patents "
+"affect price. And so, whether massive or marginal, there was an effect from "
+"our government's intervention to stop the flow of medications into Africa."
+msgstr ""
+"Vi bør sette intervensjon av USA i sammenheng. ingen tvil om er patenter "
+"ikke den viktigste grunnen at afrikanere ikke har tilgang til narkotika. "
+"fattigdom og det totale fraværet av en effektiv helsevesenet infrastruktur "
+"saken mer. men om patenter er den viktigste årsaken eller ikke, prisen på "
+"narkotika har en effekt på deres behov, og patenter påvirker prisen. og så, "
+"om massiv eller marginale, det var en effekt fra vår regjering intervensjon "
+"til å stoppe flyten av medikamenter i Afrika."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"By stopping the flow of HIV treatment into Africa, the United States "
+"government was not saving drugs for United States citizens. This is not "
+"like wheat (if they eat it, we can't); instead, the flow that the United "
+"States intervened to stop was, in effect, a flow of knowledge: information "
+"about how to take chemicals that exist within Africa, and turn those "
+"chemicals into drugs that would save 15 to 30 million lives."
+msgstr ""
+"ved å stoppe flyten av hiv-behandling i Afrika, var myndighetene i USA ikke "
+"redde narkotika for USA borgere. Dette er ikke som hvete (Hvis de spise det, "
+"kan vi ikke); i stedet, som USA intervenerte for å stoppe flyten var "
+"faktisk, en flyt av kunnskap: informasjon om hvordan du ta kjemikalier som "
+"finnes i Afrika, og slå disse kjemikalier i stoffer som vil spare 15 til 30 "
+"millioner liv."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Nor was the intervention by the United States going to protect the profits "
+"of United States drug companies--at least, not substantially. It was not as "
+"if these countries were in the position to buy the drugs for the prices the "
+"drug companies were charging. Again, the Africans are wildly too poor to "
+"afford these drugs at the offered prices. Stopping the parallel import of "
+"these drugs would not substantially increase the sales by U.S. companies."
+msgstr ""
+"heller ikke var intervensjon av den USA kommer til å beskytte fortjeneste av "
+"USA stoffet selskaper--minst, ikke betydelig. Det var ikke som om disse "
+"landene var i posisjon til å kjøpe narkotika for prisene stoffet selskaper "
+"ble lading. igjen er afrikanere vill for dårlig til å ha råd til disse "
+"stoffene til tilbys priser. stoppe parallellimport av disse stoffene ville "
+"ikke øke betydelig salg etter amerikanske selskaper."
+
+#. f5.
+#. PAGE BREAK 333
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at "
+"Odds with Firms' Profit Motive,\" San Francisco Chronicle, 24 May 1999, A1, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #57</ulink> "
+"(\"compulsory licenses and gray markets pose a threat to the entire system "
+"of intellectual property protection\"); Robert Weissman, \"AIDS and "
+"Developing Countries: Democratizing Access to Essential Medicines,\" Foreign "
+"Policy in Focus 4:23 (August 1999), available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #58</ulink> (describing U.S. policy); John A. "
+"Harrelson, \"TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding "
+"the Proper Balance Between Intellectual Property Rights and Compassion, a "
+"Synopsis,\" Widener Law Symposium Journal (Spring 2001): 175."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Instead, the argument in favor of restricting this flow of information, "
+"which was needed to save the lives of millions, was an argument about the "
+"sanctity of property.<placeholder type=\"footnote\" id=\"0\"/> It was "
+"because \"intellectual property\" would be violated that these drugs should "
+"not flow into Africa. It was a principle about the importance of "
+"\"intellectual property\" that led these government actors to intervene "
+"against the South African response to AIDS."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Now just step back for a moment. There will be a time thirty years from now "
+"when our children look back at us and ask, how could we have let this "
+"happen? How could we allow a policy to be pursued whose direct cost would be "
+"to speed the death of 15 to 30 million Africans, and whose only real benefit "
+"would be to uphold the \"sanctity\" of an idea? What possible justification "
+"could there ever be for a policy that results in so many deaths? What "
+"exactly is the insanity that would allow so many to die for such an "
+"abstraction?"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Some blame the drug companies. I don't. They are corporations. Their "
+"managers are ordered by law to make money for the corporation. They push a "
+"certain patent policy not because of ideals, but because it is the policy "
+"that makes them the most money. And it only makes them the most money "
+"because of a certain corruption within our political system-- a corruption "
+"the drug companies are certainly not responsible for."
+msgstr ""
+"Noen skylden stoffet selskaper. jeg gjør ikke. de er selskaper. deres ledere "
+"er organisert etter loven, å tjene penger for corporation. de push en "
+"bestemt patent policy ikke på grunn av idealer, men fordi det er politikken "
+"som gjør dem mest penger. og det bare gjør dem mest penger på grunn av en "
+"bestemt korrupsjon i våre politiske systemet--en skade stoffet selskaper "
+"ikke er absolutt ansvarlige for."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The corruption is our own politicians' failure of integrity. For the drug "
+"companies would love--they say, and I believe them--to sell their drugs as "
+"cheaply as they can to countries in Africa and elsewhere. There are issues "
+"they'd have to resolve to make sure the drugs didn't get back into the "
+"United States, but those are mere problems of technology. They could be "
+"overcome."
+msgstr ""
+"korrupsjon er vår egen politikeres svikt i integritet. for stoffet selskaper "
+"ville elske--de sier, og jeg tror dem – å selge sine narkotika så billig som "
+"de kan til land i Afrika og andre steder. Det er problemer de må løse å "
+"sikre at narkotika ikke komme tilbake i USA, men de er bare problemer av "
+"teknologi. de kan bli overvunnet."
+
+#. PAGE BREAK 268
+#. type: Content of: <book><chapter><para>
+msgid ""
+"A different problem, however, could not be overcome. This is the fear of the "
+"grandstanding politician who would call the presidents of the drug companies "
+"before a Senate or House hearing, and ask, \"How is it you can sell this HIV "
+"drug in Africa for only $1 a pill, but the same drug would cost an American "
+"$1,500?\" Because there is no \"sound bite\" answer to that question, its "
+"effect would be to induce regulation of prices in America. The drug "
+"companies thus avoid this spiral by avoiding the first step. They reinforce "
+"the idea that property should be sacred. They adopt a rational strategy in "
+"an irrational context, with the unintended consequence that perhaps millions "
+"die. And that rational strategy thus becomes framed in terms of this ideal--"
+"the sanctity of an idea called \"intellectual property.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"So when the common sense of your child confronts you, what will you say? "
+"When the common sense of a generation finally revolts against what we have "
+"done, how will we justify what we have done? What is the argument?"
+msgstr ""
+"så når at sunn fornuft til ditt barns konfronterer du, hva vil du si? Når "
+"felles-følelse av en generasjon endelig opprør mot hva vi har gjort, hvordan "
+"vil vi rettferdiggjøre hva vi har gjort? Hva er argumentet?"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"A sensible patent policy could endorse and strongly support the patent "
+"system without having to reach everyone everywhere in exactly the same way. "
+"Just as a sensible copyright policy could endorse and strongly support a "
+"copyright system without having to regulate the spread of culture perfectly "
+"and forever, a sensible patent policy could endorse and strongly support a "
+"patent system without having to block the spread of drugs to a country not "
+"rich enough to afford market prices in any case. A sensible policy, in other "
+"words, could be a balanced policy. For most of our history, both copyright "
+"and patent policies were balanced in just this sense."
+msgstr ""
+"en fornuftig patent policy kan godkjenner og støtter patentsystemet uten å "
+"nå alle overalt på nøyaktig samme måte. akkurat som en fornuftig copyright "
+"policy kan godkjenner og støtter en opphavsretten til systemet uten å måtte "
+"regulerer spredning av kultur perfekt og for evig, kan en fornuftig patent "
+"policy godkjenner og støtter en patentsystemet uten å blokkere spredning av "
+"narkotika til et land som ikke er rike nok til å ha råd til markedspriser i "
+"alle fall. en fornuftig politikk, med andre ord, kan være en balansert "
+"policy. for de fleste av vår historie, var både om opphavsrett og patent "
+"politikk balansert i bare denne forstand."
+
+#. PAGE BREAK 269
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But we as a culture have lost this sense of balance. We have lost the "
+"critical eye that helps us see the difference between truth and extremism. "
+"A certain property fundamentalism, having no connection to our tradition, "
+"now reigns in this culture--bizarrely, and with consequences more grave to "
+"the spread of ideas and culture than almost any other single policy decision "
+"that we as a democracy will make. A simple idea blinds us, and under the "
+"cover of darkness, much happens that most of us would reject if any of us "
+"looked. So uncritically do we accept the idea of property in ideas that we "
+"don't even notice how monstrous it is to deny ideas to a people who are "
+"dying without them. So uncritically do we accept the idea of property in "
+"culture that we don't even question when the control of that property "
+"removes our ability, as a people, to develop our culture democratically. "
+"Blindness becomes our common sense. And the challenge for anyone who would "
+"reclaim the right to cultivate our culture is to find a way to make this "
+"common sense open its eyes."
+msgstr ""
+"men vi som en kultur har mistet denne følelse av balanse. Vi har mistet blir "
+"kritisk blikk som hjelper oss med å se forskjellen mellom sannheten og "
+"ekstremisme. en bestemt egenskap fundamentalisme, har ingen forbindelse til "
+"vår tradisjon, hersker nå i denne kulturen--bizarrely, og med konsekvenser "
+"som er mer alvorlig til spredning av ideer og kultur enn nesten alle andre "
+"enkelt policyen beslutning som vi som et demokrati vil gjøre. en enkel idé "
+"gjorde oss blinde, og under dekke av mørke, mye skjer at de fleste av oss "
+"vil avvise hvis noen av oss så. så kritikkløst aksepterer vi ideen om "
+"eiendom i ideer at vi ikke engang merke til hvordan kjempestor det er å "
+"nekte ideer til et folk som er døende uten dem. så kritikkløst aksepterer vi "
+"ideen om eiendom i kultur at vi ikke selv spørsmålet når kontroll av "
+"egenskapen fjerner vår evne, som mennesker, å utvikle vår kultur "
+"demokratisk. blindhet blir våre sunn fornuft. og utfordringen for alle som "
+"ville gjenvinne retten til å dyrke vår kultur er å finne en måte å gjøre "
+"dette sunn fornuft åpne sine øyne."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"So far, common sense sleeps. There is no revolt. Common sense does not yet "
+"see what there could be to revolt about. The extremism that now dominates "
+"this debate fits with ideas that seem natural, and that fit is reinforced by "
+"the RCAs of our day. They wage a frantic war to fight \"piracy,\" and "
+"devastate a culture for creativity. They defend the idea of \"creative "
+"property,\" while transforming real creators into modern-day sharecroppers. "
+"They are insulted by the idea that rights should be balanced, even though "
+"each of the major players in this content war was itself a beneficiary of a "
+"more balanced ideal. The hypocrisy reeks. Yet in a city like Washington, "
+"hypocrisy is not even noticed. Powerful lobbies, complex issues, and MTV "
+"attention spans produce the \"perfect storm\" for free culture."
+msgstr ""
+
+#. f6.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, August "
+"2003, E1, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#59</ulink>; William New, \"Global Group's Shift on `Open Source' Meeting "
+"Spurs Stir,\" National Journal's Technology Daily, 19 August 2003, available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; William "
+"New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" National "
+"Journal's Technology Daily, 19 August 2003, available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #61</ulink>."
+msgstr ""
+
+#. PAGE BREAK 270
+#. type: Content of: <book><chapter><para>
+msgid ""
+"In August 2003, a fight broke out in the United States about a decision by "
+"the World Intellectual Property Organization to cancel a meeting."
+"<placeholder type=\"footnote\" id=\"0\"/> At the request of a wide range of "
+"interests, WIPO had decided to hold a meeting to discuss \"open and "
+"collaborative projects to create public goods.\" These are projects that "
+"have been successful in producing public goods without relying exclusively "
+"upon a proprietary use of intellectual property. Examples include the "
+"Internet and the World Wide Web, both of which were developed on the basis "
+"of protocols in the public domain. It included an emerging trend to support "
+"open academic journals, including the Public Library of Science project that "
+"I describe in the Afterword. It included a project to develop single "
+"nucleotide polymorphisms (SNPs), which are thought to have great "
+"significance in biomedical research. (That nonprofit project comprised a "
+"consortium of the Wellcome Trust and pharmaceutical and technological "
+"companies, including Amersham Biosciences, AstraZeneca, Aventis, Bayer, "
+"Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, "
+"Novartis, Pfizer, and Searle.) It included the Global Positioning System, "
+"which Ronald Reagan set free in the early 1980s. And it included \"open "
+"source and free software.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The aim of the meeting was to consider this wide range of projects from one "
+"common perspective: that none of these projects relied upon intellectual "
+"property extremism. Instead, in all of them, intellectual property was "
+"balanced by agreements to keep access open or to impose limitations on the "
+"way in which proprietary claims might be used."
+msgstr ""
+"målet for møtet var å vurdere dette rekke prosjekter fra én felles "
+"perspektiv: at ingen av disse prosjektene som grunnlag for immaterielle "
+"ekstremisme. i stedet i alle av dem, ble immaterielle balansert av avtaler å "
+"holde access åpne, eller for å angi begrensninger for hvordan proprietære "
+"krav kan brukes."
+
+#. f7.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"I should disclose that I was one of the people who asked WIPO for the "
+"meeting."
+msgstr "Jeg skal formidle at jeg var en av folk som ba wipo for møtet."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"From the perspective of this book, then, the conference was ideal."
+"<placeholder type=\"footnote\" id=\"0\"/> The projects within its scope "
+"included both commercial and noncommercial work. They primarily involved "
+"science, but from many perspectives. And WIPO was an ideal venue for this "
+"discussion, since WIPO is the preeminent international body dealing with "
+"intellectual property issues."
+msgstr ""
+
+#. PAGE BREAK 271
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Indeed, I was once publicly scolded for not recognizing this fact about "
+"WIPO. In February 2003, I delivered a keynote address to a preparatory "
+"conference for the World Summit on the Information Society (WSIS). At a "
+"press conference before the address, I was asked what I would say. I "
+"responded that I would be talking a little about the importance of balance "
+"in intellectual property for the development of an information society. The "
+"moderator for the event then promptly interrupted to inform me and the "
+"assembled reporters that no question about intellectual property would be "
+"discussed by WSIS, since those questions were the exclusive domain of WIPO. "
+"In the talk that I had prepared, I had actually made the issue of "
+"intellectual property relatively minor. But after this astonishing "
+"statement, I made intellectual property the sole focus of my talk. There was "
+"no way to talk about an \"Information Society\" unless one also talked about "
+"the range of information and culture that would be free. My talk did not "
+"make my immoderate moderator very happy. And she was no doubt correct that "
+"the scope of intellectual property protections was ordinarily the stuff of "
+"WIPO. But in my view, there couldn't be too much of a conversation about how "
+"much intellectual property is needed, since in my view, the very idea of "
+"balance in intellectual property had been lost."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"So whether or not WSIS can discuss balance in intellectual property, I had "
+"thought it was taken for granted that WIPO could and should. And thus the "
+"meeting about \"open and collaborative projects to create public goods\" "
+"seemed perfectly appropriate within the WIPO agenda."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But there is one project within that list that is highly controversial, at "
+"least among lobbyists. That project is \"open source and free software.\" "
+"Microsoft in particular is wary of discussion of the subject. From its "
+"perspective, a conference to discuss open source and free software would be "
+"like a conference to discuss Apple's operating system. Both open source and "
+"free software compete with Microsoft's software. And internationally, many "
+"governments have begun to explore requirements that they use open source or "
+"free software, rather than \"proprietary software,\" for their own internal "
+"uses."
+msgstr ""
+
+#. f8.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Microsoft's position about free and open source software is more "
+"sophisticated. As it has repeatedly asserted, it has no problem with \"open "
+"source\" software or software in the public domain. Microsoft's principal "
+"opposition is to \"free software\" licensed under a \"copyleft\" license, "
+"meaning a license that requires the licensee to adopt the same terms on any "
+"derivative work. See Bradford L. Smith, \"The Future of Software: Enabling "
+"the Marketplace to Decide,\" Government Policy Toward Open Source Software "
+"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, "
+"American Enterprise Institute for Public Policy Research, 2002), 69, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. "
+"See also Craig Mundie, Microsoft senior vice president, The Commercial "
+"Software Model, discussion at New York University Stern School of Business "
+"(3 May 2001), available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#63</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I don't mean to enter that debate here. It is important only to make clear "
+"that the distinction is not between commercial and noncommercial software. "
+"There are many important companies that depend fundamentally upon open "
+"source and free software, IBM being the most prominent. IBM is increasingly "
+"shifting its focus to the GNU/Linux operating system, the most famous bit of "
+"\"free software\"--and IBM is emphatically a commercial entity. Thus, to "
+"support \"open source and free software\" is not to oppose commercial "
+"entities. It is, instead, to support a mode of software development that is "
+"different from Microsoft's.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 272
+#. type: Content of: <book><chapter><para>
+msgid ""
+"More important for our purposes, to support \"open source and free software"
+"\" is not to oppose copyright. \"Open source and free software\" is not "
+"software in the public domain. Instead, like Microsoft's software, the "
+"copyright owners of free and open source software insist quite strongly that "
+"the terms of their software license be respected by adopters of free and "
+"open source software. The terms of that license are no doubt different from "
+"the terms of a proprietary software license. Free software licensed under "
+"the General Public License (GPL), for example, requires that the source code "
+"for the software be made available by anyone who modifies and redistributes "
+"the software. But that requirement is effective only if copyright governs "
+"software. If copyright did not govern software, then free software could not "
+"impose the same kind of requirements on its adopters. It thus depends upon "
+"copyright law just as Microsoft does."
+msgstr ""
+
+#. f9.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Krim, \"The Quiet War over Open-Source,\" available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #64</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"It is therefore understandable that as a proprietary software developer, "
+"Microsoft would oppose this WIPO meeting, and understandable that it would "
+"use its lobbyists to get the United States government to oppose it, as well. "
+"And indeed, that is just what was reported to have happened. According to "
+"Jonathan Krim of the Washington Post, Microsoft's lobbyists succeeded in "
+"getting the United States government to veto the meeting.<placeholder type="
+"\"footnote\" id=\"0\"/> And without U.S. backing, the meeting was canceled."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I don't blame Microsoft for doing what it can to advance its own interests, "
+"consistent with the law. And lobbying governments is plainly consistent with "
+"the law. There was nothing surprising about its lobbying here, and nothing "
+"terribly surprising about the most powerful software producer in the United "
+"States having succeeded in its lobbying efforts."
+msgstr ""
+"jeg klandre ikke microsoft for å gjøre det den kan for å fremme sine egne "
+"interesser, i samsvar med loven. og lobbyvirksomhet regjeringer er tydelig i "
+"samsvar med loven. Det var ikke noe overraskende om sin lobbyvirksomhet her, "
+"og ingenting veldig overraskende om den mektigste programvare produsenten i "
+"USA har lyktes i sin lobbyvirksomhet innsats."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"What was surprising was the United States government's reason for opposing "
+"the meeting. Again, as reported by Krim, Lois Boland, acting director of "
+"international relations for the U.S. Patent and Trademark Office, explained "
+"that \"open-source software runs counter to the mission of WIPO, which is to "
+"promote intellectual-property rights.\" She is quoted as saying, \"To hold a "
+"meeting which has as its purpose to disclaim or waive such rights seems to "
+"us to be contrary to the goals of WIPO.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid "These statements are astonishing on a number of levels."
+msgstr "disse utsagnene er forbløffende på flere nivåer."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"First, they are just flat wrong. As I described, most open source and free "
+"software relies fundamentally upon the intellectual property right called "
+"\"copyright.\" Without it, restrictions imposed by those licenses wouldn't "
+"work. Thus, to say it \"runs counter\" to the mission of promoting "
+"intellectual property rights reveals an extraordinary gap in understanding--"
+"the sort of mistake that is excusable in a first-year law student, but an "
+"embarrassment from a high government official dealing with intellectual "
+"property issues."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Second, who ever said that WIPO's exclusive aim was to \"promote\" "
+"intellectual property maximally? As I had been scolded at the preparatory "
+"conference of WSIS, WIPO is to consider not only how best to protect "
+"intellectual property, but also what the best balance of intellectual "
+"property is. As every economist and lawyer knows, the hard question in "
+"intellectual property law is to find that balance. But that there should be "
+"limits is, I had thought, uncontested. One wants to ask Ms. Boland, are "
+"generic drugs (drugs based on drugs whose patent has expired) contrary to "
+"the WIPO mission? Does the public domain weaken intellectual property? Would "
+"it have been better if the protocols of the Internet had been patented?"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Third, even if one believed that the purpose of WIPO was to maximize "
+"intellectual property rights, in our tradition, intellectual property rights "
+"are held by individuals and corporations. They get to decide what to do with "
+"those rights because, again, they are 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 ""
+
+#. PAGE BREAK 274
+#. type: Content of: <book><chapter><para>
+msgid ""
+"When Ms. Boland says that there is something wrong with a meeting \"which "
+"has as its purpose to disclaim or waive such rights,\" she's saying that "
+"WIPO has an interest in interfering with the choices of the individuals who "
+"own intellectual property rights. That somehow, WIPO's objective should be "
+"to stop an individual from \"waiving\" or \"disclaiming\" an intellectual "
+"property right. That the interest of WIPO is not just that intellectual "
+"property rights be maximized, but that they also should be exercised in the "
+"most extreme and restrictive way possible."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"There is a history of just such a property system that is well known in the "
+"Anglo-American tradition. It is called \"feudalism.\" Under feudalism, not "
+"only was property held by a relatively small number of individuals and "
+"entities. And not only were the rights that ran with that property powerful "
+"and extensive. But the feudal system had a strong interest in assuring that "
+"property holders within that system not weaken feudalism by liberating "
+"people or property within their control to the free market. Feudalism "
+"depended upon maximum control and concentration. It fought any freedom that "
+"might interfere with that control."
+msgstr ""
+
+#. f10.
+#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid "See Drahos with Braithwaite, Information Feudalism, 21020."
+msgid "See Drahos with Braithwaite, Information Feudalism, 21020."
+msgstr "se drahos med braithwaite, informasjon føydalisme, 21020."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"As Peter Drahos and John Braithwaite relate, this is precisely the choice we "
+"are now making about intellectual property.<placeholder type=\"footnote\" id="
+"\"0\"/> We will have an information society. That much is certain. Our only "
+"choice now is whether that information society will be free or feudal. The "
+"trend is toward the feudal."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"When this battle broke, I blogged it. A spirited debate within the comment "
+"section ensued. Ms. Boland had a number of supporters who tried to show why "
+"her comments made sense. But there was one comment that was particularly "
+"depressing for me. An anonymous poster wrote,"
+msgstr ""
+"Når denne kampen brøt, jeg blogged det. en dristig debatt i kommentar-delen "
+"ensued. MS. boland hadde en rekke tilhengere som prøvde å vise hvorfor "
+"hennes Kommentarer gjort forstand. men det var en kommentar som var spesielt "
+"deprimerende for meg. skrev en anonym plakat,"
+
+#. PAGE BREAK 275
+#. type: Content of: <book><chapter><blockquote><para>
+msgid ""
+"George, you misunderstand Lessig: He's only talking about the world as it "
+"should be (\"the goal of WIPO, and the goal of any government, should be to "
+"promote the right balance of intellectualproperty rights, not simply to "
+"promote intellectual property rights\"), not as it is. If we were talking "
+"about the world as it is, then of course Boland didn't say anything wrong. "
+"But in the world as Lessig would have it, then of course she did. Always pay "
+"attention to the distinction between Lessig's world and ours."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I missed the irony the first time I read it. I read it quickly and thought "
+"the poster was supporting the idea that seeking balance was what our "
+"government should be doing. (Of course, my criticism of Ms. Boland was not "
+"about whether she was seeking balance or not; my criticism was that her "
+"comments betrayed a first-year law student's mistake. I have no illusion "
+"about the extremism of our government, whether Republican or Democrat. My "
+"only illusion apparently is about whether our government should speak the "
+"truth or not.)"
+msgstr ""
+"Jeg savnet den ironi først gangen jeg leste den. jeg lese det raskt og "
+"trodde plakaten var støtter ideen om at søker balansen var hva vår regjering "
+"bør gjøre. (selvfølgelig, min kritikk av ms. Boland var ikke om om hun var "
+"søker balansen eller ikke; min kritikk var at hennes kommentarer forrådt en "
+"første året law student-feil. Jeg har noen illusjon om ekstremisme av vår "
+"regjering om republikaner eller demokrat. min eneste illusjon angivelig er "
+"om om vår regjering bør snakke sannheten eller ikke.)"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Obviously, however, the poster was not supporting that idea. Instead, the "
+"poster was ridiculing the very idea that in the real world, the \"goal\" of "
+"a government should be \"to promote the right balance\" of intellectual "
+"property. That was obviously silly to him. And it obviously betrayed, he "
+"believed, my own silly utopianism. \"Typical for an academic,\" the poster "
+"might well have continued."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I understand criticism of academic utopianism. I think utopianism is silly, "
+"too, and I'd be the first to poke fun at the absurdly unrealistic ideals of "
+"academics throughout history (and not just in our own country's history)."
+msgstr ""
+"Jeg forstår kritikk av akademisk utopianism. Jeg tror utopianism er dum, "
+"også, og jeg vil være først til å rote det gøy på absurd urealistisk idealer "
+"akademikere gjennom historien (og ikke bare i vårt eget land historie)."
+
+#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "But when it has become silly to suppose that the role of our government "
+#| "should be to \\\"seek balance,\\\" then count me with the silly, for that "
+#| "means that this has become quite serious indeed. If it should be obvious "
+#| "to everyone that the government does not seek balance, that the "
+#| "government is simply the tool of the most powerful lobbyists, that the "
+#| "idea of holding the government to a different standard is absurd, that "
+#| "the idea of demanding of the government that it speak truth and not lies "
+#| "is just naïve, then who have we, the most powerful democracy in the "
+#| "world, become?"
+msgid ""
+"But when it has become silly to suppose that the role of our government "
+"should be to \"seek balance,\" then count me with the silly, for that means "
+"that this has become quite serious indeed. If it should be obvious to "
+"everyone that the government does not seek balance, that the government is "
+"simply the tool of the most powerful lobbyists, that the idea of holding the "
+"government to a different standard is absurd, that the idea of demanding of "
+"the government that it speak truth and not lies is just 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?"
+
+#. PAGE BREAK 276
+#. type: Content of: <book><chapter><para>
+msgid ""
+"It might be crazy to expect a high government official to speak the truth. "
+"It might be crazy to believe that government policy will be something more "
+"than the handmaiden of the most powerful interests. It might be crazy to "
+"argue that we should preserve a tradition that has been part of our "
+"tradition for most of our history--free culture."
+msgstr ""
+"Det kan være gal å forvente en høy regjeringen offisielle å si sannheten. "
+"Det kan være gal å tro at regjeringens politikk blir noe mer enn handmaiden "
+"av de mektigste interessene. Det kan være gal å argumentere at vi skal "
+"bevare en tradisjon som har vært en del av vår tradisjon for de fleste av "
+"vår historie--fri kultur."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"If this is crazy, then let there be more crazies. Soon. There are moments "
+"of hope in this struggle. And moments that surprise. When the FCC was "
+"considering relaxing ownership rules, which would thereby further increase "
+"the concentration in media ownership, an extraordinary bipartisan coalition "
+"formed to fight this change. For perhaps the first time in history, "
+"interests as diverse as the NRA, the ACLU, Moveon.org, William Safire, Ted "
+"Turner, and CodePink Women for Peace organized to oppose this change in FCC "
+"policy. An astonishing 700,000 letters were sent to the FCC, demanding more "
+"hearings and a different result."
+msgstr ""
+"Hvis dette er gal, så la det være mer crazies. snart. Det er øyeblikk av håp "
+"i denne kampen. og øyeblikk som overraske. Når fcc var vurderer avslappende "
+"eierskap regler, som ville dermed ytterligere øke konsentrasjon i media "
+"eierskap, en ekstraordinære bipartisan koalisjon dannet for å bekjempe denne "
+"endringen. for kanskje første gang i historien, interesser så forskjellige "
+"som nra, aclu, moveon.org, william safire, ted turner og codepink kvinner "
+"for fred organisert til å motsette seg denne endringen i fcc-policyen. en "
+"forbløffende 700.000 bokstaver ble sendt til fcc, krever mer hearings og et "
+"annet resultat."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This activism did not stop the FCC, but soon after, a broad coalition in the "
+"Senate voted to reverse the FCC decision. The hostile hearings leading up to "
+"that vote revealed just how powerful this movement had become. There was no "
+"substantial support for the FCC's decision, and there was broad and "
+"sustained support for fighting further concentration in the media."
+msgstr ""
+"Denne aktivisme stoppe ikke fcc, men snart etter en bred koalisjon i Senatet "
+"stemte for å reversere fcc-beslutning. fiendtlige hearings fører opp til at "
+"stemme avslørte hvor kraftig denne bevegelsen hadde blitt. Det var ingen "
+"betydelig støtte for fcc beslutning, og det var bred og vedvarende støtte "
+"for å bekjempe ytterligere konsentrasjon i media."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"But even this movement misses an important piece of the puzzle. Largeness "
+"as such is not bad. Freedom is not threatened just because some become very "
+"rich, or because there are only a handful of big players. The poor quality "
+"of Big Macs or Quarter Pounders does not mean that you can't get a good "
+"hamburger from somewhere else."
+msgstr ""
+"men selv denne bevegelsen savner en viktig brikke i puslespillet. largeness "
+"er som sådan ikke ille. frihet er ikke truet bare fordi noen blir veldig "
+"rik, eller fordi det er bare en håndfull store spillere. den dårlige "
+"kvaliteten på big Mac eller kvartal pounders betyr ikke at du ikke kan få en "
+"god hamburger fra et annet sted."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"The danger in media concentration comes not from the concentration, but "
+"instead from the feudalism that this concentration, tied to the change in "
+"copyright, produces. It is not just that there are a few powerful companies "
+"that control an ever expanding slice of the media. It is that this "
+"concentration can call upon an equally bloated range of rights--property "
+"rights of a historically extreme form--that makes their bigness bad."
+msgstr ""
+"faren i media konsentrasjon kommer ikke fra konsentrasjonen, men i stedet "
+"fra føydalisme som denne konsentrasjonen knyttet til endring i copyright, "
+"produserer. Det er ikke bare at det er noen kraftige selskaper som styrer en "
+"stadig voksende stykke media. Det er at denne konsentrasjonen kan påkalle en "
+"like oppsvulmet rekke rettigheter--eiendomsrettighetene til en historisk "
+"ekstrem form--som gjør deres bigness dårlig."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"It is therefore significant that so many would rally to demand competition "
+"and increased diversity. Still, if the rally is understood as being about "
+"bigness alone, it is not terribly surprising. We Americans have a long "
+"history of fighting \"big,\" wisely or not. That we could be motivated to "
+"fight \"big\" again is not something new."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"It would be something new, and something very important, if an equal number "
+"could be rallied to fight the increasing extremism built within the idea of "
+"\"intellectual property.\" Not because balance is alien to our tradition; "
+"indeed, as I've argued, balance is our tradition. But because the muscle to "
+"think critically about the scope of anything called \"property\" is not well "
+"exercised within this tradition anymore."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"If we were Achilles, this would be our heel. This would be the place of our "
+"tragedy."
+msgstr ""
+"Hvis vi var achilles, ville dette være våre hæl. Dette ville være stedet for "
+"våre tragedie."
+
+#. f11.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September "
+"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</"
+"ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 "
+"September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, "
+"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New York "
+"Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet "
+"Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among "
+"Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, "
+"\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."
+msgstr ""
+
+#. f12.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Jon Wiederhorn, \"Eminem Gets Sued . . . by a Little Old Lady,\" mtv.com, 17 "
+"September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #68</ulink>."
+msgstr ""
+
+#. f13.
+#. PAGE BREAK 334
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"Kenji Hall, Associated Press, \"Japanese Book May Be Inspiration for Dylan "
+"Songs,\" Kansascity.com, 9 July 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #69</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"As I write these final words, the news is filled with stories about the RIAA "
+"lawsuits against almost three hundred individuals.<placeholder type="
+"\"footnote\" id=\"0\"/> Eminem has just been sued for \"sampling\" someone "
+"else's music.<placeholder type=\"footnote\" id=\"1\"/> The story about Bob "
+"Dylan \"stealing\" from a Japanese author has just finished making the "
+"rounds.<placeholder type=\"footnote\" id=\"2\"/> An insider from Hollywood--"
+"who insists he must remain anonymous--reports \"an amazing conversation with "
+"these studio guys. They've got extraordinary [old] content that they'd love "
+"to use but can't because they can't begin to clear the rights. They've got "
+"scores of kids who could do amazing things with the content, but it would "
+"take scores of lawyers to clean it first.\" Congressmen are talking about "
+"deputizing computer viruses to bring down computers thought to violate the "
+"law. Universities are threatening expulsion for kids who use a computer to "
+"share content."
+msgstr ""
+
+#. f14.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"\"BBC Plans to Open Up Its Archive to the Public,\" BBC press release, 24 "
+"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#70</ulink>."
+msgstr ""
+
+#. f15.
+#. type: Content of: <book><chapter><para><footnote><para>
+msgid ""
+"\"Creative Commons and Brazil,\" Creative Commons Weblog, 6 August 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #71</ulink>."
+msgstr ""
+
+#. PAGE BREAK 278
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Yet on the other side of the Atlantic, the BBC has just announced that it "
+"will build a \"Creative Archive,\" from which British citizens can download "
+"BBC content, and rip, mix, and burn it.<placeholder type=\"footnote\" id="
+"\"0\"/> And in Brazil, the culture minister, Gilberto Gil, himself a folk "
+"hero of Brazilian music, has joined with Creative Commons to release content "
+"and free licenses in that Latin American country.<placeholder type=\"footnote"
+"\" id=\"1\"/> I've told a dark story. The truth is more mixed. A technology "
+"has given us a new freedom. Slowly, some begin to understand that this "
+"freedom need not mean anarchy. We can carry a free culture into the twenty-"
+"first century, without artists losing and without the potential of digital "
+"technology being destroyed. It will take some thought, and more importantly, "
+"it will take some will to transform the RCAs of our day into the Causbys."
+msgstr ""
+
+#. PAGE BREAK 279
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Common sense must revolt. It must act to free culture. Soon, if this "
+"potential is ever to be realized."
+msgstr ""
+"sunn fornuft må opprør. Det må handle til fri kultur. snart, hvis dette "
+"potensialet er stadig å bli realisert."
+
+#. type: Content of: <book><chapter><title>
+msgid "AFTERWORD"
+msgstr "etterordet"
+
+#. PAGE BREAK 280
+#. type: Content of: <book><chapter><para>
+msgid ""
+"At least some who have read this far will agree with me that something must "
+"be done to change where we are heading. The balance of this book maps what "
+"might be done."
+msgstr ""
+"minst noen som har lest dette langt vil være enig med meg at noe må gjøres "
+"hvis du vil endre hvor vi er på vei. saldoen på denne boken tilordner hva "
+"kan gjøres."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I divide this map into two parts: that which anyone can do now, and that "
+"which requires the help of lawmakers. If there is one lesson that we can "
+"draw from the history of remaking common sense, it is that it requires "
+"remaking how many people think about the very same issue."
+msgstr ""
+"jeg dele dette kartet i to deler: at som alle kan gjøre nå, og som krever "
+"hjelp av lovgivere. Hvis det er en lærdom som vi kan trekke fra historien om "
+"remaking sunn fornuft, er det at det krever remaking hvor mange mennesker "
+"tenker om det samme problemet."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"That means this movement must begin in the streets. It must recruit a "
+"significant number of parents, teachers, librarians, creators, authors, "
+"musicians, filmmakers, scientists--all to tell this story in their own "
+"words, and to tell their neighbors why this battle is so important."
+msgstr ""
+"Det betyr at denne bevegelsen må begynne i gatene. Det må rekruttere et "
+"betydelig antall foreldre, lærere, bibliotekarer, skaperne, forfattere, "
+"musikere, filmskapere, forskere--alle for å fortelle historien med egne ord "
+"og å fortelle sine naboer hvorfor denne kampen er så viktig."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Once this movement has its effect in the streets, it has some hope of having "
+"an effect in Washington. We are still a democracy. What people think "
+"matters. Not as much as it should, at least when an RCA stands opposed, but "
+"still, it matters. And thus, in the second part below, I sketch changes that "
+"Congress could make to better secure a free culture."
+msgstr ""
+"Når denne bevegelsen har sin effekt i gatene, har det noe håp om å ha en "
+"effekt i washington. Vi er fortsatt et demokrati. Hva folk tror saker. ikke "
+"så mye som det skal, minst når en rca står imot, men likevel, det teller. og "
+"således, i den andre delen nedenfor jeg skissere endringer som Kongressen "
+"kan gjøre for å sikre bedre en fri kultur."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "US, NOW"
+msgstr "oss nå"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"Common sense is with the copyright warriors because the debate so far has "
+"been framed at the extremes--as a grand either/or: either property or "
+"anarchy, either total control or artists won't be paid. If that really is "
+"the choice, then the warriors should win."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"The mistake here is the error of the excluded middle. There are extremes in "
+"this debate, but the extremes are not all that there is. There are those who "
+"believe in maximal copyright--\"All Rights Reserved\"-- and those who reject "
+"copyright--\"No Rights Reserved.\" The \"All Rights Reserved\" sorts believe "
+"that you should ask permission before you \"use\" a copyrighted work in any "
+"way. The \"No Rights Reserved\" sorts believe you should be able to do with "
+"content as you wish, regardless of whether you have permission or not."
+msgstr ""
+
+#. PAGE BREAK 282
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"When the Internet was first born, its initial architecture effectively "
+"tilted in the \"no rights reserved\" direction. Content could be copied "
+"perfectly and cheaply; rights could not easily be controlled. Thus, "
+"regardless of anyone's desire, the effective regime of copyright under the "
+"original design of the Internet was \"no rights reserved.\" Content was "
+"\"taken\" regardless of the rights. Any rights were effectively unprotected."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"This initial character produced a reaction (opposite, but not quite equal) "
+"by copyright owners. That reaction has been the topic of this book. Through "
+"legislation, litigation, and changes to the network's design, copyright "
+"holders have been able to change the essential character of the environment "
+"of the original Internet. If the original architecture made the effective "
+"default \"no rights reserved,\" the future architecture will make the "
+"effective default \"all rights reserved.\" The architecture and law that "
+"surround the Internet's design will increasingly produce an environment "
+"where all use of content requires permission. The \"cut and paste\" world "
+"that defines the Internet today will become a \"get permission to cut and "
+"paste\" world that is a creator's nightmare."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"What's needed is a way to say something in the middle--neither \"all rights "
+"reserved\" nor \"no rights reserved\" but \"some rights reserved\"-- and "
+"thus a way to respect copyrights but enable creators to free content as they "
+"see fit. In other words, we need a way to restore a set of freedoms that we "
+"could just take for granted before."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Rebuilding Freedoms Previously Presumed: Examples"
+msgstr "å gjenoppbygge friheter tidligere antatt: eksempler"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If you step back from the battle I've been describing here, you will "
+"recognize this problem from other contexts. Think about privacy. Before the "
+"Internet, most of us didn't have to worry much about data about our lives "
+"that we broadcast to the world. If you walked into a bookstore and browsed "
+"through some of the works of Karl Marx, you didn't need to worry about "
+"explaining your browsing habits to your neighbors or boss. The \"privacy\" "
+"of your browsing habits was assured."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "What made it assured?"
+msgstr "Hva gjorde det forsikret?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Well, if we think in terms of the modalities I described in chapter 10, your "
+"privacy was assured because of an inefficient architecture for gathering "
+"data and hence a market constraint (cost) on anyone who wanted to gather "
+"that data. If you were a suspected spy for North Korea, working for the CIA, "
+"no doubt your privacy would not be assured. But that's because the CIA "
+"would (we hope) find it valuable enough to spend the thousands required to "
+"track you. But for most of us (again, we can hope), spying doesn't pay. The "
+"highly inefficient architecture of real space means we all enjoy a fairly "
+"robust amount of privacy. That privacy is guaranteed to us by friction. Not "
+"by law (there is no law protecting \"privacy\" in public places), and in "
+"many places, not by norms (snooping and gossip are just fun), but instead, "
+"by the costs that friction imposes on anyone who would want to spy."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Enter the Internet, where the cost of tracking browsing in particular has "
+"become quite tiny. If you're a customer at Amazon, then as you browse the "
+"pages, Amazon collects the data about what you've looked at. You know this "
+"because at the side of the page, there's a list of \"recently viewed\" "
+"pages. Now, because of the architecture of the Net and the function of "
+"cookies on the Net, it is easier to collect the data than not. The friction "
+"has disappeared, and hence any \"privacy\" protected by the friction "
+"disappears, too."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Amazon, of course, is not the problem. But we might begin to worry about "
+"libraries. If you're one of those crazy lefties who thinks that people "
+"should have the \"right\" to browse in a library without the government "
+"knowing which books you look at (I'm one of those lefties, too), then this "
+"change in the technology of monitoring might concern you. If it becomes "
+"simple to gather and sort who does what in electronic spaces, then the "
+"friction-induced privacy of yesterday disappears."
+msgstr ""
+
+#. f1.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See, for example, Marc Rotenberg, \"Fair Information Practices and the "
+"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law "
+"Review 1 (2001): par. 618, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #72</ulink> (describing examples in which technology defines "
+"privacy policy). See also Jeffrey Rosen, The Naked Crowd: Reclaiming "
+"Security and Freedom in an Anxious Age (New York: Random House, 2004) "
+"(mapping tradeoffs between technology and privacy)."
+msgstr ""
+
+#. PAGE BREAK 284
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"It is this reality that explains the push of many to define \"privacy\" on "
+"the Internet. It is the recognition that technology can remove what friction "
+"before gave us that leads many to push for laws to do what friction did."
+"<placeholder type=\"footnote\" id=\"0\"/> And whether you're in favor of "
+"those laws or not, it is the pattern that is important here. We must take "
+"affirmative steps to secure a kind of freedom that was passively provided "
+"before. A change in technology now forces those who believe in privacy to "
+"affirmatively act where, before, privacy was given by default."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"A similar story could be told about the birth of the free software movement. "
+"When computers with software were first made available commercially, the "
+"software--both the source code and the binaries-- was free. You couldn't run "
+"a program written for a Data General machine on an IBM machine, so Data "
+"General and IBM didn't care much about controlling their software."
+msgstr ""
+"en liknende historie kan fortelles om fødselen av fri programvare-"
+"bevegelsen. Når datamaskiner med programvare ble først gjort tilgjengelig "
+"kommersielt, var programvaren--både kildekoden og binærfiler--gratis. Du kan "
+"ikke kjøre et program som er skrevet for en generell data-maskinen på en ibm-"
+"maskin, slik at data Generelt og ibm ikke vare mye om hvordan du styrer "
+"deres programvare."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"That was the world Richard Stallman was born into, and while he was a "
+"researcher at MIT, he grew to love the community that developed when one was "
+"free to explore and tinker with the software that ran on machines. Being a "
+"smart sort himself, and a talented programmer, Stallman grew to depend upon "
+"the freedom to add to or modify other people's work."
+msgstr ""
+"Det var richard stallman ble født inn i verden, og mens han var forsker ved "
+"mit, han vokste til å elske samfunnet som utviklet når en var fri til å "
+"utforske og tinker med programvaren som kjørte på maskiner. å være en smart "
+"sortering selv, og en talentfull programmerer, vokste stallman avhengige av "
+"frihet til å legge til eller endre andre personers arbeid."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In an academic setting, at least, that's not a terribly radical idea. In a "
+"math department, anyone would be free to tinker with a proof that someone "
+"offered. If you thought you had a better way to prove a theorem, you could "
+"take what someone else did and change it. In a classics department, if you "
+"believed a colleague's translation of a recently discovered text was flawed, "
+"you were free to improve it. Thus, to Stallman, it seemed obvious that you "
+"should be free to tinker with and improve the code that ran a machine. This, "
+"too, was knowledge. Why shouldn't it be open for criticism like anything "
+"else?"
+msgstr ""
+"i akademiske omgivelser, minst, er det ikke en veldig radikale idé. noen "
+"ville være gratis å tinker med et bevis på at noen tilbys i en matematikk-"
+"avdeling. Hvis du trodde du hadde en bedre måte å bevise en teorem, kan du "
+"ta hva noen andre gjorde, og endre den. i en klassikere avdeling, hvis du "
+"trodde en kollega oversettelse av en nylig oppdagede tekst var feil, var du "
+"fri til å forbedre den. dermed til stallman syntes det åpenbart at du bør "
+"være gratis å tinker med og forbedre koden som kjørte en maskin. Dette, "
+"også, var kunnskap. Hvorfor bør ikke være åpen for kritikk som noe annet?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No one answered that question. Instead, the architecture of revenue for "
+"computing changed. As it became possible to import programs from one system "
+"to another, it became economically attractive (at least in the view of some) "
+"to hide the code of your program. So, too, as companies started selling "
+"peripherals for mainframe systems. If I could just take your printer driver "
+"and copy it, then that would make it easier for me to sell a printer to the "
+"market than it was for you."
+msgstr ""
+"Ingen har besvart dette spørsmålet. i stedet endret arkitekturen i inntekter "
+"for databehandling. som det ble mulig å importere programmer fra ett system "
+"til et annet, det ble økonomisk attraktive (minst i visningen av noen) å "
+"skjule koden av programmet. så, også, som selskaper som begynte å selge "
+"eksterne enheter for stormaskinsystemer. Hvis jeg kunne bare ta "
+"skriverdriveren og kopiere den, og deretter som ville gjøre det enklere for "
+"meg å selge en skriver til markedet enn det var for deg."
+
+#. PAGE BREAK 285
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Thus, the practice of proprietary code began to spread, and by the early "
+"1980s, Stallman found himself surrounded by proprietary code. The world of "
+"free software had been erased by a change in the economics of computing. And "
+"as he believed, if he did nothing about it, then the freedom to change and "
+"share software would be fundamentally weakened."
+msgstr ""
+"dermed praksisen med proprietære koden begynte å spre seg, og 1980-tallet, "
+"stallman fant seg selv omringet av proprietære koden. verden av fri "
+"programvare hadde blitt slettet av en endring i økonomien i databehandling. "
+"og som han mente, hvis han gjorde ikke noe om det, og frihet til å endre og "
+"dele programvare ville være grundig svekket."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Therefore, in 1984, Stallman began a project to build a free operating "
+"system, so that at least a strain of free software would survive. That was "
+"the birth of the GNU project, into which Linus Torvalds's \"Linux\" kernel "
+"was added to produce the GNU/Linux operating system."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Stallman's technique was to use copyright law to build a world of software "
+"that must be kept free. Software licensed under the Free Software "
+"Foundation's GPL cannot be modified and distributed unless the source code "
+"for that software is made available as well. Thus, anyone building upon "
+"GPL'd software would have to make their buildings free as well. This would "
+"assure, Stallman believed, that an ecology of code would develop that "
+"remained free for others to build upon. His fundamental goal was freedom; "
+"innovative creative code was a byproduct."
+msgstr ""
+"Stallmans teknikken var å bruke lov om opphavsrett til å bygge en verden av "
+"programvare som må holdes gratis. programvare lisensiert under gpl av free "
+"software foundation kan ikke endres og distribuert med mindre kildekoden for "
+"denne programvaren gjøres tilgjengelig også. Dermed noen bygger på gpl ville "
+"programvare ville ha å gjøre sine bygninger gratis også. Dette vil forsikre, "
+"stallman trodd at en økologi av koden ville utvikle som forble gratis for "
+"andre å bygge på. hans grunnleggende målet var frihet; nyskapende, kreative "
+"koden var en byproduct."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Stallman was thus doing for software what privacy advocates now do for "
+"privacy. He was seeking a way to rebuild a kind of freedom that was taken "
+"for granted before. Through the affirmative use of licenses that bind "
+"copyrighted code, Stallman was affirmatively reclaiming a space where free "
+"software would survive. He was actively protecting what before had been "
+"passively guaranteed."
+msgstr ""
+"Stallman var dermed gjøre for programvare og hvilke personvernkontroller "
+"talsmenn nå har for personvern. Han var søker en måte å gjenoppbygge et "
+"slags friheten som ble tatt for gitt før. gjennom bekreftende bruk av "
+"lisenser som binder opphavsrettsbeskyttet kode, var stallman affirmatively "
+"gjenerobring et mellomrom der fri programvare ville overleve. Han var aktivt "
+"beskytter hva før hadde vært passivt garantert."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Finally, consider a very recent example that more directly resonates with "
+"the story of this book. This is the shift in the way academic and scientific "
+"journals are produced."
+msgstr ""
+"til slutt, vurdere en svært nylig eksempel mer direkte resonates med "
+"historien om denne boken. Dette er skiftet i måten faglige og vitenskapelige "
+"journaler er produsert."
+
+#. PAGE BREAK 286
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As digital technologies develop, it is becoming obvious to many that "
+"printing thousands of copies of journals every month and sending them to "
+"libraries is perhaps not the most efficient way to distribute knowledge. "
+"Instead, journals are increasingly becoming electronic, and libraries and "
+"their users are given access to these electronic journals through password-"
+"protected sites. Something similar to this has been happening in law for "
+"almost thirty years: Lexis and Westlaw have had electronic versions of case "
+"reports available to subscribers to their service. Although a Supreme Court "
+"opinion is not copyrighted, and anyone is free to go to a library and read "
+"it, Lexis and Westlaw are also free to charge users for the privilege of "
+"gaining access to that Supreme Court opinion through their respective "
+"services."
+msgstr ""
+"som digitale teknologien blir bedre, blir det åpenbart for mange som skriver "
+"ut tusenvis av kopier av journaler hver måned og sende dem til biblioteker "
+"ikke er kanskje den mest effektive måten å distribuere kunnskap. i stedet, "
+"journaler er stadig å bli elektronisk, og biblioteker og deres brukere gis "
+"tilgang til disse elektroniske journaler gjennom passordbeskyttede områder. "
+"noe som ligner på dette har foregått i loven for nesten tretti år: lexis og "
+"westlaw har hatt elektroniske versjoner av Saksrapporter som er tilgjengelig "
+"for abonnenter til deres tjeneste. Selv om en Høyesterett mening ikke er "
+"beskyttet av opphavsretten, og noen er fri til å gå til et bibliotek og lese "
+"den, er lexis og westlaw også gjerne Belast brukerne for privilegiet av å få "
+"tilgang til at Høyesterett mening gjennom sine respektive tjenester."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"There's nothing wrong in general with this, and indeed, the ability to "
+"charge for access to even public domain materials is a good incentive for "
+"people to develop new and innovative ways to spread knowledge. The law has "
+"agreed, which is why Lexis and Westlaw have been allowed to flourish. And if "
+"there's nothing wrong with selling the public domain, then there could be "
+"nothing wrong, in principle, with selling access to material that is not in "
+"the public domain."
+msgstr ""
+"Det er ingenting galt med dette Generelt, og muligheten til å ta betalt for "
+"tilgang til selv allemannseie materialet er faktisk en god insentiv for folk "
+"å utvikle nye og innovative måter å spre kunnskap. loven har avtalt, som er "
+"grunnen til at lexis og westlaw har fått lov til å blomstre. og hvis det er "
+"ingenting galt med å selge allemannseie, det kan være noe galt i prinsippet "
+"med selger tilgang til materiale som ikke er allemannseie."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But what if the only way to get access to social and scientific data was "
+"through proprietary services? What if no one had the ability to browse this "
+"data except by paying for a subscription?"
+msgstr ""
+"men hva om du bare kan få tilgang til sosiale og vitenskapelige data var "
+"gjennom proprietære tjenester? Hva om ingen hadde muligheten til å bla "
+"gjennom denne data unntatt ved å betale for et abonnement?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As many are beginning to notice, this is increasingly the reality with "
+"scientific journals. When these journals were distributed in paper form, "
+"libraries could make the journals available to anyone who had access to the "
+"library. Thus, patients with cancer could become cancer experts because the "
+"library gave them access. Or patients trying to understand the risks of a "
+"certain treatment could research those risks by reading all available "
+"articles about that treatment. This freedom was therefore a function of the "
+"institution of libraries (norms) and the technology of paper journals "
+"(architecture)--namely, that it was very hard to control access to a paper "
+"journal."
+msgstr ""
+"som mange begynner å legge merke til, er dette stadig virkeligheten med "
+"vitenskapelige journaler. Når disse kladdene ble distribuert i papirskjema, "
+"kan biblioteker gjøre journalene tilgjengelig for alle som hadde tilgang til "
+"biblioteket. pasienter med kreft kan derfor bli kreft eksperter fordi "
+"biblioteket ga dem tilgang. eller pasienter prøver å forstå risikoen for en "
+"bestemt behandling kunne forskning disse risikoene ved å lese alle "
+"tilgjengelige artikler om at behandling. denne friheten ble derfor en "
+"funksjon av institusjonen av biblioteker (normer) og teknologi i papir "
+"journaler (arkitektur)--nemlig at det var svært vanskelig å kontrollere "
+"tilgangen til en papir-journal."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As journals become electronic, however, the publishers are demanding that "
+"libraries not give the general public access to the journals. This means "
+"that the freedoms provided by print journals in public libraries begin to "
+"disappear. Thus, as with privacy and with software, a changing technology "
+"and market shrink a freedom taken for granted before."
+msgstr ""
+"Når journaler blir elektronisk, men er utgivere krevende at biblioteker ikke "
+"gir generell offentlig tilgang til journalene. Dette betyr at frihetene som "
+"er levert av Skriv ut journaler i offentlige bibliotek begynner å forsvinne. "
+"Således, som med personvern og med programvare, en skiftende teknologi og "
+"markedet forminske en frihet tatt for gitt før."
+
+#. PAGE BREAK 287
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This shrinking freedom has led many to take affirmative steps to restore the "
+"freedom that has been lost. The Public Library of Science (PLoS), for "
+"example, is a nonprofit corporation dedicated to making scientific research "
+"available to anyone with a Web connection. Authors of scientific work submit "
+"that work to the Public Library of Science. That work is then subject to "
+"peer review. If accepted, the work is then deposited in a public, electronic "
+"archive and made permanently available for free. PLoS also sells a print "
+"version of its work, but the copyright for the print journal does not "
+"inhibit the right of anyone to redistribute the work for free."
+msgstr ""
+"Denne krympende friheten har ført mange å ta bekreftende trinnene for å "
+"gjenopprette frihet som har gått tapt. public library of science (plos), for "
+"eksempel er en nonprofit aksjeselskap som er dedikert til å gjøre "
+"vitenskapelig forskning tilgjengelig for alle som har en Webtilkobling. "
+"forfatterne av vitenskapelig arbeid sende det fungerer til public library of "
+"science. Dette arbeidet er deretter gjenstand for peer review. Dersom de "
+"blir akseptert, er arbeidet deretter oppbevart i et offentlig, elektronisk "
+"arkiv og gjort permanent tilgjengelig gratis. PLOs selger også en "
+"utskriftsversjon av sitt arbeid, men opphavsretten for utskrift journal "
+"forhindre ikke høyre for noen til å videredistribuere arbeidet gratis."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is one of many such efforts to restore a freedom taken for granted "
+"before, but now threatened by changing technology and markets. There's no "
+"doubt that this alternative competes with the traditional publishers and "
+"their efforts to make money from the exclusive distribution of content. But "
+"competition in our tradition is presumptively a good--especially when it "
+"helps spread knowledge and science."
+msgstr ""
+"Dette er ett av mange slike anstrengelser til å gjenopprette en frihet tatt "
+"for gitt før, men nå truet av skiftende teknologi og markeder. Det er ingen "
+"tvil om at denne alternative konkurrerer med tradisjonelle utgivere og deres "
+"innsats for å tjene penger fra den eksklusive distribusjonen av innhold. men "
+"konkurransen i vår tradisjon er presumptively en god--spesielt når det "
+"bidrar til å spre kunnskap og vitenskap."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "Rebuilding Free Culture: One Idea"
+msgstr "å gjenoppbygge fri kultur: en idé"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The same strategy could be applied to culture, as a response to the "
+"increasing control effected through law and technology."
+msgstr ""
+"samme strategi som kan brukes til kultur, som et svar på økende kontrollen "
+"berørt gjennom lov og teknologi."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Enter the Creative Commons. The Creative Commons is a nonprofit corporation "
+"established in Massachusetts, but with its home at Stanford University. Its "
+"aim is to build a layer of reasonable copyright on top of the extremes that "
+"now reign. It does this by making it easy for people to build upon other "
+"people's work, by making it simple for creators to express the freedom for "
+"others to take and build upon their work. Simple tags, tied to human-"
+"readable descriptions, tied to bulletproof licenses, make this possible."
+msgstr ""
+"Angi creative commons. creative commons er et nonprofit selskap etablert i "
+"massachusetts, men med sitt hjem ved stanford university. Målet er å bygge "
+"et lag av rimelig opphavsrett på toppen av den ekstreme som nå regjere. "
+"Dette gjøres ved å gjøre det lett for folk å bygge på andres arbeid, ved å "
+"gjøre det enkelt for skaperne å uttrykke frihet for andre å ta, og bygge på "
+"sitt arbeid. Simple tags, knyttet til lesbar beskrivelser, knyttet til "
+"vanntett lisenser, gjør dette mulig."
+
+#. PAGE BREAK 288
+#. type: Content of: <book><chapter><sect1><sect2><para>
+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."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These freedoms are beyond the freedoms promised by fair use. Their precise "
+"contours depend upon the choices the creator makes. The creator can choose a "
+"license that permits any use, so long as attribution is given. She can "
+"choose a license that permits only noncommercial use. She can choose a "
+"license that permits any use so long as the same freedoms are given to other "
+"uses (\"share and share alike\"). Or any use so long as no derivative use is "
+"made. Or any use at all within developing nations. Or any sampling use, so "
+"long as full copies are not made. Or lastly, any educational use."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These choices thus establish a range of freedoms beyond the default of "
+"copyright law. They also enable freedoms that go beyond traditional fair "
+"use. And most importantly, they express these freedoms in a way that "
+"subsequent users can use and rely upon without the need to hire a lawyer. "
+"Creative Commons thus aims to build a layer of content, governed by a layer "
+"of reasonable copyright law, that others can build upon. Voluntary choice of "
+"individuals and creators will make this content available. And that content "
+"will in turn enable us to rebuild a public domain."
+msgstr ""
+"disse valgene dermed etablere en rekke friheter utover standard om "
+"opphavsrett. de har også aktivere friheter som går utover tradisjonelle fair "
+"use. og viktigst, de uttrykker disse frihetene på en måte at etterfølgende "
+"brukere kan bruke og stole på uten å måtte ansette en advokat. Creative "
+"commons dermed tar sikte på å bygge et lag med innhold, styrt av et lag med "
+"rimelig lov om opphavsrett, som andre kan bygge på. frivillig valg av "
+"enkeltpersoner og skaperne vil gjøre dette innholdet tilgjengelig. og at "
+"innholdet i sin tur kan vi bygge et offentlig-domene."
+
+#. PAGE BREAK 289
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This is just one project among many within the Creative Commons. And of "
+"course, Creative Commons is not the only organization pursuing such "
+"freedoms. But the point that distinguishes the Creative Commons from many is "
+"that we are not interested only in talking about a public domain or in "
+"getting legislators to help build a public domain. Our aim is to build a "
+"movement of consumers and producers of content (\"content conducers,\" as "
+"attorney Mia Garlick calls them) who help build the public domain and, by "
+"their work, demonstrate the importance of the public domain to other "
+"creativity."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The aim is not to fight the \"All Rights Reserved\" sorts. The aim is to "
+"complement them. The problems that the law creates for us as a culture are "
+"produced by insane and unintended consequences of laws written centuries "
+"ago, applied to a technology that only Jefferson could have imagined. The "
+"rules may well have made sense against a background of technologies from "
+"centuries ago, but they do not make sense against the background of digital "
+"technologies. New rules--with different freedoms, expressed in ways so that "
+"humans without lawyers can use them--are needed. Creative Commons gives "
+"people a way effectively to begin to build those rules."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Why would creators participate in giving up total control? Some participate "
+"to better spread their content. Cory Doctorow, for example, is a science "
+"fiction author. His first novel, Down and Out in the Magic Kingdom, was "
+"released on-line and for free, under a Creative Commons license, on the same "
+"day that it went on sale in bookstores."
+msgstr ""
+"Hvorfor ville skaperne delta i å gi opp full kontroll? noen delta for å "
+"bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-"
+"forfatter. hans første novelle, ned og ut i magiske riket, ble utgitt på "
+"nettet og gratis, under en creative commons-lisens på samme dag som det gikk "
+"på salg i bokhandler."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Why would a publisher ever agree to this? I suspect his publisher reasoned "
+"like this: There are two groups of people out there: (1) those who will buy "
+"Cory's book whether or not it's on the Internet, and (2) those who may "
+"never hear of Cory's book, if it isn't made available for free on the "
+"Internet. Some part of (1) will download Cory's book instead of buying it. "
+"Call them bad-(1)s. Some part of (2) will download Cory's book, like it, and "
+"then decide to buy it. Call them (2)-goods. If there are more (2)-goods "
+"than bad-(1)s, the strategy of releasing Cory's book free on-line will "
+"probably increase sales of Cory's book."
+msgstr ""
+"Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at "
+"hans publisher begrunnet som dette: det finnes to grupper av mennesker der "
+"ute: (1) de som vil kjøpe cory bok om det er på Internett, og (2) de som kan "
+"aldri høre av cory's bok, hvis det ikke er gjort tilgjengelig gratis på "
+"Internett. noen del av (1) laster ned cory bok i stedet for å kjøpe den. "
+"ringe dem dårlig-(1) s. noen del av (2) lastet ned cory's bok, liker det, og "
+"deretter bestemmer deg for å kjøpe den. kalle dem (2)-varer. Hvis det er mer "
+"(2)-varer enn dårlig-(1) s, strategien for lanserer cory bok gratis on-line "
+"trolig vil øke salg av cory's bok."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Indeed, the experience of his publisher clearly supports that conclusion. "
+"The book's first printing was exhausted months before the publisher had "
+"expected. This first novel of a science fiction author was a total success."
+msgstr ""
+"opplevelsen av hans publisher støtter faktisk klart at konklusjonen. bokens "
+"første utskrift er oppbrukt måneder før utgiveren hadde forventet. denne "
+"første romanen av en science fiction-forfatteren var en total suksess."
+
+#. PAGE BREAK 290
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The idea that free content might increase the value of nonfree content was "
+"confirmed by the experience of another author. Peter Wayner, who wrote a "
+"book about the free software movement titled Free for All, made an "
+"electronic version of his book free on-line under a Creative Commons license "
+"after the book went out of print. He then monitored used book store prices "
+"for the book. As predicted, as the number of downloads increased, the used "
+"book price for his book increased, as well."
+msgstr ""
+"ideen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av "
+"opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri "
+"programvare-bevegelsen med tittelen gratis for alle, en elektronisk versjon "
+"av sin bok gratis on-line under en creative commons-lisens etter at boken "
+"gikk ut av print. han overvåket deretter brukt boka store priser for boken. "
+"som spådd, som antall nedlastinger økt, brukte boken-pris for sin bok øker "
+"også."
+
+#. f2.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Willful Infringement: A Report from the Front Lines of the Real Culture Wars "
+"(2003), produced by Jed Horovitz, directed by Greg Hittelman, a Fiat Lucre "
+"production, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#72</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are examples of using the Commons to better spread proprietary "
+"content. I believe that is a wonderful and common use of the Commons. There "
+"are others who use Creative Commons licenses for other reasons. Many who use "
+"the \"sampling license\" do so because anything else would be hypocritical. "
+"The sampling license says that others are free, for commercial or "
+"noncommercial purposes, to sample content from the licensed work; they are "
+"just not free to make full copies of the licensed work available to others. "
+"This is consistent with their own art--they, too, sample from others. "
+"Because the legal costs of sampling are so high (Walter Leaphart, manager of "
+"the rap group Public Enemy, which was born sampling the music of others, has "
+"stated that he does not \"allow\" Public Enemy to sample anymore, because "
+"the legal costs are so high<placeholder type=\"footnote\" id=\"0\"/>), these "
+"artists release into the creative environment content that others can build "
+"upon, so that their form of creativity might grow."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Finally, there are many who mark their content with a Creative Commons "
+"license just because they want to express to others the importance of "
+"balance in this debate. If you just go along with the system as it is, you "
+"are effectively saying you believe in the \"All Rights Reserved\" model. "
+"Good for you, but many do not. Many believe that however appropriate that "
+"rule is for Hollywood and freaks, it is not an appropriate description of "
+"how most creators view the rights associated with their content. The "
+"Creative Commons license expresses this notion of \"Some Rights Reserved,\" "
+"and gives many the chance to say it to others."
+msgstr ""
+
+#. PAGE BREAK 291
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In the first six months of the Creative Commons experiment, over 1 million "
+"objects were licensed with these free-culture licenses. The next step is "
+"partnerships with middleware content providers to help them build into their "
+"technologies simple ways for users to mark their content with Creative "
+"Commons freedoms. Then the next step is to watch and celebrate creators who "
+"build content based upon content set free."
+msgstr ""
+"i de første seks månedene av creative commons-eksperimentet, ble over 1 "
+"million objekter lisensiert med disse gratis-kultur-lisenser. det neste "
+"trinnet er partnerskap med mellomvare innholdsleverandører å hjelpe dem å "
+"bygge inn i deres teknologier enkle måter for brukere å merke innholdet sitt "
+"med creative commons-friheter. så er neste trinn å se på og feire skaperne "
+"som bygger innhold basert på innhold satt fri."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are first steps to rebuilding a public domain. They are not mere "
+"arguments; they are action. Building a public domain is the first step to "
+"showing people how important that domain is to creativity and innovation. "
+"Creative Commons relies upon voluntary steps to achieve this rebuilding. "
+"They will lead to a world in which more than voluntary steps are possible."
+msgstr ""
+"Dette er første trinn å gjenoppbygge et frivare. de er ikke bare argumenter; "
+"de er handlingen. bygge et offentlig-domene er det første skrittet til viser "
+"folk hvor viktig dette domenet er til kreativitet og innovasjon. Creative "
+"commons, avhengig av frivillig tiltak for å oppnå dette å gjenoppbygge. de "
+"vil føre til en verden der flere frivillige trinnene er mulig."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Creative Commons is just one example of voluntary efforts by individuals and "
+"creators to change the mix of rights that now govern the creative field. The "
+"project does not compete with copyright; it complements it. Its aim is not "
+"to defeat the rights of authors, but to make it easier for authors and "
+"creators to exercise their rights more flexibly and cheaply. That "
+"difference, we believe, will enable creativity to spread more easily."
+msgstr ""
+"Creative commons er bare ett eksempel på frivillig innsats av enkeltpersoner "
+"og skaperne å endre blanding av rettigheter som nå styrer feltet kreative. "
+"prosjektet ikke stiller til Start med copyright; det utfyller det. Målet er "
+"ikke å beseire rettighetene til forfattere, men å gjøre det enklere for "
+"forfattere og skaperne å utøve sine rettigheter, mer fleksibelt og billig. "
+"at vi tror forskjellen, aktiverer kreativitet å spre lettere."
+
+#. type: Content of: <book><chapter><sect1><title>
+msgid "THEM, SOON"
+msgstr "dem snart"
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"We will not reclaim a free culture by individual action alone. It will also "
+"take important reforms of laws. We have a long way to go before the "
+"politicians will listen to these ideas and implement these reforms. But "
+"that also means that we have time to build awareness around the changes that "
+"we need."
+msgstr ""
+"Vi vil ikke gjenvinne en fri kultur av handling alene. det vil også ta "
+"viktige reformer av lover. Vi har en lang vei å gå før politikerne vil lytte "
+"til disse ideene og implementere disse reformene. men det betyr også at vi "
+"har tid til å bygge opp bevisstheten rundt endringene som vi trenger."
+
+#. type: Content of: <book><chapter><sect1><para>
+msgid ""
+"In this chapter, I outline five kinds of changes: four that are general, and "
+"one that's specific to the most heated battle of the day, music. Each is a "
+"step, not an end. But any of these steps would carry us a long way to our "
+"end."
+msgstr ""
+"i dette kapitlet, jeg skissere fem typer endringer: fire som er generelt, og "
+"som er spesifikk for den mest opphetede kampen på dagen, musikk. hver er et "
+"skritt, ikke en slutt. men noen av disse trinnene vil bære oss en lang vei "
+"til vår side."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "1. More Formalities"
+msgstr "1. mer formaliteter"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"If you buy a house, you have to record the sale in a deed. If you buy land "
+"upon which to build a house, you have to record the purchase in a deed. If "
+"you buy a car, you get a bill of sale and register the car. If you buy an "
+"airplane ticket, it has your name on it."
+msgstr ""
+"Hvis du kjøper et hus, må du registrere salg i en gjerning. Hvis du kjøper "
+"land som å bygge et hus, må du registrere kjøp i en gjerning. Hvis du kjøper "
+"en bil, kan du få en regning for salg og registrere bilen. Hvis du kjøper en "
+"flybillett, har navnet ditt på den."
+
+#. PAGE BREAK 293
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These are all formalities associated with property. They are requirements "
+"that we all must bear if we want our property to be protected."
+msgstr ""
+"disse er alle formaliteter knyttet til egenskapen. de er krav som vi alle må "
+"bære hvis vi ønsker vår eiendom skal beskyttes."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In contrast, under current copyright law, you automatically get a copyright, "
+"regardless of whether you comply with any formality. You don't have to "
+"register. You don't even have to mark your content. The default is control, "
+"and \"formalities\" are banished."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "Why?"
+msgstr "hvorfor?"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As I suggested in chapter 10, the motivation to abolish formalities was a "
+"good one. In the world before digital technologies, formalities imposed a "
+"burden on copyright holders without much benefit. Thus, it was progress when "
+"the law relaxed the formal requirements that a copyright owner must bear to "
+"protect and secure his work. Those formalities were getting in the way."
+msgstr ""
+"som jeg antydet i kapittel 10, var motivasjon til å avskaffe formaliteter en "
+"god en. i verden før digital teknologi pålagt formaliteter en byrde på "
+"innehaver av opphavsrett uten mye fordel. dermed var det fremdriften når "
+"loven avslappet formelle krav som en opphavsrettsinnehaveren må bære å "
+"beskytte og sikre hans arbeid. disse formaliteter var komme i veien."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But the Internet changes all this. Formalities today need not be a burden. "
+"Rather, the world without formalities is the world that burdens creativity. "
+"Today, there is no simple way to know who owns what, or with whom one must "
+"deal in order to use or build upon the creative work of others. There are no "
+"records, there is no system to trace-- there is no simple way to know how to "
+"get permission. Yet given the massive increase in the scope of copyright's "
+"rule, getting permission is a necessary step for any work that builds upon "
+"our past. And thus, the lack of formalities forces many into silence where "
+"they otherwise could speak."
+msgstr ""
+"men Internett endrer alt dette. formaliteter trenger i dag ikke være en "
+"byrde. verden uten formaliteter er heller verden som byrder kreativitet. i "
+"dag, det er ingen enkel måte å vite hvem som eier hva eller hvem må en "
+"avtale for å kunne bruke eller bygge på kreative arbeidet til andre. Det "
+"finnes ingen poster, er det ingen systemer til spor--det er ingen enkel måte "
+"å vite hvordan du får tillatelse. men gitt den massive økningen i omfanget "
+"av copyright's regelen, få tillatelse er et nødvendig skritt for alt arbeid "
+"som bygger på vår fortid. og dermed mangel på formaliteter styrker mange i "
+"stillhet der de ellers kunne snakke."
+
+#. f1.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"The proposal I am advancing here would apply to American works only. "
+"Obviously, I believe it would be beneficial for the same idea to be adopted "
+"by other countries as well."
+msgstr ""
+"forslaget jeg er fremme her ville gjelde american Works bare. Selvfølgelig, "
+"jeg tror det vil være fordelaktig for samme ideen om å bli vedtatt av andre "
+"land også."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The law should therefore change this requirement<placeholder type=\"footnote"
+"\" id=\"0\"/>--but it should not change it by going back to the old, broken "
+"system. We should require formalities, but we should establish a system that "
+"will create the incentives to minimize the burden of these formalities."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The important formalities are three: marking copyrighted work, registering "
+"copyrights, and renewing the claim to copyright. Traditionally, the first of "
+"these three was something the copyright owner did; the second two were "
+"something the government did. But a revised system of formalities would "
+"banish the government from the process, except for the sole purpose of "
+"approving standards developed by others."
+msgstr ""
+"viktig formaliteter er tre: merking opphavsrettsbeskyttede, registrerer "
+"opphavsrett og fornye kravet til copyright. tradisjonelt, var først av disse "
+"tre noe eieren av opphavsretten gjorde; de andre to var noe regjeringen "
+"gjorde. men et revidert system av formaliteter ville forvise regjeringen fra "
+"prosessen, unntatt for formålet å godkjenne standarder utviklet av andre."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><title>
+msgid "REGISTRATION AND RENEWAL"
+msgstr "registrering og fornyelse"
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"Under the old system, a copyright owner had to file a registration with the "
+"Copyright Office to register or renew a copyright. When filing that "
+"registration, the copyright owner paid a fee. As with most government "
+"agencies, the Copyright Office had little incentive to minimize the burden "
+"of registration; it also had little incentive to minimize the fee. And as "
+"the Copyright Office is not a main target of government policymaking, the "
+"office has historically been terribly underfunded. Thus, when people who "
+"know something about the process hear this idea about formalities, their "
+"first reaction is panic--nothing could be worse than forcing people to deal "
+"with the mess that is the Copyright Office."
+msgstr ""
+"under det gamle systemet hadde en opphavsrettighetene til filen en "
+"registrering med opphavsrett office registrere eller fornye opphavsretten. "
+"Når innlevering at registrering, betales eieren av opphavsretten en avgift. "
+"som med de fleste myndigheter hadde opphavsrett kontoret få insentiver til å "
+"minimere byrden av registrering; det hadde også få insentiver til å minimere "
+"gebyret. og så opphavsrett kontoret ikke er hovedmålet for regjeringen "
+"policymaking, kontoret har historisk sett vært veldig underfunded. Således, "
+"når folk som vet noe om prosessen hører denne ideen om formaliteter, deres "
+"første reaksjon er panikk--ingenting kunne være verre enn tvinge folk til å "
+"håndtere rotet som er copyright kontoret."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"Yet it is always astonishing to me that we, who come from a tradition of "
+"extraordinary innovation in governmental design, can no longer think "
+"innovatively about how governmental functions can be designed. Just because "
+"there is a public purpose to a government role, it doesn't follow that the "
+"government must actually administer the role. Instead, we should be creating "
+"incentives for private parties to serve the public, subject to standards "
+"that the government sets."
+msgstr ""
+"Likevel er det alltid utrolig for meg at vi, som kommer fra en tradisjon av "
+"ekstraordinære innovasjon i statlige design, kan ikke lenger tror innovativt "
+"om hvordan statlige funksjoner kan være utformet. bare fordi det er et "
+"offentlig formål til en regjering-rolle, følger ikke det at regjeringen må "
+"faktisk administrere rollen. i stedet, vi bør være å skape insentiver til "
+"private selskaper å tjene allmennheten, underlagt standarder som regjeringen "
+"angir."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"In the context of registration, one obvious model is the Internet. There "
+"are at least 32 million Web sites registered around the world. Domain name "
+"owners for these Web sites have to pay a fee to keep their registration "
+"alive. In the main top-level domains (.com, .org, .net), there is a central "
+"registry. The actual registrations are, however, performed by many competing "
+"registrars. That competition drives the cost of registering down, and more "
+"importantly, it drives the ease with which registration occurs up."
+msgstr ""
+"i sammenheng med registrering er en opplagt modell Internett. Det finnes "
+"minst 32 millioner web-områder som er registrert i verden. domeneeiere navn "
+"for disse web-områder må betale en avgift for å holde sine registrering "
+"Live. Det er et sentralt register i de viktigste domenene (.com, .org, ."
+"net). de faktiske registreringene utføres imidlertid av mange konkurrerende "
+"registrarer. at konkurransen stasjoner kostnadene for å registrere ned, og "
+"enda viktigere, det stasjoner brukervennligheten som registrering oppstår "
+"opp."
+
+#. PAGE BREAK 295
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"We should adopt a similar model for the registration and renewal of "
+"copyrights. The Copyright Office may well serve as the central registry, but "
+"it should not be in the registrar business. Instead, it should establish a "
+"database, and a set of standards for registrars. It should approve "
+"registrars that meet its standards. Those registrars would then compete with "
+"one another to deliver the cheapest and simplest systems for registering and "
+"renewing copyrights. That competition would substantially lower the burden "
+"of this formality--while producing a database of registrations that would "
+"facilitate the licensing of content."
+msgstr ""
+"vi alle bør vedtas en lignende modell for registrering og fornying av "
+"opphavsretten. opphavsrett kontoret kan også tjene som sentrale registret, "
+"men det bør ikke være i virksomhet registrar. Det bør i stedet opprette en "
+"database, og et sett med standarder for registrarer. det skal godkjenne "
+"registrarer som oppfyller sine standarder. disse registrarer vil så "
+"konkurrere med hverandre for å levere de billigste og enkleste systemene for "
+"registrering og fornying av opphavsrett. at konkurransen ville vesentlig "
+"lavere byrden av denne formalitet--mens en database med registreringer som "
+"ville forenkler lisensiering av innhold."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><title>
+msgid "MARKING"
+msgstr "merking"
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"It used to be that the failure to include a copyright notice on a creative "
+"work meant that the copyright was forfeited. That was a harsh punishment for "
+"failing to comply with a regulatory rule--akin to imposing the death penalty "
+"for a parking ticket in the world of creative rights. Here again, there is "
+"no reason that a marking requirement needs to be enforced in this way. And "
+"more importantly, there is no reason a marking requirement needs to be "
+"enforced uniformly across all media."
+msgstr ""
+"Det pleide å være at å inkludere en opphavsrett på en skapende arbeid "
+"betydde at opphavsretten ble forkastet. Det var en streng straff for ikke å "
+"overholde en regulatoriske regel--sammenlignes med imponerende dødsstraff "
+"for en parkeringsbilletten i verden av kreative rettigheter. Her igjen, er "
+"det ingen grunn som et merking krav må håndheves på denne måten. og enda "
+"viktigere, det er ingen grunn et merking krav må håndheves jevnt på tvers av "
+"alle medier."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"The aim of marking is to signal to the public that this work is copyrighted "
+"and that the author wants to enforce his rights. The mark also makes it easy "
+"to locate a copyright owner to secure permission to use the work."
+msgstr ""
+"Målet med merking er med signal til publikum at dette arbeidet er "
+"opphavsrettsbeskyttet, og at forfatteren ønsker å håndheve sine rettigheter. "
+"mark gjør det også enkelt å finne en som har opphavsrettighetene for å sikre "
+"tillatelse til å bruke arbeidet."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"One of the problems the copyright system confronted early on was that "
+"different copyrighted works had to be differently marked. It wasn't clear "
+"how or where a statue was to be marked, or a record, or a film. A new "
+"marking requirement could solve these problems by recognizing the "
+"differences in media, and by allowing the system of marking to evolve as "
+"technologies enable it to. The system could enable a special signal from the "
+"failure to mark--not the loss of the copyright, but the loss of the right to "
+"punish someone for failing to get permission first."
+msgstr ""
+"ett av problemene opphavsretten til systemet konfrontert tidlig var at ulike "
+"opphavsrettslig beskyttet verk måtte være annerledes merket. Det var ikke "
+"klart hvordan eller hvor en statue var å bli merket, eller en oppføring, "
+"eller en film. en nye merking kravet kunne løse disse problemene ved å "
+"gjenkjenne forskjellene i media, og tillater systemet av merking å utvikle "
+"seg som teknologier gir det til. systemet kan gjøre det mulig for en "
+"spesiell signalet fra å merke--ikke tap av opphavsretten, men tap av retten "
+"til å straffe noen for ikke å få tillatelse først."
+
+#. f2.
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para><footnote><para>
+msgid ""
+"There would be a complication with derivative works that I have not solved "
+"here. In my view, the law of derivatives creates a more complicated system "
+"than is justified by the marginal incentive it creates."
+msgstr ""
+"det ville være en complication med avledede produkter som jeg ikke har løst "
+"her. etter mitt syn er oppretter loven av derivater et mer komplisert system "
+"enn er rettferdiggjort av marginale incitament opprettes."
+
+#. PAGE BREAK 296
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"Let's start with the last point. If a copyright owner allows his work to be "
+"published without a copyright notice, the consequence of that failure need "
+"not be that the copyright is lost. The consequence could instead be that "
+"anyone has the right to use this work, until the copyright owner complains "
+"and demonstrates that it is his work and he doesn't give permission."
+"<placeholder type=\"footnote\" id=\"0\"/> The meaning of an unmarked work "
+"would therefore be \"use unless someone complains.\" If someone does "
+"complain, then the obligation would be to stop using the work in any new "
+"work from then on though no penalty would attach for existing uses. This "
+"would create a strong incentive for copyright owners to mark their work."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"That in turn raises the question about how work should best be marked. Here "
+"again, the system needs to adjust as the technologies evolve. The best way "
+"to ensure that the system evolves is to limit the Copyright Office's role to "
+"that of approving standards for marking content that have been crafted "
+"elsewhere."
+msgstr ""
+"som i sin tur reiser spørsmålet om hvordan arbeidet best bør være merket. "
+"Her igjen, må systemet justere som teknologien utvikler seg. den beste måten "
+"å sikre at systemet utvikler seg er å begrense opphavsrett kontorets rolle "
+"for å godkjenne standarder for å merke innhold som har vært laget andre "
+"steder."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"For example, if a recording industry association devises a method for "
+"marking CDs, it would propose that to the Copyright Office. The Copyright "
+"Office would hold a hearing, at which other proposals could be made. The "
+"Copyright Office would then select the proposal that it judged preferable, "
+"and it would base that choice solely upon the consideration of which method "
+"could best be integrated into the registration and renewal system. We would "
+"not count on the government to innovate; but we would count on the "
+"government to keep the product of innovation in line with its other "
+"important functions."
+msgstr ""
+"for eksempel hvis en recording industry association devises en metode for å "
+"merke CDer, ville det foreslå som til opphavsrett kontoret. opphavsrett "
+"kontoret ville holde en høring, som andre forslag kan gjøres. opphavsrett "
+"kontoret deretter velger forslaget at det dømt foretrekke, og det vil basere "
+"det valget utelukkende på vurdering som kan best metoden integreres i "
+"systemet registrering og fornyelse. Vi ville ikke stole på regjeringen til å "
+"skape noe nytt; men vi vil stole på regjeringen for å holde produktet av "
+"innovasjon i tråd med sin andre viktige funksjoner."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"Finally, marking content clearly would simplify registration requirements. "
+"If photographs were marked by author and year, there would be little reason "
+"not to allow a photographer to reregister, for example, all photographs "
+"taken in a particular year in one quick step. The aim of the formality is "
+"not to burden the creator; the system itself should be kept as simple as "
+"possible."
+msgstr ""
+"til slutt, markerer innholdet klart vil forenkle krav til registrering. Hvis "
+"fotografier var preget av forfatteren og år, ville det være liten grunn til "
+"ikke å tillate en fotograf å registrere på nytt, for eksempel alle bildene "
+"som er tatt i et bestemt år i ett trinn. Målet med formalitet er å unngå "
+"unødige belastninger skaperen; selve systemet bør holdes så enkelt som mulig."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"The objective of formalities is to make things clear. The existing system "
+"does nothing to make things clear. Indeed, it seems designed to make things "
+"unclear."
+msgstr ""
+"Målet med formaliteter er å gjøre ting klart. eksisterende systemet gjør "
+"ingenting for å gjøre ting klart. Ja, det synes designet for å gjøre ting "
+"som er uklart."
+
+#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
+msgid ""
+"If formalities such as registration were reinstated, one of the most "
+"difficult aspects of relying upon the public domain would be removed. It "
+"would be simple to identify what content is presumptively free; it would be "
+"simple to identify who controls the rights for a particular kind of content; "
+"it would be simple to assert those rights, and to renew that assertion at "
+"the appropriate time."
+msgstr ""
+"Hvis formaliteter for eksempel registrering er gjenopprettet, en av de "
+"vanskeligste sidene av stole på allemannseie ville bli fjernet. det ville "
+"være enkelt å identifisere hvilket innhold er presumptively gratis; det "
+"ville være enkelt å identifisere hvem styrer rettighetene for en bestemt "
+"type innhold; det ville være enkelt å hevde de rettighetene og å fornye at "
+"påstanden på riktig tidspunkt."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "2. Shorter Terms"
+msgstr "2. kortere vilkår"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The term of copyright has gone from fourteen years to ninety-five years for "
+"corporate authors, and life of the author plus seventy years for natural "
+"authors."
+msgstr ""
+"begrepet av opphavsrett har gått fra fjorten år til ninety-fem år for "
+"corporate forfattere og livet forfatter pluss sytti år for naturlig "
+"forfattere."
+
+#. f3.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #74</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In The Future of Ideas, I proposed a seventy-five-year term, granted in five-"
+"year increments with a requirement of renewal every five years. That seemed "
+"radical enough at the time. But after we lost Eldred v. Ashcroft, the "
+"proposals became even more radical. The Economist endorsed a proposal for a "
+"fourteen-year copyright term.<placeholder type=\"footnote\" id=\"0\"/> "
+"Others have proposed tying the term to the term for patents."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I agree with those who believe that we need a radical change in copyright's "
+"term. But whether fourteen years or seventy-five, there are four principles "
+"that are important to keep in mind about copyright terms."
+msgstr ""
+"Jeg er enig med de som tror at vi trenger en radikal endring i copyright's "
+"sikt. men om fjorten år eller sytti-fem, finnes det fire prinsipper som er "
+"viktig å huske på om opphavsrett terms."
+
+#. (1)
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"Keep it short: The term should be as long as necessary to give incentives to "
+"create, but no longer. If it were tied to very strong protections for "
+"authors (so authors were able to reclaim rights from publishers), rights to "
+"the same work (not derivative works) might be extended further. The key is "
+"not to tie the work up with legal regulations when it no longer benefits an "
+"author."
+msgstr ""
+"holde det kort: begrepet skal være så lenge som nødvendig for å gi "
+"insentiver til å opprette, men ikke lenger. Hvis det var knyttet til veldig "
+"sterk beskyttelse for forfattere (slik at forfattere klarte å gjenvinne "
+"rettigheter fra utgivere), kan rettighetene til frembringelsen som samme "
+"(ikke avledede) utvides ytterligere. nøkkelen er ikke å knytte arbeidet opp "
+"med forskrifter når det ikke lenger fordeler en forfatter."
+
+#. (2)
+#. PAGE BREAK 298
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"Keep it simple: The line between the public domain and protected content "
+"must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the "
+"distinction between \"ideas\" and \"expression.\" That kind of law gives "
+"them lots of work. But our framers had a simpler idea in mind: protected "
+"versus unprotected. The value of short terms is that there is little need "
+"to build exceptions into copyright when the term itself is kept short. A "
+"clear and active \"lawyer-free zone\" makes the complexities of \"fair use\" "
+"and \"idea/expression\" less necessary to navigate."
+msgstr ""
+
+#. f4.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><footnote><para>
+msgid ""
+"Department of Veterans Affairs, Veteran's Application for Compensation and/"
+"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #75</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"Keep it alive: Copyright should have to be renewed. Especially if the "
+"maximum term is long, the copyright owner should be required to signal "
+"periodically that he wants the protection continued. This need not be an "
+"onerous burden, but there is no reason this monopoly protection has to be "
+"granted for free. On average, it takes ninety minutes for a veteran to apply "
+"for a pension.<placeholder type=\"footnote\" id=\"0\"/> If we make veterans "
+"suffer that burden, I don't see why we couldn't require authors to spend ten "
+"minutes every fifty years to file a single form."
+msgstr ""
+
+#. (4)
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"Keep it prospective: Whatever the term of copyright should be, the clearest "
+"lesson that economists teach is that a term once given should not be "
+"extended. It might have been a mistake in 1923 for the law to offer authors "
+"only a fifty-six-year term. I don't think so, but it's possible. If it was a "
+"mistake, then the consequence was that we got fewer authors to create in "
+"1923 than we otherwise would have. But we can't correct that mistake today "
+"by increasing the term. No matter what we do today, we will not increase the "
+"number of authors who wrote in 1923. Of course, we can increase the reward "
+"that those who write now get (or alternatively, increase the copyright "
+"burden that smothers many works that are today invisible). But increasing "
+"their reward will not increase their creativity in 1923. What's not done is "
+"not done, and there's nothing we can do about that now."
+msgstr ""
+"holde det potensielle: hva begrepet av opphavsrett skal være, klareste "
+"lærdommen om at økonomer lære er at en term når gitt ikke bør utvides. Det "
+"kan ha vært en feil i 1923 for lov å tilby forfattere bare en femti-seks års "
+"sikt. Jeg tror ikke det, men det er mulig. Hvis det var en feil, da var "
+"konsekvensen at vi fikk færre forfattere å opprette i 1923 enn vi ellers "
+"ville ha. men vi kan ikke korrigere at feil i dag ved å øke begrepet. "
+"Uansett hva vi gjør i dag, vil vi ikke øke antall forfattere som skrev i "
+"1923. Selvfølgelig, kan vi øke belønning som dem som skriver nå få (eller "
+"eventuelt øke opphavsrett byrden som smothers mange fungerer som i dag er "
+"usynlig). men øke deres belønning vil ikke øke sin kreativitet i 1923. Hva "
+"er ikke gjort er ikke gjort, og det er ingenting vi kan gjøre med det nå."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These changes together should produce an average copyright term that is much "
+"shorter than the current term. Until 1976, the average term was just 32.2 "
+"years. We should be aiming for the same."
+msgstr ""
+"disse endringene skal sammen produsere en gjennomsnittlig opphavsrett begrep "
+"som er mye kortere enn gjeldende begrepet. frem til 1976 var gjennomsnittlig "
+"begrepet bare 32.2 år. Vi bør være sikter for samme."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No doubt the extremists will call these ideas \"radical.\" (After all, I "
+"call them \"extremists.\") But again, the term I recommended was longer than "
+"the term under Richard Nixon. How \"radical\" can it be to ask for a more "
+"generous copyright law than Richard Nixon presided over?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "3. Free Use Vs. Fair Use"
+msgstr "3. gratis bruk vs. fair use"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As I observed at the beginning of this book, property law originally granted "
+"property owners the right to control their property from the ground to the "
+"heavens. The airplane came along. The scope of property rights quickly "
+"changed. There was no fuss, no constitutional challenge. It made no sense "
+"anymore to grant that much control, given the emergence of that new "
+"technology."
+msgstr ""
+"som jeg observert i begynnelsen av denne boken, gitt "
+"opphavsrettslovgivningen opprinnelig bolig retten til å kontrollere deres "
+"eiendom fra bakken til himmelen. flyet kom. omfanget av eiendomsrettigheter "
+"endres raskt. Det var ingen oppstyr, ingen konstitusjonelle utfordring. det "
+"gjorde ingen sans lenger for å gi så mye kontroll, gitt fremveksten av den "
+"nye teknologien."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Our Constitution gives Congress the power to give authors \"exclusive right"
+"\" to \"their writings.\" Congress has given authors an exclusive right to "
+"\"their writings\" plus any derivative writings (made by others) that are "
+"sufficiently close to the author's original work. Thus, if I write a book, "
+"and you base a movie on that book, I have the power to deny you the right to "
+"release that movie, even though that movie is not \"my writing.\""
+msgstr ""
+
+#. f5.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia "
+"University Press, 1967), 32."
+msgstr ""
+"Benjamin kaplan, en makelige visning av opphavsrett (new york: columbia "
+"university press, 1967), 32."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Congress granted the beginnings of this right in 1870, when it expanded the "
+"exclusive right of copyright to include a right to control translations and "
+"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The "
+"courts have expanded it slowly through judicial interpretation ever since. "
+"This expansion has been commented upon by one of the law's greatest judges, "
+"Judge Benjamin Kaplan."
+msgstr ""
+
+#. f6.
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
+msgid "Ibid., 56."
+msgstr "ibid., 56."
+
+#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
+msgid ""
+"So inured have we become to the extension of the monopoly to a large range "
+"of so-called derivative works, that we no longer sense the oddity of "
+"accepting such an enlargement of copyright while yet intoning the "
+"abracadabra of idea and expression.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I think it's time to recognize that there are airplanes in this field and "
+"the expansiveness of these rights of derivative use no longer make sense. "
+"More precisely, they don't make sense for the period of time that a "
+"copyright runs. And they don't make sense as an amorphous grant. Consider "
+"each limitation in turn."
+msgstr ""
+"Jeg tror det er på tide å anerkjenne at det er fly i dette feltet og "
+"expansiveness av disse rettigheter til avledede bruk ikke lenger fornuftig. "
+"mer presist, fornuftig de ikke for hvor lang tid som en copyright kjører. og "
+"de har ikke noen mening som en formløse grant. vurdere hver begrensning "
+"igjen."
+
+#. PAGE BREAK 300
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Term: If Congress wants to grant a derivative right, then that right should "
+"be for a much shorter term. It makes sense to protect John Grisham's right "
+"to sell the movie rights to his latest novel (or at least I'm willing to "
+"assume it does); but it does not make sense for that right to run for the "
+"same term as the underlying copyright. The derivative right could be "
+"important in inducing creativity; it is not important long after the "
+"creative work is done."
+msgstr ""
+"begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for "
+"en mye kortere sikt. Det er fornuftig å beskytte john grisham's rett til å "
+"selge film rettighetene til hans siste roman (eller minst er jeg villig til "
+"å påta seg det gjør); men det gjør ikke sans for det riktig å kjøre på samme "
+"ordet som underliggende opphavsretten. avledede høyre kan være viktig i "
+"inducing kreativitet; Det er ikke viktig lenge etter skapende arbeid er "
+"gjort."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Scope: Likewise should the scope of derivative rights be narrowed. Again, "
+"there are some cases in which derivative rights are important. Those should "
+"be specified. But the law should draw clear lines around regulated and "
+"unregulated uses of copyrighted material. When all \"reuse\" of creative "
+"material was within the control of businesses, perhaps it made sense to "
+"require lawyers to negotiate the lines. It no longer makes sense for lawyers "
+"to negotiate the lines. Think about all the creative possibilities that "
+"digital technologies enable; now imagine pouring molasses into the machines. "
+"That's what this general requirement of permission does to the creative "
+"process. Smothers it."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This was the point that Alben made when describing the making of the Clint "
+"Eastwood CD. While it makes sense to require negotiation for foreseeable "
+"derivative rights--turning a book into a movie, or a poem into a musical "
+"score--it doesn't make sense to require negotiation for the unforeseeable. "
+"Here, a statutory right would make much more sense."
+msgstr ""
+"Dette var poenget som alben gjort når beskriver inngåelse av clint eastwood-"
+"cd. mens det er fornuftig å kreve forhandling for overskuelig avledede "
+"rettigheter--snu en bok i en film eller et dikt i en musikalsk poengsum--det "
+"ikke fornuftig å kreve forhandling for den unforeseeable. her, ville en "
+"lovfestet rett gjøre mye mer fornuftig."
+
+#. f7.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial "
+#| "Jukebox (Stanford: Stanford University Press, 2003), 187216."
+msgid ""
+"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox "
+"(Stanford: Stanford University Press, 2003), 187216."
+msgstr ""
+"Paul goldstein, copyright's highway: fra gutenberg til den himmelske "
+"jukeboksen (stanford: stanford university press, 2003), 187216."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In each of these cases, the law should mark the uses that are protected, and "
+"the presumption should be that other uses are not protected. This is the "
+"reverse of the recommendation of my colleague Paul Goldstein.<placeholder "
+"type=\"footnote\" id=\"0\"/> His view is that the law should be written so "
+"that expanded protections follow expanded uses."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Goldstein's analysis would make perfect sense if the cost of the legal "
+"system were small. But as we are currently seeing in the context of the "
+"Internet, the uncertainty about the scope of protection, and the incentives "
+"to protect existing architectures of revenue, combined with a strong "
+"copyright, weaken the process of innovation."
+msgstr ""
+"goldstein's analyse ville gjøre perfekt forstand Hvis kostnaden for juridisk "
+"system var små. men som vi nå ser i sammenheng med Internett, usikkerhet om "
+"omfanget av beskyttelse og insentiver for å beskytte eksisterende "
+"arkitekturer av inntekt, kombinert med en sterk copyright svekke prosessen "
+"med innovasjon."
+
+#. PAGE BREAK 301
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The law could remedy this problem either by removing protection beyond the "
+"part explicitly drawn or by granting reuse rights upon certain statutory "
+"conditions. Either way, the effect would be to free a great deal of culture "
+"to others to cultivate. And under a statutory rights regime, that reuse "
+"would earn artists more income."
+msgstr ""
+"loven kan rette opp dette problemet ved å fjerne beskyttelsen utover delen "
+"som er eksplisitt tegnede eller ved å gi gjenbruk rettigheter på visse "
+"lovbestemte betingelser. Uansett hva effekten ville være å frigjøre mye "
+"kultur for andre å dyrke. og under en lovbestemte rettigheter-regimet at "
+"gjenbruk ville tjene artister mer inntekter."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "4. Liberate the Music--Again"
+msgstr "4. frigjøre musikk--på nytt"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The battle that got this whole war going was about music, so it wouldn't be "
+"fair to end this book without addressing the issue that is, to most people, "
+"most pressing--music. There is no other policy issue that better teaches the "
+"lessons of this book than the battles around the sharing of music."
+msgstr ""
+"Slaget som fikk dette hele krigen går var om musikk, så det ikke ville være "
+"rettferdig å avslutte denne boken uten å ta opp problemet som er, for "
+"fleste, de fleste presserende--musikk. Det er ingen andre spørsmål som bedre "
+"lærer erfaringene fra denne boken enn slagene rundt deling av musikk."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The appeal of file-sharing music was the crack cocaine of the Internet's "
+"growth. It drove demand for access to the Internet more powerfully than any "
+"other single application. It was the Internet's killer app--possibly in two "
+"senses of that word. It no doubt was the application that drove demand for "
+"bandwidth. It may well be the application that drives demand for regulations "
+"that in the end kill innovation on the network."
+msgstr ""
+"Anken av fildelings-musikken var crack-kokain av internetts vekst. den "
+"kjørte behov for tilgang til Internett mer kraftfullt enn andre enkelt "
+"program. Det var Internetts killer app--muligens i to sanser i beskrivelsen "
+"av ordet. Det var ingen tvil om programmet som kjørte etterspørselen etter "
+"båndbredde. Det kan godt være programmet som driver etterspørselen etter "
+"forskrifter som til slutt drepe innovasjon på nettverket."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The aim of copyright, with respect to content in general and music in "
+"particular, is to create the incentives for music to be composed, performed, "
+"and, most importantly, spread. The law does this by giving an exclusive "
+"right to a composer to control public performances of his work, and to a "
+"performing artist to control copies of her performance."
+msgstr ""
+"Målet med opphavsrett, med hensyn til innhold Generelt og musikk er spesielt "
+"å skape insentiver for musikk komponert, utført, og, viktigst, spre. loven "
+"gjør dette ved å gi en eksklusiv rett til en komponisten å kontrollere "
+"offentlig fremføring av sitt arbeid, og til en profesjonell artist å "
+"kontrollere kopier av hennes ytelse."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"File-sharing networks complicate this model by enabling the spread of "
+"content for which the performer has not been paid. But of course, that's not "
+"all the file-sharing networks do. As I described in chapter 5, they enable "
+"four different kinds of sharing:"
+msgstr ""
+"fildeling nettverk komplisere denne modellen ved å aktivere spredning av "
+"innhold som utøveren ikke er blitt betalt. men selvfølgelig, det er ikke "
+"alle fildeling nettverk gjør. som jeg beskrevet i kapittel 5, aktivere de "
+"fire forskjellige typer deling:"
+
+#. A.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are some who are using sharing networks as substitutes for purchasing "
+"CDs."
+msgstr ""
+"Det er noen som bruker deling nettverk som erstatninger for å kjøpe CDer."
+
+#. B.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are also some who are using sharing networks to sample, on the way to "
+"purchasing CDs."
+msgstr ""
+"Det er også noen som bruker deling nettverk for å prøve, på vei til å kjøpe "
+"CDer."
+
+#. PAGE BREAK 302
+#. C.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are many who are using file-sharing networks to get access to content "
+"that is no longer sold but is still under copyright or that would have been "
+"too cumbersome to buy off the Net."
+msgstr ""
+"Det er mange som bruker fildelingsprogrammer nettverk til å få tilgang til "
+"innhold som selges ikke lenger, men er fortsatt under opphavsrett eller som "
+"ville ha vært altfor tunge å kjøpe fra nettet."
+
+#. D.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"There are many who are using file-sharing networks to get access to content "
+"that is not copyrighted or to get access that the copyright owner plainly "
+"endorses."
+msgstr ""
+"Det er mange som bruker fildelingsprogrammer nettverk å få tilgang til "
+"innhold som ikke er beskyttet av opphavsretten, eller å få tilgang som "
+"eieren av opphavsretten tydelig godkjenner."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Any reform of the law needs to keep these different uses in focus. It must "
+"avoid burdening type D even if it aims to eliminate type A. The eagerness "
+"with which the law aims to eliminate type A, moreover, should depend upon "
+"the magnitude of type B. As with VCRs, if the net effect of sharing is "
+"actually not very harmful, the need for regulation is significantly weakened."
+msgstr ""
+"noen reform av loven behov for å holde disse ulike bruksområder i fokus. den "
+"må unngå bebyrde type d selv om formålet er å eliminere type a. den iver "
+"etter med som loven sikte på å eliminere type a, videre bør avhenger "
+"omfanget av typen b. som med videospillere, hvis netto effekt av en deling "
+"er faktisk ikke svært skadelige, behovet for regulering er betydelig svekket."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"As I said in chapter 5, the actual harm caused by sharing is controversial. "
+"For the purposes of this chapter, however, I assume the harm is real. I "
+"assume, in other words, that type A sharing is significantly greater than "
+"type B, and is the dominant use of sharing networks."
+msgstr ""
+"som jeg sa i kapittel 5, er den faktiske skaden forårsaket av deling "
+"kontroversielt. i hensikt av dette kapitlet, men antar jeg skaden er reell. "
+"Jeg antar, med andre ord, denne typen en deling er betydelig større enn type "
+"b, og er dominerende bruk av deling av nettverk."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Nonetheless, there is a crucial fact about the current technological context "
+"that we must keep in mind if we are to understand how the law should respond."
+msgstr ""
+"Likevel, det er en avgjørende faktor om gjeldende teknologiske kontekst som "
+"vi må huske på at vi skal forstå hvordan loven skal reagere."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Today, file sharing is addictive. In ten years, it won't be. It is addictive "
+"today because it is the easiest way to gain access to a broad range of "
+"content. It won't be the easiest way to get access to a broad range of "
+"content in ten years. Today, access to the Internet is cumbersome and slow--"
+"we in the United States are lucky to have broadband service at 1.5 MBs, and "
+"very rarely do we get service at that speed both up and down. Although "
+"wireless access is growing, most of us still get access across wires. Most "
+"only gain access through a machine with a keyboard. The idea of the always "
+"on, always connected Internet is mainly just an idea."
+msgstr ""
+"i dag, er fildeling addictive. i ti år, vil ikke det være. Det er addictive "
+"i dag fordi det er den enkleste måten å få tilgang til et bredt spekter av "
+"innhold. det vil ikke være den enkleste måten å få tilgang til et bredt "
+"spekter av innhold i ti år. i dag, tilgang til Internett er tunge og sakte--"
+"vi i USA er heldig å ha bredbåndstjeneste på 1,5 mbs og svært sjelden får vi "
+"service på den hastigheten som er både opp og ned. Selv om trådløs tilgang "
+"er økende, få de fleste av oss fortsatt tilgang på tvers av ledninger. de "
+"fleste bare få tilgang gjennom en maskin med et tastatur. ideen om den "
+"alltid på, alltid tilkoblet Internett er hovedsakelig bare en idé."
+
+#. PAGE BREAK 303
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But it will become a reality, and that means the way we get access to the "
+"Internet today is a technology in transition. Policy makers should not make "
+"policy on the basis of technology in transition. They should make policy on "
+"the basis of where the technology is going. The question should not be, how "
+"should the law regulate sharing in this world? The question should be, what "
+"law will we require when the network becomes the network it is clearly "
+"becoming? That network is one in which every machine with electricity is "
+"essentially on the Net; where everywhere you are--except maybe the desert or "
+"the Rockies--you can instantaneously be connected to the Internet. Imagine "
+"the Internet as ubiquitous as the best cell-phone service, where with the "
+"flip of a device, you are connected."
+msgstr ""
+"men det vil bli en realitet, og det betyr at måten vi får tilgang til "
+"Internett i dag er en teknologi i overgangen. beslutningstakere må ikke "
+"policyen på grunnlag av teknologi i overgangen. de bør gjøre policyen på "
+"grunnlag av hvor teknologien går. spørsmålet bør ikke være, og hvordan bør "
+"loven regulere deling i denne verden? spørsmålet bør være, hva loven vil vi "
+"krever når nettverket blir nettverket blir det klart? Dette nettverket er en "
+"der hver enkelt maskin med elektrisitet er egentlig på nettet; der overalt "
+"du er--unntatt kanskje ørkenen eller rockies--du kan umiddelbart kobles til "
+"Internett. Tenk deg så allestedsnærværende som beste mobiltelefonen "
+"tjenesten, der med flippen på en enhet, du er tilkoblet Internett."
+
+#. f8.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April "
+"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #76</"
+"ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"In that world, it will be extremely easy to connect to services that give "
+"you access to content on the fly--such as Internet radio, content that is "
+"streamed to the user when the user demands. Here, then, is the critical "
+"point: When it is extremely easy to connect to services that give access to "
+"content, it will be easier to connect to services that give you access to "
+"content than it will be to download and store content on the many devices "
+"you will have for playing content. It will be easier, in other words, to "
+"subscribe than it will be to be a database manager, as everyone in the "
+"download-sharing world of Napster-like technologies essentially is. Content "
+"services will compete with content sharing, even if the services charge "
+"money for the content they give access to. Already cell-phone services in "
+"Japan offer music (for a fee) streamed over cell phones (enhanced with plugs "
+"for headphones). The Japanese are paying for this content even though \"free"
+"\" content is available in the form of MP3s across the Web.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. PAGE BREAK 304
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This point about the future is meant to suggest a perspective on the "
+"present: It is emphatically temporary. The \"problem\" with file sharing--to "
+"the extent there is a real problem--is a problem that will increasingly "
+"disappear as it becomes easier to connect to the Internet. And thus it is "
+"an extraordinary mistake for policy makers today to be \"solving\" this "
+"problem in light of a technology that will be gone tomorrow. The question "
+"should not be how to regulate the Internet to eliminate file sharing (the "
+"Net will evolve that problem away). The question instead should be how to "
+"assure that artists get paid, during this transition between twentieth-"
+"century models for doing business and twenty-first-century technologies."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The answer begins with recognizing that there are different \"problems\" "
+"here to solve. Let's start with type D content--uncopyrighted content or "
+"copyrighted content that the artist wants shared. The \"problem\" with this "
+"content is to make sure that the technology that would enable this kind of "
+"sharing is not rendered illegal. You can think of it this way: Pay phones "
+"are used to deliver ransom demands, no doubt. But there are many who need "
+"to use pay phones who have nothing to do with ransoms. It would be wrong to "
+"ban pay phones in order to eliminate kidnapping."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Type C content raises a different \"problem.\" This is content that was, at "
+"one time, published and is no longer available. It may be unavailable "
+"because the artist is no longer valuable enough for the record label he "
+"signed with to carry his work. Or it may be unavailable because the work is "
+"forgotten. Either way, the aim of the law should be to facilitate the access "
+"to this content, ideally in a way that returns something to the artist."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Again, the model here is the used book store. Once a book goes out of print, "
+"it may still be available in libraries and used book stores. But libraries "
+"and used book stores don't pay the copyright owner when someone reads or "
+"buys an out-of-print book. That makes total sense, of course, since any "
+"other system would be so burdensome as to eliminate the possibility of used "
+"book stores' existing. But from the author's perspective, this \"sharing\" "
+"of his content without his being compensated is less than ideal."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The model of used book stores suggests that the law could simply deem out-of-"
+"print music fair game. If the publisher does not make copies of the music "
+"available for sale, then commercial and noncommercial providers would be "
+"free, under this rule, to \"share\" that content, even though the sharing "
+"involved making a copy. The copy here would be incidental to the trade; in a "
+"context where commercial publishing has ended, trading music should be as "
+"free as trading books."
+msgstr ""
+
+#. PAGE BREAK 305
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Alternatively, the law could create a statutory license that would ensure "
+"that artists get something from the trade of their work. For example, if the "
+"law set a low statutory rate for the commercial sharing of content that was "
+"not offered for sale by a commercial publisher, and if that rate were "
+"automatically transferred to a trust for the benefit of the artist, then "
+"businesses could develop around the idea of trading this content, and "
+"artists would benefit from this trade."
+msgstr ""
+"loven kan eventuelt opprette en lovbestemte lisens som vil sørge for at "
+"artister får noe fra handel av sitt arbeid. for eksempel hvis loven satt en "
+"lav lovbestemte sats for kommersielle deling av innhold som ikke ble tilbudt "
+"for salg av en kommersiell utgiver, og hvis den hastigheten ble automatisk "
+"overført til en tillit til fordel for kunstneren, deretter bedrifter kan "
+"utvikle rundt ideen om handel dette innholdet, og kunstnere vil dra nytte av "
+"denne handelen."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This system would also create an incentive for publishers to keep works "
+"available commercially. Works that are available commercially would not be "
+"subject to this license. Thus, publishers could protect the right to charge "
+"whatever they want for content if they kept the work commercially available. "
+"But if they don't keep it available, and instead, the computer hard disks of "
+"fans around the world keep it alive, then any royalty owed for such copying "
+"should be much less than the amount owed a commercial publisher."
+msgstr ""
+"Dette systemet vil også skape et insentiv for utgivere å holde works "
+"tilgjengelig kommersielt. verk som er kommersielt tilgjengelige ville ikke "
+"være underlagt denne lisensen. utgivere kan derfor beskytte retten til å "
+"belaste hva de vil for innhold hvis de holdt arbeidet som er kommersielt "
+"tilgjengelig. men hvis de ikke holde det tilgjengelig, og i stedet, "
+"datamaskin harddisk av fans over hele verden holde det Live, deretter alle "
+"royalty skyldte for slike kopiering bør være mye mindre enn beløpet skyldte "
+"en kommersiell utgiver."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The hard case is content of types A and B, and again, this case is hard only "
+"because the extent of the problem will change over time, as the technologies "
+"for gaining access to content change. The law's solution should be as "
+"flexible as the problem is, understanding that we are in the middle of a "
+"radical transformation in the technology for delivering and accessing "
+"content."
+msgstr ""
+"vanskelig saken er innhold av typer en og b, og igjen, denne saken er "
+"vanskelig fordi omfanget av problemet vil endres over tid, som teknologiene "
+"for å få tilgang til innhold endres. lovens løsning skal være så fleksibelt "
+"som problemet er, forstå at vi er midt i en radikal endring i teknologien "
+"for å levere og tilgang til innhold."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"So here's a solution that will at first seem very strange to both sides in "
+"this war, but which upon reflection, I suggest, should make some sense."
+msgstr ""
+"så her er en løsning som vil først virke underlig til begge sider i denne "
+"krigen, men som på refleksjon, jeg foreslå, bør gjøre noe fornuftig."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Stripped of the rhetoric about the sanctity of property, the basic claim of "
+"the content industry is this: A new technology (the Internet) has harmed a "
+"set of rights that secure copyright. If those rights are to be protected, "
+"then the content industry should be compensated for that harm. Just as the "
+"technology of tobacco harmed the health of millions of Americans, or the "
+"technology of asbestos caused grave illness to thousands of miners, so, too, "
+"has the technology of digital networks harmed the interests of the content "
+"industry."
+msgstr ""
+"frastjålet retorikken om sanctity av egenskapen, grunnleggende kravet av "
+"innhold industrien er dette: en ny teknologi (Internett) har skadet et sett "
+"med rettigheter som sikre copyright. Hvis disse rettighetene er å bli "
+"beskyttet, så innhold industrien skal kompenseres for at skade. akkurat som "
+"teknologien av tobakk skadet helsen til millioner av amerikanere, eller "
+"teknologien for asbest forårsaket en alvorlig sykdom til tusenvis av miners, "
+"så har også, teknologien for digitale nettverk skadet interessene til "
+"innhold industrien."
+
+#. PAGE BREAK 306
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I love the Internet, and so I don't like likening it to tobacco or "
+"asbestos. But the analogy is a fair one from the perspective of the law. "
+"And it suggests a fair response: Rather than seeking to destroy the "
+"Internet, or the p2p technologies that are currently harming content "
+"providers on the Internet, we should find a relatively simple way to "
+"compensate those who are harmed."
+msgstr ""
+"Jeg elsker Internett, og så jeg ikke liker likening det til tobakk eller "
+"asbest. men analogien er en rettferdig en fra et perspektiv av loven. og det "
+"antyder en virkelig svar: i stedet for søker å ødelegge Internett eller p2p-"
+"teknologier som er tiden skade innholdsleverandører på Internett, må vi "
+"finne en relativt enkel måte å kompensere de som er skadet."
+
+#. f9.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"William Fisher, Digital Music: Problems and Possibilities (last revised: 10 "
+"October 2000), available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #77</ulink>; William Fisher, Promises to Keep: Technology, Law, and "
+"the Future of Entertainment (forthcoming) (Stanford: Stanford University "
+"Press, 2004), ch. 6, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #78</ulink>. Professor Netanel has proposed a related idea that "
+"would exempt noncommercial sharing from the reach of copyright and would "
+"establish compensation to artists to balance any loss. See Neil Weinstock "
+"Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. "
+"For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" "
+"Washington Post, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman "
+"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate "
+"Foreign Relations Committee, 26 February 2002, available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, A Quick "
+"Case for Intellectual Property Use Fee (IPUF), 3 March 2002, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson "
+"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" USA Today, 13 "
+"May 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#82</ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum "
+"Online, 1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" "
+"CNET News.com, 27 August 2002, available at <ulink url=\"http://free-culture."
+"cc/notes/\">link #84</ulink>. Fisher's proposal is very similar to Richard "
+"Stallman's proposal for DAT. Unlike Fisher's, Stallman's proposal would not "
+"pay artists directly proportionally, though more popular artists would get "
+"more than the less popular. As is typical with Stallman, his proposal "
+"predates the current debate by about a decade. See <ulink url=\"http://free-"
+"culture.cc/notes/\">link #85</ulink>."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The idea would be a modification of a proposal that has been floated by "
+"Harvard law professor William Fisher.<placeholder type=\"footnote\" id=\"0\"/"
+"> Fisher suggests a very clever way around the current impasse of the "
+"Internet. Under his plan, all content capable of digital transmission would "
+"(1) be marked with a digital watermark (don't worry about how easy it is to "
+"evade these marks; as you'll see, there's no incentive to evade them). Once "
+"the content is marked, then entrepreneurs would develop (2) systems to "
+"monitor how many items of each content were distributed. On the basis of "
+"those numbers, then (3) artists would be compensated. The compensation would "
+"be paid for by (4) an appropriate tax."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Fisher's proposal is careful and comprehensive. It raises a million "
+"questions, most of which he answers well in his upcoming book, Promises to "
+"Keep. The modification that I would make is relatively simple: Fisher "
+"imagines his proposal replacing the existing copyright system. I imagine it "
+"complementing the existing system. The aim of the proposal would be to "
+"facilitate compensation to the extent that harm could be shown. This "
+"compensation would be temporary, aimed at facilitating a transition between "
+"regimes. And it would require renewal after a period of years. If it "
+"continues to make sense to facilitate free exchange of content, supported "
+"through a taxation system, then it can be continued. If this form of "
+"protection is no longer necessary, then the system could lapse into the old "
+"system of controlling access."
+msgstr ""
+"fisher's forslag er grundige og omfattende. det reiser en million "
+"spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. "
+"endring som jeg ville gjøre er relativt enkel: fisher bilder hans forslag "
+"erstatte eksisterende opphavsretten til systemet. Jeg antar det utfyller det "
+"eksisterende systemet. Målet med forslaget vil være å forenkle kompensasjon "
+"i den grad at skade kan bli vist. Denne kompensasjon skulle være "
+"midlertidig, som tar sikte på å lette en overgang mellom regimer. og det "
+"ville kreve fornyelse etter en periode med årene. Hvis den fortsetter å gi "
+"mening å forenkle gratis utveksling av innhold, støttet gjennom en "
+"skattesystemet, så det kan fortsettes. Hvis denne typen beskyttelse ikke "
+"lenger er nødvendig, kan systemet lapse i det gamle systemet å kontrollere "
+"tilgangen."
+
+#. PAGE BREAK 307
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Fisher would balk at the idea of allowing the system to lapse. His aim is "
+"not just to ensure that artists are paid, but also to ensure that the system "
+"supports the widest range of \"semiotic democracy\" possible. But the aims "
+"of semiotic democracy would be satisfied if the other changes I described "
+"were accomplished--in particular, the limits on derivative uses. A system "
+"that simply charges for access would not greatly burden semiotic democracy "
+"if there were few limitations on what one was allowed to do with the content "
+"itself."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"No doubt it would be difficult to calculate the proper measure of \"harm\" "
+"to an industry. But the difficulty of making that calculation would be "
+"outweighed by the benefit of facilitating innovation. This background system "
+"to compensate would also not need to interfere with innovative proposals "
+"such as Apple's MusicStore. As experts predicted when Apple launched the "
+"MusicStore, it could beat \"free\" by being easier than free is. This has "
+"proven correct: Apple has sold millions of songs at even the very high price "
+"of 99 cents a song. (At 99 cents, the cost is the equivalent of a per-song "
+"CD price, though the labels have none of the costs of a CD to pay.) Apple's "
+"move was countered by Real Networks, offering music at just 79 cents a song. "
+"And no doubt there will be a great deal of competition to offer and sell "
+"music on-line."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This competition has already occurred against the background of \"free\" "
+"music from p2p systems. As the sellers of cable television have known for "
+"thirty years, and the sellers of bottled water for much more than that, "
+"there is nothing impossible at all about \"competing with free.\" Indeed, if "
+"anything, the competition spurs the competitors to offer new and better "
+"products. This is precisely what the competitive market was to be about. "
+"Thus in Singapore, though piracy is rampant, movie theaters are often "
+"luxurious--with \"first class\" seats, and meals served while you watch a "
+"movie--as they struggle and succeed in finding ways to compete with \"free.\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"This regime of competition, with a backstop to assure that artists don't "
+"lose, would facilitate a great deal of innovation in the delivery of "
+"content. That competition would continue to shrink type A sharing. It would "
+"inspire an extraordinary range of new innovators--ones who would have a "
+"right to the content, and would no longer fear the uncertain and "
+"barbarically severe punishments of the law."
+msgstr ""
+"Dette regimet av konkurranse, med en backstop å sikre at kunstnere ikke "
+"mister, ville gjøre mye innovasjon innen levering av innhold. at "
+"konkurransen ville fortsette å krympe type en deling. det vil inspirere en "
+"ekstraordinære rekke nye innovators--de som ville ha rett til innholdet, og "
+"ville ikke lenger frykter usikker og barbarically alvorlige straffene av "
+"loven."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "In summary, then, my proposal is this:"
+msgstr "Oppsummert, så er mitt forslag dette:"
+
+#. PAGE BREAK 308
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The Internet is in transition. We should not be regulating a technology in "
+"transition. We should instead be regulating to minimize the harm to "
+"interests affected by this technological change, while enabling, and "
+"encouraging, the most efficient technology we can create."
+msgstr ""
+"Internett er i overgang. Vi bør ikke regulerer en teknologi i overgangen. Vi "
+"bør i stedet regulerer for å minimere skade på interesser som er berørt av "
+"denne teknologiske endringen, samtidig som du gir, og oppmuntre, den mest "
+"effektive teknologien vi kan opprette."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid "We can minimize that harm while maximizing the benefit to innovation by"
+msgstr ""
+"Vi kan minimere den skade samtidig maksimere fordelen til innovasjon av"
+
+#. 1.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid "guaranteeing the right to engage in type D sharing;"
+msgstr "garantere retten til å engasjere seg i type-d dele;"
+
+#. 2.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"permitting noncommercial type C sharing without liability, and commercial "
+"type C sharing at a low and fixed rate set by statute;"
+msgstr ""
+"tillater ikke-kommersiell type c deling uten erstatningsansvar og "
+"kommersielle type c deling med en lav og fast hastighet ved lov;"
+
+#. 3.
+#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
+msgid ""
+"while in this transition, taxing and compensating for type A sharing, to the "
+"extent actual harm is demonstrated."
+msgstr ""
+"mens du er i denne overgangen, taxing og kompensere for typen en deling, i "
+"grad er faktiske skade vist."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But what if \"piracy\" doesn't disappear? What if there is a competitive "
+"market providing content at a low cost, but a significant number of "
+"consumers continue to \"take\" content for nothing? Should the law do "
+"something then?"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Yes, it should. But, again, what it should do depends upon how the facts "
+"develop. These changes may not eliminate type A sharing. But the real issue "
+"is not whether it eliminates sharing in the abstract. The real issue is its "
+"effect on the market. Is it better (a) to have a technology that is 95 "
+"percent secure and produces a market of size x, or (b) to have a technology "
+"that is 50 percent secure but produces a market of five times x? Less secure "
+"might produce more unauthorized sharing, but it is likely to also produce a "
+"much bigger market in authorized sharing. The most important thing is to "
+"assure artists' compensation without breaking the Internet. Once that's "
+"assured, then it may well be appropriate to find ways to track down the "
+"petty pirates."
+msgstr ""
+"Ja, det skal. men igjen, hva det gjør avhenger hvordan fakta utvikle. disse "
+"endringene kan ikke eliminere type en deling. men det virkelige problemet er "
+"ikke om det eliminerer deling i abstrakt. det virkelige problemet er sin "
+"effekt på markedet. er det bedre (a) å ha en teknologi som er 95 prosent "
+"sikker og produserer et marked av størrelse x, eller (b) for å ha en "
+"teknologi som er 50 prosent sikker, men gir et marked av fem ganger x? "
+"mindre sikker kan gi mer uautorisert deling, men det er sannsynlig å "
+"produsere også et mye større marked i autoriserte deling. viktigste er å "
+"sikre kunstneres kompensasjon uten å bryte Internett. Når som er trygg, kan "
+"deretter det godt være riktig å finne måter å spore opp smålig pirates."
+
+#. PAGE BREAK 309
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But we're a long way away from whittling the problem down to this subset of "
+"type A sharers. And our focus until we're there should not be on finding "
+"ways to break the Internet. Our focus until we're there should be on how to "
+"make sure the artists are paid, while protecting the space for innovation "
+"and creativity that the Internet is."
+msgstr ""
+"men vi er langt unna whittling problemet ned til dette delsettet av typen en "
+"sharers. og vårt fokus før vi er det bør ikke være på å finne måter å bryte "
+"Internett. vårt fokus før vi er det bør være på hvordan du kontrollerer "
+"kunstnerne er betalt, og beskytter området for innovasjon og kreativitet som "
+"Internett er."
+
+#. type: Content of: <book><chapter><sect1><sect2><title>
+msgid "5. Fire Lots of Lawyers"
+msgstr "5. brann masse advokater"
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe "
+"in the law of copyright. Indeed, I have devoted my life to working in law, "
+"not because there are big bucks at the end but because there are ideals at "
+"the end that I would love to live."
+msgstr ""
+"Jeg er en advokat. jeg gjøre advokater for en lever. Jeg tror på loven. Jeg "
+"tror på loven om opphavsrett. Jeg har faktisk viet livet til arbeider i lov, "
+"ikke fordi det er stor bukk på slutten, men fordi det er idealer på slutten "
+"som jeg ville elske å leve."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Yet much of this book has been a criticism of lawyers, or the role lawyers "
+"have played in this debate. The law speaks to ideals, but it is my view that "
+"our profession has become too attuned to the client. And in a world where "
+"the rich clients have one strong view, the unwillingness of the profession "
+"to question or counter that one strong view queers the law."
+msgstr ""
+"likevel mye av denne boken har vært en kritikk av advokater, eller rolle "
+"advokater har spilt i denne debatten. loven taler til idealer, men det er "
+"min oppfatning at vårt yrke bli for attuned til klienten. og i en verden der "
+"rike klientene har en sterk visning, yrke å spørsmålet eller telleren uvilje "
+"mot en sterk visningen queers loven."
+
+#. f10.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Lawrence Lessig, \\\"Copyright's First Amendment\\\" (Melville B. Nimmer "
+#| "Memorial Lecture), UCLA Law Review 48 (2001): 1057, 106970."
+msgid ""
+"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
+"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 106970."
+msgstr ""
+"Lawrence lessig, \\\"copyright's first endring\\\" (melville b. nimmer "
+"memorial lecture), ucla lov gå gjennom 48 (2001): 1057, 106970."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The evidence of this bending is compelling. I'm attacked as a \"radical\" by "
+"many within the profession, yet the positions that I am advocating are "
+"precisely the positions of some of the most moderate and significant figures "
+"in the history of this branch of the law. Many, for example, thought crazy "
+"the challenge that we brought to the Copyright Term Extension Act. Yet just "
+"thirty years ago, the dominant scholar and practitioner in the field of "
+"copyright, Melville Nimmer, thought it obvious.<placeholder type=\"footnote"
+"\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"However, my criticism of the role that lawyers have played in this debate is "
+"not just about a professional bias. It is more importantly about our failure "
+"to actually reckon the costs of the law."
+msgstr ""
+"min kritikk av rollen som advokater har spilt i denne debatten er imidlertid "
+"ikke bare om en profesjonell skjevhet. Det er enda viktigere om vår "
+"manglende evne til å faktisk regner med kostnadene for loven."
+
+#. f11.
+#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
+msgid ""
+"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be "
+"commended for his careful review of data about infringement, leading him to "
+"question his own publicly stated position--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, 17476."
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Economists are supposed to be good at reckoning costs and benefits. But "
+"more often than not, economists, with no clue about how the legal system "
+"actually functions, simply assume that the transaction costs of the legal "
+"system are slight.<placeholder type=\"footnote\" id=\"0\"/> They see a "
+"system that has been around for hundreds of years, and they assume it works "
+"the way their elementary school civics class taught them it works."
+msgstr ""
+
+#. PAGE BREAK 310
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But the legal system doesn't work. Or more accurately, it doesn't work for "
+"anyone except those with the most resources. Not because the system is "
+"corrupt. I don't think our legal system (at the federal level, at least) is "
+"at all corrupt. I mean simply because the costs of our legal system are so "
+"astonishingly high that justice can practically never be done."
+msgstr ""
+"men juridiske systemet fungerer ikke. eller mer nøyaktig det fungerer ikke "
+"for alle unntatt de med mest ressurser. ikke fordi systemet er skadet. Jeg "
+"tror ikke våre juridisk system (på føderalt nivå, minst) er overhodet "
+"skadet. Jeg mener bare fordi kostnadene for vår juridiske systemet er så "
+"astonishingly høyt som rettferdighet praktisk talt aldri kan gjøres."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"These costs distort free culture in many ways. A lawyer's time is billed at "
+"the largest firms at more than $400 per hour. How much time should such a "
+"lawyer spend reading cases carefully, or researching obscure strands of "
+"authority? The answer is the increasing reality: very little. The law "
+"depended upon the careful articulation and development of doctrine, but the "
+"careful articulation and development of legal doctrine depends upon careful "
+"work. Yet that careful work costs too much, except in the most high-profile "
+"and costly cases."
+msgstr ""
+"disse kostnadene forvrenge fri kultur på mange måter. en advokat tid er "
+"fakturert i største selskaper på mer enn $400 per time. hvor mye tid bør "
+"slike en advokat tilbringe lesing tilfeller nøye, eller undersøker obskure "
+"retninger av myndighet? svaret er økende virkeligheten: svært lite. loven "
+"depended upon forsiktig articulation og utvikling av doktrine, men forsiktig "
+"articulation og utvikling av juridiske doktrine, avhenger av forsiktig "
+"arbeid. men at forsiktig arbeid koster for mye, bortsett fra i de mest "
+"høyprofilerte og kostbare tilfeller."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The costliness and clumsiness and randomness of this system mock our "
+"tradition. And lawyers, as well as academics, should consider it their duty "
+"to change the way the law works--or better, to change the law so that it "
+"works. It is wrong that the system works well only for the top 1 percent of "
+"the clients. It could be made radically more efficient, and inexpensive, and "
+"hence radically more just."
+msgstr ""
+"costliness og clumsiness og tilfeldigheten til dette systemet håne vår "
+"tradisjon. og advokater, samt akademikere, bør vurdere det deres plikt til å "
+"endre hvordan loven fungerer-- eller bedre, endre loven slik at det "
+"fungerer. Det er galt at systemet fungerer godt bare for toppen 1 prosent av "
+"klientene. Det kan gjøres radikalt mer effektiv, og billig og dermed "
+"radikalt mer rettferdig."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"But until that reform is complete, we as a society should keep the law away "
+"from areas that we know it will only harm. And that is precisely what the "
+"law will too often do if too much of our culture is left to its review."
+msgstr ""
+"men til at reform er fullført, bør vi som et samfunn følger loven fra "
+"områder som vi vet det vil bare skade. og det er nettopp hva loven vil "
+"altfor ofte gjøre hvis for mye av vår kultur er igjen til gjennomgangen."
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"Think about the amazing things your kid could do or make with digital "
+"technology--the film, the music, the Web page, the blog. Or think about the "
+"amazing things your community could facilitate with digital technology--a "
+"wiki, a barn raising, activism to change something. Think about all those "
+"creative things, and then imagine cold molasses poured onto the machines. "
+"This is what any regime that requires permission produces. Again, this is "
+"the reality of Brezhnev's Russia."
+msgstr ""
+"Tenk på de fantastiske tingene barnet kan gjøre eller gjøre med digital "
+"teknologi--filmen, musikken, web-siden, bloggen. eller Tenk på de "
+"fantastiske tingene fellesskapet kunne fasilitere med digital teknologi--en "
+"wiki, en låve heve, aktivisme til å endre noe. Tenk på alle de kreative "
+"tingene, og deretter tenke kaldt molasses strømmet på maskinene. Dette er "
+"hva noen regime som krever tillatelse produserer. igjen, dette er "
+"virkeligheten av brezhnev's Russland."
+
+#. PAGE BREAK 311
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"The law should regulate in certain areas of culture--but it should regulate "
+"culture only where that regulation does good. Yet lawyers rarely test their "
+"power, or the power they promote, against this simple pragmatic question: "
+"\"Will it do good?\" When challenged about the expanding reach of the law, "
+"the lawyer answers, \"Why not?\""
+msgstr ""
+
+#. type: Content of: <book><chapter><sect1><sect2><para>
+msgid ""
+"We should ask, \"Why?\" Show me why your regulation of culture is needed. "
+"Show me how it does good. And until you can show me both, keep your lawyers "
+"away."
+msgstr ""
+
+#. type: Content of: <book><chapter><title>
+msgid "NOTES"
+msgstr "notater"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Throughout this text, there are references to links on the World Wide Web. "
+"As anyone who has tried to use the Web knows, these links can be highly "
+"unstable. I have tried to remedy the instability by redirecting readers to "
+"the original source through the Web site associated with this book. For each "
+"link below, you can go to http://free-culture.cc/notes and locate the "
+"original source by clicking on the number after the # sign. If the original "
+"link remains alive, you will be redirected to that link. If the original "
+"link has disappeared, you will be redirected to an appropriate reference for "
+"the material."
+msgstr ""
+
+#. type: Content of: <book><chapter><title>
+msgid "ACKNOWLEDGMENTS"
+msgstr "bekreftelser"
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"This book is the product of a long and as yet unsuccessful struggle that "
+"began when I read of Eric Eldred's war to keep books free. Eldred's work "
+"helped launch a movement, the free culture movement, and it is to him that "
+"this book is dedicated."
+msgstr ""
+"Denne boken er produktet av en lang og ennå mislykkede kamp som begynte da "
+"jeg leste av eric eldred krig å holde bøker gratis. eldred's arbeid bidro "
+"til å lansere en bevegelse, fri kultur, og det er til ham at denne boken er "
+"dedikert."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"I received guidance in various places from friends and academics, including "
+"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose, and "
+"Kathleen Sullivan. And I received correction and guidance from many amazing "
+"students at Stanford Law School and Stanford University. They included "
+"Andrew B. Coan, John Eden, James P. Fellers, Christopher Guzelian, Erica "
+"Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian Link, Ohad "
+"Mayblum, Alina Ng, and Erica Platt. I am particularly grateful to Catherine "
+"Crump and Harry Surden, who helped direct their research, and to Laura "
+"Lynch, who brilliantly managed the army that they assembled, and provided "
+"her own critical eye on much of this."
+msgstr ""
+"Jeg fikk veiledning i forskjellige steder fra venner og akademikere, "
+"inkludert glenn brun, peter dicola, jennifer mnookin, richard posner, "
+"markere rose og kathleen sullivan. og jeg fikk korreksjon og veiledning fra "
+"mange fantastiske studenter ved stanford law school og stanford university. "
+"de inkludert andrew b. coan, john eden, james p. fellers, christopher "
+"guzelian, erica goldberg, robert hallman, andrew harris, matthew kahn, brian-"
+"kobling, ohad mayblum, alina ng og erica platt. Jeg er særlig takknemlig "
+"overfor catherine crump og harry surden, som hjalp direkte deres forskning "
+"og til laura lynch, som briljant klarte hæren at de samlet, og ga sin egen "
+"kritisk blikk på mye av dette."
+
+#. PAGE BREAK 337
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Yuko Noguchi helped me to understand the laws of Japan as well as its "
+"culture. I am thankful to her, and to the many in Japan who helped me "
+"prepare this book: Joi Ito, Takayuki Matsutani, Naoto Misaki, Michihiro "
+"Sasaki, Hiromichi Tanaka, Hiroo Yamagata, and Yoshihiro Yonezawa. I am "
+"thankful as well as to Professor Nobuhiro Nakayama, and the Tokyo University "
+"Business Law Center, for giving me the chance to spend time in Japan, and to "
+"Tadashi Shiraishi and Kiyokazu Yamagami for their generous help while I was "
+"there."
+msgstr ""
+"Yuko noguchi hjalp meg å forstå lovene i japan, så vel som sin kultur. Jeg "
+"er takknemlig til henne, og til mange i japan som hjalp meg med å forberede "
+"denne boken: joi ito, alt matsutani, naoto misaki, michihiro sasaki "
+"hiromichi tanaka, hiroo yamagata og yoshihiro yonezawa. Jeg er takknemlig så "
+"vel som professor nobuhiro nakayama og tokyo university business law center, "
+"for å gi meg muligheten til å bruke tid i japan, og tadashi shiraishi og "
+"kiyokazu yamagami for deres sjenerøs hjelp mens jeg var der."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"These are the traditional sorts of help that academics regularly draw upon. "
+"But in addition to them, the Internet has made it possible to receive advice "
+"and correction from many whom I have never even met. Among those who have "
+"responded with extremely helpful advice to requests on my blog about the "
+"book are Dr. Mohammad Al-Ubaydli, David Gerstein, and Peter DiMauro, as well "
+"as a long list of those who had specific ideas about ways to develop my "
+"argument. They included Richard Bondi, Steven Cherry, David Coe, Nik "
+"Cubrilovic, Bob Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, "
+"Jeremy Hunsinger, Vaughn Iverson, John Karabaic, Jeff Keltner, James "
+"Lindenschmidt, K. L. Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan "
+"McMullen, Fred Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, "
+"Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, "
+"Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko "
+"Williams, \"Wink,\" Roger Wood, \"Ximmbo da Jazz,\" and Richard Yanco. (I "
+"apologize if I have missed anyone; with computers come glitches, and a crash "
+"of my e-mail system meant I lost a bunch of great replies.)"
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Richard Stallman and Michael Carroll each read the whole book in draft, and "
+"each provided extremely helpful correction and advice. Michael helped me to "
+"see more clearly the significance of the regulation of derivitive works. And "
+"Richard corrected an embarrassingly large number of errors. While my work is "
+"in part inspired by Stallman's, he does not agree with me in important "
+"places throughout this book."
+msgstr ""
+"Richard stallman og michael carroll hver lese hele boken i utkast, og hver "
+"forutsatt svært nyttig korreksjon og råd. Michael hjalp meg å se mer tydelig "
+"betydningen av regulering av derivitive works. og richard rettet en "
+"embarrassingly stort antall feil. mens mitt arbeid er delvis inspirert av "
+"Stallmans, enig han ikke med meg viktige steder i denne boken."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"Finally, and forever, I am thankful to Bettina, who has always insisted that "
+"there would be unending happiness away from these battles, and who has "
+"always been right. This slow learner is, as ever, grateful for her perpetual "
+"patience and love."
+msgstr ""
+"til slutt, og for evig, jeg er takknemlig til bettina, som har alltid "
+"insisterte på at det ville være unending lykke fra disse kampene, og som har "
+"alltid vært riktig. Denne slow elev er som alltid takknemlig for hennes "
+"evigvarende tålmodighet og kjærlighet."
+
+#~ msgid ""
+#~ "David Pogue, \\\"Don't Just Chat, Do Something,\\\" New York Times, 30 "
+#~ "January 2000."
+#~ msgstr ""
+#~ "David pogue, \\\"ikke bare chat, gjøre noe,\\\" new york times, 30 januar "
+#~ "2000."
+
+#~ 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."
+#~ msgstr ""
+#~ "Pogue var skeptisk til argumentet kjernen av boken--denne programvaren, "
+#~ "eller \\\"kode\\\", som fungerte som et slags lov-- og sin anmeldelse "
+#~ "foreslo lykkelig tanken at hvis livet i cyberspace fikk dårlig, vi kan "
+#~ "alltid \\\"duskregn, drazzle, druzzle, drome\\\"-som bare snu en bryter "
+#~ "og være hjem. Slå av modemet, koble fra datamaskinen, og eventuelle "
+#~ "problemer som finnes i at plass ikke ville \\\"påvirke\\\" oss lenger."
+
+#~ 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."
+#~ msgstr ""
+#~ "Pogue kan ha vært rett i 1999--jeg er skeptisk, men kanskje. men selv om "
+#~ "han var høyre da, poenget er ikke akkurat nå: fri kultur er om trengsler "
+#~ "Internett årsakene selv etter at modemet er slått av. den er et argument "
+#~ "om hvordan slagene at nå rage om livet on-line har fundamentalt påvirket "
+#~ "\\\"folk som er ikke pålogget.\\\" det er ingen bryter som vil isolere "
+#~ "oss fra Internetts effekt."
+
+#~ msgid ""
+#~ "If we understood this change, I believe we would resist it. Not \\\"we\\"
+#~ "\" on the Left or \\\"you\\\" on the Right, but we who have no stake in "
+#~ "the particular industries of culture that defined the twentieth century. "
+#~ "Whether you are on the Left or the Right, if you are in this sense "
+#~ "disinterested, then the story I tell here will trouble you. For the "
+#~ "changes I describe affect values that both sides of our political culture "
+#~ "deem fundamental."
+#~ msgstr ""
+#~ "Hvis vi forstått denne endringen, tror jeg vi ville motstå det. ikke \\"
+#~ "\"vi\\\" til venstre eller \\\"du\\\" til høyre, men vi som har ingen "
+#~ "eierandel i bestemt industri av kultur som definert av det tjuende "
+#~ "århundre. enten du er på venstre eller høyre, hvis du er i denne forstand "
+#~ "disinterested, vil historien jeg fortelle her problemer du. for at "
+#~ "endringene beskrive jeg påvirker verdier som begge sider av vår politiske "
+#~ "kultur anser grunnleggende."
+
+#~ msgid ""
+#~ "We saw a glimpse of this bipartisan outrage in the early summer of 2003. "
+#~ "As the FCC considered changes in media ownership rules that would relax "
+#~ "limits on media concentration, an extraordinary coalition generated more "
+#~ "than 700,000 letters to the FCC opposing the change. As William Safire "
+#~ "described marching \\\"uncomfortably alongside CodePink Women for Peace "
+#~ "and the National Rifle Association, between liberal Olympia Snowe and "
+#~ "conservative Ted Stevens,\\\" he formulated perhaps most simply just what "
+#~ "was at stake: the concentration of power. And as he asked,"
+#~ msgstr ""
+#~ "Vi så et glimt av denne bipartisan voldshandling i forsommeren i 2003. "
+#~ "som fcc betraktet endringer i media eierskap regler som vil slappe av "
+#~ "begrensninger på media konsentrasjon, genereres en ekstraordinære "
+#~ "koalisjon mer enn 700.000 brev til fcc motstridende endringen. som "
+#~ "william safire beskrevet marsjerande \\\"ubehagelig sammen med codepink "
+#~ "kvinner for fred og national rifle association, mellom liberale olympia "
+#~ "snowe og Høyres ted stevens\\\", han formulerte kanskje mest bare "
+#~ "rettferdig hva som var på spill: konsentrasjonen strøm. og så han spurte:"
+
+#~ msgid ""
+#~ "William Safire, \\\"The Great Media Gulp,\\\" New York Times, 22 May 2003."
+#~ msgstr ""
+#~ "William safire, \\\"stor media svelge,\\\" mai new york times, 22 2003."
+
+#~ 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 for fri kultur, men mitt fokus "
+#~ "ikke er bare på konsentrasjonen av strøm produsert av konsentrasjoner i "
+#~ "eierskap, men enda viktigere, hvis fordi mindre synlig på konsentrasjonen "
+#~ "strøm produsert av en radikal endring i effektiv omfanget av loven. loven "
+#~ "er endre; at endringen er å endre måten blir vår kultur gjort; Denne "
+#~ "endringen bør bekymre oss du--om du bryr deg om Internett, og om du er på "
+#~ "safire's venstre eller på hans høyre. inspirasjon til tittelen og for mye "
+#~ "av argumentet i denne boken kommer fra arbeidet med richard stallman og "
+#~ "free software foundation. faktisk, jeg reread Stallmans eget arbeid, "
+#~ "spesielt essayene fri programvare, gratis samfunn, jeg skjønner at alle "
+#~ "teoretiske innsikt jeg utvikler her er innsikt stallman beskrevet tiår "
+#~ "siden. man kan dermed godt argumentere at dette arbeidet er \\\"bare\\\" "
+#~ "avledede produkter."
+
+#~ msgid ""
+#~ "In 1945, these questions became a federal case. When North Carolina "
+#~ "farmers Thomas Lee and Tinie Causby started losing chickens because of "
+#~ "low-flying military aircraft (the terrified chickens apparently flew into "
+#~ "the barn walls and died), the Causbys filed a lawsuit saying that the "
+#~ "government was trespassing on their land. The airplanes, of course, never "
+#~ "touched the surface of the Causbys' land. But if, as Blackstone, Kent, "
+#~ "and Coke had said, their land reached to \\\"an indefinite extent, "
+#~ "upwards,\\\" then the government was trespassing on their property, and "
+#~ "the Causbys wanted it to stop."
+#~ msgstr ""
+#~ "i 1945 ble disse spørsmålene en federal sak. Når Nord carolina bønder "
+#~ "thomas lee og tinie causby begynte å miste kyllinger på grunn av lav-"
+#~ "flying militære fly (vettskremt kyllinger tilsynelatende fløy i låven "
+#~ "vegger og døde), causbys anlagt en sak som sier at regjeringen var adgang "
+#~ "på deres land. fly, selvfølgelig, rørt aldri overflaten av causbys' land. "
+#~ "men hvis som blackstone, kent, og cola hadde sagt, deres land nådd \\"
+#~ "\"ubestemt grad, oppover,\\\" deretter regjeringen var adgang på deres "
+#~ "eiendom, og causbys ønsket å stoppe."
+
+#~ msgid ""
+#~ "The Supreme Court agreed to hear the Causbys' case. Congress had declared "
+#~ "the airways public, but if one's property really extended to the heavens, "
+#~ "then Congress's declaration could well have been an unconstitutional \\"
+#~ "\"taking\\\" of property without compensation. The Court acknowledged "
+#~ "that \\\"it is ancient doctrine that common law ownership of the land "
+#~ "extended to the periphery of the universe.\\\" But Justice Douglas had no "
+#~ "patience for ancient doctrine. In a single paragraph, hundreds of years "
+#~ "of property law were erased. As he wrote for the Court,"
+#~ msgstr ""
+#~ "Høyesterett enige om å høre causbys' tilfelle. Kongressen hadde erklært "
+#~ "luftveiene offentlige, men hvis ens egenskapen virkelig utvidet til "
+#~ "himmelen, deretter congress's erklæring kunne godt ha vært en "
+#~ "unconstitutional \\\"tar\\\" av eiendom uten kompensasjon. hoffet "
+#~ "erkjente at \\\"det er gamle doktrine som sedvanerett eierskap av landet "
+#~ "utvidet til utkanten av universet.\\\", men rettferdighet douglas hadde "
+#~ "ingen tålmodighet for gamle doktrine. i et enkelt avsnitt, ble hundrevis "
+#~ "av år av opphavsrettslovgivningen slettet. som han skrev for hoffet,"
+
+#~ msgid "\\\"Common sense revolts at the idea.\\\""
+#~ msgstr "sunn fornuft opprør på ideen."
+
+#~ msgid ""
+#~ "This is how the law usually works. Not often this abruptly or "
+#~ "impatiently, but eventually, this is how it works. It was Douglas's style "
+#~ "not to dither. Other justices would have blathered on for pages to reach "
+#~ "the conclusion that Douglas holds in a single line: \\\"Common sense "
+#~ "revolts at the idea.\\\" But whether it takes pages or a few words, it is "
+#~ "the special genius of a common law system, as ours is, that the law "
+#~ "adjusts to the technologies of the time. And as it adjusts, it changes. "
+#~ "Ideas that were as solid as rock in one age crumble in another."
+#~ msgstr ""
+#~ "Dette er hvordan loven fungerer vanligvis. ikke ofte dette brått eller "
+#~ "impatiently, men til slutt, er dette hvordan det fungerer. Det var "
+#~ "douglas's stil ikke å spre. andre justiariusene ville har blathered på "
+#~ "for sider å trekke konklusjonen som douglas inneholder i en enkelt linje: "
+#~ "\\\"sunn fornuft opprør idé.\\\", men om det tar sider eller et par ord, "
+#~ "det er spesielle geni av et felles lov-system, som vår er at loven "
+#~ "justerer til teknologier av tiden. og når den er justert, endres den. "
+#~ "ideer som var så solid som rock i en alder crumble i et annet."
+
+#~ msgid ""
+#~ "Or at least, this is how things happen when there's no one powerful on "
+#~ "the other side of the change. The Causbys were just farmers. And though "
+#~ "there were no doubt many like them who were upset by the growing traffic "
+#~ "in the air (though one hopes not many chickens flew themselves into "
+#~ "walls), the Causbys of the world would find it very hard to unite and "
+#~ "stop the idea, and the technology, that the Wright brothers had birthed. "
+#~ "The Wright brothers spat airplanes into the technological meme pool; the "
+#~ "idea then spread like a virus in a chicken coop; farmers like the Causbys "
+#~ "found themselves surrounded by \\\"what seemed reasonable\\\" given the "
+#~ "technology that the Wrights had produced. They could stand on their "
+#~ "farms, dead chickens in hand, and shake their fists at these newfangled "
+#~ "technologies all they wanted. They could call their representatives or "
+#~ "even file a lawsuit. But in the end, the force of what seems \\\"obvious\\"
+#~ "\" to everyone else--the power of \\\"common sense\\\"--would prevail. "
+#~ "Their \\\"private interest\\\" would not be allowed to defeat an obvious "
+#~ "public gain."
+#~ msgstr ""
+#~ "eller minst, dette er hvordan ting skje når det finnes ikke en kraftig på "
+#~ "den andre siden av endringen. causbys var bare bønder. og selv om det var "
+#~ "ingen tvil om mange som dem som var lei av den voksende trafikk i luften "
+#~ "(selv om en ikke håper mange høner fløy seg i vegger), causbys av verden "
+#~ "vil være svært vanskelig å samle og stoppe ideen, og teknologien, wright-"
+#~ "brødrene hadde birthed. wright-brødrene spyttet fly i teknologiske meme "
+#~ "bassenget; ideen deretter spre seg som et virus i en kylling coop; bønder "
+#~ "som causbys funnet seg selv omringet av \\\"hva syntes rimelig\\\" gitt "
+#~ "teknologien som wrights hadde produsert. de kunne stå på sine gårder, "
+#~ "dead kyllinger i hånden og riste deres fists på disse newfangled "
+#~ "teknologiene alle de ønsket. de kunne ringe sine representanter eller "
+#~ "selv fil en rettssak. men til slutt, styrken av hva synes \\\"klart\\\" "
+#~ "for alle andre--makt \\\"sunn fornuft\\\"--ville råde. deres \\\"privat "
+#~ "interesse\\\" ville ikke tillatt å beseire en klar offentlige fremgang."
+
+#~ msgid ""
+#~ "On November 5, 1935, he demonstrated the technology at a meeting of the "
+#~ "Institute of Radio Engineers at the Empire State Building in New York "
+#~ "City. He tuned his radio dial across a range of AM stations, until the "
+#~ "radio locked on a broadcast that he had arranged from seventeen miles "
+#~ "away. The radio fell totally silent, as if dead, and then with a clarity "
+#~ "no one else in that room had ever heard from an electrical device, it "
+#~ "produced the sound of an announcer's voice: \\\"This is amateur station "
+#~ "W2AG at Yonkers, New York, operating on frequency modulation at two and a "
+#~ "half meters.\\\""
+#~ msgstr ""
+#~ "på den 5 november 1935 demonstrerte han teknologi på et møte i institute "
+#~ "of radio ingeniører på empire state building i new york city. Han stemte "
+#~ "opp hans radio ringe på tvers av en rekke am stasjoner, til radioen låst "
+#~ "på en kringkasting som han hadde ordnet fra sytten kilometer unna. "
+#~ "radioen tiet helt, som om han er død, og deretter med en klarhet Ingen "
+#~ "andre i det rommet hadde hørt fra en elektrisk utstyr, det produsert "
+#~ "lyden av en hallomann stemme: \\\"Dette er amatør stasjon w2ag på "
+#~ "yonkers, new york, opererer på frekvensmodulasjon to og en halv meter.\\\""
+
+#~ msgid ""
+#~ "RCA's president, David Sarnoff, a friend of Armstrong's, was eager that "
+#~ "Armstrong discover a way to remove static from AM radio. So Sarnoff was "
+#~ "quite excited when Armstrong told him he had a device that removed static "
+#~ "from \\\"radio.\\\" But when Armstrong demonstrated his invention, "
+#~ "Sarnoff was not pleased."
+#~ msgstr ""
+#~ "rca's president, david sarnoff, en venn av Armstrongs, var ivrig etter at "
+#~ "armstrong oppdager at en måte å fjerne statiske fra am radio. så sarnoff "
+#~ "var ganske spent da armstrong fortalte ham at han hadde en enhet som "
+#~ "fjernet statisk fra \\\"radio.\\\", men når armstrong demonstrerte hans "
+#~ "oppfinnelse, var sarnoff ikke fornøyd."
+
+#~ msgid ""
+#~ "We can glimpse a sense of this change by distinguishing between "
+#~ "commercial and noncommercial culture, and by mapping the law's regulation "
+#~ "of each. By \\\"commercial culture\\\" I mean that part of our culture "
+#~ "that is produced and sold or produced to be sold. By \\\"noncommercial "
+#~ "culture\\\" I mean all the rest. When old men sat around parks or on "
+#~ "street corners telling stories that kids and others consumed, that was "
+#~ "noncommercial culture. When Noah Webster published his \\\"Reader,\\\" or "
+#~ "Joel Barlow his poetry, that was commercial culture."
+#~ msgstr ""
+#~ "Vi kan skimtes en følelse av denne endringen ved å skille mellom "
+#~ "kommersielle og ikke-kommersiell kultur, og ved å tilordne lovens "
+#~ "regulering av hver. \\\"kommersielle kultur\\\" mener jeg at en del av "
+#~ "vår kultur som er produsert og solgt eller produsert for å bli solgt. \\"
+#~ "\"ikke-kommersiell kultur\\\" mener jeg alle resten. Når gamle menn "
+#~ "lørdag rundt parker eller på et gatehjørne fortelle historier som barn og "
+#~ "andre forbrukes, som var ikke-kommersiell kultur. Når noah webster "
+#~ "publisert sin \\\"reader\\\", eller joel barlow hans poesi, som var "
+#~ "kommersielle kultur."
+
+#~ msgid ""
+#~ "At the beginning of our history, and for just about the whole of our "
+#~ "tradition, noncommercial culture was essentially unregulated. Of course, "
+#~ "if your stories were lewd, or if your song disturbed the peace, then the "
+#~ "law might intervene. But the law was never directly concerned with the "
+#~ "creation or spread of this form of culture, and it left this culture \\"
+#~ "\"free.\\\" The ordinary ways in which ordinary individuals shared and "
+#~ "transformed their culture--telling stories, reenacting scenes from plays "
+#~ "or TV, participating in fan clubs, sharing music, making tapes--were left "
+#~ "alone by the law."
+#~ msgstr ""
+#~ "i begynnelsen av vår historie, og omtrent hele vår tradisjon ble ikke-"
+#~ "kommersiell kultur i hovedsak unregulated. Selvfølgelig, kan hvis din "
+#~ "historiene var utuktig, eller hvis din sang forstyrret freden, deretter "
+#~ "loven gripe. men loven var aldri direkte opptatt med opprettelse eller "
+#~ "spredning av denne formen for kultur, og det igjen denne kulturen \\"
+#~ "\"gratis.\\\" det vanlige måter som vanlige enkeltpersoner delt og "
+#~ "transformert deres kultur--fortelle historier, reenacting scener fra "
+#~ "spiller eller tv, delta i fan klubber, deling av musikk, slik at "
+#~ "kassetter--var igjen alene ved loven."
+
+#~ msgid ""
+#~ "Amy Harmon, \\\"Black Hawk Download: Moving Beyond Music, Pirates Use New "
+#~ "Tools to Turn the Net into an Illicit Video Club,\\\" New York Times, 17 "
+#~ "January 2002."
+#~ msgstr ""
+#~ "Amy harmon, \\\"black hawk nedlasting: flytte utover musikk, pirater Bruk "
+#~ "nye verktøy for å gjøre nettet til en illegale video klubb,\\\" new york "
+#~ "times, 17 januar 2002."
+
+#~ msgid ""
+#~ "If those really were the choices, then I would be with Jack Valenti and "
+#~ "the content industry. I, too, am a believer in property, and especially "
+#~ "in the importance of what Mr. Valenti nicely calls \\\"creative property."
+#~ "\\\" I believe that \\\"piracy\\\" is wrong, and that the law, properly "
+#~ "tuned, should punish \\\"piracy,\\\" whether on or off the Internet."
+#~ msgstr ""
+#~ "Hvis de var virkelig valgene, ville jeg være med jack valenti og innhold "
+#~ "industrien. Jeg, også, er en troende i egenskapen, og særlig i "
+#~ "betydningen av hva mr. valenti samtaler \\\"kreative egenskapen.\\\" Jeg "
+#~ "tror at \\\"piratkopiering\\\" er galt, og at loven, riktig innstilt, "
+#~ "skal straffe pent \\\"piratkopiering\\\", enten av eller på Internett."
+
+#~ 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."
+
+#~ msgid ""
+#~ "Neil W. Netanel, \\\"Copyright and a Democratic Civil Society,\\\" Yale "
+#~ "Law Journal 106 (1996): 283."
+#~ msgstr ""
+#~ "Neil w. netanel, \\\"copyright og en demokratisk sivile samfunn,\\\" yale "
+#~ "law journal 106 (1996): 283."
+
+#~ msgid ""
+#~ "The story that follows is about this war. Is it not about the \\"
+#~ "\"centrality of technology\\\" to ordinary life. I don't believe in gods, "
+#~ "digital or otherwise. Nor is it an effort to demonize any individual or "
+#~ "group, for neither do I believe in a devil, corporate or otherwise. It is "
+#~ "not a morality tale. Nor is it a call to jihad against an industry."
+#~ msgstr ""
+#~ "historien som følger handler om denne krigen. er det ikke om \\"
+#~ "\"betydningen av teknologi\\\" vanlige liv. Jeg tror ikke på guder, "
+#~ "digitale eller på annen måte. heller ikke er det et forsøk på å demonize "
+#~ "enhver person eller gruppe, for heller ikke tror jeg på en djevel, "
+#~ "corporate eller på annen måte. Det er ikke en moral-tale. heller ikke er "
+#~ "det et kall til jihad mot en bransje."
+
+#~ msgid ""
+#~ "Like the Causbys' battle, this war is, in part, about \\\"property.\\\" "
+#~ "The property of this war is not as tangible as the Causbys', and no "
+#~ "innocent chicken has yet to lose its life. Yet the ideas surrounding this "
+#~ "\\\"property\\\" are as obvious to most as the Causbys' claim about the "
+#~ "sacredness of their farm was to them. We are the Causbys. Most of us take "
+#~ "for granted the extraordinarily powerful claims that the owners of \\"
+#~ "\"intellectual property\\\" now assert. Most of us, like the Causbys, "
+#~ "treat these claims as obvious. And hence we, like the Causbys, object "
+#~ "when a new technology interferes with this property. It is as plain to us "
+#~ "as it was to them that the new technologies of the Internet are \\"
+#~ "\"trespassing\\\" upon legitimate claims of \\\"property.\\\" It is as "
+#~ "plain to us as it was to them that the law should intervene to stop this "
+#~ "trespass."
+#~ msgstr ""
+#~ "som causbys' kamp, denne krigen er delvis, om \\\"egenskapen.\\\" "
+#~ "egenskapen av denne krigen er ikke så konkrete som causbys', og ingen "
+#~ "uskyldige kylling har ennå å miste sitt liv. ennå er ideer rundt denne \\"
+#~ "\"property\\\" så opplagt for de fleste som causbys' krav om sacredness "
+#~ "av deres farm var å dem. Vi er causbys. de fleste av oss tar for gitt de "
+#~ "usedvanlig kraftig kravene som eierne av \\\"intellectual property\\\" nå "
+#~ "hevde. de fleste av oss, som causbys, behandle disse påstandene som "
+#~ "åpenbart. og dermed vi, som causbys, objektet når en ny teknologi griper "
+#~ "denne egenskapen. Det er så vanlig for oss som det var til dem at de nye "
+#~ "teknologiene av Internett er \\\"adgang\\\" på legitime påstander om \\"
+#~ "\"egenskapen.\\\" det er så vanlig for oss som det var til dem at loven "
+#~ "bør intervenere for å stoppe denne trespass."
+
+#~ msgid ""
+#~ "My hope is to push this common sense along. I have become increasingly "
+#~ "amazed by the power of this idea of intellectual property and, more "
+#~ "importantly, its power to disable critical thought by policy makers and "
+#~ "citizens. There has never been a time in our history when more of our \\"
+#~ "\"culture\\\" was as \\\"owned\\\" as it is now. And yet there has never "
+#~ "been a time when the concentration of power to control the uses of "
+#~ "culture has been as unquestioningly accepted as it is now."
+#~ msgstr ""
+#~ "mitt håp er å presse denne sunn fornuft. Jeg har blitt stadig overrasket "
+#~ "av kraften i denne ideen av åndsverk, og enda viktigere, sin makt for å "
+#~ "deaktivere kritisk tenkning av beslutningstakere og borgere. Det har "
+#~ "aldri vært en gang i vår historie da flere av våre \\\"kultur\\\" var som "
+#~ "\\\"eier\\\" som det er nå. og ennå har det aldri vært en tid når "
+#~ "konsentrasjonen av makt til å kontrollere bruk av kultur er så "
+#~ "unquestioningly godtatt som det er nå."
+
+#~ msgid ""
+#~ "I don't mean to be mysterious. My own views are resolved. I believe it "
+#~ "was right for common sense to revolt against the extremism of the "
+#~ "Causbys. I believe it would be right for common sense to revolt against "
+#~ "the extreme claims made today on behalf of \\\"intellectual property.\\\" "
+#~ "What the law demands today is increasingly as silly as a sheriff "
+#~ "arresting an airplane for trespass. But the consequences of this "
+#~ "silliness will be much more profound."
+#~ msgstr ""
+#~ "Jeg trenger ikke bety å være mystisk. mine egne synspunkter er løst. Jeg "
+#~ "tror det var riktig for sunn fornuft til å gjøre opprør mot ekstremisme "
+#~ "av causbys. Jeg tror det vil være rett for sunn fornuft til å gjøre "
+#~ "opprør mot ekstreme krav gjort i dag på vegne av \\\"intellektuelle "
+#~ "eiendom.\\\" hva loven krever i dag er stadig like dumt som en sheriff "
+#~ "arrestere et fly for trespass. men konsekvensene av dette dumhet vil være "
+#~ "mye mer dyptgripende."
+
+#~ msgid ""
+#~ "The struggle that rages just now centers on two ideas: \\\"piracy\\\" and "
+#~ "\\\"property.\\\" My aim in this book's next two parts is to explore "
+#~ "these two ideas."
+#~ msgstr ""
+#~ "kampen rages akkurat nå centers på to ideer: \\\"piratkopiering\\\" og \\"
+#~ "\"egenskapen.\\\" mitt mål i denne boken neste to deler er å utforske "
+#~ "disse to ideer."
+
+#~ msgid ""
+#~ "The two sections set up the core claim of this book: that while the "
+#~ "Internet has indeed produced something fantastic and new, our government, "
+#~ "pushed by big media to respond to this \\\"something new,\\\" is "
+#~ "destroying something very old. Rather than understanding the changes the "
+#~ "Internet might permit, and rather than taking time to let \\\"common sense"
+#~ "\\\" resolve how best to respond, we are allowing those most threatened "
+#~ "by the changes to use their power to change the law--and more "
+#~ "importantly, to use their power to change something fundamental about who "
+#~ "we have always been."
+#~ 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."
+
+#~ msgid "\\\"PIRACY\\\""
+#~ msgstr "piratkopiering"
+
+#~ msgid ""
+#~ "Since the inception of the law regulating creative property, there has "
+#~ "been a war against \\\"piracy.\\\" The precise contours of this concept, "
+#~ "\\\"piracy,\\\" are hard to sketch, but the animating injustice is easy "
+#~ "to capture. As Lord Mansfield wrote in a case that extended the reach of "
+#~ "English copyright law to include sheet music,"
+#~ msgstr ""
+#~ "siden starten av loven som regulerer kreative egenskapen, har det vært en "
+#~ "krig mot \\\"piratkopiering.\\\" presis konturene av dette konseptet \\"
+#~ "\"piratkopiering\\\", er vanskelig å skissere, men animert urettferdighet "
+#~ "er lett å fange. som Herren mansfield skrev i en sak som utvidet "
+#~ "rekkevidden av engelsk lov om opphavsrett til å inkludere sheet music,"
+
+#~ msgid ""
+#~ "Today we are in the middle of another \\\"war\\\" against \\\"piracy.\\\" "
+#~ "The Internet has provoked this war. The Internet makes possible the "
+#~ "efficient spread of content. Peer-to-peer (p2p) file sharing is among the "
+#~ "most efficient of the efficient technologies the Internet enables. Using "
+#~ "distributed intelligence, p2p systems facilitate the easy spread of "
+#~ "content in a way unimagined a generation ago."
+#~ msgstr ""
+#~ "i dag er vi midt i en annen \\\"krig\\\" mot \\\"piratkopiering.\\\" "
+#~ "Internett har provosert denne krigen. Internett gjør mulig effektiv "
+#~ "spredning av innhold. Peer-to-peer (p2p) fildeling er blant den mest "
+#~ "effektive av effektiv teknologi gjør det mulig for Internett. ved hjelp "
+#~ "av distributed intelligence, p2p systemer forenkle enkel spredning av "
+#~ "innhold på en måte som unimagined en generasjon siden."
+
+#~ msgid ""
+#~ "This efficiency does not respect the traditional lines of copyright. The "
+#~ "network doesn't discriminate between the sharing of copyrighted and "
+#~ "uncopyrighted content. Thus has there been a vast amount of sharing of "
+#~ "copyrighted content. That sharing in turn has excited the war, as "
+#~ "copyright owners fear the sharing will \\\"rob the author of the profit.\\"
+#~ "\""
+#~ msgstr ""
+#~ "Denne effektivitet respekterer ikke tradisjonelle linjene av opphavsrett. "
+#~ "nettverket diskriminerer ikke mellom deling av opphavsrettsbeskyttet og "
+#~ "uncopyrighted innhold. Dermed har det vært en enorm mengde deling av "
+#~ "opphavsrettsbeskyttet innhold. at deling har i sin tur glade krigen som "
+#~ "eiere av opphavsretter frykter deling vil \\\"rob forfatteren av "
+#~ "overskuddet.\\\""
+
+#~ 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!"
+#~ 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!"
+
+#~ 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."
+
+#~ msgid ""
+#~ "See Rochelle Dreyfuss, \\\"Expressive Genericity: Trademarks as Language "
+#~ "in the Pepsi Generation,\\\" Notre Dame Law Review 65 (1990): 397."
+#~ msgstr ""
+#~ "se rochelle dreyfuss, \\\"uttrykksfulle genericity: varemerker som språk "
+#~ "i pepsi-generasjon\\\" notre dame lov gå gjennom 65 (1990): 397."
+
+#~ msgid ""
+#~ "This idea is certainly a possible understanding of how creative property "
+#~ "should work. It might well be a possible design for a system of law "
+#~ "protecting creative property. But the \\\"if value, then right\\\" theory "
+#~ "of creative property has never been America's theory of creative "
+#~ "property. It has never taken hold within our law."
+#~ msgstr ""
+#~ "Denne ideen er absolutt en mulig forståelse av hvordan kreative "
+#~ "egenskapen skal fungere. Det kan godt være en mulig design for et system "
+#~ "av loven beskytte creative-egenskapen. men den \\\"Hvis verdien, deretter "
+#~ "høyre\\\" teori av creative-egenskapen har aldri vært america's teori om "
+#~ "kreative-egenskapen. Det har aldri tatt tak i vår lov."
+
+#~ 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\\\"."
+
+#~ msgid ""
+#~ "Disney's then partner, and one of animation's most extraordinary talents, "
+#~ "Ub Iwerks, put it more strongly: \\\"I have never been so thrilled in my "
+#~ "life. Nothing since has ever equaled it.\\\""
+#~ msgstr ""
+#~ "Disney's deretter partner, og en av animasjons mest ekstraordinære "
+#~ "talenter, ub iwerks, sette det mer sterkt: \\\"Jeg har aldri vært så "
+#~ "begeistret i mitt liv. ingenting siden har noensinne equaled den.\\\""
+
+#~ msgid ""
+#~ "This is a kind of creativity. It is a creativity that we should remember "
+#~ "and celebrate. There are some who would say that there is no creativity "
+#~ "except this kind. We don't need to go that far to recognize its "
+#~ "importance. We could call this \\\"Disney creativity,\\\" though that "
+#~ "would be a bit misleading. It is, more precisely, \\\"Walt Disney "
+#~ "creativity\\\"--a form of expression and genius that builds upon the "
+#~ "culture around us and makes it something different."
+#~ 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."
+
+#~ msgid ""
+#~ "At the end of a copyright term, a work passes into the public domain. No "
+#~ "permission is then needed to draw upon or use that work. No permission "
+#~ "and, hence, no lawyers. The public domain is a \\\"lawyer-free zone.\\\" "
+#~ "Thus, most of the content from the nineteenth century was free for Disney "
+#~ "to use and build upon in 1928. It was free for anyone-- whether connected "
+#~ "or not, whether rich or not, whether approved or not--to use and build "
+#~ "upon."
+#~ msgstr ""
+#~ "på slutten av en opphavsrett sikt sender et arbeid i public domain. Ingen "
+#~ "tillatelse kreves for deretter å trekke på, eller bruke som fungerer. "
+#~ "Ingen tillatelse og derfor ingen jurister. public domain er en \\"
+#~ "\"advokat-free zone.\\\" dermed, det meste av innholdet fra det nittende "
+#~ "århundre var gratis for disney du bruker, og bygger på i 1928. Det var "
+#~ "gratis for alle--enten tilkoblet eller ikke, om det er rik eller ikke, om "
+#~ "godkjente eller ikke--hvis du vil bruke, og bygge på."
+
+#~ msgid ""
+#~ "Of course, Walt Disney had no monopoly on \\\"Walt Disney creativity.\\\" "
+#~ "Nor does America. The norm of free culture has, until recently, and "
+#~ "except within totalitarian nations, been broadly exploited and quite "
+#~ "universal."
+#~ msgstr ""
+#~ "Selvfølgelig, walt disney hadde ingen monopol på \\\"walt disney "
+#~ "kreativitet.\\\" heller ikke Amerika. norm for fri kultur har, inntil "
+#~ "nylig, og unntatt i totalitære nasjoner, vært forstand utnyttede og "
+#~ "ganske universell."
+
+#~ msgid ""
+#~ "Americans tend to look down upon this form of culture. That's an "
+#~ "unattractive characteristic of ours. We're likely to misunderstand much "
+#~ "about manga, because few of us have ever read anything close to the "
+#~ "stories that these \\\"graphic novels\\\" tell. For the Japanese, manga "
+#~ "cover every aspect of social life. For us, comics are \\\"men in tights.\\"
+#~ "\" And anyway, it's not as if the New York subways are filled with "
+#~ "readers of Joyce or even Hemingway. People of different cultures distract "
+#~ "themselves in different ways, the Japanese in this interestingly "
+#~ "different way."
+#~ msgstr ""
+#~ "Amerikanerne har en tendens til å se på denne formen for kultur. Det er "
+#~ "en unattractive kjennetegnet av våre. vi sannsynligvis misforstå mye om "
+#~ "manga, fordi få av oss noensinne har lest noe nær historiene som disse \\"
+#~ "\"grafiske romaner\\\" fortelle. for japansk, manga dekker alle aspekter "
+#~ "av sosiale liv. tegneserier er \\\"menn i strømpebukse.\\\" for oss, og "
+#~ "likevel, det er ikke som hvis new york-bane er fylt med leserne av joyce "
+#~ "eller selv hemingway. mennesker av ulike kulturer distrahere seg på "
+#~ "forskjellige måter, japanske på dette interessant annen måte."
+
+#~ 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."
+#~ msgstr ""
+#~ "Dette er fenomenet doujinshi. doujinshi er også tegneserier, men de er en "
+#~ "slags copycat tegneserie. en rik ethic styrer opprettingen av doujinshi. "
+#~ "Det er ikke doujinshi Hvis det er bare en kopi; kunstneren må gi et "
+#~ "bidrag til kunst som han overfører, gjøre det subtly eller betydelig. en "
+#~ "doujinshi tegneserie kan dermed ta en mainstream tegneserie og utvikle "
+#~ "den annerledes--med en annen historie-linje. eller tegneserier kan holde "
+#~ "tegnet i karakter, men endre sitt utseende litt. Det er ingen formel for "
+#~ "det som gjør doujinshi tilstrekkelig \\\"annerledes.\\\", men de må være "
+#~ "forskjellige hvis de skal anses som sann doujinshi. Det er faktisk "
+#~ "komiteer som gjennomgå doujinshi for inkludering i viser og avvise enhver "
+#~ "copycat tegneserie som er bare en kopi."
+
+#~ msgid ""
+#~ "These copycat comics are not a tiny part of the manga market. They are "
+#~ "huge. More than 33,000 \\\"circles\\\" of creators from across Japan "
+#~ "produce these bits of Walt Disney creativity. More than 450,000 Japanese "
+#~ "come together twice a year, in the largest public gathering in the "
+#~ "country, to exchange and sell them. This market exists in parallel to the "
+#~ "mainstream commercial manga market. In some ways, it obviously competes "
+#~ "with that market, but there is no sustained effort by those who control "
+#~ "the commercial manga market to shut the doujinshi market down. It "
+#~ "flourishes, despite the competition and despite the law."
+#~ msgstr ""
+#~ "disse copycat tegneseriene er ikke en liten del av manga-markedet. de er "
+#~ "enorm. mer enn 33.000 \\\"sirkler\\\" av skaperne fra tvers japan "
+#~ "produsere disse biter av walt disney kreativitet. mer enn 450.000 japansk "
+#~ "komme sammen to ganger i året, i den største offentlig sammenkomst i "
+#~ "landet, å bytte og selge dem. Dette markedet finnes i parallell til det "
+#~ "mainstream kommersielle manga-markedet. det åpenbart konkurrerer med "
+#~ "dette markedet på noen måter, men det er ingen vedvarende innsats av de "
+#~ "som styrer kommersielle manga-markedet for å stenge doujinshi markedet. "
+#~ "den blomstrer, til tross for konkurransen og til tross for loven."
+
+#~ msgid ""
+#~ "The most puzzling feature of the doujinshi market, for those trained in "
+#~ "the law, at least, is that it is allowed to exist at all. Under Japanese "
+#~ "copyright law, which in this respect (on paper) mirrors American "
+#~ "copyright law, the doujinshi market is an illegal one. Doujinshi are "
+#~ "plainly \\\"derivative works.\\\" There is no general practice by "
+#~ "doujinshi artists of securing the permission of the manga creators. "
+#~ "Instead, the practice is simply to take and modify the creations of "
+#~ "others, as Walt Disney did with Steamboat Bill, Jr. Under both Japanese "
+#~ "and American law, that \\\"taking\\\" without the permission of the "
+#~ "original copyright owner is illegal. It is an infringement of the "
+#~ "original copyright to make a copy or a derivative work without the "
+#~ "original copyright owner's permission."
+#~ msgstr ""
+#~ "funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er "
+#~ "at det er tillatt å eksistere i det hele tatt. under japansk lov om "
+#~ "opphavsrett, som i denne forbindelse (på papiret) gjenspeiler amerikansk "
+#~ "lov om opphavsrett, er doujinshi markedet en ulovlig. doujinshi er "
+#~ "tydelig \\\"avledede works.\\\" det er ingen generell fremgangsmåte ved "
+#~ "doujinshi artister for å sikre tillatelse fra skaperne manga. i stedet, "
+#~ "øvelsen er ganske enkelt å ta og endre kreasjoner av andre, som walt "
+#~ "disney gjorde med steamboat bill, jr. under både japanske og amerikanske "
+#~ "loven, det \\\"tar\\\" uten tillatelse fra eieren av opprinnelige "
+#~ "opphavsretten er ulovlig. Det er en krenkelse av opprinnelige "
+#~ "opphavsretten til å lage en kopi eller et avledet arbeid uten den "
+#~ "opphavspersonens tillatelse."
+
+#~ msgid ""
+#~ "American comics now are quite different, Winick explains, in part because "
+#~ "of the legal difficulty of adapting comics the way doujinshi are allowed. "
+#~ "Speaking of Superman, Winick told me, \\\"there are these rules and you "
+#~ "have to stick to them.\\\" There are things Superman \\\"cannot\\\" do. \\"
+#~ "\"As a creator, it's frustrating having to stick to some parameters which "
+#~ "are fifty years old.\\\""
+#~ msgstr ""
+#~ "amerikanske tegneserier nå er helt forskjellige, winick forklarer, delvis "
+#~ "på grunn av juridiske vanskelighetene med å tilpasse tegneserier måte "
+#~ "doujinshi er tillatt. Speaking of superman, winick fortalte meg, \\\"det "
+#~ "er disse reglene og du har å holde oss til dem\\\" det er ting superman \\"
+#~ "\"ikke\\\" gjøre. \\\"som en creator, det er frustrerende måtte holde oss "
+#~ "til noen parametere som er femti år.\\\""
+
+#~ msgid ""
+#~ "See Salil K. Mehra, \\\"Copyright and Comics in Japan: Does Law Explain "
+#~ "Why All the Comics My Kid Watches Are Japanese Imports?\\\" Rutgers Law "
+#~ "Review 55 (2002): 155, 182. \\\"[T]here might be a collective economic "
+#~ "rationality that would lead manga and anime artists to forgo bringing "
+#~ "legal actions for infringement. One hypothesis is that all manga artists "
+#~ "may be better off collectively if they set aside their individual self-"
+#~ "interest and decide not to press their legal rights. This is essentially "
+#~ "a prisoner's dilemma solved.\\\""
+#~ msgstr ""
+#~ "se salil k. mehra, \\\"copyright og tegneserier i japan: gjør loven "
+#~ "forklare hvorfor alle tegneseriene min gutt klokker er japanske import?\\"
+#~ "\" rutgers lov gå gjennom 55 (2002): 155, 182. \\\"[t] her kan være en "
+#~ "kollektiv økonomiske rasjonalitet som ville føre manga og anime kunstnere "
+#~ "til å forgo bringe juridiske handlinger for krenkelse. én hypotese er at "
+#~ "alle manga kunstnere kan være bedre samlet hvis de satt deres "
+#~ "individuelle egeninteresse og bestemmer deg for ikke å trykke sine "
+#~ "juridiske rettigheter. Dette er egentlig en fangens dilemma løst.\\\""
+
+#~ msgid ""
+#~ "The problem with this story, however, as Mehra plainly acknowledges, is "
+#~ "that the mechanism producing this laissez faire response is not clear. It "
+#~ "may well be that the market as a whole is better off if doujinshi are "
+#~ "permitted rather than banned, but that doesn't explain why individual "
+#~ "copyright owners don't sue nonetheless. If the law has no general "
+#~ "exception for doujinshi, and indeed in some cases individual manga "
+#~ "artists have sued doujinshi artists, why is there not a more general "
+#~ "pattern of blocking this \\\"free taking\\\" by the doujinshi culture?"
+#~ msgstr ""
+#~ "problemet med denne historien, men er som mehra erkjenner tydelig, at "
+#~ "mekanismen produsere dette laissez faire svaret ikke er klart. Det kan "
+#~ "godt være at markedet som helhet er bedre om doujinshi er tillatt stedet "
+#~ "utestengt, men som ikke forklare hvorfor enkelte opphavsrett eiere ikke "
+#~ "saksøke likevel. Hvis loven har ingen generelle unntak for doujinshi og "
+#~ "faktisk i noen tilfeller individuelle manga kunstnere har saksøkte "
+#~ "doujinshi artister, hvorfor er det ikke en mer generell mønster av "
+#~ "blokkerer denne \\\"gratis tar\\\" av doujinshi kultur?"
+
+#~ msgid ""
+#~ "I spent four wonderful months in Japan, and I asked this question as "
+#~ "often as I could. Perhaps the best account in the end was offered by a "
+#~ "friend from a major Japanese law firm. \\\"We don't have enough lawyers,\\"
+#~ "\" he told me one afternoon. There \\\"just aren't enough resources to "
+#~ "prosecute cases like this.\\\""
+#~ msgstr ""
+#~ "Jeg tilbrakte fire fantastiske måneder i japan, og jeg spurt dette "
+#~ "spørsmålet så ofte som jeg kunne. kanskje ble den beste kontoen til slutt "
+#~ "tilbudt av en venn fra en større japansk advokatfirma. \\\"vi ikke har "
+#~ "nok advokater,\\\" han fortalte meg en ettermiddag. det \\\"bare ikke er "
+#~ "nok ressurser til å tiltale tilfeller som dette.\\\""
+
+#~ msgid ""
+#~ "The term intellectual property is of relatively recent origin. See Siva "
+#~ "Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York "
+#~ "University Press, 2001). See also Lawrence Lessig, The Future of Ideas "
+#~ "(New York: Random House, 2001), 293 n. 26. The term accurately describes "
+#~ "a set of \\\"property\\\" rights--copyright, patents, trademark, and "
+#~ "trade-secret--but the nature of those rights is very different."
+#~ msgstr ""
+#~ "begrepet immaterielle er relativt nylige opprinnelsesland. se siva "
+#~ "vaidhyanathan, opphavsrett og copywrongs, 11 (new york: new york "
+#~ "university press, 2001). Se også lawrence lessig, fremtiden for ideer "
+#~ "(new york: random house, 2001), 293 n. 26. begrepet beskriver nøyaktig et "
+#~ "sett med rettigheter for \\\"eiendom\\\"--opphavsrett, patenter, "
+#~ "varemerker, og forretningshemmeligheter-- men innholdet av disse "
+#~ "rettighetene er svært forskjellige."
+
+#~ msgid ""
+#~ "But it takes just a second's reflection to realize that there is plenty "
+#~ "of value out there that \\\"property\\\" doesn't capture. I don't mean \\"
+#~ "\"money can't buy you love,\\\" but rather, value that is plainly part of "
+#~ "a process of production, including commercial as well as noncommercial "
+#~ "production. If Disney animators had stolen a set of pencils to draw "
+#~ "Steamboat Willie, we'd have no hesitation in condemning that taking as "
+#~ "wrong-- even though trivial, even if unnoticed. Yet there was nothing "
+#~ "wrong, at least under the law of the day, with Disney's taking from "
+#~ "Buster Keaton or from the Brothers Grimm. There was nothing wrong with "
+#~ "the taking from Keaton because Disney's use would have been considered \\"
+#~ "\"fair.\\\" There was nothing wrong with the taking from the Grimms "
+#~ "because the Grimms' work was in the public domain."
+#~ msgstr ""
+#~ "men det tar bare et sekund refleksjon for å innse at det er rikelig med "
+#~ "verdi der ute som \\\"property\\\" ikke fange. Jeg trenger ikke bety \\"
+#~ "\"penger kan ikke kjøpe deg kjærlighet,\\\" men snarere verdi som tydelig "
+#~ "er en del av en prosess av produksjon, inkludert kommersielle samt ikke-"
+#~ "kommersiell produksjon. Hvis disney animatører hadde stjålet et sett med "
+#~ "blyanter å trekke steamboat willie, ville vi har ingen nøle med å "
+#~ "fordømme det tar så galt - selv om det er triviell, selv om ubemerket. "
+#~ "men det var ikke noe galt, minst under loven av dagen, med disney's å ta "
+#~ "fra buster keaton eller fra the Sunday. Det var noe galt med å ta fra "
+#~ "keaton fordi disney's bruk ville ha blitt vurdert \\\"fair.\\\" det ikke "
+#~ "var noe galt med å ta fra grimms fordi grimms' arbeid var i den "
+#~ "offentlige sfæren."
+
+#~ msgid ""
+#~ "Yet there is an obvious reluctance, even among Japanese lawyers, to say "
+#~ "that the copycat comic artists are \\\"stealing.\\\" This form of Walt "
+#~ "Disney creativity is seen as fair and right, even if lawyers in "
+#~ "particular find it hard to say why."
+#~ msgstr ""
+#~ "Likevel er det en åpenbar uvilje mot, selv blant japanske advokater, for "
+#~ "å si at copycat comic kunstnerne er \\\"stjele.\\\" denne formen for walt "
+#~ "disney kreativitet er sett på som rettferdig og høyre, selv om advokater "
+#~ "spesielt finner det vanskelig å si hvorfor."
+
+#~ msgid ""
+#~ "It's the same with a thousand examples that appear everywhere once you "
+#~ "begin to look. Scientists build upon the work of other scientists without "
+#~ "asking or paying for the privilege. (\\\"Excuse me, Professor Einstein, "
+#~ "but may I have permission to use your theory of relativity to show that "
+#~ "you were wrong about quantum physics?\\\") Acting companies perform "
+#~ "adaptations of the works of Shakespeare without securing permission from "
+#~ "anyone. (Does anyone believe Shakespeare would be better spread within "
+#~ "our culture if there were a central Shakespeare rights clearinghouse that "
+#~ "all productions of Shakespeare must appeal to first?) And Hollywood goes "
+#~ "through cycles with a certain kind of movie: five asteroid films in the "
+#~ "late 1990s; two volcano disaster films in 1997."
+#~ msgstr ""
+#~ "Det er det samme med tusen eksempler som vises overalt når du begynner å "
+#~ "se. forskere bygge på arbeidet til andre forskere uten å be om eller "
+#~ "betale for privilegiet. (\\\"Unnskyld meg, professor einstein, men "
+#~ "kanskje jeg har tillatelse til å bruke ditt Relativitetsteorien for å "
+#~ "vise at du var galt om quantum fysikk?\\\") fungerende virksomheter "
+#~ "utfører bearbeidelser av verk av shakespeare uten sikring tillatelse fra "
+#~ "noen. (mener noen shakespeare ville være bedre spredt i vår kultur Hvis "
+#~ "det var en sentral shakespeare rettigheter clearinghouse som alle "
+#~ "produksjoner Shakespeare må appellere til første?) og hollywood går "
+#~ "gjennom sykluser med en bestemt type film: fem asteroider filmer inne det "
+#~ "sen 1990s; to vulkanen katastrofe filmer i 1997."
+
+#~ msgid ""
+#~ "The hard question is therefore not whether a culture is free. All "
+#~ "cultures are free to some degree. The hard question instead is \\\"How "
+#~ "free is this culture?\\\" How much, and how broadly, is the culture free "
+#~ "for others to take and build upon? Is that freedom limited to party "
+#~ "members? To members of the royal family? To the top ten corporations on "
+#~ "the New York Stock Exchange? Or is that freedom spread broadly? To "
+#~ "artists generally, whether affiliated with the Met or not? To musicians "
+#~ "generally, whether white or not? To filmmakers generally, whether "
+#~ "affiliated with a studio or not?"
+#~ msgstr ""
+#~ "Det vanskelige spørsmålet er derfor ikke om en kultur er gratis. alle "
+#~ "kulturer er gratis til en viss grad. Det vanskelige spørsmålet i stedet "
+#~ "er \\\"hvordan gratis er denne kulturen?\\\" hvor mye og hvordan "
+#~ "forstand, er kultur som er gratis for andre å ta, og bygge på? er den "
+#~ "friheten begrenset til partiets medlemmer? til medlemmer av "
+#~ "kongefamilien? til topp ti selskaper på new york stock exchange? eller er "
+#~ "at frihet spredt bredt? til kunstnere vanligvis enten tilknyttet av the "
+#~ "met eller ikke? til musikere vanligvis om hvit eller ikke? til "
+#~ "filmskapere vanligvis enten tilknyttet et studio eller ikke?"
+
+#~ msgid "CHAPTER TWO: \\\"Mere Copyists\\\""
+#~ msgstr "Kapittel to: \\\"kun copyists\\\""
+
+#~ msgid ""
+#~ "In 1839, Louis Daguerre invented the first practical technology for "
+#~ "producing what we would call \\\"photographs.\\\" Appropriately enough, "
+#~ "they were called \\\"daguerreotypes.\\\" The process was complicated and "
+#~ "expensive, and the field was thus limited to professionals and a few "
+#~ "zealous and wealthy amateurs. (There was even an American Daguerre "
+#~ "Association that helped regulate the industry, as do all such "
+#~ "associations, by keeping competition down so as to keep prices up.)"
+#~ msgstr ""
+#~ "i 1839, louis daguerre oppfant den første praktiske teknologien for å "
+#~ "produsere det vi vil kalle \\\"fotografier.\\\" riktig nok, de ble kalt \\"
+#~ "\"daguerreotypes.\\\" prosessen var komplisert og kostbart, og feltet var "
+#~ "dermed begrenset til profesjonelle og noen ivrige og velstående amatører. "
+#~ "(det var enda en amerikansk daguerre tilknytning som hjalp regulere "
+#~ "bransjen, som gjør alle slike tilknytninger, ved å holde konkurranse å "
+#~ "holde prisene.)"
+
+#~ msgid ""
+#~ "Yet despite high prices, the demand for daguerreotypes was strong. This "
+#~ "pushed inventors to find simpler and cheaper ways to make \\\"automatic "
+#~ "pictures.\\\" William Talbot soon discovered a process for making \\"
+#~ "\"negatives.\\\" But because the negatives were glass, and had to be kept "
+#~ "wet, the process still remained expensive and cumbersome. In the 1870s, "
+#~ "dry plates were developed, making it easier to separate the taking of a "
+#~ "picture from its developing. These were still plates of glass, and thus "
+#~ "it was still not a process within reach of most amateurs."
+#~ msgstr ""
+#~ "likevel til tross for høye priser var etterspørselen etter daguerreotypes "
+#~ "sterk. Dette presset oppfinnere å finne enklere og billigere måter å "
+#~ "gjøre \\\"automatisk bilder.\\\" william talbot snart oppdaget en prosess "
+#~ "for å gjøre \\\"negativer.\\\", men fordi negativene var glass, og måtte "
+#~ "holdes våt, prosessen forsatt dyre og tunge. i 1870, ble tørr platene "
+#~ "utviklet, gjør det enklere å skille å ta på et bilde fra sin utvikling. "
+#~ "disse var fortsatt plater av glass, og dermed det var likevel ikke en "
+#~ "prosess innenfor rekkevidde de fleste amatører."
+
+#~ msgid ""
+#~ "In this way, the Kodak camera and film were technologies of expression. "
+#~ "The pencil or paintbrush was also a technology of expression, of course. "
+#~ "But it took years of training before they could be deployed by amateurs "
+#~ "in any useful or effective way. With the Kodak, expression was possible "
+#~ "much sooner and more simply. The barrier to expression was lowered. Snobs "
+#~ "would sneer at its \\\"quality\\\"; professionals would discount it as "
+#~ "irrelevant. But watch a child study how best to frame a picture and you "
+#~ "get a sense of the experience of creativity that the Kodak enabled. "
+#~ "Democratic tools gave ordinary people a way to express themselves more "
+#~ "easily than any tools could have before."
+#~ msgstr ""
+#~ "på denne måten var kodak-kamera og film teknologier uttrykksmåter. blyant "
+#~ "eller paintbrush var også en teknologi uttrykksmåter, selvfølgelig. men "
+#~ "det tok år med trening før de kan distribueres av amatører på noen "
+#~ "nyttige eller effektiv måte. med kodak var uttrykk mulig mye raskere og "
+#~ "enklere. barriere til uttrykk ble senket. snobs ville hånlig flir på sin "
+#~ "\\\"kvalitet\\\"; profesjonelle ville rabatt det som irrelevant. Men se "
+#~ "et barn studere hvordan du best som ramme for et bilde, og du får en "
+#~ "følelse av opplevelsen av kreativitet som kodak aktivert. demokratiske "
+#~ "verktøy ga vanlige folk en måte å uttrykke seg lettere enn noen verktøy "
+#~ "kan har før."
+
+#~ msgid ""
+#~ "The arguments in favor of requiring permission will sound surprisingly "
+#~ "familiar. The photographer was \\\"taking\\\" something from the person "
+#~ "or building whose photograph he shot--pirating something of value. Some "
+#~ "even thought he was taking the target's soul. Just as Disney was not free "
+#~ "to take the pencils that his animators used to draw Mickey, so, too, "
+#~ "should these photographers not be free to take images that they thought "
+#~ "valuable."
+#~ msgstr ""
+#~ "argumenter for å trenge tillatelse vil lyde overraskende kjent. "
+#~ "fotografen ble \\\"tar\\\" noe fra personen eller bygge med fotografi han "
+#~ "skjøt--pirating noe av verdi. noen trodde selv han tok målets sjel. "
+#~ "akkurat som disney ikke var fritt til å ta den blyanter hans animatører "
+#~ "brukes til å tegne mickey, så bør også, disse fotografer ikke være fritt "
+#~ "til å ta bilder som de trodde verdifull."
+
+#~ msgid ""
+#~ "Samuel D. Warren and Louis D. Brandeis, \\\"The Right to Privacy,\\\" "
+#~ "Harvard Law Review 4 (1890): 193."
+#~ msgstr ""
+#~ "Samuel d. warren og louis d. brandeis, \\\"rett til personvern,\\\" "
+#~ "harvard law gå gjennom 4 (1890): 193."
+
+#~ msgid ""
+#~ "We can only speculate about how photography would have developed had the "
+#~ "law gone the other way. If the presumption had been against the "
+#~ "photographer, then the photographer would have had to demonstrate "
+#~ "permission. Perhaps Eastman Kodak would have had to demonstrate "
+#~ "permission, too, before it developed the film upon which images were "
+#~ "captured. After all, if permission were not granted, then Eastman Kodak "
+#~ "would be benefiting from the \\\"theft\\\" committed by the photographer. "
+#~ "Just as Napster benefited from the copyright infringements committed by "
+#~ "Napster users, Kodak would be benefiting from the \\\"image-right\\\" "
+#~ "infringement of its photographers. We could imagine the law then "
+#~ "requiring that some form of permission be demonstrated before a company "
+#~ "developed pictures. We could imagine a system developing to demonstrate "
+#~ "that permission."
+#~ msgstr ""
+#~ "Vi kan bare spekulere om hvordan fotografering ville ha utviklet seg "
+#~ "hadde loven gått den andre veien. Hvis antagelse hadde vært mot "
+#~ "fotografen, ville deretter fotografen ha hatt å demonstrere tillatelse. "
+#~ "kanskje eastman kodak ville ha hatt å demonstrere tillatelse, også, før "
+#~ "det utviklet filmen som bildene ble tatt. tross alt, hvis du ikke var har "
+#~ "tillatelse, deretter eastman kodak ville være nytte mot \\\"tyveri\\\" "
+#~ "begått av fotografen. like napster avtatt opphavsrett infringements "
+#~ "begått av brukere for napster, ville kodak være nytte fra \\\"bildet til "
+#~ "høyre\\\" krenkelse av sine fotografer. Vi kunne tenke loven og som "
+#~ "krever at noen form for tillatelse bli vist før et selskap utviklet "
+#~ "bilder. Vi kunne forestille seg et system å utvikle for å demonstrere "
+#~ "tillatelsen."
+
+#~ msgid ""
+#~ "But though we could imagine this system of permission, it would be very "
+#~ "hard to see how photography could have flourished as it did if the "
+#~ "requirement for permission had been built into the rules that govern it. "
+#~ "Photography would have existed. It would have grown in importance over "
+#~ "time. Professionals would have continued to use the technology as they "
+#~ "did--since professionals could have more easily borne the burdens of the "
+#~ "permission system. But the spread of photography to ordinary people would "
+#~ "not have occurred. Nothing like that growth would have been realized. And "
+#~ "certainly, nothing like that growth in a democratic technology of "
+#~ "expression would have been realized. If you drive through San "
+#~ "Francisco's Presidio, you might see two gaudy yellow school buses painted "
+#~ "over with colorful and striking images, and the logo \\\"Just Think!\\\" "
+#~ "in place of the name of a school. But there's little that's \\\"just\\\" "
+#~ "cerebral in the projects that these busses enable. These buses are "
+#~ "filled with technologies that teach kids to tinker with film. Not the "
+#~ "film of Eastman. Not even the film of your VCR. Rather the \\\"film\\\" "
+#~ "of digital cameras. Just Think! is a project that enables kids to make "
+#~ "films, as a way to understand and critique the filmed culture that they "
+#~ "find all around them. Each year, these busses travel to more than thirty "
+#~ "schools and enable three hundred to five hundred children to learn "
+#~ "something about media by doing something with media. By doing, they "
+#~ "think. By tinkering, they learn."
+#~ msgstr ""
+#~ "men selv om vi kunne tenke seg dette systemet av tillatelse, det ville "
+#~ "være svært vanskelig å se hvordan fotografering kunne ha blomstret som "
+#~ "det gjorde Hvis kravet om tillatelse hadde blitt bygget inn i reglene som "
+#~ "styrer det. fotografering ville har eksistert. det ville ha vokst "
+#~ "betydning over tid. profesjonelle ville har fortsatt å bruke teknologi "
+#~ "som de gjorde--siden fagfolk kan lettere båret byrdene av tillatelse-"
+#~ "systemet. Men spredning av fotografering til vanlige folk ville ikke ha "
+#~ "skjedd. ingenting som at veksten ville har blitt realisert. og Ja, "
+#~ "ingenting som at veksten i en demokratisk teknologi uttrykksmåter ville "
+#~ "har blitt realisert. Hvis du kjører gjennom san Franciscos presidio, kan "
+#~ "du se to glorete gule skolebusser malt over med fargerike og flotte "
+#~ "bilder og logoen \\\"Tenk!\\\" i stedet for navnet på en skole. men det "
+#~ "er lite som er \\\"bare\\\" hjerne i prosjekter som gjør at disse busser. "
+#~ "disse busser er fylt med teknologier som underviser barna å tinker med "
+#~ "film. ikke filmen av eastman. ikke engang filmen av videospilleren. "
+#~ "snarere den \\\"film\\\" av digitale kameraer. Tenk! er et prosjekt som "
+#~ "gjør at barna å lage filmer, som en måte å forstå og kritikk av filmet "
+#~ "kultur som de finner rundt dem. hvert år, disse busser reise til mer enn "
+#~ "tretti skoler og aktivere tre hundre til fem hundre barn til å lære noe "
+#~ "om medier ved å gjøre noe med media. ved å gjøre tror de. ved fiksing og "
+#~ "triksing lærer de."
+
+#~ msgid ""
+#~ "\\\"Media literacy,\\\" as Dave Yanofsky, the executive director of Just "
+#~ "Think!, puts it, \\\"is the ability . . . to understand, analyze, and "
+#~ "deconstruct media images. Its aim is to make [kids] literate about the "
+#~ "way media works, the way it's constructed, the way it's delivered, and "
+#~ "the way people access it.\\\""
+#~ msgstr ""
+#~ "\\\"media leseferdighet,\\\" som dave yanofsky, administrerende direktør "
+#~ "i Tenk!, sier det, \\\"er... du kan forstå, analysere og deconstruct "
+#~ "media bilder. Målet er å gjøre [barn] literate om måten mediet fungerer, "
+#~ "hvordan den er konstruert, slik den er levert, og måten å få tilgang til "
+#~ "den.\\\""
+
+#~ msgid ""
+#~ "This may seem like an odd way to think about \\\"literacy.\\\" For most "
+#~ "people, literacy is about reading and writing. Faulkner and Hemingway and "
+#~ "noticing split infinitives are the things that \\\"literate\\\" people "
+#~ "know about."
+#~ msgstr ""
+#~ "Dette kan virke som en merkelig måte å tenke på \\\"leseferdighet.\\\" "
+#~ "for folk flest, leseferdighet handler om lesing og skriving. Faulkner og "
+#~ "hemingway og merke delte infinitiv er det ting som \\\"literate\\\" folk "
+#~ "vet om."
+
+#~ msgid ""
+#~ "Judith Van Evra, Television and Child Development (Hillsdale, N.J.: "
+#~ "Lawrence Erlbaum Associates, 1990); \\\"Findings on Family and TV Study,\\"
+#~ "\" Denver Post, 25 May 1997, B6."
+#~ msgstr ""
+#~ "Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum "
+#~ "associates, 1990); \\\"funn på familie og tv studie,\\\" denver innlegg, "
+#~ "25 mai 1997, b6."
+
+#~ msgid ""
+#~ "This skill is precisely the craft a filmmaker learns. As Daley describes, "
+#~ "\\\"people are very surprised about how they are led through a film. [I]t "
+#~ "is perfectly constructed to keep you from seeing it, so you have no idea. "
+#~ "If a filmmaker succeeds you do not know how you were led.\\\" If you know "
+#~ "you were led through a film, the film has failed."
+#~ msgstr ""
+#~ "denne ferdigheten er nøyaktig håndverket filmskaper lærer. som daley "
+#~ "beskriver, er\\\"folk veldig overrasket om hvordan de er ledet gjennom en "
+#~ "film. [i] t er perfekt konstruert for å hindre at du ser det, så du har "
+#~ "ingen anelse om. Hvis en filmskaper lykkes du ikke vet hvordan du ble "
+#~ "ledet.\\\"Hvis du vet at du ble ledet gjennom en film, filmen mislyktes."
+
+#~ msgid ""
+#~ "\\\"Read-only.\\\" Passive recipients of culture produced elsewhere. "
+#~ "Couch potatoes. Consumers. This is the world of media from the twentieth "
+#~ "century."
+#~ msgstr ""
+#~ "\\\"lese-bare.\\\" passiv mottakerne av kultur produsert andre steder. "
+#~ "Couch Poteter. forbrukere. Dette er verden av medier fra det tjuende "
+#~ "århundre."
+
+#~ msgid ""
+#~ "The class was held on Friday afternoons, and it created a relatively new "
+#~ "problem for the school. While the challenge in most classes was getting "
+#~ "the kids to come, the challenge in this class was keeping them away. The "
+#~ "\\\"kids were showing up at 6 A.M. and leaving at 5 at night,\\\" said "
+#~ "Barish. They were working harder than in any other class to do what "
+#~ "education should be about--learning how to express themselves."
+#~ msgstr ""
+#~ "klassen ble avholdt fredag ettermiddagen, og det opprettes et relativt "
+#~ "nytt problem for skolen. mens utfordringen i de fleste klasser fikk barna "
+#~ "framover, var utfordringen i denne klassen holde dem unna. The \\\"barna "
+#~ "var vise opp til 6 am og forlate ved 5 om natten,\\\" sa barish. de "
+#~ "jobber hardere enn i noen annen klasse å gjøre hva utdanning bør være "
+#~ "omtrent--lære å uttrykke seg."
+
+#~ msgid ""
+#~ "Using whatever \\\"free web stuff they could find,\\\" and relatively "
+#~ "simple tools to enable the kids to mix \\\"image, sound, and text,\\\" "
+#~ "Barish said this class produced a series of projects that showed "
+#~ "something about gun violence that few would otherwise understand. This "
+#~ "was an issue close to the lives of these students. The project \\\"gave "
+#~ "them a tool and empowered them to be able to both understand it and talk "
+#~ "about it,\\\" Barish explained. That tool succeeded in creating "
+#~ "expression--far more successfully and powerfully than could have been "
+#~ "created using only text. \\\"If you had said to these students, `you have "
+#~ "to do it in text,' they would've just thrown their hands up and gone and "
+#~ "done something else,\\\" Barish described, in part, no doubt, because "
+#~ "expressing themselves in text is not something these students can do "
+#~ "well. Yet neither is text a form in which these ideas can be expressed "
+#~ "well. The power of this message depended upon its connection to this form "
+#~ "of expression."
+#~ msgstr ""
+#~ "bruker noe \\\"gratis web ting de kunne finne\\\", og relativt enkle "
+#~ "verktøy til å aktivere barna å blande \\\"bilde, lyd og tekst\\\", sa "
+#~ "barish denne klassen produsert en rekke prosjekter som viste noe om "
+#~ "pistol vold som noen ellers ville forstå. Dette var et problem nær livene "
+#~ "til disse studentene. prosjektet \\\"ga dem et verktøy og myndighet dem å "
+#~ "være i stand til å både forstå det og snakke om det,\\\" barish forklart. "
+#~ "som verktøyet lyktes i lage uttrykk--langt mer vellykket og kraftfullt "
+#~ "enn kunne ha blitt skapt med bare teksten. \\\"Hvis du hadde sagt til "
+#~ "disse studenter, 'du har å gjøre det i tekst', de ville har bare kastet "
+#~ "sine hender opp og borte og gjort noe annet,\\\" er barish beskrevet i "
+#~ "del, ingen tvil, fordi uttrykker seg i tekst ikke noe disse studentene "
+#~ "kan gjøre godt. likevel verken er tekst et skjema i som disse ideene kan "
+#~ "uttrykkes godt. kraften i denne meldingen depended upon dens forbindelse "
+#~ "til denne formen for uttrykk."
+
+#~ msgid ""
+#~ "\\\"But isn't education about teaching kids to write?\\\" I asked. In "
+#~ "part, of course, it is. But why are we teaching kids to write? Education, "
+#~ "Daley explained, is about giving students a way of \\\"constructing "
+#~ "meaning.\\\" To say that that means just writing is like saying teaching "
+#~ "writing is only about teaching kids how to spell. Text is one part--and "
+#~ "increasingly, not the most powerful part--of constructing meaning. As "
+#~ "Daley explained in the most moving part of our interview,"
+#~ msgstr ""
+#~ "\\\"men ikke opplæring om undervise barna å skrive?\\\" spurte jeg. "
+#~ "delvis, selvfølgelig, er det. men hvorfor er vi lærer barna å skrive? "
+#~ "utdanning, daley forklart, handler om å gi elever en måte å \\"
+#~ "\"konstruksjon av ny betydning.\\\" å si at det betyr bare skrive er som "
+#~ "å si undervisning skriving er bare om å undervise barna hvordan å stave. "
+#~ "teksten er én del-- og i økende grad, ikke den mektigste delen--for å "
+#~ "bygge betydning. som daley forklart i den mest flyttende del av vårt "
+#~ "intervju"
+
+#~ msgid ""
+#~ "What you want is to give these students ways of constructing meaning. If "
+#~ "all you give them is text, they're not going to do it. Because they "
+#~ "can't. You know, you've got Johnny who can look at a video, he can play a "
+#~ "video game, he can do graffiti all over your walls, he can take your car "
+#~ "apart, and he can do all sorts of other things. He just can't read your "
+#~ "text. So Johnny comes to school and you say, \\\"Johnny, you're "
+#~ "illiterate. Nothing you can do matters.\\\" Well, Johnny then has two "
+#~ "choices: He can dismiss you or he [can] dismiss himself. If his ego is "
+#~ "healthy at all, he's going to dismiss you. [But i]nstead, if you say, \\"
+#~ "\"Well, with all these things that you can do, let's talk about this "
+#~ "issue. Play for me music that you think reflects that, or show me images "
+#~ "that you think reflect that, or draw for me something that reflects that."
+#~ "\\\" Not by giving a kid a video camera and . . . saying, \\\"Let's go "
+#~ "have fun with the video camera and make a little movie.\\\" But instead, "
+#~ "really help you take these elements that you understand, that are your "
+#~ "language, and construct meaning about the topic. . . ."
+#~ msgstr ""
+#~ "Hva du ønsker er å gi disse elevene måter for å bygge betydning. Hvis alt "
+#~ "du gi dem er tekst, er de ikke til å gjøre det på. fordi de ikke kan. du "
+#~ "vet, du har johnny som kan se på en video, han kan spille et spill, kan "
+#~ "han gjøre graffiti hele din vegger, han kan ta din bil fra hverandre, og "
+#~ "han kan gjøre alle slags andre ting. han kan bare lese teksten. så johnny "
+#~ "kommer til skolen, og du sier, \\\"johnny, du er analfabeter. ingenting "
+#~ "du kan gjøre saker.\\\"Vel, johnny deretter har du to valg: han kan "
+#~ "ignorere du eller han [kan] avvise selv. Hvis hans ego er sunn overhodet, "
+#~ "skal han ignorere du. [men jeg] nstead, hvis du sier, \\\"Vel, med alle "
+#~ "disse tingene du kan gjøre, la oss snakke om dette problemet. spille for "
+#~ "meg musikk som du tror gjenspeiler som, eller vise meg bilder som du tror "
+#~ "gjenspeile som, eller tegne for meg noe som gjenspeiler som.\\\"ikke ved "
+#~ "å gi en gutt et videokamera og... sa:\\\"La oss gå har moro med "
+#~ "videokameraet og gjøre en liten film.\\\", men i stedet, virkelig hjelpe "
+#~ "deg med å ta disse elementene du forstår, som er ditt språk, og "
+#~ "konstruere mening om emnet...."
+
+#~ msgid ""
+#~ "That empowers enormously. And then what happens, of course, is "
+#~ "eventually, as it has happened in all these classes, they bump up against "
+#~ "the fact, \\\"I need to explain this and I really need to write something."
+#~ "\\\" And as one of the teachers told Stephanie, they would rewrite a "
+#~ "paragraph 5, 6, 7, 8 times, till they got it right."
+#~ msgstr ""
+#~ "som gir enormt. og deretter hva som skjer, selvfølgelig, er til slutt, "
+#~ "som det har skjedd i alle disse klassene, de bump opp mot faktum, \\\"jeg "
+#~ "trenger å forklare dette, og jeg virkelig trenger å skrive noe.\\\", og "
+#~ "som en av lærerne fortalte stephanie, ville de omskrive et avsnitt 5, 6, "
+#~ "7, 8 ganger, till de fått det riktig."
+
+#~ msgid ""
+#~ "Because they needed to. There was a reason for doing it. They needed to "
+#~ "say something, as opposed to just jumping through your hoops. They "
+#~ "actually needed to use a language that they didn't speak very well. But "
+#~ "they had come to understand that they had a lot of power with this "
+#~ "language.\\\""
+#~ msgstr ""
+#~ "fordi de måtte. Det var en grunn for å gjøre det. de trengte å si noe, i "
+#~ "motsetning til bare hoppe gjennom ringer din. de faktisk har behov for å "
+#~ "bruke et språk som de ikke snakker godt. men de hadde begynt å forstå at "
+#~ "de hadde mye kraft med dette språket."
+
+#~ msgid ""
+#~ "These retellings had an increasingly familiar feel. There was music "
+#~ "scored for the intermissions, and fancy graphics that flashed across the "
+#~ "screen. There was a formula to interviews. There was \\\"balance,\\\" and "
+#~ "seriousness. This was news choreographed in the way we have increasingly "
+#~ "come to expect it, \\\"news as entertainment,\\\" even if the "
+#~ "entertainment is tragedy."
+#~ msgstr ""
+#~ "disse retellings hadde en stadig familiær stemning. Det var musikk scoret "
+#~ "for intermissions og fancy grafikk som flashed hele skjermen. Det var en "
+#~ "formel til intervjuer. Det var \\\"balanse\\\" og seriøsitet. Dette var "
+#~ "nyheter koreograferte i måten vi er stadig mer vant til det, \\\"nyheter "
+#~ "som underholdning,\\\" selv om underholdning er tragedie."
+
+#~ msgid ""
+#~ "But in addition to this produced news about the \\\"tragedy of September "
+#~ "11,\\\" those of us tied to the Internet came to see a very different "
+#~ "production as well. The Internet was filled with accounts of the same "
+#~ "events. Yet these Internet accounts had a very different flavor. Some "
+#~ "people constructed photo pages that captured images from around the world "
+#~ "and presented them as slide shows with text. Some offered open letters. "
+#~ "There were sound recordings. There was anger and frustration. There were "
+#~ "attempts to provide context. There was, in short, an extraordinary "
+#~ "worldwide barn raising, in the sense Mike Godwin uses the term in his "
+#~ "book Cyber Rights, around a news event that had captured the attention of "
+#~ "the world. There was ABC and CBS, but there was also the Internet."
+#~ msgstr ""
+#~ "men i tillegg til denne produsert nyheter om \\\"tragedie av 11 september"
+#~ "\\\", de av oss knyttet til Internett kom å se en svært forskjellige "
+#~ "produksjon samt. Internett var fylt med kontoene til samme hendelsene. "
+#~ "disse Internett-kontoer hadde ennå en helt annen smaken. noen mennesker "
+#~ "konstruert foto sider som tatt bilder fra rundt om i verden og "
+#~ "presenterte seg som lysbildefremvisninger med tekst. noen tilbudt åpne "
+#~ "bokstaver. Det var lydopptak. Det var sinne og frustrasjon. var det "
+#~ "forsøk på å gi kontekst. Det var, kort sagt, en ekstraordinære "
+#~ "verdensomspennende låven heve, i den forstand mike godwin bruker termen i "
+#~ "hans bok cyber rettigheter, rundt et aktuelt arrangement som hadde fanget "
+#~ "oppmerksomheten av verden. Det var abc og cbs, men det var også Internett."
+
+#~ msgid ""
+#~ "I don't mean simply to praise the Internet--though I do think the people "
+#~ "who supported this form of speech should be praised. I mean instead to "
+#~ "point to a significance in this form of speech. For like a Kodak, the "
+#~ "Internet enables people to capture images. And like in a movie by a "
+#~ "student on the \\\"Just Think!\\\" bus, the visual images could be mixed "
+#~ "with sound or text."
+#~ msgstr ""
+#~ "Jeg trenger ikke bety bare å prise Internett - selv om jeg tror de som "
+#~ "støttes av denne formen for tale skal rost. Jeg mener i stedet til å peke "
+#~ "til en betydning i denne formen for tale. for som en kodak muliggjør "
+#~ "Internett folk til å ta bilder. og som i en film av en student på \\"
+#~ "\"bare tror!\\\"-bussen visuelle bilder kan blandes med lyd eller tekst."
+
+#~ msgid ""
+#~ "Bruce Ackerman and James Fishkin, \\\"Deliberation Day,\\\" Journal of "
+#~ "Political Philosophy 10 (2) (2002): 129."
+#~ msgstr ""
+#~ "Bruce ackerman og james fishkin, \\\"deliberation dag\\\", journal of "
+#~ "politisk filosofi 10 (2) (2002): 129."
+
+#~ msgid ""
+#~ "Noah Shachtman, \\\"With Incessant Postings, a Pundit Stirs the Pot,\\\" "
+#~ "New York Times, 16 January 2003, G5."
+#~ msgstr ""
+#~ "Noah shachtman, \\\"med uopphørlig innlegg, en pundit stirs potten,\\\" "
+#~ "new york times, 16 januar 2003, g5."
+
+#~ msgid ""
+#~ "There's a second way, as well, in which blogs have a different cycle from "
+#~ "the mainstream press. As Dave Winer, one of the fathers of this movement "
+#~ "and a software author for many decades, told me, another difference is "
+#~ "the absence of a financial \\\"conflict of interest.\\\" \\\"I think you "
+#~ "have to take the conflict of interest\\\" out of journalism, Winer told "
+#~ "me. \\\"An amateur journalist simply doesn't have a conflict of "
+#~ "interest, or the conflict of interest is so easily disclosed that you "
+#~ "know you can sort of get it out of the way.\\\""
+#~ msgstr ""
+#~ "Det er en annen måte, så vel i hvilke blogger har en annen syklus fra "
+#~ "ordinære trykk. som dave vin fortalte en av fedre av denne bevegelsen og "
+#~ "forfatter av en programvare i mange tiår, meg, en annen forskjell er "
+#~ "fraværet av en økonomisk \\\"interessekonflikt.\\\" Jeg tror du har til å "
+#~ "ta konflikt av interesse\\\"ut av journalistikk, fortalte vin meg. \\\"en "
+#~ "amatør journalist simpelthen har ikke en konflikt av interesse, eller "
+#~ "konflikt av interesse er så lett avslørt at du vet du kan liksom få det "
+#~ "ut av veien.\\\""
+
+#~ msgid ""
+#~ "See Michael Falcone, \\\"Does an Editor's Pencil Ruin a Web Log?\\\" New "
+#~ "York Times, 29 September 2003, C4. (\\\"Not all news organizations have "
+#~ "been as accepting of employees who blog. Kevin Sites, a CNN correspondent "
+#~ "in Iraq who started a blog about his reporting of the war on March 9, "
+#~ "stopped posting 12 days later at his bosses' request. Last year Steve "
+#~ "Olafson, a Houston Chronicle reporter, was fired for keeping a personal "
+#~ "Web log, published under a pseudonym, that dealt with some of the issues "
+#~ "and people he was covering.\\\")"
+#~ msgstr ""
+#~ "se michael falcone, \\\"betyr en redigering blyant ødelegge en weblogg?\\"
+#~ "\" new york times, 29. september 2003, c4. (\\\"ikke alle "
+#~ "nyhetsorganisasjoner har vært så akseptere av ansatte som bloggen. Kevin "
+#~ "områder, en cnn korrespondent i Irak som startet en blogg om sin "
+#~ "rapportering av krigen mot mars 9, stoppet innlegg 12 dager senere på "
+#~ "hans sjefer forespørsel. i fjor steve olafson, houston chronicle "
+#~ "reporter, ble sparket for å holde en personlig weblogg, utgitt under "
+#~ "psevdonym, som jobbet med noen av de problemer og folk som han var dekket."
+#~ "\\\")"
+
+#~ msgid ""
+#~ "This speech affects democracy. Winer thinks that happens because \\\"you "
+#~ "don't have to work for somebody who controls, [for] a gatekeeper.\\\" "
+#~ "That is true. But it affects democracy in another way as well. As more "
+#~ "and more citizens express what they think, and defend it in writing, that "
+#~ "will change the way people understand public issues. It is easy to be "
+#~ "wrong and misguided in your head. It is harder when the product of your "
+#~ "mind can be criticized by others. Of course, it is a rare human who "
+#~ "admits that he has been persuaded that he is wrong. But it is even rarer "
+#~ "for a human to ignore when he has been proven wrong. The writing of "
+#~ "ideas, arguments, and criticism improves democracy. Today there are "
+#~ "probably a couple of million blogs where such writing happens. When there "
+#~ "are ten million, there will be something extraordinary to report."
+#~ msgstr ""
+#~ "denne talen påvirker demokrati. vin mener at skjer fordi \\\"du trenger "
+#~ "ikke å arbeide for noen som styrer, [for] en gatekeeper.\\\" det er sant. "
+#~ "men det har innvirkning på demokrati i en annen måte også. som flere og "
+#~ "flere uttrykke borgere hva de tenker, og forsvare det skriftlig, som vil "
+#~ "endre måten folk forstå offentlige problemer. Det er lett å være galt og "
+#~ "misguided i hodet ditt. Det er vanskeligere når produktet av hjernen din "
+#~ "kan bli kritisert av andre. Selvfølgelig, er det en sjelden menneske som "
+#~ "innrømmer at han har blitt overtalt at han er galt. men det er aften "
+#~ "sjelden for et menneske å ignorere når han har vært påvist feil. skriving "
+#~ "av ideer, argumenter og kritikk forbedrer demokrati. i dag er det "
+#~ "sannsynligvis et par millioner blogger der skrive slike skjer. Når det er "
+#~ "ti millioner, vil det være noe ekstraordinære til rapporten."
+
+#~ msgid ""
+#~ "John Seely Brown is the chief scientist of the Xerox Corporation. His "
+#~ "work, as his Web site describes it, is \\\"human learning and . . . the "
+#~ "creation of knowledge ecologies for creating . . . innovation.\\\""
+#~ msgstr ""
+#~ "John seely brown er den ledende vitenskapsmannen for xerox corporation. "
+#~ "hans arbeid, som hans webområdet beskriver det, er \\\"menneskelige "
+#~ "læring og... etableringen av kunnskap dagsykluser for å opprette... "
+#~ "innovasjon.\\\""
+
+#~ msgid ""
+#~ "As Brown believes, we learn by tinkering. When \\\"a lot of us grew up,\\"
+#~ "\" he explains, that tinkering was done \\\"on motorcycle engines, "
+#~ "lawnmower engines, automobiles, radios, and so on.\\\" But digital "
+#~ "technologies enable a different kind of tinkering--with abstract ideas "
+#~ "though in concrete form. The kids at Just Think! not only think about how "
+#~ "a commercial portrays a politician; using digital technology, they can "
+#~ "take the commercial apart and manipulate it, tinker with it to see how it "
+#~ "does what it does. Digital technologies launch a kind of bricolage, or \\"
+#~ "\"free collage,\\\" as Brown calls it. Many get to add to or transform "
+#~ "the tinkering of many others."
+#~ msgstr ""
+#~ "som brunt mener vi lære av fiksing og triksing. Når \\\"mange av oss "
+#~ "vokste opp,\\\" forklarer han at fiksing og triksing ble gjort \\\"på "
+#~ "motorsykkel motorer, gressklipper motorer, biler, radioer og så videre.\\"
+#~ "\", men digitale teknologier gir en annen fiksing og slags triksing--med "
+#~ "abstrakte ideer om i konkrete-skjemaet. barna på tror bare! ikke bare "
+#~ "tenke på hvordan en kommersiell skildrer en politiker; å bruke digital "
+#~ "teknologi, kan de ta kommersielt fra hverandre og manipulere den, tinker "
+#~ "med den for å se hvordan den gjør hva den gjør. Digital teknologi "
+#~ "lanseringen en slags bricolage, eller \\\"gratis collage,\\\" som brown "
+#~ "kaller det. mange kommer til å legge til eller forandre fiksing og den "
+#~ "triksing av mange andre."
+
+#~ msgid ""
+#~ "This opportunity creates a \\\"completely new kind of learning platform,\\"
+#~ "\" as Brown describes. \\\"As soon as you start doing that, you . . . "
+#~ "unleash a free collage on the community, so that other people can start "
+#~ "looking at your code, tinkering with it, trying it out, seeing if they "
+#~ "can improve it.\\\" Each effort is a kind of apprenticeship. \\\"Open "
+#~ "source becomes a major apprenticeship platform.\\\""
+#~ msgstr ""
+#~ "anledningen oppretter en \\\"helt ny type læring plattform,\\\" som brown "
+#~ "beskriver. \\\"så snart du begynner å gjøre det, du... Slipp løs en "
+#~ "gratis collage på samfunnet, slik at andre personer kan begynne å se på "
+#~ "koden, fiksing og triksing med det, prøver det ut, å se hvis de kan "
+#~ "forbedre den.\\\" hver innsats er en slags læretid. \\\"åpen kildekode "
+#~ "blir en større læretid plattform.\\\""
+
+#~ msgid ""
+#~ "In this process, \\\"the concrete things you tinker with are abstract. "
+#~ "They are code.\\\" Kids are \\\"shifting to the ability to tinker in the "
+#~ "abstract, and this tinkering is no longer an isolated activity that "
+#~ "you're doing in your garage. You are tinkering with a community "
+#~ "platform. . . . You are tinkering with other people's stuff. The more "
+#~ "you tinker the more you improve.\\\" The more you improve, the more you "
+#~ "learn."
+#~ msgstr ""
+#~ "i denne prosessen, \\\"konkrete ting du tinker med er abstrakt. de er "
+#~ "koden.\\\"barn er\\\"skiftende til muligheten til å tinker i abstrakt og "
+#~ "denne fiksing og triksing er ikke lenger en isolert aktivitet som du gjør "
+#~ "i garasjen. du er fiksing og triksing med en fellesskapet plattform.... "
+#~ "du er fiksing og triksing med andres ting. Jo mer du tinker jo mer du "
+#~ "forbedre.\\\"jo mer du forbedre, jo mer du lærer."
+
+#~ msgid ""
+#~ "This same thing happens with content, too. And it happens in the same "
+#~ "collaborative way when that content is part of the Web. As Brown puts it, "
+#~ "\\\"the Web [is] the first medium that truly honors multiple forms of "
+#~ "intelligence.\\\" Earlier technologies, such as the typewriter or word "
+#~ "processors, helped amplify text. But the Web amplifies much more than "
+#~ "text. \\\"The Web . . . says if you are musical, if you are artistic, if "
+#~ "you are visual, if you are interested in film . . . [then] there is a lot "
+#~ "you can start to do on this medium. [It] can now amplify and honor these "
+#~ "multiple forms of intelligence.\\\""
+#~ msgstr ""
+#~ "Denne samme ting skjer med innhold, også. og det skjer på samme måte som "
+#~ "samarbeid når innholdet er en del av nettet. som brown sier det, \\\"web "
+#~ "[er] første mediet som virkelig tar hensyn til flere former for "
+#~ "intelligens.\\\" tidligere teknologi, for eksempel skrivemaskin eller "
+#~ "tekstbehandlingsprogrammer, bidro til å forsterke tekst. Men nettet "
+#~ "forsterker mye mer enn tekst. \\\"web... sier Hvis du er musikalske, hvis "
+#~ "du er kunstnerisk, hvis du er visuelle, hvis du er interessert i "
+#~ "filmen... [] er det mye du kan begynne å gjøre på dette mediet. [det] kan "
+#~ "nå forsterke og respektere disse flere former for intelligens.\\\""
+
+#~ msgid ""
+#~ "See, for example, Edward Felten and Andrew Appel, \\\"Technological "
+#~ "Access Control Interferes with Noninfringing Scholarship,\\\" "
+#~ "Communications of the Association for Computer Machinery 43 (2000): 9."
+#~ msgstr ""
+#~ "Se for eksempel edward felten og andrew appel, \\\"teknologiske "
+#~ "tilgangskontroll forstyrrer noninfringing stipend,\\\" kommunikasjon av "
+#~ "association for computer machinery 43 (2000): 9."
+
+#~ msgid ""
+#~ "\\\"This is where education in the twenty-first century is going,\\\" "
+#~ "Brown explains. We need to \\\"understand how kids who grow up digital "
+#~ "think and want to learn.\\\""
+#~ msgstr ""
+#~ "\\\"Dette er hvor utdanning i det tjueførste århundret er kommer,\\\" "
+#~ "brown forklarer. Vi trenger å \\\"forstå hvordan barn som vokser opp "
+#~ "digital tror og vil lære.\\\""
+
+#~ msgid ""
+#~ "\\\"Yet,\\\" as Brown continued, and as the balance of this book will "
+#~ "evince, \\\"we are building a legal system that completely suppresses the "
+#~ "natural tendencies of today's digital kids. . . . We're building an "
+#~ "architecture that unleashes 60 percent of the brain [and] a legal system "
+#~ "that closes down that part of the brain.\\\""
+#~ msgstr ""
+#~ "\\\"ennå,\\\" som brown fortsatte, og som balanse av denne boken vil "
+#~ "evince, \\\"vi bygger en juridisk system som undertrykker helt naturlig "
+#~ "tendensene til dagens digitale barn.... bygger vi en arkitektur som "
+#~ "unleashes 60 prosent av hjernen [og] en juridisk system stenger ned som "
+#~ "en del av hjernen.\\\""
+
+#~ msgid ""
+#~ "\\\"No way to run a culture,\\\" as Brewster Kahle, whom we'll meet in "
+#~ "chapter 9, quipped to me in a rare moment of despondence."
+#~ msgstr ""
+#~ "\\\"ingen måte å kjøre en kultur\\\" som brewster kahle, hvem vil vi "
+#~ "møtes i kapittel 9, quipped til meg i en sjelden øyeblikk av despondence."
+
+#~ msgid ""
+#~ "Search engines are a measure of a network's intimacy. Google brought the "
+#~ "Internet much closer to all of us by fantastically improving the quality "
+#~ "of search on the network. Specialty search engines can do this even "
+#~ "better. The idea of \\\"intranet\\\" search engines, search engines that "
+#~ "search within the network of a particular institution, is to provide "
+#~ "users of that institution with better access to material from that "
+#~ "institution. Businesses do this all the time, enabling employees to have "
+#~ "access to material that people outside the business can't get. "
+#~ "Universities do it as well."
+#~ msgstr ""
+#~ "søkemotorer er et mål på et nettverk intimitet. Google brakt Internett "
+#~ "mye nærmere for oss alle av utrolig å forbedre kvaliteten på Søk på "
+#~ "nettverket. spesialitet søkemotorer kan gjøre dette enda bedre. ideen om "
+#~ "\\\"intranett\\\" søkemotorer, søkemotorer som søke innenfor nettverket "
+#~ "av en bestemt institusjon, er å gi brukere av at institusjonen bedre "
+#~ "tilgang til materiale fra som institusjon. bedrifter gjøre dette hele "
+#~ "tiden, slik at ansatte skal ha tilgang til materiale som ikke kan få "
+#~ "personer utenfor bedriften. universiteter gjøre det også."
+
+#~ msgid ""
+#~ "\\\"It was absurd,\\\" he told me. \\\"I don't think I did anything "
+#~ "wrong. . . . I don't think there's anything wrong with the search engine "
+#~ "that I ran or . . . what I had done to it. I mean, I hadn't modified it "
+#~ "in any way that promoted or enhanced the work of pirates. I just modified "
+#~ "the search engine in a way that would make it easier to use\\\"--again, a "
+#~ "search engine, which Jesse had not himself built, using the Windows "
+#~ "filesharing system, which Jesse had not himself built, to enable members "
+#~ "of the RPI community to get access to content, which Jesse had not "
+#~ "himself created or posted, and the vast majority of which had nothing to "
+#~ "do with music."
+#~ msgstr ""
+#~ "\\\"det var absurd,\\\" sa han til meg. \\\"Jeg tror ikke jeg gjorde noe "
+#~ "galt.... Jeg tror ikke det er noe galt med søkemotoren som jeg kjørte "
+#~ "eller... hva jeg hadde gjort til den. Jeg mener, jeg ikke hadde endret "
+#~ "det på noen måte som forfremmet eller utvidet arbeidet av pirater. Jeg "
+#~ "bare endret søkemotoren på en måte som ville gjøre det enklere å bruke \\"
+#~ "\"--igjen, en søkemotor, som jesse hadde ikke selv bygget, ved hjelp av "
+#~ "windows filesharing systemet, som jesse hadde ikke selv bygget, for å la "
+#~ "medlemmer av rpi-fellesskapet for å få tilgang til innhold, som jesse "
+#~ "hadde ikke selv opprettet eller lagt ut, og det store flertallet av som "
+#~ "hadde ingenting å gjøre med musikk."
+
+#~ msgid ""
+#~ "But the RIAA branded Jesse a pirate. They claimed he operated a network "
+#~ "and had therefore \\\"willfully\\\" violated copyright laws. They "
+#~ "demanded that he pay them the damages for his wrong. For cases of \\"
+#~ "\"willful infringement,\\\" the Copyright Act specifies something lawyers "
+#~ "call \\\"statutory damages.\\\" These damages permit a copyright owner to "
+#~ "claim $150,000 per infringement. As the RIAA alleged more than one "
+#~ "hundred specific copyright infringements, they therefore demanded that "
+#~ "Jesse pay them at least $15,000,000."
+#~ msgstr ""
+#~ "men riaa branded jesse en pirat. de hevdet han opererte et nettverk og "
+#~ "derfor \\\"willfully\\\" hadde brutt lover om opphavsrett. de krevde at "
+#~ "han betaler dem skader for hans feil. for tilfeller \\\"willful krenkelse"
+#~ "\\\" av copyright act angir noe advokater samtale \\\"lovbestemte skader."
+#~ "\\\" disse skader tillater en rettighetsinnehaveren å kreve $150.000 per "
+#~ "krenkelse. som riaa påståtte mer enn hundre bestemt opphavsrett "
+#~ "infringements, krevde de derfor at jesse betale dem minst $15,000,000."
+
+#~ msgid ""
+#~ "Tim Goral, \\\"Recording Industry Goes After Campus P-2-P Networks: Suit "
+#~ "Alleges $97.8 Billion in Damages,\\\" Professional Media Group LCC 6 "
+#~ "(2003): 5, available at 2003 WL 55179443."
+#~ msgstr ""
+#~ "Tim goral, \\\"innspillingen industri går etter campus p-2-p nettverk: "
+#~ "Dress alleges $97.8 milliarder i skader,\\\" profesjonell media gruppere "
+#~ "lcc 6 (2003): 5, tilgjengelig på 2003 wl 55179443."
+
+#~ msgid ""
+#~ "The RIAA wanted Jesse to admit to doing something wrong. He refused. They "
+#~ "wanted him to agree to an injunction that would essentially make it "
+#~ "impossible for him to work in many fields of technology for the rest of "
+#~ "his life. He refused. They made him understand that this process of being "
+#~ "sued was not going to be pleasant. (As Jesse's father recounted to me, "
+#~ "the chief lawyer on the case, Matt Oppenheimer, told Jesse, \\\"You don't "
+#~ "want to pay another visit to a dentist like me.\\\") And throughout, the "
+#~ "RIAA insisted it would not settle the case until it took every penny "
+#~ "Jesse had saved."
+#~ msgstr ""
+#~ "riaa ønsket jesse å innrømme til gjør noe galt. han nektet. de ønsket ham "
+#~ "å godta en kjennelse som ville egentlig gjøre det umulig for ham å "
+#~ "arbeide i mange felt av teknologi for resten av sitt liv. han nektet. de "
+#~ "gjorde ham forstå at denne prosessen av å sued ikke var til å være "
+#~ "hyggelig. (som jesse's far recounted til meg, sjef advokaten på saken, "
+#~ "matt oppenheimer, fortalte jesse, \\\"du ikke ønsker å betale et besøk "
+#~ "til en tannlege som meg.\\\") og hele riaa insisterte den ikke ville "
+#~ "avgjøre saken før det tok hver krone jesse hadde lagret."
+
+#~ msgid ""
+#~ "Douglas Lichtman makes a related point in \\\"KaZaA and Punishment,\\\" "
+#~ "Wall Street Journal, 10 September 2003, A24."
+#~ msgstr ""
+#~ "Douglas lichtman gjør et relaterte poeng i \\\"kazaa og straff,\\\" wall "
+#~ "street journal, 10 september 2003, a24."
+
+#~ msgid ""
+#~ "Jesse's parents betray a certain pride in their reluctant activist. As "
+#~ "his father told me, Jesse \\\"considers himself very conservative, and so "
+#~ "do I. . . . He's not a tree hugger. . . . I think it's bizarre that they "
+#~ "would pick on him. But he wants to let people know that they're sending "
+#~ "the wrong message. And he wants to correct the record.\\\""
+#~ msgstr ""
+#~ "jesse's foreldre forråde en bestemt stolthet i deres motvillige aktivist. "
+#~ "som sin far fortalte meg, jesse \\\"anser seg selv svært konservativ, og "
+#~ "så gjøre jeg.... Han er ikke en tree hugger.... Jeg tror det er bisarre "
+#~ "at de ville plukke på ham. men han ønsker å la folk få vite at de sender "
+#~ "feil budskap. og han ønsker å korrigere posten."
+
+#~ msgid "CHAPTER FOUR: \\\"Pirates\\\""
+#~ msgstr "Kapittel fire: \\\"pirater\\\""
+
+#~ msgid ""
+#~ "If \\\"piracy\\\" means using the creative property of others without "
+#~ "their permission--if \\\"if value, then right\\\" is true--then the "
+#~ "history of the content industry is a history of piracy. Every important "
+#~ "sector of \\\"big media\\\" today--film, records, radio, and cable TV--"
+#~ "was born of a kind of piracy so defined. The consistent story is how last "
+#~ "generation's pirates join this generation's country club--until now."
+#~ msgstr ""
+#~ "Hvis \\\"piratkopiering\\\" betyr ved hjelp av kreative egenskapen til "
+#~ "andre uten deres tillatelse--Hvis \\\"Hvis verdien, deretter høyre\\\" er "
+#~ "sant-- deretter historien av innhold industrien er en historie om "
+#~ "piratkopiering. viktig sektor av \\\"store media\\\" i dag - filmen, "
+#~ "poster, radio og kabel-tv--ble født av en form for piratkopiering derfor "
+#~ "definert. konsekvent historien er hvordan siste generasjon pirater bli "
+#~ "med denne generasjon country club--før nå."
+
+#~ msgid ""
+#~ "Of course, California grew quickly, and the effective enforcement of "
+#~ "federal law eventually spread west. But because patents grant the patent "
+#~ "holder a truly \\\"limited\\\" monopoly (just seventeen years at that "
+#~ "time), by the time enough federal marshals appeared, the patents had "
+#~ "expired. A new industry had been born, in part from the piracy of "
+#~ "Edison's creative property."
+#~ msgstr ""
+#~ "Selvfølgelig, california vokste raskt, og effektiv håndhevelse av "
+#~ "føderale lov til slutt spre vest. men fordi patenter gi patent holder en "
+#~ "virkelig \\\"begrenset\\\" monopol (bare sytten år på den tiden), etter "
+#~ "tid nok føderale marshals dukket opp, patentene var utløpt. en ny "
+#~ "industri hadde blitt født, delvis fra piratkopiering av Edisons kreative "
+#~ "eiendom."
+
+#~ msgid ""
+#~ "At the time that Edison and Henri Fourneaux invented machines for "
+#~ "reproducing music (Edison the phonograph, Fourneaux the player piano), "
+#~ "the law gave composers the exclusive right to control copies of their "
+#~ "music and the exclusive right to control public performances of their "
+#~ "music. In other words, in 1900, if I wanted a copy of Phil Russel's 1899 "
+#~ "hit \\\"Happy Mose,\\\" the law said I would have to pay for the right to "
+#~ "get a copy of the musical score, and I would also have to pay for the "
+#~ "right to perform it publicly."
+#~ msgstr ""
+#~ "på tiden at edison og henri fourneaux oppfunnet maskiner for å gjengi "
+#~ "musikk (edison fonograf, fourneaux spiller piano), ga loven komponister "
+#~ "den eksklusive retten til å kontrollere eksemplarer av deres musikk og "
+#~ "den eksklusive retten til å kontrollere offentlig fremføring av musikken "
+#~ "deres. med andre ord, i 1900, hvis jeg ønsket en kopi av phil russel's "
+#~ "1899 hit \\\"happy mose,\\\" loven sa jeg måtte betale for rett til å få "
+#~ "en kopi av den musikalske poeng, og jeg vil også måtte betale for retten "
+#~ "til å utføre det offentlig."
+
+#~ msgid ""
+#~ "But what if I wanted to record \\\"Happy Mose,\\\" using Edison's "
+#~ "phonograph or Fourneaux's player piano? Here the law stumbled. It was "
+#~ "clear enough that I would have to buy any copy of the musical score that "
+#~ "I performed in making this recording. And it was clear enough that I "
+#~ "would have to pay for any public performance of the work I was "
+#~ "recording. But it wasn't totally clear that I would have to pay for a \\"
+#~ "\"public performance\\\" if I recorded the song in my own house (even "
+#~ "today, you don't owe the Beatles anything if you sing their songs in the "
+#~ "shower), or if I recorded the song from memory (copies in your brain are "
+#~ "not--yet-- regulated by copyright law). So if I simply sang the song into "
+#~ "a recording device in the privacy of my own home, it wasn't clear that I "
+#~ "owed the composer anything. And more importantly, it wasn't clear whether "
+#~ "I owed the composer anything if I then made copies of those recordings. "
+#~ "Because of this gap in the law, then, I could effectively pirate someone "
+#~ "else's song without paying its composer anything."
+#~ msgstr ""
+#~ "men hva om jeg ønsket å spille inn \\\"happy mose,\\\" ved hjelp av "
+#~ "Edisons fonograf eller fourneaux's Pianola? Her snublet loven. Det var "
+#~ "klar nok til at jeg må kjøpe alle kopier av musikalske poengsummen som "
+#~ "jeg utførte i å gjøre denne innspillingen. og det var klart nok til at "
+#~ "jeg måtte betale for eventuelle offentlig fremføring av arbeidet jeg var "
+#~ "innspillingen. men det var ikke helt klart at jeg måtte betale for en \\"
+#~ "\"offentlig fremføring\\\" Hvis jeg spilte sangen i mitt eget hus (selv i "
+#~ "dag, du ikke skylder beatles noe hvis du synge sine sanger i dusjen), "
+#~ "eller hvis jeg spilte sangen fra minnet (kopier i hjernen er ikke--ennå--"
+#~ "regulert av lov om opphavsrett). så hvis jeg bare sang sangen til en "
+#~ "innspillingsenhet i personvernet til mitt eget hjem, det ikke var klart "
+#~ "at jeg skyldte komponisten noe. og enda viktigere, det var ikke klart om "
+#~ "jeg skyldte komponisten noe hvis jeg gjort deretter Kopier av disse "
+#~ "innspillinger. på grunn av dette hullet i loven, så kunne jeg effektivt "
+#~ "pirat andres sang uten å betale sin komponist noe."
+
+#~ msgid ""
+#~ "The law soon resolved this battle in favor of the composer and the "
+#~ "recording artist. Congress amended the law to make sure that composers "
+#~ "would be paid for the \\\"mechanical reproductions\\\" of their music. "
+#~ "But rather than simply granting the composer complete control over the "
+#~ "right to make mechanical reproductions, Congress gave recording artists a "
+#~ "right to record the music, at a price set by Congress, once the composer "
+#~ "allowed it to be recorded once. This is the part of copyright law that "
+#~ "makes cover songs possible. Once a composer authorizes a recording of his "
+#~ "song, others are free to record the same song, so long as they pay the "
+#~ "original composer a fee set by the law."
+#~ msgstr ""
+#~ "loven løst snart denne kampen til fordel for komponisten og opptak "
+#~ "kunstneren. kongressen endret loven å sørge for at komponister ville bli "
+#~ "betalt for \\\"mekaniske reproduksjoner\\\" av musikken deres. men i "
+#~ "stedet for å bare gi komponisten full kontroll over høyre for å gjøre "
+#~ "mekanisk reproduksjoner, Kongressen ga artister rett til å spille inn "
+#~ "musikk, til en pris som er fastsatt av Kongressen, når komponisten "
+#~ "tillater det å registreres én gang. Dette er delen av lov om opphavsrett "
+#~ "som gjør dekke sanger mulig. Når en komponist autoriserer en innspilling "
+#~ "av sangen, er andre gratis å registrere samme sang, så lenge de betaler "
+#~ "den opprinnelige komponisten et gebyr som er angitt av loven."
+
+#~ msgid ""
+#~ "American law ordinarily calls this a \\\"compulsory license,\\\" but I "
+#~ "will refer to it as a \\\"statutory license.\\\" A statutory license is a "
+#~ "license whose key terms are set by law. After Congress's amendment of the "
+#~ "Copyright Act in 1909, record companies were free to distribute copies of "
+#~ "recordings so long as they paid the composer (or copyright holder) the "
+#~ "fee set by the statute."
+#~ msgstr ""
+#~ "amerikansk lov vanligvis kaller dette en \\\"tvangslisens\\\", men jeg "
+#~ "vil se det som en \\\"lovbestemte lisens.\\\" en lovbestemte lisens er en "
+#~ "lisens som hovedtermene angis av loven. etter congress's endring av "
+#~ "copyright act i 1909 var plateselskaper fri til å distribuere kopier av "
+#~ "opptakene så lenge de betalte komponist (eller opphavsrettsinnehaver) "
+#~ "gebyr som er angitt av Vedtektene."
+
+#~ msgid ""
+#~ "See 17 United States Code, sections 106 and 110. At the beginning, record "
+#~ "companies printed \\\"Not Licensed for Radio Broadcast\\\" and other "
+#~ "messages purporting to restrict the ability to play a record on a radio "
+#~ "station. Judge Learned Hand rejected the argument that a warning "
+#~ "attached to a record might restrict the rights of the radio station. See "
+#~ "RCA Manufacturing Co. v. Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also "
+#~ "Randal C. Picker, \\\"From Edison to the Broadcast Flag: Mechanisms of "
+#~ "Consent and Refusal and the Propertization of Copyright,\\\" University "
+#~ "of Chicago Law Review 70 (2003): 281."
+#~ msgstr ""
+#~ "se 17, united states code, inndelinger 106 og 110. på begynnelsen av, "
+#~ "spille inn selskapene skrives ut \\\"ikke lisensiert for radiosendingen\\"
+#~ "\" og andre meldinger purporting å begrense muligheten til å spille en "
+#~ "post på en radiostasjon. dommer lært hånd avvist argumentet at en "
+#~ "advarsel som er knyttet til en post kan begrense rettighetene til "
+#~ "radiostasjonen. se rca produksjon co v. whiteman, 114 f. 2d 86 (2nd cir. "
+#~ "1940). Se også randal c. datovelger, \\\"fra edison til kringkasting "
+#~ "flagg: mekanismer av samtykke og nektet og propertization av opphavsrett,"
+#~ "\\\" university of chicago lov gå gjennom 70 (2003): 281."
+
+#~ msgid ""
+#~ "But when the radio station plays a record, it is not only performing a "
+#~ "copy of the composer's work. The radio station is also performing a copy "
+#~ "of the recording artist's work. It's one thing to have \\\"Happy Birthday"
+#~ "\\\" sung on the radio by the local children's choir; it's quite another "
+#~ "to have it sung by the Rolling Stones or Lyle Lovett. The recording "
+#~ "artist is adding to the value of the composition performed on the radio "
+#~ "station. And if the law were perfectly consistent, the radio station "
+#~ "would have to pay the recording artist for his work, just as it pays the "
+#~ "composer of the music for his work."
+#~ msgstr ""
+#~ "men når radiostasjonen spiller en post, det er ikke bare utføre en kopi "
+#~ "av komponistens arbeid. radiostasjonen presterer også en kopi av den "
+#~ "Plateartist arbeid. Det er én ting å ha \\\"happy birthday\\\" sunget på "
+#~ "radioen av lokale children's choir; Det er noe helt annet å ha det sunget "
+#~ "av rolling stones eller lyle lovett. Plateartist er å legge til verdien "
+#~ "for sammensetning som er utført på radiostasjonen. og hvis loven var "
+#~ "hundre prosent konsekvente, radiostasjonen vil måtte betale Plateartist "
+#~ "for sitt arbeid, akkurat som det lønner seg komponist av musikken for "
+#~ "sitt arbeid."
+
+#~ msgid ""
+#~ "Imagine she does sing your song, and imagine she likes it a lot. She then "
+#~ "decides to make a recording of your song, and it becomes a top hit. Under "
+#~ "our law, every time a radio station plays your song, you get some money. "
+#~ "But Madonna gets nothing, save the indirect effect on the sale of her "
+#~ "CDs. The public performance of her recording is not a \\\"protected\\\" "
+#~ "right. The radio station thus gets to pirate the value of Madonna's work "
+#~ "without paying her anything."
+#~ msgstr ""
+#~ "forestille hun gjør synge sangen, og forestille hun liker det mye. Hun "
+#~ "deretter bestemmer seg for å gjøre en innspilling av sangen, og det blir "
+#~ "en øverste treffet. under vår lov, hver gang en radiostasjon spiller "
+#~ "sangen, kan du få noen penger. men madonna får ingenting, lagre den "
+#~ "indirekte effekten på salget av hennes CDer. offentlig fremføring av "
+#~ "hennes innspilling er ikke en \\\"beskyttet\\\" høyre. radiostasjonen får "
+#~ "dermed pirat verdien av madonna's arbeid uten å betale henne noe."
+
+#~ msgid ""
+#~ "It took Congress almost thirty years before it resolved the question of "
+#~ "whether cable companies had to pay for the content they \\\"pirated.\\\" "
+#~ "In the end, Congress resolved this question in the same way that it "
+#~ "resolved the question about record players and player pianos. Yes, cable "
+#~ "companies would have to pay for the content that they broadcast; but the "
+#~ "price they would have to pay was not set by the copyright owner. The "
+#~ "price was set by law, so that the broadcasters couldn't exercise veto "
+#~ "power over the emerging technologies of cable. Cable companies thus built "
+#~ "their empire in part upon a \\\"piracy\\\" of the value created by "
+#~ "broadcasters' content."
+#~ msgstr ""
+#~ "Det tok Kongressen nesten tretti år før det løst spørsmålet på om "
+#~ "kabelselskaper måtte betale for innholdet de \\\"piratkopiert.\\\" til "
+#~ "slutt, Kongressen løst dette spørsmålet på samme måte at det løst "
+#~ "spørsmålet om posten spillere og spilleren pianoer. Ja, kabelselskaper 'd "
+#~ "have to pay for innholdet som de kringkaster; men prisen de vil måtte "
+#~ "betale ble ikke angitt av eieren av opphavsretten. Prisen ble satt ved "
+#~ "lov, slik at broadcasters ikke kunne utøve vetorett over de nye "
+#~ "teknologiene av-kabelen. kabelselskaper dermed bygde sitt imperium delvis "
+#~ "på en \\\"piratkopiering\\\" av verdiene som skapes av broadcasters' "
+#~ "innhold."
+
+#~ msgid "CHAPTER FIVE: \\\"Piracy\\\""
+#~ msgstr "Kapittel fem: \\\"piratkopiering\\\""
+
+#~ msgid ""
+#~ "But as well as copy-shop piracy, there is another kind of \\\"taking\\\" "
+#~ "that is more directly related to the Internet. That taking, too, seems "
+#~ "wrong to many, and it is wrong much of the time. Before we paint this "
+#~ "taking \\\"piracy,\\\" however, we should understand its nature a bit "
+#~ "more. For the harm of this taking is significantly more ambiguous than "
+#~ "outright copying, and the law should account for that ambiguity, as it "
+#~ "has so often done in the past."
+#~ msgstr ""
+#~ "men samt kopieringsfirma piratkopiering, det er en annen type \\\"tar\\\" "
+#~ "som er mer direkte relatert til Internett. det tar også, synes galt å "
+#~ "mange, og det er galt mye av tiden. før vi male dette tar \\"
+#~ "\"piratkopiering\\\", men må vi forstå sin natur litt mer. for skader som "
+#~ "denne tar er betydelig mer tvetydig enn outright kopiering og loven skal "
+#~ "konto for at tvetydighet som det så ofte har gjort i fortiden."
+
+#~ msgid ""
+#~ "This is often true (though I have friends who have purchased many "
+#~ "thousands of pirated DVDs who certainly have enough money to pay for the "
+#~ "content they have taken), and it does mitigate to some degree the harm "
+#~ "caused by such taking. Extremists in this debate love to say, \\\"You "
+#~ "wouldn't go into Barnes & Noble and take a book off of the shelf "
+#~ "without paying; why should it be any different with on-line music?\\\" "
+#~ "The difference is, of course, that when you take a book from Barnes & "
+#~ "Noble, it has one less book to sell. By contrast, when you take an MP3 "
+#~ "from a computer network, there is not one less CD that can be sold. The "
+#~ "physics of piracy of the intangible are different from the physics of "
+#~ "piracy of the tangible."
+#~ msgstr ""
+#~ "Dette er ofte til stede (skjønt jeg har venner som har kjøpt mange "
+#~ "tusenvis av piratkopiert DVD som absolutt har nok penger til å betale for "
+#~ "innholdet de har tatt), og den begrenser til en viss grad skade "
+#~ "forårsaket av slike tar. ekstremister i denne debatten elsker å si, \\"
+#~ "\"du ikke ville gå inn i barnes & noble og ta en bok på sokkelen uten "
+#~ "å betale; Hvorfor bør det være annerledes med on-line musikk?\\"
+#~ "\"forskjellen er, selvfølgelig, at når du tar en bok fra barnes & "
+#~ "noble, den har en mindre bok å selge. Når du tar en mp3 fra et "
+#~ "datanettverk, er det derimot ikke en mindre cd som kan selges. fysikk av "
+#~ "piratkopiering av immaterielle er forskjellige fra fysikk av "
+#~ "piratkopiering av en konkret."
+
+#~ msgid ""
+#~ "This argument is still very weak. However, although copyright is a "
+#~ "property right of a very special sort, it is a property right. Like all "
+#~ "property rights, the copyright gives the owner the right to decide the "
+#~ "terms under which content is shared. If the copyright owner doesn't want "
+#~ "to sell, she doesn't have to. There are exceptions: important statutory "
+#~ "licenses that apply to copyrighted content regardless of the wish of the "
+#~ "copyright owner. Those licenses give people the right to \\\"take\\\" "
+#~ "copyrighted content whether or not the copyright owner wants to sell. But "
+#~ "where the law does not give people the right to take content, it is wrong "
+#~ "to take that content even if the wrong does no harm. If we have a "
+#~ "property system, and that system is properly balanced to the technology "
+#~ "of a time, then it is wrong to take property without the permission of a "
+#~ "property owner. That is exactly what \\\"property\\\" means."
+#~ msgstr ""
+#~ "Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en "
+#~ "egenskap høyre i en veldig spesiell sortering, er det en egenskap som er "
+#~ "rett. som alle rettigheter gir copyright eieren retten til å avgjøre "
+#~ "vilkårene som innholdet deles. Hvis eieren av opphavsretten ikke ønsker å "
+#~ "selge, har hun ikke til. Det finnes unntak: viktig lovbestemte lisenser "
+#~ "som gjelder opphavsrettsbeskyttet innhold uansett ønske fra eieren av "
+#~ "opphavsretten. disse lisensene gi folk til å \\\"ta\\\" "
+#~ "opphavsrettsbeskyttet innhold om eieren av opphavsretten ønsker å selge. "
+#~ "men hvor loven ikke gir folk til å ta innhold, det er galt å ta innholdet "
+#~ "selv om feil does nei skade. Hvis vi har et system eiendom, og at "
+#~ "systemet er skikkelig balansert for en tid-teknologien, er det galt å ta "
+#~ "eiendom uten tillatelse fra eieren av en egenskap. Det er akkurat hva \\"
+#~ "\"property\\\" betyr."
+
+#~ msgid ""
+#~ "But as the examples from the four chapters that introduced this part "
+#~ "suggest, even if some piracy is plainly wrong, not all \\\"piracy\\\" is. "
+#~ "Or at least, not all \\\"piracy\\\" is wrong if that term is understood "
+#~ "in the way it is increasingly used today. Many kinds of \\\"piracy\\\" "
+#~ "are useful and productive, to produce either new content or new ways of "
+#~ "doing business. Neither our tradition nor any tradition has ever banned "
+#~ "all \\\"piracy\\\" in that sense of the term."
+#~ msgstr ""
+#~ "men som eksempler fra fire kapitlene som innført denne del foreslå, selv "
+#~ "om noen piratkopiering er tydelig galt, ikke alle \\\"piratkopiering\\\" "
+#~ "er. eller i det minste ikke alle \\\"piratkopiering\\\" er galt Hvis "
+#~ "dette ordet er forstått i måten det er i økende grad brukes i dag. mange "
+#~ "typer \\\"piratkopiering\\\" er nyttig og produktive, å produsere enten "
+#~ "nye innholdet eller nye måter å gjøre forretninger. vår tradisjon verken "
+#~ "noen tradisjonen har du noensinne utestengt alle \\\"piratkopiering\\\" i "
+#~ "den forstand av begrepet."
+
+#~ msgid ""
+#~ "See Carolyn Lochhead, \\\"Silicon Valley Dream, Hollywood Nightmare,\\\" "
+#~ "San Francisco Chronicle, 24 September 2002, A1; \\\"Rock 'n' Roll Suicide,"
+#~ "\\\" New Scientist, 6 July 2002, 42; Benny Evangelista, \\\"Napster Names "
+#~ "CEO, Secures New Financing,\\\" San Francisco Chronicle, 23 May 2003, C1; "
+#~ "\\\"Napster's Wake-Up Call,\\\" Economist, 24 June 2000, 23; John "
+#~ "Naughton, \\\"Hollywood at War with the Internet\\\" (London) Times, 26 "
+#~ "July 2002, 18."
+#~ msgstr ""
+#~ "se carolyn lochhead, \\\"silicon valley dream, hollywood mareritt\\\" san "
+#~ "francisco chronicle, 24 september 2002, a1; \\\"rock 'n' roll suicide,\\"
+#~ "\" new scientist, 6 juli 2002, 42; Benny evangelista, \\\"napster navn "
+#~ "ceo, sikrer nye finansiering,\\\" san francisco chronicle, 23 kan 2003, "
+#~ "c1; \\\"napster's våkne opp samtalen,\\\" økonom, 24 juni 2000, 23; John "
+#~ "naughton, \\\"hollywood krig med Internett\\\" (london) ganger, 26 juli "
+#~ "2002, 18."
+
+#~ msgid ""
+#~ "Amy Harmon, \\\"Industry Offers a Carrot in Online Music Fight,\\\" New "
+#~ "York Times, 6 June 2003, A1."
+#~ msgstr ""
+#~ "Amy harmon, \\\"industri tilbyr en gulrot i online musikk kamp,\\\" new "
+#~ "york times, 6. juni 2003 a1."
+
+#~ msgid ""
+#~ "There are many who use sharing networks to get access to copyrighted "
+#~ "content that is no longer sold or that they would not have purchased "
+#~ "because the transaction costs off the Net are too high. This use of "
+#~ "sharing networks is among the most rewarding for many. Songs that were "
+#~ "part of your childhood but have long vanished from the marketplace "
+#~ "magically appear again on the network. (One friend told me that when she "
+#~ "discovered Napster, she spent a solid weekend \\\"recalling\\\" old "
+#~ "songs. She was astonished at the range and mix of content that was "
+#~ "available.) For content not sold, this is still technically a violation "
+#~ "of copyright, though because the copyright owner is not selling the "
+#~ "content anymore, the economic harm is zero--the same harm that occurs "
+#~ "when I sell my collection of 1960s 45-rpm records to a local collector."
+#~ msgstr ""
+#~ "Det er mange som bruk deling av nettverk for å få tilgang til "
+#~ "opphavsrettsbeskyttet innhold som selges ikke lenger, eller at de ikke "
+#~ "ville ha kjøpt fordi transaksjonen kostnadene av nettet er for høyt. "
+#~ "denne bruken av deling nettverk er blant den mest givende for mange. "
+#~ "sanger som var en del av din barndom, men har lenge forsvunnet fra "
+#~ "markedet magisk vises igjen på nettverket. (en venn fortalte meg at når "
+#~ "hun oppdaget napster, hun tilbrakte en solid weekend \\\"minner om gamle "
+#~ "sanger. hun var forbauset over omfanget av og blanding av innhold som var "
+#~ "tilgjengelig\\\".) for innhold som ikke er solgt, er dette teknisk sett "
+#~ "fremdeles en krenkelse av opphavsrett, om fordi eieren av opphavsretten "
+#~ "ikke selger innholdet lenger, økonomisk skade er null--den samme skaden "
+#~ "som oppstår når jeg selger min samling av 1960-tallet 45 rpm poster til "
+#~ "en lokal solfangeren."
+
+#~ msgid ""
+#~ "Whether on balance sharing is harmful depends importantly on how harmful "
+#~ "type A sharing is. Just as Edison complained about Hollywood, composers "
+#~ "complained about piano rolls, recording artists complained about radio, "
+#~ "and broadcasters complained about cable TV, the music industry complains "
+#~ "that type A sharing is a kind of \\\"theft\\\" that is \\\"devastating\\"
+#~ "\" the industry."
+#~ msgstr ""
+#~ "om på saldo deling er skadelig avhenger av viktigere på hvordan skadelige "
+#~ "type en deling er. akkurat som edison klaget om hollywood, klaget "
+#~ "komponister om piano rolls, artister klaget om radio, og broadcasters "
+#~ "klaget over kabel-tv, musikkbransjen complains at typen en deling er en "
+#~ "slags \\\"tyveri\\\", som er \\\"ødeleggende\\\" industrien."
+
+#~ msgid ""
+#~ "We start to answer this question by focusing on the net harm, from the "
+#~ "standpoint of the industry as a whole, that sharing networks cause. The "
+#~ "\\\"net harm\\\" to the industry as a whole is the amount by which type A "
+#~ "sharing exceeds type B. If the record companies sold more records through "
+#~ "sampling than they lost through substitution, then sharing networks would "
+#~ "actually benefit music companies on balance. They would therefore have "
+#~ "little static reason to resist them."
+#~ msgstr ""
+#~ "Vi begynner å svare på dette spørsmålet ved å fokusere på netto skade, "
+#~ "fra standpunktet av industrien som helhet, at deling nettverk. den \\"
+#~ "\"net skaden\\\" til industrien som helhet er beløpet etter hvilken type "
+#~ "en deling overskrider type b. Hvis plateselskapene solgte flere poster "
+#~ "gjennom prøvetaking enn de mistet gjennom substitusjonsbehandling, og "
+#~ "deretter dele nettverk ville faktisk fordel musikk bedriftene på balanse. "
+#~ "de ville derfor ha liten statisk grunn til å motstå dem."
+
+#~ msgid ""
+#~ "There are too many different things happening at the same time to explain "
+#~ "these numbers definitively, but one conclusion is unavoidable: The "
+#~ "recording industry constantly asks, \\\"What's the difference between "
+#~ "downloading a song and stealing a CD?\\\"--but their own numbers reveal "
+#~ "the difference. If I steal a CD, then there is one less CD to sell. Every "
+#~ "taking is a lost sale. But on the basis of the numbers the RIAA provides, "
+#~ "it is absolutely clear that the same is not true of downloads. If every "
+#~ "download were a lost sale--if every use of Kazaa \\\"rob[bed] the author "
+#~ "of [his] profit\\\"--then the industry would have suffered a 100 percent "
+#~ "drop in sales last year, not a 7 percent drop. If 2.6 times the number of "
+#~ "CDs sold were downloaded for free, and yet sales revenue dropped by just "
+#~ "6.7 percent, then there is a huge difference between \\\"downloading a "
+#~ "song and stealing a CD.\\\""
+#~ msgstr ""
+#~ "Det er for mange forskjellige ting skjer samtidig å forklare disse "
+#~ "tallene definitively, men en konklusjon er uunngåelig: recording industry "
+#~ "stadig spør, \\\"Hva er forskjellen mellom å laste ned en sang og stjele "
+#~ "en cd?\\\"-- Men sine egne tall avsløre forskjellen. Hvis jeg stjele en "
+#~ "cd, er det en mindre cd å selge. hver tar er en tapt salg. men på "
+#~ "grunnlag av tallene riaa gir, det er helt klart at det samme ikke gjelder "
+#~ "for nedlastinger. Hvis hver nedlasting var et tapt salg--hvis hver bruk "
+#~ "av kazaa \\\"rane [b] forfatteren av [hans] fortjeneste\\\"-- deretter "
+#~ "industrien ville har lidd en 100 prosent nedgang i salget i fjor, ikke en "
+#~ "7 prosent nedgang. Hvis 2,6 ganger så mange av CDer som selges ble lastet "
+#~ "ned gratis, og ennå inntekter fra salg falt med bare 6.7 prosent, er det "
+#~ "en stor forskjell mellom \\\"nedlasting av sanger og stjele en cd."
+
+#~ msgid ""
+#~ "Type C sharing, then, is very much like used book stores or used record "
+#~ "stores. It is different, of course, because the person making the content "
+#~ "available isn't making money from making the content available. It is "
+#~ "also different, of course, because in real space, when I sell a record, I "
+#~ "don't have it anymore, while in cyberspace, when someone shares my 1949 "
+#~ "recording of Bernstein's \\\"Two Love Songs,\\\" I still have it. That "
+#~ "difference would matter economically if the owner of the copyright were "
+#~ "selling the record in competition to my sharing. But we're talking about "
+#~ "the class of content that is not currently commercially available. The "
+#~ "Internet is making it available, through cooperative sharing, without "
+#~ "competing with the market."
+#~ msgstr ""
+#~ "type c deling, deretter er veldig mye som brukte boken lagrer eller "
+#~ "brukes posten butikker. Det er forskjellige, naturligvis, fordi personen "
+#~ "å gjøre innholdet tilgjengelig ikke er å tjene penger på å gjøre "
+#~ "innholdet tilgjengelig. Det er også forskjellige, naturligvis, fordi i "
+#~ "virkelige rommet, når jeg selger en post, jeg ikke har det lenger, mens i "
+#~ "cyberspace, når noen deler min 1949 innspillingen av bernstein's \\\"to "
+#~ "love songs\\\", jeg fortsatt har det. at ville forskjellen saken "
+#~ "økonomisk hvis eieren av opphavsretten solgte posten i konkurranse til "
+#~ "min deling. men vi snakker om klassen av innhold som ikke er kommersielt "
+#~ "tilgjengelig. Internett gjør det tilgjengelig, gjennom felles deling, "
+#~ "uten konkurrerer med markedet."
+
+#~ msgid ""
+#~ "Finally, and perhaps most importantly, file-sharing networks enable type "
+#~ "D sharing to occur--the sharing of content that copyright owners want to "
+#~ "have shared or for which there is no continuing copyright. This sharing "
+#~ "clearly benefits authors and society. Science fiction author Cory "
+#~ "Doctorow, for example, released his first novel, Down and Out in the "
+#~ "Magic Kingdom, both free on-line and in bookstores on the same day. His "
+#~ "(and his publisher's) thinking was that the on-line distribution would be "
+#~ "a great advertisement for the \\\"real\\\" book. People would read part "
+#~ "on-line, and then decide whether they liked the book or not. If they "
+#~ "liked it, they would be more likely to buy it. Doctorow's content is type "
+#~ "D content. If sharing networks enable his work to be spread, then both he "
+#~ "and society are better off. (Actually, much better off: It is a great "
+#~ "book!)"
+#~ msgstr ""
+#~ "til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d "
+#~ "deling oppstår--deling av innhold som eiere av opphavsretter vil har delt "
+#~ "eller som det ikke finnes noen vedvarende copyright. Denne deling klart "
+#~ "fordeler forfattere og samfunn. science fiction forfatteren cory "
+#~ "doctorow, for eksempel utgitt sin første roman, ned og ut i magiske "
+#~ "riket, begge to ledig online og i bokhandlere på samme dag. hans (og hans "
+#~ "publisher) tenker var at on-line distribusjonen vil være en stor annonse "
+#~ "for \\\"ekte\\\" boken. folk vil lese delen on-line, og deretter "
+#~ "bestemmer deg om de likte boken eller ikke. Hvis de likte det, ville de "
+#~ "være mer sannsynlig å kjøpe den. Doctorow er innholdet er typen d "
+#~ "innhold. Hvis deling nettverk aktiverer sitt arbeid til å bli spredt, er "
+#~ "både han og samfunnet bedre. (faktisk, mye bedre av: det er en stor bok!)"
+
+#~ msgid ""
+#~ "The point throughout is this: While the recording industry understandably "
+#~ "says, \\\"This is how much we've lost,\\\" we must also ask, \\\"How much "
+#~ "has society gained from p2p sharing? What are the efficiencies? What is "
+#~ "the content that otherwise would be unavailable?\\\""
+#~ msgstr ""
+#~ "det hele er dette: mens recording industry forståelig sier, \\\"Dette er "
+#~ "hvor mye vi har mistet,\\\" må vi også stille, \\\"hvor mye har samfunnet "
+#~ "fra p2p fildeling? Hva er effektiviteten? Hva er innholdet som ellers "
+#~ "ville være utilgjengelig?\\\""
+
+#~ msgid ""
+#~ "For unlike the piracy I described in the first section of this chapter, "
+#~ "much of the \\\"piracy\\\" that file sharing enables is plainly legal and "
+#~ "good. And like the piracy I described in chapter 4, much of this piracy "
+#~ "is motivated by a new way of spreading content caused by changes in the "
+#~ "technology of distribution. Thus, consistent with the tradition that gave "
+#~ "us Hollywood, radio, the recording industry, and cable TV, the question "
+#~ "we should be asking about file sharing is how best to preserve its "
+#~ "benefits while minimizing (to the extent possible) the wrongful harm it "
+#~ "causes artists. The question is one of balance. The law should seek that "
+#~ "balance, and that balance will be found only with time."
+#~ msgstr ""
+#~ "for i motsetning til piratkopiering jeg beskrevet i den første delen av "
+#~ "dette kapitlet, er mye av \\\"piratkopiering\\\" det arkiv deler "
+#~ "aktiverer tydelig juridiske og god. og som piratkopiering som jeg "
+#~ "beskrevet i kapittel 4, mye av denne sjørøver er motivert av en ny måte å "
+#~ "spre innholdet som er forårsaket av endringer i teknologien for "
+#~ "distribusjon. Således, i samsvar med tradisjon som ga oss hollywood, "
+#~ "radio, recording industry og kabel-tv, spørsmålet vi bør spørre om "
+#~ "fildeling er hvordan best å beholde sine fordeler og minimere (i grad "
+#~ "mulig) den wrongful skade det årsaker kunstnere. spørsmålet er en av "
+#~ "balanse. loven bør søke denne balansen, og denne balansen blir funnet "
+#~ "bare med tid."
+
+#~ msgid ""
+#~ "\\\"But isn't the war just a war against illegal sharing? Isn't the "
+#~ "target just what you call type A sharing?\\\""
+#~ msgstr ""
+#~ "men er ikke krigen bare en krig mot ulovlig deling? er ikke målet bare "
+#~ "det du skriver inn en deling?"
+
+#~ msgid ""
+#~ "So, as we've seen, when \\\"mechanical reproduction\\\" threatened the "
+#~ "interests of composers, Congress balanced the rights of composers against "
+#~ "the interests of the recording industry. It granted rights to composers, "
+#~ "but also to the recording artists: Composers were to be paid, but at a "
+#~ "price set by Congress. But when radio started broadcasting the recordings "
+#~ "made by these recording artists, and they complained to Congress that "
+#~ "their \\\"creative property\\\" was not being respected (since the radio "
+#~ "station did not have to pay them for the creativity it broadcast), "
+#~ "Congress rejected their claim. An indirect benefit was enough."
+#~ msgstr ""
+#~ "så, som vi har sett, når \\\"mekaniske reproduksjon\\\" truet interessene "
+#~ "til komponister, Kongressen balansert rettigheter mot interessene til "
+#~ "musikkindustrien. det tildelt rights composers, men også artistene: "
+#~ "komponister var å bli betalt, men til en pris som er fastsatt av "
+#~ "Kongressen. men når radioen begynte kringkasting innspillingene er gjort "
+#~ "av disse artister og de klaget til Kongressen at deres \\\"kreative "
+#~ "eiendom\\\" ikke var blir respektert (siden radiostasjonen ikke har å "
+#~ "betale dem for kreativitet det kringkaste), Kongressen avvist deres krav. "
+#~ "en indirekte fordel var nok."
+
+#~ msgid ""
+#~ "In the same year that Congress struck this balance, two major producers "
+#~ "and distributors of film content filed a lawsuit against another "
+#~ "technology, the video tape recorder (VTR, or as we refer to them today, "
+#~ "VCRs) that Sony had produced, the Betamax. Disney's and Universal's claim "
+#~ "against Sony was relatively simple: Sony produced a device, Disney and "
+#~ "Universal claimed, that enabled consumers to engage in copyright "
+#~ "infringement. Because the device that Sony built had a \\\"record\\\" "
+#~ "button, the device could be used to record copyrighted movies and shows. "
+#~ "Sony was therefore benefiting from the copyright infringement of its "
+#~ "customers. It should therefore, Disney and Universal claimed, be "
+#~ "partially liable for that infringement."
+#~ msgstr ""
+#~ "samme år at Kongressen traff denne balansen, to store produsenter og "
+#~ "distributører av filmen innhold anlagt en sak mot en annen teknologi, "
+#~ "video tape recorder (vtr, eller som vi refererer til dem i dag, "
+#~ "videospillere) at sony hadde produsert, betamax. disney's og universal's "
+#~ "krav mot sony var relativt enkelt: sony produsert en enhet, disney og "
+#~ "universal hevdet, som aktivert forbrukere til å engasjere seg i krenkelse "
+#~ "av opphavsrett. fordi enheten som sony bygget hadde en \\\"post\\\"-"
+#~ "knappen, vil enheten kan brukes til å registrere opphavsrettsbeskyttede "
+#~ "filmer, og viser. Sony var derfor drar nytte av opphavsretten til sine "
+#~ "kunder. Det bør derfor disney og universal hevdet, være delvis ansvarlig "
+#~ "for at krenkelse."
+
+#~ msgid ""
+#~ "There was something to Disney's and Universal's claim. Sony did decide to "
+#~ "design its machine to make it very simple to record television shows. It "
+#~ "could have built the machine to block or inhibit any direct copying from "
+#~ "a television broadcast. Or possibly, it could have built the machine to "
+#~ "copy only if there were a special \\\"copy me\\\" signal on the line. It "
+#~ "was clear that there were many television shows that did not grant anyone "
+#~ "permission to copy. Indeed, if anyone had asked, no doubt the majority of "
+#~ "shows would not have authorized copying. And in the face of this obvious "
+#~ "preference, Sony could have designed its system to minimize the "
+#~ "opportunity for copyright infringement. It did not, and for that, Disney "
+#~ "and Universal wanted to hold it responsible for the architecture it chose."
+#~ msgstr ""
+#~ "Det var noe til disney's og universal's krav. Sony bestemmer deg for å "
+#~ "utforme sin maskin for å gjøre det svært enkelt å spille inn TV-"
+#~ "programmer. Det kan ha bygget maskinen hvis du vil blokkere, eller hindre "
+#~ "enhver direkte kopiere fra en TV kringkasting. eller muligens den kunne "
+#~ "har bygget maskinen for å kopiere bare hvis det var en spesiell \\"
+#~ "\"Kopier meg\\\" signal på linjen. Det var klart at det var mange TV-"
+#~ "programmer som ikke gi noen tillatelse til å kopiere. faktisk, hvis noen "
+#~ "hadde spurt, ingen tvil flertallet av viser ville ikke har autorisert "
+#~ "kopiering. og i møte med denne åpenbare preferanse, sony kan har utformet "
+#~ "sitt system å minimere muligheten for brudd på opphavsrettigheter. det "
+#~ "gjorde ikke, og for det, disney og universal ønsket å holde den ansvarlig "
+#~ "for arkitektur som er valgt."
+
+#~ msgid ""
+#~ "Congress was asked to respond to the Supreme Court's decision. But as "
+#~ "with the plea of recording artists about radio broadcasts, Congress "
+#~ "ignored the request. Congress was convinced that American film got "
+#~ "enough, this \\\"taking\\\" notwithstanding. If we put these cases "
+#~ "together, a pattern is clear:"
+#~ msgstr ""
+#~ "Kongressen ble bedt om å svare på den Høyesterett beslutningen. men som "
+#~ "med appell av artister om radiosendinger, Kongressen ignorert "
+#~ "forespørselen. Kongressen var overbevist om at amerikanske film fikk nok, "
+#~ "denne \\\"tar\\\" til tross for. Hvis vi setter disse tilfellene sammen, "
+#~ "et mønster er klart:"
+
+#~ msgid "WHOSE VALUE WAS \\\"PIRATED\\\""
+#~ msgstr "verdien var \\\"piratkopiert\\\""
+
+#~ msgid ""
+#~ "In none of these cases did either the courts or Congress eliminate all "
+#~ "free riding. In none of these cases did the courts or Congress insist "
+#~ "that the law should assure that the copyright holder get all the value "
+#~ "that his copyright created. In every case, the copyright owners "
+#~ "complained of \\\"piracy.\\\" In every case, Congress acted to recognize "
+#~ "some of the legitimacy in the behavior of the \\\"pirates.\\\" In each "
+#~ "case, Congress allowed some new technology to benefit from content made "
+#~ "before. It balanced the interests at stake."
+#~ msgstr ""
+#~ "Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle "
+#~ "gratis ridning. Ingen av disse tilfellene gjorde domstoler eller "
+#~ "Kongressen insisterer at loven skal sikre at opphavsrettsinnehaver får "
+#~ "alle verdien som hans copyright opprettet. i alle tilfeller klaget "
+#~ "opphavsrett eierne av \\\"piratkopiering.\\\" i alle tilfeller, "
+#~ "Kongressen handlet for å gjenkjenne noen av legitimitet i virkemåten til "
+#~ "den \\\"pirater.\\\" i hvert tilfelle Kongressen tillatt noen ny "
+#~ "teknologi for å dra nytte av innhold gjort før. det balansert interesser "
+#~ "på spill."
+
+#~ msgid ""
+#~ "We should be doing the same thing today. The technology of the Internet "
+#~ "is changing quickly. The way people connect to the Internet (wires vs. "
+#~ "wireless) is changing very quickly. No doubt the network should not "
+#~ "become a tool for \\\"stealing\\\" from artists. But neither should the "
+#~ "law become a tool to entrench one particular way in which artists (or "
+#~ "more accurately, distributors) get paid. As I describe in some detail in "
+#~ "the last chapter of this book, we should be securing income to artists "
+#~ "while we allow the market to secure the most efficient way to promote and "
+#~ "distribute content. This will require changes in the law, at least in the "
+#~ "interim. These changes should be designed to balance the protection of "
+#~ "the law against the strong public interest that innovation continue."
+#~ msgstr ""
+#~ "Vi bør gjøre samme i dag. teknologien for Internett endrer seg raskt. "
+#~ "endrer måten brukere koble seg til Internett (ledninger vs. trådløs) "
+#~ "svært raskt. ingen tvil om bør nettverket ikke bli et verktøy for \\"
+#~ "\"stjele\\\" fra artister. men heller ikke bør loven bli et verktøy for å "
+#~ "innarbeide en bestemte måten hvilke artister (eller mer nøyaktig, "
+#~ "distributører) får betalt. som jeg beskriver i noen detalj i det siste "
+#~ "kapitlet i denne boken, bør vi være sikre inntekt til kunstnere mens vi "
+#~ "tillater markedet for å sikre den mest effektive måten å fremme og "
+#~ "distribuere innhold. Dette vil kreve endringer i loven, minst i "
+#~ "mellomtiden. disse endringene skal være utformet for å balansere "
+#~ "beskyttelsen av loven mot sterk offentlig interesse at innovasjon "
+#~ "fortsette."
+
+#~ msgid ""
+#~ "John Schwartz, \\\"New Economy: The Attack on Peer-to-Peer Software "
+#~ "Echoes Past Efforts,\\\" New York Times, 22 September 2003, C3."
+#~ msgstr ""
+#~ "John schwartz, \\\"nye økonomien: angrepet på node-til-node-programvare "
+#~ "reflekterer forbi innsats,\\\" new york times, 22 september 2003, c3."
+
+#~ msgid ""
+#~ "\\\"It is our property,\\\" the warriors insist. \\\"And it should be "
+#~ "protected just as any other property is protected.\\\""
+#~ msgstr ""
+#~ "\\\"det er vår eiendom,\\\" insisterer warriors. \\\"og det bør være "
+#~ "beskyttet på samme måte som en annen egenskap er beskyttet."
+
+#~ msgid "\\\"PROPERTY\\\""
+#~ msgstr "egenskapen"
+
+#~ msgid ""
+#~ "But in ordinary language, to call a copyright a \\\"property\\\" right is "
+#~ "a bit misleading, for the property of copyright is an odd kind of "
+#~ "property. Indeed, the very idea of property in any idea or any "
+#~ "expression is very odd. I understand what I am taking when I take the "
+#~ "picnic table you put in your backyard. I am taking a thing, the picnic "
+#~ "table, and after I take it, you don't have it. But what am I taking when "
+#~ "I take the good idea you had to put a picnic table in the backyard--by, "
+#~ "for example, going to Sears, buying a table, and putting it in my "
+#~ "backyard? What is the thing I am taking then?"
+#~ msgstr ""
+#~ "men i vanlig språk, å ringe en copyright \\\"property\\\" høyre er litt "
+#~ "misvisende, for copyright-egenskapen er en odde type bolig. selve ideen "
+#~ "om eiendom i noen ide eller et annet uttrykk er faktisk svært ulike. Jeg "
+#~ "forstår hva jeg tar når jeg tar picnic bord du innlegge din bakgård. Jeg "
+#~ "tar en ting, picnic bord, og etter at jeg tar det, du har ikke det. men "
+#~ "hva jeg ta når jeg tar god idé du måtte sette en picnic bord i bakgården--"
+#~ "av, for eksempel skal sears, kjøpe en tabell, og sette det i min bakgård? "
+#~ "Hva er det jeg tar deretter?"
+
+#~ msgid ""
+#~ "As the legal realists taught American law, all property rights are "
+#~ "intangible. A property right is simply a right that an individual has "
+#~ "against the world to do or not do certain things that may or may not "
+#~ "attach to a physical object. The right itself is intangible, even if the "
+#~ "object to which it is (metaphorically) attached is tangible. See Adam "
+#~ "Mossoff, \\\"What Is Property? Putting the Pieces Back Together,\\\" "
+#~ "Arizona Law Review 45 (2003): 373, 429 n. 241."
+#~ msgstr ""
+#~ "som de juridiske realistene lærte amerikansk lov, er alle "
+#~ "eiendomsrettigheter immaterielle. egenskapen rett er ganske enkelt en "
+#~ "rettighet som en person har mot verden å gjøre eller ikke gjøre visse "
+#~ "ting som kan eller ikke kan koble til et fysisk objekt. høyre selv er "
+#~ "immaterielle, selv om objektet som det er (metaforisk) tilknyttet er "
+#~ "varige. se adam mossoff, \\\"Hva er egenskapen? å sette dem tilbake "
+#~ "sammen,\\\"-arizona lov, se 45 (2003): 373, 429 n. 241."
+
+#~ msgid ""
+#~ "My strategy in doing this will be the same as my strategy in the "
+#~ "preceding part. I offer four stories to help put the idea of \\"
+#~ "\"copyright material is property\\\" in context. Where did the idea come "
+#~ "from? What are its limits? How does it function in practice? After these "
+#~ "stories, the significance of this true statement--\\\"copyright material "
+#~ "is property\\\"-- will be a bit more clear, and its implications will be "
+#~ "revealed as quite different from the implications that the copyright "
+#~ "warriors would have us draw."
+#~ msgstr ""
+#~ "min strategi for å gjøre dette vil være det samme som min strategi i den "
+#~ "foregående delen. Jeg tilbyr fire historier å hjelpe sette ideen om \\"
+#~ "\"copyright-beskyttet materiale er egenskapen\\\" i sammenheng. hvor gikk "
+#~ "ideen kommer fra? Hva er sine grenser? Hvordan fungerer det i praksis? "
+#~ "Når disse historiene, betydningen av dette sant setningen--\\\"copyright-"
+#~ "beskyttet materiale er egenskapen\\\"--blir litt klarere og dens "
+#~ "implikasjoner vil bli avslørt som ganske forskjellig fra implikasjonene "
+#~ "at opphavsrett krigere ville ha oss til å tegne."
+
+#~ msgid ""
+#~ "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a \\"
+#~ "\"copyright law.\\\" See Vaidhyanathan, Copyrights and Copywrongs, 40."
+#~ msgstr ""
+#~ "som siva vaidhyanathan hevder pent, er det feilaktige å kalle dette en \\"
+#~ "\"copyright lov.\\\" se vaidhyanathan, opphavsrett og copywrongs, 40."
+
+#~ msgid ""
+#~ "The reason is that the English hadn't yet agreed on what a \\\"copyright\\"
+#~ "\" was--indeed, no one had. At the time the English passed the Statute of "
+#~ "Anne, there was no other legislation governing copyrights. The last law "
+#~ "regulating publishers, the Licensing Act of 1662, had expired in 1695. "
+#~ "That law gave publishers a monopoly over publishing, as a way to make it "
+#~ "easier for the Crown to control what was published. But after it "
+#~ "expired, there was no positive law that said that the publishers, or \\"
+#~ "\"Stationers,\\\" had an exclusive right to print books."
+#~ 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\\\"."
+
+#~ 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."
+
+#~ msgid ""
+#~ "This question was important to the publishers, or \\\"booksellers,\\\" as "
+#~ "they were called, because there was growing competition from foreign "
+#~ "publishers. The Scottish, in particular, were increasingly publishing and "
+#~ "exporting books to England. That competition reduced the profits of the "
+#~ "Conger, which reacted by demanding that Parliament pass a law to again "
+#~ "give them exclusive control over publishing. That demand ultimately "
+#~ "resulted in the Statute of Anne."
+#~ msgstr ""
+#~ "Dette spørsmålet var viktig til utgivere eller \\\"bokhandlere,\\\" som "
+#~ "de ble kalt, fordi det var økende konkurransen fra utenlandske utgivere. "
+#~ "Skottland, spesielt var stadig publisering og eksporterer bøker til "
+#~ "england. at konkurransen redusert fortjeneste av conger, som reagert av "
+#~ "krevende at parlamentet pass en lov til å igjen gi dem eksklusiv kontroll "
+#~ "over publisering. som krever til slutt resulterte i Vedtektene for anne."
+
+#~ msgid ""
+#~ "The Statute of Anne granted the author or \\\"proprietor\\\" of a book an "
+#~ "exclusive right to print that book. In an important limitation, however, "
+#~ "and to the horror of the booksellers, the law gave the bookseller that "
+#~ "right for a limited term. At the end of that term, the copyright \\"
+#~ "\"expired,\\\" and the work would then be free and could be published by "
+#~ "anyone. Or so the legislature is thought to have believed."
+#~ msgstr ""
+#~ "Vedtektene for anne gitt forfatteren eller \\\"eierskap\\\" av en bok, en "
+#~ "eksklusiv rett til å skrive ut denne boken. i en viktig begrensning, "
+#~ "imidlertid, og til forferdelse av bokhandlere, ga loven den lokale "
+#~ "Bokhandleren at høyre for en begrenset periode. på slutten av dette "
+#~ "ordet, copyright \\\"utløpt\\\", og arbeidet vil da være gratis, og kan "
+#~ "bli publisert av alle. eller så legislature antas å ha trodd."
+
+#~ 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?"
+
+#~ 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.\\\""
+
+#~ msgid ""
+#~ "First, about copyright. In the last three hundred years, we have come to "
+#~ "apply the concept of \\\"copyright\\\" ever more broadly. But in 1710, it "
+#~ "wasn't so much a concept as it was a very particular right. The copyright "
+#~ "was born as a very specific set of restrictions: It forbade others from "
+#~ "reprinting a book. In 1710, the \\\"copy-right\\\" was a right to use a "
+#~ "particular machine to replicate a particular work. It did not go beyond "
+#~ "that very narrow right. It did not control any more generally how a work "
+#~ "could be used. Today the right includes a large collection of "
+#~ "restrictions on the freedom of others: It grants the author the exclusive "
+#~ "right to copy, the exclusive right to distribute, the exclusive right to "
+#~ "perform, and so on."
+#~ msgstr ""
+#~ "først om opphavsrett. i de siste tre hundre årene, har vi kommet til å "
+#~ "bruke begrepet \\\"copyright\\\" stadig mer forstand. men i 1710, det var "
+#~ "ikke så mye et konsept som det var en meget bestemt høyre. opphavsretten "
+#~ "ble født som en svært spesifikke sett med begrensninger: det forbød andre "
+#~ "fra ettertrykk en bok. i 1710 var \\\"kopi-rett\\\" en rett til å bruke "
+#~ "en bestemt maskin til å replikere en bestemt arbeid. det ikke gå utover "
+#~ "det svært smale riktig. det ikke kontrollere mer generelt hvordan et "
+#~ "arbeid kan brukes. i dag høyre inkluderer en stor samling av "
+#~ "restriksjoner på andres: det gir forfatteren til eksklusiv rett til å "
+#~ "kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å utføre, "
+#~ "og så videre."
+
+#~ msgid ""
+#~ "So, for example, even if the copyright to Shakespeare's works were "
+#~ "perpetual, all that would have meant under the original meaning of the "
+#~ "term was that no one could reprint Shakespeare's work without the "
+#~ "permission of the Shakespeare estate. It would not have controlled "
+#~ "anything, for example, about how the work could be performed, whether the "
+#~ "work could be translated, or whether Kenneth Branagh would be allowed to "
+#~ "make his films. The \\\"copy-right\\\" was only an exclusive right to "
+#~ "print--no less, of course, but also no more."
+#~ 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."
+
+#~ msgid ""
+#~ "Even that limited right was viewed with skepticism by the British. They "
+#~ "had had a long and ugly experience with \\\"exclusive rights,\\\" "
+#~ "especially \\\"exclusive rights\\\" granted by the Crown. The English had "
+#~ "fought a civil war in part about the Crown's practice of handing out "
+#~ "monopolies--especially monopolies for works that already existed. King "
+#~ "Henry VIII granted a patent to print the Bible and a monopoly to Darcy to "
+#~ "print playing cards. The English Parliament began to fight back against "
+#~ "this power of the Crown. In 1656, it passed the Statute of Monopolies, "
+#~ "limiting monopolies to patents for new inventions. And by 1710, "
+#~ "Parliament was eager to deal with the growing monopoly in publishing."
+#~ 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."
+
+#~ msgid ""
+#~ "Thus the \\\"copy-right,\\\" when viewed as a monopoly right, was "
+#~ "naturally viewed as a right that should be limited. (However convincing "
+#~ "the claim that \\\"it's my property, and I should have it forever,\\\" "
+#~ "try sounding convincing when uttering, \\\"It's my monopoly, and I should "
+#~ "have it forever.\\\") The state would protect the exclusive right, but "
+#~ "only so long as it benefited society. The British saw the harms from "
+#~ "specialinterest favors; they passed a law to stop them."
+#~ msgstr ""
+#~ "Dermed ble \\\"kopi-rett,\\\" når de vises som et monopol høyre, "
+#~ "naturligvis sett på som en rettighet som bør være begrenset. (men "
+#~ "overbevisende påstanden om at \\\"det er min eiendom, og jeg skulle ha "
+#~ "det evig,\\\" prøve lød overbevisende når ytre, \\\"det er min monopol, "
+#~ "og jeg skulle ha det evig.\\\") staten ville beskytte eneretten, men bare "
+#~ "så lenge det dratt av samfunnet. britene så skadene fra specialinterest "
+#~ "favoriserer; de har vedtatt en lov for å stoppe dem."
+
+#~ msgid ""
+#~ "Having failed in Parliament, the publishers turned to the courts in a "
+#~ "series of cases. Their argument was simple and direct: The Statute of "
+#~ "Anne gave authors certain protections through positive law, but those "
+#~ "protections were not intended as replacements for the common law. "
+#~ "Instead, they were intended simply to supplement the common law. Under "
+#~ "common law, it was already wrong to take another person's creative \\"
+#~ "\"property\\\" and use it without his permission. The Statute of Anne, "
+#~ "the booksellers argued, didn't change that. Therefore, just because the "
+#~ "protections of the Statute of Anne expired, that didn't mean the "
+#~ "protections of the common law expired: Under the common law they had the "
+#~ "right to ban the publication of a book, even if its Statute of Anne "
+#~ "copyright had expired. This, they argued, was the only way to protect "
+#~ "authors."
+#~ msgstr ""
+#~ "å ha mislyktes i parlamentet, slått utgivere til domstolene i en rekke "
+#~ "tilfeller. deres argument var enkel og direkte: Vedtektene for anne ga "
+#~ "forfattere visse beskyttelse gjennom positiv loven, men disse beskyttelse "
+#~ "var ikke ment som erstatning for felles lov. i stedet, de var ment å "
+#~ "supplere felles lov. under sedvanerett var det allerede galt å ta en "
+#~ "annen persons kreative \\\"property\\\" og bruke den uten hans "
+#~ "tillatelse. Vedtektene for anne, bokhandlere hevdet, endre ikke det. "
+#~ "derfor bare fordi beskyttelse av Vedtektene for anne utløpt, det betyr "
+#~ "ikke at beskyttelse av felles lov utløpt: under felles lov de hadde rett "
+#~ "til å forby utgivelsen av en bok, selv om sine Vedtektene for anne "
+#~ "copyright hadde gått ut. Dette, de hevdet, var den eneste måten å "
+#~ "beskytte forfattere."
+
+#~ msgid ""
+#~ "The London booksellers quickly brought suit to block \\\"piracy\\\" like "
+#~ "Donaldson's. A number of actions were successful against the \\\"pirates,"
+#~ "\\\" the most important early victory being Millar v. Taylor."
+#~ msgstr ""
+#~ "london bokhandlerne brakt raskt dress å blokkere \\\"piratkopiering\\\" "
+#~ "som donaldson's. en rekke handlinger var vellykket mot \\\"pirates,\\\" "
+#~ "den viktigste tidlige seieren blir millar v. taylor."
+
+#~ msgid ""
+#~ "Howard B. Abrams, \\\"The Historic Foundation of American Copyright Law: "
+#~ "Exploding the Myth of Common Law Copyright,\\\" Wayne Law Review 29 "
+#~ "(1983): 1152."
+#~ msgstr ""
+#~ "Howard b. abrams, \\\"historiske grunnlaget for amerikansk lov om "
+#~ "opphavsrett: eksploderende myten om sedvanerett opphavsrett,\\\" wayne "
+#~ "lov gå gjennom 29 (1983): 1152."
+
+#~ msgid ""
+#~ "Astonishingly to modern lawyers, one of the greatest judges in English "
+#~ "history, Lord Mansfield, agreed with the booksellers. Whatever protection "
+#~ "the Statute of Anne gave booksellers, it did not, he held, extinguish any "
+#~ "common law right. The question was whether the common law would protect "
+#~ "the author against subsequent \\\"pirates.\\\" Mansfield's answer was "
+#~ "yes: The common law would bar Taylor from reprinting Thomson's poem "
+#~ "without Millar's permission. That common law rule thus effectively gave "
+#~ "the booksellers a perpetual right to control the publication of any book "
+#~ "assigned to them."
+#~ msgstr ""
+#~ "astonishingly til moderne advokater avtalt en av de største dommerne i "
+#~ "engelsk historie, Herren mansfield, med bokhandlerne. Uansett beskyttelse "
+#~ "Vedtektene for anne ga bokhandlere, det ikke, han holdt, Slukk "
+#~ "sedvanerett rett. spørsmålet var om felles lov ville beskytte forfatteren "
+#~ "mot etterfølgende \\\"pirater.\\\" mansfield svaret var Ja: felles lov "
+#~ "ville stolpe taylor fra ettertrykk thomson's diktet uten millar's "
+#~ "tillatelse. som regel sedvanerett dermed ga effektivt bokhandlerne "
+#~ "evigvarende rett til å kontrollere publiseringen av noen bok som er "
+#~ "tilordnet."
+
+#~ 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."
+
+#~ 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."
+#~ 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."
+
+#~ 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."
+
+#~ msgid ""
+#~ "Years later, when he finally got funding to complete the film, Else "
+#~ "attempted to clear the rights for those few seconds of The Simpsons. For "
+#~ "of course, those few seconds are copyrighted; and of course, to use "
+#~ "copyrighted material you need the permission of the copyright owner, "
+#~ "unless \\\"fair use\\\" or some other privilege applies."
+#~ msgstr ""
+#~ "år senere, når han til slutt fikk finansiering for å fullføre filmen, "
+#~ "ellers forsøkte å tømme rettighetene for de noen sekunder av simpsons. "
+#~ "for selvfølgelig, er de få sekunder opphavsrettsbeskyttet; og "
+#~ "selvfølgelig, hvis du vil bruke opphavsrettsbeskyttet materiale du "
+#~ "trenger tillatelse fra eieren av opphavsretten, med mindre \\\"fair use\\"
+#~ "\" eller noen andre privilegium gjelder."
+
+#~ msgid ""
+#~ "Then, as Else told me, \\\"two things happened. First we discovered . . . "
+#~ "that Matt Groening doesn't own his own creation--or at least that someone "
+#~ "[at Fox] believes he doesn't own his own creation.\\\" And second, Fox \\"
+#~ "\"wanted ten thousand dollars as a licensing fee for us to use this four-"
+#~ "point-five seconds of . . . entirely unsolicited Simpsons which was in "
+#~ "the corner of the shot.\\\""
+#~ msgstr ""
+#~ "deretter, som ellers fortalte meg, \\\"to ting har skjedd. første vi "
+#~ "oppdaget... at matt groening ikke eier sin egen etablering-- eller i det "
+#~ "minste at noen [på fox] mener han ikke eier sin egen etableringen. \\\"og "
+#~ "andre fox\\\"ville ti tusen dollar som en lisenskostnader avgift for oss "
+#~ "å bruke denne fire-punkt-fem sekunder... helt uønsket simpsons som var i "
+#~ "hjørnet av skutt.\\\""
+
+#~ msgid ""
+#~ "Else was certain there was a mistake. He worked his way up to someone he "
+#~ "thought was a vice president for licensing, Rebecca Herrera. He "
+#~ "explained to her, \\\"There must be some mistake here. . . . We're "
+#~ "asking for your educational rate on this.\\\" That was the educational "
+#~ "rate, Herrera told Else. A day or so later, Else called again to confirm "
+#~ "what he had been told."
+#~ msgstr ""
+#~ "Ellers var sikker på at det var en feil. han jobbet seg opp noen trodde "
+#~ "han var vice president for lisensiering, rebecca herrera. Han forklarte "
+#~ "henne, \\\"det må være noen feil her.... Vi ber om din pedagogisk rate på "
+#~ "dette.\\\"det var pedagogisk ofte, herrera fortalte ellers. en dag eller "
+#~ "så senere, ellers kalles på nytt for å bekrefte hva han hadde blitt "
+#~ "fortalt."
+
+#~ msgid ""
+#~ "\\\"I wanted to make sure I had my facts straight,\\\" he told me. \\"
+#~ "\"Yes, you have your facts straight,\\\" she said. It would cost $10,000 "
+#~ "to use the clip of The Simpsons in the corner of a shot in a documentary "
+#~ "film about Wagner's Ring Cycle. And then, astonishingly, Herrera told "
+#~ "Else, \\\"And if you quote me, I'll turn you over to our attorneys.\\\" "
+#~ "As an assistant to Herrera told Else later on, \\\"They don't give a "
+#~ "shit. They just want the money.\\\""
+#~ msgstr ""
+#~ "\\\"jeg ønsket å sikre at jeg hadde min fakta rett,\\\" sa han til meg. \\"
+#~ "\"Ja, du har din fakta rett,\\\" sa hun. det ville koste $ 10 000 for å "
+#~ "bruke klippet av simpsons i hjørnet av et skudd i en dokumentarfilm om "
+#~ "wagner's ring syklus. og deretter astonishingly, herrera fortalte annet \\"
+#~ "\"og hvis du siterer meg, vil jeg slå deg til våre advokater.\\\" som "
+#~ "assistent for herrera fortalte andre senere, \\\"de ikke gir faen. de vil "
+#~ "bare penger.\\\""
+
+#~ 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 $1,000,000. That's her right, as set by the law."
+#~ msgstr ""
+#~ "\\\"offentlig fremføring\\\" er for eksempel en bruk av simpsons blir "
+#~ "eieren av opphavsretten til kontrollen. Hvis du tar et utvalg av favoritt "
+#~ "episoder, leie en kino, og betalt for billetter til å komme se \\\"min "
+#~ "favoritt simpsons\\\", må du få tillatelse fra eieren av opphavsretten. "
+#~ "og rettighetsinnehaveren (med rette, i min mening) kan lade hva hun "
+#~ "ønsker--$ 10 eller $1,000,000. Det er hennes høyre, som er angitt av "
+#~ "loven."
+
+#~ msgid ""
+#~ "For an excellent argument that such use is \\\"fair use,\\\" but that "
+#~ "lawyers don't permit recognition that it is \\\"fair use,\\\" see Richard "
+#~ "A. Posner with William F. Patry, \\\"Fair Use and Statutory Reform in the "
+#~ "Wake of Eldred \\\" (draft on file with author), University of Chicago "
+#~ "Law School, 5 August 2003."
+#~ msgstr ""
+#~ "Hvis et utmerket argument at slik bruk er \\\"rettferdig bruk\\\", men at "
+#~ "jurister ikke tillater anerkjennelse som det er \\\"rettferdig bruk,\\\" "
+#~ "se richard a. posner med william f. patry, \\\"rettferdig bruk og "
+#~ "lovbestemte reform i kjølvannet av eldred\\\" (utkast på filen med "
+#~ "forfatteren), university of chicago law school, 5 august 2003."
+
+#~ msgid ""
+#~ "So I asked Else why he didn't just rely upon \\\"fair use.\\\" Here's his "
+#~ "reply:"
+#~ msgstr ""
+#~ "så jeg spurte er hvorfor han ikke bare stole på \\\"rettferdig bruk.\\\" "
+#~ "her annet hans svar:"
+
+#~ msgid ""
+#~ "The Simpsons fiasco was for me a great lesson in the gulf between what "
+#~ "lawyers find irrelevant in some abstract sense, and what is crushingly "
+#~ "relevant in practice to those of us actually trying to make and broadcast "
+#~ "documentaries. I never had any doubt that it was \\\"clearly fair use\\\" "
+#~ "in an absolute legal sense. But I couldn't rely on the concept in any "
+#~ "concrete way. Here's why:"
+#~ msgstr ""
+#~ "simpsons fiasco var for meg en fin leksjon i avgrunnen mellom hvilket "
+#~ "advokater finne irrelevant i noen abstrakt forstand, og hva er crushingly "
+#~ "relevant i praksis for de av oss faktisk prøver å gjøre og kringkaste "
+#~ "dokumentarer. Jeg har aldri hatt noen tvil om at det var \\\"klart fair "
+#~ "use\\\" i en absolutt juridisk forstand. men jeg kunne ikke stole på "
+#~ "konseptet på noen konkret måte. Her er hvorfor:"
+
+#~ msgid ""
+#~ "Before our films can be broadcast, the network requires that we buy "
+#~ "Errors and Omissions insurance. The carriers require a detailed \\"
+#~ "\"visual cue sheet\\\" listing the source and licensing status of each "
+#~ "shot in the film. They take a dim view of \\\"fair use,\\\" and a claim "
+#~ "of \\\"fair use\\\" can grind the application process to a halt."
+#~ msgstr ""
+#~ "før vår filmer som kan sendes, krever nettverket at vi kjøper feil og "
+#~ "utelatelser forsikring. operatører krever en detaljert \\\"visual cue ark"
+#~ "\\\" liste over kilden og lisensiering status for hver skudd i filmen. de "
+#~ "tar en dim visning av \\\"fair use\\\", og et krav om \\\"fair use\\\" "
+#~ "kan slipe søknadsprosessen til å stoppe."
+
+#~ msgid ""
+#~ "I did, in fact, speak with one of your colleagues at Stanford Law "
+#~ "School . . . who confirmed that it was fair use. He also confirmed that "
+#~ "Fox would \\\"depose and litigate you to within an inch of your life,\\\" "
+#~ "regardless of the merits of my claim. He made clear that it would boil "
+#~ "down to who had the bigger legal department and the deeper pockets, me or "
+#~ "them."
+#~ msgstr ""
+#~ "Jeg gjorde, faktisk snakke med en av dine kolleger ved stanford law "
+#~ "school... som bekreftet at det var rimelig bruk. han bekreftet også at "
+#~ "fox ville \\\"avsette og litigate du innenfor en tomme av livet,\\\" "
+#~ "uavhengig av fordelene ved mitt krav. Han gjorde det klart at det ville "
+#~ "koker ned til hvem som hadde større juridiske avdelingen og dypere "
+#~ "lommebøker, meg eller dem."
+
+#~ msgid ""
+#~ "Then Alben and his team decided to include actual film clips. \\\"Our "
+#~ "goal was that we were going to have a clip from every one of Eastwood's "
+#~ "films,\\\" Alben told me. It was here that the problem arose. \\\"No one "
+#~ "had ever really done this before,\\\" Alben explained. \\\"No one had "
+#~ "ever tried to do this in the context of an artistic look at an actor's "
+#~ "career.\\\""
+#~ msgstr ""
+#~ "deretter alben og hans team besluttet å inkludere faktiske film klipp. \\"
+#~ "\"vårt mål var at vi skulle ha et klipp fra hver og en av Eastwoods film,"
+#~ "\\\" fortalte alben meg. Det var her at problemet oppsto. \\\"ingen hadde "
+#~ "noensinne virkelig gjort dette før,\\\" forklarte alben. \\\"ingen hadde "
+#~ "noen gang prøvd å gjøre dette i sammenheng med en kunstnerisk titt på en "
+#~ "skuespiller-karriere.\\\""
+
+#~ msgid ""
+#~ "Alben brought the idea to Michael Slade, the CEO of Starwave. Slade "
+#~ "asked, \\\"Well, what will it take?\\\""
+#~ msgstr ""
+#~ "Alben brakt ideen til michael slade, ceo i starwave. Slade som ble spurt, "
+#~ "\\\"Vel, hva vil det ta?\\\""
+
+#~ msgid ""
+#~ "Technically, the rights that Alben had to clear were mainly those of "
+#~ "publicity--rights an artist has to control the commercial exploitation of "
+#~ "his image. But these rights, too, burden \\\"Rip, Mix, Burn\\\" "
+#~ "creativity, as this chapter evinces."
+#~ msgstr ""
+#~ "teknisk, rettighetene som alben hadde å fjerne var hovedsakelig de "
+#~ "publisitet--rettigheter kunstner har til å kontrollere kommersiell "
+#~ "utnyttelse av hans bilde. men disse rettighetene også, belaster \\\"rip, "
+#~ "mikse, brenne\\\" kreativitet, som evinces i dette kapitlet."
+
+#~ 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."
+#~ msgstr ""
+#~ "så vi gikk veldig mekanisk about looking up film klipp. Vi har gjort noen "
+#~ "kunstneriske beslutninger om hva film klipp for å inkludere--selvfølgelig "
+#~ "vi skulle bruke \\\"gjøre dagen min\\\" utklippet fra dirty harry. men du "
+#~ "må få fyren på bakken som er vrir under pistol og du trenger for å få sin "
+#~ "tillatelse. og deretter må du bestemme hva du skal betale ham."
+
+#~ msgid ""
+#~ "Some actors were glad to help--Donald Sutherland, for example, followed "
+#~ "up himself to be sure that the rights had been cleared. Others were "
+#~ "dumbfounded at their good fortune. Alben would ask, \\\"Hey, can I pay "
+#~ "you $600 or maybe if you were in two films, you know, $1,200?\\\" And "
+#~ "they would say, \\\"Are you for real? Hey, I'd love to get $1,200.\\\" "
+#~ "And some of course were a bit difficult (estranged ex-wives, in "
+#~ "particular). But eventually, Alben and his team had cleared the rights to "
+#~ "this retrospective CD-ROM on Clint Eastwood's career."
+#~ msgstr ""
+#~ "enkelte aktører var glad for å hjelpe--donald sutherland, for eksempel "
+#~ "fulgt opp seg å være sikker på at rettigheter hadde blitt fjernet. andre "
+#~ "var målløs på deres hell. Alben vil spørre: \\\"Hei, kan jeg betale $600 "
+#~ "eller kanskje Hvis du var i to filmer, du vet, $1200?\\\" og de ville si, "
+#~ "\\\"er du for real? Hei, jeg ville elske å få $1200. \\\"og noen "
+#~ "selvfølgelig var litt vanskelig (fraseparerte ex-kone, spesielt). men til "
+#~ "slutt, alben og teamet hans hadde klarert rettighetene til denne "
+#~ "retrospektiv CD-ROMen på clint eastwood karriere."
+
+#~ msgid ""
+#~ "It was one year 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.\\\""
+
+#~ msgid ""
+#~ "Everyone thought it would be too hard. Everyone just threw up their hands "
+#~ "and said, \\\"Oh, my gosh, a film, it's so many copyrights, there's the "
+#~ "music, there's the screenplay, there's the director, there's the actors.\\"
+#~ "\" But we just broke it down. We just put it into its constituent parts "
+#~ "and said, \\\"Okay, there's this many actors, this many directors, . . . "
+#~ "this many musicians,\\\" and we just went at it very systematically and "
+#~ "cleared the rights."
+#~ msgstr ""
+#~ "alle trodde det ville være for hardt. alle bare kastet opp sine hender og "
+#~ "sa, \\\"oh, mine gosh, en film, det er så mange opphavsrettigheter, er "
+#~ "det musikken, det er manuskriptet, det er direktør, det er skuespillere.\\"
+#~ "\" men vi bare brøt det ned. vi bare sette det inn i sin bærende deler og "
+#~ "sa: \\\"OK, det er så mange aktører, så mange styremedlemmer... så mange "
+#~ "musikere,\\\" og vi bare gikk på den svært systematisk og fjernet "
+#~ "rettighetene."
+
+#~ msgid ""
+#~ "For, as he acknowledged, \\\"very few . . . have the time and resources, "
+#~ "and the will to do this,\\\" and thus, very few such works would ever be "
+#~ "made. Does it make sense, I asked him, from the standpoint of what "
+#~ "anybody really thought they were ever giving rights for originally, that "
+#~ "you would have to go clear rights for these kinds of clips?"
+#~ msgstr ""
+#~ "for, som han erkjente, \\\"svært få... har tid og ressurser og viljen til "
+#~ "å gjøre dette,\\\" og dermed svært få slike arbeider noensinne vil bli "
+#~ "gjort. betyr det fornuftig, jeg spurte ham, fra standpunktet av hva noen "
+#~ "trodde de var noensinne å gi rettigheter for opprinnelig, som du må gå "
+#~ "klart rettigheter for disse typer utklipp?"
+
+#~ msgid ""
+#~ "Absolutely. I think that if there were some fair-licensing mechanism--"
+#~ "where you weren't subject to hold-ups and you weren't subject to "
+#~ "estranged former spouses--you'd see a lot more of this work, because it "
+#~ "wouldn't be so daunting to try to put together a retrospective of "
+#~ "someone's career and meaningfully illustrate it with lots of media from "
+#~ "that person's career. You'd build in a cost as the producer of one of "
+#~ "these things. You'd build in a cost of paying X dollars to the talent "
+#~ "that performed. But it would be a known cost. That's the thing that trips "
+#~ "everybody up and makes this kind of product hard to get off the ground. "
+#~ "If you knew I have a hundred minutes of film in this product and it's "
+#~ "going to cost me X, then you build your budget around it, and you can get "
+#~ "investments and everything else that you need to produce it. But if you "
+#~ "say, \\\"Oh, I want a hundred minutes of something and I have no idea "
+#~ "what it's going to cost me, and a certain number of people are going to "
+#~ "hold me up for money,\\\" then it becomes difficult to put one of these "
+#~ "things together."
+#~ msgstr ""
+#~ "absolutt. Jeg tror at hvis det var noen fair-lisensiering mekanisme--der "
+#~ "du ikke var underlagt hold-ups, og du ikke var underlagt fraseparerte "
+#~ "tidligere ektefeller--du ville se mye mer av dette arbeidet, fordi det "
+#~ "ikke ville være så skremmende å prøve å sette sammen en retrospektiv av "
+#~ "noen er karriere og meningsfull måte illustrere det med mange medier fra "
+#~ "personens karriere. du vil bygge inn en kostnad som produsent av en av "
+#~ "disse tingene. du vil bygge inn en kostnadene til betale x dollar til "
+#~ "talent som utføres. men det ville være en kjent kostnad. Det er ting som "
+#~ "turer alle opp og gjør denne typen produkt som er vanskelig å få av "
+#~ "bakken. Hvis du visste at jeg har en hundre minutter med film i dette "
+#~ "produktet og det kommer til å koste meg x, deretter du bygge budsjettet "
+#~ "rundt det, og du kan få investeringer og alt annet du vil produsere den. "
+#~ "men hvis du sier, \\\"oh, jeg ønsker en hundre minutter av noe jeg aner "
+#~ "ikke hva det vil koste meg og et visst antall mennesker kommer til å "
+#~ "holde meg opp for penger\\\", og det blir vanskeligere å sette en av "
+#~ "disse tingene sammen."
+
+#~ msgid ""
+#~ "Alben worked for a big company. His company was backed by some of the "
+#~ "richest investors in the world. He therefore had authority and access "
+#~ "that the average Web designer would not have. So if it took him a year, "
+#~ "how long would it take someone else? And how much creativity is never "
+#~ "made just because the costs of clearing the rights are so high? These "
+#~ "costs are the burdens of a kind of regulation. Put on a Republican hat "
+#~ "for a moment, and get angry for a bit. The government defines the scope "
+#~ "of these rights, and the scope defined determines how much it's going to "
+#~ "cost to negotiate them. (Remember the idea that land runs to the heavens, "
+#~ "and imagine the pilot purchasing flythrough rights as he negotiates to "
+#~ "fly from Los Angeles to San Francisco.) These rights might well have "
+#~ "once made sense; but as circumstances change, they make no sense at all. "
+#~ "Or at least, a well-trained, regulationminimizing Republican should look "
+#~ "at the rights and ask, \\\"Does this still make sense?\\\""
+#~ msgstr ""
+#~ "Alben jobbet for et stort selskap. hans selskap var støttet av noen av de "
+#~ "rikeste investorene i verden. derfor hadde han myndighet og pålogging som "
+#~ "gjennomsnittlig webdesigner ikke ville. så hvis det tok ham et år, hvor "
+#~ "lenge vil det ta noen andre? og hvor mye kreativitet er aldri gjort bare "
+#~ "fordi kostnadene ved å fjerne rettigheter er så høy? disse kostnadene er "
+#~ "byrdene av en slags regulering. Sett på en republikanske lue for et "
+#~ "øyeblikk, og bli sint for litt. regjeringen definerer omfanget av disse "
+#~ "rettighetene, og omfanget definert bestemmer hvor mye det vil koste å "
+#~ "forhandle dem. (Husk at ideen om at landet kjører til himmelen, og Tenk "
+#~ "piloten kjøper flythrough rettigheter idet han forhandler om å fly fra "
+#~ "los angeles til san francisco.) disse rettighetene ha også en gang gjort "
+#~ "fornuftig; men som omstendigheter endring, de gir ingen mening i det hele "
+#~ "tatt. eller på minst, en frisk-utdannet, regulationminimizing "
+#~ "republikanske bør se på rettighetene og spør, \\\"betyr dette fortsatt "
+#~ "fornuftig?\\\""
+
+#~ msgid ""
+#~ "When the lights came up, I looked over to my copanelist, David Nimmer, "
+#~ "perhaps the leading copyright scholar and practitioner in the nation. He "
+#~ "had an astonished look on his face, as he peered across the room of over "
+#~ "250 well-entertained judges. Taking an ominous tone, he began his talk "
+#~ "with a question: \\\"Do you know how many federal laws were just violated "
+#~ "in this room?\\\""
+#~ msgstr ""
+#~ "Når lysene kom opp, kikket jeg over til min copanelist, david nimmer, "
+#~ "kanskje den ledende opphavsrett lærd og practitioner i nasjonen. Han "
+#~ "hadde en forbauset se på ansiktet hans, som han kikket ned på tvers av "
+#~ "rommet med over 250 well-entertained dommere. tar en illevarslende tone, "
+#~ "han begynte sin tale med et spørsmål: \\\"vet du hvor mange føderale "
+#~ "lover ble bare brutt i dette rommet?\\\""
+
+#~ msgid ""
+#~ "All of these creations are technically illegal. Even if the creators "
+#~ "wanted to be \\\"legal,\\\" the cost of complying with the law is "
+#~ "impossibly high. Therefore, for the law-abiding sorts, a wealth of "
+#~ "creativity is never made. And for that part that is made, if it doesn't "
+#~ "follow the clearance rules, it doesn't get released."
+#~ msgstr ""
+#~ "alle disse kreasjoner er teknisk ulovlig. Selv om skaperne ønsket å være "
+#~ "\\\"lovlig\\\", er kostnadene for å overholde loven impossibly høy. "
+#~ "Derfor lovlydige sorteringer, er et vell av kreativitet aldri gjort. og "
+#~ "for den aktuelle delen er gjort, hvis det ikke følger reglene for "
+#~ "klaring, det ikke komme ut."
+
+#~ msgid ""
+#~ "To some, these stories suggest a solution: Let's alter the mix of rights "
+#~ "so that people are free to build upon our culture. Free to add or mix as "
+#~ "they see fit. We could even make this change without necessarily "
+#~ "requiring that the \\\"free\\\" use be free as in \\\"free beer.\\\" "
+#~ "Instead, the system could simply make it easy for follow-on creators to "
+#~ "compensate artists without requiring an army of lawyers to come along: a "
+#~ "rule, for example, that says \\\"the royalty owed the copyright owner of "
+#~ "an unregistered work for the derivative reuse of his work will be a flat "
+#~ "1 percent of net revenues, to be held in escrow for the copyright owner.\\"
+#~ "\" Under this rule, the copyright owner could benefit from some royalty, "
+#~ "but he would not have the benefit of a full property right (meaning the "
+#~ "right to name his own price) unless he registers the work."
+#~ msgstr ""
+#~ "til noen, disse historiene foreslå en løsning: La oss endre blanding av "
+#~ "rettigheter, slik at folk er gratis å bygge på vår kultur. gratis å legge "
+#~ "til eller blande som de ønsker. Vi kan selv foreta denne endringen uten "
+#~ "nødvendigvis som krever at \\\"gratis\\\" Bruk være fri som i «gratis øl."
+#~ "\\\"i stedet, systemet kan bare gjør det enkelt for etterarbeid skaperne "
+#~ "å kompensere kunstnere uten å kreve en hær av advokater framover: regel, "
+#~ "for eksempel som sier\\\"royalty skyldte opphavsrettighetene til en "
+#~ "uregistrert arbeid for avledede gjenbruk av hans arbeid vil være en flat "
+#~ "1 prosent av netto inntekterskal holdes i escrow for opphavsrett eieren. "
+#~ "\\\"under denne regelen, eieren av opphavsretten som kunne ha nytte av "
+#~ "noen royalty, men han ville ikke ha nytte av en full immaterielle "
+#~ "rettigheter (som betyr retten til å gi navn til sin egen pris) med mindre "
+#~ "han registrerer arbeidet."
+
+#~ 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.\\\""
+#~ msgstr ""
+#~ "i februar 2003 annonsert dreamworks studios en avtale med mike myers, "
+#~ "comic geni av lørdag natt live og austin powers. Ifølge utlysningen, "
+#~ "myers og drøm-arbeider ville arbeide sammen for å danne en \\\"unik "
+#~ "filmskapning pakten.\\\" under avtalen, dreamworks – vil opparbeide seg "
+#~ "privatrettslige rettigheter til eksisterende filmselskaper treff og "
+#~ "klassikere, skrive nye storylines og--med bruk av stateof-the-art digital "
+#~ "teknologi--sett myers og andre aktører i filmen, og dermed skape et helt "
+#~ "nytt stykke underholdning."
+
+#~ msgid ""
+#~ "The announcement called this \\\"film sampling.\\\" As Myers explained, \\"
+#~ "\"Film Sampling is an exciting way to put an original spin on existing "
+#~ "films and allow audiences to see old movies in a new light. Rap artists "
+#~ "have been doing this for years with music and now we are able to take "
+#~ "that same concept and apply it to film.\\\" Steven Spielberg is quoted as "
+#~ "saying, \\\"If anyone can create a way to bring old films to new "
+#~ "audiences, it is Mike.\\\""
+#~ msgstr ""
+#~ "utlysningen kalles denne \\\"film prøvetaking.\\\" som myers forklart, \\"
+#~ "\"film prøvetaking er en spennende måte å sette en opprinnelige spinn på "
+#~ "eksisterende filmer og lar publikum å se gamle filmer i et nytt lys. rap "
+#~ "artister har gjort dette i årevis med musikk, og vi nå er i stand til å "
+#~ "ta det samme konseptet og bruke den på film.\\\"steven spielberg er "
+#~ "sitert som sier,\\\"Hvis noen kan opprette en måte å bringe gamle filmer "
+#~ "til nye målgrupper, det er mike\\\"."
+
+#~ msgid ""
+#~ "This privilege becomes reserved for two sorts of reasons. The first "
+#~ "continues the story of the last chapter: the vagueness of \\\"fair use.\\"
+#~ "\" Much of \\\"sampling\\\" should be considered \\\"fair use.\\\" But "
+#~ "few would rely upon so weak a doctrine to create. That leads to the "
+#~ "second reason that the privilege is reserved for the few: The costs of "
+#~ "negotiating the legal rights for the creative reuse of content are "
+#~ "astronomically high. These costs mirror the costs with fair use: You "
+#~ "either pay a lawyer to defend your fair use rights or pay a lawyer to "
+#~ "track down permissions so you don't have to rely upon fair use rights. "
+#~ "Either way, the creative process is a process of paying lawyers--again a "
+#~ "privilege, or perhaps a curse, reserved for the few."
+#~ msgstr ""
+#~ "dette privilegiet blir reservert for to slags grunner. først fortsetter "
+#~ "historien om det siste kapitlet: vagueness av \\\"rettferdig bruk.\\\" "
+#~ "mye av \\\"prøvetaking\\\" bør bli vurdert \\\"rettferdig bruk.\\\", men "
+#~ "få vil stole på så svak en doktrine å opprette. som fører til den andre "
+#~ "grunnen at privilegiet er forbeholdt få: kostnadene ved forhandling "
+#~ "juridiske rettighetene for kreative gjenbruk av innhold er astronomically "
+#~ "høy. disse kostnadene speile kostnadene med rettferdig bruk: du enten "
+#~ "betale en advokat for å forsvare fair use-rettigheter eller betale en "
+#~ "advokat for å spore opp tillatelser, så du trenger ikke å stole på fair "
+#~ "use rettigheter. Uansett, den kreative prosessen er en prosess med å "
+#~ "betale advokater--igjen en rettighet, eller kanskje en forbannelse, "
+#~ "forbeholdt få."
+
+#~ msgid ""
+#~ "In April 1996, millions of \\\"bots\\\"--computer codes designed to \\"
+#~ "\"spider,\\\" or automatically search the Internet and copy content--"
+#~ "began running across the Net. Page by page, these bots copied Internet-"
+#~ "based information onto a small set of computers located in a basement in "
+#~ "San Francisco's Presidio. Once the bots finished the whole of the "
+#~ "Internet, they started again. Over and over again, once every two months, "
+#~ "these bits of code took copies of the Internet and stored them."
+#~ msgstr ""
+#~ "i april 1996 fikk begynte millioner av \\\"bots\\\"--datakode utformet "
+#~ "til \\\"edderkopp\\\", eller automatisk søke Internett og kopiere "
+#~ "innholdet--kjører over nettet. side for side, disse botene kopiert "
+#~ "Internett-basert informasjon på et lite sett med datamaskiner som er "
+#~ "plassert i en kjeller i san Franciscos presidio. Når roboter ferdig med "
+#~ "hele Internett, startet de igjen. igjen og igjen, en gang enhver to "
+#~ "måneder, disse biter av koden tok kopier av Internett og lagret dem."
+
+#~ msgid ""
+#~ "By October 2001, the bots had collected more than five years of copies. "
+#~ "And at a small announcement in Berkeley, California, the archive that "
+#~ "these copies created, the Internet Archive, was opened to the world. "
+#~ "Using a technology called \\\"the Way Back Machine,\\\" you could enter a "
+#~ "Web page, and see all of its copies going back to 1996, as well as when "
+#~ "those pages changed."
+#~ msgstr ""
+#~ "av oktober 2001, roboter hadde samlet inn mer enn fem år av Kopier. og på "
+#~ "en liten pressemelding i berkeley, california, arkivet som disse kopiene "
+#~ "opprettet internet archive, ble åpnet til verden. bruker en teknologi som "
+#~ "kalles \\\"vei tilbake maskinen\\\", kan du angi en web-side, og se alle "
+#~ "dens Kopier gå tilbake til 1996, og når disse sidene endres."
+
+#~ msgid ""
+#~ "The temptations remain, however. Brewster Kahle reports that the White "
+#~ "House changes its own press releases without notice. A May 13, 2003, "
+#~ "press release stated, \\\"Combat Operations in Iraq Have Ended.\\\" That "
+#~ "was later changed, without notice, to \\\"Major Combat Operations in Iraq "
+#~ "Have Ended.\\\" E-mail from Brewster Kahle, 1 December 2003."
+#~ msgstr ""
+#~ "fristelsene fortsatt, men. Brewster kahle rapporterer at det hvite hus "
+#~ "endrer sin egen pressemeldinger uten varsel. en mai 13, 2003, "
+#~ "pressemelding uttalt, \\\"stridende operasjoner i Irak er avsluttet.\\\" "
+#~ "som ble senere endret, uten varsel, \\\"store stridende operasjoner i "
+#~ "Irak er avsluttet.\\\" e-post fra brewster kahle, 1 desember 2003."
+
+#~ msgid ""
+#~ "The Way Back Machine is the largest archive of human knowledge in human "
+#~ "history. At the end of 2002, it held \\\"two hundred and thirty terabytes "
+#~ "of material\\\"--and was \\\"ten times larger than the Library of "
+#~ "Congress.\\\" And this was just the first of the archives that Kahle set "
+#~ "out to build. In addition to the Internet Archive, Kahle has been "
+#~ "constructing the Television Archive. Television, it turns out, is even "
+#~ "more ephemeral than the Internet. While much of twentieth-century culture "
+#~ "was constructed through television, only a tiny proportion of that "
+#~ "culture is available for anyone to see today. Three hours of news are "
+#~ "recorded each evening by Vanderbilt University--thanks to a specific "
+#~ "exemption in the copyright law. That content is indexed, and is available "
+#~ "to scholars for a very low fee. \\\"But other than that, [television] is "
+#~ "almost unavailable,\\\" Kahle told me. \\\"If you were Barbara Walters "
+#~ "you could get access to [the archives], but if you are just a graduate "
+#~ "student?\\\" As Kahle put it,"
+#~ msgstr ""
+#~ "vei tilbake er maskinen bortimot komplett arkiv over menneskelig kunnskap "
+#~ "i menneskehetens historie. på slutten av 2002, det holdt \\\"to hundre og "
+#~ "tredve terabyte materiale\\\"-- og var \\\"ti ganger større enn the "
+#~ "library of congress.\\\" og dette var bare først av arkivene at kahle er "
+#~ "fastsatt til å bygge. i tillegg til internet archive, har kahle vært "
+#~ "konstruere TV-arkivet. TV, det viser seg, er enda mer flyktig enn "
+#~ "Internett. mens mye av 1900-tallet kultur ble bygget opp via TV, er bare "
+#~ "en liten andel av denne kulturen tilgjengelig for alle å se i dag. tre "
+#~ "timer med nyheter registreres hver kveld av vanderbilt university--takket "
+#~ "være en bestemt fritak i lov om opphavsrett. innholdet er indeksert, og "
+#~ "er tilgjengelig for forskere for en svært lav avgift. \\\"men annet enn "
+#~ "at, [TV] er nesten utilgjengelig,\\\" fortalte kahle meg. \\\"Hvis du var "
+#~ "barbara walters du kan få tilgang til [arkivene], men hvis du er bare en "
+#~ "utdannet student?\\\" som kahle sa,"
+
+#~ msgid ""
+#~ "The same is generally true about television. Television broadcasts were "
+#~ "originally not copyrighted--there was no way to capture the broadcasts, "
+#~ "so there was no fear of \\\"theft.\\\" But as technology enabled "
+#~ "capturing, broadcasters relied increasingly upon the law. The law "
+#~ "required they make a copy of each broadcast for the work to be \\"
+#~ "\"copyrighted.\\\" But those copies were simply kept by the broadcasters. "
+#~ "No library had any right to them; the government didn't demand them. The "
+#~ "content of this part of American culture is practically invisible to "
+#~ "anyone who would look."
+#~ msgstr ""
+#~ "det samme gjelder generelt om TV. fjernsynssendinger var opprinnelig ikke "
+#~ "opphavsrettsbeskyttet--det var ikke mulig å fange sendinger, så det var "
+#~ "ingen frykt for \\\"tyveri.\\\", men som teknologi aktivert fanger, "
+#~ "broadcasters grunnlag i økende grad loven. loven kreves de lage en kopi "
+#~ "av hver kringkastingen for arbeidet med å være \\\"opphavsrettsbeskyttet."
+#~ "\\\", men kopiene var bare holdt av broadcasters. Ingen biblioteket hadde "
+#~ "rett til dem. regjeringen kreve ikke dem. innholdet i denne delen av den "
+#~ "amerikanske kulturen er praktisk talt usynlige for alle som ville se."
+
+#~ msgid ""
+#~ "Kahle had the same idea with film. Working with Rick Prelinger, whose "
+#~ "archive of film includes close to 45,000 \\\"ephemeral films\\\" (meaning "
+#~ "films other than Hollywood movies, films that were never copyrighted), "
+#~ "Kahle established the Movie Archive. Prelinger let Kahle digitize 1,300 "
+#~ "films in this archive and post those films on the Internet to be "
+#~ "downloaded for free. Prelinger's is a for-profit company. It sells copies "
+#~ "of these films as stock footage. What he has discovered is that after he "
+#~ "made a significant chunk available for free, his stock footage sales went "
+#~ "up dramatically. People could easily find the material they wanted to "
+#~ "use. Some downloaded that material and made films on their own. Others "
+#~ "purchased copies to enable other films to be made. Either way, the "
+#~ "archive enabled access to this important part of our culture. Want to "
+#~ "see a copy of the \\\"Duck and Cover\\\" film that instructed children "
+#~ "how to save themselves in the middle of nuclear attack? Go to archive."
+#~ "org, and you can download the film in a few minutes--for free."
+#~ msgstr ""
+#~ "Kahle hatt samme idé med film. arbeide med rick prelinger, som har arkiv "
+#~ "av filmen inkluderer nær 45.000 \\\"flyktige filmer\\\" (det vil si "
+#~ "filmer enn hollywood filmer, filmer som ble aldri opphavsrettsbeskyttet), "
+#~ "kahle etablert film arkiv. prelinger la kahle digitalisere 1300 filmer i "
+#~ "denne arkiv og legge disse filmene på Internett kan lastes ned gratis. "
+#~ "prelinger's er et for-profit selskap. Det selger kopier av disse filmene "
+#~ "som aksjemarkedet opptakene. hva han har oppdaget er at etter at han "
+#~ "gjorde en betydelig del tilgjengelig gratis, hans stock opptakene salget "
+#~ "gikk dramatisk. folk kan lett finne materialet de ønsket å bruke. noen "
+#~ "dataoverførte materialet og fremstilt filmer på egenhånd. andre kjøpt "
+#~ "Kopier Hvis du vil aktivere andre filmer skal gjøres. Uansett, arkivet "
+#~ "aktivert tilgang til denne viktige delen av vår kultur. vil du se en kopi "
+#~ "av filmen \\\"duck og dekke\\\" som instruert barn hvordan lagre seg midt "
+#~ "i kjernefysisk angrep? gå til archive.org, og du kan laste ned filmen i "
+#~ "noen minutter--gratis."
+
+#~ msgid ""
+#~ "For here is an idea that we should more clearly recognize. Every bit of "
+#~ "creative property goes through different \\\"lives.\\\" In its first "
+#~ "life, if the creator is lucky, the content is sold. In such cases the "
+#~ "commercial market is successful for the creator. The vast majority of "
+#~ "creative property doesn't enjoy such success, but some clearly does. For "
+#~ "that content, commercial life is extremely important. Without this "
+#~ "commercial market, there would be, many argue, much less creativity."
+#~ msgstr ""
+#~ "Her er en idé som vi skal klarere gjenkjenne. hver bit av kreative "
+#~ "egenskapen går gjennom ulike \\\"liv.\\\" i sin første liv, hvis skaperen "
+#~ "er heldig, innholdet er solgt. i slike tilfeller er det kommersielle "
+#~ "markedet vellykket for skaperen. det store flertallet av creative-"
+#~ "egenskapen nyte ikke slik suksess, men noen tydelig gjør. for innholdet "
+#~ "er kommersiell levetid ekstremt viktig. uten denne reklamen marked, ville "
+#~ "det være, mange hevder, mye mindre kreativitet."
+
+#~ msgid ""
+#~ "Dave Barns, \\\"Fledgling Career in Antique Books: Woodstock Landlord, "
+#~ "Bar Owner Starts a New Chapter by Adopting Business,\\\" Chicago Tribune, "
+#~ "5 September 1997, at Metro Lake 1L. Of books published between 1927 and "
+#~ "1946, only 2.2 percent were in print in 2002. R. Anthony Reese, \\\"The "
+#~ "First Sale Doctrine in the Era of Digital Networks,\\\" Boston College "
+#~ "Law Review 44 (2003): 593 n. 51."
+#~ msgstr ""
+#~ "Dave barns, \\\"fledgling karriere i antikke bøker: woodstock utleier, "
+#~ "bar eier starter et nytt kapittel ved å innta virksomhet,\\\" chicago "
+#~ "tribune, 5 september 1997, på t lake 1 l. bøker publisert mellom 1927 og "
+#~ "1946, bare 2,2 prosent var i Skriv ut i 2002. r. anthony reese, \\\"den "
+#~ "første salg doktrinen i tid med digitale nettverk,\\\" boston college lov "
+#~ "gå gjennom 44 (2003): 593 n. 51."
+
+#~ msgid ""
+#~ "Technologists have thus removed the economic costs of building such an "
+#~ "archive. But lawyers' costs remain. For as much as we might like to call "
+#~ "these \\\"archives,\\\" as warm as the idea of a \\\"library\\\" might "
+#~ "seem, the \\\"content\\\" that is collected in these digital spaces is "
+#~ "also someone's \\\"property.\\\" And the law of property restricts the "
+#~ "freedoms that Kahle and others would exercise."
+#~ msgstr ""
+#~ "Teknologorganisasjon har dermed fjernet de økonomiske kostnadene med å "
+#~ "bygge et slikt arkiv. men fortsatt advokater kostnader. for så mye som vi "
+#~ "kanskje liker å kalle disse \\\"archives\\\", så varmt som ideen om et \\"
+#~ "\"bibliotek\\\" kan virke, \\\"innhold\\\" som er samlet inn i disse "
+#~ "digitale mellomrom er også noens \\\"egenskapen.\\\" og loven om "
+#~ "egenskapen begrenser friheter som kahle, og andre vil utøve."
+
+#~ msgid "CHAPTER TEN: \\\"Property\\\""
+#~ msgstr "Kapittel 10: \\\"property\\\""
+
+#~ msgid ""
+#~ "In defending artistic liberty and the freedom of speech that our culture "
+#~ "depends upon, the MPAA has done important good. In crafting the MPAA "
+#~ "rating system, it has probably avoided a great deal of speech-regulating "
+#~ "harm. But there is an aspect to the organization's mission that is both "
+#~ "the most radical and the most important. This is the organization's "
+#~ "effort, epitomized in Valenti's every act, to redefine the meaning of \\"
+#~ "\"creative property.\\\""
+#~ msgstr ""
+#~ "til å forsvare kunstneriske frihet og ytringsfriheten som avhenger av vår "
+#~ "kultur, har mpaa gjort viktig gode. i laging Toppliste mpaa, har det "
+#~ "sannsynligvis unngått mye tale-regulere skade. men det er et aspekt til "
+#~ "organisasjonens misjon som er både den mest radikale og de viktigste. "
+#~ "Dette er organisasjonens-innsats, epitomized i valenti's hver handling, "
+#~ "til å redefinere betydningen av \\\"kreative property.\\\""
+
+#~ msgid ""
+#~ "The strategy of this rhetoric, like the strategy of most of Valenti's "
+#~ "rhetoric, is brilliant and simple and brilliant because simple. The \\"
+#~ "\"central theme\\\" to which \\\"reasonable men and women\\\" will return "
+#~ "is this: \\\"Creative property owners must be accorded the same rights "
+#~ "and protections resident in all other property owners in the nation.\\\" "
+#~ "There are no second-class citizens, Valenti might have continued. There "
+#~ "should be no second-class property owners."
+#~ msgstr ""
+#~ "strategien for denne retorikk, som strategi for de fleste av valenti's "
+#~ "retorikk, er strålende og enkel og strålende fordi enkel. \\\"sentrale "
+#~ "temaet\\\" som \\\"rimelig menn og kvinner\\\" vil returnere er dette: \\"
+#~ "\"kreative bolig må substansiell med samme rettigheter og beskyttelsene "
+#~ "bosatt i alle andre bolig i nasjonen.\\\" det er ingen andre klasses "
+#~ "borgere, valenti kanskje har fortsatt. Det bør være ingen annenklasses "
+#~ "bolig."
+
+#~ msgid ""
+#~ "This claim has an obvious and powerful intuitive pull. It is stated with "
+#~ "such clarity as to make the idea as obvious as the notion that we use "
+#~ "elections to pick presidents. But in fact, there is no more extreme a "
+#~ "claim made by anyone who is serious in this debate than this claim of "
+#~ "Valenti's. Jack Valenti, however sweet and however brilliant, is perhaps "
+#~ "the nation's foremost extremist when it comes to the nature and scope of "
+#~ "\\\"creative property.\\\" His views have no reasonable connection to our "
+#~ "actual legal tradition, even if the subtle pull of his Texan charm has "
+#~ "slowly redefined that tradition, at least in Washington."
+#~ msgstr ""
+#~ "denne påstanden har en tydelig og kraftig intuitivt trekk. Det er oppgitt "
+#~ "med slike klarhet som å gjøre ideen tydelig som oppfatningen at vi bruker "
+#~ "valgene for å plukke presidenter. men faktisk, det er ingen mer ekstreme "
+#~ "krav gjort av alle som er alvorlig i denne debatten enn dette krav av "
+#~ "valenti's. Jack valenti, men søt og men strålende, er kanskje landets "
+#~ "fremste ekstremistgrupper når det kommer til naturen og omfanget av \\"
+#~ "\"kreative egenskapen.\\\" sitt syn har ingen rimelig tilknytning til vår "
+#~ "faktiske juridiske tradisjon, selv om de subtile drar av hans Texas sjarm "
+#~ "har sakte redefinert denne tradisjonen, minst i washington."
+
+#~ msgid ""
+#~ "The framers of our Constitution loved \\\"property.\\\" Indeed, so "
+#~ "strongly did they love property that they built into the Constitution an "
+#~ "important requirement. If the government takes your property--if it "
+#~ "condemns your 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."
+#~ msgstr ""
+#~ "forfatterne av vår grunnlov elsket \\\"egenskapen.\\\" faktisk så sterkt "
+#~ "gjorde de elsker egenskapen at de innebygd i Grunnloven et viktig krav. "
+#~ "Hvis regjeringen tar din eiendom--hvis det fordømmer huset, eller kjøper "
+#~ "et stykke land fra farmen--det er nødvendig, under den femte "
+#~ "endringsforslaget \\\"takings setningen,\\\" å betale deg \\\"bare "
+#~ "erstatning\\\" for som tar. grunnloven garanterer dermed at egenskapen "
+#~ "er, i en viss forstand, hellig. den kan ikke noen gang blir tatt fra "
+#~ "eiendommen eier med mindre regjeringen betaler for privilegiet."
+
+#~ msgid ""
+#~ "Yet the very same Constitution speaks very differently about what Valenti "
+#~ "calls \\\"creative property.\\\" In the clause granting Congress the "
+#~ "power to create \\\"creative property,\\\" the Constitution requires that "
+#~ "after a \\\"limited time,\\\" Congress take back the rights that it has "
+#~ "granted and set the \\\"creative property\\\" free to the public domain. "
+#~ "Yet when Congress does this, when the expiration of a copyright term \\"
+#~ "\"takes\\\" your copyright and turns it over to the public domain, "
+#~ "Congress does not have any obligation to pay \\\"just compensation\\\" "
+#~ "for this \\\"taking.\\\" Instead, the same Constitution that requires "
+#~ "compensation for your land requires that you lose your \\\"creative "
+#~ "property\\\" right without any compensation at all."
+#~ msgstr ""
+#~ "men svært samme grunnlov snakker veldig annerledes om hva valenti "
+#~ "samtaler \\\"kreative egenskapen.\\\" i setningsdelen gir Kongressen makt "
+#~ "til å opprette \\\"kreative property\\\" Grunnloven krever at etter en \\"
+#~ "\"begrenset tid,\\\" Kongressen ta tilbake rettighetene at det har gitt "
+#~ "og egenskapen \\\"kreative\\\" gratis til public domain. men når "
+#~ "Kongressen gjør dette, når utløpet av en opphavsrett begrepet \\\"tar\\\" "
+#~ "din opphavsrett og snur den over til public domain, Kongressen ikke har "
+#~ "noen forpliktelse til å betale \\\"bare erstatning\\\" for denne \\\"tar."
+#~ "\\\" i stedet samme grunnlov som krever erstatning for ditt land krever "
+#~ "at du mister din \\\"kreative eiendom\\\" rett uten noen kompensasjon "
+#~ "overhodet."
+
+#~ msgid ""
+#~ "To answer this question, we need to get some perspective on the history "
+#~ "of these \\\"creative property\\\" rights, and the control that they "
+#~ "enabled. Once we see clearly how differently these rights have been "
+#~ "defined, we will be in a better position to ask the question that should "
+#~ "be at the core of this war: Not whether creative property should be "
+#~ "protected, but how. Not whether we will enforce the rights the law gives "
+#~ "to creative-property owners, but what the particular mix of rights ought "
+#~ "to be. Not whether artists should be paid, but whether institutions "
+#~ "designed to assure that artists get paid need also control how culture "
+#~ "develops."
+#~ msgstr ""
+#~ "for å besvare dette spørsmålet, trenger vi å få noen perspektiv om disse "
+#~ "\\\"kreative eiendom\\\", og kontrollen som de aktivert historie. Når vi "
+#~ "ser klart hvor annerledes disse rettighetene er definert, vil vi være i "
+#~ "en bedre posisjon til å stille spørsmål som bør være kjernen i denne "
+#~ "krigen: ikke om kreative egenskapen skal beskyttes, men hvordan. ikke om "
+#~ "vi vil håndheve rettigheter gir loven til creative-bolig, men hva bestemt "
+#~ "blanding av rettigheter bør være. ikke om artister som skal betales, men "
+#~ "om institusjoner utformet for å forsikre at artister får betalt må du "
+#~ "også kontrollere hvordan kultur utvikler seg."
+
+#~ msgid ""
+#~ "Finally, and for the moment, perhaps, most mysteriously, \\\"architecture"
+#~ "\\\"--the physical world as one finds it--is a constraint on behavior. A "
+#~ "fallen bridge might constrain your ability to get across a river. "
+#~ "Railroad tracks might constrain the ability of a community to integrate "
+#~ "its social life. As with the market, architecture does not effect its "
+#~ "constraint through ex post punishments. Instead, also as with the market, "
+#~ "architecture effects its constraint through simultaneous conditions. "
+#~ "These conditions are imposed not by courts enforcing contracts, or by "
+#~ "police punishing theft, but by nature, by \\\"architecture.\\\" If a 500-"
+#~ "pound boulder blocks your way, it is the law of gravity that enforces "
+#~ "this constraint. If a $500 airplane ticket stands between you and a "
+#~ "flight to New York, it is the market that enforces this constraint."
+#~ msgstr ""
+#~ "til slutt, og for øyeblikket, kanskje mest mysteriously \\\"arkitektur\\"
+#~ "\"--den fysiske verden som en finner den--er en begrensning på atferd. en "
+#~ "falne bro kan begrense din evne til å komme over en elv. Railroad tracks "
+#~ "kan begrense evnen til et fellesskap for å integrere sin sosiale liv. som "
+#~ "med markedet, påvirker ingen arkitektur betingelsen gjennom ex post "
+#~ "straffene. i stedet, også som med markedet, arkitektur effekter "
+#~ "betingelsen gjennom samtidige forhold. disse betingelsene er pålagt ikke "
+#~ "av domstolene håndheve kontrakter, eller av politiet straffe tyveri, men "
+#~ "av natur, \\\"arkitektur.\\\" Hvis en 500-pund kampestein blokkerer deg, "
+#~ "det er lov av tyngdekraften som gjennomfører denne betingelsen. Hvis en "
+#~ "$500 flybillett står mellom deg og et fly til new york, er det markedet "
+#~ "som håndhever denne betingelsen."
+
+#~ msgid ""
+#~ "So, for example, consider the \\\"freedom\\\" to drive a car at a high "
+#~ "speed. That freedom is in part restricted by laws: speed limits that say "
+#~ "how fast you can drive in particular places at particular times. It is in "
+#~ "part restricted by architecture: speed bumps, for example, slow most "
+#~ "rational drivers; governors in buses, as another example, set the maximum "
+#~ "rate at which the driver can drive. The freedom is in part restricted by "
+#~ "the market: Fuel efficiency drops as speed increases, thus the price of "
+#~ "gasoline indirectly constrains speed. And finally, the norms of a "
+#~ "community may or may not constrain the freedom to speed. Drive at 50 mph "
+#~ "by a school in your own neighborhood and you're likely to be punished by "
+#~ "the neighbors. The same norm wouldn't be as effective in a different "
+#~ "town, or at night."
+#~ msgstr ""
+#~ "så, for eksempel vurdere \\\"friheten\\\" å kjøre bil til en høy "
+#~ "hastighet. at frihet er delvis begrenset av lover: fartsgrenser som sier "
+#~ "hvor fort du kan kjøre spesielt steder på bestemte tidspunkter. Det er "
+#~ "delvis begrenset av arkitektur: hastighet støt, for eksempel sakte mest "
+#~ "rasjonell drivere; Guvernører i busser, som et annet eksempel, angir den "
+#~ "maksimale hastigheten som driveren kan kjøre. frihet er delvis begrenset "
+#~ "av markedet: drivstoffeffektivitet drops som farten øker, dermed "
+#~ "bensinprisen indirekte begrenser hastighet. og endelig normer for et "
+#~ "fellesskap kan eller kan ikke begrense friheten til å øke. kjøre på 50 "
+#~ "mph av en skole i nabolaget ditt eget og du sannsynligvis til å bli "
+#~ "straffet av naboene. samme normen ville ikke være så effektiv i en annen "
+#~ "by, eller om natten."
+
+#~ msgid ""
+#~ "Some people object to this way of talking about \\\"liberty.\\\" They "
+#~ "object because their focus when considering the constraints that exist at "
+#~ "any particular moment are constraints imposed exclusively by the "
+#~ "government. For instance, if a storm destroys a bridge, these people "
+#~ "think it is meaningless to say that one's liberty has been restrained. A "
+#~ "bridge has washed out, and it's harder to get from one place to another. "
+#~ "To talk about this as a loss of freedom, they say, is to confuse the "
+#~ "stuff of politics with the vagaries of ordinary life. I don't mean to "
+#~ "deny the value in this narrower view, which depends upon the context of "
+#~ "the inquiry. I do, however, mean to argue against any insistence that "
+#~ "this narrower view is the only proper view of liberty. As I argued in "
+#~ "Code, we come from a long tradition of political thought with a broader "
+#~ "focus than the narrow question of what the government did when. John "
+#~ "Stuart Mill defended freedom of speech, for example, from the tyranny of "
+#~ "narrow minds, not from the fear of government prosecution; John Stuart "
+#~ "Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. John R. "
+#~ "Commons famously defended the economic freedom of labor from constraints "
+#~ "imposed by the market; John R. Commons, \\\"The Right to Work,\\\" in "
+#~ "Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected "
+#~ "Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act "
+#~ "increases the liberty of people with physical disabilities by changing "
+#~ "the architecture of certain public places, thereby making access to those "
+#~ "places easier; 42 United States Code, section 12101 (2000). Each of "
+#~ "these interventions to change existing conditions changes the liberty of "
+#~ "a particular group. The effect of those interventions should be accounted "
+#~ "for in order to understand the effective liberty that each of these "
+#~ "groups might face."
+#~ msgstr ""
+#~ "noen mennesker objektet til denne måten av snakker om \\\"frihet.\\\" de "
+#~ "objektet fordi deres fokus når de vurderer begrensninger som finnes på et "
+#~ "bestemt tidspunkt er begrensninger pålagt utelukkende av regjeringen. for "
+#~ "eksempel, hvis en storm ødelegger en bro, tror disse folk det er "
+#~ "meningsløst å si at en frihet har vært behersket. en bro er vasket ut, og "
+#~ "det er vanskeligere for å få fra ett sted til et annet. å snakke om dette "
+#~ "som et tap av frihet, de sier, er å forvirre ting av politikk med "
+#~ "vagaries av ordinært liv. Jeg trenger ikke bety å nekte verdien i denne "
+#~ "smalere visningen, som er avhengig av konteksten for henvendelsen. Jeg "
+#~ "gjør, men mener å argumentere mot eventuelle insisterte på at denne "
+#~ "smalere visningen er bare riktig visning av frihet. som jeg har hevdet i "
+#~ "koden, kommer vi fra en lang tradisjon for politiske tanken med bredere "
+#~ "fokus enn smale spørsmålet om hva regjeringen gjorde når. John stuart "
+#~ "mill forsvarte ytringsfriheten, for eksempel fra tyranni av trange sinn, "
+#~ "ikke fra frykt for regjeringen rettsforfølgelse; John stuart mill, på "
+#~ "frihet (indiana: hackett publishing co., 1978), 19. John r. commons "
+#~ "forsvarte famously økonomiske friheten av arbeidskraft fra begrensninger "
+#~ "pålagt av markedet; John r. commons, \\\"rett til arbeid,\\\" i malcom "
+#~ "rutherford og warren j. samuels, Red., john r. Commons: valgt essays "
+#~ "(london: routledge: 1997), 62. amerikanerne med funksjonshemminger act "
+#~ "øker frihet for personer med funksjonshemninger ved å endre arkitekturen "
+#~ "i visse offentlige steder, og dermed gjør tilgang til de plasserer "
+#~ "enklere; 42 united states code, delen 12101 (2000). hver av disse "
+#~ "intervensjoner for å endre eksisterende betingelser, endres frihet å en "
+#~ "bestemt gruppe. effekten av disse tiltakene bør tas med i betraktningen "
+#~ "for å forstå den effektive frihet at hver av disse gruppene kan gjøre "
+#~ "ansiktet."
+
+#~ msgid ""
+#~ "Neither this analysis nor the conclusions that follow are new to the "
+#~ "warriors. Indeed, in a \\\"White Paper\\\" prepared by the Commerce "
+#~ "Department (one heavily influenced by the copyright warriors) in 1995, "
+#~ "this mix of regulatory modalities had already been identified and the "
+#~ "strategy to respond already mapped. In response to the changes the "
+#~ "Internet had effected, the White Paper argued (1) Congress should "
+#~ "strengthen intellectual property law, (2) businesses should adopt "
+#~ "innovative marketing techniques, (3) technologists should push to develop "
+#~ "code to protect copyrighted material, and (4) educators should educate "
+#~ "kids to better protect copyright."
+#~ msgstr ""
+#~ "Denne analysen verken konklusjonene som følger er en ny warriors. faktisk "
+#~ "i en \\\"hvitbok\\\" utarbeidet av commerce department (en sterkt "
+#~ "påvirket av opphavsrett warriors) i 1995, denne blandingen av "
+#~ "regulatoriske modaliteter hadde allerede identifisert og strategi for å "
+#~ "svare allerede tilordnet. svar på endringene Internett hadde berørt, "
+#~ "hevdet den tekniske beskrivelsen (1) Kongressen bør styrke lovgivning for "
+#~ "immaterielle, (2) bedrifter skal vedta innovativ markedsføring teknikker, "
+#~ "(3) Teknologorganisasjon push for å utvikle kode for å beskytte "
+#~ "opphavsrettsbeskyttet materiale og (4) lærere skal utdanne barn å bedre "
+#~ "beskytte opphavsretten."
+
+#~ msgid ""
+#~ "Thus, there's nothing wrong or surprising in the content industry's "
+#~ "campaign to protect itself from the harmful consequences of a "
+#~ "technological innovation. And I would be the last person to argue that "
+#~ "the changing technology of the Internet has not had a profound effect on "
+#~ "the content industry's way of doing business, or as John Seely Brown "
+#~ "describes it, its \\\"architecture of revenue.\\\""
+#~ msgstr ""
+#~ "Således, det er ingenting galt eller overraskende i innhold bransjens "
+#~ "kampanje til å beskytte seg fra skadelige konsekvensene av en teknologisk "
+#~ "innovasjon. og jeg vil være den siste personen som hevder at den endrede "
+#~ "teknologien på Internett ikke har hatt en dyp effekt på innhold bransjens "
+#~ "måten å drive virksomhet, eller som john seely brown beskriver den, dens "
+#~ "\\\"arkitektur av inntekter.\\\""
+
+#~ msgid ""
+#~ "In the context of laws regulating speech--which include, obviously, "
+#~ "copyright law--that duty is even stronger. When the industry complaining "
+#~ "about changing technologies is asking Congress to respond in a way that "
+#~ "burdens speech and creativity, policy makers should be especially wary of "
+#~ "the request. It is always a bad deal for the government to get into the "
+#~ "business of regulating speech markets. The risks and dangers of that game "
+#~ "are precisely why our framers created the First Amendment to our "
+#~ "Constitution: \\\"Congress shall make no law . . . abridging the freedom "
+#~ "of speech.\\\" So when Congress is being asked to pass laws that would \\"
+#~ "\"abridge\\\" the freedom of speech, it should ask-- carefully--whether "
+#~ "such regulation is justified."
+#~ msgstr ""
+#~ "i sammenheng med lover som regulerer tale--, og som omfatter, tydeligvis, "
+#~ "copyright lov--at plikt er enda sterkere. Når industrien klagende om "
+#~ "hvordan du endrer teknologier ber Kongressen til å svare på en måte som "
+#~ "byrder tale og kreativitet, bør beslutningstakere være spesielt skeptisk "
+#~ "til forespørselen. Det er alltid en dårlig deal for regjeringen å komme "
+#~ "inn i virksomheten av regulerer tale markeder. risikoer og farer av "
+#~ "spillet er nøyaktig hvorfor våre underskrev opprettet den første "
+#~ "endringen til vår grunnlov: \\\"Kongressen skal gjøre ingen lov... "
+#~ "abridging friheten til tale.\\\" så når Kongressen blir bedt om å passere "
+#~ "lovgivning som ville \\\"abridge\\\" ytringsfriheten, det bør spørre--"
+#~ "nøye--om slike regulering er begrunnet."
+
+#~ msgid ""
+#~ "My argument just now, however, has nothing to do with whether the changes "
+#~ "that are being pushed by the copyright warriors are \\\"justified.\\\" My "
+#~ "argument is about their effect. For before we get to the question of "
+#~ "justification, a hard question that depends a great deal upon your "
+#~ "values, we should first ask whether we understand the effect of the "
+#~ "changes the content industry wants."
+#~ msgstr ""
+#~ "mitt argument akkurat nå, men har ingenting å gjøre med om endringene som "
+#~ "skyves av opphavsrett krigerne er \\\"blokkjustert.\\\" mitt argument er "
+#~ "om deres effekt. for før vi komme til spørsmålet om berettigelse, et "
+#~ "vanskelig spørsmål som mye avhenger av verdier, bør vi først be om vi "
+#~ "forstår effekten av endringene innhold industrien ønsker."
+
+#~ msgid ""
+#~ "See, for example, James Boyle, \\\"A Politics of Intellectual Property: "
+#~ "Environmentalism for the Net?\\\" Duke Law Journal 47 (1997): 87."
+#~ msgstr ""
+#~ "Se for eksempel james boyle, \\\"en politikk av åndsverk: "
+#~ "environmentalism for nettet?\\\" duke law journal 47 (1997): 87."
+
+#~ msgid ""
+#~ "America copied English copyright law. Actually, we copied and improved "
+#~ "English copyright law. Our Constitution makes the purpose of \\\"creative "
+#~ "property\\\" rights clear; its express limitations reinforce the English "
+#~ "aim to avoid overly powerful publishers."
+#~ msgstr ""
+#~ "Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og "
+#~ "forbedret engelsk lov om opphavsrett. vår grunnlov gjør formålet med \\"
+#~ "\"creative property\\\" fjerner du rettigheter; uttrykkelig begrensninger "
+#~ "forsterke den engelske mål å unngå altfor kraftig utgivere."
+
+#~ msgid ""
+#~ "The power to establish \\\"creative property\\\" rights is granted to "
+#~ "Congress in a way that, for our Constitution, at least, is very odd. "
+#~ "Article I, section 8, clause 8 of our Constitution states that:"
+#~ msgstr ""
+#~ "makt til å etablere \\\"kreative\\\" eiendomsrettigheter gis til "
+#~ "Kongressen på en måte som for vår grunnlov, minst, er veldig rart. "
+#~ "artikkel, del 8, 8-setningsdelen i vår grunnlov sier at:"
+
+#~ msgid ""
+#~ "Congress has the power to promote the Progress of Science and useful "
+#~ "Arts, by securing for limited Times to Authors and Inventors the "
+#~ "exclusive Right to their respective Writings and Discoveries. We can "
+#~ "call this the \\\"Progress Clause,\\\" for notice what this clause does "
+#~ "not say. It does not say Congress has the power to grant \\\"creative "
+#~ "property rights.\\\" It says that Congress has the power to promote "
+#~ "progress. The grant of power is its purpose, and its purpose is a public "
+#~ "one, not the purpose of enriching publishers, nor even primarily the "
+#~ "purpose of rewarding authors."
+#~ msgstr ""
+#~ "Kongressen har makt til å fremme utviklingen av vitenskap og nyttig "
+#~ "kunst, ved å sikre begrenset ganger til forfattere og oppfinnere den "
+#~ "eksklusive retten til deres respektive skrifter og funn. Vi kan kalle "
+#~ "dette den \\\"fremgang setningen,\\\" for å se hva denne bestemmelsen "
+#~ "ikke si. Det er ikke si Kongressen har makt til å gi \\\"kreative "
+#~ "egenskapen rettigheter.\\\" det står at Kongressen har makt til å fremme "
+#~ "fremdrift. grant strøm er formålet, og formålet er en offentlig, ikke "
+#~ "hensikten med berikende utgivere, eller med hovedsakelig formålet med "
+#~ "givende forfatternes."
+
+#~ msgid ""
+#~ "The Progress Clause expressly limits the term of copyrights. As we saw in "
+#~ "chapter 6, the English limited the term of copyright so as to assure that "
+#~ "a few would not exercise disproportionate control over culture by "
+#~ "exercising disproportionate control over publishing. We can assume the "
+#~ "framers followed the English for a similar purpose. Indeed, unlike the "
+#~ "English, the framers reinforced that objective, by requiring that "
+#~ "copyrights extend \\\"to Authors\\\" only."
+#~ msgstr ""
+#~ "fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. "
+#~ "som vi så i kapittel 6, ville engelsk begrenset av copyright å forsikre "
+#~ "om at noen ikke utøve uforholdsmessig kontroll over kultur ved å trene "
+#~ "uforholdsmessig kontroll over publisering. Vi kan anta underskrev "
+#~ "etterfulgt engelsk for lignende formål. faktisk, i motsetning til "
+#~ "engelsk, underskrev forsterket det målet ved å kreve at opphavsretten "
+#~ "utvide \\\"til forfattere\\\" bare."
+
+#~ msgid ""
+#~ "I doubt the framers would recognize the regulation we call \\\"copyright\\"
+#~ "\" today. The scope of that regulation is far beyond anything they ever "
+#~ "considered. To begin to understand what they did, we need to put our \\"
+#~ "\"copyright\\\" in context: We need to see how it has changed in the 210 "
+#~ "years since they first struck its design."
+#~ msgstr ""
+#~ "Jeg tviler underskrev ville anerkjenne regulering vi kaller \\\"copyright"
+#~ "\\\" i dag. omfanget av denne forskriften er langt overgår alt de "
+#~ "noensinne vurdert. Hvis du vil begynne å forstå hva de gjorde, vi trenger "
+#~ "å sette vår \\\"copyright\\\" i sammenheng: vi trenger å se hvordan det "
+#~ "har endret i 210 årene siden de først slo sin design."
+
+#~ msgid ""
+#~ "The United States abandoned this sensible system in 1976. For all works "
+#~ "created after 1978, there was only one copyright term--the maximum term. "
+#~ "For \\\"natural\\\" authors, that term was life plus fifty years. For "
+#~ "corporations, the term was seventy-five years. Then, in 1992, Congress "
+#~ "abandoned the renewal requirement for all works created before 1978. All "
+#~ "works still under copyright would be accorded the maximum term then "
+#~ "available. After the Sonny Bono Act, that term was ninety-five years."
+#~ msgstr ""
+#~ "USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet "
+#~ "etter 1978, var det bare en opphavsrett term--den maksimale betegnelsen. "
+#~ "for \\\"naturlige\\\" forfattere var dette ordet livet pluss femti år. "
+#~ "for bedrifter var begrepet sytti-fem år. deretter, i 1992, Kongressen "
+#~ "forlatt fornyelse kravet for alle arbeider opprettet før 1978. alle "
+#~ "fungerer fortsatt under opphavsrett ville substansiell den maksimale "
+#~ "betegnelsen deretter tilgjengelig. etter sonny bono loven, at begrepet "
+#~ "var fem og nitti år."
+
+#~ msgid ""
+#~ "This change meant that American law no longer had an automatic way to "
+#~ "assure that works that were no longer exploited passed into the public "
+#~ "domain. And indeed, after these changes, it is unclear whether it is even "
+#~ "possible to put works into the public domain. The public domain is "
+#~ "orphaned by these changes in copyright law. Despite the requirement that "
+#~ "terms be \\\"limited,\\\" we have no evidence that anything will limit "
+#~ "them."
+#~ msgstr ""
+#~ "Denne endringen betydde at amerikansk lov ikke lenger en automatisk måte "
+#~ "å forsikre som fungerer som utnyttes ikke lenger sendes til public "
+#~ "domain. og faktisk, etter disse endringene, er det uklart om det er også "
+#~ "mulig å sette fungerer i public domain. public domain er foreldreløse av "
+#~ "disse endringene i lov om opphavsrett. til tross for kravet om at "
+#~ "vilkårene være \\\"begrenset\\\", har vi ingen bevis for at noe vil "
+#~ "begrense dem."
+
+#~ msgid ""
+#~ "These statistics are understated. Between the years 1910 and 1962 (the "
+#~ "first year the renewal term was extended), the average term was never "
+#~ "more than thirty-two years, and averaged thirty years. See Landes and "
+#~ "Posner, \\\"Indefinitely Renewable Copyright,\\\" loc. cit."
+#~ msgstr ""
+#~ "disse statistikkene er undervurdert. i årene 1910 og 1962 (det første "
+#~ "året fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri "
+#~ "mer enn tretti-to år, og tretti år i gjennomsnitt. se landes og posner, \\"
+#~ "\"på ubestemt tid fornybar copyright,\\\" loc. cit."
+
+#~ msgid ""
+#~ "The \\\"scope\\\" of a copyright is the range of rights granted by the "
+#~ "law. The scope of American copyright has changed dramatically. Those "
+#~ "changes are not necessarily bad. But we should understand the extent of "
+#~ "the changes if we're to keep this debate in context."
+#~ msgstr ""
+#~ "\\\"område\\\" av en opphavsrett er området av rettigheter gitt av loven. "
+#~ "omfanget av amerikanske copyright har endret seg dramatisk. disse "
+#~ "endringene er ikke nødvendigvis dårlig. men vi bør forstå omfanget av "
+#~ "endringene Hvis vi å holde denne debatten i sammenheng."
+
+#~ msgid ""
+#~ "In 1790, that scope was very narrow. Copyright covered only \\\"maps, "
+#~ "charts, and books.\\\" That means it didn't cover, for example, music or "
+#~ "architecture. More significantly, the right granted by a copyright gave "
+#~ "the author the exclusive right to \\\"publish\\\" copyrighted works. That "
+#~ "means someone else violated the copyright only if he republished the work "
+#~ "without the copyright owner's permission. Finally, the right granted by a "
+#~ "copyright was an exclusive right to that particular book. The right did "
+#~ "not extend to what lawyers call \\\"derivative works.\\\" It would not, "
+#~ "therefore, interfere with the right of someone other than the author to "
+#~ "translate a copyrighted book, or to adapt the story to a different form "
+#~ "(such as a drama based on a published book)."
+#~ msgstr ""
+#~ "i 1790 var at omfanget svært smale. Copyright dekket bare \\\"kart, "
+#~ "diagrammer og bøker.\\\", som betyr at det ikke dekker, for eksempel, "
+#~ "musikk eller arkitektur. mer betydelig, ga retten som er innvilget av en "
+#~ "opphavsrett forfatteren eneretten til \\\"Publiser\\\" opphavsrettslig "
+#~ "beskyttet verk. Det betyr at noen andre har brutt opphavsretten bare hvis "
+#~ "han har publisert arbeid uten opphavsrett eierens tillatelse på nytt. "
+#~ "Endelig, retten som er innvilget av en opphavsrett var en eksklusiv rett "
+#~ "til den aktuelle boken. høyre ikke strekker seg til det advokater kaller "
+#~ "\\\"avledede works.\\\" det vil ikke, derfor forstyrre retten av andre "
+#~ "enn forfatteren å oversette en opphavsrettsbeskyttet bok, eller å "
+#~ "tilpasse historien til et annet skjema (for eksempel et drama basert på "
+#~ "en publiserte bok)."
+
+#~ msgid ""
+#~ "This, too, has changed dramatically. While the contours of copyright "
+#~ "today are extremely hard to describe simply, in general terms, the right "
+#~ "covers practically any creative work that is reduced to a tangible form. "
+#~ "It covers music as well as architecture, drama as well as computer "
+#~ "programs. It gives the copyright owner of that creative work not only the "
+#~ "exclusive right to \\\"publish\\\" the work, but also the exclusive right "
+#~ "of control over any \\\"copies\\\" of that work. And most significant for "
+#~ "our purposes here, the right gives the copyright owner control over not "
+#~ "only his or her particular work, but also any \\\"derivative work\\\" "
+#~ "that might grow out of the original work. In this way, the right covers "
+#~ "more creative work, protects the creative work more broadly, and protects "
+#~ "works that are based in a significant way on the initial creative work."
+#~ msgstr ""
+#~ "Dette, også, har endret seg dramatisk. mens konturene av copyright i dag "
+#~ "er ekstremt vanskelig å beskrive bare, i generelle termer, dekker høyre "
+#~ "nesten ethvert skapende arbeid som er redusert til en håndgripelig form. "
+#~ "den dekker musikk så vel som arkitektur, drama og programmer på "
+#~ "datamaskinen. Det gir eieren av opphavsretten av det kreative arbeidet "
+#~ "ikke bare den eksklusive retten til \\\"Publiser\\\" arbeidet, men også "
+#~ "den etablerte eneretten for kontroll over alle \\\"Kopier\\\" av dem som "
+#~ "fungerer. og mest betydningsfulle for vårt formål her, høyre gir "
+#~ "opphavsrettsinnehaveren-kontroll over ikke bare hans eller hennes bestemt "
+#~ "arbeid, men også noen \\\"avledet arbeid\\\" som kan vokse ut av det "
+#~ "opprinnelige arbeidet. på denne måten, høyre dekker mer kreativt arbeid, "
+#~ "beskytter det kreative arbeidet mer forstand, og beskytter verk som er "
+#~ "basert på en betydelig måte på det første skapende arbeidet."
+
+#~ msgid ""
+#~ "That much is the obvious part. Any system of copyright would control "
+#~ "competing publishing. But there's a second part to the copyright of today "
+#~ "that is not at all obvious. This is the protection of \\\"derivative "
+#~ "rights.\\\" If you write a book, no one can make a movie out of your book "
+#~ "without permission. No one can translate it without permission. "
+#~ "CliffsNotes can't make an abridgment unless permission is granted. All of "
+#~ "these derivative uses of your original work are controlled by the "
+#~ "copyright holder. The copyright, in other words, is now not just an "
+#~ "exclusive right to your writings, but an exclusive right to your writings "
+#~ "and a large proportion of the writings inspired by them."
+#~ msgstr ""
+#~ "Det er mye den åpenbare delen. et system av copyright ville styre "
+#~ "konkurrerende publisering. men det er en andre del til opphavsretten i "
+#~ "dag som er overhodet ikke åpenbart. Dette er beskyttelse av \\\"avledede "
+#~ "rettigheter.\\\" Hvis du skriver en bok, ingen kan lage en film i boken "
+#~ "din uten tillatelse. Ingen kan oversette det uten tillatelse. dansk "
+#~ "skuespiller og gjøre ikke en forkortelse, med mindre tillatelse er gitt. "
+#~ "alle disse avledede bruksområdene for det originale arbeidet er styrt av "
+#~ "opphavsrettsinnehaveren. opphavsretten, med andre ord, er nå ikke bare en "
+#~ "eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en "
+#~ "stor andel av skrifter som er inspirert av dem."
+
+#~ msgid ""
+#~ "This again may seem right to you. If I wrote a book, then why should you "
+#~ "be able to write a movie that takes my story and makes money from it "
+#~ "without paying me or crediting me? Or if Disney creates a creature called "
+#~ "\\\"Mickey Mouse,\\\" why should you be able to make Mickey Mouse toys "
+#~ "and be the one to trade on the value that Disney originally created?"
+#~ msgstr ""
+#~ "Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, så hvorfor "
+#~ "skal du kunne skrive en film som tar min historie og gjør penger fra det "
+#~ "uten å betale meg eller kreditering meg? eller hvis disney oppretter en "
+#~ "skapning kalt \\\"Mikke Mus\\\", hvorfor skal du kunne gjøre Mikke Mus "
+#~ "leker og være en til å handle på verdien som disney opprinnelig opprettet?"
+
+#~ msgid ""
+#~ "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."
+#~ msgstr ""
+#~ "Dette er en forenkling av loven, men ikke mye av en. loven absolutt "
+#~ "regulerer mer enn \\\"Kopier\\\"--en offentlig fremføring av en "
+#~ "kopibeskyttet sang, for eksempel er regulert selv om ytelse per se ikke "
+#~ "gjøre en kopi; 17 united states code, delen 106(4). og det sikkert noen "
+#~ "ganger regulere ikke en \\\"kopi\\\"; 17 united states code, delen 112"
+#~ "(a). men antagelse under den eksisterende lov (som regulerer \\\"Kopier\\"
+#~ "\"; 17 united states code, avsnitt 102) er at hvis det er en kopi, det er "
+#~ "rett."
+
+#~ msgid ""
+#~ "\\\"Copies.\\\" That certainly sounds like the obvious thing for "
+#~ "copyright law to regulate. But as with Jack Valenti's argument at the "
+#~ "start of this chapter, that \\\"creative property\\\" deserves the \\"
+#~ "\"same rights\\\" as all other property, it is the obvious that we need "
+#~ "to be most careful about. For while it may be obvious that in the world "
+#~ "before the Internet, copies were the obvious trigger for copyright law, "
+#~ "upon reflection, it should be obvious that in the world with the "
+#~ "Internet, copies should not be the trigger for copyright law. More "
+#~ "precisely, they should not always be the trigger for copyright law."
+#~ msgstr ""
+#~ "\\\"Kopier.\\\" som absolutt høres ut som det åpenbare tingen for "
+#~ "opphavsrett å regulere. men som med jack valenti argumentet i begynnelsen "
+#~ "av dette kapitlet, at \\\"kreative property\\\" fortjener \\\"samme "
+#~ "rettigheter\\\" som alle andre eiendom, det er åpenbart at vi trenger å "
+#~ "være mest forsiktig med. for mens det kan være opplagt at i verden før "
+#~ "Internett, Kopier var åpenbare utløser for opphavsrett, på refleksjon, "
+#~ "bør det være åpenbart at i verden med Internett, Kopier ikke bør være "
+#~ "utløser for lov om opphavsrett. mer presist, bør de ikke alltid være "
+#~ "utløser for lov om opphavsrett."
+
+#~ msgid ""
+#~ "Finally, there is a tiny sliver of otherwise regulated copying uses that "
+#~ "remain unregulated because the law considers these \\\"fair uses.\\\""
+#~ msgstr ""
+#~ "Endelig er det en liten sliver i regulert Ellers kopierer bruker som "
+#~ "forblir unregulated fordi loven vurderer disse \\\"rimelig bruk\\\"."
+
+#~ msgid ""
+#~ "These are uses that themselves involve copying, but which the law treats "
+#~ "as unregulated because public policy demands that they remain "
+#~ "unregulated. You are free to quote from this book, even in a review that "
+#~ "is quite negative, without my permission, even though that quoting makes "
+#~ "a copy. That copy would ordinarily give the copyright owner the exclusive "
+#~ "right to say whether the copy is allowed or not, but the law denies the "
+#~ "owner any exclusive right over such \\\"fair uses\\\" for public policy "
+#~ "(and possibly First Amendment) reasons."
+#~ msgstr ""
+#~ "disse er bruker at selv innebære kopiering, men som det lov behandler som "
+#~ "unregulated fordi public policy krever at de forblir unregulated. du er "
+#~ "fri til å sitere fra denne boken, selv i en gjennomgang som er ganske "
+#~ "negativ, uten min tillatelse, selv om den sitere lager en kopi. Denne "
+#~ "kopien vil vanligvis gi eieren av opphavsretten eksklusiv rett til å si "
+#~ "om kopien er tillatt eller ikke, men loven fornekter eieren av en "
+#~ "eksklusiv rett over slike \\\"fair bruker\\\" for offentlig politikk (og "
+#~ "muligens first endring) grunner."
+
+#~ msgid ""
+#~ "In real space, then, the possible uses of a book are divided into three "
+#~ "sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses "
+#~ "that are nonetheless deemed \\\"fair\\\" regardless of the copyright "
+#~ "owner's views."
+#~ msgstr ""
+#~ "i virkelige rommet, deretter mulige bruksområder for en bok er delt inn i "
+#~ "tre sorterer: (1) unregulated bruker, (2) regulert bruker og (3) regulert "
+#~ "bruker som likevel anses \\\"rettferdig\\\" uavhengig av copyrighteieren "
+#~ "visninger."
+
+#~ msgid ""
+#~ "I don't mean \\\"nature\\\" in the sense that it couldn't be different, "
+#~ "but rather that its present instantiation entails a copy. Optical "
+#~ "networks need not make copies of content they transmit, and a digital "
+#~ "network could be designed to delete anything it copies so that the same "
+#~ "number of copies remain."
+#~ msgstr ""
+#~ "Jeg trenger ikke bety \\\"natur\\\" i den forstand at det kunne ikke være "
+#~ "annerledes, men heller at sin nåværende objektforekomst innebærer en "
+#~ "kopi. optisk nettverk ikke trenger lage kopier av innhold de overføre, og "
+#~ "en digital network kan være utformet for å slette noe det kopierer slik "
+#~ "at det samme antallet kopier forblir."
+
+#~ msgid ""
+#~ "Second, this shift is especially troubling in the context of "
+#~ "transformative uses of creative content. Again, we can all understand the "
+#~ "wrong in commercial piracy. But the law now purports to regulate any "
+#~ "transformation you make of creative work using a machine. \\\"Copy and "
+#~ "paste\\\" and \\\"cut and paste\\\" become crimes. Tinkering with a story "
+#~ "and releasing it to others exposes the tinkerer to at least a requirement "
+#~ "of justification. However troubling the expansion with respect to "
+#~ "copying a particular work, it is extraordinarily troubling with respect "
+#~ "to transformative uses of creative work."
+#~ msgstr ""
+#~ "andre, dette skiftet er spesielt troubling i sammenheng med "
+#~ "transformative bruk av kreative innholdet. igjen, kan vi alle forstå feil "
+#~ "i kommersielle piratkopiering. men loven nå hensikt å regulere alle "
+#~ "transformasjoner som du gjør i skapende arbeid ved hjelp av en maskin. \\"
+#~ "\"Kopier og Lim inn\\\" og \\\"klippe og lime\\\" bli forbrytelser. "
+#~ "fiksing og triksing med en historie og slippe det til andre viser til "
+#~ "tinkerer å minst et krav for justering. troubling utvidelse med hensyn "
+#~ "til kopiere et bestemt arbeid, men det er svært troubling med hensyn til "
+#~ "transformative bruk av skapende arbeid."
+
+#~ msgid ""
+#~ "Third, this shift from category 1 to category 2 puts an extraordinary "
+#~ "burden on category 3 (\\\"fair use\\\") that fair use never before had to "
+#~ "bear. If a copyright owner now tried to control how many times I could "
+#~ "read a book on-line, the natural response would be to argue that this is "
+#~ "a violation of my fair use rights. But there has never been any "
+#~ "litigation about whether I have a fair use right to read, because before "
+#~ "the Internet, reading did not trigger the application of copyright law "
+#~ "and hence the need for a fair use defense. The right to read was "
+#~ "effectively protected before because reading was not regulated."
+#~ msgstr ""
+#~ "tredje, dette skiftet fra Kategori 1 til kategori 2 setter en "
+#~ "ekstraordinære belastning på kategori 3 (\\\"fair use\\\"), som "
+#~ "rettferdig bruk aldri før hadde å bære. Hvis en opphavsrettsinnehaveren "
+#~ "nå prøvde å kontrollere hvor mange ganger jeg kunne lese en bok på "
+#~ "nettet, ville den naturlige reaksjon være å hevde at dette er et brudd på "
+#~ "mine fair use-rettigheter. men det har aldri vært noen rettssaker jeg ha "
+#~ "en rettferdig bruk høyre for å lese, fordi før Internett, leser ikke "
+#~ "utløse anvendelsen av lov om opphavsrett og dermed behovet for en "
+#~ "rettferdig bruk forsvar. retten til å lese var effektivt beskyttet før "
+#~ "fordi lesing ikke ble regulert."
+
+#~ msgid ""
+#~ "The case of Video Pipeline is a good example. Video Pipeline was in the "
+#~ "business of making \\\"trailer\\\" advertisements for movies available to "
+#~ "video stores. The video stores displayed the trailers as a way to sell "
+#~ "videos. Video Pipeline got the trailers from the film distributors, put "
+#~ "the trailers on tape, and sold the tapes to the retail stores."
+#~ msgstr ""
+#~ "tilfelle av video rørledning er et godt eksempel. video rørledningen var "
+#~ "i bransjen for å gjøre \\\"trailer\\\" reklame for filmer tilgjengelig "
+#~ "til video butikker. video butikkene vises tilhengere som en måte å selge "
+#~ "videoer. video rørledningen fikk tilhengere fra trevare, sette tilhengere "
+#~ "på bånd, og solgt kassetter til selge i detalj butikker."
+
+#~ msgid ""
+#~ "The company did this for about fifteen years. Then, in 1997, it began to "
+#~ "think about the Internet as another way to distribute these previews. "
+#~ "The idea was to expand their \\\"selling by sampling\\\" technique by "
+#~ "giving on-line stores the same ability to enable \\\"browsing.\\\" Just "
+#~ "as in a bookstore you can read a few pages of a book before you buy the "
+#~ "book, so, too, you would be able to sample a bit from the movie on-line "
+#~ "before you bought it."
+#~ msgstr ""
+#~ "selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte "
+#~ "å tenke på Internett som en måte å distribuere disse forhåndsvisninger. "
+#~ "ideen var å utvide sin \\\"selger ved prøvetaking\\\" teknikk ved å gi on-"
+#~ "line butikker samme muligheten til å aktivere \\\"surfing.\\\" akkurat "
+#~ "som i en bokhandel du kan lese noen få sider av en bok før du kjøper "
+#~ "boken, så, du vil også kunne smake litt fra filmen on-line før du kjøpte "
+#~ "den."
+
+#~ msgid ""
+#~ "In 1998, Video Pipeline informed Disney and other film distributors that "
+#~ "it intended to distribute the trailers through the Internet (rather than "
+#~ "sending the tapes) to distributors of their videos. Two years later, "
+#~ "Disney told Video Pipeline to stop. The owner of Video Pipeline asked "
+#~ "Disney to talk about the matter--he had built a business on distributing "
+#~ "this content as a way to help sell Disney films; he had customers who "
+#~ "depended upon his delivering this content. Disney would agree to talk "
+#~ "only if Video Pipeline stopped the distribution immediately. Video "
+#~ "Pipeline thought it was within their \\\"fair use\\\" rights to "
+#~ "distribute the clips as they had. So they filed a lawsuit to ask the "
+#~ "court to declare that these rights were in fact their rights."
+#~ msgstr ""
+#~ "i 1998 informert video rørledningen disney og andre trevare at det ment å "
+#~ "distribuere tilhengere gjennom Internett (i stedet for å sende båndene) "
+#~ "til distributører av deres videoer. to år senere, fortalte disney video "
+#~ "rørledning til å stoppe. eieren av video rørledningen spurte disney å "
+#~ "snakke om saken, hadde han bygget en bedrift på distribuere dette "
+#~ "innholdet som en måte å hjelp Selg disney filmer; Han hadde kunder som "
+#~ "var avhengig av hans leverer dette innholdet. Disney aksepterer å snakke "
+#~ "bare hvis video rørledningen stoppet fordelingen umiddelbart. video "
+#~ "rørledningen trodde det var innenfor sine \\\"fair use\\\"-rettigheter "
+#~ "til å distribuere utklippene som de hadde. så de anlagt en sak å be "
+#~ "retten å erklære at disse rettighetene var faktisk sine rettigheter."
+
+#~ msgid ""
+#~ "Disney countersued--for $100 million in damages. Those damages were "
+#~ "predicated upon a claim that Video Pipeline had \\\"willfully infringed\\"
+#~ "\" on Disney's copyright. When a court makes a finding of willful "
+#~ "infringement, it can award damages not on the basis of the actual harm to "
+#~ "the copyright owner, but on the basis of an amount set in the statute. "
+#~ "Because Video Pipeline had distributed seven hundred clips of Disney "
+#~ "movies to enable video stores to sell copies of those movies, Disney was "
+#~ "now suing Video Pipeline for $100 million."
+#~ msgstr ""
+#~ "Disney countersued--for $100 millioner i skader. disse skader ble "
+#~ "predicated upon et krav at video rørledningen hadde \\\"willfully krenket"
+#~ "\\\" på disney's copyright. Når en domstol gjør en oppdagelse av willful "
+#~ "brudd, kan den prisen skader ikke på grunnlag av den faktiske skaden for "
+#~ "eieren av opphavsretten, men på grunnlag av et beløp som er angitt i "
+#~ "vedtektene. fordi video rørledningen hadde distribuert syv hundre klipp "
+#~ "av disney film å aktivere video butikker å selge kopier av disse filmene, "
+#~ "var disney nå suing video rørledning for $100 millioner."
+
+#~ msgid ""
+#~ "Now, you might think this is a close case, and I think the courts would "
+#~ "consider it a close case. My point here is to map the change that gives "
+#~ "Disney this power. Before the Internet, Disney couldn't really control "
+#~ "how people got access to their content. Once a video was in the "
+#~ "marketplace, the \\\"first-sale doctrine\\\" would free the seller to use "
+#~ "the video as he wished, including showing portions of it in order to "
+#~ "engender sales of the entire movie video. But with the Internet, it "
+#~ "becomes possible for Disney to centralize control over access to this "
+#~ "content. Because each use of the Internet produces a copy, use on the "
+#~ "Internet becomes subject to the copyright owner's control. The technology "
+#~ "expands the scope of effective control, because the technology builds a "
+#~ "copy into every transaction."
+#~ msgstr ""
+#~ "Nå kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser "
+#~ "det som en Lukk saken. Mitt poeng her er å tilordne endringen som gir "
+#~ "disney denne makten. før Internett, kunne ikke disney virkelig styre "
+#~ "hvordan folk har tilgang til innholdet. Når en video var i markedet, "
+#~ "ville \\\"første-salg doktrine\\\" gratis selgeren for å bruke videoen "
+#~ "som han ønsket, inkludert viser deler av det for å skape salg av hele "
+#~ "filmen video. men med Internett, blir det mulig for disney å sentralisere "
+#~ "kontroll over tilgang til dette innholdet. fordi hver bruk av Internett "
+#~ "gir en kopi, blir copyrighteieren kontroll en bruk på Internett. "
+#~ "teknologien utvider omfanget av effektiv kontroll, fordi teknologien "
+#~ "bygger en kopi til hver transaksjon."
+
+#~ msgid ""
+#~ "The control comes instead from the code--from the technology within which "
+#~ "the e-book \\\"lives.\\\" Though the e-book says that these are "
+#~ "permissions, they are not the sort of \\\"permissions\\\" that most of us "
+#~ "deal with. When a teenager gets \\\"permission\\\" to stay out till "
+#~ "midnight, she knows (unless she's Cinderella) that she can stay out till "
+#~ "2 A.M., but will suffer a punishment if she's caught. But when the Adobe "
+#~ "eBook Reader says I have the permission to make ten copies of the text "
+#~ "into the computer's memory, that means that after I've made ten copies, "
+#~ "the computer will not make any more. The same with the printing "
+#~ "restrictions: After ten pages, the eBook Reader will not print any more "
+#~ "pages. It's the same with the silly restriction that says that you can't "
+#~ "use the Read Aloud button to read my book aloud--it's not that the "
+#~ "company will sue you if you do; instead, if you push the Read Aloud "
+#~ "button with my book, the machine simply won't read aloud."
+#~ msgstr ""
+#~ "kontrollen kommer i stedet fra koden--fra teknologi som e-bok \\\"liv.\\"
+#~ "\" om e-boken sier at disse er tillatelsene, de er ikke typen \\"
+#~ "\"tillatelser\\\" som de fleste av oss håndtere. Når en tenåring blir \\"
+#~ "\"tillatelse\\\" til å være ute til midnatt, vet hun (med mindre hun er "
+#~ "cinderella) at hun kan være ute til 2 am, men vil lide en straff hvis hun "
+#~ "er fanget. men når adobe eBok reader sier jeg har tillatelse til å lage "
+#~ "ti Kopier teksten inn i datamaskinens minne, som betyr at etter at jeg "
+#~ "har gjort ti eksemplarer, datamaskinen ikke vil gjøre noe mer. det samme "
+#~ "med utskrift begrensninger: eBok-leser ikke skrives ut flere sider etter "
+#~ "ti sider. Det er det samme med dum størrelsesbegrensningen som sier at du "
+#~ "ikke kan bruke lese høyt knappen til å lese boken min høyt--det er ikke "
+#~ "at selskapet vil saksøke deg hvis du gjør; i stedet, hvis du presse lese "
+#~ "høyt knappen med min bok, maskinen bare vil ikke lese høyt."
+
+#~ msgid ""
+#~ "These are controls, not permissions. Imagine a world where the Marx "
+#~ "Brothers sold word processing software that, when you tried to type \\"
+#~ "\"Warner Brothers,\\\" erased \\\"Brothers\\\" from the sentence."
+#~ msgstr ""
+#~ "Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx "
+#~ "brødrene solgte tekstbehandling programvare som, da du prøvde å skrive "
+#~ "inn \\\"warner brothers,\\\" slettet \\\"brødre\\\" fra setningen."
+
+#~ msgid ""
+#~ "Here was a public domain children's book that you were not allowed to "
+#~ "copy, not allowed to lend, not allowed to give, and, as the \\"
+#~ "\"permissions\\\" indicated, not allowed to \\\"read aloud\\\"!"
+#~ msgstr ""
+#~ "Her var et frivare barnebok som du ikke var tillatt for å kopiere, ikke "
+#~ "lov til å låne, ikke lov til å gi og, som \\\"tillatelser\\\" angitt, "
+#~ "ikke lov til å \\\"lese høyt\\\"!"
+
+#~ msgid ""
+#~ "Consider the robotic dog made by Sony named \\\"Aibo.\\\" The Aibo learns "
+#~ "tricks, cuddles, and follows you around. It eats only electricity and "
+#~ "that doesn't leave that much of a mess (at least in your house)."
+#~ msgstr ""
+#~ "vurdere robotic hunden gjort av sony kalt \\\"aibo.\\\" i aibo lærer "
+#~ "triks, cuddles, og følger deg. det spiser bare elektrisitet og som ikke "
+#~ "la så mye av et rot (i det minste i huset)."
+
+#~ msgid ""
+#~ "\\\"Teach\\\" here has a special meaning. Aibos are just cute computers. "
+#~ "You teach a computer how to do something by programming it differently. "
+#~ "So to say that aibopet.com was giving information about how to teach the "
+#~ "dog to do new tricks is just to say that aibopet.com was giving "
+#~ "information to users of the Aibo pet about how to hack their computer \\"
+#~ "\"dog\\\" to make it do new tricks (thus, aibohack.com)."
+#~ msgstr ""
+#~ "\\\"lære\\\" har her en spesiell betydning. aibos er bare søt "
+#~ "datamaskiner. du lære en datamaskin hvor å gjøre noe ved programmering "
+#~ "det annerledes. så å si at aibopet.com var å gi informasjon om hvordan du "
+#~ "lære hunden å gjøre nye triks er bare å si at aibopet.com var å gi "
+#~ "informasjon til brukere av aibo-pet om hvordan å hacke datamaskinen \\"
+#~ "\"hund\\\" slik at den gjør nye triks (derfor aibohack.com)."
+
+#~ msgid ""
+#~ "If you're not a programmer or don't know many programmers, the word hack "
+#~ "has a particularly unfriendly connotation. Nonprogrammers hack bushes or "
+#~ "weeds. Nonprogrammers in horror movies do even worse. But to programmers, "
+#~ "or coders, as I call them, hack is a much more positive term. Hack just "
+#~ "means code that enables the program to do something it wasn't originally "
+#~ "intended or enabled to do. If you buy a new printer for an old computer, "
+#~ "you might find the old computer doesn't run, or \\\"drive,\\\" the "
+#~ "printer. If you discovered that, you'd later be happy to discover a hack "
+#~ "on the Net by someone who has written a driver to enable the computer to "
+#~ "drive the printer you just bought."
+#~ msgstr ""
+#~ "Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har "
+#~ "det ord banalisere en spesielt unfriendly connotation. nonprogrammers "
+#~ "banalisere busker eller ugress. nonprogrammers i horror filmer gjøre enda "
+#~ "verre. men programmerere eller coders, som jeg kaller dem, banalisere er "
+#~ "et mye mer positiv begrep. banalisere betyr bare kode som gjør at "
+#~ "programmet til å gjøre noe det ikke var opprinnelig ment eller aktivert å "
+#~ "gjøre. Hvis du kjøper en ny skriver for en gammel datamaskin, kan du "
+#~ "finne den gamle datamaskinen ikke kjører, eller \\\"drive\\\", skriveren. "
+#~ "Hvis du oppdaget at, vil du senere gjerne til å oppdage en hack på nettet "
+#~ "av noen som har skrevet en driver for å aktivere datamaskinen til å kjøre "
+#~ "skriveren du nettopp kjøpt."
+
+#~ msgid ""
+#~ "The SDMI coalition had as its goal a technology to enable content owners "
+#~ "to exercise much better control over their content than the Internet, as "
+#~ "it originally stood, granted them. Using encryption, SDMI hoped to "
+#~ "develop a standard that would allow the content owner to say \\\"this "
+#~ "music cannot be copied,\\\" and have a computer respect that command. "
+#~ "The technology was to be part of a \\\"trusted system\\\" of control that "
+#~ "would get content owners to trust the system of the Internet much more."
+#~ msgstr ""
+#~ "sdmi-koalisjonen hadde som mål en teknologi for å aktivere innholdseiere "
+#~ "å utøve mye bedre kontroll over deres innhold enn Internett, som den "
+#~ "opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi håpet å "
+#~ "utvikle en standard som ville tillate innholdseieren å si \\\"denne "
+#~ "musikken ikke kan kopieres\\\", og har en datamaskin respekterer "
+#~ "kommandoen. teknologien var å være del av et \\\"klarert system\\\" av "
+#~ "kontroll som ville få innholdseiere kan stole på systemet av Internett "
+#~ "mye mer."
+
+#~ msgid ""
+#~ "Any disclosure of information gained from participating in the Public "
+#~ "Challenge would be outside the scope of activities permitted by the "
+#~ "Agreement and could subject you and your research team to actions under "
+#~ "the Digital Millennium Copyright Act (\\\"DMCA\\\")."
+#~ msgstr ""
+#~ "enhver formidling av informasjon fra å delta i offentlig challenge ville "
+#~ "være utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen "
+#~ "og kunne utsettes du og din undersøkelsesgruppen for handlinger under "
+#~ "digital millennium copyright act (\\\"dmca\\\")."
+
+#~ msgid ""
+#~ "The bizarreness of these arguments is captured in a cartoon drawn in 1981 "
+#~ "by Paul Conrad. At that time, a court in California had held that the VCR "
+#~ "could be banned because it was a copyright-infringing technology: It "
+#~ "enabled consumers to copy films without the permission of the copyright "
+#~ "owner. No doubt there were uses of the technology that were legal: Fred "
+#~ "Rogers, aka \\\"Mr. Rogers,\\\" for example, had testified in that case "
+#~ "that he wanted people to feel free to tape Mr. Rogers' Neighborhood."
+#~ msgstr ""
+#~ "bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 "
+#~ "av paul conrad. på den tiden, en domstol i california hadde holdt at "
+#~ "videoopptakeren kan bli utestengt fordi det var en copyright-krenkende "
+#~ "teknologi: det aktivert forbrukere til å kopiere filmer uten tillatelse "
+#~ "fra eieren av opphavsretten. Det var ingen tvil om bruk av teknologien "
+#~ "som var juridiske: fred rogers, aka \\\"mr. rogers,\\\" for eksempel "
+#~ "hadde vitnet i så fall at han ønsket å fremkalle gratis å tape mr. "
+#~ "rogers' neighborhood."
+
+#~ msgid ""
+#~ "For an early and prescient analysis, see Rebecca Tushnet, \\\"Legal "
+#~ "Fictions, Copyright, Fan Fiction, and a New Common Law,\\\" Loyola of Los "
+#~ "Angeles Entertainment Law Journal 17 (1997): 651."
+#~ msgstr ""
+#~ "for en tidlig og forutseende analyse, kan du se rebecca tushnet, \\"
+#~ "\"legal-fictions, copyright, fanfiction og en ny felles lov,\\\" loyola "
+#~ "av los angeles underholdning law journal 17 (1997): 651."
+
+#~ msgid ""
+#~ "Lynette Holloway, \\\"Despite a Marketing Blitz, CD Sales Continue to "
+#~ "Slide,\\\" New York Times, 23 December 2002."
+#~ msgstr ""
+#~ "lynette holloway, \\\"til tross for en markedsføring blitz cd salg "
+#~ "fortsette å skyve,\\\" new york times, 23 desember 2002."
+
+#~ msgid ""
+#~ "Molly Ivins, \\\"Media Consolidation Must Be Stopped,\\\" Charleston "
+#~ "Gazette, 31 May 2003."
+#~ msgstr ""
+#~ "Molly ivins, \\\"media konsolidering må stoppes,\\\" charleston gazette, "
+#~ "31 kan 2003."
+
+#~ msgid ""
+#~ "James Fallows, \\\"The Age of Murdoch,\\\" Atlantic Monthly (September "
+#~ "2003): 89."
+#~ msgstr ""
+#~ "James fallows, \\\"en alder av murdoch,\\\" atlantic monthly (september "
+#~ "2003): 89."
+
+#~ msgid ""
+#~ "The network did not control those copyrights because the law forbade the "
+#~ "networks from controlling the content they syndicated. The law required a "
+#~ "separation between the networks and the content producers; that "
+#~ "separation would guarantee Lear freedom. And as late as 1992, because of "
+#~ "these rules, the vast majority of prime time television--75 percent of "
+#~ "it--was \\\"independent\\\" of the networks."
+#~ msgstr ""
+#~ "nettverket ikke kontrollere m├Ñte av opphavsrettighetene fordi lov forbød "
+#~ "nettverk fra controlling the content de skal grupperes. loven kreves et "
+#~ "skille mellom nettverkene og innhold produsenter; at separasjon ville "
+#~ "garantere lear frihet. og så sent som i 1992, på grunn av disse reglene, "
+#~ "det store flertallet av prime-time TV--75 prosent av det--var \\"
+#~ "\"uavhengige\\\" av nettverk."
+
+#~ msgid ""
+#~ "Beginning in 1998, the Office of National Drug Control Policy launched a "
+#~ "media campaign as part of the \\\"war on drugs.\\\" The campaign produced "
+#~ "scores of short film clips about issues related to illegal drugs. In one "
+#~ "series (the Nick and Norm series) two men are in a bar, discussing the "
+#~ "idea of legalizing drugs as a way to avoid some of the collateral damage "
+#~ "from the war. One advances an argument in favor of drug legalization. The "
+#~ "other responds in a powerful and effective way against the argument of "
+#~ "the first. In the end, the first guy changes his mind (hey, it's "
+#~ "television). The plug at the end is a damning attack on the pro-"
+#~ "legalization campaign."
+#~ msgstr ""
+#~ "starten i 1998, office of nasjonale narkotikapolitikken kontroll lansert "
+#~ "en kampanje for media som en del av \\\"krigen mot narkotika.\\\" "
+#~ "kampanjen produsert score til kort film klipp om problemer i forbindelse "
+#~ "med illegale rusmidler. i én serie (nick og normen-serie) to menn er i en "
+#~ "bar, diskuterer ideen om legalizing narkotika som en måte å unngå noen av "
+#~ "sikkerhetsstillelse skade fra krigen. en avanserer et argument for "
+#~ "narkotika legalization. de andre svarer på en kraftig og effektiv måte "
+#~ "mot argumentet av første. til slutt, den første mann forandrer mening "
+#~ "(Hei, det er TV). pluggen på slutten er en damning angrep på pro-"
+#~ "legalization kampanjen."
+
+#~ msgid ""
+#~ "There is something innocent and obvious about the claim of the copyright "
+#~ "warriors that the government should \\\"protect my property.\\\" In the "
+#~ "abstract, it is obviously true and, ordinarily, totally harmless. No sane "
+#~ "sort who is not an anarchist could disagree."
+#~ msgstr ""
+#~ "Det er noe uskyldig og åpenbar om kravet om opphavsrett warriors at "
+#~ "regjeringen bør \\\"beskytte min egenskapen.\\\" i abstrakt, det er "
+#~ "åpenbart sann og, vanligvis helt ufarlig. Ingen forstandig sortering som "
+#~ "ikke er en Anarkisten kan uenige."
+
+#~ msgid ""
+#~ "But when we see how dramatically this \\\"property\\\" has changed-- when "
+#~ "we recognize how it might now interact with both technology and markets "
+#~ "to mean that the effective constraint on the liberty to cultivate our "
+#~ "culture is dramatically different--the claim begins to seem less innocent "
+#~ "and obvious. Given (1) the power of technology to supplement the law's "
+#~ "control, and (2) the power of concentrated markets to weaken the "
+#~ "opportunity for dissent, if strictly enforcing the massively expanded \\"
+#~ "\"property\\\" rights granted by copyright fundamentally changes the "
+#~ "freedom within this culture to cultivate and build upon our past, then we "
+#~ "have to ask whether this property should be redefined."
+#~ msgstr ""
+#~ "men når vi ser hvor dramatisk denne \\\"property\\\" er endret--når vi "
+#~ "innser hvor den kan nå kommunisere med både teknologi og markeder å bety "
+#~ "at effektiv begrensningen på den frihet å dyrke vår kultur er dramatisk "
+#~ "annerledes--kravet begynner å synes mindre uskyldig og åpenbar. gitt (1) "
+#~ "den kraftige teknologi til å supplere lovens kontroll, og (2) makt "
+#~ "konsentrert markeder for å svekke muligheten for dissens, hvis strengt "
+#~ "håndheve massivt utvidet \\\"property\\\"-rettigheter som er gitt av "
+#~ "copyright fundamentalt endres frihet i denne kulturen til å dyrke og "
+#~ "bygge på vår fortid, så må vi spørre om denne egenskapen skal defineres."
+
+#~ msgid ""
+#~ "It was the single most important contribution of the legal realist "
+#~ "movement to demonstrate that all property rights are always crafted to "
+#~ "balance public and private interests. See Thomas C. Grey, \\\"The "
+#~ "Disintegration of Property,\\\" in Nomos XXII: Property, J. Roland "
+#~ "Pennock and John W. Chapman, eds. (New York: New York University Press, "
+#~ "1980)."
+#~ msgstr ""
+#~ "Det var enkelt viktigste bidrag av juridiske realist-bevegelse for å "
+#~ "demonstrere at alle eiendomsrettigheter alltid er laget for å balansere "
+#~ "offentlige og private interesser. se thomas c. grey, \\\"oppløsningen av "
+#~ "eiendom,\\\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, "
+#~ "Red. (new york: new york university press, 1980)."
+
+#~ msgid ""
+#~ "We achieved that free culture because our law respected important limits "
+#~ "on the scope of the interests protected by \\\"property.\\\" The very "
+#~ "birth of \\\"copyright\\\" as a statutory right recognized those limits, "
+#~ "by granting copyright owners protection for a limited time only (the "
+#~ "story of chapter 6). The tradition of \\\"fair use\\\" is animated by a "
+#~ "similar concern that is increasingly under strain as the costs of "
+#~ "exercising any fair use right become unavoidably high (the story of "
+#~ "chapter 7). Adding statutory rights where markets might stifle innovation "
+#~ "is another familiar limit on the property right that copyright is "
+#~ "(chapter 8). And granting archives and libraries a broad freedom to "
+#~ "collect, claims of property notwithstanding, is a crucial part of "
+#~ "guaranteeing the soul of a culture (chapter 9). Free cultures, like free "
+#~ "markets, are built with property. But the nature of the property that "
+#~ "builds a free culture is very different from the extremist vision that "
+#~ "dominates the debate today."
+#~ msgstr ""
+#~ "Vi oppnådde at fri kultur fordi vår lov respektert viktig begrensninger "
+#~ "på omfanget av interessene beskyttet av \\\"egenskapen.\\\" svært "
+#~ "fødselen av \\\"copyright\\\" som en lovfestet rett gjenkjennes disse "
+#~ "grensene, ved å gi eiere av opphavsretter beskyttelse for en begrenset "
+#~ "tid bare (historien om kapittel 6). tradisjonen med \\\"fair use\\\" "
+#~ "animert av et lignende problem som er stadig under press som kostnadene "
+#~ "for å utøve noen rettferdig bruk høyre bli uunngåelig høy (historien om "
+#~ "kapittel 7). legge lovbestemte rettigheter der markeder kan kveler "
+#~ "innovasjon er en annen kjent grensen på eiendommen høyre at opphavsretten "
+#~ "er (kapittel 8). og gi arkiver og biblioteker en bred frihet til å samle "
+#~ "inn, påstander om egenskapen tross, er en avgjørende del av garanterer "
+#~ "sjelen til en kultur (kapittel 9). gratis kulturer, som gratis markeder, "
+#~ "er bygget med egenskapen. men innholdet i egenskapen som bygger en fri "
+#~ "kultur er svært forskjellig fra ekstremistgrupper visjonen som dominerer "
+#~ "debatten i dag."
+
+#~ msgid ""
+#~ "H. G. Wells, \\\"The Country of the Blind\\\" (1904, 1911). See H. G. "
+#~ "Wells, The Country of the Blind and Other Stories, Michael Sherborne, ed. "
+#~ "(New York: Oxford University Press, 1996)."
+#~ msgstr ""
+#~ "h. g. wells, \\\"land for blind\\\" (1904, 1911). se h. g. wells, landet "
+#~ "av blind og andre historier, michael sherborne, ed. (new york: oxford "
+#~ "university press, 1996)."
+
+#~ msgid ""
+#~ "Things don't go quite as he planned. He tries to explain the idea of "
+#~ "sight to the villagers. They don't understand. He tells them they are \\"
+#~ "\"blind.\\\" They don't have the word blind. They think he's just thick. "
+#~ "Indeed, as they increasingly notice the things he can't do (hear the "
+#~ "sound of grass being stepped on, for example), they increasingly try to "
+#~ "control him. He, in turn, becomes increasingly frustrated. \\\"`You don't "
+#~ "understand,' he cried, in a voice that was meant to be great and "
+#~ "resolute, and which broke. `You are blind and I can see. Leave me "
+#~ "alone!'\\\""
+#~ msgstr ""
+#~ "ting går ikke helt som han har planlagt. han prøver å forklare ideen om "
+#~ "synet til landsbyboere. de forstår ikke. Han forteller dem at de er \\"
+#~ "\"blind.\\\" de ikke har word-blind. de tror han er bare tykk. faktisk, "
+#~ "som de stadig mer merke tingene han ikke kan gjøre (høre lyden av gress å "
+#~ "bli trappet på, for eksempel), de stadig prøver å kontrollere ham. han, i "
+#~ "sin tur blir stadig mer frustrert. \\\"du ikke forstår, han gråt, i en "
+#~ "stemme som var ment å være stor og resolutt, og som brøt. ' du er blind, "
+#~ "og jeg kan se. La meg være! \\\"\\\""
+
+#~ msgid ""
+#~ "The villagers don't leave him alone. Nor do they see (so to speak) the "
+#~ "virtue of his special power. Not even the ultimate target of his "
+#~ "affection, a young woman who to him seems \\\"the most beautiful thing in "
+#~ "the whole of creation,\\\" understands the beauty of sight. Nunez's "
+#~ "description of what he sees \\\"seemed to her the most poetical of "
+#~ "fancies, and she listened to his description of the stars and the "
+#~ "mountains and her own sweet white-lit beauty as though it was a guilty "
+#~ "indulgence.\\\" \\\"She did not believe,\\\" Wells tells us, and \\\"she "
+#~ "could only half understand, but she was mysteriously delighted.\\\""
+#~ msgstr ""
+#~ "landsbyboere la ikke ham være. heller ikke har de ser (så å si) kraft av "
+#~ "sin spesielle kraft. ikke engang ultimate målet for hans hengivenhet, en "
+#~ "ung kvinne som til ham synes \\\"det vakreste tingen i hele skapelse,\\\" "
+#~ "forstår skjønnheten av syne. nunez's beskrivelse av det han ser \\"
+#~ "\"syntes å henne de mest poetiske liker, og hun lyttet til hans "
+#~ "beskrivelse av stjerner og fjellene og hennes egen søte hvite tent "
+#~ "skjønnhet som om det var en skyldig overbærenhet.\\\" \\\"hun ikke tro,\\"
+#~ "\" brønner forteller oss, og \\\"hun kunne bare halvparten forstår, men "
+#~ "hun var mysteriously glad.\\\""
+
+#~ msgid ""
+#~ "When Nunez announces his desire to marry his \\\"mysteriously delighted\\"
+#~ "\" love, the father and the village object. \\\"You see, my dear,\\\" her "
+#~ "father instructs, \\\"he's an idiot. He has delusions. He can't do "
+#~ "anything right.\\\" They take Nunez to the village doctor."
+#~ msgstr ""
+#~ "Når nunez kunngjør hans ønske om å gifte seg med hans \\\"mysteriously "
+#~ "glad\\\" kjærlighet, Faderen og landsbyen-objekt. \\\"du se, min kjære,\\"
+#~ "\" hennes far instruerer, \\\"han er en idiot. Han har delusions. han kan "
+#~ "ikke gjøre noe høyre. \\\"de tar nunez til landsbyen legen."
+
+#~ msgid ""
+#~ "After a careful examination, the doctor gives his opinion. \\\"His brain "
+#~ "is affected,\\\" he reports."
+#~ msgstr ""
+#~ "etter en forsiktig eksamen gir legen sin mening. \\\"hans hjernen er "
+#~ "berørt,\\\" rapporterer han."
+
+#~ msgid ""
+#~ "\\\"What affects it?\\\" the father asks. \\\"Those queer things that "
+#~ "are called the eyes . . . are diseased . . . in such a way as to affect "
+#~ "his brain.\\\""
+#~ msgstr ""
+#~ "\\\"hva påvirker det?\\\" spør Faderen. \\\"de skeiv ting som kalles "
+#~ "øynene... er sykelig... på en måte som påvirker hans hjernen.\\\""
+
+#~ msgid ""
+#~ "The doctor continues: \\\"I think I may say with reasonable certainty "
+#~ "that in order to cure him completely, all that we need to do is a simple "
+#~ "and easy surgical operation--namely, to remove these irritant bodies [the "
+#~ "eyes].\\\""
+#~ msgstr ""
+#~ "legen fortsetter: \\\"Jeg tror jeg kan si med rimelig sikkerhet at for å "
+#~ "helbrede ham helt, alt vi trenger å gjøre er en enkel og lett kirurgisk "
+#~ "operasjon – nemlig å fjerne disse irriterende organer [øynene].\\\""
+
+#~ msgid ""
+#~ "\\\"Thank Heaven for science!\\\" says the father to the doctor. They "
+#~ "inform Nunez of this condition necessary for him to be allowed his "
+#~ "bride. (You'll have to read the original to learn what happens in the "
+#~ "end. I believe in free culture, but never in giving away the end of a "
+#~ "story.) It sometimes happens that the eggs of twins fuse in the mother's "
+#~ "womb. That fusion produces a \\\"chimera.\\\" A chimera is a single "
+#~ "creature with two sets of DNA. The DNA in the blood, for example, might "
+#~ "be different from the DNA of the skin. This possibility is an underused "
+#~ "plot for murder mysteries. \\\"But the DNA shows with 100 percent "
+#~ "certainty that she was not the person whose blood was at the scene. . . ."
+#~ "\\\""
+#~ msgstr ""
+#~ "\\\"thank heaven for science!\\\", sier faren til legen. de informere "
+#~ "nunez av denne tilstanden som er nødvendig for ham å være tillatt hans "
+#~ "brud. (du må lese den opprinnelige Hvis du vil vite hva som skjer i "
+#~ "slutten. jeg tror i fri kultur, men aldri i slutten av en historie for "
+#~ "utdeling.) det skjer noen ganger at egg med tvillinger sikring i en mors "
+#~ "mage. at fusion produserer en \\\"chimera.\\\" en chimera er en enkelt "
+#~ "skapning med to sett med dna. dna i blodet, for eksempel, kan være "
+#~ "forskjellig fra dna av huden. Denne muligheten er en underused tomten for "
+#~ "mordet mysteriene. \\\"men dna viser med 100 prosent sikkerhet at hun "
+#~ "ikke var personen med blod ble på scenen....\\\""
+
+#~ msgid ""
+#~ "Before I had read about chimeras, I would have said they were "
+#~ "impossible. A single person can't have two sets of DNA. The very idea of "
+#~ "DNA is that it is the code of an individual. Yet in fact, not only can "
+#~ "two individuals have the same set of DNA (identical twins), but one "
+#~ "person can have two different sets of DNA (a chimera). Our understanding "
+#~ "of a \\\"person\\\" should reflect this reality."
+#~ msgstr ""
+#~ "før jeg hadde lest om regenererende, ville jeg sagt de var umulig. en "
+#~ "enkelt person kan ikke ha to sett med dna. selve ideen om dna er at det "
+#~ "er koden for en person. men faktisk, ikke bare kan to personer har samme "
+#~ "sett med dna (identisk tvillinger), men en person kan ha to forskjellige "
+#~ "sett med dna (en chimera). vår forståelse av en \\\"person\\\" skal "
+#~ "gjenspeile denne virkeligheten."
+
+#~ msgid ""
+#~ "The more I work to understand the current struggle over copyright and "
+#~ "culture, which I've sometimes called unfairly, and sometimes not unfairly "
+#~ "enough, \\\"the copyright wars,\\\" the more I think we're dealing with a "
+#~ "chimera. For example, in the battle over the question \\\"What is p2p "
+#~ "file sharing?\\\" both sides have it right, and both sides have it "
+#~ "wrong. One side says, \\\"File sharing is just like two kids taping each "
+#~ "others' records--the sort of thing we've been doing for the last thirty "
+#~ "years without any question at all.\\\" That's true, at least in part. "
+#~ "When I tell my best friend to try out a new CD that I've bought, but "
+#~ "rather than just send the CD, I point him to my p2p server, that is, in "
+#~ "all relevant respects, just like what every executive in every recording "
+#~ "company no doubt did as a kid: sharing music."
+#~ msgstr ""
+#~ "Jo mer jeg arbeider for å forstå gjeldende kampen over copyright og "
+#~ "kultur, som jeg har noen ganger kalt urettferdig, og noen ganger ikke "
+#~ "urettferdig nok, \\\"copyright krigene,\\\" jo mer jeg tror vi arbeider "
+#~ "med en chimera. for eksempel i strid om spørsmålet \\\"Hva er p2p "
+#~ "fildeling?\\\" begge sider har det rett, og begge sider har det galt. ene "
+#~ "siden sier, \\\"fildeling er akkurat som to barn taping hverandres "
+#~ "poster--slags ting vi har gjort de siste tretti årene uten spørsmål ved "
+#~ "alt.\\\" som er sann, i det minste delvis. Når jeg forteller min beste "
+#~ "venn å prøve ut en ny cd som jeg har kjøpt, men i stedet for å bare sende "
+#~ "cd, jeg peke ham til p2p-serveren, det vil si i alle relevante "
+#~ "henseender, akkurat som hva hver executive i hver innspilling selskapet "
+#~ "uten tvil gjorde som en unge: deling av musikk."
+
+#~ msgid ""
+#~ "But the description is also false in part. For when my p2p server is on a "
+#~ "p2p network through which anyone can get access to my music, then sure, "
+#~ "my friends can get access, but it stretches the meaning of \\\"friends\\"
+#~ "\" beyond recognition to say \\\"my ten thousand best friends\\\" can get "
+#~ "access. Whether or not sharing my music with my best friend is what \\"
+#~ "\"we have always been allowed to do,\\\" we have not always been allowed "
+#~ "to share music with \\\"our ten thousand best friends.\\\""
+#~ msgstr ""
+#~ "men beskrivelsen er også falske delvis. for når min p2p-serveren er på en "
+#~ "p2p kan nettverk som alle kan få tilgang til min musikk, deretter sikker, "
+#~ "mine venner kan få tilgang, men det strekker seg betydningen av \\\"venner"
+#~ "\\\" det ugjenkjennelige å si \\\"mine ti tusen beste venner\\\" få "
+#~ "tilgang. om dele min musikk med min beste venn er hva \\\"vi har alltid "
+#~ "vært tillatt å gjøre,\\\" vi har ikke alltid vært tillatt å dele musikk "
+#~ "med \\\"våre ti tusen beste venner.\\\""
+
+#~ msgid ""
+#~ "Likewise, when the other side says, \\\"File sharing is just like walking "
+#~ "into a Tower Records and taking a CD off the shelf and walking out with "
+#~ "it,\\\" that's true, at least in part. If, after Lyle Lovett (finally) "
+#~ "releases a new album, rather than buying it, I go to Kazaa and find a "
+#~ "free copy to take, that is very much like stealing a copy from Tower."
+#~ msgstr ""
+#~ "på samme måte når den andre siden, sier, \\\"fildeling er akkurat som å "
+#~ "vandre inn i en tower records og tar en cd av sokkelen og vandre ut med "
+#~ "det,\\\" som er sann, i det minste delvis. Hvis, etter at lyle lovett "
+#~ "(endelig) slipper et nytt album, heller enn å kjøpe det, jeg går til "
+#~ "kazaa og finne en gratis kopi til å ta, det er veldig mye som å stjele en "
+#~ "kopi fra tårnet."
+
+#~ msgid ""
+#~ "I'm not talking about the opportunities for kids to \\\"steal\\\" music. "
+#~ "My focus instead is the commercial and cultural innovation that this war "
+#~ "will also kill. We have never seen the power to innovate spread so "
+#~ "broadly among our citizens, and we have just begun to see the innovation "
+#~ "that this power will unleash. Yet the Internet has already seen the "
+#~ "passing of one cycle of innovation around technologies to distribute "
+#~ "content. The law is responsible for this passing. As the vice president "
+#~ "for global public policy at one of these new innovators, eMusic.com, put "
+#~ "it when criticizing the DMCA's added protection for copyrighted material,"
+#~ msgstr ""
+#~ "Jeg snakker ikke om mulighetene for barn å \\\"stjele\\\" musikk. mitt "
+#~ "fokus i stedet er kommersielle og kulturelle innovasjon som denne krigen "
+#~ "vil også drepe. Vi har aldri sett makt til å skape noe nytt spredning så "
+#~ "bredt blant våre borgere, og vi har bare begynt å se innovasjon som denne "
+#~ "myndighet vil utløse. ennå har Internett allerede sett bestått av en "
+#~ "syklus av innovasjon rundt teknologier for å distribuere innhold. loven "
+#~ "er ansvarlig for denne bestått. som vice president for global public "
+#~ "policy på en av disse nye innovators sette emusic.com, det når kritiserer "
+#~ "dmca ekstra beskyttelse for opphavsrettsbeskyttet materiale,"
+
+#~ msgid ""
+#~ "In April 2001, eMusic.com was purchased by Vivendi Universal, one of \\"
+#~ "\"the major labels.\\\" Its position on these matters has now changed."
+#~ msgstr ""
+#~ "i april 2001, ble emusic.com kjøpt av vivendi universal, en av \\\"den "
+#~ "store etiketter.\\\" posisjonen på disse sakene er nå endret."
+
+#~ msgid ""
+#~ "To fight \\\"piracy,\\\" to protect \\\"property,\\\" the content "
+#~ "industry has launched a war. Lobbying and lots of campaign contributions "
+#~ "have now brought the government into this war. As with any war, this one "
+#~ "will have both direct and collateral damage. As with any war of "
+#~ "prohibition, these damages will be suffered most by our own people."
+#~ msgstr ""
+#~ "for å bekjempe \\\"piratkopiering\\\", for å beskytte \\\"eiendom\\\" har "
+#~ "innhold industrien lansert en krig. Lobbying og massevis av kampanjen "
+#~ "bidrag har nå ført regjeringen i denne krigen. som med noen krig, vil "
+#~ "dette ha både direkte og sikkerhetsstillelse skade. som med noen krig av "
+#~ "forbudet, vil disse skader bli rammet mest av våre egne folk."
+
+#~ msgid ""
+#~ "My aim so far has been to describe the consequences of this war, in "
+#~ "particular, the consequences for \\\"free culture.\\\" But my aim now is "
+#~ "to extend this description of consequences into an argument. Is this war "
+#~ "justified?"
+#~ msgstr ""
+#~ "Målet mitt hittil har vært å beskrive konsekvensene av denne krigen, "
+#~ "spesielt konsekvenser for \\\"gratis kultur.\\\" men min målet nå er å "
+#~ "utvide denne beskrivelsen av konsekvenser til et argument. er denne "
+#~ "krigen rettferdiggjøres?"
+
+#~ msgid ""
+#~ "In my view, it is not. There is no good reason why this time, for the "
+#~ "first time, the law should defend the old against the new, just when the "
+#~ "power of the property called \\\"intellectual property\\\" is at its "
+#~ "greatest in our history."
+#~ msgstr ""
+#~ "i min mening er det ikke. Det er ingen god grunn hvorfor denne gangen, "
+#~ "for første gang, loven skal forsvare gamle mot den nye, bare når strømmen "
+#~ "av egenskap kalt \\\"intellectual property\\\" er på sitt største i vår "
+#~ "historie."
+
+#~ msgid ""
+#~ "Yet \\\"common sense\\\" does not see it this way. Common sense is still "
+#~ "on the side of the Causbys and the content industry. The extreme claims "
+#~ "of control in the name of property still resonate; the uncritical "
+#~ "rejection of \\\"piracy\\\" still has play."
+#~ msgstr ""
+#~ "ennå se \\\"sunn fornuft\\\" ikke det på denne måten. sunn fornuft er "
+#~ "fortsatt på siden av causbys og innhold industrien. ekstreme krav til "
+#~ "kontroll i navnet på egenskapen fortsatt appellerer; ukritisk avvisningen "
+#~ "av \\\"piratkopiering\\\" har fortsatt spille."
+
+#~ msgid ""
+#~ "This digital \\\"capturing and sharing\\\" is in part an extension of the "
+#~ "capturing and sharing that has always been integral to our culture, and "
+#~ "in part it is something new. It is continuous with the Kodak, but it "
+#~ "explodes the boundaries of Kodak-like technologies. The technology of "
+#~ "digital \\\"capturing and sharing\\\" promises a world of extraordinarily "
+#~ "diverse creativity that can be easily and broadly shared. And as that "
+#~ "creativity is applied to democracy, it will enable a broad range of "
+#~ "citizens to use technology to express and criticize and contribute to the "
+#~ "culture all around."
+#~ msgstr ""
+#~ "Denne digitale \\\"fange og deling\\\" er delvis en utvidelse for å "
+#~ "registrere og dele det har alltid vært del av vår kultur, og delvis det "
+#~ "er noe nytt. den er kontinuerlig med kodak, men den eksploderer grensene "
+#~ "for kodak-lignende teknologier. teknologi for digital \\\"fange og deling "
+#~ "av\\\" løfter en verden av svært mangfoldig kreativitet som kan enkelt og "
+#~ "forstand deles. og så at kreativiteten brukes til demokrati, det vil "
+#~ "muliggjøre et bredt spekter av borgere å bruke teknologi for å uttrykke "
+#~ "og kritisere og bidra til kultur rundt."
+
+#~ msgid ""
+#~ "Judges and lawyers can tell themselves that fair use provides adequate \\"
+#~ "\"breathing room\\\" between regulation by the law and the access the law "
+#~ "should allow. But it is a measure of how out of touch our legal system "
+#~ "has become that anyone actually believes this. The rules that publishers "
+#~ "impose upon writers, the rules that film distributors impose upon "
+#~ "filmmakers, the rules that newspapers impose upon journalists-- these are "
+#~ "the real laws governing creativity. And these rules have little "
+#~ "relationship to the \\\"law\\\" with which judges comfort themselves."
+#~ msgstr ""
+#~ "dommere og advokater kan fortelle seg selv at fair use gir tilstrekkelig "
+#~ "\\\"puste rommet\\\" mellom regulering av loven, og access loven skal "
+#~ "tillate. men det er et mål på hvor ute av touch vår juridiske systemet "
+#~ "har blitt noen faktisk mener dette. reglene som utgivere legger på "
+#~ "forfattere, reglene som trevare legger på filmskapere, reglene at aviser "
+#~ "legger på journalister--disse er de virkelige lovene som regulerer "
+#~ "kreativitet. og disse reglene har lite i forhold til \\\"loven\\\" med "
+#~ "hvilken dommere trøste seg."
+
+#~ msgid ""
+#~ "For in a world that threatens $150,000 for a single willful infringement "
+#~ "of a copyright, and which demands tens of thousands of dollars to even "
+#~ "defend against a copyright infringement claim, and which would never "
+#~ "return to the wrongfully accused defendant anything of the costs she "
+#~ "suffered to defend her right to speak--in that world, the astonishingly "
+#~ "broad regulations that pass under the name \\\"copyright\\\" silence "
+#~ "speech and creativity. And in that world, it takes a studied blindness "
+#~ "for people to continue to believe they live in a culture that is free."
+#~ msgstr ""
+#~ "for i en verden som truer $150.000 for en enkelt willful brudd på "
+#~ "opphavsretten, og som krever titusenvis av dollar til selv forsvar mot "
+#~ "opphavsrettsstridig krav, og som ville aldri tilbake til wrongfully "
+#~ "anklaget saksøkte noe av kostnadene lidd hun for å forsvare sin rett til "
+#~ "å snakke--i denne verden, astonishingly bred regelverket at pass under "
+#~ "navnet \\\"copyright\\\" stillhet tale og kreativitet. og i denne verden, "
+#~ "det tar en studert blindhet for folk å fortsette å tro de bor i en kultur "
+#~ "som er gratis."
+
+#~ msgid ""
+#~ "We're losing [creative] opportunities right and left. Creative people are "
+#~ "being forced not to express themselves. Thoughts are not being expressed. "
+#~ "And while a lot of stuff may [still] be created, it still won't get "
+#~ "distributed. Even if the stuff gets made . . . you're not going to get it "
+#~ "distributed in the mainstream media unless you've got a little note from "
+#~ "a lawyer saying, \\\"This has been cleared.\\\" You're not even going to "
+#~ "get it on PBS without that kind of permission. That's the point at which "
+#~ "they control it."
+#~ msgstr ""
+#~ "Vi miste [kreative] muligheter høyre og venstre. kreative mennesker blir "
+#~ "tvunget ikke til å uttrykke seg. tanker er ikke angitt. og mens mange "
+#~ "ting kan [fortsatt] opprettes, den fremdeles ikke får distribuert. Selv "
+#~ "om ting blir gjort... du ikke kommer til å få det distribueres i "
+#~ "mainstream media, med mindre du har et lite notat fra en advokat sier, \\"
+#~ "\"Dette er tømt.\\\" du skal ikke engang få det på pbs uten den typen "
+#~ "tillatelse. Det er poenget som de kontrollen."
+
+#~ msgid ""
+#~ "But there's an aspect of this story that is not lefty in any sense. "
+#~ "Indeed, it is an aspect that could be written by the most extreme "
+#~ "promarket ideologue. And if you're one of these sorts (and a special one "
+#~ "at that, 188 pages into a book like this), then you can see this other "
+#~ "aspect by substituting \\\"free market\\\" every place I've spoken of \\"
+#~ "\"free culture.\\\" The point is the same, even if the interests "
+#~ "affecting culture are more fundamental."
+#~ msgstr ""
+#~ "men det er en del av denne historien ikke er lefty i noen betydning. Det "
+#~ "er faktisk et aspekt som kan være skrevet av den mest ekstreme promarket "
+#~ "ideologue. og hvis du er en av disse sorterer (og en spesiell en på at "
+#~ "188 sider i en bok som dette), så du kan se dette andre aspekter ved å "
+#~ "erstatte \\\"fritt marked\\\" hvert sted som jeg har omtalt \\\"gratis "
+#~ "kultur.\\\" poenget er det samme, selv om interesser som påvirker kultur "
+#~ "er mer grunnleggende."
+
+#~ msgid ""
+#~ "This is the single most dramatic effect of the shift in regulatory "
+#~ "strategy that I described in chapter 10. The consequence of this massive "
+#~ "threat of liability tied to the murky boundaries of copyright law is that "
+#~ "innovators who want to innovate in this space can safely innovate only if "
+#~ "they have the sign-off from last generation's dominant industries. That "
+#~ "lesson has been taught through a series of cases that were designed and "
+#~ "executed to teach venture capitalists a lesson. That lesson--what former "
+#~ "Napster CEO Hank Barry calls a \\\"nuclear pall\\\" that has fallen over "
+#~ "the Valley--has been learned."
+#~ msgstr ""
+#~ "Dette er single mest dramatiske effekten av skiftet i regulatoriske "
+#~ "strategi som jeg beskrevet i kapittel 10. konsekvens av denne massiv "
+#~ "trussel av ansvar knyttet til skummel grensene om opphavsrett er at "
+#~ "innovators som ønsker å skape noe nytt i denne plassen kan trygt innovate "
+#~ "bare hvis de har avlogging fra siste generasjon dominerende bransjer. "
+#~ "denne leksjonen har lært gjennom en rekke tilfeller som ble utformet og "
+#~ "utført for å lære venture kapitalister en leksjon. denne leksjonen--hva "
+#~ "tidligere napster ceo hank barry kaller en \\\"kjernefysisk pall\\\" som "
+#~ "har falt over dalen--har blitt lært."
+
+#~ msgid ""
+#~ "This is the world of the mafia--filled with \\\"your money or your life\\"
+#~ "\" offers, governed in the end not by courts but by the threats that the "
+#~ "law empowers copyright holders to exercise. It is a system that will "
+#~ "obviously and necessarily stifle new innovation. It is hard enough to "
+#~ "start a company. It is impossibly hard if that company is constantly "
+#~ "threatened by litigation."
+#~ msgstr ""
+#~ "Dette er verden av mafiaen--fylt med \\\"penger eller livet\\\" tilbyr, "
+#~ "reguleres av domstolene men av trusler at loven gir innehaver av "
+#~ "opphavsrett til å utøve til slutt. Det er et system som vil åpenbart og "
+#~ "nødvendigvis kveler ny innovasjon. Det er vanskelig nok å starte et "
+#~ "selskap. Det er impossibly vanskelig hvis selskapet er stadig truet av "
+#~ "søksmål."
+
+#~ msgid ""
+#~ "The point is not that businesses should have a right to start illegal "
+#~ "enterprises. The point is the definition of \\\"illegal.\\\" The law is a "
+#~ "mess of uncertainty. We have no good way to know how it should apply to "
+#~ "new technologies. Yet by reversing our tradition of judicial deference, "
+#~ "and by embracing the astonishingly high penalties that copyright law "
+#~ "imposes, that uncertainty now yields a reality which is far more "
+#~ "conservative than is right. If the law imposed the death penalty for "
+#~ "parking tickets, we'd not only have fewer parking tickets, we'd also have "
+#~ "much less driving. The same principle applies to innovation. If "
+#~ "innovation is constantly checked by this uncertain and unlimited "
+#~ "liability, we will have much less vibrant innovation and much less "
+#~ "creativity."
+#~ msgstr ""
+#~ "Poenget er ikke at virksomheter bør ha rett til å starte ulovlig "
+#~ "bedrifter. Poenget er definisjonen av \\\"ulovlig.\\\" loven er et rot av "
+#~ "usikkerhet. Vi har ingen god måte å vite hvordan den skal brukes på nye "
+#~ "teknologier. ennå gir ved å snu vår tradisjon av juridisk deference, og "
+#~ "ved å omfavne de astonishingly høyt straffene som pålegger lov om "
+#~ "opphavsrett, det usikkerheten nå en realitet som er langt mer "
+#~ "konservative enn det som er rett. Hvis loven pålagt dødsstraff for "
+#~ "parkering billetter, vi ville ikke bare ha færre parkering billetter, "
+#~ "ville vi også ha mye mindre kjøring. det samme prinsippet gjelder for "
+#~ "innovasjon. Hvis innovasjon er stadig kontrolleres av denne usikker og "
+#~ "ubegrenset ansvar, har vi mye mindre levende innovasjon og mye mindre "
+#~ "kreativitet."
+
+#~ msgid ""
+#~ "The point is directly parallel to the crunchy-lefty point about fair use. "
+#~ "Whatever the \\\"real\\\" law is, realism about the effect of law in both "
+#~ "contexts is the same. This wildly punitive system of regulation will "
+#~ "systematically stifle creativity and innovation. It will protect some "
+#~ "industries and some creators, but it will harm industry and creativity "
+#~ "generally. Free market and free culture depend upon vibrant competition. "
+#~ "Yet the effect of the law today is to stifle just this kind of "
+#~ "competition. The effect is to produce an overregulated culture, just as "
+#~ "the effect of too much control in the market is to produce an "
+#~ "overregulatedregulated market."
+#~ msgstr ""
+#~ "Poenget er direkte parallell til crunchy lefty punktet om fair use. "
+#~ "Uansett \\\"ekte\\\" loven er, er realisme om effekten av loven i begge "
+#~ "sammenhenger den samme. Denne vill straffende system av regulering vil "
+#~ "systematisk kveler kreativitet og innovasjon. den vil beskytte noen "
+#~ "bransjer og noen skapere, men det vil skade industri og kreativitet "
+#~ "generelt. fritt marked og fri kultur, avhenger av levende konkurranse. "
+#~ "enda er virkningen av loven i dag å undertrykke akkurat denne type "
+#~ "konkurranse. effekten er å produsere en overregulated kultur, akkurat som "
+#~ "effekten av for mye kontroll i markedet er å produsere en "
+#~ "overregulatedregulated markedet."
+
+#~ msgid ""
+#~ "The motivation for this response is obvious. The Internet enables the "
+#~ "efficient spread of content. That efficiency is a feature of the "
+#~ "Internet's design. But from the perspective of the content industry, this "
+#~ "feature is a \\\"bug.\\\" The efficient spread of content means that "
+#~ "content distributors have a harder time controlling the distribution of "
+#~ "content. One obvious response to this efficiency is thus to make the "
+#~ "Internet less efficient. If the Internet enables \\\"piracy,\\\" then, "
+#~ "this response says, we should break the kneecaps of the Internet."
+#~ msgstr ""
+#~ "motivasjon for dette svaret er åpenbart. Internett gjør det mulig for "
+#~ "effektiv spredning av innhold. at effektiviteten er en funksjon av "
+#~ "internetts design. men fra perspektiv av innhold industrien, denne "
+#~ "funksjonen er en \\\"bug.\\\" effektiv spredning av innhold betyr at "
+#~ "innhold distributører har en hardere tid kontrollere distribusjon av "
+#~ "innhold. ettall åpenbare svaret å denne effektiviteten er derfor å gjøre "
+#~ "Internett mindre effektivt. Hvis Internett gjør at \\\"piratkopiering\\"
+#~ "\", deretter dette svaret sier, vi bør bryte kneecaps av Internett."
+
+#~ msgid ""
+#~ "See David McGuire, \\\"Tech Execs Square Off Over Piracy,\\\" Newsbytes, "
+#~ "February 2002 (Entertainment)."
+#~ msgstr ""
+#~ "se david mcguire, \\\"tech execs torget off over piratkopiering,\\\" "
+#~ "newsbytes, februar 2002 (underholdning)."
+
+#~ msgid ""
+#~ "As I described in chapter 4, when a radio station plays a song, the "
+#~ "recording artist doesn't get paid for that \\\"radio performance\\\" "
+#~ "unless he or she is also the composer. So, for example if Marilyn Monroe "
+#~ "had recorded a version of \\\"Happy Birthday\\\"--to memorialize her "
+#~ "famous performance before President Kennedy at Madison Square Garden-- "
+#~ "then whenever that recording was played on the radio, the current "
+#~ "copyright owners of \\\"Happy Birthday\\\" would get some money, whereas "
+#~ "Marilyn Monroe would not."
+#~ msgstr ""
+#~ "som jeg beskrevet i kapittel 4, når en radiostasjon spiller en sang, får "
+#~ "ikke innspillingen artisten betalt for at \\\"radio ytelse\\\" med mindre "
+#~ "han eller hun er også komponisten. så, for eksempel hvis marilyn monroe "
+#~ "hadde spilt inn en versjon av \\\"happy birthday\\\"--for å memorialize "
+#~ "sin berømte opptreden før president kennedy i madison square garden--"
+#~ "deretter når denne innspillingen ble spilt på radio, gjeldende "
+#~ "opphavsrett eierne av \\\"happy birthday\\\" ville få noen penger, mens "
+#~ "marilyn monroe ville ikke."
+
+#~ msgid ""
+#~ "Enter Internet radio. Like regular radio, Internet radio is a technology "
+#~ "to stream content from a broadcaster to a listener. The broadcast travels "
+#~ "across the Internet, not across the ether of radio spectrum. Thus, I can "
+#~ "\\\"tune in\\\" to an Internet radio station in Berlin while sitting in "
+#~ "San Francisco, even though there's no way for me to tune in to a regular "
+#~ "radio station much beyond the San Francisco metropolitan area."
+#~ msgstr ""
+#~ "Skriv inn Internett-radio. som vanlige radio er Internett-radio en "
+#~ "teknologi å direktesende innhold fra en kringkasteren til en lytter. "
+#~ "kringkastingen reiser over Internett, ikke på tvers av Eter av radio "
+#~ "spectrum. Således, jeg kan \\\"stille inn\\\" til Internett-"
+#~ "radiostasjonen i berlin mens du sitter i san francisco, selv om det er "
+#~ "ingen måte for meg å stille inn på en vanlig radiostasjon langt utover "
+#~ "san francisco metropolitan area."
+
+#~ msgid ""
+#~ "But here the power of the lobbyists is reversed. Internet radio is a new "
+#~ "industry. The recording artists, on the other hand, have a very powerful "
+#~ "lobby, the RIAA. Thus when Congress considered the phenomenon of Internet "
+#~ "radio in 1995, the lobbyists had primed Congress to adopt a different "
+#~ "rule for Internet radio than the rule that applies to terrestrial radio. "
+#~ "While terrestrial radio does not have to pay our hypothetical Marilyn "
+#~ "Monroe when it plays her hypothetical recording of \\\"Happy Birthday\\\" "
+#~ "on the air, Internet radio does. Not only is the law not neutral toward "
+#~ "Internet radio--the law actually burdens Internet radio more than it "
+#~ "burdens terrestrial radio."
+#~ msgstr ""
+#~ "men her kraften i lobbyister tilbakeføres. Internett-radio er en ny "
+#~ "industri. artister, derimot, har en svært kraftig lobby, riaa. dermed "
+#~ "hadde Kongressen vurdert når fenomenet Internett-radio i 1995, lobbyister "
+#~ "primed Kongressen å adoptere en annen regel for Internett-radio enn "
+#~ "regelen som gjelder bakkesendte radio. mens bakkesendte radio ikke "
+#~ "trenger å betale våre hypotetisk marilyn monroe når den spilles hennes "
+#~ "hypotetisk innspillingen av \\\"happy birthday\\\" på luften, Internett-"
+#~ "radio gjør. ikke bare er loven ikke nøytral mot Internett-radio--loven "
+#~ "faktisk byrder Internettradio mer enn det byrder bakkesendte radio."
+
+#~ msgid ""
+#~ "The RIAA, which was representing the record labels, presented some "
+#~ "testimony about what they thought a willing buyer would pay to a willing "
+#~ "seller, and it was much higher. It was ten times higher than what radio "
+#~ "stations pay to perform the same songs for the same period of time. And "
+#~ "so the attorneys representing the webcasters asked the RIAA, . . . \\"
+#~ "\"How do you come up with a rate that's so much higher? Why is it worth "
+#~ "more than radio? Because here we have hundreds of thousands of webcasters "
+#~ "who want to pay, and that should establish the market rate, and if you "
+#~ "set the rate so high, you're going to drive the small webcasters out of "
+#~ "business. . . .\\\""
+#~ msgstr ""
+#~ "riaa, som var som representerer plateselskapene, presentert noen "
+#~ "vitnesbyrd om hva de tenkte en villig kjøper betaler til en villig "
+#~ "selger, og det var mye høyere. Det var ti ganger høyere enn hva "
+#~ "radiostasjoner betale for å utføre de samme sangene i samme periode av "
+#~ "tid. og så advokater som representerer webcasters spurte riaa... \\"
+#~ "\"hvordan kan du komme opp med en hastighet som er så mye høyere? Hvorfor "
+#~ "er det verdt mer enn radio? fordi her har vi hundretusener av webcasters "
+#~ "som ønsker å betale, og som bør etablere markedet rate, og hvis du angir "
+#~ "satsen så høyt, du kommer til å drive små webcasters ut av business.... \\"
+#~ "\""
+
+#~ msgid ""
+#~ "And the RIAA experts said, \\\"Well, we don't really model this as an "
+#~ "industry with thousands of webcasters, we think it should be an industry "
+#~ "with, you know, five or seven big players who can pay a high rate and "
+#~ "it's a stable, predictable market.\\\" (Emphasis added.)"
+#~ msgstr ""
+#~ "og riaa eksperter sa, \\\"Vel, vi ikke virkelig modell dette som industri "
+#~ "med tusenvis av webcasters, vi tror det bør være en bransje med, du vet, "
+#~ "fem eller sju store spillere som kan betale en høy hastighet, og det er "
+#~ "en stabil, forutsigbar marked.\\\" (vekt legges)."
+
+#~ msgid ""
+#~ "Alex Pham, \\\"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\\\" "
+#~ "Los Angeles Times, 10 September 2003, Business."
+#~ msgstr ""
+#~ "Alex pham, \\\"etikettene streik tilbake: ny jente settles riaa tilfelle,"
+#~ "\\\" los angeles times, 10 september 2003, business."
+
+#~ msgid ""
+#~ "Jeffrey A. Miron and Jeffrey Zwiebel, \\\"Alcohol Consumption During "
+#~ "Prohibition,\\\" American Economic Review 81, no. 2 (1991): 242."
+#~ msgstr ""
+#~ "Jeffrey a. miron og jeffrey zwiebel, \\\"alkoholforbruk under "
+#~ "forbudstiden,\\\" amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242."
+
+#~ msgid ""
+#~ "See James Andreoni, Brian Erard, and Jonathon Feinstein, \\\"Tax "
+#~ "Compliance,\\\" Journal of Economic Literature 36 (1998): 818 (survey of "
+#~ "compliance literature)."
+#~ msgstr ""
+#~ "se james andreoni, brian Eberhard og jonathon feinstein, \\\"skatt "
+#~ "samsvar,\\\" journal av økonomiske litteratur 36 (1998): 818 "
+#~ "(undersøkelse av samsvar litteratur)."
+
+#~ msgid ""
+#~ "This state of affairs is not without consequence. It is a particularly "
+#~ "salient issue for teachers like me, whose job it is to teach law students "
+#~ "about the importance of \\\"ethics.\\\" As my colleague Charlie Nesson "
+#~ "told a class at Stanford, each year law schools admit thousands of "
+#~ "students who have illegally downloaded music, illegally consumed alcohol "
+#~ "and sometimes drugs, illegally worked without paying taxes, illegally "
+#~ "driven cars. These are kids for whom behaving illegally is increasingly "
+#~ "the norm. And then we, as law professors, are supposed to teach them how "
+#~ "to behave ethically--how to say no to bribes, or keep client funds "
+#~ "separate, or honor a demand to disclose a document that will mean that "
+#~ "your case is over. Generations of Americans--more significantly in some "
+#~ "parts of America than in others, but still, everywhere in America today--"
+#~ "can't live their lives both normally and legally, since \\\"normally\\\" "
+#~ "entails a certain degree of illegality."
+#~ msgstr ""
+#~ "denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt "
+#~ "fremtredende spørsmålet for lærere som meg, hvis jobb er det å undervise "
+#~ "law studenter om betydningen av \\\"etikk.\\\" som min kollega charlie "
+#~ "nesson fortalte en klasse ved stanford, hvert år lov skoler innrømme "
+#~ "tusenvis av studentene som har ulovlig lastet ned musikk, ulovlig "
+#~ "konsumert alkohol og noen ganger narkotika, ulovlig arbeidet uten å "
+#~ "betale skatt, ulovlig drevet biler. disse er barna som oppfører seg "
+#~ "ulovlig er stadig normen. og deretter vi, som loven professorer, skal "
+#~ "lære dem hvordan å oppføre seg etisk--hvordan å si nei til bestikkelser, "
+#~ "holde klienten midler atskilt eller ære et krav til å avsløre et dokument "
+#~ "som betyr at ditt tilfelle er over. generasjoner av amerikanere--mer "
+#~ "betydelig i enkelte deler av Amerika enn i andre, men likevel, overalt i "
+#~ "Amerika i dag--ikke kan lever sine liv både normalt og lovlig, siden \\"
+#~ "\"normalt\\\" innebærer en viss grad av illegality."
+
+#~ msgid ""
+#~ "My point is instead one that democracies understood for generations, but "
+#~ "that we recently have learned to forget. The rule of law depends upon "
+#~ "people obeying the law. The more often, and more repeatedly, we as "
+#~ "citizens experience violating the law, the less we respect the law. "
+#~ "Obviously, in most cases, the important issue is the law, not respect for "
+#~ "the law. I don't care whether the rapist respects the law or not; I want "
+#~ "to catch and incarcerate the rapist. But I do care whether my students "
+#~ "respect the law. And I do care if the rules of law sow increasing "
+#~ "disrespect because of the extreme of regulation they impose. Twenty "
+#~ "million Americans have come of age since the Internet introduced this "
+#~ "different idea of \\\"sharing.\\\" We need to be able to call these "
+#~ "twenty million Americans \\\"citizens,\\\" not \\\"felons.\\\""
+#~ msgstr ""
+#~ "Mitt poeng er i stedet en som demokratier forstått i generasjoner, men "
+#~ "som vi nylig har lært å glemme. rettssikkerhet, er avhengig av folk som "
+#~ "følge loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve "
+#~ "brudd på loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste "
+#~ "tilfeller, det viktige spørsmålet er lov, ikke respekt for loven. jeg "
+#~ "ikke bryr seg om voldtektsforbryter respekterer loven eller ikke; Jeg "
+#~ "ønsker å fange og fengsle voldtektsforbryter. men jeg bryr seg om mine "
+#~ "studenter respekterer loven. og jeg bryr seg Hvis reglene for loven purke "
+#~ "økende aktelse på grunn av ekstreme regulering de innføre. fem millioner "
+#~ "amerikanere har kommet av alder siden Internett innført denne annen ide "
+#~ "om \\\"deling.\\\" vi trenger å kunne ringe disse fem millioner "
+#~ "amerikanere \\\"borgere,\\\" ikke \\\"felons\\\"."
+
+#~ msgid ""
+#~ "We all own CDs. Many of us still own phonograph records. These pieces of "
+#~ "plastic encode music that in a certain sense we have bought. The law "
+#~ "protects our right to buy and sell that plastic: It is not a copyright "
+#~ "infringement for me to sell all my classical records at a used record "
+#~ "store and buy jazz records to replace them. That \\\"use\\\" of the "
+#~ "recordings is free."
+#~ msgstr ""
+#~ "vi alle egne CDer. mange av oss fortsatt eier fonograf poster. disse "
+#~ "bitene av plast kode musikk at i en viss forstand vi har kjøpt. loven "
+#~ "beskytter vår rett til å kjøpe og selge den plasten: det er ikke en "
+#~ "krenkelse av opphavsrett for meg å selge min klassisk poster på en brukte "
+#~ "platebutikk og kjøpe jazz poster hvis du vil erstatte dem. \\\"Bruk\\\" "
+#~ "av opptak er gratis."
+
+#~ msgid ""
+#~ "But as the MP3 craze has demonstrated, there is another use of phonograph "
+#~ "records that is effectively free. Because these recordings were made "
+#~ "without copy-protection technologies, I am \\\"free\\\" to copy, or \\"
+#~ "\"rip,\\\" music from my records onto a computer hard disk. Indeed, Apple "
+#~ "Corporation went so far as to suggest that \\\"freedom\\\" was a right: "
+#~ "In a series of commercials, Apple endorsed the \\\"Rip, Mix, Burn\\\" "
+#~ "capacities of digital technologies."
+#~ msgstr ""
+#~ "men som mp3-Mani har vist, er det en annen bruk av fonogram som er "
+#~ "effektivt gratis. Disse opptakene ble gjort uten kopibeskyttelse "
+#~ "teknologier, og jeg er det \\\"gratis\\\" for å kopiere eller \\\"rip\\\" "
+#~ "musikk fra min poster på en harddisk på datamaskinen. faktisk apple "
+#~ "corporation gikk så langt som å foreslå at \\\"friheten\\\" var en rett: "
+#~ "i en rekke reklamefilmer, apple godkjent \\\"rip, mikse, brenne\\\" "
+#~ "kapasiteter digitale teknologier."
+
+#~ msgid ""
+#~ "This \\\"use\\\" of my records is certainly valuable. I have begun a "
+#~ "large process at home of ripping all of my and my wife's CDs, and storing "
+#~ "them in one archive. Then, using Apple's iTunes, or a wonderful program "
+#~ "called Andromeda, we can build different play lists of our music: Bach, "
+#~ "Baroque, Love Songs, Love Songs of Significant Others--the potential is "
+#~ "endless. And by reducing the costs of mixing play lists, these "
+#~ "technologies help build a creativity with play lists that is itself "
+#~ "independently valuable. Compilations of songs are creative and meaningful "
+#~ "in their own right."
+#~ msgstr ""
+#~ "Denne \\\"Bruk\\\" av min poster er absolutt verdifull. Jeg har begynt en "
+#~ "stor prosess hjemme med ripping av alle mine og min kones CDer, og lagre "
+#~ "dem i en arkiv. deretter bruker Apples itunes eller en praktfull program "
+#~ "kalt andromeda, kan vi bygge forskjellige spillelister over våre musikk: "
+#~ "bach, barokk, love songs, love songs av betydelige andre--potensialet er "
+#~ "uendelige. og ved å redusere kostnadene ved å blande spillelister, disse "
+#~ "teknologier hjelpe bygge en kreativitet med spille lister som selv er "
+#~ "uavhengig verdifull. samlinger av sanger er kreative og meningsfull i "
+#~ "egen rett."
+
+#~ msgid ""
+#~ "If these technologies took off, then the building of large archives of "
+#~ "your own music would become quite difficult. You might hang in hacker "
+#~ "circles, and get technology to disable the technologies that protect the "
+#~ "content. Trading in those technologies is illegal, but maybe that doesn't "
+#~ "bother you much. In any case, for the vast majority of people, these "
+#~ "protection technologies would effectively destroy the archiving use of "
+#~ "CDs. The technology, in other words, would force us all back to the world "
+#~ "where we either listened to music by manipulating pieces of plastic or "
+#~ "were part of a massively complex \\\"digital rights management\\\" system."
+#~ msgstr ""
+#~ "Hvis disse teknologiene tok av, ville og bygging av store arkiver av din "
+#~ "egen musikk bli ganske vanskelig. Du kan henge i hacker sirkler, og få "
+#~ "teknologi for å deaktivere teknologier som beskytter innholdet. handel i "
+#~ "disse teknologiene er ulovlig, men kanskje som bry ikke deg mye. i alle "
+#~ "fall for de aller fleste mennesker ville disse beskyttelse teknologiene "
+#~ "effektivt ødelegge arkivering bruk av CDer. teknologi, med andre ord, vil "
+#~ "tvinge oss alle tilbake til verden der vi lyttet til musikk ved å "
+#~ "manipulere stykker av plast eller var del av en svært kompleks \\"
+#~ "\"digital rights management\\\" systemet."
+
+#~ msgid ""
+#~ "It is understandable why they choose as they do. It is not understandable "
+#~ "why we as a democracy continue to choose as we do. Jack Valenti is "
+#~ "charming; but not so charming as to justify giving up a tradition as deep "
+#~ "and important as our tradition of free culture. There's one more aspect "
+#~ "to this corruption that is particularly important to civil liberties, and "
+#~ "follows directly from any war of prohibition. As Electronic Frontier "
+#~ "Foundation attorney Fred von Lohmann describes, this is the \\"
+#~ "\"collateral damage\\\" that \\\"arises whenever you turn a very large "
+#~ "percentage of the population into criminals.\\\" This is the collateral "
+#~ "damage to civil liberties generally."
+#~ msgstr ""
+#~ "Det er forståelig hvorfor de velger som de gjør. Det er ikke forståelig "
+#~ "hvorfor vi som et demokrati fortsette å velge som vi gjør. Jack valenti "
+#~ "er sjarmerende; men ikke så sjarmerende som å rettferdiggjøre å gi opp en "
+#~ "tradisjon som dypt og viktig som vår tradisjon for fri kultur. Det er en "
+#~ "mer aspekt til dette kan føre til minnefeil som er spesielt viktig for "
+#~ "borgerrettigheter, og følger direkte fra noen krig av forbudet. som "
+#~ "electronic frontier foundation advokat fred von sang beskriver, dette er "
+#~ "den \\\"sikkerhetsstillelse skaden\\\" som \\\"oppstår når du slår en "
+#~ "veldig stor prosentandel av befolkningen i kriminelle.\\\" Dette er "
+#~ "sikkerhetsstillelse skader på borgerrettigheter vanligvis."
+
+#~ msgid ""
+#~ "\\\"If you can treat someone as a putative lawbreaker,\\\" von Lohmann "
+#~ "explains,"
+#~ msgstr ""
+#~ "\\\"Hvis du kan behandle noen som en antatte lawbreaker,\\\" forklarer "
+#~ "von sang,"
+
+#~ msgid ""
+#~ "then all of a sudden a lot of basic civil liberty protections evaporate "
+#~ "to one degree or another. . . . If you're a copyright infringer, how can "
+#~ "you hope to have any privacy rights? If you're a copyright infringer, how "
+#~ "can you hope to be secure against seizures of your computer? How can you "
+#~ "hope to continue to receive Internet access? . . . Our sensibilities "
+#~ "change as soon as we think, \\\"Oh, well, but that person's a criminal, a "
+#~ "lawbreaker.\\\" Well, what this campaign against file sharing has done is "
+#~ "turn a remarkable percentage of the American Internet-using population "
+#~ "into \\\"lawbreakers.\\\""
+#~ msgstr ""
+#~ "så plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe "
+#~ "til en grad eller annen.... Hvis du er en opphavsrett på lovgivningen, "
+#~ "hvordan kan du håper å ha noen personvernet? Hvis du er en opphavsrett på "
+#~ "lovgivningen, hvordan kan du håper å bli sikker mot beslag av "
+#~ "datamaskinen? Hvordan kan du håper å fortsette å motta Internett-"
+#~ "tilgang? ... vår sensibilities endre så snart vi tror, \\\"oh, vel, men "
+#~ "denne personen er en kriminell, lawbreaker.\\\" Vel, hva denne kampanjen "
+#~ "mot fildeling har gjort er å slå en bemerkelsesverdig prosent av den "
+#~ "amerikanske internet-bruker befolkningen i \\\"lawbreakers.\\\""
+
+#~ msgid ""
+#~ "See Frank Ahrens, \\\"RIAA's Lawsuits Meet Surprised Targets; Single "
+#~ "Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,\\\" "
+#~ "Washington Post, 10 September 2003, E1; Chris Cobbs, \\\"Worried Parents "
+#~ "Pull Plug on File `Stealing'; With the Music Industry Cracking Down on "
+#~ "File Swapping, Parents are Yanking Software from Home PCs to Avoid Being "
+#~ "Sued,\\\" Orlando Sentinel Tribune, 30 August 2003, C1; Jefferson Graham, "
+#~ "\\\"Recording Industry Sues Parents,\\\" USA Today, 15 September 2003, "
+#~ "4D; John Schwartz, \\\"She Says She's No Music Pirate. No Snoop Fan, "
+#~ "Either,\\\" New York Times, 25 September 2003, C1; Margo Varadi, \\\"Is "
+#~ "Brianna a Criminal?\\\" Toronto Star, 18 September 2003, P7."
+#~ msgstr ""
+#~ "se frank ahrens, \\\"riaa's søksmål møte overrasket over mål; enkelt mor "
+#~ "i California, 12-år gammel jente i ny blant saksøkte,\\\"washington post, "
+#~ "10 september 2003, e1; Chris cobbs, \\\"bekymret foreldre trekke pluggen "
+#~ "på filen\\\"stjele\\\"; med musikkbransjen cracking ned på Filbytte, er "
+#~ "foreldre prøver å lure programvare fra hjemme-PC å unngå blir saksøkte,\\"
+#~ "\"orlando sentinel tribune, 30 august 2003, c1; Jefferson graham, \\"
+#~ "\"innspillingen industri sues foreldre,\\\" usa today, 15 september 2003, "
+#~ "4 d; John schwartz, \\\"hun sier hun er ingen musikk pirat. ikke snoop "
+#~ "fan, enten,\\\"new york times, 25 september 2003, c1; Margo varadi, \\"
+#~ "\"er brianna en kriminell?\\\" toronto star, 18 september 2003, p7."
+
+#~ msgid ""
+#~ "Now, of course, she'll have the right to defend herself. You can hire a "
+#~ "lawyer for her (at $300 per hour, if you're lucky), and she can plead "
+#~ "that she didn't know anything about the source of the songs or that they "
+#~ "came from Napster. And it may well be that the university believes her. "
+#~ "But the university might not believe her. It might treat this \\"
+#~ "\"contraband\\\" as presumptive of guilt. And as any number of college "
+#~ "students have already learned, our presumptions about innocence disappear "
+#~ "in the middle of wars of prohibition. This war is no different. Says von "
+#~ "Lohmann,"
+#~ msgstr ""
+#~ "nå, selvfølgelig, hun vil ha rett til å forsvare seg selv. Du kan leie en "
+#~ "advokat for henne (på $300 per time, hvis du er heldig), og hun kan "
+#~ "erkjenne at hun ikke visste noe om kilden til sangene eller at de kom fra "
+#~ "napster. og det kan godt være at universitetet mener henne. Men "
+#~ "universitetet kan ikke tro henne. Det kan behandle denne \\\"Kontrabande\\"
+#~ "\" som presumptive av skyld. og som mange studenter har allerede lært, "
+#~ "våre arrogante forutsetningen om uskyld forsvinne i midten av krigene om "
+#~ "forbud. denne krigen er ikke annerledes. sier von sang,"
+
+#~ msgid ""
+#~ "When forty to sixty million Americans are considered \\\"criminals\\\" "
+#~ "under the law, and when the law could achieve the same objective-- "
+#~ "securing rights to authors--without these millions being considered \\"
+#~ "\"criminals,\\\" who is the villain? Americans or the law? Which is "
+#~ "American, a constant war on our own people or a concerted effort through "
+#~ "our democracy to change our law?"
+#~ msgstr ""
+#~ "Når førti til seksti millioner amerikanere anses \\\"kriminelle\\\" under "
+#~ "loven, og når loven kan oppnå det samme målet--sikre rettighetene til "
+#~ "forfattere--uten disse millioner blir betraktet som \\\"kriminelle\\\", "
+#~ "som er skurk? amerikanere eller loven? som er amerikansk, en konstant "
+#~ "krig på våre egne folk eller en felles innsats gjennom vårt demokrati for "
+#~ "å endre vår lov?"
+
+#~ msgid ""
+#~ "The full text is: \\\"Sonny [Bono] wanted the term of copyright "
+#~ "protection to last forever. I am informed by staff that such a change "
+#~ "would violate the Constitution. I invite all of you to work with me to "
+#~ "strengthen our copyright laws in all of the ways available to us. As you "
+#~ "know, there is also Jack Valenti's proposal for a term to last forever "
+#~ "less one day. Perhaps the Committee may look at that next Congress,\\\" "
+#~ "144 Cong. Rec. H9946, 9951-2 (October 7, 1998)."
+#~ msgstr ""
+#~ "hele teksten er: \\\"sonny [bono] ønsket av opphavsrettslig vern til å "
+#~ "vare evig. Jeg informert av ansatte at slik endring ville bryte "
+#~ "Grunnloven. Jeg inviterer alle til å arbeide med meg å styrke våre lover "
+#~ "om opphavsrett i alle måter som er tilgjengelig for oss. som du vet, er "
+#~ "det også jack valenti forslag til et uttrykk til å vare evig mindre en "
+#~ "dag. Komiteen kan kanskje se på at neste Kongressen,\\\"144 cong. REC "
+#~ "h9946, 9951-2 (7. oktober 1998)."
+
+#~ msgid ""
+#~ "As I've described, this clause is unique within the power-granting clause "
+#~ "of Article I, section 8 of our Constitution. Every other clause granting "
+#~ "power to Congress simply says Congress has the power to do something--for "
+#~ "example, to regulate \\\"commerce among the several states\\\" or \\"
+#~ "\"declare War.\\\" But here, the \\\"something\\\" is something quite "
+#~ "specific--to \\\"promote . . . Progress\\\"--through means that are also "
+#~ "specific-- by \\\"securing\\\" \\\"exclusive Rights\\\" (i.e., "
+#~ "copyrights) \\\"for limited Times.\\\""
+#~ msgstr ""
+#~ "som jeg har beskrevet, denne bestemmelsen er unikt innenfor strøm-"
+#~ "granting-setningsdel i artikkelen i, Seksjon 8 av vår grunnlov. hver "
+#~ "andre setningsdelen gi strøm til Kongressen sier bare Kongressen har makt "
+#~ "til å gjøre noe--for eksempel, å regulere \\\"handel mellom flere stater\\"
+#~ "\" eller \\\"erklærer krig\\\" men her, \\\"noe\\\" er noe helt spesielt--"
+#~ "å \\\"fremme... fremgang\\\"--gjennom betyr at er også spesifikke--av \\"
+#~ "\"sikre\\\" \\\"enerett\\\" (det vil si opphavsrett) \\\"for begrenset "
+#~ "ganger.\\\""
+
+#~ msgid ""
+#~ "In the past forty years, Congress has gotten into the practice of "
+#~ "extending existing terms of copyright protection. What puzzled me about "
+#~ "this was, if Congress has the power to extend existing terms, then the "
+#~ "Constitution's requirement that terms be \\\"limited\\\" will have no "
+#~ "practical effect. If every time a copyright is about to expire, Congress "
+#~ "has the power to extend its term, then Congress can achieve what the "
+#~ "Constitution plainly forbids--perpetual terms \\\"on the installment plan,"
+#~ "\\\" as Professor Peter Jaszi so nicely put it."
+#~ msgstr ""
+#~ "i de siste 40 årene, har Kongressen fått i praksis for å utvide "
+#~ "eksisterende vilkår for opphavsrettslig vern. Hva rådvill meg om dette "
+#~ "var, hvis Kongressen har makt til å utvide eksisterende vilkår, så for "
+#~ "grunnlovens krav at vilkårene være \\\"begrenset\\\" vil ha noen "
+#~ "praktiske effekten. Hvis hver gang en opphavsrett er om å opphøre, "
+#~ "Kongressen har makt til å utvide sin sikt, Kongressen kan oppnå hva "
+#~ "Grunnloven tydelig forbyr--evigvarende vilkår \\\"på avbetaling plan,\\\" "
+#~ "som professor peter jaszi så pent sette den."
+
+#~ msgid ""
+#~ "For this is the core of the corruption in our present system of "
+#~ "government. \\\"Corruption\\\" not in the sense that representatives are "
+#~ "bribed. Rather, \\\"corruption\\\" in the sense that the system induces "
+#~ "the beneficiaries of Congress's acts to raise and give money to Congress "
+#~ "to induce it to act. There's only so much time; there's only so much "
+#~ "Congress can do. Why not limit its actions to those things it must do--"
+#~ "and those things that pay? Extending copyright terms pays."
+#~ msgstr ""
+#~ "for dette er kjernen i korrupsjon i vår nåværende system av regjeringen. "
+#~ "\\\"ødelagt\\\" ikke i den forstand at representanter er bribed. snarere "
+#~ "\\\"corruption\\\" i den forstand at systemet leder beneficiaries av "
+#~ "congress's handlinger for å øke og gi penger til Kongressen for å få det "
+#~ "til å handle. Det er bare så mye tid; Det er bare så mye kongress kan "
+#~ "gjøre. Hvorfor ikke begrense handlingene til disse tingene det må gjøre-- "
+#~ "og de tingene som betaler? forlengelse av lønner seg."
+
+#~ msgid ""
+#~ "\\\"Next year,\\\" the adviser announces, \\\"our copyrights in works A, "
+#~ "B, and C will expire. That means that after next year, we will no longer "
+#~ "be receiving the annual royalty check of $100,000 from the publishers of "
+#~ "those works."
+#~ msgstr ""
+#~ "\\\"neste år,\\\" rådgiver kunngjør, \\\"våre opphavsrett i works a, b og "
+#~ "c vil utløpe. Det betyr at etter neste år, vi vil ikke lenger motta "
+#~ "årlige royalty kontroll av $100.000 fra utgivere av disse fungerer."
+
+#~ msgid ""
+#~ "\\\"There's a proposal in Congress, however,\\\" she continues, \\\"that "
+#~ "could change this. A few congressmen are floating a bill to extend the "
+#~ "terms of copyright by twenty years. That bill would be extraordinarily "
+#~ "valuable to us. So we should hope this bill passes.\\\""
+#~ msgstr ""
+#~ "\\\"det er et forslag i Kongressen, men,\\\" hun fortsetter, \\\"som kan "
+#~ "endre dette. noen congressmen flyter en regning å utvide vilkårene i "
+#~ "copyright ved tjue år. at regningen ville være ekstremt verdifullt for "
+#~ "oss. så vi bør håpe passerer denne regningen.\\\""
+
+#~ msgid ""
+#~ "\\\"Hope?\\\" a fellow board member says. \\\"Can't we be doing something "
+#~ "about it?\\\""
+#~ msgstr ""
+#~ "\\\"håper?\\\" styremedlem stipendiat sier. \\\"kan ikke vi gjøre noe med "
+#~ "det?\\\""
+
+#~ msgid ""
+#~ "\\\"Well, obviously, yes,\\\" the adviser responds. \\\"We could "
+#~ "contribute to the campaigns of a number of representatives to try to "
+#~ "assure that they support the bill.\\\""
+#~ msgstr ""
+#~ "\\\"Vel, tydeligvis ja,\\\" rådgiver svarer. \\\"vi kunne bidra til "
+#~ "kampanjene av en rekke representanter å prøve å sikre at de støtter "
+#~ "regningen.\\\""
+
+#~ msgid ""
+#~ "You hate politics. You hate contributing to campaigns. So you want to "
+#~ "know whether this disgusting practice is worth it. \\\"How much would we "
+#~ "get if this extension were passed?\\\" you ask the adviser. \\\"How much "
+#~ "is it worth?\\\""
+#~ msgstr ""
+#~ "du hater politikk. du hater at bidra til kampanjer. så du ønsker å vite "
+#~ "om denne motbydelig praksis er verdt det. \\\"hvor mye ville vi få Hvis "
+#~ "denne utvidelsen ble passert?\\\" du be rådgiver. \\\"hvor mye er det "
+#~ "verdt?\\\""
+
+#~ msgid ""
+#~ "\\\"Well,\\\" the adviser says, \\\"if you're confident that you will "
+#~ "continue to get at least $100,000 a year from these copyrights, and you "
+#~ "use the `discount rate' that we use to evaluate estate investments (6 "
+#~ "percent), then this law would be worth $1,146,000 to the estate.\\\""
+#~ msgstr ""
+#~ "\\\"Vel,\\\" rådgiver sier, \\\"Hvis du er sikker på at du vil fortsette "
+#~ "å få minst $100.000 i året fra disse opphavsrett, og du bruker "
+#~ "'diskontosats' som vi bruker til å evaluere eiendom investeringer (6 "
+#~ "prosent), og denne loven vil være verdt $1,146,000 til eiendom.\\\""
+
+#~ msgid ""
+#~ "\\\"So you're saying it would be worth it for us to pay more than "
+#~ "$1,000,000 in campaign contributions if we were confident those "
+#~ "contributions would assure that the bill was passed?\\\""
+#~ msgstr ""
+#~ "så du sier det ville være verdt det for oss å betale mer enn $1,000,000 i "
+#~ "kampanjen bidrag om vi var sikker på disse bidragene vil forsikre at "
+#~ "regningen ble sendt?"
+
+#~ msgid ""
+#~ "\\\"Absolutely,\\\" the adviser responds. \\\"It is worth it to you to "
+#~ "contribute up to the `present value' of the income you expect from these "
+#~ "copyrights. Which for us means over $1,000,000.\\\""
+#~ msgstr ""
+#~ "\\\"absolutt\\\", svarer rådgiver. \\\"det er verdt det for deg å bidra "
+#~ "med opp til stede verdien av inntekten du forventer fra disse "
+#~ "opphavsrettigheter. som for oss betyr over $1,000,000.\\\""
+
+#~ msgid ""
+#~ "Associated Press, \\\"Disney Lobbying for Copyright Extension No Mickey "
+#~ "Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,\\\" "
+#~ "Chicago Tribune, 17 October 1998, 22."
+#~ msgstr ""
+#~ "Associated press, \\\"disney lobbyvirksomhet for opphavsrett filtypen "
+#~ "ingen Mikke Mus innsats; Kongressen øks bill tildeling skaperne 20 år,\\"
+#~ "\"chicago tribune, 17 oktober 1998, 22."
+
+#~ msgid ""
+#~ "Constitutional law is not oblivious to the obvious. Or at least, it need "
+#~ "not be. So when I was considering Eldred's complaint, this reality about "
+#~ "the never-ending incentives to increase the copyright term was central to "
+#~ "my thinking. In my view, a pragmatic court committed to interpreting and "
+#~ "applying the Constitution of our framers would see that if Congress has "
+#~ "the power to extend existing terms, then there would be no effective "
+#~ "constitutional requirement that terms be \\\"limited.\\\" If they could "
+#~ "extend it once, they would extend it again and again and again."
+#~ msgstr ""
+#~ "konstitusjonelle loven er ikke oblivious til det åpenbare. eller i det "
+#~ "minste, det trenger ikke være. så når jeg var vurderer eldred's klage, "
+#~ "denne virkeligheten om never-ending insentiver til å øke opphavsrett "
+#~ "begrepet var sentral til min tenkning. i min mening, vil en pragmatisk "
+#~ "domstol forpliktet til å tolke og bruke Grunnloven av våre underskrev se "
+#~ "at hvis Kongressen har makt til å utvide eksisterende vilkår, og det vil "
+#~ "være ingen effektiv konstitusjonelle krav at vilkårene være \\\"begrenset."
+#~ "\\\" Hvis de kunne forlenge det en gang, de ville utvide den igjen og "
+#~ "igjen og igjen."
+
+#~ msgid ""
+#~ "Since 1937, the Supreme Court had interpreted Congress's granted powers "
+#~ "very broadly; so, while the Constitution grants Congress the power to "
+#~ "regulate only \\\"commerce among the several states\\\" (aka \\"
+#~ "\"interstate commerce\\\"), the Supreme Court had interpreted that power "
+#~ "to include the power to regulate any activity that merely affected "
+#~ "interstate commerce."
+#~ msgstr ""
+#~ "siden 1937, hadde Høyesterett tolket congress's gitt krefter svært bredt; "
+#~ "så mens Grunnloven gir Kongressen makt til å regulere bare \\\"handel "
+#~ "mellom flere stater\\\" (aka \\\"utdanningen handel\\\"), Høyesterett "
+#~ "hadde tolket som makt til å inkludere makt til å regulere alle "
+#~ "aktiviteter som bare berørt utdanningen handel."
+
+#~ msgid ""
+#~ "If it is a principle about enumerated powers, then the principle carries "
+#~ "from one enumerated power to another. The animating point in the context "
+#~ "of the Commerce Clause was that the interpretation offered by the "
+#~ "government would allow the government unending power to regulate "
+#~ "commerce--the limitation to interstate commerce notwithstanding. The same "
+#~ "point is true in the context of the Copyright Clause. Here, too, the "
+#~ "government's interpretation would allow the government unending power to "
+#~ "regulate copyrights--the limitation to \\\"limited times\\\" "
+#~ "notwithstanding."
+#~ msgstr ""
+#~ "Hvis det er et prinsipp om nummerert kreftene, deretter bærer prinsippet "
+#~ "fra en nummerert power til en annen. animert poenget i konteksten av "
+#~ "handel-setningsdelen var at tolkningen tilbys av regjeringen ville "
+#~ "tillate regjeringen unending makt til å regulere handel--begrenset til "
+#~ "utdanningen handel til tross for. det samme punktet er sant i forbindelse "
+#~ "med opphavsrett-setningsdel. her også, regjeringens tolkning ville "
+#~ "tillate regjeringen unending makt til å regulere opphavsrett--begrenset "
+#~ "til \\\"begrenset ganger\\\" til tross for."
+
+#~ 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 interpretation of the Constitution. The idea that the Supreme "
+#~ "Court decides cases based upon its politics struck me as extraordinarily "
+#~ "boring. I was not going to devote my life to teaching constitutional law "
+#~ "if these nine Justices were going to be petty politicians."
+#~ msgstr ""
+#~ "Hvis, det vil si at prinsippet annonsert i lopez stod for et prinsipp. "
+#~ "mange trodde beslutningen i lopez stod for politikk--en konservativ "
+#~ "Høyesterett, som trodde på states rettigheter, ved hjelp av sin makt over "
+#~ "Kongressen for å fremme sine egne personlige politiske preferanser. men "
+#~ "jeg har avvist denne visningen av Høyesterett beslutning. faktisk, kort "
+#~ "tid etter vedtaket skrev jeg en artikkel demonstrere \\\"kvalitet\\\" i "
+#~ "en slik tolkning av Grunnloven. ideen at Høyesterett bestemmer tilfeller "
+#~ "basert på sin politikk slo meg som svært kjedelig. Jeg hadde ikke tenkt å "
+#~ "vie livet til undervisning statsrett Hvis disse ni justiariusene skulle "
+#~ "være smålig politikere."
+
+#~ msgid ""
+#~ "It is valuable copyrights that are responsible for terms being extended. "
+#~ "Mickey Mouse and \\\"Rhapsody in Blue.\\\" These works are too valuable "
+#~ "for copyright owners to ignore. But the real harm to our society from "
+#~ "copyright extensions is not that Mickey Mouse remains Disney's. Forget "
+#~ "Mickey Mouse. Forget Robert Frost. Forget all the works from the 1920s "
+#~ "and 1930s that have continuing commercial value. The real harm of term "
+#~ "extension comes not from these famous works. The real harm is to the "
+#~ "works that are not famous, not commercially exploited, and no longer "
+#~ "available as a result."
+#~ msgstr ""
+#~ "Det er verdifull opphavsrett som er ansvarlig for vilkårene blir utvidet. "
+#~ "Mikke Mus og \\\"rhapsody in blue.\\\" disse verkene er også nyttig for "
+#~ "eiere av opphavsretter å ignorere. men reell skade samfunnet fra "
+#~ "opphavsrett servertilleggene er ikke at Mikke Mus forblir disney. glem "
+#~ "Mikke Mus. glem robert frost. Glem alle verker fra 1920- og 1930-tallet "
+#~ "som har fortsetter kommersiell verdi. reell skade sikt-utvidelsen kommer "
+#~ "ikke fra disse berømte verk. reell skade er Works ikke er kjent, ikke "
+#~ "kommersielt utnyttede og ikke lenger tilgjengelig som et resultat."
+
+#~ msgid ""
+#~ "\\\"But there isn't a list of who owns property generally,\\\" the "
+#~ "apologists for the system respond. \\\"Why should there be a list of "
+#~ "copyright owners?\\\""
+#~ msgstr ""
+#~ "\\\"men det er ikke en liste av hvem som eier egenskapen vanligvis\\\" "
+#~ "apologists for systemet svarer. \\\"Hvorfor skulle det være en liste over "
+#~ "eiere av opphavsretter?\\\""
+
+#~ msgid ""
+#~ "See David G. Savage, \\\"High Court Scene of Showdown on Copyright Law,\\"
+#~ "\" Los Angeles Times, 6 October 2002; David Streitfeld, \\\"Classic "
+#~ "Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today on "
+#~ "Striking Down Copyright Extension,\\\" Orlando Sentinel Tribune, 9 "
+#~ "October 2002."
+#~ msgstr ""
+#~ "Hvis du vil se david g. savage, \\\"high court scene av showdown på lov "
+#~ "om opphavsrett\\\" los angeles times, 6 oktober 2002; David streitfeld, \\"
+#~ "\"klassiske filmer, sanger, bøker på spill; Høyesterett hører argumenter "
+#~ "i dag på støtning ned opphavsrett forlengelsen,\\\"orlando sentinel "
+#~ "tribune, 9 oktober 2002."
+
+#~ msgid ""
+#~ "\\\"But can't you just restore the film, distribute it, and then pay the "
+#~ "copyright owner when she shows up?\\\" Sure, if you want to commit a "
+#~ "felony. And even if you're not worried about committing a felony, when "
+#~ "she does show up, she'll have the right to sue you for all the profits "
+#~ "you have made. So, if you're successful, you can be fairly confident "
+#~ "you'll be getting a call from someone's lawyer. And if you're not "
+#~ "successful, you won't make enough to cover the costs of your own lawyer. "
+#~ "Either way, you have to talk to a lawyer. And as is too often the case, "
+#~ "saying you have to talk to a lawyer is the same as saying you won't make "
+#~ "any money."
+#~ msgstr ""
+#~ "\\\"men ikke kan du bare gjenopprette filmen, distribuere den, og "
+#~ "deretter betale eieren av opphavsretten når hun viser?\\\" sikker, hvis "
+#~ "du vil utføre en forbrytelse. og selv om din ikke ' bekymret når hun "
+#~ "viser, begår du en forbrytelse, hun vil ha rett til å saksøke deg for "
+#~ "alle fortjeneste du har gjort. så, hvis du lykkes, du kan være ganske "
+#~ "sikker på at du får et anrop fra noens advokat. og hvis du ikke er "
+#~ "vellykket, kan du gjøre ikke nok til å dekke kostnadene for din egen "
+#~ "advokat. Uansett, du har å snakke med en advokat. og som for ofte er "
+#~ "tilfellet, sier du har til å snakke med en advokat er det samme som å si "
+#~ "du ikke gjøre noen penger."
+
+#~ msgid ""
+#~ "Of all the creative work produced by humans anywhere, a tiny fraction has "
+#~ "continuing commercial value. For that tiny fraction, the copyright is a "
+#~ "crucially important legal device. For that tiny fraction, the copyright "
+#~ "creates incentives to produce and distribute the creative work. For that "
+#~ "tiny fraction, the copyright acts as an \\\"engine of free expression.\\\""
+#~ msgstr ""
+#~ "av alle kreative arbeidet produsert av mennesker overalt, har en liten "
+#~ "brøkdel fortsetter kommersiell verdi. for at liten brøkdel er "
+#~ "opphavsretten en svært viktig juridisk enhet. for at liten brøkdel "
+#~ "oppretter opphavsretten incentiver til å produsere og distribuere "
+#~ "skapende arbeid. for at liten brøkdel fungerer opphavsretten som en \\"
+#~ "\"motoren i fri ytring.\\\""
+
+#~ msgid ""
+#~ "You may well ask, \\\"But if digital technologies lower the costs for "
+#~ "Brewster Kahle, then they will lower the costs for Random House, too. So "
+#~ "won't Random House do as well as Brewster Kahle in spreading culture "
+#~ "widely?\\\""
+#~ msgstr ""
+#~ "Du kan også spørre, \\\"men hvis digital teknologi lavere kostnader for "
+#~ "brewster kahle, deretter de vil lavere kostnader for random house, også. "
+#~ "så ikke random house gjøre samt brewster kahle i å spre kultur allment?\\"
+#~ "\""
+
+#~ msgid ""
+#~ "Maybe. Someday. But there is absolutely no evidence to suggest that "
+#~ "publishers would be as complete as libraries. If Barnes & Noble "
+#~ "offered to lend books from its stores for a low price, would that "
+#~ "eliminate the need for libraries? Only if you think that the only role of "
+#~ "a library is to serve what \\\"the market\\\" would demand. But if you "
+#~ "think the role of a library is bigger than this--if you think its role is "
+#~ "to archive culture, whether there's a demand for any particular bit of "
+#~ "that culture or not--then we can't count on the commercial market to do "
+#~ "our library work for us."
+#~ msgstr ""
+#~ "kanskje. en dag. men det er absolutt ingen bevis som tyder på at utgivere "
+#~ "ville være så fullstendig som biblioteker. Hvis barnes & noble "
+#~ "tilbudt å låne bøker fra sine butikker for en lav pris, ville som "
+#~ "eliminerer behovet for biblioteker? bare hvis du mener at et bibliotek "
+#~ "eneste rolle er å tjene \\\"markedet\\\" ville kreve. men hvis du tror "
+#~ "rollen til et bibliotek er større enn dette--hvis du tror sin rolle er å "
+#~ "arkivere kultur, om det er en etterspørsel etter en bestemt bit av denne "
+#~ "kulturen eller ikke-- så vi ikke stole på det kommersielle markedet å "
+#~ "gjøre arbeidet vårt bibliotek for oss."
+
+#~ msgid ""
+#~ "In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal "
+#~ "district court in Washington, D.C., asking the court to declare the Sonny "
+#~ "Bono Copyright Term Extension Act unconstitutional. The two central "
+#~ "claims that we made were (1) that extending existing terms violated the "
+#~ "Constitution's \\\"limited Times\\\" requirement, and (2) that extending "
+#~ "terms by another twenty years violated the First Amendment."
+#~ msgstr ""
+#~ "i januar 1999 anlagt vi en sak på eric eldred vegne i federal district "
+#~ "court i washington, DC, spør domstolen å erklære sonny bono opphavsrett "
+#~ "begrepet forlengelse loven unconstitutional. to sentrale krav som vi "
+#~ "gjorde var (1) at utvide eksisterende vilkårene krenket av Grunnloven \\"
+#~ "\"begrenset ganger\\\" krav, og (2) at utvide vilkårene ved en annen tjue "
+#~ "år krenket first endring."
+
+#~ msgid ""
+#~ "Judge David Sentelle said the CTEA violated the requirement that "
+#~ "copyrights be for \\\"limited Times\\\" only. His argument was as elegant "
+#~ "as it was simple: If Congress can extend existing terms, then there is no "
+#~ "\\\"stopping point\\\" to Congress's power under the Copyright Clause. "
+#~ "The power to extend existing terms means Congress is not required to "
+#~ "grant terms that are \\\"limited.\\\" Thus, Judge Sentelle argued, the "
+#~ "court had to interpret the term \\\"limited Times\\\" to give it meaning. "
+#~ "And the best interpretation, Judge Sentelle argued, would be to deny "
+#~ "Congress the power to extend existing terms."
+#~ msgstr ""
+#~ "dommer david sentelle sa ctea brutt kravet opphavsrett være for \\"
+#~ "\"begrenset ganger\\\" bare. hans argument var like elegant som den var "
+#~ "enkel: Hvis Kongressen kan utvide eksisterende vilkår, så det er ingen \\"
+#~ "\"stoppe poeng\\\" til Kongressens makten under opphavsrett-setningsdel. "
+#~ "strøm for å forlenge eksisterende vilkårene betyr Kongressen ikke er "
+#~ "nødvendig å gi vilkårene at er \\\"begrenset.\\\" derfor dømme sentelle "
+#~ "hevdet, domstolen hadde å tolke begrepet \\\"begrenset ganger\\\" å gi "
+#~ "den mening. og beste tolkningen, dommer sentelle hevdet, ville være å "
+#~ "nekte Kongressen makt til å utvide eksisterende vilkår."
+
+#~ msgid ""
+#~ "We asked the Court of Appeals for the D.C. Circuit as a whole to hear the "
+#~ "case. Cases are ordinarily heard in panels of three, except for important "
+#~ "cases or cases that raise issues specific to the circuit as a whole, "
+#~ "where the court will sit \\\"en banc\\\" to hear the case."
+#~ msgstr ""
+#~ "vi spurte court of appeals for DC-kretsen som helhet å høre tilfelle. "
+#~ "tilfeller er vanligvis hørt i paneler med tre, med unntak av viktige "
+#~ "saker eller tilfeller som øke problemer som er spesifikke for kretsen som "
+#~ "helhet, der domstolen skal sitte \\\"no banc\\\" for å høre tilfelle."
+
+#~ msgid ""
+#~ "There were three key lawyers on the case from Jones Day. Geoff Stewart "
+#~ "was the first, but then Dan Bromberg and Don Ayer became quite involved. "
+#~ "Bromberg and Ayer in particular had a common view about how this case "
+#~ "would be won: We would only win, they repeatedly told me, if we could "
+#~ "make the issue seem \\\"important\\\" to the Supreme Court. It had to "
+#~ "seem as if dramatic harm were being done to free speech and free culture; "
+#~ "otherwise, they would never vote against \\\"the most powerful media "
+#~ "companies in the world.\\\""
+#~ msgstr ""
+#~ "Det var tre viktige advokater tilfelle fra jones dag. Geoff stewart var "
+#~ "først, men deretter dan bromberg og don ayer ble ganske involvert. "
+#~ "Bromberg og ayer spesielt hadde en felles oppfatning om hvordan dette "
+#~ "tilfellet ville bli vunnet: vi ville bare vinne, de gjentatte ganger "
+#~ "fortalte meg, hvis vi kunne gjøre problemet synes \\\"viktig\\\" til "
+#~ "Høyesterett. det måtte synes som om dramatisk skade ble gjort til "
+#~ "ytringsfriheten og fri kultur; ellers ville de aldri stemt mot \\\"de "
+#~ "kraftigste media selskapene i verden.\\\""
+
+#~ msgid ""
+#~ "I hate this view of the law. Of course I thought the Sonny Bono Act was a "
+#~ "dramatic harm to free speech and free culture. Of course I still think it "
+#~ "is. But the idea that the Supreme Court decides the law based on how "
+#~ "important they believe the issues are is just wrong. It might be \\\"right"
+#~ "\\\" as in \\\"true,\\\" I thought, but it is \\\"wrong\\\" as in \\\"it "
+#~ "just shouldn't be that way.\\\" As I believed that any faithful "
+#~ "interpretation of what the framers of our Constitution did would yield "
+#~ "the conclusion that the CTEA was unconstitutional, and as I believed that "
+#~ "any faithful interpretation of what the First Amendment means would yield "
+#~ "the conclusion that the power to extend existing copyright terms is "
+#~ "unconstitutional, I was not persuaded that we had to sell our case like "
+#~ "soap. Just as a law that bans the swastika is unconstitutional not "
+#~ "because the Court likes Nazis but because such a law would violate the "
+#~ "Constitution, so too, in my view, would the Court decide whether "
+#~ "Congress's law was constitutional based on the Constitution, not based on "
+#~ "whether they liked the values that the framers put in the Constitution."
+#~ msgstr ""
+#~ "Jeg hater denne visningen av loven. Selvfølgelig trodde jeg sonny bono "
+#~ "loven var en dramatisk skade på ytringsfriheten og fri kultur. "
+#~ "Selvfølgelig tror jeg fortsatt det er. men ideen om at Høyesterett "
+#~ "bestemmer loven basert på hvor viktig de tror problemene er er bare galt. "
+#~ "Det kan være \\\"riktig\\\" som i \\\"sann,\\\" jeg tenkte, men det er \\"
+#~ "\"galt\\\" som i \\\"det bare bør ikke være den måten.\\\" som jeg mente "
+#~ "at alle trofaste tolkning av forfatterne av vår grunnlov gjorde gi "
+#~ "konklusjonen at ctea var forfatningsstridig, og som jeg mente at alle "
+#~ "trofaste tolkning av hva den første endring betyr ville gi konklusjonen "
+#~ "som strøm for å forlenge eksisterende opphavsrett vilkårene er "
+#~ "unconstitutionalJeg var ikke overbevist om at vi måtte selge vårt "
+#~ "tilfelle som såpe. akkurat som en lov som forbud swastika er "
+#~ "unconstitutional ikke fordi retten liker nazistene, men fordi slik lov "
+#~ "ville bryte Grunnloven, så også, i min mening, ville domstol bestemmer om "
+#~ "congress's lov var konstitusjonelle basert på Grunnloven, ikke basert på "
+#~ "om de likte verdiene som underskrev de innlegge Grunnloven."
+
+#~ msgid ""
+#~ "The first step happened all by itself. Phyllis Schlafly's organization, "
+#~ "Eagle Forum, had been an opponent of the CTEA from the very beginning. "
+#~ "Mrs. Schlafly viewed the CTEA as a sellout by Congress. In November 1998, "
+#~ "she wrote a stinging editorial attacking the Republican Congress for "
+#~ "allowing the law to pass. As she wrote, \\\"Do you sometimes wonder why "
+#~ "bills that create a financial windfall to narrow special interests slide "
+#~ "easily through the intricate legislative process, while bills that "
+#~ "benefit the general public seem to get bogged down?\\\" The answer, as "
+#~ "the editorial documented, was the power of money. Schlafly enumerated "
+#~ "Disney's contributions to the key players on the committees. It was "
+#~ "money, not justice, that gave Mickey Mouse twenty more years in Disney's "
+#~ "control, Schlafly argued."
+#~ msgstr ""
+#~ "det første trinnet skjedde alt av seg selv. Phyllis schlafly "
+#~ "organisasjon, eagle forum, hadde vært motstander av ctea fra begynnelsen. "
+#~ "Mrs. schlafly sett ctea som en sellout av Kongressen. i november 1998 "
+#~ "skrev hun en stinging redaksjonelle angripe det republikanske Kongressen "
+#~ "for å la loven skjedde. som hun skrev, \\\"noen ganger lurer du hvorfor "
+#~ "regninger som oppretter en finansiell nedfallsfrukt for å begrense "
+#~ "spesielle interesser skyv lett gjennom den intrikate lovgivende "
+#~ "prosessen, mens regninger at fordelen allmennheten synes å komme bogged "
+#~ "ned?\\\", som de redaksjonelle dokumentert, var svaret strømmen av "
+#~ "penger. schlafly nummerert disney's bidrag til sentrale aktører på "
+#~ "komiteene. Det var penger, ikke rettferdighet, som ga Mikke Mus tjue år i "
+#~ "disney's kontroll, schlafly hevdet."
+
+#~ msgid ""
+#~ "This economists' brief was signed by seventeen economists, including five "
+#~ "Nobel Prize winners, including Ronald Coase, James Buchanan, Milton "
+#~ "Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list "
+#~ "of Nobel winners demonstrates, spanned the political spectrum. Their "
+#~ "conclusions were powerful: There was no plausible claim that extending "
+#~ "the terms of existing copyrights would do anything to increase incentives "
+#~ "to create. Such extensions were nothing more than \\\"rent-seeking\\\"--"
+#~ "the fancy term economists use to describe special-interest legislation "
+#~ "gone wild."
+#~ msgstr ""
+#~ "Denne økonomer kort ble signert av sytten økonomer, inkludert fem "
+#~ "Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton "
+#~ "friedman, kenneth pilen og george akerlof. økonomer, spredte som viser "
+#~ "listen over nobel vinnere, det politiske spektret. deres konklusjoner var "
+#~ "kraftig: det var ingen sannsynlig hevder at utvide vilkårene i "
+#~ "eksisterende opphavsrettigheter ville gjøre noe for å øke insentiver til "
+#~ "å opprette. slike utvidelser var ingenting mer enn \\\"leie-søker\\\"--"
+#~ "fancy sikt økonomer bruk å beskrive spesielle interesser lovgivning gone "
+#~ "wild."
+
+#~ msgid ""
+#~ "The government, in defending the statute, had its collection of friends, "
+#~ "as well. Significantly, however, none of these \\\"friends\\\" included "
+#~ "historians or economists. The briefs on the other side of the case were "
+#~ "written exclusively by major media companies, congressmen, and copyright "
+#~ "holders."
+#~ msgstr ""
+#~ "regjeringen, i å forsvare statutten, hadde sin samling av venner, også. "
+#~ "betydelig, men ingen av disse \\\"vennene\\\" inkludert historikere eller "
+#~ "økonomer. truser på den andre siden av saken ble skrevet utelukkende av "
+#~ "store medieselskaper, congressmen og innehaver av opphavsrett."
+
+#~ msgid ""
+#~ "Dinitia Smith, \\\"Immortal Words, Immortal Royalties? Even Mickey Mouse "
+#~ "Joins the Fray,\\\" New York Times, 28 March 1998, B7."
+#~ msgstr ""
+#~ "dinitia smith, \\\"udødelig ord, udødelig royalties? selv Mikke Mus "
+#~ "tiltrer fray,\\\"new york times, 28 mars 1998, b7."
+
+#~ msgid ""
+#~ "This argument made clear a theme that is rarely noticed in this debate. "
+#~ "When Congress decides to extend the term of existing copyrights, Congress "
+#~ "is making a choice about which speakers it will favor. Famous and "
+#~ "beloved copyright owners, such as the Gershwin estate and Dr. Seuss, come "
+#~ "to Congress and say, \\\"Give us twenty years to control the speech about "
+#~ "these icons of American culture. We'll do better with them than anyone "
+#~ "else.\\\" Congress of course likes to reward the popular and famous by "
+#~ "giving them what they want. But when Congress gives people an exclusive "
+#~ "right to speak in a certain way, that's just what the First Amendment is "
+#~ "traditionally meant to block."
+#~ msgstr ""
+#~ "Dette argumentet gjort klart et tema som er sjelden merke i denne "
+#~ "debatten. Når Kongressen beslutter å forlenge eksisterende "
+#~ "opphavsrettigheter, gjør Kongressen et valg om hvilke høyttalere det "
+#~ "prioriteres. berømte og elskede opphavsrett eiere, for eksempel gershwin "
+#~ "eiendom og dr. seuss, komme til Kongressen og si, \\\"gi oss tjue år å "
+#~ "kontrollere tale om disse ikonene av den amerikanske kulturen. Vi vil "
+#~ "gjøre bedre med dem enn noen andre.\\\"Kongressen liker selvfølgelig å "
+#~ "belønne de populære og berømte ved å gi dem det de ønsker. men når "
+#~ "Kongressen gir folk en eksklusiv rett til å snakke på en bestemt måte, "
+#~ "det er akkurat hva den første endringen er tradisjonelt ment å blokkere."
+
+#~ msgid ""
+#~ "This analysis of \\\"the Rest\\\" showed most clearly where our focus had "
+#~ "to be: on the Conservatives. To win this case, we had to crack open these "
+#~ "five and get at least a majority to go our way. Thus, the single "
+#~ "overriding argument that animated our claim rested on the Conservatives' "
+#~ "most important jurisprudential innovation--the argument that Judge "
+#~ "Sentelle had relied upon in the Court of Appeals, that Congress's power "
+#~ "must be interpreted so that its enumerated powers have limits."
+#~ msgstr ""
+#~ "Denne analysen av \\\"resten\\\" viste mest tydelig der vårt fokus måtte "
+#~ "være: på høyre. for å vinne dette tilfellet, vi hadde å sprekk åpne disse "
+#~ "fem og få minst et flertall å gå på vår måte. dermed enkelt overstyrende "
+#~ "argument som animert våre krav hvilte på Høyres viktigste jurisprudential "
+#~ "innovasjon - argumentet at dommer sentelle hadde grunnlag i lagmannsrett, "
+#~ "at Kongressens makt må tolkes slik at dens nummerert kreftene har "
+#~ "begrensninger."
+
+#~ 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."
+#~ msgstr ""
+#~ "Dette var deretter kjernen i vår strategi--en strategi som jeg er "
+#~ "ansvarlig. Vi ville få retten å se at akkurat som du er med under "
+#~ "regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha "
+#~ "ubegrenset makt til å utvide eksisterende vilkår. Hvis noe var vanlig om "
+#~ "Kongressens makt under setningsdelen fremdrift, det var at dette makt var "
+#~ "ment for å være \\\"begrenset.\\\" vårt mål vil være å få retten å "
+#~ "avstemme eldred med lopez: Hvis Kongressens makt til å regulere handel "
+#~ "var begrenset, deretter så, også, congress's makt til å regulere "
+#~ "copyright skal begrenses."
+
+#~ msgid ""
+#~ "But this \\\"consistency\\\" should be kept in perspective. Congress "
+#~ "extended existing terms once in the first hundred years of the Republic. "
+#~ "It then extended existing terms once again in the next fifty. Those rare "
+#~ "extensions are in contrast to the now regular practice of extending "
+#~ "existing terms. Whatever restraint Congress had had in the past, that "
+#~ "restraint was now gone. Congress was now in a cycle of extensions; there "
+#~ "was no reason to expect that cycle would end. This Court had not "
+#~ "hesitated to intervene where Congress was in a similar cycle of "
+#~ "extension. There was no reason it couldn't intervene here. Oral "
+#~ "argument was scheduled for the first week in October. I arrived in D.C. "
+#~ "two weeks before the argument. During those two weeks, I was repeatedly \\"
+#~ "\"mooted\\\" by lawyers who had volunteered to help in the case. Such \\"
+#~ "\"moots\\\" are basically practice rounds, where wannabe justices fire "
+#~ "questions at wannabe winners."
+#~ msgstr ""
+#~ "men dette \\\"konsistens\\\" bør holdes i perspektiv. Kongressen utvidet "
+#~ "eksisterende vilkårene en gang i første hundre år av Republikken. det "
+#~ "deretter utvidet eksisterende vilkårene igjen i de neste femti. disse "
+#~ "sjeldne utvidelser er i motsetning til nå vanlig praksis for å utvide "
+#~ "eksisterende vilkår. Uansett selvbeherskelse Kongressen hadde hatt i "
+#~ "siste, at selvbeherskelse nå var borte. Kongressen var nå i en syklus av "
+#~ "utvidelser; Det var ingen grunn til å forvente at syklus ville end. denne "
+#~ "domstolen hadde ikke vil nøle med å intervenere der Kongressen var i en "
+#~ "lignende syklus av filtypen. Det var ingen grunn det ikke kunne gripe inn "
+#~ "her. muntlig argumentet var planlagt for den første uken i oktober. Jeg "
+#~ "ankom i DC to uker før argumentet. i løpet av de to ukene, ble jeg "
+#~ "gjentatte ganger \\\"mooted\\\" av advokater som hadde frivillig til å "
+#~ "hjelpe i tilfelle. slike \\\"moots\\\" er i utgangspunktet praksis "
+#~ "runder, der wannabe justiariusene brann spørsmål på wannabe vinnere."
+
+#~ msgid ""
+#~ "\\\"I'm just afraid that unless they really see the harm, they won't be "
+#~ "willing to upset this practice that the government says has been a "
+#~ "consistent practice for two hundred years. You have to make them see the "
+#~ "harm--passionately get them to see the harm. For if they don't see that, "
+#~ "then we haven't any chance of winning.\\\""
+#~ msgstr ""
+#~ "Jeg er bare redd at med mindre de ser virkelig skade, de ikke vil være "
+#~ "villig til å opprørt denne praksis som regjeringen sier har vært en "
+#~ "konsekvent praksis for to hundre år. du har å gjøre dem se skade--"
+#~ "passionately få dem til å se skaden. for hvis de ser ikke som, så vi har "
+#~ "ikke noen sjanse til å vinne."
+
+#~ msgid ""
+#~ "She was quite willing to concede \\\"that this flies directly in the face "
+#~ "of what the framers had in mind.\\\" But my response again and again was "
+#~ "to emphasize limits on Congress's power."
+#~ msgstr ""
+#~ "Hun var ganske villig til å innrømme \\\"at dette flyr direkte i møte med "
+#~ "hva underskrev hadde i tankene.\\\", men mitt svar var igjen og igjen å "
+#~ "understreke begrensninger på Kongressens makt."
+
+#~ msgid ""
+#~ "Justice Breyer's opinion, perhaps the best opinion he has ever written, "
+#~ "was external to the Constitution. He argued that the term of copyrights "
+#~ "has become so long as to be effectively unlimited. We had said that under "
+#~ "the current term, a copyright gave an author 99.8 percent of the value of "
+#~ "a perpetual term. Breyer said we were wrong, that the actual number was "
+#~ "99.9997 percent of a perpetual term. Either way, the point was clear: If "
+#~ "the Constitution said a term had to be \\\"limited,\\\" and the existing "
+#~ "term was so long as to be effectively unlimited, then it was "
+#~ "unconstitutional."
+#~ msgstr ""
+#~ "rettferdighet breyer oppfatning, kanskje den beste mening han noensinne "
+#~ "har skrevet, var eksterne for Grunnloven. Han hevdet at begrepet av "
+#~ "opphavsretten har blitt så lenge som å være effektivt ubegrenset. Vi "
+#~ "hadde sagt at under gjeldende begrepet, opphavsretten ga en forfatter "
+#~ "99.8 prosent av verdien av et evigvarende begrep. Breyer sa vi var galt, "
+#~ "at det faktiske antallet var 99.9997 prosent av en evigvarende sikt. "
+#~ "Uansett, punktet var klart: Hvis grunnloven sa en term måtte være \\"
+#~ "\"begrenset\\\", og eksisterende begrepet var så langt som å være "
+#~ "effektivt ubegrenset, så det var forfatningsstridig."
+
+#~ 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 was their \\"
+#~ "\"originalism\\\" now?"
+#~ msgstr ""
+#~ "Det var første sinne på fem \\\"konservative.\\\" det ville ha vært en "
+#~ "ting for dem å har forklart hvorfor prinsippet om lopez ikke bruk i dette "
+#~ "tilfellet. ikke som ville vært et veldig overbevisende argument, jeg ikke "
+#~ "tror, etter å ha lest det gjort av andre, og at de hadde prøvd å gjøre "
+#~ "det selv. men i alle fall ville det ha vært en handling av integritet. "
+#~ "disse to andre justiariusene spesielt har gjentatte ganger sagt at riktig "
+#~ "tolke Grunnloven er \\\"originalism\\\"--å først forstå underskrev tekst, "
+#~ "tolkes i sin sammenheng, i lys av strukturen av Grunnloven. Denne metoden "
+#~ "hadde produsert lopez og mange andre \\\"originalist\\\" rulings. hvor "
+#~ "var deres \\\"originalism\\\" nå?"
+
+#~ msgid ""
+#~ "And even if I couldn't, then that doesn't excuse what happened in "
+#~ "January. For at the start of this case, one of America's leading "
+#~ "intellectual property professors stated publicly that my bringing this "
+#~ "case was a mistake. \\\"The Court is not ready,\\\" Peter Jaszi said; "
+#~ "this issue should not be raised until it is."
+#~ msgstr ""
+#~ "og selv om jeg ikke kunne, deretter som unnskylde ikke hva som skjedde i "
+#~ "januar. for ved starten av dette tilfellet uttalt en av Amerikas ledende "
+#~ "immaterielle professorer offentlig at mitt å bringe denne saken var en "
+#~ "feil. -domstolen ikke er klar,\\\"sagt peter jaszi, Dette problemet bør "
+#~ "ikke heves før det er."
+
+#~ msgid ""
+#~ "The best responses were in the cartoons. There was a gaggle of hilarious "
+#~ "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."
+#~ msgstr ""
+#~ "de beste svarene var i tegneserier. Det var en gaggle av morsom bilder--"
+#~ "av mickey i fengsel og lignende. best, fra min mening i saken, var ruben "
+#~ "bolling, gjengis på neste side. linjen \\\"kraftige og velstående\\\" er "
+#~ "en smule urettferdig. Men slag i ansiktet følte akkurat sånn."
+
+#~ msgid ""
+#~ "The image that will always stick in my head is that evoked by the quote "
+#~ "from The New York Times. That \\\"grand experiment\\\" we call the \\"
+#~ "\"public domain\\\" is over? When I can make light of it, I think, \\"
+#~ "\"Honey, I shrunk the Constitution.\\\" But I can rarely make light of "
+#~ "it. We had in our Constitution a commitment to free culture. In the case "
+#~ "that I fathered, the Supreme Court effectively renounced that commitment. "
+#~ "A better lawyer would have made them see differently."
+#~ msgstr ""
+#~ "bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new "
+#~ "york times. at \\\"store eksperimentet\\\" vi kaller \\\"public domain\\"
+#~ "\" er over? Når jeg kan gjøre lys av det, tror jeg, \\\"Elskling, jeg "
+#~ "krympet Grunnloven.\\\", men jeg kan sjelden gjøre lyset av den. Vi hadde "
+#~ "i vår grunnlov en engasjement for fri kultur. i tilfelle at jeg far, "
+#~ "avkall Høyesterett effektivt at satsing. ha ville gjort en bedre advokat "
+#~ "dem se annerledes."
+
+#~ msgid ""
+#~ "It was an act of contrition. During the whole of the flight from San "
+#~ "Francisco to Washington, I had heard over and over again in my head the "
+#~ "same advice from Don Ayer: You need to make them see why it is important. "
+#~ "And alternating with that command was the question of Justice Kennedy: \\"
+#~ "\"For all these years the act has impeded progress in science and the "
+#~ "useful arts. I just don't see any empirical evidence for that.\\\" And "
+#~ "so, having failed in the argument of constitutional principle, finally, I "
+#~ "turned to an argument of politics."
+#~ msgstr ""
+#~ "Det var en handling av contrition. under hele flyturen fra san francisco "
+#~ "til washington, jeg hadde hørt om og om igjen i hodet mitt samme råd fra "
+#~ "don ayer: du trenger å gjøre dem se hvorfor det er viktig. og "
+#~ "alternerende med den samme kommandoen ble spørsmålet om rettferdighet "
+#~ "kennedy: \\\"for alle disse år loven har hindret fremgang i vitenskap og "
+#~ "nyttig kunst. Jeg ser ikke noen empiriske bevis for som.\\\", og så å ha "
+#~ "mislyktes i argument av konstitusjonelle prinsippet, til slutt, jeg slått "
+#~ "til et argument av politikk."
+
+#~ msgid ""
+#~ "Or another two names. For depending upon your perspective, this is either "
+#~ "the \\\"Public Domain Enhancement Act\\\" or the \\\"Copyright Term "
+#~ "Deregulation Act.\\\" Either way, the essence of the idea is clear and "
+#~ "obvious: Remove copyright where it is doing nothing except blocking "
+#~ "access and the spread of knowledge. Leave it for as long as Congress "
+#~ "allows for those works where its worth is at least $1. But for everything "
+#~ "else, let the content go."
+#~ msgstr ""
+#~ "eller en annen to navn. for avhengig av ditt perspektiv, dette er enten \\"
+#~ "\"public domain forbedring act\\\" eller den \\\"copyright begrepet "
+#~ "dereguleringen act.\\\" Uansett, essensen av ideen er klar og tydelig: "
+#~ "fjerne copyright der det gjør ingenting bortsett fra blokkerer tilgang og "
+#~ "spredning av kunnskap. La det for så lenge Kongressen tillater for disse "
+#~ "arbeider der er verdt minst $1. men for alt annet, kan du la til innhold "
+#~ "gå."
+
+#~ msgid ""
+#~ "That's great rhetoric. It sounds wonderfully romantic. But it is absurd "
+#~ "copyright policy. It is absurd especially for authors, because a world "
+#~ "without formalities harms the creator. The ability to spread \\\"Walt "
+#~ "Disney creativity\\\" is destroyed when there is no simple way to know "
+#~ "what's protected and what's not."
+#~ msgstr ""
+#~ "Det er stor retorikk. det høres usedvanlig romantiske. men det er absurd "
+#~ "copyright policy. Det er absurd spesielt for forfattere, fordi en verden "
+#~ "uten formaliteter skader skaperen. muligheten til å spre \\\"walt disney "
+#~ "kreativitet\\\" er ødelagt når det er ingen enkel måte å vite hva er "
+#~ "beskyttet og hva som ikke."
+
+#~ msgid ""
+#~ "In addition to the practical complaint of authors in 1908, there was a "
+#~ "moral claim as well. There was no reason that creative property should be "
+#~ "a second-class form of property. If a carpenter builds a table, his "
+#~ "rights over the table don't depend upon filing a form with the "
+#~ "government. He has a property right over the table \\\"naturally,\\\" "
+#~ "and he can assert that right against anyone who would steal the table, "
+#~ "whether or not he has informed the government of his ownership of the "
+#~ "table."
+#~ msgstr ""
+#~ "i tillegg til praktiske klagen av forfattere i 1908 var det så vel "
+#~ "moralsk krav. Det var ingen grunn at creative egenskapen, bør være en "
+#~ "annenklasses form for egenskapen. Hvis en snekker bygger en tabell, "
+#~ "avhenger ikke sine rettigheter over tabellen av innlevering et skjema med "
+#~ "regjeringen. Han har en eiendomsrett over tabellen \\\"naturlig\\\", og "
+#~ "han kan hevde at høyre mot alle som ville stjele tabellen, om han har "
+#~ "informert regjeringen av sitt eierskap av tabellen."
+
+#~ msgid ""
+#~ "This was the understanding of the problem with the Sonny Bono Act that we "
+#~ "tried to demonstrate to the Court. This was the part it didn't \\\"get.\\"
+#~ "\" Because we live in a system without formalities, there is no way "
+#~ "easily to build upon or use culture from our past. If copyright terms "
+#~ "were, as Justice Story said they would be, \\\"short,\\\" then this "
+#~ "wouldn't matter much. For fourteen years, under the framers' system, a "
+#~ "work would be presumptively controlled. After fourteen years, it would be "
+#~ "presumptively uncontrolled."
+#~ msgstr ""
+#~ "Dette var forståelsen av problemet med sonny bono loven som vi prøvde å "
+#~ "demonstrere for retten. Dette var delen som det ikke \\\"få.\\\" fordi vi "
+#~ "lever i et system uten formaliteter, det er ingen måte lett å bygge på, "
+#~ "eller bruk kultur fra vår fortid. Hvis opphavsrett vilkårene var, som "
+#~ "rettferdighet historien sa de ville være, ville ikke \\\"kort\\\", da "
+#~ "dette saken mye. i fjorten år, ville under underskrev system, et arbeid "
+#~ "presumptively kontrolleres. etter fjorten år, ville det være "
+#~ "presumptively ukontrollerte."
+
+#~ msgid ""
+#~ "One representative, Zoe Lofgren of California, went so far as to get the "
+#~ "bill drafted. The draft solved any problem with international law. It "
+#~ "imposed the simplest requirement upon copyright owners possible. In May "
+#~ "2003, it looked as if the bill would be introduced. On May 16, I posted "
+#~ "on the Eldred Act blog, \\\"we are close.\\\" There was a general "
+#~ "reaction in the blog community that something good might happen here."
+#~ msgstr ""
+#~ "en representant, zoe lofgren i california, gikk så langt som å få "
+#~ "regningen utarbeidet. utkastet løst noen problemer med internasjonal lov. "
+#~ "det pålagt enkleste kravet på eiere av opphavsretter mulig. i mai 2003, "
+#~ "det så ut som om regningen ville være innført. 16. mai, jeg postet på "
+#~ "eldred act blogg, \\\"vi er lukkes\\\" Det oppstod en generell reaksjon i "
+#~ "bloggen samfunnet som noe godt kan skje her."
+
+#~ msgid ""
+#~ "The MPAA argued first that Congress had \\\"firmly rejected the central "
+#~ "concept in the proposed bill\\\"--that copyrights be renewed. That was "
+#~ "true, but irrelevant, as Congress's \\\"firm rejection\\\" had occurred "
+#~ "long before the Internet made subsequent uses much more likely. Second, "
+#~ "they argued that the proposal would harm poor copyright owners--"
+#~ "apparently those who could not afford the $1 fee. Third, they argued that "
+#~ "Congress had determined that extending a copyright term would encourage "
+#~ "restoration work. Maybe in the case of the small percentage of work "
+#~ "covered by copyright law that is still commercially valuable, but again "
+#~ "this was irrelevant, as the proposal would not cut off the extended term "
+#~ "unless the $1 fee was not paid. Fourth, the MPAA argued that the bill "
+#~ "would impose \\\"enormous\\\" costs, since a registration system is not "
+#~ "free. True enough, but those costs are certainly less than the costs of "
+#~ "clearing the rights for a copyright whose owner is not known. Fifth, they "
+#~ "worried about the risks if the copyright to a story underlying a film "
+#~ "were to pass into the public domain. But what risk is that? If it is in "
+#~ "the public domain, then the film is a valid derivative use."
+#~ msgstr ""
+#~ "mpaa hevdet først at Kongressen hadde \\\"fast avvist sentrale konseptet "
+#~ "i lovforslaget\\\"--opphavsrett fornyes. Det var sant, men irrelevant, "
+#~ "som congress's \\\"fast avvisning\\\" hadde skjedd lenge før Internett "
+#~ "gjort etterfølgende bruker mye mer sannsynlig. for det andre, de hevdet "
+#~ "at forslaget vil skade dårlig eiere av opphavsretter--tilsynelatende de "
+#~ "som ikke hadde råd til $1 gebyret. tredje, de hevdet at Kongressen hadde "
+#~ "bestemt at utvide en opphavsrett sikt vil oppfordre restaurering arbeid. "
+#~ "kanskje når det gjelder en liten prosentdel av arbeid dekket av lov om "
+#~ "opphavsrett som fortsatt er kommersielt verdifulle, men igjen dette var "
+#~ "irrelevant, som forslaget ikke vil kuttet av på lengre sikt med mindre "
+#~ "ikke ble betalt $1 gebyret. fjerde, mpaa hevdet at regningen ville "
+#~ "innføre \\\"enorme\\\" kostnader, siden en registreringssystemet ikke er "
+#~ "gratis. Sant nok, men disse kostnadene er sikkert mindre enn kostnadene "
+#~ "ved å fjerne rettighetene for en copyright der eieren ikke er kjent. "
+#~ "femte bekymret de om risikoene hvis opphavsretten til en historie "
+#~ "underliggende en film var skjedde i public domain. men hva risikoen er "
+#~ "at? Hvis det er allemannseie, deretter er filmen en gyldig avledet bruk."
+
+#~ msgid ""
+#~ "But when the copyright owners oppose a proposal such as the Eldred Act, "
+#~ "then, finally, there is an example that lays bare the naked selfinterest "
+#~ "driving this war. This act would free an extraordinary range of content "
+#~ "that is otherwise unused. It wouldn't interfere with any copyright "
+#~ "owner's desire to exercise continued control over his content. It would "
+#~ "simply liberate what Kevin Kelly calls the \\\"Dark Content\\\" that "
+#~ "fills archives around the world. So when the warriors oppose a change "
+#~ "like this, we should ask one simple question:"
+#~ msgstr ""
+#~ "men når opphavsrett eierne motsette et forslag som eldred act, så, til "
+#~ "slutt, er det et eksempel at legger bare naken selfinterest kjører denne "
+#~ "krigen. Denne loven ville frigjøre en ekstraordinære rekke innhold som "
+#~ "ellers er ubrukt. det ville ikke forstyrre noen opphavsrettsinnehaveren "
+#~ "ønske om å utøve fortsatt kontroll over hans innhold. det vil bare "
+#~ "frigjøre hva kevin kelly kall det \\\"mørke innholdet\\\" at fyll arkiver "
+#~ "rundt om i verden. så når warriors motsette en endring som dette, bør vi "
+#~ "ber ett enkelt spørsmål:"
+
+#~ msgid ""
+#~ "The opposition to the Eldred Act reveals how extreme the other side is. "
+#~ "The most powerful and sexy and well loved of lobbies really has as its "
+#~ "aim not the protection of \\\"property\\\" but the rejection of a "
+#~ "tradition. Their aim is not simply to protect what is theirs. Their aim "
+#~ "is to assure that all there is is what is theirs."
+#~ msgstr ""
+#~ "motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. "
+#~ "mektigste og sexy og godt elsket av lobbies virkelig har som målet ikke "
+#~ "beskyttelse av \\\"property\\\" men avvisningen av en tradisjon. deres "
+#~ "mål er ikke bare å beskytte hva er deres. deres mål er å sikre at alt er "
+#~ "det er hva er deres."
+
+#~ msgid ""
+#~ "All this seems to follow easily from this untroubled acceptance of the \\"
+#~ "\"property\\\" in intellectual property. Common sense supports it, and so "
+#~ "long as it does, the assaults will rain down upon the technologies of the "
+#~ "Internet. The consequence will be an increasing \\\"permission society.\\"
+#~ "\" The past can be cultivated only if you can identify the owner and gain "
+#~ "permission to build upon his work. The future will be controlled by this "
+#~ "dead (and often unfindable) hand of the past."
+#~ msgstr ""
+#~ "alt dette synes å følge lett fra denne untroubled aksept av \\\"eiendom\\"
+#~ "\" i immaterielle. sunn fornuft støtter det, og så lenge den gjør det, "
+#~ "assaults blir regn på teknologien av Internett. konsekvensen vil være et "
+#~ "økende \\\"tillatelse samfunn.\\\" fortiden kan dyrkes bare hvis du kan "
+#~ "identifisere eieren og få tillatelse til å bygge på hans arbeid. "
+#~ "fremtiden vil bli kontrollert av denne døde (og ofte unfindable) hånden "
+#~ "av fortiden."
+
+#~ msgid ""
+#~ "Now just step back for a moment. There will be a time thirty years from "
+#~ "now when our children look back at us and ask, how could we have let this "
+#~ "happen? How could we allow a policy to be pursued whose direct cost would "
+#~ "be to speed the death of 15 to 30 million Africans, and whose only real "
+#~ "benefit would be to uphold the \\\"sanctity\\\" of an idea? What possible "
+#~ "justification could there ever be for a policy that results in so many "
+#~ "deaths? What exactly is the insanity that would allow so many to die for "
+#~ "such an abstraction?"
+#~ msgstr ""
+#~ "nå bare skritt tilbake for et øyeblikk. det vil være en gang tretti år "
+#~ "fra nå når våre barn ser tilbake på oss og spør, hvordan kan vi la dette "
+#~ "skje? Hvordan kan vi tillate en politikk for å gjennomføres med direkte "
+#~ "kostnader ville være å øke død 15 til 30 millioner afrikanere, og der "
+#~ "bare ekte fordel ville være å opprettholde \\\"sanctity\\\" av en idé? "
+#~ "Hva eventuell berettigelse kan det være for en politikk som fører til så "
+#~ "mange dødsfall? Hva er den sinnssykdom som ville tillate så mange til å "
+#~ "dø for slike en abstraksjon?"
+
+#~ msgid ""
+#~ "A different problem, however, could not be overcome. This is the fear of "
+#~ "the grandstanding politician who would call the presidents of the drug "
+#~ "companies before a Senate or House hearing, and ask, \\\"How is it you "
+#~ "can sell this HIV drug in Africa for only $1 a pill, but the same drug "
+#~ "would cost an American $1,500?\\\" Because there is no \\\"sound bite\\\" "
+#~ "answer to that question, its effect would be to induce regulation of "
+#~ "prices in America. The drug companies thus avoid this spiral by avoiding "
+#~ "the first step. They reinforce the idea that property should be sacred. "
+#~ "They adopt a rational strategy in an irrational context, with the "
+#~ "unintended consequence that perhaps millions die. And that rational "
+#~ "strategy thus becomes framed in terms of this ideal--the sanctity of an "
+#~ "idea called \\\"intellectual property.\\\""
+#~ msgstr ""
+#~ "et annet problem, men kunne ikke bli overvunnet. Dette er frykt for den "
+#~ "grandstanding politikeren som ville kalle presidenter av stoffet "
+#~ "selskaper før Senatet eller huset hørsel, og spør, \\\"hvor er det du kan "
+#~ "selge stoffet hiv i Afrika for bare $1 en pille, men det likt bedøve "
+#~ "ville koste en amerikansk $1500?\\\" fordi det er ingen \\\"lyd bite\\\" "
+#~ "svar på det spørsmålet, effekten ville være å indusere regulering av "
+#~ "priser i Amerika. stoffet selskaper dermed unngå denne spiral ved å unngå "
+#~ "det første trinnet. de forsterke ideen om at egenskapen skal være hellig. "
+#~ "de vedta en rasjonell strategi i en irrasjonell kontekst, med de "
+#~ "utilsiktede konsekvensene som kanskje millioner dø. og at rasjonell "
+#~ "strategi dermed ramme når det gjelder dette ideelle--sanctity av en idé "
+#~ "som kalles \\\"immaterielle.\\\""
+
+#~ msgid ""
+#~ "So far, common sense sleeps. There is no revolt. Common sense does not "
+#~ "yet see what there could be to revolt about. The extremism that now "
+#~ "dominates this debate fits with ideas that seem natural, and that fit is "
+#~ "reinforced by the RCAs of our day. They wage a frantic war to fight \\"
+#~ "\"piracy,\\\" and devastate a culture for creativity. They defend the "
+#~ "idea of \\\"creative property,\\\" while transforming real creators into "
+#~ "modern-day sharecroppers. They are insulted by the idea that rights "
+#~ "should be balanced, even though each of the major players in this content "
+#~ "war was itself a beneficiary of a more balanced ideal. The hypocrisy "
+#~ "reeks. Yet in a city like Washington, hypocrisy is not even noticed. "
+#~ "Powerful lobbies, complex issues, and MTV attention spans produce the \\"
+#~ "\"perfect storm\\\" for free culture."
+#~ msgstr ""
+#~ "så langt, sunn fornuft sover. Det er ingen opprør. sunn fornuft ser ennå "
+#~ "ikke hva det kunne til opprør om. ekstremisme som dominerer nå denne "
+#~ "debatten passer med ideer som virker naturlig, og som passer er "
+#~ "forsterket av rcas i dag. de føre en panisk krig for å bekjempe \\"
+#~ "\"piratkopiering\\\" og herje en kultur for kreativitet. de forsvare "
+#~ "ideen om \\\"kreative eiendom\\\" mens transformere virkelige skaperne "
+#~ "til dagens sharecroppers. de er fornærmet av ideen at rettigheter bør "
+#~ "være balansert, selv om hver av de største aktørene i denne innhold "
+#~ "krigen var selv en mottaker av en mer balansert ideell. hykleri reeks. "
+#~ "ennå i en by som washington, hykleri er ikke engang merke til. kraftig "
+#~ "lobbies, komplekse problemer og mtv oppmerksomhet spenn produsere \\"
+#~ "\"perfect storm\\\" gratis kultur."
+
+#~ msgid ""
+#~ "Indeed, I was once publicly scolded for not recognizing this fact about "
+#~ "WIPO. In February 2003, I delivered a keynote address to a preparatory "
+#~ "conference for the World Summit on the Information Society (WSIS). At a "
+#~ "press conference before the address, I was asked what I would say. I "
+#~ "responded that I would be talking a little about the importance of "
+#~ "balance in intellectual property for the development of an information "
+#~ "society. The moderator for the event then promptly interrupted to inform "
+#~ "me and the assembled reporters that no question about intellectual "
+#~ "property would be discussed by WSIS, since those questions were the "
+#~ "exclusive domain of WIPO. In the talk that I had prepared, I had actually "
+#~ "made the issue of intellectual property relatively minor. But after this "
+#~ "astonishing statement, I made intellectual property the sole focus of my "
+#~ "talk. There was no way to talk about an \\\"Information Society\\\" "
+#~ "unless one also talked about the range of information and culture that "
+#~ "would be free. My talk did not make my immoderate moderator very happy. "
+#~ "And she was no doubt correct that the scope of intellectual property "
+#~ "protections was ordinarily the stuff of WIPO. But in my view, there "
+#~ "couldn't be too much of a conversation about how much intellectual "
+#~ "property is needed, since in my view, the very idea of balance in "
+#~ "intellectual property had been lost."
+#~ msgstr ""
+#~ "faktisk var jeg en gang offentlig scolded for ikke å kjenne igjen dette "
+#~ "faktum om wipo. i februar 2003 leveres jeg en keynote-adressen til en "
+#~ "forberedende konferanse for toppmøtet i verden på informasjonssamfunnet "
+#~ "(wsis). på en pressekonferanse før adressen, ble jeg spurt hva jeg vil "
+#~ "si. Jeg svarte at jeg skulle snakke litt om betydningen av balanse i "
+#~ "immaterielle for utviklingen av en informasjonssamfunn. moderator for "
+#~ "hendelsen deretter umiddelbart avbrutt for å informere meg og sammensatte "
+#~ "journalister at ingen tvil om immaterielle vil bli diskutert av wsis, "
+#~ "siden disse spørsmålene var at et eksklusivt domene av wipo. i talk at "
+#~ "jeg hadde forberedt, hadde jeg faktisk gjorde saken av åndsverk som er "
+#~ "relativt små. men etter denne forbløffende erklæringen, jeg gjorde "
+#~ "immaterielle eneste fokus på mitt snakk. Det var ikke mulig å snakke om "
+#~ "en \\\"informasjonssamfunnet\\\", med mindre en også snakket om omfanget "
+#~ "av informasjon og kultur som vil være gratis. min snakk gjorde ikke min "
+#~ "immoderate moderator veldig glad. og hun var uten tvil riktig at omfanget "
+#~ "av beskyttelse av intellektuell eiendom var vanligvis ting av wipo. men "
+#~ "etter min mening, det kunne ikke være for mye av en samtale om hvor mye "
+#~ "immaterielle er nødvendig, siden etter mitt syn er selve ideen om balanse "
+#~ "i immaterielle hadde gått tapt."
+
+#~ msgid ""
+#~ "So whether or not WSIS can discuss balance in intellectual property, I "
+#~ "had thought it was taken for granted that WIPO could and should. And thus "
+#~ "the meeting about \\\"open and collaborative projects to create public "
+#~ "goods\\\" seemed perfectly appropriate within the WIPO agenda."
+#~ msgstr ""
+#~ "så om wsis kan diskutere saldoen i intellektuell eiendom, hadde jeg "
+#~ "trodde det var tatt for gitt at wipo kan og bør. og dermed møtet om \\"
+#~ "\"åpent og nært prosjekter til å opprette offentlige varer\\\" virket "
+#~ "perfekt passende innen wipo-agendaen."
+
+#~ msgid ""
+#~ "But there is one project within that list that is highly controversial, "
+#~ "at least among lobbyists. That project is \\\"open source and free "
+#~ "software.\\\" Microsoft in particular is wary of discussion of the "
+#~ "subject. From its perspective, a conference to discuss open source and "
+#~ "free software would be like a conference to discuss Apple's operating "
+#~ "system. Both open source and free software compete with Microsoft's "
+#~ "software. And internationally, many governments have begun to explore "
+#~ "requirements that they use open source or free software, rather than \\"
+#~ "\"proprietary software,\\\" for their own internal uses."
+#~ msgstr ""
+#~ "men det er ett prosjekt i listen som er svært kontroversielt, minst blant "
+#~ "lobbyister. Dette prosjektet er \\\"åpen kildekode og gratis programvare."
+#~ "\\\" microsoft spesielt er skeptisk til diskusjon om emnet. fra sin "
+#~ "perspektiv, ville en konferanse for å diskutere åpen kildekode og fri "
+#~ "programvare være som en konferanse for å diskutere Apples operativsystem. "
+#~ "både åpen kildekode og fri programvare kan du konkurrere med Microsofts "
+#~ "programvare. og internasjonalt, mange regjeringer har begynt å utforske "
+#~ "krav at de bruker åpen kildekode eller gratis programvare, snarere enn \\"
+#~ "\"proprietær programvare,\\\" for sine egne interne bruk."
+
+#~ msgid ""
+#~ "More important for our purposes, to support \\\"open source and free "
+#~ "software\\\" is not to oppose copyright. \\\"Open source and free software"
+#~ "\\\" is not software in the public domain. Instead, like Microsoft's "
+#~ "software, the copyright owners of free and open source software insist "
+#~ "quite strongly that the terms of their software license be respected by "
+#~ "adopters of free and open source software. The terms of that license are "
+#~ "no doubt different from the terms of a proprietary software license. "
+#~ "Free software licensed under the General Public License (GPL), for "
+#~ "example, requires that the source code for the software be made available "
+#~ "by anyone who modifies and redistributes the software. But that "
+#~ "requirement is effective only if copyright governs software. If copyright "
+#~ "did not govern software, then free software could not impose the same "
+#~ "kind of requirements on its adopters. It thus depends upon copyright law "
+#~ "just as Microsoft does."
+#~ msgstr ""
+#~ "mer viktig for vårt formål, å støtte \\\"åpen kildekode og fri programvare"
+#~ "\\\" er ikke til å motsette copyright. \\\"åpen kildekode og fri "
+#~ "programvare\\\" er ikke programvare i den offentlige sfæren. i stedet, "
+#~ "som Microsofts programvare, opphavsrett eierne av gratis og åpen "
+#~ "kildekode programvare insistere ganske sterkt at vilkårene i deres "
+#~ "programvarelisens respekteres av adoptert av ledig og åpen kilde-"
+#~ "programvare. vilkårene i denne lisensen er ingen tvil om forskjellige fra "
+#~ "vilkårene i en proprietær programvare-lisens. fri programvare lisensiert "
+#~ "under general public license (gpl), krever for eksempel at kildekoden for "
+#~ "programvaren gjøres tilgjengelig av alle som endrer og redistribuerer "
+#~ "programvaren. men at kravet er effektivt bare hvis copyright styrer "
+#~ "programvare. Hvis copyright ikke styre programvare, kan deretter fri "
+#~ "programvare ikke pålegge samme type krav på sin adoptert. det dermed "
+#~ "avhenger lov om opphavsrett på samme måte som microsoft."
+
+#~ msgid ""
+#~ "What was surprising was the United States government's reason for "
+#~ "opposing the meeting. Again, as reported by Krim, Lois Boland, acting "
+#~ "director of international relations for the U.S. Patent and Trademark "
+#~ "Office, explained that \\\"open-source software runs counter to the "
+#~ "mission of WIPO, which is to promote intellectual-property rights.\\\" "
+#~ "She is quoted as saying, \\\"To hold a meeting which has as its purpose "
+#~ "to disclaim or waive such rights seems to us to be contrary to the goals "
+#~ "of WIPO.\\\""
+#~ msgstr ""
+#~ "Hva var overraskende var USA regjeringens begrunnelse for motstridende "
+#~ "møtet. igjen, som rapportert av krim, lois boland, direktør ved "
+#~ "internasjonale forbindelser for US patent og trademark office, forklarte "
+#~ "at \\\"åpen kilde-programvare kjører teller til mission av wipo, som er å "
+#~ "fremme intellektuelle-egenskapen rettigheter.\\\" hun er sitert som sier, "
+#~ "\\\"for å holde et møte som har som sitt formål å fraskriver seg eller "
+#~ "frafalle slike rettigheter synes å oss å være i strid med målene for wipo."
+#~ "\\\""
+
+#~ msgid ""
+#~ "First, they are just flat wrong. As I described, most open source and "
+#~ "free software relies fundamentally upon the intellectual property right "
+#~ "called \\\"copyright.\\\" Without it, restrictions imposed by those "
+#~ "licenses wouldn't work. Thus, to say it \\\"runs counter\\\" to the "
+#~ "mission of promoting intellectual property rights reveals an "
+#~ "extraordinary gap in understanding--the sort of mistake that is excusable "
+#~ "in a first-year law student, but an embarrassment from a high government "
+#~ "official dealing with intellectual property issues."
+#~ msgstr ""
+#~ "først, de er bare flatt feil. som jeg beskrevet, mest åpen kildekode og "
+#~ "fri programvare avhengig fundamentalt immaterielle rett kalt \\"
+#~ "\"copyright.\\\" uten den, restriksjoner pålagt av disse lisensene ikke "
+#~ "ville fungere. Derfor, for å si det \\\"kjører teller\\\" til mission for "
+#~ "å fremme immaterielle rettigheter avslører en ekstraordinære gapet i "
+#~ "forståelse--slags feil som er unnskyldelig i jus første året, men en "
+#~ "forlegenhet fra en høy statstjenesteperson håndtere intellektuell eiendom "
+#~ "problemer."
+
+#~ msgid ""
+#~ "Second, who ever said that WIPO's exclusive aim was to \\\"promote\\\" "
+#~ "intellectual property maximally? As I had been scolded at the preparatory "
+#~ "conference of WSIS, WIPO is to consider not only how best to protect "
+#~ "intellectual property, but also what the best balance of intellectual "
+#~ "property is. As every economist and lawyer knows, the hard question in "
+#~ "intellectual property law is to find that balance. But that there should "
+#~ "be limits is, I had thought, uncontested. One wants to ask Ms. Boland, "
+#~ "are generic drugs (drugs based on drugs whose patent has expired) "
+#~ "contrary to the WIPO mission? Does the public domain weaken intellectual "
+#~ "property? Would it have been better if the protocols of the Internet had "
+#~ "been patented?"
+#~ msgstr ""
+#~ "sekund, som noen gang sa at wipo eksklusive målet 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?"
+
+#~ 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."
+
+#~ msgid ""
+#~ "When Ms. Boland says that there is something wrong with a meeting \\"
+#~ "\"which has as its purpose to disclaim or waive such rights,\\\" she's "
+#~ "saying that WIPO has an interest in interfering with the choices of the "
+#~ "individuals who own intellectual property rights. That somehow, WIPO's "
+#~ "objective should be to stop an individual from \\\"waiving\\\" or \\"
+#~ "\"disclaiming\\\" an intellectual property right. That the interest of "
+#~ "WIPO is not just that intellectual property rights be maximized, but that "
+#~ "they also should be exercised in the most extreme and restrictive way "
+#~ "possible."
+#~ msgstr ""
+#~ "Når MS boland sier at det er noe galt med et møte \\\"som har som sitt "
+#~ "formål å fraskriver seg eller frafalle slike rettigheter, sier hun sier "
+#~ "at wipo har en interesse i forstyrre valgene av enkeltpersoner som selv "
+#~ "immaterielle rettigheter. at noe wipo's målet bør være å stoppe en person "
+#~ "fra \\\"waiving\\\" eller \\\"fraskrivelser\\\" en eiendomsrett. at "
+#~ "interesse av wipo ikke er bare at immaterielle rettigheter er maksimert, "
+#~ "men at de også kan vere mest ekstreme og restriktiv mulig."
+
+#~ msgid ""
+#~ "There is a history of just such a property system that is well known in "
+#~ "the Anglo-American tradition. It is called \\\"feudalism.\\\" Under "
+#~ "feudalism, not only was property held by a relatively small number of "
+#~ "individuals and entities. And not only were the rights that ran with that "
+#~ "property powerful and extensive. But the feudal system had a strong "
+#~ "interest in assuring that property holders within that system not weaken "
+#~ "feudalism by liberating people or property within their control to the "
+#~ "free market. Feudalism depended upon maximum control and concentration. "
+#~ "It fought any freedom that might interfere with that control."
+#~ msgstr ""
+#~ "Det er en historie om bare slikt egenskapen system som er godt kjent i "
+#~ "anglo-amerikanske tradisjonen. Det kalles \\\"føydalisme.\\\" under "
+#~ "føydalisme, ikke bare var egenskapen holdt av et relativt lite antall "
+#~ "individer og entiteter. og ikke bare var de samme rettighetene som kjørte "
+#~ "med egenskapen kraftig og omfattende. men føydale systemet hadde en sterk "
+#~ "interesse for å sikre at eiendom holders i dette systemet ikke svekke "
+#~ "føydalisme av frigjørende personer eller egenskapen innenfor deres "
+#~ "kontroll til det frie markedet. Føydalisme depended upon maksimal "
+#~ "kontroll og konsentrasjon. det kjempet noen friheten som kan forstyrre "
+#~ "denne kontrollen."
+
+#~ msgid ""
+#~ "George, you misunderstand Lessig: He's only talking about the world as it "
+#~ "should be (\\\"the goal of WIPO, and the goal of any government, should "
+#~ "be to promote the right balance of intellectualproperty rights, not "
+#~ "simply to promote intellectual property rights\\\"), not as it is. If we "
+#~ "were talking about the world as it is, then of course Boland didn't say "
+#~ "anything wrong. But in the world as Lessig would have it, then of course "
+#~ "she did. Always pay attention to the distinction between Lessig's world "
+#~ "and ours."
+#~ msgstr ""
+#~ "George, du misforstå lessig: han bare snakker om verden som den skal (\\"
+#~ "\"Målet med wipo og mål av enhver regjering, bør være å fremme den rette "
+#~ "balansen av intellectualproperty rettigheter, ikke bare for å fremme "
+#~ "immaterielle rettigheter\\\"), ikke som det er. Hvis vi snakker om i "
+#~ "verden som det er, så si selvfølgelig boland ikke noe galt. men i verden "
+#~ "som lessig ville ha det, så selvfølgelig hun gjorde. alltid ta hensyn til "
+#~ "skillet mellom lessig's verden og vår."
+
+#~ msgid ""
+#~ "Obviously, however, the poster was not supporting that idea. Instead, "
+#~ "the poster was ridiculing the very idea that in the real world, the \\"
+#~ "\"goal\\\" of a government should be \\\"to promote the right balance\\\" "
+#~ "of intellectual property. That was obviously silly to him. And it "
+#~ "obviously betrayed, he believed, my own silly utopianism. \\\"Typical for "
+#~ "an academic,\\\" the poster might well have continued."
+#~ msgstr ""
+#~ "åpenbart, men plakaten var ikke støtter at ideen. i stedet, plakaten var "
+#~ "latterliggjøre the very ideen om at i den virkelige verden, \\\"mål\\\" "
+#~ "av en regjering bør være \\\"for å fremme den rette balansen\\\" av "
+#~ "åndsverk. Det var tydeligvis dum til ham. og det åpenbart forrådt, han "
+#~ "mente, min egen dum utopianism. \\\"typisk for en akademiker,\\\" "
+#~ "plakaten kan godt har fortsatt."
+
+#~ msgid ""
+#~ "It is therefore significant that so many would rally to demand "
+#~ "competition and increased diversity. Still, if the rally is understood as "
+#~ "being about bigness alone, it is not terribly surprising. We Americans "
+#~ "have a long history of fighting \\\"big,\\\" wisely or not. That we could "
+#~ "be motivated to fight \\\"big\\\" again is not something new."
+#~ msgstr ""
+#~ "Det er derfor viktig at så mange vil rally til etterspørselen konkurranse "
+#~ "og økt mangfold. Likevel, hvis rally er forstått som om bigness alene, "
+#~ "det er ikke veldig overraskende. Vi amerikanere har en lang historie med "
+#~ "å slåss \\\"stort,\\\" klokt eller ikke. at vi kunne være motivert til å "
+#~ "slåss er \\\"store\\\" igjen ikke noe nytt."
+
+#~ msgid ""
+#~ "It would be something new, and something very important, if an equal "
+#~ "number could be rallied to fight the increasing extremism built within "
+#~ "the idea of \\\"intellectual property.\\\" Not because balance is alien "
+#~ "to our tradition; indeed, as I've argued, balance is our tradition. But "
+#~ "because the muscle to think critically about the scope of anything called "
+#~ "\\\"property\\\" is not well exercised within this tradition anymore."
+#~ msgstr ""
+#~ "det ville være noe nytt, og noe veldig viktig, hvis like mange kan være "
+#~ "rallied for å bekjempe økende ekstremisme bygget i ideen om \\"
+#~ "\"intellektuelle eiendom.\\\" ikke fordi balanse er alien til vår "
+#~ "tradisjon; som jeg har hevdet, er faktisk vår tradisjon i balanse. men "
+#~ "fordi muskler til å tenke kritisk på omfanget av noe kalt \\\"property\\"
+#~ "\" ikke er frisk trenet i denne tradisjonen lenger."
+
+#~ msgid ""
+#~ "The mistake here is the error of the excluded middle. There are extremes "
+#~ "in this debate, but the extremes are not all that there is. There are "
+#~ "those who believe in maximal copyright--\\\"All Rights Reserved\\\"-- and "
+#~ "those who reject copyright--\\\"No Rights Reserved.\\\" The \\\"All "
+#~ "Rights Reserved\\\" sorts believe that you should ask permission before "
+#~ "you \\\"use\\\" a copyrighted work in any way. The \\\"No Rights Reserved"
+#~ "\\\" sorts believe you should be able to do with content as you wish, "
+#~ "regardless of whether you have permission or not."
+#~ msgstr ""
+#~ "feil her er feil om den ekskluderte tredje. Det er ekstreme i denne "
+#~ "debatten, men ekstreme er ikke alt som det er. Det er de som tror på "
+#~ "maksimal copyright--\\\"all rights reserved\\\"-- og de som avviser "
+#~ "copyright--\\\"ingen rettigheter reservert\\\". \\\"all rights reserved\\"
+#~ "\" sorterer mener at du bør spørre tillatelse før du \\\"Bruk\\\" en "
+#~ "opphavsrettslig beskyttede verk som på noen måte. \\\"ingen rettigheter "
+#~ "reservert\\\" sorterer tror du burde være i stand til å gjøre med innhold "
+#~ "som du ønsker, uavhengig av om du har tillatelse eller ikke."
+
+#~ msgid ""
+#~ "When the Internet was first born, its initial architecture effectively "
+#~ "tilted in the \\\"no rights reserved\\\" direction. Content could be "
+#~ "copied perfectly and cheaply; rights could not easily be controlled. "
+#~ "Thus, regardless of anyone's desire, the effective regime of copyright "
+#~ "under the original design of the Internet was \\\"no rights reserved.\\\" "
+#~ "Content was \\\"taken\\\" regardless of the rights. Any rights were "
+#~ "effectively unprotected."
+#~ msgstr ""
+#~ "da Internett ble født, skråstilt sin første arkitektur effektivt i "
+#~ "retning \\\"ingen rettigheter reservert\\\". innholdet kan kopieres "
+#~ "perfekt og billig; rettigheter kan ikke lett kontrolleres. Således, "
+#~ "uavhengig av hvem som helst ønske, effektiv regimet av opphavsrett under "
+#~ "den opprinnelige utformingen av Internett var \\\"ingen rettigheter "
+#~ "reservert.\\\" innhold ble \\\"tatt\\\" uavhengig av rettighetene. alle "
+#~ "rettigheter som var effektivt ubeskyttet."
+
+#~ msgid ""
+#~ "This initial character produced a reaction (opposite, but not quite "
+#~ "equal) by copyright owners. That reaction has been the topic of this "
+#~ "book. Through legislation, litigation, and changes to the network's "
+#~ "design, copyright holders have been able to change the essential "
+#~ "character of the environment of the original Internet. If the original "
+#~ "architecture made the effective default \\\"no rights reserved,\\\" the "
+#~ "future architecture will make the effective default \\\"all rights "
+#~ "reserved.\\\" The architecture and law that surround the Internet's "
+#~ "design will increasingly produce an environment where all use of content "
+#~ "requires permission. The \\\"cut and paste\\\" world that defines the "
+#~ "Internet today will become a \\\"get permission to cut and paste\\\" "
+#~ "world that is a creator's nightmare."
+#~ msgstr ""
+#~ "dette første tegnet produsert en reaksjon (motsatt, men ikke helt like) "
+#~ "av eiere av opphavsretter. som reaksjon har vært tema for denne boken. "
+#~ "gjennom lovgivning, søksmål og endringer til nettverkets design, har "
+#~ "innehaver av opphavsrett vært i stand til å endre det avgjørende tegnet "
+#~ "av det opprinnelige Internett-miljøet. Hvis den originale arkitekturen "
+#~ "gjort effektiv standard \\\"ingen rettigheter reservert\\\", vil den "
+#~ "fremtidige arkitekturen gjøre effektiv standard \\\"all rights reserved.\\"
+#~ "\" arkitektur og lov som omgir Internetts design vil stadig produsere et "
+#~ "miljø der alle bruk av innhold som krever tillatelse. \\\"klippe og lime\\"
+#~ "\" verden som definerer Internett i dag vil bli en \\\"få tillatelse til "
+#~ "å klippe og lime\\\" verden som er en creator mareritt."
+
+#~ msgid ""
+#~ "What's needed is a way to say something in the middle--neither \\\"all "
+#~ "rights reserved\\\" nor \\\"no rights reserved\\\" but \\\"some rights "
+#~ "reserved\\\"-- and thus a way to respect copyrights but enable creators "
+#~ "to free content as they see fit. In other words, we need a way to restore "
+#~ "a set of freedoms that we could just take for granted before."
+#~ msgstr ""
+#~ "Hva trenger er en måte å si noe i midten--verken \\\"all rights reserved\\"
+#~ "\" eller \\\"ingen rettigheter reservert\\\" men \\\"noen rettigheter "
+#~ "reservert\\\"- og dermed en måte å Respekter opphavsrettigheter, men "
+#~ "aktivere skaperne til gratis innhold som de ønsker. med andre ord, "
+#~ "trenger vi en måte å gjenopprette et sett med andre friheter som vi bare "
+#~ "kunne ta for gitt før."
+
+#~ msgid ""
+#~ "If you step back from the battle I've been describing here, you will "
+#~ "recognize this problem from other contexts. Think about privacy. Before "
+#~ "the Internet, most of us didn't have to worry much about data about our "
+#~ "lives that we broadcast to the world. If you walked into a bookstore and "
+#~ "browsed through some of the works of Karl Marx, you didn't need to worry "
+#~ "about explaining your browsing habits to your neighbors or boss. The \\"
+#~ "\"privacy\\\" of your browsing habits was assured."
+#~ msgstr ""
+#~ "Hvis du går tilbake fra slaget som jeg har vært beskriver her, vil du "
+#~ "gjenkjenne dette problemet fra andre sammenhenger. Tenk om personvern. "
+#~ "før Internett måtte de fleste av oss ikke bekymre deg mye om data om våre "
+#~ "liv at vi broadcast til world. Hvis du gikk inn i en bokhandel og bladde "
+#~ "gjennom noen av verk av karl marx, du ikke trenger å bekymre deg om å "
+#~ "forklare Internett-vanene dine naboer eller sjefen. du surfer vaner \\"
+#~ "\"personvern\\\" var trygg på."
+
+#~ msgid ""
+#~ "Well, if we think in terms of the modalities I described in chapter 10, "
+#~ "your privacy was assured because of an inefficient architecture for "
+#~ "gathering data and hence a market constraint (cost) on anyone who wanted "
+#~ "to gather that data. If you were a suspected spy for North Korea, working "
+#~ "for the CIA, no doubt your privacy would not be assured. But that's "
+#~ "because the CIA would (we hope) find it valuable enough to spend the "
+#~ "thousands required to track you. But for most of us (again, we can hope), "
+#~ "spying doesn't pay. The highly inefficient architecture of real space "
+#~ "means we all enjoy a fairly robust amount of privacy. That privacy is "
+#~ "guaranteed to us by friction. Not by law (there is no law protecting \\"
+#~ "\"privacy\\\" in public places), and in many places, not by norms "
+#~ "(snooping and gossip are just fun), but instead, by the costs that "
+#~ "friction imposes on anyone who would want to spy."
+#~ msgstr ""
+#~ "Vel, hvis vi tror når det gjelder metoder jeg beskrevet i kapittel 10, "
+#~ "personvernet var forsikret på grunn av en ineffektiv arkitektur for å "
+#~ "samle data og dermed betingelsen markedet (kostnader) på alle som ønsket "
+#~ "å samle inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, "
+#~ "ville arbeider for cia, ingen tvil om personvernet ikke være trygg. men "
+#~ "det er fordi vil cia (håper vi) finne det verdifullt nok til å bruke "
+#~ "tusenvis som er nødvendig for å spore deg. men for de fleste av oss "
+#~ "(igjen, vi kan håper), spionere ikke betaler. svært ineffektiv arkitektur "
+#~ "virkelige rommet betyr at vi alle nyte en ganske robust mengden "
+#~ "personvern. at personvern er garantert til oss ved hjelp av friksjon. "
+#~ "ikke ved loven (det er ingen lov som beskytter \\\"personvern\\\" i "
+#~ "offentlige steder), og mange steder, ikke av normer (snooping og sladder "
+#~ "er bare morsomt), men i stedet av kostnader som friksjon pålegger på alle "
+#~ "som ønsker å spy."
+
+#~ msgid ""
+#~ "Enter the Internet, where the cost of tracking browsing in particular has "
+#~ "become quite tiny. If you're a customer at Amazon, then as you browse the "
+#~ "pages, Amazon collects the data about what you've looked at. You know "
+#~ "this because at the side of the page, there's a list of \\\"recently "
+#~ "viewed\\\" pages. Now, because of the architecture of the Net and the "
+#~ "function of cookies on the Net, it is easier to collect the data than "
+#~ "not. The friction has disappeared, and hence any \\\"privacy\\\" "
+#~ "protected by the friction disappears, too."
+#~ msgstr ""
+#~ "Angi Internett, der kostnaden for sporing av surfing spesielt har blitt "
+#~ "ganske liten. Hvis du er en kunde på amazon, deretter samler som du blar "
+#~ "gjennom sidene, amazon data om hva du har sett på. du vet dette fordi på "
+#~ "side av siden, er det en liste over \\\"sist sett\\\" sider. nå, på grunn "
+#~ "av arkitekturen på nettet og funksjon av informasjonskapsler på nettet, "
+#~ "er det enklere å samle inn data enn ikke. friksjonen har forsvunnet, og "
+#~ "dermed alle \\\"personvern\\\" beskyttet av friksjonen forsvinner, også."
+
+#~ msgid ""
+#~ "Amazon, of course, is not the problem. But we might begin to worry about "
+#~ "libraries. If you're one of those crazy lefties who thinks that people "
+#~ "should have the \\\"right\\\" to browse in a library without the "
+#~ "government knowing which books you look at (I'm one of those lefties, "
+#~ "too), then this change in the technology of monitoring might concern you. "
+#~ "If it becomes simple to gather and sort who does what in electronic "
+#~ "spaces, then the friction-induced privacy of yesterday disappears."
+#~ msgstr ""
+#~ "Amazon, selvfølgelig, er ikke problemet. men vi kan begynne å bekymre deg "
+#~ "om biblioteker. Hvis du er en av de sprø lefties som mener at folk skal "
+#~ "ha \\\"rett\\\" til å bla i et bibliotek uten regjeringen å vite hvilke "
+#~ "bøker du ser på (jeg er en av disse lefties også), og deretter denne "
+#~ "endringen i teknologien for overvåking kan angår deg. Hvis det blir "
+#~ "enkelt å samle og sortere hvem gjør hva i elektronisk mellomrom, "
+#~ "forsvinner personvern friksjon i går."
+
+#~ 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."
+#~ msgstr ""
+#~ "enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved å "
+#~ "utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, "
+#~ "creative commons har som mål å markere et utvalg av innhold som kan "
+#~ "enkelt og pålitelig, være bygget på. disse kodene er deretter koblet til "
+#~ "maskinlesbar versjoner av lisensen som gjør at datamaskiner automatisk å "
+#~ "identifisere innhold som kan lett deles. disse tre uttrykkene sammen--en "
+#~ "juridisk lisens, en lesbar beskrivelse og maskinlesbar koder--utgjør en "
+#~ "creative commons-lisens. en creative commons-lisens utgjør en bevilgning "
+#~ "av frihet til alle som har tilgang til lisensen, og enda viktigere, et "
+#~ "uttrykk for ideelt som personen som er knyttet til lisensen tror på noe "
+#~ "annet enn \\\"all\\\" eller \\\"Nei\\\" ekstreme. innholdet er merket med "
+#~ "kopi-merket, som ikke betyr at copyright fratres, men at visse friheter "
+#~ "er gitt."
+
+#~ msgid ""
+#~ "These freedoms are beyond the freedoms promised by fair use. Their "
+#~ "precise contours depend upon the choices the creator makes. The creator "
+#~ "can choose a license that permits any use, so long as attribution is "
+#~ "given. She can choose a license that permits only noncommercial use. She "
+#~ "can choose a license that permits any use so long as the same freedoms "
+#~ "are given to other uses (\\\"share and share alike\\\"). Or any use so "
+#~ "long as no derivative use is made. Or any use at all within developing "
+#~ "nations. Or any sampling use, so long as full copies are not made. Or "
+#~ "lastly, any educational use."
+#~ msgstr ""
+#~ "Disse frihetene er utenfor friheter lovet av fair use. deres presis "
+#~ "konturer, avhenger av valgene skaperen gjør. skaperen kan velge en lisens "
+#~ "som tillater enhver bruk, så lenge henvisning er gitt. hun kan velge en "
+#~ "lisens som tillater bare ikke-kommersiell bruk. hun kan velge en lisens "
+#~ "som tillater enhver bruk så lenge de samme frihetene er gitt til andre "
+#~ "bruker (\\\"del og share alike\\\"). eller enhver bruk så lenge ingen "
+#~ "avledede bruk er gjort. eller noen bruke overhodet i utviklingsland. "
+#~ "eller noen prøvetaking bruk, så lenge alle kopiene ikke er laget. eller "
+#~ "til slutt, noen pedagogisk bruk."
+
+#~ msgid ""
+#~ "This is just one project among many within the Creative Commons. And of "
+#~ "course, Creative Commons is not the only organization pursuing such "
+#~ "freedoms. But the point that distinguishes the Creative Commons from many "
+#~ "is that we are not interested only in talking about a public domain or in "
+#~ "getting legislators to help build a public domain. Our aim is to build a "
+#~ "movement of consumers and producers of content (\\\"content conducers,\\"
+#~ "\" as attorney Mia Garlick calls them) who help build the public domain "
+#~ "and, by their work, demonstrate the importance of the public domain to "
+#~ "other creativity."
+#~ msgstr ""
+#~ "Dette er bare ett prosjekt blant mange innenfor creative commons. og "
+#~ "selvfølgelig, creative commons er ikke den eneste organisasjonen å "
+#~ "forfølge slike friheter. men poenget som skiller creative commons fra "
+#~ "mange er at vi ikke er interessert i å få lovgivere til å bygge et "
+#~ "frivare eller bare i snakker om et frivare. vårt mål er å bygge en "
+#~ "bevegelse av forbrukere og produsenter av innhold (\\\"innhold conducers,"
+#~ "\\\" som advokat mia garlick kaller dem) hvem hjelpe bygge allemannseie, "
+#~ "og ved deres arbeid, demonstrere viktigheten av public domain til andre "
+#~ "kreativitet."
+
+#~ msgid ""
+#~ "The aim is not to fight the \\\"All Rights Reserved\\\" sorts. The aim is "
+#~ "to complement them. The problems that the law creates for us as a culture "
+#~ "are produced by insane and unintended consequences of laws written "
+#~ "centuries ago, applied to a technology that only Jefferson could have "
+#~ "imagined. The rules may well have made sense against a background of "
+#~ "technologies from centuries ago, but they do not make sense against the "
+#~ "background of digital technologies. New rules--with different freedoms, "
+#~ "expressed in ways so that humans without lawyers can use them--are "
+#~ "needed. Creative Commons gives people a way effectively to begin to build "
+#~ "those rules."
+#~ msgstr ""
+#~ "Målet er ikke å kjempe \\\"med enerett\\\"-sorteringer. Målet er å "
+#~ "utfylle dem. problemene som loven oppretter for oss som en kultur er "
+#~ "produsert av galskap og utilsiktede konsekvenser av lover skrevet "
+#~ "århundrer siden, brukt til en teknologi som bare jefferson kunne ha "
+#~ "forestilt meg. reglene kan godt ha gjort følelse mot et bakteppe av "
+#~ "teknologi fra århundrer siden, men de gjør ikke fornuftig på bakgrunn av "
+#~ "digitale teknologier. nye regler--med forskjellige friheter, uttrykt i "
+#~ "måter slik at mennesker uten advokater kan bruke dem – er nødvendig. "
+#~ "Creative commons gir folk en måte for effektivt å begynne å bygge disse "
+#~ "reglene."
+
+#~ msgid ""
+#~ "Finally, there are many who mark their content with a Creative Commons "
+#~ "license just because they want to express to others the importance of "
+#~ "balance in this debate. If you just go along with the system as it is, "
+#~ "you are effectively saying you believe in the \\\"All Rights Reserved\\\" "
+#~ "model. Good for you, but many do not. Many believe that however "
+#~ "appropriate that rule is for Hollywood and freaks, it is not an "
+#~ "appropriate description of how most creators view the rights associated "
+#~ "with their content. The Creative Commons license expresses this notion of "
+#~ "\\\"Some Rights Reserved,\\\" and gives many the chance to say it to "
+#~ "others."
+#~ msgstr ""
+#~ "Endelig er det mange som merker innholdet med en creative commons-lisens, "
+#~ "bare fordi de ønsker å uttrykke til andre betydningen av saldoen i denne "
+#~ "debatten. Hvis du bare gå sammen med systemet som det er, sier du "
+#~ "effektivt du tror på \\\"all rights reserved\\\"-modellen. bra for deg, "
+#~ "men mange gjør det ikke. mange tror at men passer denne regelen er for "
+#~ "hollywood og freaks, det ikke er en passende beskrivelse av hvordan de "
+#~ "fleste skaperne vise rettigheter knyttet til deres innhold. creative "
+#~ "commons-lisens uttrykker dette begrepet \\\"noen rettigheter reservert\\"
+#~ "\", og gir mange sjansen til å si det til andre."
+
+#~ msgid ""
+#~ "In contrast, under current copyright law, you automatically get a "
+#~ "copyright, regardless of whether you comply with any formality. You don't "
+#~ "have to register. You don't even have to mark your content. The default "
+#~ "is control, and \\\"formalities\\\" are banished."
+#~ msgstr ""
+#~ "derimot under gjeldende lov om opphavsrett få du automatisk en "
+#~ "opphavsrett, uavhengig av om du overholder eventuelle formalitet. du "
+#~ "trenger ikke å registrere deg. du trenger ikke engang å merke innholdet. "
+#~ "standard er kontrollen, og \\\"formaliteter\\\" er kastet ut."
+
+#~ msgid ""
+#~ "No doubt the extremists will call these ideas \\\"radical.\\\" (After "
+#~ "all, I call them \\\"extremists.\\\") But again, the term I recommended "
+#~ "was longer than the term under Richard Nixon. How \\\"radical\\\" can it "
+#~ "be to ask for a more generous copyright law than Richard Nixon presided "
+#~ "over?"
+#~ msgstr ""
+#~ "uten tvil vil ekstremistene kalle disse ideene \\\"radikale\\\". (tross "
+#~ "alt, jeg kaller dem \\\"ekstremister.\\\") men igjen, jeg anbefalt "
+#~ "begrepet var lengre enn begrepet under richard nixon. hvordan \\\"radikale"
+#~ "\\\" kan det være for å be om en mer sjenerøs opphavsrettighet enn "
+#~ "richard nixon presided over?"
+
+#~ msgid ""
+#~ "Our Constitution gives Congress the power to give authors \\\"exclusive "
+#~ "right\\\" to \\\"their writings.\\\" Congress has given authors an "
+#~ "exclusive right to \\\"their writings\\\" plus any derivative writings "
+#~ "(made by others) that are sufficiently close to the author's original "
+#~ "work. Thus, if I write a book, and you base a movie on that book, I have "
+#~ "the power to deny you the right to release that movie, even though that "
+#~ "movie is not \\\"my writing.\\\""
+#~ msgstr ""
+#~ "vår grunnlov gir Kongressen makt til å gi forfattere \\\"eksklusiv rett\\"
+#~ "\" til \\\"deres skrifter.\\\" Kongressen har gitt forfatterne en "
+#~ "eksklusiv rett til å \\\"deres skrifter\\\" pluss eventuelle avledede "
+#~ "skrifter (laget av andre) som er tilstrekkelig nær forfatterens "
+#~ "opprinnelige arbeid. Dermed, hvis jeg skrive en bok og en film basert på "
+#~ "boken, jeg har makt til å nekte deg rett til å frigi den filmen, selv om "
+#~ "filmen ikke er \\\"min skrive.\\\""
+
+#~ msgid ""
+#~ "Scope: Likewise should the scope of derivative rights be narrowed. "
+#~ "Again, there are some cases in which derivative rights are important. "
+#~ "Those should be specified. But the law should draw clear lines around "
+#~ "regulated and unregulated uses of copyrighted material. When all \\\"reuse"
+#~ "\\\" of creative material was within the control of businesses, perhaps "
+#~ "it made sense to require lawyers to negotiate the lines. It no longer "
+#~ "makes sense for lawyers to negotiate the lines. Think about all the "
+#~ "creative possibilities that digital technologies enable; now imagine "
+#~ "pouring molasses into the machines. That's what this general requirement "
+#~ "of permission does to the creative process. Smothers it."
+#~ msgstr ""
+#~ "område: på samme måte bør omfanget av avledede rettigheter bli "
+#~ "innsnevret. igjen, det er noen tilfeller der avledede rettigheter er "
+#~ "viktig. de skal angis. men loven skal tegne klare linjer rundt regulert "
+#~ "og unregulated bruk av opphavsrettsbeskyttet materiale. Når alle \\"
+#~ "\"gjenbruk\\\" av kreative materiale var har kontroll over bedrifter, "
+#~ "kanskje gjort det fornuftig å kreve advokater å forhandle linjene. Det er "
+#~ "ikke lenger fornuftig for jurister å forhandle linjene. Tenk alle de "
+#~ "kreative mulighetene som digital teknologi aktivere; Nå forestille "
+#~ "pouring molasses til maskinene. Det er hva denne generelle krav om "
+#~ "tillatelse betyr for den kreative prosessen. Smothers det."
+
+#~ msgid ""
+#~ "This point about the future is meant to suggest a perspective on the "
+#~ "present: It is emphatically temporary. The \\\"problem\\\" with file "
+#~ "sharing--to the extent there is a real problem--is a problem that will "
+#~ "increasingly disappear as it becomes easier to connect to the Internet. "
+#~ "And thus it is an extraordinary mistake for policy makers today to be \\"
+#~ "\"solving\\\" this problem in light of a technology that will be gone "
+#~ "tomorrow. The question should not be how to regulate the Internet to "
+#~ "eliminate file sharing (the Net will evolve that problem away). The "
+#~ "question instead should be how to assure that artists get paid, during "
+#~ "this transition between twentieth-century models for doing business and "
+#~ "twenty-first-century technologies."
+#~ msgstr ""
+#~ "dette punktet om fremtiden er ment å foreslå et perspektiv på stede: det "
+#~ "er spesielt midlertidig. \\\"problemet\\\" med fildeling--i den grad det "
+#~ "er et reelt problem--er et problem som i økende grad vil forsvinne som "
+#~ "det blir enklere å koble til Internett. og således det er en "
+#~ "ekstraordinære feil for beslutningstakere i dag til å være \\\"løse\\\" "
+#~ "dette problemet i lys av en teknologi som vil være borte i morgen. "
+#~ "spørsmålet bør ikke hvordan å regulere Internett til å eliminere "
+#~ "fildeling (nettet vil utvikle seg det problemet unna). spørsmålet bør i "
+#~ "stedet hvor å forsikre at artister får betalt, under denne overgangen "
+#~ "mellom 1900-tallet modeller for å gjøre forretnings- og tyve-første-"
+#~ "tallet teknologier."
+
+#~ msgid ""
+#~ "The answer begins with recognizing that there are different \\\"problems\\"
+#~ "\" here to solve. Let's start with type D content--uncopyrighted content "
+#~ "or copyrighted content that the artist wants shared. The \\\"problem\\\" "
+#~ "with this content is to make sure that the technology that would enable "
+#~ "this kind of sharing is not rendered illegal. You can think of it this "
+#~ "way: Pay phones are used to deliver ransom demands, no doubt. But there "
+#~ "are many who need to use pay phones who have nothing to do with ransoms. "
+#~ "It would be wrong to ban pay phones in order to eliminate kidnapping."
+#~ msgstr ""
+#~ "svaret begynner med erkjenner at det er ulike \\\"problemer\\\" her å "
+#~ "løse. La oss starte med typen d innhold--uncopyrighted innhold eller "
+#~ "opphavsrettslig beskyttet innhold som kunstneren ønsker delt. \\"
+#~ "\"problemet\\\" med dette innholdet er å sørge for at teknologien som "
+#~ "ville gjøre det mulig for denne type deling ikke gjengis ulovlig. Du kan "
+#~ "tenke på det på denne måten: betal telefoner brukes til å levere "
+#~ "løsepenger krav, ingen tvil. men det er mange som trenger å bruke betale "
+#~ "telefoner som har ingenting å gjøre med ransoms. det ville være feil å "
+#~ "utestenge betale telefoner for å eliminere kidnapping."
+
+#~ msgid ""
+#~ "Type C content raises a different \\\"problem.\\\" This is content that "
+#~ "was, at one time, published and is no longer available. It may be "
+#~ "unavailable because the artist is no longer valuable enough for the "
+#~ "record label he signed with to carry his work. Or it may be unavailable "
+#~ "because the work is forgotten. Either way, the aim of the law should be "
+#~ "to facilitate the access to this content, ideally in a way that returns "
+#~ "something to the artist."
+#~ msgstr ""
+#~ "c-innhold av typen reiser et annet \\\"problem.\\\" Dette er innhold som "
+#~ "ble, samtidig, publisert og er ikke lenger tilgjengelig. Det kan være "
+#~ "utilgjengelig fordi kunstneren er ikke lenger nok kostbar for "
+#~ "plateselskap han signert med å bære sitt arbeid. eller det kan være "
+#~ "utilgjengelig fordi arbeidet er glemt. Uansett bør sikte på loven å "
+#~ "forenkle tilgang til dette innholdet, ideelt på en måte som returnerer "
+#~ "noe til kunstneren."
+
+#~ msgid ""
+#~ "Again, the model here is the used book store. Once a book goes out of "
+#~ "print, it may still be available in libraries and used book stores. But "
+#~ "libraries and used book stores don't pay the copyright owner when someone "
+#~ "reads or buys an out-of-print book. That makes total sense, of course, "
+#~ "since any other system would be so burdensome as to eliminate the "
+#~ "possibility of used book stores' existing. But from the author's "
+#~ "perspective, this \\\"sharing\\\" of his content without his being "
+#~ "compensated is less than ideal."
+#~ msgstr ""
+#~ "igjen er modellen her brukt boka store. Når en bok går ut av Skriv ut, "
+#~ "det kan fortsatt være tilgjengelig i biblioteker og brukte bokhandlere. "
+#~ "men biblioteker og brukte bokhandlere betaler ikke eieren av "
+#~ "opphavsretten når noen leser eller kjøper en ut-av-print-bok. Det er "
+#~ "totalt fornuftig, selvfølgelig, siden andre systemet ville være så tunge "
+#~ "som å eliminere muligheten for brukte boken butikker eksisterende. men "
+#~ "fra forfatterens perspektiv, denne \\\"deling\\\" av hans innhold uten "
+#~ "hans blir kompensert er mindre enn ideell."
+
+#~ msgid ""
+#~ "The model of used book stores suggests that the law could simply deem out-"
+#~ "of-print music fair game. If the publisher does not make copies of the "
+#~ "music available for sale, then commercial and noncommercial providers "
+#~ "would be free, under this rule, to \\\"share\\\" that content, even "
+#~ "though the sharing involved making a copy. The copy here would be "
+#~ "incidental to the trade; in a context where commercial publishing has "
+#~ "ended, trading music should be as free as trading books."
+#~ msgstr ""
+#~ "modell for brukte boken butikker tyder på at loven kan bare anser-print "
+#~ "musikk rettferdig spill. Hvis utgiveren ikke gjør kopier av musikken "
+#~ "tilgjengelig for salg, vil og kommersielle og ikke-kommersiell "
+#~ "leverandører være gratis, under denne regelen, å \\\"dele\\\" innholdet, "
+#~ "selv om deling involvert gjør en kopi. Kopier hit ville være tilfeldige "
+#~ "for handel; i en sammenheng der kommersielle publisering er avsluttet, "
+#~ "bør handel musikk være gratis som handel bøker."
+
+#~ msgid ""
+#~ "Fisher would balk at the idea of allowing the system to lapse. His aim is "
+#~ "not just to ensure that artists are paid, but also to ensure that the "
+#~ "system supports the widest range of \\\"semiotic democracy\\\" possible. "
+#~ "But the aims of semiotic democracy would be satisfied if the other "
+#~ "changes I described were accomplished--in particular, the limits on "
+#~ "derivative uses. A system that simply charges for access would not "
+#~ "greatly burden semiotic democracy if there were few limitations on what "
+#~ "one was allowed to do with the content itself."
+#~ msgstr ""
+#~ "Fisher vil balk på ideen om å la systemet synker. hans mål er ikke bare "
+#~ "for å sikre at kunstnere er betalt, men også å sikre at systemet støtter "
+#~ "en rekke ulike \\\"semiotic demokrati\\\" mulig. men målene for semiotic "
+#~ "demokrati ville være fornøyd hvis endringene jeg beskrevet ble oppnådd--"
+#~ "spesielt begrensninger på derivat bruker. et system som belaster bare for "
+#~ "tilgang ville ikke sterkt belaster semiotic demokrati Hvis det var noen "
+#~ "begrensninger på hva en var tillatt å gjøre med selve innholdet."
+
+#~ msgid ""
+#~ "No doubt it would be difficult to calculate the proper measure of \\\"harm"
+#~ "\\\" to an industry. But the difficulty of making that calculation would "
+#~ "be outweighed by the benefit of facilitating innovation. This background "
+#~ "system to compensate would also not need to interfere with innovative "
+#~ "proposals such as Apple's MusicStore. As experts predicted when Apple "
+#~ "launched the MusicStore, it could beat \\\"free\\\" by being easier than "
+#~ "free is. This has proven correct: Apple has sold millions of songs at "
+#~ "even the very high price of 99 cents a song. (At 99 cents, the cost is "
+#~ "the equivalent of a per-song CD price, though the labels have none of the "
+#~ "costs of a CD to pay.) Apple's move was countered by Real Networks, "
+#~ "offering music at just 79 cents a song. And no doubt there will be a "
+#~ "great deal of competition to offer and sell music on-line."
+#~ msgstr ""
+#~ "ingen tvil om ville det være vanskelig å beregne riktig mål for \\\"skade"
+#~ "\\\" til en industri. men vanskeligheten av å gjøre multiplikasjonene "
+#~ "ville være oppveies av fordel for tilrettelegging innovasjon. Dette "
+#~ "bakgrunn-systemet for å kompensere ville ikke må også forstyrre "
+#~ "nyskapende forslag for eksempel Apples musicstore. som eksperter spådd "
+#~ "når apple lanserte musicstore, vil det kunne slå \\\"gratis\\\" ved å "
+#~ "være enklere enn er gratis. Dette har vist riktig: apple har solgt flere "
+#~ "millioner sanger på selv svært høy pris på 99 cents en sang. (på 99 "
+#~ "cents, kostnaden tilsvarer en per sang cd pris, men etikettene har ingen "
+#~ "av kostnadene for en cd for å betale.) Apple nå går ble motvirket av real "
+#~ "networks, tilbyr musikk på bare 79 cents en sang. og ingen tvil om det "
+#~ "vil være mye konkurranse å tilby og selge musikk på nettet."
+
+#~ msgid ""
+#~ "This competition has already occurred against the background of \\\"free\\"
+#~ "\" music from p2p systems. As the sellers of cable television have known "
+#~ "for thirty years, and the sellers of bottled water for much more than "
+#~ "that, there is nothing impossible at all about \\\"competing with free.\\"
+#~ "\" Indeed, if anything, the competition spurs the competitors to offer "
+#~ "new and better products. This is precisely what the competitive market "
+#~ "was to be about. Thus in Singapore, though piracy is rampant, movie "
+#~ "theaters are often luxurious--with \\\"first class\\\" seats, and meals "
+#~ "served while you watch a movie--as they struggle and succeed in finding "
+#~ "ways to compete with \\\"free.\\\""
+#~ msgstr ""
+#~ "Denne konkurransen har allerede skjedd på bakgrunn av \\\"gratis\\\" "
+#~ "musikk fra p2p-systemer. som selgere av kabel-TV har kjent for tretti år "
+#~ "og selgere av flaskevann for mye mer enn det, det er ingenting umulig "
+#~ "overhodet om \\\"konkurrerer med gratis.\\\" faktisk, om noe, inspirerer "
+#~ "konkurransen konkurrenter å tilby nye og bedre produkter. Dette er "
+#~ "nettopp hva konkurransedyktige markedet var å være om. dermed i singapore "
+#~ "er selv om piratkopiering er frodig, kinoer ofte luksuriøse--med \\"
+#~ "\"første klasse\\\" seter og måltider servert mens du ser en film--er de "
+#~ "kampen og lykkes i å finne måter å konkurrere med \\\"gratis\\\"."
+
+#~ msgid ""
+#~ "But what if \\\"piracy\\\" doesn't disappear? What if there is a "
+#~ "competitive market providing content at a low cost, but a significant "
+#~ "number of consumers continue to \\\"take\\\" content for nothing? Should "
+#~ "the law do something then?"
+#~ msgstr ""
+#~ "men hva om \\\"piratkopiering\\\" ikke forsvinne? Hva hvis det er et "
+#~ "konkurranseutsatt marked å gi innhold på en lav pris, men et betydelig "
+#~ "antall forbrukere fortsette å \\\"ta\\\" innhold for ingenting? loven "
+#~ "gjør noe deretter?"
+
+#~ msgid ""
+#~ "The law should regulate in certain areas of culture--but it should "
+#~ "regulate culture only where that regulation does good. Yet lawyers rarely "
+#~ "test their power, or the power they promote, against this simple "
+#~ "pragmatic question: \\\"Will it do good?\\\" When challenged about the "
+#~ "expanding reach of the law, the lawyer answers, \\\"Why not?\\\""
+#~ msgstr ""
+#~ "loven skal regulere i visse områder av kultur-- men det skal regulere "
+#~ "kultur bare der den reguleringen gjør bra. men advokater sjelden teste "
+#~ "deres makt, eller kraften som de fremme, mot dette enkle pragmatisk "
+#~ "spørsmålet: \\\"vil det gjøre gode?\\\" når utfordret om det utvider nå "
+#~ "av loven, advokat-svar, \\\"Hvorfor ikke?\\\""
+
+#~ msgid ""
+#~ "We should ask, \\\"Why?\\\" Show me why your regulation of culture is "
+#~ "needed. Show me how it does good. And until you can show me both, keep "
+#~ "your lawyers away."
+#~ msgstr ""
+#~ "Vi bør spørre: \\\"Hvorfor?\\\" Vis meg hvorfor din regulering av kultur "
+#~ "er nødvendig. Vis meg hvordan det fungerer bra. og før du kan vise meg "
+#~ "begge, hold advokatene dine unna."
+
+#~ msgid ""
+#~ "These are the traditional sorts of help that academics regularly draw "
+#~ "upon. But in addition to them, the Internet has made it possible to "
+#~ "receive advice and correction from many whom I have never even met. Among "
+#~ "those who have responded with extremely helpful advice to requests on my "
+#~ "blog about the book are Dr. Mohammad Al-Ubaydli, David Gerstein, and "
+#~ "Peter DiMauro, as well as a long list of those who had specific ideas "
+#~ "about ways to develop my argument. They included Richard Bondi, Steven "
+#~ "Cherry, David Coe, Nik Cubrilovic, Bob Devine, Charles Eicher, Thomas "
+#~ "Guida, Elihu M. Gerson, Jeremy Hunsinger, Vaughn Iverson, John Karabaic, "
+#~ "Jeff Keltner, James Lindenschmidt, K. L. Mann, Mark Manning, Nora "
+#~ "McCauley, Jeffrey McHugh, Evan McMullen, Fred Norton, John Pormann, Pedro "
+#~ "A. D. Rezende, Shabbir Safdar, Saul Schleimer, Clay Shirky, Adam "
+#~ "Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, Andrzej Jan "
+#~ "Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, \\\"Wink,\\\" "
+#~ "Roger Wood, \\\"Ximmbo da Jazz,\\\" and Richard Yanco. (I apologize if I "
+#~ "have missed anyone; with computers come glitches, and a crash of my e-"
+#~ "mail system meant I lost a bunch of great replies.)"
+#~ msgstr ""
+#~ "Dette er de tradisjonelle former for hjelp som akademikere regelmessig "
+#~ "trekke på. men i tillegg til dem, Internett har gjort det mulig å motta "
+#~ "råd og korrigering fra mange hvem jeg har aldri møtt. blant de som har "
+#~ "svart med svært nyttig råd til forespørsler på bloggen min om boken er "
+#~ "dr. Muhammed al-ubaydli, david gerstein og peter dimauro, samt en lang "
+#~ "liste med de som hadde spesifikke ideer om måter å utvikle mitt argument. "
+#~ "de inkludert richard bondi, steven cherry, david coe, nik cubrilovic, bob "
+#~ "devine, charles eicher, thomas fjord, elihu m gerson, jeremy hunsinger, "
+#~ "vaughn iverson, john karabaic, jeff-keltner, james lindenschmidt, k. l. "
+#~ "mann, merke bemanning, nora mccauley, jeffrey mchugh, evan mcmullen, fred "
+#~ "norton, john pormann, pedro a. d. rezende, shabbir safdar, saul "
+#~ "schleimer, clay shirky, adam shostack, kragen sitaker, chris smith, bruce "
+#~ "steinberg, andrzej jan taramina, sean walsh, matt wasserman, miljenko "
+#~ "williams, \\\"kyss,\\\" roger tre, \\\"ximmbo da jazz\\\", og richard "
+#~ "yanco. (jeg beklager hvis jeg har savnet noen, med datamaskiner kommer "
+#~ "glitches og krasj av min e-postsystemet mente jeg mistet en haug med stor "
+#~ "svar.)"
projects / text-free-culture-lessig.git / commitdiff