-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 "" -"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL " -"CREATIVITY" -msgstr "" -"Hvordan store medieaktÃ¸rer bruker teknologi og jussen til Ã¥ begrense " -"kulturen og kontrollere kreativiteten" - -#. type: Content of: <book><bookinfo> -msgid "<pubdate>2004-03-25</pubdate>" -msgstr "<pubdate>2004-03-25</pubdate>" - -#. type: Content of: <book><bookinfo><releaseinfo> -msgid "Version 2004-02-10" -msgstr "Versjon 2004-02-10" - -#. type: Content of: <book><bookinfo><authorgroup><author><firstname> -msgid "Lawrence" -msgstr "Lawrence" - -#. type: Content of: <book><bookinfo><authorgroup><author><surname> -msgid "Lessig" -msgstr "Lessig" - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Intellectual property—United States." -msgstr "Immaterielle rettigheter—USA." - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Mass media—United States." -msgstr "Massemedia—USA." - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Technological innovations—United States." -msgstr "Teknologiske nyvinninger—USA." - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Art—United States." -msgstr "Kunst—USA." - -#. type: Content of: <book><bookinfo><publisher><address> -#, no-wrap -msgid "<city>New York</city>" -msgstr "<city>New York</city>" - -#. type: Content of: <book><bookinfo> -msgid "" -"<publisher> <publishername>The Penguin Press</publishername> <placeholder " -"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> " -"<holder>Lawrence Lessig</holder> </copyright>" -msgstr "" - -#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject> -msgid "" -"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " -"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " -"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" -"\"/> </imageobject>" -msgstr "" -"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " -"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " -"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" -"\"/> </imageobject>" - -#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase> -msgid "Creative Commons, Some rights reserved" -msgstr "Creative Commons, noen rettigheter forbeholdt" - -#. type: Content of: <book><bookinfo><legalnotice><para> -msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" -msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" - -#. type: Content of: <book><bookinfo><legalnotice><para> -msgid "" -"This version of <citetitle>Free Culture</citetitle> is licensed under a " -"Creative Commons license. This license permits non-commercial use of this " -"work, so long as attribution is given. For more information about the " -"license, click the icon above, or visit <ulink url=\"http://creativecommons." -"org/licenses/by-nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</" -"ulink>" -msgstr "" -"Denne versjonen av <citetitle>Fri kultur</citetitle> er lisensiert under en " -"Creative Commons-lisens. Denne lisensen tillater ikke-kommersiell " -"utnyttelse av verket dersom opphavsmannen er navngitt. For mer informasjon " -"om lisensen, klikk pÃ¥ ikonet over eller besÃ¸k <ulink url=\"http://" -"creativecommons.org/licenses/by-nc/1.0/\">http://creativecommons.org/" -"licenses/by-nc/1.0/</ulink>" - -#. type: Content of: <book><bookinfo><abstract><title> -msgid "ABOUT THE AUTHOR" -msgstr "Om forfatteren" - -#. type: Content of: <book><bookinfo><abstract><para> -msgid "" -"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" -"ulink>), professor of law and a John A. Wilson Distinguished Faculty Scholar " -"at Stanford Law School, is founder of the Stanford Center for Internet and " -"Society and is chairman of the Creative Commons (<ulink url=\"http://" -"creativecommons.org\">http://creativecommons.org</ulink>). The author of " -"The Future of Ideas (Random House, 2001) and Code: And Other Laws of " -"Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the " -"Public Library of Science, the Electronic Frontier Foundation, and Public " -"Knowledge. He was the winner of the Free Software Foundation's Award for the " -"Advancement of Free Software, twice listed in BusinessWeek's <quote>e.biz 25," -"</quote> and named one of Scientific American's <quote>50 visionaries.</" -"quote> A graduate of the University of Pennsylvania, Cambridge University, " -"and Yale Law School, Lessig clerked for Judge Richard Posner of the U.S. " -"Seventh Circuit Court of Appeals." -msgstr "" -"Lawrense Lessig (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" -"ulink>) er professor i rettsvitenskep og er John A. Wilson Distinguished " -"Faculty Scholar ved Stanford Law School. Han er stifteren av Stanford Center " -"for Internet and Society og styreleder i Creative Commons (<ulink url=" -"\"http://creativecommons.org\">http://creativecommons.org</ulink>). " -"Forfatteren har gitt ut The Future of Ideas (Random House, 2001) og Code: " -"And other Laws of Cyberspace (Basic Books, 1999), og er medlem av styrene i " -"Public Library of Science, the Electronic Frontier Foundation, og Public " -"Knowledge. Han har vunnet Free Software Foundation's Award for the " -"Advancement of Free Software, to ganger vÃ¦rt oppfÃ¸rt i BusinessWeeks " -"<quote>e.biz 25,</quote> og omtalt som en av Scientific Americans <quote>50 " -"visjonÃ¦rer</quote>. Etter utdanning ved University of Pennsylvania, " -"Cambridge University, og Yale Law School, assisterte Lessig dommer Richard " -"Posner ved U.S. Seventh Circuit Court of Appeals." - -# -# -# -#. testing different ways to tag the cover page -#. <imageobject remap="s" role="front"> -#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> -#. </imageobject> -#. <imageobject remap="xs" role="front-small"> -#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> -#. </imageobject> -#. <imageobject remap="cs" role="thumbnail"> -#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> -#. </imageobject> -#. type: Content of: <book><bookinfo><mediaobject> -msgid "" -"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/" -"cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>" -msgstr "" - -#. LCCN from -#. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page -#. -#. type: Content of: <book><bookinfo> -msgid "" -" <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn" -"\">1-59420-006-8</biblioid> <biblioid class=\"libraryofcongress" -"\">2003063276</biblioid>" -msgstr "" - -#. type: Content of: <book><dedication><para> -msgid "You can buy a copy of this book by clicking on one of the links below:" -msgstr "" -"Du kan kjÃ¸pe et eksemplar av denne boken ved Ã¥ klikke pÃ¥ en av lenkene " -"nedenfor:" - -#. type: Content of: <book><dedication><itemizedlist><listitem><para> -msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" -msgstr "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" - -#. type: Content of: <book><dedication><itemizedlist><listitem><para> -msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" -msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" - -#. type: Content of: <book><dedication><itemizedlist><listitem><para> -msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" -msgstr "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" - -#. type: Content of: <book><dedication><para> -msgid "ALSO BY LAWRENCE LESSIG" -msgstr "Andre bÃ¸ker av Lawrence Lessig" - -#. type: Content of: <book><dedication><para> -msgid "The Future of Ideas: The Fate of the Commons in a Connected World" -msgstr "The Future of Ideas: The Fate of the Commons in a Connected World" - -#. type: Content of: <book><dedication><para> -msgid "Code: And Other Laws of Cyberspace" -msgstr "Code: And Other Laws of Cyberspace" - -#. type: Content of: <book><colophon><para> -msgid "" -"THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " -"New York, New York" -msgstr "" -"The Penguin Press, medlem av Penguin Group (USA) Inc. 375 Hudson Street " -"New York, Yew Uork, USA" - -#. type: Content of: <book><colophon><para> -msgid "Copyright © Lawrence Lessig. All rights reserved." -msgstr "" -"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter forbeholdt." - -#. type: Content of: <book><colophon><para> -msgid "" -"Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</" -"quote> <citetitle>The New York Times</citetitle>, January 16, 2003. " -"Copyright © 2003 by The New York Times Co. Reprinted with permission." -msgstr "" -"Utdrag fra redaktÃ¸rartikkel <quote>The Coming of Copyright Perpetuity,</" -"quote> <citetitle>The New York Times</citetitle>, 16. januar 2003. " -"Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med tillatelse." - -#. type: Content of: <book><colophon><para> -msgid "" -"Cartoon in <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> by Paul " -"Conrad, copyright Tribune Media Services, Inc. All rights reserved. " -"Reprinted with permission." -msgstr "" -"Humortegningen i <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> er " -"laget av Paul Conrad. Opphavsretten tilhÃ¸rer Tribune Media Services, " -"Inc. Alle rettigheter forbeholdt. Gjengitt med tillatelse." - -#. type: Content of: <book><colophon><para> -msgid "" -"Diagram in <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " -"courtesy of the office of FCC Commissioner, Michael J. Copps." -msgstr "" -"Diagrammet i <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " -"kommer fra kontoret til FCC-kommisjonÃ¦ren, Michael J. Copps." - -#. type: Content of: <book><colophon><para> -msgid "Library of Congress Cataloging-in-Publication Data" -msgstr "Cataloging-in-Publication-data til Library of Congress" - -#. type: Content of: <book><colophon><para> -msgid "" -"Lessig, Lawrence. Free culture : how big media uses technology and the law " -"to lock down culture and control creativity / Lawrence Lessig." -msgstr "" - -#. type: Content of: <book><colophon><para> -#, mtrans, fuzzy -msgid "p. cm." -msgstr "s. cm." - -#. type: Content of: <book><colophon><para> -msgid "Includes index." -msgstr "Inkluderer register." - -#. type: Content of: <book><colophon><para> -msgid "ISBN 1-59420-006-8 (hardcover)" -msgstr "ISBN 1-59420-006-8 (Innbundet bok)" - -#. type: Content of: <book><colophon><para> -msgid "" -"1. Intellectual property—United States. 2. Mass media—United " -"States." -msgstr "1. Immaterielle rettigheter—USA. 2. Massemedia—SA." - -#. type: Content of: <book><colophon><para> -msgid "" -"3. Technological innovations—United States. 4. Art—United " -"States. I. Title." -msgstr "" -"3. Teknologiske nyvinninger—USA. 4. Kunst—USA. I. Tittel." - -#. type: Content of: <book><colophon><para> -msgid "KF2979.L47" -msgstr "KF2979.l47" - -#. type: Content of: <book><colophon><para> -msgid "343.7309'9—dc22" -msgstr "343.7309'9—dc22" - -#. type: Content of: <book><colophon><para> -msgid "This book is printed on acid-free paper." -msgstr "Denne boken er trykt pÃ¥ syrefritt papir." - -#. type: Content of: <book><colophon><para> -msgid "Printed in the United States of America" -msgstr "Trykt i USA" - -#. type: Content of: <book><colophon><para> -msgid "1 3 5 7 9 10 8 6 4" -msgstr "1 3 5 7 9 10 8 6 4" - -#. type: Content of: <book><colophon><para> -msgid "Designed by Marysarah Quinn" -msgstr "Utformet av Marysarah Quinn" - -#. type: Content of: <book><colophon><para> -msgid "&translationblock;" -msgstr "" -"Oversatt til bokmÃ¥l av Petter Reinholdtsen, Anders Hagen Jarmund og Kirill " -"Miazine. Takk til Ralph Amissah for hjelp med registeroppfÃ¸ringene. " -"Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" -"petterreinholdtsen/free-culture-lessig\">tilgjengelig fra GitHub</ulink>. " -"Rapporter feil med oversettelsen via GitHub." - -#. type: Content of: <book><colophon><para> -#, mtrans, fuzzy -msgid "" -"Without limiting the rights under copyright reserved above, no part of this " -"publication may be reproduced, stored in or introduced into a retrieval " -"system, or transmitted, in any form or by any means (electronic, mechanical, " -"photocopying, recording or otherwise), without the prior written permission " -"of both the copyright owner and the above publisher of this book." -msgstr "" -"Ingen " -"del av denne publikasjonen kan bli gjengitt, lagret i eller innfÃ¸rt i et " -"gjenfinningssystem, eller i noen form eller pÃ¥ noen mÃ¥te overfÃ¸rt " -"(bl.a. elektronisk, mekanisk, fotokopiering, innspilling), uten " -"skriftlig tillatelse fra bÃ¥de innehaveren av opphavsretten og utgiveren " -"av denne boken." - -#. type: Content of: <book><colophon><para> -#, mtrans, fuzzy -msgid "" -"The scanning, uploading, and distribution of this book via the Internet or " -"via any other means without the permission of the publisher is illegal and " -"punishable by law. Please purchase only authorized electronic editions and " -"do not participate in or encourage electronic piracy of copyrighted " -"materials. Your support of the author's rights is appreciated." -msgstr "" -"den skanning, laste opp og distribusjon av denne boken via Internett eller " -"via andre midler uten tillatelse fra utgiveren er ulovlig og straffbart ved " -"lov. kjÃ¸pe bare godkjente elektroniske versjoner og ikke delta i eller " -"oppmuntre elektronisk sjÃ¸rÃ¸ver av opphavsrettsbeskyttet materiale. din " -"stÃ¸tte av forfatterens rettigheter er verdsatt." - -#. type: Content of: <book><dedication><para> -msgid "" -"To Eric Eldred—whose work first drew me to this cause, and for whom it " -"continues still." -msgstr "" -"Til Eric Eldred — hvis arbeid fÃ¸rst trakk meg til denne saken, og for " -"hvem saken fortsetter." - -#. type: Content of: <book><lot><title> -msgid "List of figures" -msgstr "Figuroversikt" - -#. type: Content of: <book><preface><title> -msgid "PREFACE" -msgstr "Forord" - -#. type: Content of: <book><preface><indexterm><primary> -msgid "Pogue, David" -msgstr "Pogue, David" - -#. type: Content of: <book><preface><para> -msgid "" -"<emphasis role=\"bold\">At the end</emphasis> of his review of my first " -"book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David " -"Pogue, a brilliant writer and author of countless technical and computer-" -"related texts, wrote this:" -msgstr "" -"<emphasis role=\"bold\">I slutten av</emphasis> sin gjennomgang av min " -"fÃ¸rste bok <citetitle>Code: And Other Laws of Cyberspace</citetitle>, skrev " -"David Pogue, en glimrende skribent og forfatter av utallige tekniske og " -"datarelaterte tekster, dette:" - -#. type: Content of: <book><preface><blockquote><para><footnote><para> -msgid "" -"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " -"York Times</citetitle>, 30 January 2000." -msgstr "" -"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " -"York Times</citetitle>, 30. januar 2000." - -#. type: Content of: <book><preface><blockquote><para> -msgid "" -"Unlike actual law, Internet software has no capacity to punish. It doesn't " -"affect people who aren't online (and only a tiny minority of the world " -"population is). And if you don't like the Internet's system, you can always " -"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I motsetning til rettslige lover, har ikke Internett-programvare " -"evnen til Ã¥ straffe. Den pÃ¥virker ikke folk som ikke er online (og " -"bare en svÃ¦rt liten minoritet av verdens befolkning er online). Og hvis du " -"ikke liker systemet med Internett, kan du alltid skru av modemet." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><preface><para> -msgid "" -"Pogue was skeptical of the core argument of the book—that software, or " -"<quote>code,</quote> functioned as a kind of law—and his review " -"suggested the happy thought that if life in cyberspace got bad, we could " -"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a " -"switch and be back home. Turn off the modem, unplug the computer, and any " -"troubles that exist in <emphasis>that</emphasis> space wouldn't " -"<quote>affect</quote> us anymore." -msgstr "" -"Pogue var skeptisk til bokens hovedpoeng — at " -"programvare, eller <quote>kode</quote>, fungerte som en slags lov — " -"og foreslo i sin anmeldelse den lykkelige tanken at hvis tilvÃ¦relsen i cyberspace " -"ble slett, kan vi alltid, liksom pÃ¥ magisk vis, slÃ¥ over en bryter og " -"vÃ¦re hjemme igjen. Skru av modemet, koble fra datamaskinen, og eventuelle " -"problemer som finnes <emphasis>den</emphasis> virkeligheten ville ikke " -"<quote>pÃ¥virke</quote> oss mer." - -#. PAGE BREAK 12 -#. type: Content of: <book><preface><para> -msgid "" -"Pogue might have been right in 1999—I'm skeptical, but maybe. But " -"even if he was right then, the point is not right now: <citetitle>Free " -"Culture</citetitle> is about the troubles the Internet causes even after the " -"modem is turned off. It is an argument about how the battles that now rage " -"regarding life on-line have fundamentally affected <quote>people who aren't " -"online.</quote> There is no switch that will insulate us from the Internet's " -"effect." -msgstr "" -"Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " -"Men selv om han hadde rett da, er ikke argumentet gyldig lenger. " -"<citetitle>Fri kultur</citetitle> er om problemene Internett forÃ¥rsaker selv " -"etter at modemet er slÃ¥tt av. Den er et argument om hvordan slagene som nÃ¥ " -"ukjempes om livet online fundamentalt pÃ¥virker <quote>folk som ikke er " -"pÃ¥logget.</quote> Det finnes ingen bryter som kan isolere oss fra " -"Internettets pÃ¥virkning." - -#. type: Content of: <book><preface><para> -msgid "" -"But unlike <citetitle>Code</citetitle>, the argument here is not much about " -"the Internet itself. It is instead about the consequence of the Internet to " -"a part of our tradition that is much more fundamental, and, as hard as this " -"is for a geek-wanna-be to admit, much more important." -msgstr "" -"Men i motsetning til boken <citetitle>Code</citetitle>, er tema her " -"ikke sÃ¥ mye Internett i seg selv. Istedet er boken om konsekvensen av " -"Internett for en del av vÃ¥r tradisjon som er mye mer grunnleggende, og " -"uansett hvor hardt dette er for en geek-wanna-be Ã¥ innrÃ¸mme, mye viktigere." - -#. type: Content of: <book><preface><para><footnote><para> -msgid "" -"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " -"(Joshua Gay, ed. 2002)." -msgstr "" -"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " -"(Joshua Gay, red. 2002)." - -#. type: Content of: <book><preface><para> -msgid "" -"That tradition is the way our culture gets made. As I explain in the pages " -"that follow, we come from a tradition of <quote>free culture</quote>—" -"not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase " -"from the founder of the free software movement<placeholder type=\"footnote\" " -"id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> " -"<quote>free markets,</quote> <quote>free trade,</quote> <quote>free " -"enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</" -"quote> A free culture supports and protects creators and innovators. It does " -"this directly by granting intellectual property rights. But it does so " -"indirectly by limiting the reach of those rights, to guarantee that follow-" -"on creators and innovators remain <emphasis>as free as possible</emphasis> " -"from the control of the past. A free culture is not a culture without " -"property, just as a free market is not a market in which everything is free. " -"The opposite of a free culture is a <quote>permission culture</quote>—" -"a culture in which creators get to create only with the permission of the " -"powerful, or of creators from the past." -msgstr "" -"Den tradisjonen er mÃ¥ten vÃ¥r kultur blir laget pÃ¥. Som jeg vil forklare i " -"sidene som fÃ¸lger, kommer vi fra en tradisjon av <quote>fri kultur</" -"quote>—ikke <quote>fri</quote> som i <quote>fri bar</quote> (for Ã¥ " -"lÃ¥ne et uttrykk fra stifteren av fri programvarebevegelsen<placeholder type=" -"\"footnote\" id=\"0\"/>), men <quote>fri</quote> som i <quote>talefrihet</" -"quote>, <quote>fritt marked</quote>, <quote>frihandel</quote>, <quote>fri " -"konkurranse</quote>, <quote>fri vilje</quote> og <quote>frie valg</quote>. " -"En fri kultur stÃ¸tter og beskytter skapere og oppfinnere. Dette gjÃ¸r den " -"direkte ved Ã¥ tildele immaterielle rettigheter. Men det gjÃ¸r den indirekte " -"ved Ã¥ begrense rekkevidden for disse rettighetene, for Ã¥ garantere at neste " -"generasjon skapere og oppfinnere forblir <emphasis>sÃ¥ fri som mulig</" -"emphasis> fra kontroll fra fortiden. En fri kultur er ikke en kultur uten " -"eierskap, like lite som et fritt marked er et marked der alt er gratis. Det " -"motsatte av fri kultur er <quote>tillatelseskultur</quote>—en kultur " -"der skapere kun kan skape med tillatelse fra de mektige, eller fra skaperne " -"fra fortiden." - -#. type: Content of: <book><preface><para> -msgid "" -"If we understood this change, I believe we would resist it. Not <quote>we</" -"quote> on the Left or <quote>you</quote> on the Right, but we who have no " -"stake in the particular industries of culture that defined the twentieth " -"century. Whether you are on the Left or the Right, if you are in this sense " -"disinterested, then the story I tell here will trouble you. For the changes " -"I describe affect values that both sides of our political culture deem " -"fundamental." -msgstr "" -"Hvis vi forsto denne endringen, sÃ¥ tror jeg vi ville stÃ¥ imot den. Ikke " -"<quote>vi</quote> pÃ¥ venstresiden eller <quote>dere</quote> pÃ¥ hÃ¸yresiden, " -"men vi som ikke har investert i den spesifikke kulturindustrien som har " -"definert det tjuende Ã¥rhundre. Enten du er pÃ¥ venstre eller hÃ¸yresiden, hvis " -"du i denne forstand ikke har interesser, vil historien jeg forteller her gi " -"deg problemer. For endringene jeg beskriver pÃ¥virker verdier som begge sider " -"av vÃ¥r politiske kultur anser som grunnleggende." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "power, concentration of" -msgstr "makt, konsentrasjon av" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "CodePink Women in Peace" -msgstr "codePink-kvinner i fred" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Safire, William" -msgstr "Safire, William" - -#. type: Content of: <book><preface><indexterm><primary> -msgid "Stevens, Ted" -msgstr "Stevens, Ted" - -#. type: Content of: <book><preface><para> -msgid "" -"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " -"the FCC considered changes in media ownership rules that would relax limits " -"on media concentration, an extraordinary coalition generated more than " -"700,000 letters to the FCC opposing the change. As William Safire described " -"marching <quote>uncomfortably alongside CodePink Women for Peace and the " -"National Rifle Association, between liberal Olympia Snowe and conservative " -"Ted Stevens,</quote> he formulated perhaps most simply just what was at " -"stake: the concentration of power. And as he asked," -msgstr "" -"Vi sÃ¥ et glimt av dette tverrpolitiske raseri pÃ¥ forsommeren i 2003. Da FCC " -"vurderte endringer i reglene for medieeierskap som ville slakke pÃ¥ " -"begrensningene rundt mediekonsentrasjon, sendte en ekstraordinÃ¦r koalisjon " -"mer enn 700 000 brev til FCC for Ã¥ motsette seg endringen. Mens William " -"Safire beskrev Ã¥ marsjere <quote>ubehagelig sammen med CodePink Women for " -"Peace and the National Rifle Association, mellom liberale Olympia Snowe og " -"konservative Ted Stevens</quote>, formulerte han kanskje det enkleste " -"uttrykket for hva som var pÃ¥ spill: konsentrasjonen av makt. SÃ¥ spurte han:" - -#. type: Content of: <book><preface><blockquote><para><footnote><para> -msgid "" -"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " -"Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " -"Times</citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><preface><blockquote><para> -msgid "" -"Does that sound unconservative? Not to me. The concentration of power—" -"political, corporate, media, cultural—should be anathema to " -"conservatives. The diffusion of power through local control, thereby " -"encouraging individual participation, is the essence of federalism and the " -"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"HÃ¸res dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av " -"makt—politisk, selskapsmessig, pressemessig, kulturelt—bÃ¸r vÃ¦re " -"bannlyst av konservative. Spredningen av makt gjennom lokal kontroll, og " -"derigjennom oppmuntre til individuell deltagelse, er essensen i fÃ¸deralismen " -"og det stÃ¸rste uttrykk for demokrati.<placeholder type=\"footnote\" id=\"0\"/" -">" - -#. type: Content of: <book><preface><para> -msgid "" -"This idea is an element of the argument of <citetitle>Free Culture</" -"citetitle>, though my focus is not just on the concentration of power " -"produced by concentrations in ownership, but more importantly, if because " -"less visibly, on the concentration of power produced by a radical change in " -"the effective scope of the law. The law is changing; that change is altering " -"the way our culture gets made; that change should worry you—whether or " -"not you care about the Internet, and whether you're on Safire's left or on " -"his right." -msgstr "" -"Denne idÃ©en er et element i argumentet til <citetitle>Fri kultur</" -"citetitle>, selv om min fokus ikke bare er pÃ¥ konsentrasjonen av makt som " -"fÃ¸lger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " -"synlig, pÃ¥ konsentrasjonen av makt som er resultat av en radikal endring i " -"det effektive virkeomrÃ¥det til loven. Loven er i endring, og endringen " -"forandrer pÃ¥ hvordan vÃ¥r kultur blir skapt. Den endringen bÃ¸r bekymre " -"deg—Uansett om du bryr deg om Internett eller ikke, og uansett om du " -"er til venstre for Safires eller til hÃ¸yre." - -#. type: Content of: <book><preface><para> -msgid "" -"<emphasis role=\"strong\">The inspiration</emphasis> for the title and for " -"much of the argument of this book comes from the work of Richard Stallman " -"and the Free Software Foundation. Indeed, as I reread Stallman's own work, " -"especially the essays in <citetitle>Free Software, Free Society</citetitle>, " -"I realize that all of the theoretical insights I develop here are insights " -"Stallman described decades ago. One could thus well argue that this work is " -"<quote>merely</quote> derivative." -msgstr "" -"<emphasis role=\"strong\">Inspirasjonen</emphasis> til tittelen og mye av " -"argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free " -"Software Foundation. Faktisk, da jeg leste Stallmans egne tekster pÃ¥ nytt, " -"spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " -"innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " -"som Stallman beskrev for tiÃ¥r siden. Man kan dermed godt argumentere for at " -"dette verket <quote>kun</quote> er et avledet verk." - -#. PAGE BREAK 14 -#. type: Content of: <book><preface><para> -msgid "" -"I accept that criticism, if indeed it is a criticism. The work of a lawyer " -"is always derivative, and I mean to do nothing more in this book than to " -"remind a culture about a tradition that has always been its own. Like " -"Stallman, I defend that tradition on the basis of values. Like Stallman, I " -"believe those are the values of freedom. And like Stallman, I believe those " -"are values of our past that will need to be defended in our future. A free " -"culture has been our past, but it will only be our future if we change the " -"path we are on right now. Like Stallman's arguments for free software, an " -"argument for free culture stumbles on a confusion that is hard to avoid, and " -"even harder to understand. A free culture is not a culture without property; " -"it is not a culture in which artists don't get paid. A culture without " -"property, or in which creators can't get paid, is anarchy, not freedom. " -"Anarchy is not what I advance here." -msgstr "" -"Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat " -"er alltid avledede verker, og jeg mener ikke Ã¥ gjÃ¸re noe mer i denne boken " -"enn Ã¥ minne en kultur om en tradisjon som alltid har vÃ¦rt deres egen. Som " -"Stallman forsvarer jeg denne tradisjonen pÃ¥ grunnlag av verdier. Som " -"Stallman tror jeg dette er verdiene til frihet. Og som Stallman, tror jeg " -"dette er verdier fra vÃ¥r fortid som mÃ¥ forsvares i vÃ¥r fremtid. En fri " -"kultur har vÃ¦rt vÃ¥r fortid, men vil bare vÃ¦re vÃ¥r fremtid hvis vi endrer " -"retningen vi fÃ¸lger akkurat nÃ¥. PÃ¥ samme mÃ¥te som Stallmans argumenter for " -"fri programvare, treffer argumenter for en fri kultur pÃ¥ forvirring som er " -"vanskelig Ã¥ unngÃ¥, og enda vanskeligere Ã¥ forstÃ¥. En fri kultur er ikke en " -"kultur uten eierskap. Det er ikke en kultur der kunstnere ikke fÃ¥r betalt. " -"En kultur uten eierskap eller en der skaperne ikke kan fÃ¥ betalt, er anarki, " -"ikke frihet. Anarki er ikke hva jeg fremmer her." - -#. type: Content of: <book><preface><para> -msgid "" -"Instead, the free culture that I defend in this book is a balance between " -"anarchy and control. A free culture, like a free market, is filled with " -"property. It is filled with rules of property and contract that get enforced " -"by the state. But just as a free market is perverted if its property becomes " -"feudal, so too can a free culture be queered by extremism in the property " -"rights that define it. That is what I fear about our culture today. It is " -"against that extremism that this book is written." -msgstr "" -"I stedet er den frie kulturen som jeg forsvarer i denne boken en balanse " -"mellom anarki og kontroll. En fri kultur, i likhet med et fritt marked, er " -"fylt med eierskap. Den er fylt med regler for eierskap og kontrakter som " -"blir hÃ¥ndhevet av staten. Men pÃ¥ samme mÃ¥te som det frie markedet blir " -"pervertert hvis dets eierskap blir fÃ¸ydalt, sÃ¥ kan en fri kultur bli Ã¸delagt " -"av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg " -"frykter om vÃ¥r kultur i dag. Det er som motpol til denne ekstremismen at " -"denne boken er skrevet." - -#. type: Content of: <book><chapter><title> -msgid "INTRODUCTION" -msgstr "Introduksjon" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Wright brothers" -msgstr "Wright-brÃ¸drene" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">On December 17</emphasis>, 1903, on a windy North " -"Carolina beach for just shy of one hundred seconds, the Wright brothers " -"demonstrated that a heavier-than-air, self-propelled vehicle could fly. The " -"moment was electric and its importance widely understood. Almost " -"immediately, there was an explosion of interest in this newfound technology " -"of manned flight, and a gaggle of innovators began to build upon it." -msgstr "" -"<emphasis role=\"strong\">Den 17. desember</emphasis> 1903, pÃ¥ en vindfylt " -"strand i Nord-Carolina i sÃ¥vidt under hundre sekunder, demonstrerte Wright-" -"brÃ¸drene at et selvdrevet fartÃ¸y tyngre enn luft kunne fly. Ãyeblikket var " -"elektrisk, og dets betydning ble alment forstÃ¥tt. Interessen for denne nye " -"teknologien som muliggjorde bemannet luftfart eksploderte nesten " -"umiddelbart, og en hÃ¦rskare av oppfinnere begynte Ã¥ bygge videre pÃ¥ den." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "air traffic, land ownership vs." -msgstr "lufttrafikk, landeierskap mot" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "land ownership, air traffic and" -msgstr "landeierskap, lufttrafikk og" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "property rights" -msgstr "eiendomsrettigheter" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "air traffic vs." -msgstr "lufttrafikk mot" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " -"Hackensack, N.J.: Rothman Reprints, 1969), 18." -msgstr "" -"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " -"Hackensack, N.J.: Rothman Reprints, 1969), 18." - -#. type: Content of: <book><chapter><para> -msgid "" -"At the time the Wright brothers invented the airplane, American law held " -"that a property owner presumptively owned not just the surface of his land, " -"but all the land below, down to the center of the earth, and all the space " -"above, to <quote>an indefinite extent, upwards.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how best " -"to interpret the idea that rights in land ran to the heavens. Did that mean " -"that you owned the stars? Could you prosecute geese for their willful and " -"regular trespass?" -msgstr "" -"Da Wright-brÃ¸drene fant opp flymaskinen, hevdet loven i USA at en grunneier " -"ble antatt Ã¥ eie ikke bare overflaten pÃ¥ omrÃ¥det sitt, men ogsÃ¥ alt landet " -"under bakken, helt ned til senterpunktet i jorda, og alt volumet over " -"bakken, <quote>i ubestemt grad, oppover</quote>.<placeholder type=\"footnote" -"\" id=\"0\"/> I mange Ã¥r undret lÃ¦rde over hvordan en best skulle tolke " -"idÃ©en om at eiendomsretten gikk helt til himmelen. BetÃ¸d dette at du eide " -"stjernene? Kunne en dÃ¸mme gjess for at de regelmessig og med vilje tok seg " -"inn pÃ¥ annen manns eiendom?" - -#. type: Content of: <book><chapter><para> -msgid "" -"Then came airplanes, and for the first time, this principle of American " -"law—deep within the foundations of our tradition, and acknowledged by " -"the most important legal thinkers of our past—mattered. If my land " -"reaches to the heavens, what happens when United flies over my field? Do I " -"have the right to banish it from my property? Am I allowed to enter into an " -"exclusive license with Delta Airlines? Could we set up an auction to decide " -"how much these rights are worth?" -msgstr "" -"SÃ¥ kom flymaskiner, og for fÃ¸rste gang hadde dette prinsippet i lovverket i " -"USA—dypt nede i grunnlaget for vÃ¥r tradisjon og akseptert av de " -"viktigste juridiske tenkerne i vÃ¥r fortid—en betydning. Hvis min " -"eiendom rekker til himmelen, hva skjer nÃ¥r United flyr over mitt omrÃ¥de? " -"Har jeg rett til Ã¥ nekte dem Ã¥ bruke min eiendom? Har jeg mulighet til Ã¥ " -"inngÃ¥ en eksklusiv avtale med Delta Airlines? Kan vi gjennomfÃ¸re en auksjon " -"for Ã¥ finne ut hvor mye disse rettighetene er verdt?" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Causby, Thomas Lee" -msgstr "Causby, Thomas Lee" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Causby, Tinie" -msgstr "Causby, Tinie" - -#. type: Content of: <book><chapter><para> -msgid "" -"In 1945, these questions became a federal case. When North Carolina farmers " -"Thomas Lee and Tinie Causby started losing chickens because of low-flying " -"military aircraft (the terrified chickens apparently flew into the barn " -"walls and died), the Causbys filed a lawsuit saying that the government was " -"trespassing on their land. The airplanes, of course, never touched the " -"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " -"said, their land reached to <quote>an indefinite extent, upwards,</quote> " -"then the government was trespassing on their property, and the Causbys " -"wanted it to stop." -msgstr "" -"I 1945 ble disse spÃ¸rsmÃ¥lene en fÃ¸deral sak. Da bÃ¸ndene Thomas Lee og Tinie " -"Causby i Nord Carolina begynte Ã¥ miste kyllinger pÃ¥ grunn av lavtflygende " -"militÃ¦re fly (vettskremte kyllinger flÃ¸y tilsynelatende i lÃ¥veveggene og " -"dÃ¸de), saksÃ¸kte Causbyene regjeringen for Ã¥ trenge seg inn pÃ¥ deres eiendom. " -"Flyene rÃ¸rte selvfÃ¸lgelig aldri overflaten pÃ¥ Causbys' eiendom. Men hvis det " -"stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg " -"<quote>i ubestemt grad, oppover,</quote> sÃ¥ hadde regjeringen trengt seg inn " -"pÃ¥ deres eiendom, og Causbys Ã¸nsket Ã¥ sette en stopper for dette." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Douglas, William O." -msgstr "Douglas, William O." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Supreme Court, U.S." -msgstr "HÃ¸yesterett, USA" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on airspace vs. land rights" -msgstr "om luftrom mot landrettigheter" - -#. 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 " -"<quote>taking</quote> of property without compensation. The Court " -"acknowledged that <quote>it is ancient doctrine that common law ownership of " -"the land extended to the periphery of the universe.</quote> But Justice " -"Douglas had no patience for ancient doctrine. In a single paragraph, " -"hundreds of years of property law were erased. As he wrote for the Court," -msgstr "" -"HÃ¸yesterett gikk med pÃ¥ Ã¥ ta opp Causbys sak. Kongressen hadde vedtatt at " -"luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig " -"rakk til himmelen, da kunne muligens kongressens vedtak ha vÃ¦rt i strid med " -"grunnlovens forbud mot Ã¥ <quote>ta</quote> eiendom uten kompensasjon. " -"Retten erkjente at <quote>det er gammel doktrine etter sedvane at en eiendom " -"rakk til utkanten av universet.</quote>, men dommer Douglas hadde ikke " -"tÃ¥lmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble hundrevis " -"av Ã¥r med eiendomslovgivningen strÃ¸ket. Som han skrev pÃ¥ vegne av retten," - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "" -"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " -"there could be a <quote>taking</quote> if the government's use of its land " -"effectively destroyed the value of the Causbys' land. This example was " -"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) " -"Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</" -"quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " -"also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " -"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne vÃ¦re " -"Ã¥ <quote>ta</quote> hvis regjeringens bruk av sitt land reelt sett hadde " -"Ã¸delagt verdien av eiendomen til Causby. Dette eksemplet ble foreslÃ¥tt for " -"meg i Keith Aokis flotte stykke, <quote>(intellectual) Property and " -"Sovereignty: Notes Toward a cultural Geography of Authorship</quote>, " -"<citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. Se ogsÃ¥ " -"Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " -"Foundation Press (1984)), 1112–13. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"[The] doctrine has no place in the modern world. The air is a public " -"highway, as Congress has declared. Were that not true, every " -"transcontinental flight would subject the operator to countless trespass " -"suits. Common sense revolts at the idea. To recognize such private claims to " -"the airspace would clog these highways, seriously interfere with their " -"control and development in the public interest, and transfer into private " -"ownership that to which only the public has a just claim.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"[Denne] doktrinen har ingen plass i den moderne verden. Luften er en " -"offentlig motorvei, slik kongressen har erklÃ¦rt. Hvis det ikke var " -"tilfelle, ville hver eneste transkontinentale flyrute utsette operatÃ¸rene " -"for utallige sÃ¸ksmÃ¥l om inntrenging pÃ¥ annen manns eiendom. IdÃ©en er i " -"strid med sunn fornuft. Ã anerkjenne slike private krav til luftrommet " -"ville blokkere disse motorveiene, seriÃ¸st forstyrre muligheten til kontroll " -"og utvikling av dem i fellesskapets interesse og overfÃ¸re til privat " -"eierskap det som kun fellesskapet har et rimelig krav til.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "<quote>Common sense revolts at the idea.</quote>" -msgstr "<quote>IdÃ©en er i strid med sunn fornuft.</quote>" - -#. 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: <quote>Common sense revolts at the idea." -"</quote> But whether it takes pages or a few words, it is the special genius " -"of a common law system, as ours is, that the law adjusts to the technologies " -"of the time. And as it adjusts, it changes. Ideas that were as solid as rock " -"in one age crumble in another." -msgstr "" -"Det er hvordan loven vanligvis fungerer. Ikke ofte like brÃ¥tt eller " -"utÃ¥lmodig, men til slutt er dette hvordan loven fungerer. Det var ikke " -"stilen til Douglas Ã¥ utbrodere. Andre dommere ville ha skrevet mange flere " -"sider fÃ¸r de nÃ¥dde sin konklusjon, men for Douglas holdt det med en enkel " -"linje: <quote>IdÃ©en er i strid med sunn fornuft.</quote>. Men uansett om " -"det tar flere sider eller kun noen fÃ¥ ord, sÃ¥ er det en genial egenskap med " -"et rettspraksis-system, slik som vÃ¥rt er, at loven tilpasser seg til " -"aktuelle teknologiene. Og mens den tilpasser seg, sÃ¥ endres den. IdÃ©er som " -"var solide som fjell i en tidsalder knuses i en annen." - -#. 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 <quote>what seemed reasonable</quote> given the technology " -"that the Wrights had produced. They could stand on their farms, dead " -"chickens in hand, and shake their fists at these newfangled technologies all " -"they wanted. They could call their representatives or even file a lawsuit. " -"But in the end, the force of what seems <quote>obvious</quote> to everyone " -"else—the power of <quote>common sense</quote>—would prevail. " -"Their <quote>private interest</quote> would not be allowed to defeat an " -"obvious public gain." -msgstr "" -"Eller, det er hvordan ting skjer nÃ¥r det ikke er noen mektige pÃ¥ andre siden " -"av endringen. Causbyene var bare bÃ¸nder. Og selv om det uten tvil var " -"mange som dem som var lei av den Ã¸kende trafikken i luften (og en hÃ¥per ikke " -"for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden " -"finne det svÃ¦rt hardt Ã¥ samles for Ã¥ stoppe idÃ©en, og teknologien, som " -"Wright-brÃ¸drene hadde fÃ¸rt til verden. Wright-brÃ¸drene spyttet flymaskiner " -"inn i den teknologiske meme-dammen. IdÃ©en spredte seg deretter som et virus " -"i en kyllingfarm. Causbyene i verden fant seg selv omringet av <quote>det " -"synes rimelig</quote> gitt teknologien som Wright-brÃ¸drene hadde produsert. " -"De kunne stÃ¥ pÃ¥ sine gÃ¥rder, med dÃ¸de kyllinger i hendene, og heve " -"knyttneven mot disse nye teknologiene sÃ¥ mye de ville. De kunne ringe sine " -"representanter eller til og med saksÃ¸ke. Men nÃ¥r alt kom til alt, ville " -"kraften i det som virket <quote>Ã¥penbart</quote> for alle andre—makten " -"til <quote>sunn fornuft</quote>—ville vinne frem. Deres " -"<quote>personlige interesser</quote> ville ikke fÃ¥ lov til Ã¥ nedkjempe en " -"Ã¥penbar fordel for fellesskapet." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Armstrong, Edwin Howard" -msgstr "Armstrong, Edwin Howard" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Bell, Alexander Graham" -msgstr "Bell, Alexander Graham" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Edison, Thomas" -msgstr "Edison, Thomas" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Faraday, Michael" -msgstr "Faraday, Michael" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "radio" -msgstr "radio" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "FM spectrum of" -msgstr "FM-spektrum for" - -#. PAGE BREAK 19 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> is one of " -"America's forgotten inventor geniuses. He came to the great American " -"inventor scene just after the titans Thomas Edison and Alexander Graham " -"Bell. But his work in the area of radio technology was perhaps the most " -"important of any single inventor in the first fifty years of radio. He was " -"better educated than Michael Faraday, who as a bookbinder's apprentice had " -"discovered electric induction in 1831. But he had the same intuition about " -"how the world of radio worked, and on at least three occasions, Armstrong " -"invented profoundly important technologies that advanced our understanding " -"of radio." -msgstr "" -"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> er en av USAs " -"glemte oppfinnergenier. Han dukket opp pÃ¥ oppfinnerscenen etter titaner som " -"Thomas Edison og Alexander Graham Bell. Alle hans bidrag pÃ¥ omrÃ¥det " -"radioteknologi gjÃ¸r han til kanskje den viktigste av alle enkeltoppfinnere i " -"de fÃ¸rste femti Ã¥rene av radio. Han var bedre utdannet enn Michael Faraday, " -"som var bokbinderlÃ¦rling da han oppdaget elektrisk induksjon i 1831. Men " -"han hadde like god intuisjon om hvordan radioverden virket, og ved minst tre " -"anledninger, fant Armstrong opp svÃ¦rt viktig teknologier som brakte vÃ¥r " -"forstÃ¥else av radio et hopp videre." - -#. type: Content of: <book><chapter><para> -msgid "" -"On the day after Christmas, 1933, four patents were issued to Armstrong for " -"his most significant invention—FM radio. Until then, consumer radio " -"had been amplitude-modulated (AM) radio. The theorists of the day had said " -"that frequency-modulated (FM) radio could never work. They were right about " -"FM radio in a narrow band of spectrum. But Armstrong discovered that " -"frequency-modulated radio in a wide band of spectrum would deliver an " -"astonishing fidelity of sound, with much less transmitter power and static." -msgstr "" -"Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for " -"hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde " -"forbrukerradioer vÃ¦rt amplitude-modulert (AM) radio. Tidens teoretikere " -"hadde sagt at frekvens-modulert (FM) radio. De hadde rett nÃ¥r det gjelder " -"et smalt bÃ¥nd av spektrumet. Men Armstrong oppdaget at frekvens-modulert " -"radio i et vidt bÃ¥nd i spektrumet leverte en forblÃ¸ffende gjengivelse av " -"lyd, med mye mindre senderstyrke og stÃ¸y." - -#. 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: <quote>This is amateur station W2AG at Yonkers, New " -"York, operating on frequency modulation at two and a half meters.</quote>" -msgstr "" -"Den 5. november 1935 demonstrerte han teknologien pÃ¥ et mÃ¸te hos institutt " -"for radioingeniÃ¸rer ved Empire State-bygningen i New York City. Han vred " -"radiosÃ¸keren over en rekke AM-stasjoner, inntil radioen lÃ¥ste seg mot en " -"kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt " -"stille, som om den var dÃ¸d, og sÃ¥, med en klarhet ingen andre i rommet noen " -"gang hadde hÃ¸rt fra et elektrisk apparat, produserte det lyden av en " -"opplesers stemme: <quote>Dette er amatÃ¸rstasjon W2AG ved Yonkers, New York, " -"som opererer pÃ¥ frekvensmodulering ved to og en halv meter.</quote>" - -#. type: Content of: <book><chapter><para> -msgid "The audience was hearing something no one had thought possible:" -msgstr "Publikum hÃ¸rte noe ingen hadde trodd var mulig:" - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "" -"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" -"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." -msgstr "" -"Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" -"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"A glass of water was poured before the microphone in Yonkers; it sounded " -"like a glass of water being poured. … A paper was crumpled and torn; " -"it sounded like paper and not like a crackling forest fire. … Sousa " -"marches were played from records and a piano solo and guitar number were " -"performed. … The music was projected with a live-ness rarely if ever " -"heard before from a radio <quote>music box.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hÃ¸rtes ut som " -"et glass som ble fylt opp. … Et papir ble krÃ¸llet og revet opp, og " -"det hÃ¸rtes ut som papir og ikke som en sprakende skogbrann. … Sousa-" -"marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble " -"utfÃ¸rt. … Musikken ble presentert med en livaktighet som sjeldent om " -"noen gang fÃ¸r hadde vÃ¦rt hÃ¸rt fra en radio-<quote>musikk-boks</quote>." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "RCA" -msgstr "RCA" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "media" -msgstr "media" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "ownership concentration in" -msgstr "eierskapskonsentrasjon i" - -#. 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 vÃ¥r egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye " -"bedre radioteknologi. Men pÃ¥ tidspunktet for hans oppfinnelse, jobbet " -"Armstrong for RCA. RCA var den dominerende aktÃ¸ren i det da dominerende AM-" -"radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men " -"stasjonene i de store byene var alle eid av en liten hÃ¥ndfull selskaper." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Sarnoff, David" -msgstr "Sarnoff, David" - -#. type: Content of: <book><chapter><para> -msgid "" -"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " -"Armstrong discover a way to remove static from AM radio. So Sarnoff was " -"quite excited when Armstrong told him he had a device that removed static " -"from <quote>radio.</quote> But when Armstrong demonstrated his invention, " -"Sarnoff was not pleased." -msgstr "" -"Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter Ã¥ fÃ¥ " -"Armstrong til Ã¥ oppdage en mÃ¥te Ã¥ fjerne stÃ¸yen fra AM-radio. SÃ¥ Sarnoff var " -"ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet " -"stÃ¸y fra <quote>radio.</quote>. Men da Armstrong demonstrerte sin " -"oppfinnelse, var ikke Sarnoff fornÃ¸yd." - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "" -"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " -"First Electronic Church of America, at www.webstationone.com/fecha, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." -msgstr "" -"Se <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " -"fÃ¸rste elektroniske kirke i USA, hos www.webstationone.com/fecha, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #1</" -"ulink>." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"I thought Armstrong would invent some kind of a filter to remove static from " -"our AM radio. I didn't think he'd start a revolution— start up a whole " -"damn new industry to compete with RCA.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Jeg trodde Armstrong ville finne opp et slags filter for Ã¥ fjerne skurring " -"fra AM-radioen vÃ¥r. Jeg trodde ikke han skulle starte en revolusjon — " -"starte en hel forbannet ny industri i konkurranse med RCA.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "FM radio" -msgstr "FM-radio" - -#. 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 RCAs AM-herredÃ¸mme, sÃ¥ selskapet lanserte en " -"kampanje for Ã¥ kvele FM-radio. Mens FM kan ha vÃ¦rt en overlegen teknologi, " -"var Sarnoff en overlegen taktiker. En forfatter beskrev det slik," - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Lessing, Lawrence" -msgstr "Lessing, Lawrence" - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "Lessing, 226." -msgstr "Lessing, 226." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"The forces for FM, largely engineering, could not overcome the weight of " -"strategy devised by the sales, patent, and legal offices to subdue this " -"threat to corporate position. For FM, if allowed to develop unrestrained, " -"posed … a complete reordering of radio power … and the " -"eventual overthrow of the carefully restricted AM system on which RCA had " -"grown to power.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Kreftene til fordel for FM, i hovedsak ingeniÃ¸rfaglige, kunne ikke overvinne " -"tyngden til strategien utviklet av avdelingene for salg, patenter og juss " -"for Ã¥ undertrykke denne trusselen til selskapets posisjon. For FM utgjorde, " -"hvis det fikk utvikle seg uten begrensninger … en komplett endring i " -"maktforholdene rundt radio … og muligens fjerningen av det nÃ¸ye " -"begrensede AM-systemet som var grunnlaget for RCA stigning til makt." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "FCC" -msgstr "FCC" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on FM radio" -msgstr "om FM-radio" - -#. type: Content of: <book><chapter><para> -msgid "" -"RCA at first kept the technology in house, insisting that further tests were " -"needed. When, after two years of testing, Armstrong grew impatient, RCA " -"began to use its power with the government to stall FM radio's deployment " -"generally. In 1936, RCA hired the former head of the FCC and assigned him " -"the task of assuring that the FCC assign spectrum in a way that would " -"castrate FM—principally by moving FM radio to a different band of " -"spectrum. At first, these efforts failed. But when Armstrong and the nation " -"were distracted by World War II, RCA's work began to be more successful. " -"Soon after the war ended, the FCC announced a set of policies that would " -"have one clear effect: FM radio would be crippled. As Lawrence Lessing " -"described it," -msgstr "" -"RCA holdt fÃ¸rst teknologien innomhus, og insistere pÃ¥ at det var nÃ¸dvendig " -"med ytterligere tester. Da Armstrong, etter to Ã¥r med testing, ble " -"utÃ¥lmodig, begynte RCA Ã¥ bruke sin makt hos myndighetene til holde tilbake " -"den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere " -"lederen av FCC og ga ham oppgaven med Ã¥ sikre at FCC tilordnet " -"radiospekteret pÃ¥ en mÃ¥te som ville kastrere FM—hovedsakelig ved Ã¥ " -"flytte FM-radio til et annet band i spekteret. I fÃ¸rste omgang lyktes ikke " -"disse forsÃ¸kene. Men mens Armstrong og nasjonen var distrahert av andre " -"verdenskrig, begynte RCAs arbeid Ã¥ bÃ¦re frukter. Like etter at krigen var " -"over, annonserte FCC et sett med avgjÃ¸relser som ville ha en klar effekt: FM-" -"radio ville bli forkrÃ¸plet.Lawrence lessing beskrevet det slik," - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "Lessing, 256." -msgstr "Lessing, 256." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"The series of body blows that FM radio received right after the war, in a " -"series of rulings manipulated through the FCC by the big radio interests, " -"were almost incredible in their force and deviousness.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en " -"serie med avgjÃ¸relser manipulert gjennom FCC av de store radiointeressene, " -"var nesten utrolige i deres kraft og underfundighet.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "AT&T" -msgstr "AT&T" - -#. type: Content of: <book><chapter><para> -msgid "" -"To make room in the spectrum for RCA's latest gamble, television, FM radio " -"users were to be moved to a totally new spectrum band. The power of FM radio " -"stations was also cut, meaning FM could no longer be used to beam programs " -"from one part of the country to another. (This change was strongly " -"supported by AT&T, because the loss of FM relaying stations would mean " -"radio stations would have to buy wired links from AT&T.) The spread of " -"FM radio was thus choked, at least temporarily." -msgstr "" -"For Ã¥ gjÃ¸re plass i spektrumet for RCAs nyeste satsingsomrÃ¥de, televisjon, " -"skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet. " -"Sendestyrken til FM-radioene ble ogsÃ¥ redusert, og gjorde at FM ikke lenger " -"kunne brukes for Ã¥ sende programmer fra en del av landet til en annen. " -"(Denne endringen ble sterkt stÃ¸ttet av AT&T, pÃ¥ grunn av at fjerningen " -"av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nÃ¸dt " -"til Ã¥ kjÃ¸pe kablede linker fra AT&T.) Spredningen av FM-radio var " -"dermed kvalt, i hvert fall midlertidig." - -#. type: Content of: <book><chapter><para> -msgid "" -"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " -"patents. After incorporating FM technology into the emerging standard for " -"television, RCA declared the patents invalid—baselessly, and almost " -"fifteen years after they were issued. It thus refused to pay him royalties. " -"For six years, Armstrong fought an expensive war of litigation to defend the " -"patents. Finally, just as the patents expired, RCA offered a settlement so " -"low that it would not even cover Armstrong's lawyers' fees. Defeated, " -"broken, and now broke, in 1954 Armstrong wrote a short note to his wife and " -"then stepped out of a thirteenth-story window to his death." -msgstr "" -"Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. " -"Etter Ã¥ ha bakt FM-teknologi inn i den nye standarden for TV, erklÃ¦rte RCS " -"patentene ugyldige—uten grunn og nesten femten Ã¥r etter at de ble " -"utstedet. De nektet dermed Ã¥ betale ham for bruken av patentene. I seks Ã¥r " -"kjempet Armstrong en dyr sÃ¸ksmÃ¥lskrig for Ã¥ forsvare patentene sine. Til " -"slutt, samtidig som patentene utlÃ¸p, tilbÃ¸d RCA et forlik sÃ¥ lavt at det " -"ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nÃ¥ blakk, " -"skrev Armstrong i 1954 en kort beskjed til sin kone, fÃ¸r han gikk ut av et " -"vindu i trettende etasje og falt i dÃ¸den." - -#. PAGE BREAK 22 -#. type: Content of: <book><chapter><para> -msgid "" -"This is how the law sometimes works. Not often this tragically, and rarely " -"with heroic drama, but sometimes, this is how it works. From the beginning, " -"government and government agencies have been subject to capture. They are " -"more likely captured when a powerful interest is threatened by either a " -"legal or technical change. That powerful interest too often exerts its " -"influence within the government to get the government to protect it. The " -"rhetoric of this protection is of course always public spirited; the reality " -"is something different. Ideas that were as solid as rock in one age, but " -"that, left to themselves, would crumble in another, are sustained through " -"this subtle corruption of our political process. RCA had what the Causbys " -"did not: the power to stifle the effect of technological change." -msgstr "" -"Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden " -"med heltemodig drama, men noen ganger er det slik det virker. Fra starten " -"har myndigheter og myndighetsorganer blitt tatt til fange. Det er mer " -"sannsynlig at de blir fanget nÃ¥r en mektig interesse er truet av enten en " -"juridisk eller teknologisk endring. Denne mektige interessen utÃ¸ver for " -"ofte sin innflytelse hos myndighetene til Ã¥ fÃ¥ myndighetene til Ã¥ beskytte " -"den. Retorikken for denne beskyttelsen er naturligvis alltid med fokus pÃ¥ " -"fellesskapets beste. Realiteten er noe annet. IdÃ©er som kan vÃ¦re solide " -"som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i " -"en annen, er viderefÃ¸rt gjennom denne subtile korrupsjonen i vÃ¥r politiske " -"prosess. RCA hadde hva Causby-ene ikke hadde: Makten til Ã¥ undertrykke " -"effekten av en teknologisk endring." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Internet" -msgstr "internet" - -#. type: Content of: <book><chapter><section><indexterm><secondary> -msgid "development of" -msgstr "utviklingen av" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " -"Internet Access and the Digital Divide,</quote> Pew Internet and American " -"Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #2</ulink>." -msgstr "" -"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " -"Internet Access and the Digital Divide,</quote> Pew Internet and American " -"Life Project, 15. april 2003: 6, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #2</ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">There's no</emphasis> single inventor of the " -"Internet. Nor is there any good date upon which to mark its birth. Yet in a " -"very short time, the Internet has become part of ordinary American life. " -"According to the Pew Internet and American Life Project, 58 percent of " -"Americans had access to the Internet in 2002, up from 49 percent two years " -"before.<placeholder type=\"footnote\" id=\"0\"/> That number could well " -"exceed two thirds of the nation by the end of 2004." -msgstr "" -"<emphasis role=\"strong\">Det er ingen</emphasis> enkeltoppfinner av " -"Internet. Ei heller er det en god dato som kan brukes til Ã¥ markere nÃ¥r det " -"ble fÃ¸dt. Likevel har Internettet i lÃ¸pet av svÃ¦rt kort tid blitt en del av " -"vanlige amerikaneres liv. I fÃ¸lge the Pew Internet and American Life-" -"prosjektet, har 58 prosent av amerikanerne hatt tilgang til Internettet i " -"2002, opp fra 49 prosent to Ã¥r tidligere.<placeholder type=\"footnote\" id=" -"\"0\"/> Det tallet kan uten problemer passere to tredjedeler av nasjonen ved " -"utgangen av 2004." - -#. type: Content of: <book><chapter><para> -msgid "" -"As the Internet has been integrated into ordinary life, it has changed " -"things. Some of these changes are technical—the Internet has made " -"communication faster, it has lowered the cost of gathering data, and so on. " -"These technical changes are not the focus of this book. They are important. " -"They are not well understood. But they are the sort of thing that would " -"simply go away if we all just switched the Internet off. They don't affect " -"people who don't use the Internet, or at least they don't affect them " -"directly. They are the proper subject of a book about the Internet. But this " -"is not a book about the Internet." -msgstr "" -"Etter hvert som Internett er blitt integrert inn i det vanlige liv har ting " -"blitt endret. Noen av disse endringene er teknisk—Internettet har " -"gjort kommunikasjon raskere, det har redusert kostnaden med Ã¥ samle inn " -"data, og sÃ¥ videre. Disse tekniske endringene er ikke fokus for denne " -"boken. De er viktige. De er ikke godt forstÃ¥tt. Men de er den type ting " -"som ganske enkelt ville blir borte hvis vi alle bare slo av Internettet. De " -"pÃ¥virker ikke folk som ikke bruker Internettet, eller i det miste pÃ¥virker " -"det ikke dem direkte. De er et godt tema for en bok om Internettet. Men " -"dette er ikke en bok om Internettet." - -#. type: Content of: <book><chapter><para> -msgid "" -"Instead, this book is about an effect of the Internet beyond the Internet " -"itself: an effect upon how culture is made. My claim is that the Internet " -"has induced an important and unrecognized change in that process. That " -"change will radically transform a tradition that is as old as the Republic " -"itself. Most, if they recognized this change, would reject it. Yet most " -"don't even see the change that the Internet has introduced." -msgstr "" -"I stedet er denne boken om effekten av Internettet ut over internettet i seg " -"selv. En effekt pÃ¥ hvordan kultur blir skapt. Min pÃ¥stand er at " -"Internettet har fÃ¸rt til en viktig og ukjent endring i denne prosessen. " -"Denne endringen vil forandre en tradisjon som er like gammel som republikken " -"selv. De fleste, hvis de la merke til denne endringen, ville avvise den. " -"Men de fleste legger ikke engang merke til denne endringen som Internettet " -"har introdusert." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Barlow, Joel" -msgstr "Barlow, Joel" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "culture" -msgstr "kultur" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "commercial vs. noncommercial" -msgstr "kommersiell vs. ikke-kommersiell" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Webster, Noah" -msgstr "Webster, Noah" - -#. 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 " -"<quote>commercial culture</quote> I mean that part of our culture that is " -"produced and sold or produced to be sold. By <quote>noncommercial culture</" -"quote> I mean all the rest. When old men sat around parks or on street " -"corners telling stories that kids and others consumed, that was " -"noncommercial culture. When Noah Webster published his <quote>Reader,</" -"quote> or Joel Barlow his poetry, that was commercial culture." -msgstr "" -"Vi kan fÃ¥ en fÃ¸lelse av denne endringen ved Ã¥ skille mellom kommersiell og " -"ikke-kommersiell kultur, ved Ã¥ knytte lovens reguleringer til hver av dem. " -"Med <quote>kommersiell kultur</quote> mener jeg den delen av vÃ¥r kultur som " -"er produsert og solgt eller produsert for Ã¥ bli solgt. Med <quote>ikke-" -"kommersiell kultur</quote> mener jeg alt det andre. Da gamle menn satt rundt " -"i parker eller pÃ¥ gatehjÃ¸rner og fortalte historier som unger og andre " -"lyttet til, sÃ¥ var det ikke-kommersiell kultur. Da Noah Webster publiserte " -"sin <quote>Reader</quote>, eller Joel Barlow sin poesi, sÃ¥ var det " -"kommersiell kultur." - -#. 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 <quote>free.</" -"quote> The ordinary ways in which ordinary individuals shared and " -"transformed their culture—telling stories, reenacting scenes from " -"plays or TV, participating in fan clubs, sharing music, making tapes—" -"were left alone by the law." -msgstr "" -"Fra historisk tid, og for omtrent hele vÃ¥r tradisjon, har ikke-kommersiell " -"kultur i hovedsak ikke vÃ¦rt regulert. SelvfÃ¸lgelig, hvis din historie var " -"utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. " -"Men loven var aldri direkte interessert i skapingen eller spredningen av " -"denne form for kultur, og lot denne kulturen vÃ¦re <quote>fri</quote>. Den " -"vanlige mÃ¥ten som vanlige individer delte og formet deres kultur—" -"historiefortelling, formidling av scener fra teater eller TV, delta i fan-" -"klubber, deling av musikk, laging av kassetter—ble ikke styrt av " -"lovverket." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "copyright infringement lawsuits" -msgstr "sÃ¸ksmÃ¥l om krenkelse av opphavsrett" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "commercial creativity as primary purpose of" -msgstr "kommersiell kreativitet som hovedformÃ¥l for" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Brandeis, Louis D." -msgstr "Brandeis, Louis D." - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"This is not the only purpose of copyright, though it is the overwhelmingly " -"primary purpose of the copyright established in the federal constitution. " -"State copyright law historically protected not just the commercial interest " -"in publication, but also a privacy interest. By granting authors the " -"exclusive right to first publication, state copyright law gave authors the " -"power to control the spread of facts about them. See Samuel D. Warren and " -"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 " -"(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Dette er ikke det eneste formÃ¥let med opphavsrett, men det er helt klart " -"hovedformÃ¥let med opphavsretten slik den er etablert i fÃ¸deral grunnlov. " -"Ãndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle " -"interesse nÃ¥r det gjaldt publikasjoner, men ogsÃ¥ personverninteresser. Ved " -"Ã¥ gi forfattere eneretten til Ã¥ publisere fÃ¸rst, ga delstatenes " -"Ã¥ndsverkslovene forfatterne makt til Ã¥ kontrollere spredningen av fakta om " -"seg selv. Se Samuel D. Warren og Louis Brandeis, <quote>The Right to " -"Privacy</quote>, Harvard Law Review 4 (1890): 193, 198–200. " -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"The focus of the law was on commercial creativity. At first slightly, then " -"quite extensively, the law protected the incentives of creators by granting " -"them exclusive rights to their creative work, so that they could sell those " -"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " -"id=\"0\"/> This is also, of course, an important part of creativity and " -"culture, and it has become an increasingly important part in America. But in " -"no sense was it dominant within our tradition. It was instead just one part, " -"a controlled part, balanced with the free." -msgstr "" -"Fokuset pÃ¥ loven var kommersiell kreativitet. I starten forsiktig, etter " -"hvert betraktelig, beskytter loven insentivet til skaperne ved Ã¥ tildele dem " -"en eksklusiv rett til deres kreative verker, slik at de kan selge disse " -"eksklusive rettighetene pÃ¥ en kommersiell markedsplass.<placeholder type=" -"\"footnote\" id=\"0\"/> Dette er ogsÃ¥, naturligvis, en viktig del av " -"kreativitet og kultur, og det har blitt en viktigere og viktigere del i " -"USA. Men det var pÃ¥ ingen mÃ¥te dominerende i vÃ¥r tradisjon. Det var i " -"stedet bare en del, en kontrollert del, balansert mot det frie." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "free culture" -msgstr "fri kultur" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "permission culture vs." -msgstr "tillatelseskultur mot" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "permission culture" -msgstr "tillatelseskultur" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "free culture vs." -msgstr "fri kultur mot" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Litman, Jessica" -msgstr "Litman, Jessica" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " -"Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " -"Prometheus bÃ¸ker, 2001), kap. 13. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"This rough divide between the free and the controlled has now been erased." -"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " -"this erasure and, pushed by big media, the law has now affected it. For the " -"first time in our tradition, the ordinary ways in which individuals create " -"and share culture fall within the reach of the regulation of the law, which " -"has expanded to draw within its control a vast amount of culture and " -"creativity that it never reached before. The technology that preserved the " -"balance of our history—between uses of our culture that were free and " -"uses of our culture that were only upon permission—has been undone. " -"The consequence is that we are less and less a free culture, more and more a " -"permission culture." -msgstr "" -"Denne grove inndelingen mellom den frie og den kontrollerte har nÃ¥ blitt " -"fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internettet har satt " -"scenen for denne fjerningen, og pressen frem av store medieaktÃ¸rer har loven " -"nÃ¥ pÃ¥virket det. For fÃ¸rste gang i vÃ¥r tradisjon, har de vanlige mÃ¥tene som " -"individer skaper og deler kultur havnet innen rekekvidde for reguleringene " -"til loven, som har blitt utvidet til Ã¥ dra inn i sitt kontrollomrÃ¥de den " -"enorme mengden kultur og kreativitet som den aldri tidligere har nÃ¥dd over. " -"Teknologien som tok vare pÃ¥ den historiske balansen—mellom bruken av " -"den delen av kulturen vÃ¥r som var fri og bruken av vÃ¥r kultur som krevde " -"tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre " -"en fri kultur, og mer og mer en tillatelseskultur." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "protection of artists vs. business interests" -msgstr "beskyttelse av kunstnere vs. forretningsinteresser" - -#. type: Content of: <book><chapter><para> -msgid "" -"This change gets justified as necessary to protect commercial creativity. " -"And indeed, protectionism is precisely its motivation. But the protectionism " -"that justifies the changes that I will describe below is not the limited and " -"balanced sort that has defined the law in the past. This is not a " -"protectionism to protect artists. It is instead a protectionism to protect " -"certain forms of business. Corporations threatened by the potential of the " -"Internet to change the way both commercial and noncommercial culture are " -"made and shared have united to induce lawmakers to use the law to protect " -"them. It is the story of RCA and Armstrong; it is the dream of the Causbys." -msgstr "" -"Denne endringen blir rettferdiggjort som nÃ¸dvendig for Ã¥ beskytte " -"kommersiell kreativitet. Og ganske riktig, proteksjonisme er nÃ¸yaktig det " -"som motiverer endringen. Men proteksjonismen som rettferdiggjÃ¸r endringene " -"som jeg skal beskrive lenger ned er ikke den begrensede og balanserte typen " -"som har definert loven tidligere. Dette er ikke en proteksjonisme for Ã¥ " -"beskytte artister. Det er i stedet en proteksjonisme for Ã¥ beskytte " -"bestemte forretningsformer. Selskaper som er truet av potensialet til " -"Internettet for Ã¥ endre mÃ¥ten bÃ¥de kommersiell og ikke-kommersiell kultur " -"blir skapt og delt, har samlet seg for Ã¥ fÃ¥ lovgiverne til Ã¥ bruke loven for " -"Ã¥ beskytte selskapene. Dette er historien om RCA og Armstrong, og det er " -"drÃ¸mmen til Causbyene." - -#. type: Content of: <book><chapter><para> -msgid "" -"For the Internet has unleashed an extraordinary possibility for many to " -"participate in the process of building and cultivating a culture that " -"reaches far beyond local boundaries. That power has changed the marketplace " -"for making and cultivating culture generally, and that change in turn " -"threatens established content industries. The Internet is thus to the " -"industries that built and distributed content in the twentieth century what " -"FM radio was to AM radio, or what the truck was to the railroad industry of " -"the nineteenth century: the beginning of the end, or at least a substantial " -"transformation. Digital technologies, tied to the Internet, could produce a " -"vastly more competitive and vibrant market for building and cultivating " -"culture; that market could include a much wider and more diverse range of " -"creators; those creators could produce and distribute a much more vibrant " -"range of creativity; and depending upon a few important factors, those " -"creators could earn more on average from this system than creators do " -"today—all so long as the RCAs of our day don't use the law to protect " -"themselves against this competition." -msgstr "" -"For Internettet har sluppet lÃ¸s en ekstraordinÃ¦r mulighet for mange til Ã¥ " -"delta i prosessen med Ã¥ bygge og kultivere en kultur som rekker lagt utenfor " -"lokale grenselinjer. Den makten har endret markedsplassen for Ã¥ lage og " -"kultivere kultur generelt, og den endringen truer i neste omgang etablerte " -"innholdsindustrier. Internettet er dermed for industriene som bygget og " -"distribuerte innhold i det tjuende Ã¥rhundret hva FM-radio var for AM-radio, " -"eller hva traileren var for jernbaneindustrien i det nittende Ã¥rhundret: " -"begynnelsen pÃ¥ slutten, eller i hvert fall en markant endring. Digitale " -"teknologier, knyttet til Internettet, kunne produsere et mye mer " -"konkurransedyktig og levende marked for Ã¥ bygge og kultivere kultur. Dette " -"markedet kunne inneholde en mye videre og mer variert utvalg av skapere. " -"Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av " -"kreativitet. Og avhengig av noen fÃ¥ viktige faktorer, sÃ¥ kunne disse " -"skaperne tjenere mer i snitt fra dette systemet enn skaperne gjÃ¸r i " -"dag—sÃ¥ lenge RCA-ene av i dag ikke bruker loven til Ã¥ beskytte dem " -"selv mot denne konkurransen." - -#. type: Content of: <book><chapter><para> -msgid "" -"Yet, as I argue in the pages that follow, that is precisely what is " -"happening in our culture today. These modern-day equivalents of the early " -"twentieth-century radio or nineteenth-century railroads are using their " -"power to get the law to protect them against this new, more efficient, more " -"vibrant technology for building culture. They are succeeding in their plan " -"to remake the Internet before the Internet remakes them." -msgstr "" -"Likevel, som jeg argumenterer for i sidene som fÃ¸lger, er dette nÃ¸yaktig det " -"som skjer i vÃ¥r kultur i dag. Dette som er dagens ekvivalenter til tidlig " -"tjuende Ã¥rhundres radio og nittende Ã¥rhundres jernbaner bruker deres makt " -"til Ã¥ fÃ¥ loven til Ã¥ beskytte dem mot dette nye, mer effektive, mer levende " -"teknologi for Ã¥ bygge kultur. De lykkes i deres plan om Ã¥ gjÃ¸re om " -"Internettet fÃ¸r internettet gjÃ¸r om pÃ¥ dem." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Valenti, Jack" -msgstr "Valenti, Jack" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on creative property rights" -msgstr "om kreative eiendomsrettigheter" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " -"York Times</citetitle>, 17 January 2002." -msgstr "" -"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " -"York Times</citetitle>, 17. januar 2002." - -#. type: Content of: <book><chapter><para> -msgid "" -"It doesn't seem this way to many. The battles over copyright and the " -"Internet seem remote to most. To the few who follow them, they seem mainly " -"about a much simpler brace of questions—whether <quote>piracy</quote> " -"will be permitted, and whether <quote>property</quote> will be protected. " -"The <quote>war</quote> that has been waged against the technologies of the " -"Internet—what Motion Picture Association of America (MPAA) president " -"Jack Valenti calls his <quote>own terrorist war</quote><placeholder type=" -"\"footnote\" id=\"0\"/>—has been framed as a battle about the rule of " -"law and respect for property. To know which side to take in this war, most " -"think that we need only decide whether we're for property or against it." -msgstr "" -"Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og " -"Internettet er fjernt for de fleste. For de fÃ¥ som fÃ¸lger dem, virker de i " -"hovedsak Ã¥ handle om et enklere sett med spÃ¸rsmÃ¥l—hvorvidt " -"<quote>piratvirksomhet</quote> vil bli akseptert, og hvorvidt " -"<quote>eiendomsretten</quote> vil bli beskyttet. <quote>Krigen</quote> som " -"har blitt erklÃ¦rt mot teknologiene til Internettet—det presidenten for " -"Motion Picture Association of America (MPAA) Jack Valenti kaller sin " -"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/" -">—har blitt rammet inn som en kamp om Ã¥ fÃ¸lge loven og respektere " -"eiendomsretten. For Ã¥ vite hvilken side vi bÃ¸r ta i denne krigen, de fleste " -"tenker at vi kun trenger Ã¥ bestemme om hvorvidt vi er for eiendomsrett eller " -"mot den." - -#. 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 <quote>creative property.</" -"quote> I believe that <quote>piracy</quote> is wrong, and that the law, " -"properly tuned, should punish <quote>piracy,</quote> whether on or off the " -"Internet." -msgstr "" -"Hvis dette virkelig var alternativene, sÃ¥ ville jeg vÃ¦re enig med Jack " -"Valenti og innholdsindustrien. Jeg tror ogsÃ¥ pÃ¥ eiendomsretten, og spesielt " -"pÃ¥ viktigheten av hva Mr. Valenti sÃ¥ pent kaller <quote>kreativ " -"eiendomsrett</quote>. Jeg tror at <quote>piratvirksomhet</quote> er galt, " -"og at loven, riktig innstilt, bÃ¸r straffe <quote>piratvirksomhet</quote>, " -"bÃ¥de pÃ¥ og utenfor Internettet." - -#. 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 <quote>pirates</quote> will also rid our " -"culture of values that have been integral to our tradition from the start." -msgstr "" -"Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spÃ¸rsmÃ¥l " -"og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner Ã¥ " -"legge merke til denne endringen, sÃ¥ vil krigen for Ã¥ befri verden fra " -"Internettets <quote>pirater</quote> ogsÃ¥ fjerne verdier fra vÃ¥r kultur som " -"har vÃ¦rt integrert til vÃ¥r tradisjon helt fra starten." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Constitution, U.S." -msgstr "Grunnloven i USA" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "First Amendment to" -msgstr "FÃ¸rste tillegg til" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "copyright law" -msgstr "Ã¥ndsverkslov" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "as protection of creators" -msgstr "som beskyttelse for skapere" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "First Amendment" -msgstr "FÃ¸rste grunnlovstillegg" - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Netanel, Neil Weinstock" -msgstr "Netanel, Neil Weinstock" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " -"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " -"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" -"\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"These values built a tradition that, for at least the first 180 years of our " -"Republic, guaranteed creators the right to build freely upon their past, and " -"protected creators and innovators from either state or private control. The " -"First Amendment protected creators against state control. And as Professor " -"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " -"copyright law, properly balanced, protected creators against private " -"control. Our tradition was thus neither Soviet nor the tradition of patrons. " -"It instead carved out a wide berth within which creators could cultivate and " -"extend our culture." -msgstr "" -"Disse verdiene bygget en tradisjon som, for i hvert fall de fÃ¸rste 180 Ã¥rene " -"av vÃ¥r republikk, garanterte skaperne rettigheten til Ã¥ bygge fritt pÃ¥ deres " -"fortid, og beskyttet skaperne og innovatÃ¸rene fra bÃ¥de statlig og privat " -"kontroll. Det fÃ¸rste grunnlovstillegget beskyttet skaperne fra statlig " -"kontroll. Og som professor Neil Netanel kraftfylt argumenterer,<placeholder " -"type=\"footnote\" id=\"0\"/> Ã¥ndsverkslov, skikkelig balansert, beskyttet " -"skaperne mot privat kontroll. VÃ¥r tradisjon var dermed hverken Sovjet eller " -"tradisjonen til velgjÃ¸rere. I stedet skar det ut en bred manÃ¸vreringsrom " -"hvor skapere kunne kultivere og utvide vÃ¥r kultur." - -#. type: Content of: <book><chapter><para> -msgid "" -"Yet the law's response to the Internet, when tied to changes in the " -"technology of the Internet itself, has massively increased the effective " -"regulation of creativity in America. To build upon or critique the culture " -"around us one must ask, Oliver Twist–like, for permission first. " -"Permission is, of course, often granted—but it is not often granted to " -"the critical or the independent. We have built a kind of cultural nobility; " -"those within the noble class live easily; those outside it don't. But it is " -"nobility of any form that is alien to our tradition." -msgstr "" -"Likevel har lovens respons til Internettet, nÃ¥r det knyttes sammen til " -"endringer i teknologien i Internettet selv, fÃ¸rt til massiv Ã¸kting av den " -"effektive reguleringen av kreativitet i USA. For Ã¥ bygge pÃ¥ eller kritisere " -"kulturen rundt oss mÃ¥ en spÃ¸rre, som Oliver Twist, om tillatelse fÃ¸rst. " -"Tillatelse er, naturligvis, ofte innvilget—men det er ikke ofte " -"innvilget til den kritiske eller den uavhengige. Vi har bygget en slags " -"kulturell adel. De innen dette adelskapet har et enkelt liv, mens de pÃ¥ " -"utsiden har det ikke. Men det er adelskap i alle former som er fremmed for " -"vÃ¥r tradisjon." - -#. type: Content of: <book><chapter><para> -msgid "" -"The story that follows is about this war. Is it not about the " -"<quote>centrality of technology</quote> to ordinary life. I don't believe in " -"gods, digital or otherwise. Nor is it an effort to demonize any individual " -"or group, for neither do I believe in a devil, corporate or otherwise. It is " -"not a morality tale. Nor is it a call to jihad against an industry." -msgstr "" -"Historien som fÃ¸lger er om denne krigen. Er det ikke om <quote>betydningen " -"av teknologi</quote> i vanlig liv. Jeg tror ikke pÃ¥ guder, hverken digitale " -"eller andre typer. Det er heller ikke et forsÃ¸k pÃ¥ Ã¥ demonisere noen " -"individer eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig " -"eller pÃ¥ annen mÃ¥te. Det er ikke en moralsk historie. Ei heller er det et " -"rop om hellig krig mot en industri." - -#. type: Content of: <book><chapter><para> -msgid "" -"It is instead an effort to understand a hopelessly destructive war inspired " -"by the technologies of the Internet but reaching far beyond its code. And by " -"understanding this battle, it is an effort to map peace. There is no good " -"reason for the current struggle around Internet technologies to continue. " -"There will be great harm to our tradition and culture if it is allowed to " -"continue unchecked. We must come to understand the source of this war. We " -"must resolve it soon." -msgstr "" -"Det er i stedet et forsÃ¸k pÃ¥ Ã¥ forstÃ¥ en hÃ¥plÃ¸st Ã¸deleggende krig som er " -"inspirert av teknologiene til Internettet, men som rekker lang utenfor dens " -"kode. Og ved Ã¥ forstÃ¥ denne kampen er den en innsats for Ã¥ finne veien til " -"fred. Det er ingen god grunn for Ã¥ fortsette dagens batalje rundt Internett-" -"teknologiene. Det vil vÃ¦re til stor skade for vÃ¥r tradisjon og kultur hvis " -"den fÃ¥r lov til Ã¥ fortsette ukontrollert. Vi mÃ¥ forstÃ¥ kilden til denne " -"krigen. Vi mÃ¥ finne en lÃ¸sning snart." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "intellectual property rights" -msgstr "immaterielle rettigheter" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">Like the Causbys'</emphasis> battle, this war is, " -"in part, about <quote>property.</quote> The property of this war is not as " -"tangible as the Causbys', and no innocent chicken has yet to lose its life. " -"Yet the ideas surrounding this <quote>property</quote> are as obvious to " -"most as the Causbys' claim about the sacredness of their farm was to them. " -"We are the Causbys. Most of us take for granted the extraordinarily powerful " -"claims that the owners of <quote>intellectual property</quote> now assert. " -"Most of us, like the Causbys, treat these claims as obvious. And hence we, " -"like the Causbys, object when a new technology interferes with this " -"property. It is as plain to us as it was to them that the new technologies " -"of the Internet are <quote>trespassing</quote> upon legitimate claims of " -"<quote>property.</quote> It is as plain to us as it was to them that the law " -"should intervene to stop this trespass." -msgstr "" -"<emphasis role=\"strong\">Lik Causbyenes</emphasis> kamp er denne krigen, " -"delvis, om <quote>eiendomsrett</quote>. Eiendommen i denne krigen er ikke " -"like hÃ¥ndfast som den til Causbyene, og ingen uskyldige kyllinger har sÃ¥ " -"langt mistet livet. Likevel er idÃ©ene rundt denne <quote>eiendomsretten</" -"quote> like Ã¥penbare for de fleste som Causbyenes krav om ukrenkeligheten " -"til deres bondegÃ¥rd var for dem. De fleste av oss tar for gitt de uvanlig " -"mektige krav som eierne av <quote>immaterielle rettigheter</quote> nÃ¥ " -"hevder. De fleste av oss, som Causbyene, behandler disse kravene som " -"Ã¥penbare. Og dermed protesterer vi, som Causbyene,, nÃ¥r ny teknologi griper " -"inn i denne eiendomsretten. Det er sÃ¥ klart for oss som det var fro dem at " -"de nye teknologiene til Internettet <quote>tar seg til rette</quote> mot " -"legitime krav til <quote>eiendomsrett</quote>. Det er like klart for oss " -"som det var for dem at loven skulle ta affÃ¦re for Ã¥ stoppe denne " -"inntrengingen i annen manns eiendom." - -#. PAGE BREAK 27 -#. type: Content of: <book><chapter><para> -msgid "" -"And thus, when geeks and technologists defend their Armstrong or Wright " -"brothers technology, most of us are simply unsympathetic. Common sense does " -"not revolt. Unlike in the case of the unlucky Causbys, common sense is on " -"the side of the property owners in this war. Unlike the lucky Wright " -"brothers, the Internet has not inspired a revolution on its side." -msgstr "" -"Og dermed, nÃ¥r nerder og teknologer forsvarer sin tids Armstrong og Wright-" -"brÃ¸denes teknologi, fÃ¥r de lite sympati fra de fleste av oss. Sunn fornuft " -"gjÃ¸r ikke opprÃ¸r. I motsetning til saken til de uheldige Causbyene, er sunn " -"fornuft pÃ¥ samme side som eiendomseierne i denne krigen. I motsetning til " -"hos de heldige Wright-brÃ¸drene, har Internettet ikke inspirert en revolusjon " -"til fordel for seg." - -#. 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 " -"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet " -"there has never been a time when the concentration of power to control the " -"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as " -"it is now." -msgstr "" -"Mitt hÃ¥p er Ã¥ skyve denne sunne fornuften videre. Jeg har blitt stadig mer " -"overrasket over kraften til denne idÃ©en om immaterielle rettigheter og, mer " -"viktig, dets evne til Ã¥ slÃ¥ av kritisk tanke hos lovmakere og innbyggere. " -"Det har aldri fÃ¸r i vÃ¥r historie vÃ¦rt sÃ¥ mye av vÃ¥r <quote>kultur</quote> " -"som har vÃ¦rt <quote>eid</quote> enn det er nÃ¥. Og likevel har aldri fÃ¸r " -"konsentrasjonen av makt til Ã¥ kontrollere <emphasis>bruken</emphasis> av " -"kulturen vÃ¦rt mer akseptert uten spÃ¸rsmÃ¥l enn det er nÃ¥." - -#. 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 "" -"GÃ¥ten er, hvorfor det? Er det fordi vi fÃ¥tt en innsikt i sannheten om " -"verdien og betydningen av absolutt eierskap over idÃ©er og kultur? Er det " -"fordi vi har oppdaget at vÃ¥r tradisjon med Ã¥ avvise slike absolutte krav var " -"feil?" - -#. type: Content of: <book><chapter><para> -msgid "" -"Or is it because the idea of absolute property over ideas and culture " -"benefits the RCAs of our time and fits our own unreflective intuitions?" -msgstr "" -"Eller er det pÃ¥ grunn av at idÃ©er om absolutt eierskap over idÃ©er og kultur " -"gir fordeler til RCA-ene i vÃ¥r tid, og passer med vÃ¥r ureflekterte intuisjon?" - -#. type: Content of: <book><chapter><para> -msgid "" -"Is the radical shift away from our tradition of free culture an instance of " -"America correcting a mistake from its past, as we did after a bloody war " -"with slavery, and as we are slowly doing with inequality? Or is the radical " -"shift away from our tradition of free culture yet another example of a " -"political system captured by a few powerful special interests?" -msgstr "" -"Er denne radikale endringen vekk fra vÃ¥r tradisjon om fri kultur en " -"forekomst av USA som korrigerer en feil fra sin fortid, slik vi gjorde det " -"etter en blodig krig mot slaveri, og slik vi sakte gjÃ¸r det mot " -"forskjellsbehandling? Eller er denne radikale endringen vekk fra vÃ¥r " -"tradisjon med fri kultur nok et eksempel pÃ¥ at vÃ¥rt politiske system er " -"fanget av noen fÃ¥ mektige sÃ¦rinteresser?" - -#. 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 "" -"FÃ¸rer sunn fornuft til det ekstreme i dette spÃ¸rsmÃ¥let pÃ¥ grunn av at sunn " -"fornuft faktisk tror pÃ¥ dette ekstreme? Eller stÃ¥r sunn fornuft i stillhet " -"i mÃ¸tet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer " -"mektige siden har sikret seg at det har et mye mer mektig synspunkt?" - -#. PAGE BREAK 28 -#. type: Content of: <book><chapter><para> -msgid "" -"I don't mean to be mysterious. My own views are resolved. I believe it was " -"right for common sense to revolt against the extremism of the Causbys. I " -"believe it would be right for common sense to revolt against the extreme " -"claims made today on behalf of <quote>intellectual property.</quote> What " -"the law demands today is increasingly as silly as a sheriff arresting an " -"airplane for trespass. But the consequences of this silliness will be much " -"more profound." -msgstr "" -"Jeg forsÃ¸ker ikke Ã¥ vÃ¦re mystisk. Mine egne synspunkter er klare. Jeg mener " -"det var riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r mot ekstremismen til " -"Causbyene. Jeg mener det ville vÃ¦re riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r " -"mot de ekstreme krav som gjÃ¸res i dag pÃ¥ vegne av <quote>immaterielle " -"rettigheter</quote>. Det som loven krever i dag er mer Ã¥ mer like dumt som " -"om lensmannen skulle arrestere en flymaskin for Ã¥ trenge inn pÃ¥ annen manns " -"eiendom. Men konsekvensene av den nye dumskapen vil bli mye mer " -"dyptgripende." - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">The struggle</emphasis> that rages just now " -"centers on two ideas: <quote>piracy</quote> and <quote>property.</quote> My " -"aim in this book's next two parts is to explore these two ideas." -msgstr "" -"<emphasis role=\"strong\">Basketaket</emphasis> som pÃ¥gÃ¥r akkurat nÃ¥ " -"senterer seg rundt to idÃ©er: <quote>piratvirksomhet</quote> og " -"<quote>eiendom</quote>. Mitt mÃ¥l med denne bokens neste to deler er Ã¥ " -"utforske disse to idÃ©ene." - -#. type: Content of: <book><chapter><para> -msgid "" -"My method is not the usual method of an academic. I don't want to plunge you " -"into a complex argument, buttressed with references to obscure French " -"theorists—however natural that is for the weird sort we academics have " -"become. Instead I begin in each part with a collection of stories that set a " -"context within which these apparently simple ideas can be more fully " -"understood." -msgstr "" -"Metoden min er ikke den vanlige metoden for en akademiker. Jeg Ã¸nsker ikke " -"Ã¥ plÃ¸ye deg inn i et komplisert argument, steinsatt med referanser til " -"obskure franske teoretikere—uansett hvor naturlig det har blitt for " -"den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del " -"med en samling historier som etablerer en sammenheng der disse " -"tilsynelatende enkle idÃ©ene kan bli fullt ut forstÃ¥tt." - -#. 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 <quote>something new,</quote> is destroying " -"something very old. Rather than understanding the changes the Internet might " -"permit, and rather than taking time to let <quote>common sense</quote> " -"resolve how best to respond, we are allowing those most threatened by the " -"changes to use their power to change the law—and more importantly, to " -"use their power to change something fundamental about who we have always " -"been." -msgstr "" -"De to delene setter opp kjernen i pÃ¥standen til denne boken: at mens " -"Internettet faktisk har produsert noe fantastisk og nytt, bidrar vÃ¥re " -"myndigheter, presset av store medieaktÃ¸rer for Ã¥ mÃ¸te dette <quote>noe nytt</" -"quote> til Ã¥ Ã¸delegge noe som er svÃ¦rt gammelt. I stedet for Ã¥ forstÃ¥ " -"endringene som Internettet kan gjÃ¸re mulig, og i stedet for Ã¥ ta den tiden " -"som trengs for Ã¥ la <quote>sunn fornuft</quote> finne ut hvordan best svare " -"pÃ¥ utfordringen, sÃ¥ lar vi de som er mest truet av endringene bruke sin makt " -"til Ã¥ endre loven—og viktigere, Ã¥ bruke sin makt til Ã¥ endre noe " -"fundamentalt om hvordan vi alltid har fungert." - -#. type: Content of: <book><chapter><para> -msgid "" -"We allow this, I believe, not because it is right, and not because most of " -"us really believe in these changes. We allow it because the interests most " -"threatened are among the most powerful players in our depressingly " -"compromised process of making law. This book is the story of one more " -"consequence of this form of corruption—a consequence to which most of " -"us remain oblivious." -msgstr "" -"Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi " -"de fleste av oss tror pÃ¥ disse endringene. Vi tillater det pÃ¥ grunn av at " -"de interessene som er mest truet er blant de mest mektige aktÃ¸rene i vÃ¥r " -"deprimerende kompromitterte prosess for Ã¥ utforme lover. Denne boken er " -"historien om nok en konsekvens for denne type korrupsjon—en konsekvens " -"for de fleste av oss forblir ukjent med." - -#. type: Content of: <book><part><title> -msgid "<quote>PIRACY</quote>" -msgstr "<quote>Piratvirksomhet</quote>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "English" -msgstr "Engelsk" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Mansfield, William Murray, Lord" -msgstr "Mansfield, William Murray, Lord" - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "music publishing" -msgstr "musikkpublisering" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "sheet music" -msgstr "noteark" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role=\"strong\">Since the inception</emphasis> of the law " -"regulating creative property, there has been a war against <quote>piracy.</" -"quote> The precise contours of this concept, <quote>piracy,</quote> are hard " -"to sketch, but the animating injustice is easy to capture. As Lord " -"Mansfield wrote in a case that extended the reach of English copyright law " -"to include sheet music," -msgstr "" -"<emphasis role=\"strong\">Helt siden</emphasis> loven begynte Ã¥ regulere " -"kreative eierrettigheter, har det vÃ¦rt en krig mot <quote>piratvirksomhet</" -"quote>. De presise konturene av dette konseptet, <quote>piratvirksomhet</" -"quote>, har vÃ¦rt vanskelig Ã¥ tegne opp, men bildet av urettferdighet er " -"enkelt Ã¥ beskrive. Som Lord Mansfield skrev i en sak som utvidet " -"rekkevidden for engelsk Ã¥ndsverkslov til Ã¥ inkludere noteark," - -#. f1 -#. type: Content of: <book><part><partintro><blockquote><para><footnote><para> -msgid "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777) (Mansfield)." -msgstr "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777) (Mansfield)." - -#. type: Content of: <book><part><partintro><blockquote><para> -msgid "" -"A person may use the copy by playing it, but he has no right to rob the " -"author of the profit, by multiplying copies and disposing of them for his " -"own use.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"En person kan bruke kopien til Ã¥ spille den, men han har ingen rett til Ã¥ " -"robbe forfatteren for profitten, ved Ã¥ lage flere kopier og distribuere " -"etter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "efficient content distribution on" -msgstr "effektiv innholdsdistribusjon pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "peer-to-peer (p2p) file sharing" -msgstr "peer-to-peer(p2p)-fildeling" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "efficiency of" -msgstr "effektiviteten til" - -#. PAGE BREAK 31 -#. type: Content of: <book><part><partintro><para> -msgid "" -"Today we are in the middle of another <quote>war</quote> against " -"<quote>piracy.</quote> The Internet has provoked this war. The Internet " -"makes possible the efficient spread of content. Peer-to-peer (p2p) file " -"sharing is among the most efficient of the efficient technologies the " -"Internet enables. Using distributed intelligence, p2p systems facilitate the " -"easy spread of content in a way unimagined a generation ago." -msgstr "" -"I dag er vi midt inne i en annen <quote>krig</quote> mot " -"<quote>piratvirksomhet</quote>. Internettet har fremprovosert denne krigen. " -"Internettet gjÃ¸r det mulig Ã¥ effektivt spre innhold. Peer-to-peer (p2p) " -"fildeling er blant det mest effektive av de effektive teknologier " -"Internettet muliggjÃ¸r. Ved Ã¥ bruke distribuert intelligens, kan p2p-systemer " -"muliggjÃ¸re enkel spredning av innhold pÃ¥ en mÃ¥te som ingen forestilte seg " -"for en generasjon siden." - -#. type: Content of: <book><part><partintro><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 <quote>rob the author of the profit.</quote>" -msgstr "" -"Denne effektiviteten respekterer ikke de tradisjonelle skillene i " -"opphavsretten. Nettverket skiller ikke mellom deling av " -"opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det " -"vÃ¦rt deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne " -"delingen har i sin tur ansporet til krigen, pÃ¥ grunn av at eiere av " -"opphavsretter frykter delingen vil <quote>frata forfatteren overskuddet.</" -"quote>" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The warriors have turned to the courts, to the legislatures, and " -"increasingly to technology to defend their <quote>property</quote> against " -"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is " -"being raised to believe that <quote>property</quote> should be <quote>free.</" -"quote> Forget tattoos, never mind body piercing—our kids are becoming " -"<emphasis>thieves</emphasis>!" -msgstr "" -"Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig stÃ¸rre " -"grad til teknologi for Ã¥ forsvare sin <quote>eiendom</quote> mot denne " -"<quote>piratvirksomheten</quote>. En generasjon amerikanere, advarer " -"krigerne, blir oppdratt til Ã¥ tro at <quote>eiendom</quote> skal vÃ¦re " -"<quote>gratis</quote>. Glem tatoveringer, ikke tenk pÃ¥ kroppspiercing—" -"vÃ¥re barn blir <emphasis>tyver</emphasis>!" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"There's no doubt that <quote>piracy</quote> is wrong, and that pirates " -"should be punished. But before we summon the executioners, we should put " -"this notion of <quote>piracy</quote> in some context. For as the concept is " -"increasingly used, at its core is an extraordinary idea that is almost " -"certainly wrong." -msgstr "" -"Det er ingen tvil om at <quote>piratvirksomhet</quote> er galt, og at " -"pirater bÃ¸r straffes. Men fÃ¸r vi roper pÃ¥ bÃ¸dlene, bÃ¸r vi sette dette " -"<quote>piratvirksomhets</quote>-begrepet i en sammenheng. For mens begrepet " -"blir mer og mer brukt, har det i sin kjerne en ekstraordinÃ¦r idÃ© som nesten " -"helt sikkert er feil." - -#. type: Content of: <book><part><partintro><para> -msgid "The idea goes something like this:" -msgstr "IdÃ©en hÃ¸res omtrent slik ut:" - -#. type: Content of: <book><part><partintro><blockquote><para> -msgid "" -"Creative work has value; whenever I use, or take, or build upon the creative " -"work of others, I am taking from them something of value. Whenever I take " -"something of value from someone else, I should have their permission. The " -"taking of something of value from someone else without permission is wrong. " -"It is a form of piracy." -msgstr "" -"Kreativt arbeid har verdi. NÃ¥r jeg bruker, eller tar, eller bygger pÃ¥ det " -"kreative arbeidet til andre, sÃ¥ tar jeg noe fra dem som har verdi. NÃ¥r jeg " -"tar noe av verdi fra noen andre, bÃ¸r jeg fÃ¥ tillatelse fra dem. Ã ta noe " -"som har verdi fra andre uten tillatelse er galt. Det er en form for " -"piratvirksomhet." - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "ASCAP" -msgstr "ASCAP" - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "Dreyfuss, Rochelle" -msgstr "Dreyfuss, Rochelle" - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "Girl Scouts" -msgstr "Jentespeidere" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "creative property" -msgstr "kreativ eiendel" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "<quote>if value, then right</quote> theory of" -msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien om" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "<quote>if value, then right</quote> theory" -msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien" - -#. f2 -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " -"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" -"citetitle> 65 (1990): 397." -msgstr "" -"Se Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " -"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" -"citetitle> 65 (1990): 397." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Zittrain, Jonathan" -msgstr "Zittrain, Jonathan" - -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," -"</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; " -"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of " -"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" -"citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," -"</quote> <citetitle>Wall Street Journal</citetitle>, 21. august 1996, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #3</" -"ulink>; Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle " -"of Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" -"citetitle>, 24. november 2002. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"This view runs deep within the current debates. It is what NYU law professor " -"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> " -"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —" -"if there is value, then someone must have a right to that value. It is the " -"perspective that led a composers' rights organization, ASCAP, to sue the " -"Girl Scouts for failing to pay for the songs that girls sang around Girl " -"Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was " -"<quote>value</quote> (the songs) so there must have been a <quote>right</" -"quote>—even against the Girl Scouts." -msgstr "" -"Dette synet gÃ¥r dypt i de pÃ¥gÃ¥ende debattene. Det er hva jussprofessor " -"Rochelle Dreyfuss ved NYU kritiserer som <quote>hvis verdi, sÃ¥ rettighet</" -"quote>-teorien for kreative eierrettigheter <placeholder type=\"footnote\" " -"id=\"0\"/>—hvis det finnes verdi, sÃ¥ mÃ¥ noen ha rettigheten til denne " -"verdien. Det er perspektivet som fikk komponistenes rettighetsorganisasjon, " -"ASCAP, til Ã¥ saksÃ¸ke jentespeiderne for Ã¥ ikke betale for sangene som " -"jentene sagt rundt jentespeidernes leirbÃ¥l.<placeholder type=\"footnote\" id=" -"\"1\"/> Det fantes <quote>verdi</quote> (sangene), sÃ¥ det mÃ¥tte ha vÃ¦rt en " -"<quote>rettighet</quote>—til og med mot jentespeiderne." - -#. PAGE BREAK 32 -#. type: Content of: <book><part><partintro><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 <quote>if value, then right</quote> " -"theory of creative property has never been America's theory of creative " -"property. It has never taken hold within our law." -msgstr "" -"Denne idÃ©en er helt klart en mulig forstÃ¥else om hvordan kreative " -"eierrettigheter bÃ¸r virke. Det er helt klart et mulig design for et " -"lovsystem som beskytter kreative eierrettigheter. Men teorien om " -"<quote>hvis verdi, sÃ¥ rettighet</quote> for kreative eierrettigheter har " -"aldri vÃ¦rt USAs teori for kreative eierrettigheter. It har aldri stÃ¥tt rot " -"i vÃ¥rt lovverk." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on republishing vs. transformation of original work" -msgstr "pÃ¥ gjenpublisering vs. endring av opprinnelig verk" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "creativity" -msgstr "kreativitet" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "legal restrictions on" -msgstr "juridiske begrensninger pÃ¥" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"Instead, in our tradition, intellectual property is an instrument. It sets " -"the groundwork for a richly creative society but remains subservient to the " -"value of creativity. The current debate has this turned around. We have " -"become so concerned with protecting the instrument that we are losing sight " -"of the value." -msgstr "" -"I vÃ¥r tradisjon har immaterielle rettigheter i stedet vÃ¦rt et instrument. " -"Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt " -"til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi " -"har blitt sÃ¥ opptatt av Ã¥ beskytte instrumentet at vi mister verdien av syne." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The source of this confusion is a distinction that the law no longer takes " -"care to draw—the distinction between republishing someone's work on " -"the one hand and building upon or transforming that work on the other. " -"Copyright law at its birth had only publishing as its concern; copyright law " -"today regulates both." -msgstr "" -"Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om " -"Ã¥ markere—skillet mellom Ã¥ gjenpublisere noens verk pÃ¥ den ene siden, " -"og bygge pÃ¥ og gjÃ¸re om verket pÃ¥ den andre. Da opphavsretten kom var det " -"kun publisering som ble berÃ¸rt. Opphavsretten i dag regulerer begge." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"Before the technologies of the Internet, this conflation didn't matter all " -"that much. The technologies of publishing were expensive; that meant the " -"vast majority of publishing was commercial. Commercial entities could bear " -"the burden of the law—even the burden of the Byzantine complexity that " -"copyright law has become. It was just one more expense of doing business." -msgstr "" -"FÃ¸r teknologiene til Internettet dukket opp, betÃ¸d ikke denne begrepsmessige " -"sammenblandingen mye. Teknologiene for Ã¥ publisere var kostbare, som betÃ¸d " -"at det meste av publisering var kommersiell. Kommersielle aktÃ¸rer kunne " -"hÃ¥ndtere byrden pÃ¥lagt av loven—til og med byrden som den bysantiske " -"kompleksiteten som Ã¥ndsverksloven har blitt. Det var bare nok en kostnad " -"ved Ã¥ drive forretning." - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "creativity impeded by" -msgstr "kreativitet hindret av" - -#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> -msgid "Florida, Richard" -msgstr "Florida, Richard" - -#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> -msgid "Rise of the Creative Class, The (Florida)" -msgstr "Rise of the Creative Class, The (Florida)" - -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " -"Books, 2002), Richard Florida documents a shift in the nature of labor " -"toward a labor of creativity. His work, however, doesn't directly address " -"the legal conditions under which that creativity is enabled or stifled. I " -"certainly agree with him about the importance and significance of this " -"change, but I also believe the conditions under which it will be enabled are " -"much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " -"type=\"indexterm\" id=\"1\"/>" -msgstr "" -"I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " -"Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " -"kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " -"vilkÃ¥r som kreativiteten blir muliggjort eller hindret under. Jeg er helt " -"klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " -"tror ogsÃ¥ at vilkÃ¥rene som disse endringene blir aktivert under er mye " -"vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"But with the birth of the Internet, this natural limit to the reach of the " -"law has disappeared. The law controls not just the creativity of commercial " -"creators but effectively that of anyone. Although that expansion would not " -"matter much if copyright law regulated only <quote>copying,</quote> when the " -"law regulates as broadly and obscurely as it does, the extension matters a " -"lot. The burden of this law now vastly outweighs any original benefit—" -"certainly as it affects noncommercial creativity, and increasingly as it " -"affects commercial creativity as well. Thus, as we'll see more clearly in " -"the chapters below, the law's role is less and less to support creativity, " -"and more and more to protect certain industries against competition. Just at " -"the time digital technology could unleash an extraordinary range of " -"commercial and noncommercial creativity, the law burdens this creativity " -"with insanely complex and vague rules and with the threat of obscenely " -"severe penalties. We may be seeing, as Richard Florida writes, the " -"<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id=" -"\"0\"/> Unfortunately, we are also seeing an extraordinary rise of " -"regulation of this creative class." -msgstr "" -"Men da Internettet dukket opp, forsvant denne naturlige begrensningen til " -"lovens virkeomrÃ¥de. Loven kontrollerer ikke bare kreativiteten til " -"kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om " -"utvidelsen ikke ville bety stort hvis Ã¥ndsverksloven kun regulerte " -"<quote>kopiering</quote>, sÃ¥ betyr utvidelsen mye nÃ¥r loven regulerer sÃ¥ " -"bredt og obskurt som den gjÃ¸r. Byrden denne loven gir oppveier nÃ¥ langt " -"fordelene den ga da den ble vedtatt—helt klart slik den pÃ¥virker ikke-" -"kommersiell kreativitet, og i stadig stÃ¸rre grad slik den pÃ¥virker " -"kommersiell kreativitet. Dermed, slik vi ser klarere i kapitlene som " -"fÃ¸lger, er lovens rolle mindre og mindre Ã¥ stÃ¸tte kreativitet, og mer og mer " -"Ã¥ beskytte enkelte industrier mot konkurranse. Akkurat pÃ¥ tidspunktet da " -"digital teknologi kunne sluppet lÃ¸s en ekstraordinÃ¦r mengde med kommersiell " -"og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med " -"sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde " -"straffer. Vi ser kanskje, som Richard Florida skriver, <quote>Fremveksten " -"av den kreative klasse</quote><placeholder type=\"footnote\" id=\"0\"/> " -"Dessverre ser vi ogsÃ¥ en ekstraordinÃ¦r fremvekst av reguleringer av denne " -"kreative klassen." - -#. type: Content of: <book><part><partintro><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 <quote>piracy.</quote>" -msgstr "" -"Disse byrdene gir ingen mening i vÃ¥r tradisjon. Vi bÃ¸r begynne med Ã¥ forstÃ¥ " -"den tradisjonen litt mer, og ved Ã¥ plassere dagens slag om oppfÃ¸rsel med " -"merkelappen <quote>piratvirksomhet</quote> i sin rette sammenheng." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER ONE: Creators" -msgstr "Kapittel en: Skaperne" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "animated cartoons" -msgstr "animasjonsfilmer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "cartoon films" -msgstr "tegnefilmer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "films" -msgstr "filmer" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "animated" -msgstr "animerte" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Steamboat Willie" -msgstr "Steamboat Willie" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Mickey Mouse" -msgstr "Mikke Mus" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role=\"strong\">In 1928</emphasis>, a cartoon character was born. " -"An early Mickey Mouse made his debut in May of that year, in a silent flop " -"called <citetitle>Plane Crazy</citetitle>. In November, in New York City's " -"Colony Theater, in the first widely distributed cartoon synchronized with " -"sound, <citetitle>Steamboat Willie</citetitle> brought to life the character " -"that would become Mickey Mouse." -msgstr "" -"<emphasis role=\"strong\">I 1928</emphasis> ble en tegnefilmfigur fÃ¸dt. En " -"tidlig Mikke Mus debuterte i mai dette Ã¥ret, i en stille flopp ved navn " -"<citetitle>Plane Crazy</citetitle>. I november, i Colony teateret i New " -"York City, ble den fÃ¸rste vidt distribuerte tegnefilmen med synkronisert " -"lyd, <citetitle>Steamboat Willy</citetitle>, vist frem med figuren som " -"skulle bli til Mikke Mus." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Disney, Walt" -msgstr "Disney, Walt" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Synchronized sound had been introduced to film a year earlier in the movie " -"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " -"the technique and mix sound with cartoons. No one knew whether it would work " -"or, if it did work, whether it would win an audience. But when Disney ran a " -"test in the summer of 1928, the results were unambiguous. As Disney " -"describes that first experiment," -msgstr "" -"Film med synkronisert lyd hadde blitt introdusert et Ã¥r tidligere i filmen " -"<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til Ã¥ " -"kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " -"ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " -"for det. Men da Disney gjorde en test sommeren 1928, var resultatet " -"entydig. Som Disney beskriver dette fÃ¸rste eksperimentet," - -#. PAGE BREAK 35 -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"A couple of my boys could read music, and one of them could play a mouth " -"organ. We put them in a room where they could not see the screen and " -"arranged to pipe their sound into the room where our wives and friends were " -"going to see the picture." -msgstr "" -"Et par av guttene mine kunne lese noteark, og en av dem kunne spille " -"munnspill. Vi stappet dem inn i et rom hvor de ikke kunne se skjermen, og " -"gjorde det slik at lyden de spilte ble sendt videre til et rom hvor vÃ¥re " -"koner og venner var plassert for Ã¥ se pÃ¥ bildet." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The boys worked from a music and sound-effects score. After several false " -"starts, sound and action got off with the gun. The mouth organist played the " -"tune, the rest of us in the sound department bammed tin pans and blew slide " -"whistles on the beat. The synchronization was pretty close." -msgstr "" -"Guttene brukte et note- og lydeffekt-ark. Etter noen dÃ¥rlige oppstarter, " -"kom endelig lyd og handling i gang med et smell. Munnspilleren spilte " -"melodien, og resten av oss i lydavdelingen slamret pÃ¥ tinnkasseroller og " -"blÃ¥ste pÃ¥ slide-flÃ¸yte til rytmen. Synkroniseringen var nesten helt riktig." - -#. f1 -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -msgid "" -"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " -"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." -msgstr "" -"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " -"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The effect on our little audience was nothing less than electric. They " -"responded almost instinctively to this union of sound and motion. I thought " -"they were kidding me. So they put me in the audience and ran the action " -"again. It was terrible, but it was wonderful! And it was something new!" -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Effekten pÃ¥ vÃ¥rt lille publikum var intet mindre enn elektrisk. De reagerte " -"nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de " -"tullet med meg. SÃ¥ de puttet meg i publikum og satte igang pÃ¥ nytt. Det " -"var grufullt, men det var fantastisk. Og det var noe nytt!<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Iwerks, Ub" -msgstr "Iwerks, Ub" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Disney's then partner, and one of animation's most extraordinary talents, Ub " -"Iwerks, put it more strongly: <quote>I have never been so thrilled in my " -"life. Nothing since has ever equaled it.</quote>" -msgstr "" -"Disneys davÃ¦rende partner, og en av animasjonsverdenens mest ekstraordinÃ¦re " -"talenter, Ub Iwerks, uttalte det sterkere: <quote>Jeg har aldri vÃ¦rt sÃ¥ " -"begeistret i hele mitt liv. Ingenting annet har noen sinne vÃ¦rt like bra.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Disney had created something very new, based upon something relatively new. " -"Synchronized sound brought life to a form of creativity that had " -"rarely—except in Disney's hands—been anything more than filler " -"for other films. Throughout animation's early history, it was Disney's " -"invention that set the standard that others struggled to match. And quite " -"often, Disney's great genius, his spark of creativity, was built upon the " -"work of others." -msgstr "" -"Disney hadde laget noe helt nyt, basert pÃ¥ noe relativt nytt. Synkronisert " -"lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " -"Disneys hender—vÃ¦rt noe annet en fyllstoff for andre filmer. Gjennom " -"animasjonens tidligere historie var det Disneys oppfinnelse som satte " -"standarden som andre mÃ¥tte sloss for Ã¥ oppfylle. Og ganske ofte var Disneys " -"store geni, hans gnist av kreativitet, bygget pÃ¥ arbeidet til andre." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Keaton, Buster" -msgstr "Keaton, Buster" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Steamboat Bill, Jr." -msgstr "Steamboat Bill, Jr." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This much is familiar. What you might not know is that 1928 also marks " -"another important transition. In that year, a comic (as opposed to cartoon) " -"genius created his last independently produced silent film. That genius was " -"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." -msgstr "" -"Dette er kjent stoff. Det du kanskje ikke vet er at 1928 ogsÃ¥ markerer en " -"annen viktig overgang. I samme Ã¥r laget et komedie-geni (i motsetning til " -"tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " -"Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Keaton was born into a vaudeville family in 1895. In the era of silent film, " -"he had mastered using broad physical comedy as a way to spark uncontrollable " -"laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " -"classic of this form, famous among film buffs for its incredible stunts. " -"The film was classic Keaton—wildly popular and among the best of its " -"genre." -msgstr "" -"Keaton ble fÃ¸dt inn i en vauderville-familie i 1895. I stumfilm-Ã¦raen hadde " -"han mestret bruken av bredpenslet fysisk komedie pÃ¥ en mÃ¥te som tente " -"ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" -"citetitle>. var en klassiker av denne typen, berÃ¸mt blant film-elskere for " -"sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " -"populÃ¦r og blant de beste i sin sjanger." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "derivative works" -msgstr "avledede verker" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "piracy vs." -msgstr "piratvirksomhet vs." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "piracy" -msgstr "piratvirksomhet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "derivative work vs." -msgstr "avledede verk vas." - -#. f2 -#. type: Content of: <book><part><chapter><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 <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill," -"</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</" -"quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and " -"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the " -"Straw,</quote> was already in the public domain. Letter from David Smith to " -"Harry Surden, 10 July 2003, on file with author." -msgstr "" -"Jeg er takknemlig overfor David Gerstein og hans nÃ¸yaktige historie, " -"beskrevet pÃ¥ <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " -"I fÃ¸lge Dave Smith ved the Disney Archives, betalte Disney for Ã¥ bruke " -"musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " -"<quote>Steamboat Bill,</quote> <quote>The Simpleton</quote> (Delille), " -"<quote>Mischief Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</" -"quote> (Baron), og <quote>Gawky Rube</quote> (Lakay). En sjette sang, " -"<quote>The Turkey in the Straw,</quote> var allerede allemannseie. Brev fra " -"David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til " -"forfatteren." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " -"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " -"Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" -"\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " -"It is not just from the invention of synchronized sound in <citetitle>The " -"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " -"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " -"inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat " -"Willie, and then from Steamboat Willie, Mickey Mouse." -msgstr "" -"<citetitle>Steamboat Bill, Jr</citetitle>. kom fÃ¸r Disneys tegnefilm " -"Steamboat Willie. Det er ingen tilfeldighet at titlene er sÃ¥ like. " -"Steamboat Willie er en direkte tegneserieparodi av Steamboat Bill," -"<placeholder type=\"footnote\" id=\"0\"/> og begge bygger pÃ¥ en felles sang " -"som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i " -"<citetitle>The Jazz Singer</citetitle> at vi fÃ¥r <citetitle>Steamboat " -"Willie</citetitle>. Det er ogsÃ¥ fra Buster Keatons nyskapning Steamboat " -"Bill, Jr., som igjen var inspirert av sangen <quote>Steamboat Bill</quote>, " -"at vi fÃ¥r Steamboat Willie. Og fra Steamboat Willie fÃ¥r vi sÃ¥ Mikke Mus." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "by transforming previous works" -msgstr "ved Ã¥ endre tidligere verker" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Disney, Inc." -msgstr "Disney, Inc." - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse " -"that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink url=" -"\"http://free-culture.cc/notes/\">link #5</ulink>." -msgstr "" -"Han var ogsÃ¥ tilhenger av allmannseiet. Se Chris Sprigman, <quote>The Mouse " -"that Ate the Public Domain,</quote> Findlaw, 5. mars 2002, fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #5</ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This <quote>borrowing</quote> was nothing unique, either for Disney or for " -"the industry. Disney was always parroting the feature-length mainstream " -"films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many " -"others. Early cartoons are filled with knockoffs—slight variations on " -"winning themes; retellings of ancient stories. The key to success was the " -"brilliance of the differences. With Disney, it was sound that gave his " -"animation its spark. Later, it was the quality of his work relative to the " -"production-line cartoons with which he competed. Yet these additions were " -"built upon a base that was borrowed. Disney added to the work of others " -"before him, creating something new out of something just barely old." -msgstr "" -"Denne <quote>lÃ¥ningen</quote> var ikke unik, hverken for Disney eller for " -"industrien. Disney apet alltid etter full-lengde massemarkedsfilmene rundt " -"ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " -"Tidlige tegnefilmer er stappfulle av etterapninger—smÃ¥ variasjoner " -"over suksessfulle temaer, gamle historier fortalt pÃ¥ nytt. NÃ¸kkelen til " -"suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " -"gnisten til hans animasjoner. Senere var det kvaliteten pÃ¥ hans arbeide " -"relativt til de masseproduserte tegnefilmene som han konkurrerte med. " -"Likevel var disse bidragene bygget pÃ¥ toppen av fundamentet som var lÃ¥nt. " -"Disney bygget pÃ¥ arbeidet til andre som kom fÃ¸r han, og skapte noe nytt ut " -"av noe som bare var litt gammelt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Grimm fairy tales" -msgstr "Grimm-eventyr" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Sometimes this borrowing was slight. Sometimes it was significant. Think " -"about the fairy tales of the Brothers Grimm. If you're as oblivious as I " -"was, you're likely to think that these tales are happy, sweet stories, " -"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " -"well, for us, grim. It is a rare and perhaps overly ambitious parent who " -"would dare to read these bloody, moralistic stories to his or her child, at " -"bedtime or anytime." -msgstr "" -"Noen ganger var lÃ¥ningen begrenset, og noen ganger var den betydelig. Tenkt " -"pÃ¥ eventyrene til brÃ¸drene Grimm. Hvis du er like ubevisst som jeg var, sÃ¥ " -"tror du sannsynlighvis at disse fortellingene er glade, sÃ¸te historier som " -"passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " -"for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiÃ¸se " -"foreldre som ville vÃ¥ge Ã¥ lese disse blodige moralistiske historiene til " -"sine barn, ved leggetid eller hvilken som helst annet tidspunkt." - -#. PAGE BREAK 37 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Disney took these stories and retold them in a way that carried them into a " -"new age. He animated the stories, with both characters and light. Without " -"removing the elements of fear and danger altogether, he made funny what was " -"dark and injected a genuine emotion of compassion where before there was " -"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " -"of Disney work drawing upon the work of others is astonishing when set " -"together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" -"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " -"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " -"<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" -"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " -"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " -"(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" -"citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " -"<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " -"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" -"—not to mention a recent example that we should perhaps quickly " -"forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " -"cases, Disney (or Disney, Inc.) ripped creativity from the culture around " -"him, mixed that creativity with his own extraordinary talent, and then " -"burned that mix into the soul of his culture. Rip, mix, and burn." -msgstr "" -"Disney tok disse historiene og fortalte dem pÃ¥ nytt pÃ¥ en mÃ¥te som fÃ¸rte dem " -"inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. " -"Uten Ã¥ fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " -"mÃ¸rkt og satte inn en ekte fÃ¸lelse av medfÃ¸lelse der det fÃ¸r var frykt. Og " -"ikke bare med verkene av brÃ¸drene Grimm. Faktisk er katalogen over Disney-" -"arbeid som baserer seg pÃ¥ arbeidet til andre ganske forblÃ¸ffende nÃ¥r den " -"blir samlet: <citetitle>SnÃ¸hvit</citetitle> (1937), <citetitle>Fantasia</" -"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " -"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " -"<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" -"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " -"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " -"(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " -"<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " -"(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " -"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" -"—for ikke Ã¥ nevne et nylig eksempel som vi bÃ¸r kanskje glemme raskt, " -"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " -"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " -"med kreativiteten fra sitt eget ekstraordinÃ¦re talent, og deretter brent " -"denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." - -#. type: Content of: <book><part><chapter><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 <quote>Disney creativity,</quote> though that would be a bit " -"misleading. It is, more precisely, <quote>Walt Disney creativity</" -"quote>—a form of expression and genius that builds upon the culture " -"around us and makes it something different." -msgstr "" -"Dette er en type kreativitet. Det er en kreativitet som vi bÃ¸r huske pÃ¥ og " -"feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " -"denne typen. Vi trenger ikke gÃ¥ sÃ¥ langt for Ã¥ anerkjenne dens betydning. " -"Vi kan kalle dette <quote>Disney-kreativitet</quote>, selv om det vil vÃ¦re " -"litt misvisende. Det er mer presist <quote>Walt Disney-kreativitet</" -"quote>—en uttrykksform og genialitet som bygger pÃ¥ kulturen rundt oss " -"og omformer den til noe annet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "copyright" -msgstr "opphavsrett" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "duration of" -msgstr "varighet til" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "public domain" -msgstr "allemannseie (public domain)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "defined" -msgstr "definert" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "traditional term for conversion to" -msgstr "tradisjonell frist for konvertering til" - -#. f4 -#. type: Content of: <book><part><chapter><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 <quote>average</" -"quote> term by determining the weighted average of total registrations for " -"any particular year, and the proportion renewing. Thus, if 100 copyrights " -"are registered in year 1, and only 15 are renewed, and the renewal term is " -"28 years, then the average term is 32.2 years. For the renewal data and " -"other relevant data, see the Web site associated with this book, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>." -msgstr "" -"Inntil 1976 ga Ã¥ndsverksloven en forfatter to mulige verneperioder: en " -"initiell periode, og en fornyingsperiode. Jeg har beregnet " -"<quote>gjennomsnittlig</quote> vernetid ved Ã¥ finne vektet gjennomsnitt av " -"de totale registreringer for et gitt Ã¥r, og andelen fornyinger. Hvis 100 " -"opphavsretter ble registrert i Ã¥r 1, bare 15 av dem ble fornyet, og " -"fornyingsvernetiden er 28 Ã¥r, sÃ¥ er gjennomsnittlig vernetid 32,2 Ã¥r. " -"Fornyingsdata og andre relevante data ligger pÃ¥ nettsidene tilknyttet denne " -"boka, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #6</" -"ulink>." - -#. type: Content of: <book><part><chapter><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 <quote>exclusive " -"right</quote> to control certain uses of the work. To use this copyrighted " -"work in limited ways required the permission of the copyright owner." -msgstr "" -"I 1928 var kulturen som Disney fritt kunne trekke veksler pÃ¥ relativt " -"fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske " -"levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve " -"Ã¥r—for den lille delen av kreative verk som faktisk var " -"opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at " -"i tredve Ã¥r, i gjennomsnitt, hadde forfattere eller kreative verks " -"opphavsrettighetsinnehaver en <quote>eksklusiv rett</quote> til a " -"kontrollere bestemte typer bruk av verket. For Ã¥ bruke disse " -"opphavsrettsbeskyttede verkene pÃ¥ de begrensede mÃ¥tene krevde tillatelse fra " -"opphavsrettsinnehaveren." - -#. type: Content of: <book><part><chapter><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 <quote>lawyer-free zone.</quote> " -"Thus, most of the content from the nineteenth century was free for Disney to " -"use and build upon in 1928. It was free for anyone— whether connected " -"or not, whether rich or not, whether approved or not—to use and build " -"upon." -msgstr "" -"NÃ¥r opphavsrettens vernetid er over, faller et verk i det fri og blir " -"allemannseie. Ingen tillatelse trengs da for Ã¥ bygge pÃ¥ eller bruke dette " -"verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en " -"<quote>advokat-fri sone</quote>. Det meste av innhold fra det nittende " -"Ã¥rhundre var dermed fritt tilgjengelig for Disney Ã¥ bruke eller bygge pÃ¥ i " -"1928. Det var tilgjengelig for enhver—uansett om de hadde " -"forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller " -"ikke—til Ã¥ bruke og bygge videre pÃ¥." - -#. PAGE BREAK 38 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is the ways things always were—until quite recently. For most of " -"our history, the public domain was just over the horizon. From until 1978, " -"the average copyright term was never more than thirty-two years, meaning " -"that most culture just a generation and a half old was free for anyone to " -"build upon without the permission of anyone else. Today's equivalent would " -"be for creative work from the 1960s and 1970s to now be free for the next " -"Walt Disney to build upon without permission. Yet today, the public domain " -"is presumptive only for content from before the Great Depression." -msgstr "" -"Dette er slik det alltid har vÃ¦rt—inntil ganske nylig. For " -"mesteparten av vÃ¥r historie, har allemannseiet vÃ¦rt like over horisonten. " -"Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer " -"enn trettito Ã¥r, som gjorde at det meste av kultur fra en og en halv " -"generasjon tidligere var tilgjengelig for enhver Ã¥ bygge pÃ¥ uten tillatelse " -"fra noen. Tilsvarende for i dag ville vÃ¦re at kreative verker fra 1960- og " -"1970-tallet nÃ¥ ville vÃ¦re fritt tilgjengelig for de neste Walt Disney Ã¥ " -"bygge pÃ¥ uten tillatelse. Men i dag er allemannseie presumtivt kun for " -"innhold fra fÃ¸r mellomkrigstiden." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role=\"strong\">Of course</emphasis>, Walt Disney had no monopoly " -"on <quote>Walt Disney creativity.</quote> Nor does America. The norm of free " -"culture has, until recently, and except within totalitarian nations, been " -"broadly exploited and quite universal." -msgstr "" -"<emphasis role=\"strong\">Walt Disney</emphasis> hadde selvfÃ¸lgelig ikke " -"monopol pÃ¥ <quote>Walt Disney-kreativitet</quote>. Det har heller ikke " -"USA. Normen med fri kultur har, inntil nylig, og unntatt i totalitÃ¦re " -"nasjoner, vÃ¦rt bredt utnyttet og svÃ¦rt universell." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "comics, Japanese" -msgstr "tegneserier, japanske" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Japanese comics" -msgstr "Japanske tegneserier" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "manga" -msgstr "manga" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Consider, for example, a form of creativity that seems strange to many " -"Americans but that is inescapable within Japanese culture: <citetitle>manga</" -"citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " -"percent of publications are comics, and 30 percent of publication revenue " -"derives from comics. They are everywhere in Japanese society, at every " -"magazine stand, carried by a large proportion of commuters on Japan's " -"extraordinary system of public transportation." -msgstr "" -"Vurder for eksempel en form for kreativitet som synes underlig for mange " -"amerikanere, men som er overalt i japansk kultur: <citetitle>manga</" -"citetitle>, eller tegneserier. Japanerne er fanatiske nÃ¥r det gjelder " -"tegneserier. Over 40 prosent av publikasjoner er tegneserier, og 30 prosent " -"av publikasjonsomsetningen stammer fra tegneserier. De er over alt i det " -"japanske samfunnet, tilgjengelig fra ethvert tidsskriftsutsalg, og i hendene " -"pÃ¥ en stor andel av pendlere pÃ¥ Japans ekstraordinÃ¦re system for offentlig " -"transport." - -#. type: Content of: <book><part><chapter><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 <quote>graphic novels</quote> tell. For the Japanese, manga cover " -"every aspect of social life. For us, comics are <quote>men in tights.</" -"quote> And anyway, it's not as if the New York subways are filled with " -"readers of Joyce or even Hemingway. People of different cultures distract " -"themselves in different ways, the Japanese in this interestingly different " -"way." -msgstr "" -"Amerikanere har en tendens til Ã¥ se ned pÃ¥ denne formen for kultur. Det er " -"et lite attraktivt kjennetegn hos oss. Vi misforstÃ¥r sannsynligvis mye " -"rundt manga, pÃ¥ grunn av at fÃ¥ av oss noen gang har lest noe som ligner pÃ¥ " -"historiene i disse <quote>grafiske historiene</quote> forteller. For en " -"japaner dekker manga ethvert aspekt ved det sosiale liv. For oss er " -"tegneserier <quote>menn i strÃ¸mpebukser</quote>. Og uansett er det ikke " -"slik at T-banen i New York er full av folk som leser Joyse eller Hemingway " -"for den saks skyld. Folk i ulike kulturer skiller seg ut pÃ¥ forskjellig " -"mÃ¥ter, og japanerne pÃ¥ dette interessante viset." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But my purpose here is not to understand manga. It is to describe a variant " -"on manga that from a lawyer's perspective is quite odd, but from a Disney " -"perspective is quite familiar." -msgstr "" -"Men mitt formÃ¥l her er ikke Ã¥ forstÃ¥ manga. Det er Ã¥ beskrive en variant av " -"manga som fra en advokats perspektiv er ganske merkelig, men som fra en " -"Disneys perspektiv er ganske godt kjent." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "doujinshi comics" -msgstr "doujinshi-tegneserier" - -#. PAGE BREAK 39 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " -"also comics, but they are a kind of copycat comic. A rich ethic governs the " -"creation of doujinshi. It is not doujinshi if it is <emphasis>just</" -"emphasis> a copy; the artist must make a contribution to the art he copies, " -"by transforming it either subtly or significantly. A doujinshi comic can " -"thus take a mainstream comic and develop it differently—with a " -"different story line. Or the comic can keep the character in character but " -"change its look slightly. There is no formula for what makes the doujinshi " -"sufficiently <quote>different.</quote> But they must be different if they " -"are to be considered true doujinshi. Indeed, there are committees that " -"review doujinshi for inclusion within shows and reject any copycat comic " -"that is merely a copy." -msgstr "" -"Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er ogsÃ¥ " -"tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer " -"de som skaper doujinshi. Det er ikke doujinshi hvis det <emphasis>bare</" -"emphasis> er en kopi. Kunstneren mÃ¥ gjÃ¸re et bidrag til kunsten han " -"kopierer ved Ã¥ omforme det enten subtilt eller betydelig. En doujinshi-" -"tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en " -"annen retning—med en annen historie-linje. Eller tegneserien kan " -"beholde figuren som seg selv men endre litt pÃ¥ utseendet. Det er ingen " -"bestemt formel for hva som gjÃ¸r en doujinshi tilstrekkelig " -"<quote>forskjellig</quote>. Men de mÃ¥ vÃ¦re forskjellige hvis de skal anses " -"som ekte doujinshi. Det er faktisk komiteer som gÃ¥r igjennom doujinshi for " -"Ã¥ bli med pÃ¥ messer, og avviser etterapninger som bare er en kopi." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These copycat comics are not a tiny part of the manga market. They are huge. " -"More than 33,000 <quote>circles</quote> of creators from across Japan " -"produce these bits of Walt Disney creativity. More than 450,000 Japanese " -"come together twice a year, in the largest public gathering in the country, " -"to exchange and sell them. This market exists in parallel to the mainstream " -"commercial manga market. In some ways, it obviously competes with that " -"market, but there is no sustained effort by those who control the commercial " -"manga market to shut the doujinshi market down. It flourishes, despite the " -"competition and despite the law." -msgstr "" -"Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det " -"er enorme. Mer en 33 000 <quote>sirkler</quote> av skapere over hele Japan " -"som produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 " -"japanere samles to ganger i Ã¥ret, i den stÃ¸rste offentlige samlingen i " -"langet, for Ã¥ bytte og selge dem. Dette markedet er parallelt med det " -"kommersielle massemarkeds-manga-markedet. PÃ¥ noen mÃ¥ter konkurrerer det " -"Ã¥penbart med det markedet, men det er ingen vedvarende innsats fra de som " -"kontrollerer det kommersielle manga-markedet for Ã¥ stenge doujinshi-" -"markedet. Det blomstrer, pÃ¥ tross av konkurransen og til tross for loven." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "Japanese" -msgstr "Japansk" - -#. type: Content of: <book><part><chapter><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 " -"<quote>derivative works.</quote> There is no general practice by doujinshi " -"artists of securing the permission of the manga creators. Instead, the " -"practice is simply to take and modify the creations of others, as Walt " -"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both " -"Japanese and American law, that <quote>taking</quote> without the permission " -"of the original copyright owner is illegal. It is an infringement of the " -"original copyright to make a copy or a derivative work without the original " -"copyright owner's permission." -msgstr "" -"Den mest gÃ¥tefulle egenskapen med doujinshi-markedet, for de som har " -"juridisk trening i hvert fall, er at det overhodet tillates Ã¥ eksistere. " -"Under japansk Ã¥ndsverkslov, som i hvert fall pÃ¥ dette omrÃ¥det (pÃ¥ papiret) " -"speiler USAs Ã¥ndsverkslov, er doujinshi-markedet ulovlig. Doujinshi er helt " -"klart <quote>avledede verk</quote>. Det er ingen generell praksis hos " -"doujinshi-kunstnere for Ã¥ sikre seg tillatelse hos manga-skaperne. I stedet " -"er praksisen ganske enkelt Ã¥ ta og endre det andre har laget, slik Walt " -"Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>. For bÃ¥de " -"japansk og USAs lov, er Ã¥ <quote>ta</quote> uten tillatelse fra den " -"opprinnelige opphavsrettsinnehaver ulovlig. Det er et brudd pÃ¥ " -"opphavsretten til det opprinnelige verket Ã¥ lage en kopi eller et avledet " -"verk uten tillatelse fra den opprinnelige rettighetsinnehaveren." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Winick, Judd" -msgstr "Winick, Judd" - -#. f5 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" -"citetitle> (New York: Perennial, 2000)." -msgstr "" -"For en utmerket historie, se Scott McCloud, <citetitle>Reinventing Comics</" -"citetitle> (New York: Perennial, 2000)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet this illegal market exists and indeed flourishes in Japan, and in the " -"view of many, it is precisely because it exists that Japanese manga " -"flourish. As American graphic novelist Judd Winick said to me, <quote>The " -"early days of comics in America are very much like what's going on in Japan " -"now. … American comics were born out of copying each other. … " -"That's how [the artists] learn to draw—by going into comic books and " -"not tracing them, but looking at them and copying them</quote> and building " -"from them.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og " -"etter manges syn er det nettopp fordi det eksisterer at japansk manga " -"blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, <quote>I " -"amerikansk tegneseriers fÃ¸rste dager var det ganske likt det som foregÃ¥r i " -"Japan i dag. … Amerikanske tegneserier kom til verden ved Ã¥ kopiere " -"hverandre. … Det er slik [kunstnerne] lÃ¦rer Ã¥ tegne—ved Ã¥ se i " -"tegneseriebÃ¸ker og ikke fÃ¸lge streken, men ved Ã¥ se pÃ¥ dem og kopiere dem</" -"quote> og bygge basert pÃ¥ dem.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Superman comics" -msgstr "Supermann-tegneserier" - -#. type: Content of: <book><part><chapter><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, <quote>there are these rules and you " -"have to stick to them.</quote> There are things Superman <quote>cannot</" -"quote> do. <quote>As a creator, it's frustrating having to stick to some " -"parameters which are fifty years old.</quote>" -msgstr "" -"Amerikanske tegneserier nÃ¥ er ganske annerledes, forklarer Winick, delvis pÃ¥ " -"grunn av de juridiske problemene med Ã¥ tilpasse tegneserier slik doujinshi " -"fÃ¥r lov til. Med for eksempel Supermann, fortalte Winick meg, <quote>er det " -"en rekke regler, og du mÃ¥ fÃ¸lge dem</quote>. Det er ting som Supermann " -"<quote>ikke kan</quote> gjÃ¸re. <quote>For en som lager tegneserier er det " -"frustrerende Ã¥ mÃ¥tte begrense seg til noen parameter som er femti Ã¥r gamle.</" -"quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Mehra, Salil" -msgstr "Mehra, Salil" - -#. f6 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " -"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " -"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]" -"here might be a collective economic rationality that would lead manga and " -"anime artists to forgo bringing legal actions for infringement. One " -"hypothesis is that all manga artists may be better off collectively if they " -"set aside their individual self-interest and decide not to press their legal " -"rights. This is essentially a prisoner's dilemma solved.</quote>" -msgstr "" -"Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " -"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " -"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>det " -"kan vÃ¦re en kollektiv Ã¸konomisk rasjonalitet som fÃ¥r manga- og anime-" -"kunstnere til ikke Ã¥ saksÃ¸ke for opphavsrettsbrudd. Ãn hypotese er at alle " -"manga-kunstnere kan vÃ¦re bedre stilt hvis de setter sin individuelle " -"egeninteresse til side og bestemmer seg for ikke Ã¥ forfÃ¸lge sine juridiske " -"rettigheter. Dette er essensielt en lÃ¸sning pÃ¥ fangens dilemma.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The norm in Japan mitigates this legal difficulty. Some say it is precisely " -"the benefit accruing to the Japanese manga market that explains the " -"mitigation. Temple University law professor Salil Mehra, for example, " -"hypothesizes that the manga market accepts these technical violations " -"because they spur the manga market to be more wealthy and productive. " -"Everyone would be worse off if doujinshi were banned, so the law does not " -"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det " -"nettopp er den oppsamlede fordelen i det japanske mangamarkedet som " -"forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple " -"University hypnotiserer for eksempel med at manga-markedet aksepterer disse " -"teoretiske bruddene fordi de fÃ¥r mangamarkedet til Ã¥ bli rikere og mer " -"produktivt. Alle ville fÃ¥ det verre hvis doujinshi ble bannlyst, sÃ¥ loven " -"bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 " -"<quote>free taking</quote> by the doujinshi culture?" -msgstr "" -"Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, " -"er at mekanismen som produserer denne <quote>hold hendene borte</quote>-" -"responsen ikke er forstÃ¥tt. Det kan godt vÃ¦re at markedet som helhet gjÃ¸r " -"det bedre hvis doujinshi tillates i stedet for Ã¥ bannlyse den, men det " -"forklarer likevel ikke hvorfor individuelle opphavsrettsinnehavere ikke " -"saksÃ¸ker. Hvis loven ikke har et generelt unntak for doujinshi, og det " -"finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksÃ¸kt " -"doujinshi-kunstnere, hvorfor er det ikke et mer generelt mÃ¸nster for Ã¥ " -"blokkere denne <quote>frie takingen</quote> hos doujinshi-kulturen?" - -#. type: Content of: <book><part><chapter><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. <quote>We don't have enough lawyers,</quote> he " -"told me one afternoon. There <quote>just aren't enough resources to " -"prosecute cases like this.</quote>" -msgstr "" -"Jeg var fire nydelige mÃ¥neder i Japan, og jeg stilte dette spÃ¸rsmÃ¥l sÃ¥ ofte " -"som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et " -"stÃ¸rre japansk advokatfirma. <quote>Vi har ikke nok advokater</quote>, " -"fortalte han meg en ettermiddag. Det er <quote>bare ikke nok ressurser til " -"Ã¥ tiltale tilfeller som dette</quote>." - -#. PAGE BREAK 41 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is a theme to which we will return: that regulation by law is a " -"function of both the words on the books and the costs of making those words " -"have effect. For now, focus on the obvious question that is begged: Would " -"Japan be better off with more lawyers? Would manga be richer if doujinshi " -"artists were regularly prosecuted? Would the Japanese gain something " -"important if they could end this practice of uncompensated sharing? Does " -"piracy here hurt the victims of the piracy, or does it help them? Would " -"lawyers fighting this piracy help their clients or hurt them?" -msgstr "" -"Dette er et tema vi kommer tilbake til: at lovens regulering bÃ¥de er en " -"funksjon av ordene i bÃ¸kene, og kostnadene med Ã¥ fÃ¥ disse ordene til Ã¥ ha " -"effekt. Akkurat nÃ¥ er det endel Ã¥penbare spÃ¸rsmÃ¥l som presser seg frem: " -"Ville Japan gjÃ¸re det bedre med flere advokater? Ville manga vÃ¦re rikere " -"hvis doujinshi-kunstnere ble regelmessig rettsforfulgt? Ville Japan vinne " -"noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? " -"Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? " -"Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, " -"eller skade dem?" - -#. type: Content of: <book><part><chapter><para> -msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment." -msgstr "<emphasis role='strong'>La oss ta</emphasis> et Ã¸yeblikks pause." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"If you're like I was a decade ago, or like most people are when they first " -"start thinking about these issues, then just about now you should be puzzled " -"about something you hadn't thought through before." -msgstr "" -"Hvis du er som meg et tiÃ¥r tilbake, eller som folk flest nÃ¥r de fÃ¸rst " -"begynner Ã¥ tenke pÃ¥ disse temaene, da bÃ¸r du omtrent nÃ¥ vÃ¦re rÃ¥dvill om noe " -"du ikke hadde tenkt igjennom fÃ¸r." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Vaidhyanathan, Siva" -msgstr "Vaidhyanathan, Siva" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> The term <citetitle>intellectual " -"property</citetitle> is of relatively recent origin. See Siva Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " -"University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of " -"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. The term " -"accurately describes a set of <quote>property</quote> rights—" -"copyright, patents, trademark, and trade-secret—but the nature of " -"those rights is very different." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Begrepet <citetitle>immateriell " -"eiendom</citetitle> er av relativ ny opprinnelse. Se See Siva Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " -"University Press, 2001). Se ogsÃ¥ Lawrence Lessig, <citetitle>The Future of " -"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. Begrepet " -"presist beskriver et sett med <quote>eiendoms</quote>-rettigheter—" -"opphavsretter, patenter, varemerker og forretningshemmeligheter—men " -"egenskapene til disse rettighetene er svÃ¦rt forskjellige." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"We live in a world that celebrates <quote>property.</quote> I am one of " -"those celebrants. I believe in the value of property in general, and I also " -"believe in the value of that weird form of property that lawyers call " -"<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/" -"> A large, diverse society cannot survive without property; a large, " -"diverse, and modern society cannot flourish without intellectual property." -msgstr "" -"Vi lever i en verden som feirer <quote>eiendom</quote>. Jeg er en av de som " -"feierer. Jeg tror pÃ¥ verdien av eiendom generelt, og jeg tror ogsÃ¥ pÃ¥ " -"verdien av den sÃ¦re formen for eiendom som advokater kaller " -"<quote>immateriell eiendom</quote>.<placeholder type=\"footnote\" id=\"0\"/> " -"Et stort og variert samfunn kan ikke overleve uten eiendom, og et moderne " -"samfunn kan ikke blomstre uten immaterielle eierrettigheter." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But it takes just a second's reflection to realize that there is plenty of " -"value out there that <quote>property</quote> doesn't capture. I don't mean " -"<quote>money can't buy you love,</quote> but rather, value that is plainly " -"part of a process of production, including commercial as well as " -"noncommercial production. If Disney animators had stolen a set of pencils " -"to draw Steamboat Willie, we'd have no hesitation in condemning that taking " -"as wrong— even though trivial, even if unnoticed. Yet there was " -"nothing wrong, at least under the law of the day, with Disney's taking from " -"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the " -"taking from Keaton because Disney's use would have been considered " -"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms " -"because the Grimms' work was in the public domain." -msgstr "" -"Men det tar bare noen sekunders refleksjon for Ã¥ innse at det er masse av " -"verdi der ute som <quote>eiendom</quote> ikke dekker. Jeg mener ikke " -"<quote>kjÃ¦rlighet kan ikke kjÃ¸pes med penger</quote> men heller, at en verdi " -"som ganske enkelt er del av produksjonsprosessen, bÃ¥de for kommersiell og " -"ikke-kommersiell produksjon. Hvis Disneys animatÃ¸rer hadde stjÃ¥let et sett " -"med blyanter for Ã¥ tegne Steamboat Willie, vi ville ikke nÃ¸lt med Ã¥ dÃ¸mme " -"det som galt—selv om det er trivielt og selv om det ikke blir " -"oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at " -"Disney tok fra Buster Keaton eller fra Grimm-brÃ¸drene. Det var intet galt " -"med Ã¥ ta fra Keaton, fordi Disneys bruk ville blitt ansett som " -"<quote>rimelig</quote>. Det var intet galt med Ã¥ ta fra brÃ¸drene Grimm " -"fordi deres verker var allemannseie." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "derivative works based on" -msgstr "avledede verker basert pÃ¥" - -#. PAGE BREAK 42 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Thus, even though the things that Disney took—or more generally, the " -"things taken by anyone exercising Walt Disney creativity—are valuable, " -"our tradition does not treat those takings as wrong. Some things remain free " -"for the taking within a free culture, and that freedom is good." -msgstr "" -"Dermed, selv om de tingene som Disney tok—eller mer generelt, tingene " -"som blir tatt av enhver som utÃ¸ver Walt Disney-kreativitet—er " -"verdifulle, sÃ¥ anser ikke vÃ¥r tradisjon det som galt Ã¥ ta disse tingene. " -"Noen ting forblir frie til Ã¥ bli tatt i en fri kultur og denne friheten er " -"bra." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The same with the doujinshi culture. If a doujinshi artist broke into a " -"publisher's office and ran off with a thousand copies of his latest " -"work—or even one copy—without paying, we'd have no hesitation in " -"saying the artist was wrong. In addition to having trespassed, he would have " -"stolen something of value. The law bans that stealing in whatever form, " -"whether large or small." -msgstr "" -"Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brÃ¸t " -"seg inn pÃ¥ kontoret til en forlegger, og stakk av med tusen kopier av hans " -"siste verk—eller bare en kopi—uten Ã¥ betale, sÃ¥ ville vi uten Ã¥ " -"nÃ¸le si at kunstneren har gjort noe galt. I tillegg til Ã¥ ha trengt seg inn " -"pÃ¥ andres eiendom, ville han ha stjÃ¥let noe av verdi. Loven forbyr stjeling " -"i enhver form, uansett hvor stort eller lite som blir tatt." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet there is an obvious reluctance, even among Japanese lawyers, to say that " -"the copycat comic artists are <quote>stealing.</quote> This form of Walt " -"Disney creativity is seen as fair and right, even if lawyers in particular " -"find it hard to say why." -msgstr "" -"Likevel er det en Ã¥penbar motvilje, selv blant japanske advokater, for Ã¥ si " -"at etterapende tegneseriekunstnere <quote>stjeler</quote>. Denne formen for " -"Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt " -"advokater synes det er vanskelig Ã¥ forklare hvorfor." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Shakespeare, William" -msgstr "Shakespeare, William" - -#. type: Content of: <book><part><chapter><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. (<quote>Excuse me, Professor Einstein, but may " -"I have permission to use your theory of relativity to show that you were " -"wrong about quantum physics?</quote>) Acting companies perform adaptations " -"of the works of Shakespeare without securing permission from anyone. (Does " -"<emphasis>anyone</emphasis> believe Shakespeare would be better spread " -"within our culture if there were a central Shakespeare rights clearinghouse " -"that all productions of Shakespeare must appeal to first?) And Hollywood " -"goes through cycles with a certain kind of movie: five asteroid films in the " -"late 1990s; two volcano disaster films in 1997." -msgstr "" -"Det er det same med tusen eksempler som dukker opp over alt med en gang en " -"begynner Ã¥ se etter dem. Forskerne bygger pÃ¥ arbeidet til andre forskere " -"uten Ã¥ spÃ¸rre eller betale for privilegiet. (<quote>Unnskyld meg, professor " -"Einstein, men kan jeg fÃ¥ tillatelse til Ã¥ bruke din relativitetsteori til Ã¥ " -"vise at du tok feil om kvantefysikk?</quote>) Teatertropper viser frem " -"bearbeidelser av verkene til Shakespeare uten Ã¥ sikre seg noen tillatelser. " -"(Er det <emphasis>noen</emphasis> som tror at Shakespeare ville vÃ¦rt mer " -"spredt i vÃ¥r kultur om det var et sentralt rettighetsklareringskontor for " -"Shakespeare som alle som laget Shakespeare-produksjoner mÃ¥tte appellere til " -"fÃ¸rst?) Og Hollywood gÃ¥r igjennom sykluser med en bestemt type filmer: fem " -"astroidefilmer i slutten av 1990-tallet, to vulkankatastrofefilmer i 1997." - -#. PAGE BREAK 43 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Creators here and everywhere are always and at all times building upon the " -"creativity that went before and that surrounds them now. That building is " -"always and everywhere at least partially done without permission and without " -"compensating the original creator. No society, free or controlled, has ever " -"demanded that every use be paid for or that permission for Walt Disney " -"creativity must always be sought. Instead, every society has left a certain " -"bit of its culture free for the taking—free societies more fully than " -"unfree, perhaps, but all societies to some degree." -msgstr "" -"Skapere her og overalt har alltid og til alle tider bygd pÃ¥ kreativiteten " -"som eksisterte fÃ¸r og som omringer dem nÃ¥. Denne byggingen er alltid og " -"overalt i det minste delvis gjort uten tillatelse og uten Ã¥ kompensere den " -"opprinnelige skaperen. Intet samfunn, fritt eller kontrollert, har noen " -"gang krevd at enhver bruk skulle bli betalt for eller at tillatelse for Walt " -"Disney-kreativitet alltid mÃ¥tte skaffes. Istedet har ethvert samfunn latt " -"en bestemt bit av sin kultur vÃ¦re fritt tilgjengelig for alle Ã¥ ta—" -"frie samfunn muligens i stÃ¸rre grad enn ufrie, men en viss grad i alle " -"samfunn." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The hard question is therefore not <emphasis>whether</emphasis> a culture is " -"free. All cultures are free to some degree. The hard question instead is " -"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and " -"how broadly, is the culture free for others to take and build upon? Is that " -"freedom limited to party members? To members of the royal family? To the top " -"ten corporations on the New York Stock Exchange? Or is that freedom spread " -"broadly? To artists generally, whether affiliated with the Met or not? To " -"musicians generally, whether white or not? To filmmakers generally, whether " -"affiliated with a studio or not?" -msgstr "" -"Det vanskelige spÃ¸rsmÃ¥let er derfor ikke <emphasis>om</emphasis> en kultur " -"er fri. Alle kulturer er frie til en viss grad. Det vanskelige spÃ¸rsmÃ¥let " -"er i stedet <quote><emphasis>hvor</emphasis> fri er denne kulturen er?</" -"quote> Hvor mye og hvor bredt, er kulturen fritt tilgjengelig for andre Ã¥ " -"ta, og bygge pÃ¥? Er den friheten begrenset til partimedlemmer? Til " -"medlemmer av kongefamilien? Til de ti stÃ¸rste selskapene pÃ¥ New York-" -"bÃ¸rsen? Eller er at frihet bredt tilgjengelig? Til kunstnere generelt, " -"uansett om de er tilknyttet til nasjonalmuseet eller ikke? Til musikere " -"generelt, uansett om de er hvite eller ikke? Til filmskapere generelt, " -"uansett om de er tilknyttet et studio eller ikke?" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Free cultures are cultures that leave a great deal open for others to build " -"upon; unfree, or permission, cultures leave much less. Ours was a free " -"culture. It is becoming much less so." -msgstr "" -"Frie kulturer er kulturer som etterlater mye Ã¥pent for andre Ã¥ bygge pÃ¥. " -"Ufrie, eller tillatelse-kulturer etterlater mye mindre. VÃ¥r var en fri " -"kultur. Den er pÃ¥ tur til Ã¥ bli mindre fri." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER TWO: <quote>Mere Copyists</quote>" -msgstr "Kapittel to: <quote>Kun etter-apere</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Daguerre, Louis" -msgstr "Daguerre, Louis" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "camera technology" -msgstr "kamerateknologi" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "photography" -msgstr "fotografering" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented the " -"first practical technology for producing what we would call " -"<quote>photographs.</quote> Appropriately enough, they were called " -"<quote>daguerreotypes.</quote> The process was complicated and expensive, " -"and the field was thus limited to professionals and a few zealous and " -"wealthy amateurs. (There was even an American Daguerre Association that " -"helped regulate the industry, as do all such associations, by keeping " -"competition down so as to keep prices up.)" -msgstr "" -"<emphasis role='strong'>I 1839</emphasis> fant Louis Daguerre opp den fÃ¸rste " -"praktiske teknologien for Ã¥ produsere det vi ville kalle <quote>fotografier</" -"quote>. Rimelig nok ble de kalt <quote>daguerreotyper</quote>. Prosessen " -"var komplisert og kostbar, og feltet var dermed begrenset til profesjonelle " -"og noen fÃ¥ ivrige og velstÃ¥ende amatÃ¸rer. (Det var til og med en amerikansk " -"Daguerre-forening som hjalp til med Ã¥ regulere industrien, slik alle slike " -"foreninger gjÃ¸r, ved Ã¥ holde konkurransen ned slik at prisene var hÃ¸ye.)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Talbot, William" -msgstr "Talbot, William" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet despite high prices, the demand for daguerreotypes was strong. This " -"pushed inventors to find simpler and cheaper ways to make <quote>automatic " -"pictures.</quote> William Talbot soon discovered a process for making " -"<quote>negatives.</quote> But because the negatives were glass, and had to " -"be kept wet, the process still remained expensive and cumbersome. In the " -"1870s, dry plates were developed, making it easier to separate the taking of " -"a picture from its developing. These were still plates of glass, and thus it " -"was still not a process within reach of most amateurs." -msgstr "" -"Men til tross for hÃ¸ye priser var etterspÃ¸rselen etter daguerreotyper " -"sterk. Dette inspirerte oppfinnere til Ã¥ finne enklere og billigere mÃ¥ter Ã¥ " -"lage <quote>automatiske bilder</quote>. William Talbot oppdaget snart en " -"prosess for Ã¥ lage <quote>negativer</quote>. Men da negativene var av " -"glass, og mÃ¥tte holdes fuktige, forble prosessen kostbar og tung. PÃ¥ 1870-" -"tallet ble tÃ¸rrplater utviklet, noe som gjorde det enklere Ã¥ skille det Ã¥ ta " -"et bilde fra Ã¥ fremkalle det. Det var fortsatt plater av glass, og dermed " -"var det fortsatt ikke en prosess som var innenfor rekkevidden til de fleste " -"amatÃ¸rer." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Eastman, George" -msgstr "Eastman, George" - -#. PAGE BREAK 45 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The technological change that made mass photography possible didn't happen " -"until 1888, and was the creation of a single man. George Eastman, himself an " -"amateur photographer, was frustrated by the technology of photographs made " -"with plates. In a flash of insight (so to speak), Eastman saw that if the " -"film could be made to be flexible, it could be held on a single spindle. " -"That roll could then be sent to a developer, driving the costs of " -"photography down substantially. By lowering the costs, Eastman expected he " -"could dramatically broaden the population of photographers." -msgstr "" -"Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke " -"fÃ¸r i 1888, og det var takket vÃ¦re en eneste mann. George Eastman, selv en " -"amatÃ¸rfotograf, var frustrert over den plate-baserte fotografi-teknologien. " -"I et lysglimt av innsikt (for Ã¥ si det slik), forsto Eastman at hvis filmen " -"kunne gjÃ¸res bÃ¸yelig, sÃ¥ kunne den holdes pÃ¥ en enkel rull. Denne rullen " -"kunne sÃ¥ sendes til en fremkaller, og senke kostnadene til fotografering " -"vesentlig. Ved Ã¥ redusere kostnadene, forventet Eastman at han dramatisk " -"kunne utvide andelen fotografer." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Kodak cameras" -msgstr "Kodak-kamera" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Kodak Primer, The (Eastman)" -msgstr "Kodak Primer, The (Eastman)" - -#. f1 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " -"Johns Hopkins University Press, 1975), 112." -msgstr "" -"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " -"Johns Hopkins University Press, 1975), 112." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Eastman developed flexible, emulsion-coated paper film and placed rolls of " -"it in small, simple cameras: the Kodak. The device was marketed on the basis " -"of its simplicity. <quote>You press the button and we do the rest.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> As he described in " -"<citetitle>The Kodak Primer</citetitle>:" -msgstr "" -"Eastman utviklet bÃ¸yelig, emulsjons-belagt papirfilm og plasserte ruller med " -"dette i smÃ¥, enkle kameraer: Kodaken. Enheten ble markedsfÃ¸r med grunnlag " -"dens enkelhet. <quote>Du trykker pÃ¥ knappen og vi fikser resten.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> Som han beskrev det i " -"<citetitle>The Kodak Primer</citetitle>:" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Coe, Brian" -msgstr "Coe, Brian" - -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " -"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " -"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The principle of the Kodak system is the separation of the work that any " -"person whomsoever can do in making a photograph, from the work that only an " -"expert can do. … We furnish anybody, man, woman or child, who has " -"sufficient intelligence to point a box straight and press a button, with an " -"instrument which altogether removes from the practice of photography the " -"necessity for exceptional facilities or, in fact, any special knowledge of " -"the art. It can be employed without preliminary study, without a darkroom " -"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan " -"utfÃ¸re nÃ¥r en tar fotografier, fra arbeidet som kun en ekspert kan gjÃ¸re. " -"… Vi utstyrte alle, menn, kvinner og barn, som hadde tilstrekkelig " -"intelligens til Ã¥ peke en boks i riktig retning og trykke pÃ¥ en knapp, med " -"et instrument som helt fjernet fra praksisen med Ã¥ fotografere " -"nÃ¸dvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell " -"kunnskap om kunstarten. Det kan tas i bruk uten forutgÃ¥ende studier, uten " -"et mÃ¸rkerom og uten kjemikalier.<placeholder type=\"footnote\" id=\"0\"/>" - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Jenkins, 177." -msgstr "Jenkins, 177." - -#. f4 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Based on a chart in Jenkins, p. 178." -msgstr "Basert pÃ¥ et diagram i Jenkins, s. 178." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For $25, anyone could make pictures. The camera came preloaded with film, " -"and when it had been used, the camera was returned to an Eastman factory, " -"where the film was developed. Over time, of course, the cost of the camera " -"and the ease with which it could be used both improved. Roll film thus " -"became the basis for the explosive growth of popular photography. Eastman's " -"camera first went on sale in 1888; one year later, Kodak was printing more " -"than six thousand negatives a day. From 1888 through 1909, while industrial " -"production was rising by 4.7 percent, photographic equipment and material " -"sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> " -"Eastman Kodak's sales during the same period experienced an average annual " -"increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"For $25 kunne alle ta bilder. Det var allerede film i kameraet, og nÃ¥r det " -"var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble " -"fremkalt. Etter hvert, naturligvis, ble bÃ¥de kostnaden til kameraet og hvor " -"enkelt et var Ã¥ bruke forbedret. Film pÃ¥ rull ble dermed grunnlaget for en " -"eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut " -"for salg i 1888, og et Ã¥r senere trykket Kodak mer enn seks tusen negativer " -"om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 " -"prosent, Ã¸kte salget av fotografisk utstyr og materiale med 11 prosent." -"<placeholder type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak i samme " -"periode opplevde en Ã¥rlig vekst pÃ¥ over 17 prosent.<placeholder type=" -"\"footnote\" id=\"1\"/>" - -#. f5 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Coe, 58." -msgstr "Coe, 58." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The real significance of Eastman's invention, however, was not economic. It " -"was social. Professional photography gave individuals a glimpse of places " -"they would never otherwise see. Amateur photography gave them the ability to " -"record their own lives in a way they had never been able to do before. As " -"author Brian Coe notes, <quote>For the first time the snapshot album " -"provided the man on the street with a permanent record of his family and its " -"activities. … For the first time in history there exists an authentic " -"visual record of the appearance and activities of the common man made " -"without [literary] interpretation or bias.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke " -"Ã¸konomisk. Den var sosial. Profesjonell fotografering ga individer et " -"glimt av steder de ellers aldri ville se. AmatÃ¸rfotografering ga dem " -"muligheten til Ã¥ arkivere deres liv pÃ¥ en mÃ¥te som de aldri hadde vÃ¦rt i " -"stand til tidligere. Som forfatter Brian Coe skriver, <quote>For fÃ¸rste " -"gang tilbÃ¸d fotoalbumet mannen i gata et permanent arkiv over hans familie " -"og dens aktiviteter. … For fÃ¸rste gang i historien fantes det en " -"autentisk visuell oppfÃ¸ring av utseende og aktivitet til vanlige mennesker " -"laget uten [skrivefÃ¸r] tolkning eller forutinntatthet.</quote><placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "democracy" -msgstr "demokrati" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in technologies of expression" -msgstr "i teknologier for Ã¥ uttrykke seg" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "expression, technologies of" -msgstr "uttrykke seg, teknologier for Ã¥" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "democratic" -msgstr "demokratisk" - -#. type: Content of: <book><part><chapter><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 <quote>quality</quote>; professionals would discount it as irrelevant. " -"But watch a child study how best to frame a picture and you get a sense of " -"the experience of creativity that the Kodak enabled. Democratic tools gave " -"ordinary people a way to express themselves more easily than any tools could " -"have before." -msgstr "" -"PÃ¥ denne mÃ¥ten var Kodak-kameraet og film uttrykksteknologier. Blyanten og " -"malepenselen var selvfÃ¸lgelig ogsÃ¥ en uttrykksteknologi. Men det tok Ã¥revis " -"med trening fÃ¸r de kunne bli brukt nyttig og effektiv av amatÃ¸rer. Med " -"Kodaken var uttrykk mulig mye raskere og enklere. BarriÃ¨ren for Ã¥ uttrykke " -"seg var senket. Snobber ville fnyse over <quote>kvaliteten</quote>, " -"profesjonelle ville avvise den som irrelevant. Men se et barn studere " -"hvordan best velge bildemotiv og du fÃ¥r fÃ¸lelsen av hva slags " -"kreativitetserfaring som Kodaken muliggjorde. Demokratiske verktÃ¸y ga " -"vanlige folk en mÃ¥te Ã¥ uttrykke dem selv pÃ¥ enklere enn noe annet verktÃ¸y " -"kunne ha gjort fÃ¸r." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "permissions" -msgstr "tillatelser" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "photography exempted from" -msgstr "fotografering som ikke trenger" - -#. f6 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " -"<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " -"<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " -"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " -"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." -msgstr "" -"For illustrerende saker, se for eksempel, <citetitle>Pavesich</citetitle> " -"mot <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " -"<citetitle>Foster-Milburn Co</citetitle>. mot <citetitle>Chinn</citetitle>, " -"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mot " -"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"What was required for this technology to flourish? Obviously, Eastman's " -"genius was an important part. But also important was the legal environment " -"within which Eastman's invention grew. For early in the history of " -"photography, there was a series of judicial decisions that could well have " -"changed the course of photography substantially. Courts were asked whether " -"the photographer, amateur or professional, required permission before he " -"could capture and print whatever image he wanted. Their answer was no." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet " -"var Ã¥penbart en viktig del. Men den juridiske miljÃ¸et som Eastmans " -"oppfinnelse vokste i var ogsÃ¥ viktig. For tidlig i historien til " -"fotografering, var det en rekke av rettsavgjÃ¸relser som godt kunne ha endret " -"kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, " -"amatÃ¸r eller profesjonell, mÃ¥tte ha tillatelse fÃ¸r han kunne fange og trykke " -"hvilket som helst bilde han Ã¸nsket. Svaret var nei.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "images, ownership of" -msgstr "bilder, eierskap til" - -#. PAGE BREAK 47 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The arguments in favor of requiring permission will sound surprisingly " -"familiar. The photographer was <quote>taking</quote> something from the " -"person or building whose photograph he shot—pirating something of " -"value. Some even thought he was taking the target's soul. Just as Disney was " -"not free to take the pencils that his animators used to draw Mickey, so, " -"too, should these photographers not be free to take images that they thought " -"valuable." -msgstr "" -"Argumentene til fordel for Ã¥ kreve tillatelser vil hÃ¸res overraskende kjent " -"ut. Fotografen <quote>tok</quote> noe fra personen eller bygningen som ble " -"fotografert—rÃ¸vet til seg noe av verdi. Noen trodde til og med at han " -"tok mÃ¥lets sjel. PÃ¥ samme mÃ¥te som Disney ikke var fri til Ã¥ ta blyantene " -"som hans animatÃ¸rer brukte til Ã¥ tegne Mikke, sÃ¥ skulle heller ikke disse " -"fotografene vÃ¦re fri til Ã¥ ta bilder som de fant verdi i." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Warren, Samuel D." -msgstr "Warren, Samuel D." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> " -"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" -"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Samuel D. Warren og Louis D. Brandeis, <quote>The Right to Privacy</quote>, " -"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" -"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"On the other side was an argument that should be familiar, as well. Sure, " -"there may be something of value being used. But citizens should have the " -"right to capture at least those images that stand in public view. (Louis " -"Brandeis, who would become a Supreme Court Justice, thought the rule should " -"be different for images from private spaces.<placeholder type=\"footnote\" " -"id=\"0\"/>) It may be that this means that the photographer gets something " -"for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " -"Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " -"to capture an image without compensating the source." -msgstr "" -"PÃ¥ den andre siden var et argument som ogsÃ¥ bÃ¸r bÃ¸r vÃ¦re kjent. Joda, det " -"var kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til Ã¥ " -"fange i hvert fall de bildene som var tatt av offentlig omrÃ¥de. (Louis " -"Brandeis, som senere ble hÃ¸yesterettsjustitiarus, mente regelen skulle vÃ¦re " -"annerledes for bilder tatt av private omrÃ¥der.<placeholder type=\"footnote\" " -"id=\"0\"/>) Det kan vÃ¦re at dette betyr at fotografen fÃ¥r noe for " -"ingenting. PÃ¥ samme mÃ¥te som Disney kunne hente inspirasjon fra " -"<citetitle>Steamboat Bill, Jr</citetitle>. eller Grimm-brÃ¸drene, sÃ¥ burde " -"fotografene stÃ¥ fritt til Ã¥ fange et bilde uten Ã¥ kompensere kilden." - -#. f8 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> " -"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William " -"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</" -"citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. " -"<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 " -"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." -msgstr "" -"Se Melville B. Nimmer, <quote>The Right of Publicity</quote>, <citetitle>Law " -"and Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " -"<quote>Privacy</quote>, <citetitle>California Law Review</citetitle> 48 " -"(1960) 398–407; <citetitle>White</citetitle> mot <citetitle>Samsung " -"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " -"sert. nektet, 508 U.S. 951 (1993)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Fortunately for Mr. Eastman, and for photography in general, these early " -"decisions went in favor of the pirates. In general, no permission would be " -"required before an image could be captured and shared with others. Instead, " -"permission was presumed. Freedom was the default. (The law would eventually " -"craft an exception for famous people: commercial photographers who snap " -"pictures of famous people for commercial purposes have more restrictions " -"than the rest of us. But in the ordinary case, the image can be captured " -"without clearing the rights to do the capturing.<placeholder type=\"footnote" -"\" id=\"0\"/>)" -msgstr "" -"Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse " -"tidligere avgjÃ¸relsene i favÃ¸r av piratene. Generelt ble det ikke nÃ¸dvendig " -"Ã¥ sikre seg tillatelse fÃ¸r et bilde kunne tas og deles med andre. I stedet " -"var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven " -"ga etter en stund et unntak for berÃ¸mte personer: kommersielle fotografer " -"som tok bilder av berÃ¸mte personer for kommersielle formÃ¥l har flere " -"begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet " -"fanges uten Ã¥ klarere rettighetene for a fange det.<placeholder type=" -"\"footnote\" id=\"0\"/>)" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Napster" -msgstr "Napster" - -#. type: Content of: <book><part><chapter><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 " -"<quote>theft</quote> committed by the photographer. Just as Napster " -"benefited from the copyright infringements committed by Napster users, Kodak " -"would be benefiting from the <quote>image-right</quote> infringement of its " -"photographers. We could imagine the law then requiring that some form of " -"permission be demonstrated before a company developed pictures. We could " -"imagine a system developing to demonstrate that permission." -msgstr "" -"Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven " -"hadde slÃ¥tt ut den andre veien. Hvis den hadde vÃ¦rt mot fotografen, da " -"ville fotografen mÃ¥ttet dokumentere at tillatelse var pÃ¥ plass. Kanskje " -"Eastman Kodak ogsÃ¥ mÃ¥tte ha dokumentert at tillatelse var gitt, fÃ¸r de " -"utviklet filmen som bildene ble fanget pÃ¥. Tross alt, hvis tillatelse ikke " -"var gitt, da ville Eastman Kodak ha nytt fordeler fra <quote>tyveriet</" -"quote> begÃ¥tt av fotografer. PÃ¥ samme mÃ¥te som Napster nÃ¸t fordeler fra " -"opphavsrettsbrudd utfÃ¸rt av Napster-brukere, sÃ¥ ville Kodak nytt fordeler " -"fra <quote>bilde-rettighets</quote>-brudd til deres fotografer. Vi kan " -"forestille oss at loven da krevede at en form for tillatelse ble vist frem " -"fÃ¸r et selskap fremkalte bildene. Vi kan forestille oss et system bli " -"utviklet for Ã¥ legge frem slike tillatelser." - -#. PAGE BREAK 48 -#. type: Content of: <book><part><chapter><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." -msgstr "" -"Men selv om vi kan tenke oss dette godkjenningssystemet, sÃ¥ vil det vÃ¦re " -"svÃ¦rt vanskelig Ã¥ se hvordan fotografering skulle ha blomstret slik det " -"gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. " -"Fotografering ville eksistert. Det ville ha Ã¸kt sin betydning over tid. " -"Profesjonelle ville ha fortsatt Ã¥ bruke teknologien slik de gjorde—" -"siden profesjonelle enklere kunne hÃ¥ndtert byrdene pÃ¥lagt dem av " -"godkjenningssystemet. Men spredningen av fotografering til vanlige folk " -"villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det " -"ville uten tvil aldri vÃ¦rt realisert en slik vekst i demokratisk " -"uttrykksteknologi." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "digital cameras" -msgstr "digitale kamera" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Just Think!" -msgstr "" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>If you drive</emphasis> through San Francisco's " -"Presidio, you might see two gaudy yellow school buses painted over with " -"colorful and striking images, and the logo <quote>Just Think!</quote> in " -"place of the name of a school. But there's little that's <quote>just</quote> " -"cerebral in the projects that these busses enable. These buses are filled " -"with technologies that teach kids to tinker with film. Not the film of " -"Eastman. Not even the film of your VCR. Rather the <quote>film</quote> of " -"digital cameras. Just Think! is a project that enables kids to make films, " -"as a way to understand and critique the filmed culture that they find all " -"around them. Each year, these busses travel to more than thirty schools and " -"enable three hundred to five hundred children to learn something about media " -"by doing something with media. By doing, they think. By tinkering, they " -"learn." -msgstr "" -"<emphasis role='strong'>Hvis du kjÃ¸rer</emphasis> gjennom omrÃ¥det Presidio i " -"San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med " -"fargefulle og iÃ¸ynefallende bilder, og logoen <quote>Just Think!</quote> i " -"stedet for navnet pÃ¥ en skole. Men det er lite som er <quote>bare</quote> " -"mentalt i prosjektene som disse bussene muliggjÃ¸r. Disse bussene er fylt " -"med teknologi som lÃ¦rer unger Ã¥ fikle med film. Ikke filmen til Eastman. " -"Ikke en gang filmen i din videospiller. I stedet er det snakk om " -"<quote>filmen</quote> til digitale kamera. Just Think! er et prosjekt som " -"gjÃ¸r det mulig for unger Ã¥ lage filmer, som en mÃ¥te Ã¥ forstÃ¥ og kritisere " -"den filmede kulturen som de finner over alt rundt seg. Hvert Ã¥r besÃ¸ker " -"disse bussene mer enn tredve skoler og gir mellom tre hundre og fire hundre " -"barn muligheten til Ã¥ lÃ¦re noe om media ved Ã¥ gjÃ¸re noe med media. Ved Ã¥ " -"gjÃ¸re, sÃ¥ tenker de. Ved Ã¥ fikle, sÃ¥ lÃ¦rer de." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "education" -msgstr "utdanning" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in media literacy" -msgstr "i mediekompetanse" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "media literacy" -msgstr "mediekompetanse" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "media literacy and" -msgstr "mediekompetanse og" - -#. f9 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " -"Software You Need to Create Digital Multimedia Presentations,</quote> " -"cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #7</ulink>." -msgstr "" -"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " -"Software You Need to Create Digital Multimedia Presentations,</quote> " -"cadalyst, februar 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/" -"notes/\">link #7</ulink>." - -#. type: Content of: <book><part><chapter><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, <quote>Five years ago, a good real-time digital video " -"editing system cost $25,000. Today you can get professional quality for $595." -"</quote><placeholder type=\"footnote\" id=\"0\"/> These buses are filled " -"with technology that would have cost hundreds of thousands just ten years " -"ago. And it is now feasible to imagine not just buses like this, but " -"classrooms across the country where kids are learning more and more of " -"something teachers call <quote>media literacy.</quote>" -msgstr "" -"Disse bussene er ikke billige, men teknologien de har med seg blir billigere " -"og billigere. Kostnaden til et hÃ¸ykvalitets digitalt videosystem har falt " -"dramatisk. Som en analytiker omtalte det, <quote>for fem Ã¥r siden kostet et " -"godt sanntids redigerinssystem for digital video $25 000. I dag kan du " -"fÃ¥ profesjonell kvalitet for $595.</quote><placeholder type=\"footnote\" id=" -"\"0\"/> Disse bussene er fylt med teknologi som ville kostet hundre-tusenvis " -"av dollar for bare ti Ã¥r siden. Og det er nÃ¥ mulig Ã¥ forestille seg ikke " -"bare slike busser, men klasserom rundt om i landet hvor unger kan lÃ¦re mer " -"og mer av det lÃ¦rerne kaller <quote>medie-skrivefÃ¸re</quote> eller " -"<quote>mediekompetanse</quote>." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Yanofsky, Dave" -msgstr "Yanofsky, Dave" - -#. PAGE BREAK 49 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of " -"Just Think!, puts it, <quote>is the ability … to understand, analyze, " -"and deconstruct media images. Its aim is to make [kids] literate about the " -"way media works, the way it's constructed, the way it's delivered, and the " -"way people access it.</quote>" -msgstr "" -"<quote>Media-skrivefÃ¸re,</quote> eller <quote>mediekompetanse</quote> som " -"administrerende direktÃ¸r Dave Yanofsky i Just Think!, sier det, <quote>er " -"evnen til … Ã¥ forstÃ¥, analysere og dekonstruere mediebilder. Dets mÃ¥l " -"er Ã¥ gjÃ¸re [unger] i stand til Ã¥ forstÃ¥ hvordan mediene fungerer, hvordan de " -"er konstruert, hvordan de blir levert, og hvordan folk bruker dem</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This may seem like an odd way to think about <quote>literacy.</quote> For " -"most people, literacy is about reading and writing. Faulkner and Hemingway " -"and noticing split infinitives are the things that <quote>literate</quote> " -"people know about." -msgstr "" -"Dette kan virke som en litt rar mÃ¥te Ã¥ tenke pÃ¥ <quote>skrivefÃ¸r</quote>. " -"For de fleste handler skrivefÃ¸r Ã¥ kunne lese og skrive. <quote>SkrivefÃ¸re</" -"quote> folk kjenner ting som Faulkner, Hemingway og Ã¥ kjenne igjen delte " -"infinitiver." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "advertising" -msgstr "markedsfÃ¸ring" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "commercials" -msgstr "reklameinnslag" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "television" -msgstr "televisjon" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "advertising on" -msgstr "markedsfÃ¸ring pÃ¥" - -#. f10 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " -"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " -"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May " -"1997, B6." -msgstr "" -"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " -"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " -"Family and TV Study</quote>, <citetitle>Denver Post</citetitle>, 25. mai " -"1997, B6." - -#. type: Content of: <book><part><chapter><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 <quote>grammar</quote> of media. For just as there is a " -"grammar for the written word, so, too, is there one for media. And just as " -"kids learn how to write by writing lots of terrible prose, kids learn how to " -"write media by constructing lots of (at least at first) terrible media." -msgstr "" -"Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-" -"reklamer i Ã¥ret, eller generelt mellom 20 000 og 45 000 reklameinnslag," -"<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ er det mer og mer viktig Ã¥ " -"forstÃ¥ <quote>grammatikken</quote> til media. For pÃ¥ samme mÃ¥te som det er " -"en grammatikk for det skrevne ord, sÃ¥ er det ogsÃ¥ en for media. Og akkurat " -"slik som unger lÃ¦rer Ã¥ skrive ved Ã¥ skrive masse grusom prosa, sÃ¥ lÃ¦rer " -"unger Ã¥ skrive media ved Ã¥ konstruere masse (i hvert fall i begynnelsen) " -"grusom media." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"A growing field of academics and activists sees this form of literacy as " -"crucial to the next generation of culture. For though anyone who has written " -"understands how difficult writing is—how difficult it is to sequence " -"the story, to keep a reader's attention, to craft language to be " -"understandable—few of us have any real sense of how difficult media " -"is. Or more fundamentally, few of us have a sense of how media works, how it " -"holds an audience or leads it through a story, how it triggers emotion or " -"builds suspense." -msgstr "" -"Et voksende felt av akademikere og aktivister ser denne formen for " -"skrivefÃ¸re som avgjÃ¸rende for den neste generasjonen av kultur. For selv om " -"de som har skrevet forstÃ¥r hvor vanskelig det er Ã¥ skrive—hvor " -"vanskelig det er Ã¥ bestemme rekkefÃ¸lge i historien, Ã¥ holde pÃ¥ " -"oppmerksomheten hos leseren, Ã¥ forme sprÃ¥ket slik at det er forstÃ¥elig—" -"sÃ¥ har fÃ¥ av oss en reell fÃ¸lelse av hvor vanskelig medier er. Eller mer " -"fundamentalt, de fÃ¦rreste av oss har en fÃ¸lelse for hvordan media fungerer, " -"hvordan det holder et publikum eller leder leseren gjennom historien, " -"hvordan det utlÃ¸ser fÃ¸lelser eller bygger opp spenningen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"It took filmmaking a generation before it could do these things well. But " -"even then, the knowledge was in the filming, not in writing about the film. " -"The skill came from experiencing the making of a film, not from reading a " -"book about it. One learns to write by writing and then reflecting upon what " -"one has written. One learns to write with images by making them and then " -"reflecting upon what one has created." -msgstr "" -"Det tok filmkusten en generasjon fÃ¸r den kunne gjÃ¸re disse tingene bra. Men " -"selv da, sÃ¥ var kunnskapen i filmingen, ikke i Ã¥ skrive om filmen. " -"Ferdigheten kom fra erfaring med Ã¥ lage en film, ikke fra Ã¥ lese en bok om " -"den. En lÃ¦rer Ã¥ skrive ved Ã¥ skrive, og deretter reflektere over det en har " -"skrevet. En lÃ¦rer Ã¥ skrive med bilder ved Ã¥ lage dem, og deretter " -"reflektere over det en har laget." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Daley, Elizabeth" -msgstr "Daley, Elizabeth" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Crichton, Michael" -msgstr "Crichton, Michael" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Barish, Stephanie" -msgstr "Barish, Stephanie" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" -msgstr "" -"Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" - -#. f12 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, " -"4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." -msgstr "" -"Se Scott Steinberg, <quote>Crichton Gets Medieval on PCs</quote>, E!online, " -"4. november 2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #8</ulink>; <quote>Timeline</quote>, 22. november 2000, tilgjengelig " -"fra <ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." - -#. type: Content of: <book><part><chapter><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 <quote>the " -"placement of objects, color, … rhythm, pacing, and texture.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an " -"interactive space where a story is <quote>played</quote> as well as " -"experienced, that grammar changes. The simple control of narrative is lost, " -"and so other techniques are necessary. Author Michael Crichton had mastered " -"the narrative of science fiction. But when he tried to design a computer " -"game based on one of his works, it was a new craft he had to learn. How to " -"lead people through a game without their feeling they have been led was not " -"obvious, even to a wildly successful author.<placeholder type=\"footnote\" " -"id=\"1\"/>" -msgstr "" -"Denne gramatikken har endret seg etter hvert som media har endret seg. Da " -"det kun var film, som Elizabeth Daley, administrerende direktÃ¸r ved " -"Universitetet i SÃ¸r-Califorias Anneberg-senter for kommunkasjon og rektor " -"ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om " -"<quote>plasseringen av objekter, farger, … rytme, skritt og tekstur</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som " -"datamaskiner Ã¥pner opp et interaktivt rom hvor en historie blir " -"<quote>spillt</quote> i tillegg til opplevd, endrer gramatikken seg. Den " -"enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre " -"teknikker nÃ¸dvendig. Forfatter Michael Crichton hadde mestret " -"fortellerstemmen til science fiction. Men da han forsÃ¸kte Ã¥ lage et " -"dataspill basert pÃ¥ et av sine verk, sÃ¥ var det et nytt hÃ¥ndverk han mÃ¥tte " -"lÃ¦re. Det var ikke Ã¥penbart hvordan en leder folk gjennom et spill uten at " -"de far fÃ¸lelsen av Ã¥ ha blitt ledet, selv for en enormt vellykket forfatter." -"<placeholder type=\"footnote\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "computer games" -msgstr "dataspill" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This skill is precisely the craft a filmmaker learns. As Daley describes, " -"<quote>people are very surprised about how they are led through a film. [I]t " -"is perfectly constructed to keep you from seeing it, so you have no idea. If " -"a filmmaker succeeds you do not know how you were led.</quote> If you know " -"you were led through a film, the film has failed." -msgstr "" -"Akkurat denne ferdigheten er hÃ¥ndverket en lÃ¦rer til de som lager filmer. " -"Som Daley skriver, <quote>folk er svÃ¦rt overrasket over hvordan de blir " -"ledet gjennom en film. Den er perfekt konstruert for Ã¥ hindre deg fra Ã¥ se " -"det, sÃ¥ du aner det ikke. Hvis en som lager filmer lykkes sÃ¥ vet du ikke at " -"du har vÃ¦rt ledet.</quote> Hvis du vet at du ble ledet igjennom en film, sÃ¥ " -"har filmen feilet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet the push for an expanded literacy—one that goes beyond text to " -"include audio and visual elements—is not about making better film " -"directors. The aim is not to improve the profession of filmmaking at all. " -"Instead, as Daley explained," -msgstr "" -"Likevel er innsatsen for Ã¥ utvide skrivefÃ¸ren—til en som gÃ¥r ut over " -"tekst til Ã¥ ta med lyd og visuelle elementer—handler ikke om Ã¥ lage " -"bedre filmregissÃ¸rer. MÃ¥let er ikke Ã¥ forbedre filmyrket i det hele tatt. " -"I stedet, som Daley forklarer," - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"From my perspective, probably the most important digital divide is not " -"access to a box. It's the ability to be empowered with the language that " -"that box works in. Otherwise only a very few people can write with this " -"language, and all the rest of us are reduced to being read-only." -msgstr "" -"Fra mitt perspektiv er antagelig det viktigste digitale skillet ikke om en " -"har tilgang til en boks eller ikke. Det er evnen til Ã¥ ha kontroll over " -"sprÃ¥ket som boksen bruker. I motsatt fall er det bare noen fÃ¥ som kan " -"skrive i dette sprÃ¥ket, og alle oss andre er redusert til Ã¥ ikke kunne " -"skrive." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. " -"Couch potatoes. Consumers. This is the world of media from the twentieth " -"century." -msgstr "" -"<quote>ikke kunne skrive.</quote> Passive mottakerne av kultur produsert " -"andre steder. Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende " -"Ã¥rhundre." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Intervju med Daley og Barish. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. f31 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "Ibid." -msgstr "ibid." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The twenty-first century could be different. This is the crucial point: It " -"could be both read and write. Or at least reading and better understanding " -"the craft of writing. Or best, reading and understanding the tools that " -"enable the writing to lead or mislead. The aim of any literacy, and this " -"literacy in particular, is to <quote>empower people to choose the " -"appropriate language for what they need to create or express.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students " -"<quote>to communicate in the language of the twenty-first century.</" -"quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Det tjuefÃ¸rste Ã¥rhundret kan bli annerledes. Dette er et kritisk punkt: Det " -"kan bli bÃ¥de lesing og skriving. Eller i det minste lesing og bedre " -"forstÃ¥else for hÃ¥ndverket Ã¥ skrive. Eller det beste, lesing og forstÃ¥ " -"verktÃ¸yene som gir skriving mulighet til Ã¥ veilede eller villede. MÃ¥let med " -"enhver skrivefÃ¸rhet, og denne skrivefÃ¸rheten spesielt, er Ã¥ <quote>gi folket " -"myndighet til Ã¥ velge det sprÃ¥ket som passer for det de trenger Ã¥ lage eller " -"uttrykke</quote>.<placeholder type=\"footnote\" id=\"0\"/> Det gir studenter " -"mulighet <quote>til Ã¥ kommunisere i sprÃ¥ket til det tjuefÃ¸rste Ã¥rhundret</" -"quote>.<placeholder type=\"footnote\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As with any language, this language comes more easily to some than to " -"others. It doesn't necessarily come more easily to those who excel in " -"written language. Daley and Stephanie Barish, director of the Institute for " -"Multimedia Literacy at the Annenberg Center, describe one particularly " -"poignant example of a project they ran in a high school. The high school " -"was a very poor inner-city Los Angeles school. In all the traditional " -"measures of success, this school was a failure. But Daley and Barish ran a " -"program that gave kids an opportunity to use film to express meaning about " -"something the students know something about—gun violence." -msgstr "" -"Som det alle andre sprÃ¥k, lÃ¦res dette sprÃ¥ket lettere for noen enn for " -"andre. Det kommer ikke nÃ¸dvendigvis lettere for de som gjÃ¸r det godt " -"skriftlig. Daley og Stephanie Barish, direktÃ¸r for Institutt for Multimedia-" -"skrivefÃ¸re ved Annenberg-senteret, beskriver et spesielt sterkt eksempel fra " -"et prosjekt de gjennomfÃ¸rte i en videregÃ¥ende skole. Den videregÃ¥ende " -"skolen var en veldig fattig skole i den indre byen i Los Angeles. Etter " -"alle tradisjonelle mÃ¥leenheter for suksess var denne skolen en fiasko. Men " -"Daley og Barish gjennomfÃ¸rte et program som ga ungene en mulighet til Ã¥ " -"bruke film til Ã¥ uttrykke sine meninger om noe som studentene visste noe " -"om—vÃ¥pen-relatert vold." - -#. type: Content of: <book><part><chapter><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 " -"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> " -"said Barish. They were working harder than in any other class to do what " -"education should be about—learning how to express themselves." -msgstr "" -"Klassen mÃ¸ttes fredag ettermiddag, og skapte et relativt nytt problem for " -"skolen. Mens utfordringen i de fleste klasser var Ã¥ fÃ¥ ungene til Ã¥ dukke " -"opp, var utfordringen for denne klassen Ã¥ holde dem unna. <quote>Ungene " -"dukket opp 06:00, og dro igjen 05:00 pÃ¥ natta</quote>, sa Barish. De jobbet " -"hardere enn i noen annen klasse for Ã¥ gjÃ¸re det utdanning burde handle " -"om—Ã¥ lÃ¦re hvordan de skulle uttrykke seg." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Using whatever <quote>free web stuff they could find,</quote> and relatively " -"simple tools to enable the kids to mix <quote>image, sound, and text,</" -"quote> Barish said this class produced a series of projects that showed " -"something about gun violence that few would otherwise understand. This was " -"an issue close to the lives of these students. The project <quote>gave them " -"a tool and empowered them to be able to both understand it and talk about it," -"</quote> Barish explained. That tool succeeded in creating expression—" -"far more successfully and powerfully than could have been created using only " -"text. <quote>If you had said to these students, `you have to do it in text,' " -"they would've just thrown their hands up and gone and done something else,</" -"quote> Barish described, in part, no doubt, because expressing themselves in " -"text is not something these students can do well. Yet neither is text a form " -"in which <emphasis>these</emphasis> ideas can be expressed well. The power " -"of this message depended upon its connection to this form of expression." -msgstr "" -"Ved Ã¥ bruke hva som helst av <quote>fritt tilgjengelig web-stoff de kunne " -"finne</quote>, og relativt enkle verktÃ¸y som gjorde det mulig for ungene Ã¥ " -"blande <quote>bilde, lyd og tekst</quote>, sa Barish at denne klassen " -"produserte en serie av prosjekter som viste noe om vÃ¥pen-basert vold som fÃ¥ " -"ellers ville forstÃ¥. Dette var et tema veldig nÃ¦rt livene til disse " -"studentene. Prosjektet <quote>ga dem et verktÃ¸y og bemyndiget dem slik at " -"de bÃ¥de ble i stand til Ã¥ forstÃ¥ det og snakke om det</quote>, forklarer " -"Barish. Dette verktÃ¸yet lyktes med Ã¥ skape uttrykk—mye mer vellykket " -"og kraffylt enn noe som hadde blitt laget ved Ã¥ kun bruke tekst. " -"<quote>Hvis du hadde sagt til disse studentene at 'du mÃ¥ gjÃ¸re dette i " -"tekstform', sÃ¥ hadde de bare kastet hendene i vÃ¦ret og gÃ¥tt og gjort noe " -"annet</quote>, forklarer Barish. Delvis, uten tvil, fordi Ã¥ uttrykke seg " -"selv i tekstform ikke er noe disse studentene gjÃ¸r godt. Heller ikke er " -"tekstform en form som kan uttrykke <emphasis>disse</emphasis> idÃ©ene godt. " -"Kraften i denne meldingen avhenger av dens forbindelse med denne for for " -"uttrykk." - -#. PAGE BREAK 52 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>But isn't education about teaching kids to write?</quote> I asked. In " -"part, of course, it is. But why are we teaching kids to write? Education, " -"Daley explained, is about giving students a way of <quote>constructing " -"meaning.</quote> To say that that means just writing is like saying teaching " -"writing is only about teaching kids how to spell. Text is one part—and " -"increasingly, not the most powerful part—of constructing meaning. As " -"Daley explained in the most moving part of our interview," -msgstr "" -"<quote>Men handler ikke utdanning om Ã¥ lÃ¦re unger Ã¥ skrive?</quote> spurte " -"jeg. Jo delvis, naturligvis. Men hvorfor lÃ¦rer vi unger Ã¥ skrive? " -"Utdanning, forklarer Daley, handler om Ã¥ gi studentene en mÃ¥te Ã¥ " -"<quote>konstruere mening</quote>. Ã si at det kun betyr skriving er som Ã¥ " -"si at Ã¥ lÃ¦re bort skriving kun handler om Ã¥ lÃ¦re ungene Ã¥ stave. " -"Tekstforming er bare en del—og i stÃ¸rre grad ikke den kraftigste " -"delen—for Ã¥ konstruere mening. Som Daley forklarte i den mest rÃ¸rende " -"delen av vÃ¥rt intervju," - -#. type: Content of: <book><part><chapter><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, <quote>Johnny, you're illiterate. Nothing you " -"can do matters.</quote> Well, Johnny then has two choices: He can dismiss " -"you or he [can] dismiss himself. If his ego is healthy at all, he's going to " -"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things " -"that you can do, let's talk about this issue. Play for me music that you " -"think reflects that, or show me images that you think reflect that, or draw " -"for me something that reflects that.</quote> Not by giving a kid a video " -"camera and … saying, <quote>Let's go have fun with the video camera " -"and make a little movie.</quote> But instead, really help you take these " -"elements that you understand, that are your language, and construct meaning " -"about the topic.…" -msgstr "" -"Det du Ã¸nsker er Ã¥ gi disse studentene en mÃ¥te Ã¥ konstruere mening. Hvis alt " -"du gir dem er tekst, sÃ¥ kommer de ikke til Ã¥ gjÃ¸re det. Fordi de kan ikke. " -"Du vet, du har Johnny som kan se pÃ¥ en video, han kan spille pÃ¥ et TV-spill, " -"han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen " -"din, og han kan gjÃ¸re alle mulige andre ting. Men han kan ikke lese teksten " -"din. SÃ¥ Jonny kommer pÃ¥ skolen og du sier <quote>Johnny, du er analfabet. " -"Ingenting du gjÃ¸r betyr noe</quote>. Vel, da har Johnny to valg: Han kan " -"avvise deg eller han kan avvise seg selv. Hvis han har et sunt ego sÃ¥ vil " -"han avvise deg. Men hvis du i stedet sier, <quote>Vel, med alle disse " -"tingene som du kan gjÃ¸re, la oss snakke om dette temaet. Spill musikk til " -"meg som du mener reflekterer over temaet, eller vis meg bilder som du mener " -"reflekterer over temaet, eller tegn noe til meg som reflektere temaet</" -"quote>. Ikke ved Ã¥ gi en unge et videokamera og … si <quote>La oss " -"dra Ã¥ ha det morsomt med videokameraet og lage en liten film</quote>. Men " -"istedet, virkelig hjelpe deg Ã¥ ta disse elementene som du forstÃ¥r, som er " -"ditt sprÃ¥k, og konstruer mening om temaet.…" - -#. type: Content of: <book><part><chapter><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, " -"<quote>I need to explain this and I really need to write something.</quote> " -"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, " -"6, 7, 8 times, till they got it right." -msgstr "" -"Dette bemyndiger enormt. Og det som skjer til slutt, selvfÃ¸lgelig, som det " -"har skjedd i alle disse klassene, er at de stopper opp nÃ¥r de treffer " -"faktumet <quote>jeg trenger Ã¥ forklare dette, og da trenger jeg virkelig Ã¥ " -"skrive noe</quote>. Og som en av lÃ¦rerne fortalte Stephanie, de vil skrive " -"om avsnittet 5, 6, 7, 8 ganger, helt til det blir riktig." - -#. PAGE BREAK 53 -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"Because they needed to. There was a reason for doing it. They needed to say " -"something, as opposed to just jumping through your hoops. They actually " -"needed to use a language that they didn't speak very well. But they had come " -"to understand that they had a lot of power with this language." -msgstr "" -"Fordi de trengte det. Det var en grunn til Ã¥ gjÃ¸re det. De trengte Ã¥ si " -"noe, i motsetning til Ã¥ kun danse etter din pipe. De trengte faktisk Ã¥ " -"bruke det sprÃ¥ket de ikke hÃ¥ndterte veldig bra. Men de hadde begynt Ã¥ " -"forstÃ¥ at de hadde mye gjennomslagskraft med dette sprÃ¥ket." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "September 11, 2001, terrorist attacks of" -msgstr "11. september 2001, terrorangrep den" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "World Trade Center" -msgstr "World Trade Center" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "news coverage" -msgstr "nyhetsdekning" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>When two planes</emphasis> crashed into the World " -"Trade Center, another into the Pentagon, and a fourth into a Pennsylvania " -"field, all media around the world shifted to this news. Every moment of just " -"about every day for that week, and for weeks after, television in " -"particular, and media generally, retold the story of the events we had just " -"witnessed. The telling was a retelling, because we had seen the events that " -"were described. The genius of this awful act of terrorism was that the " -"delayed second attack was perfectly timed to assure that the whole world " -"would be watching." -msgstr "" -"<emphasis role='strong'>Da to fly</emphasis> krasjet inn i World Trade " -"Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i " -"Pennsylvania, snudde alle medier verden rundt seg til denne nyheten. " -"Ethvert moment for omtreng hver eneste dag den uka, og ukene som fulgte " -"gjenfortalte TV spesielt, men media generelt, historien om disse hendelsene " -"som vi nettopp hadde vÃ¦rt vitne til. Genialiteten i denne forferdelige " -"terrorhandlingen var at det forsinkede andre-angrepet var perfekt tidsatt " -"for Ã¥ sikre at hele verden ville vÃ¦re der for Ã¥ se pÃ¥." - -#. type: Content of: <book><part><chapter><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 <quote>balance,</quote> and " -"seriousness. This was news choreographed in the way we have increasingly " -"come to expect it, <quote>news as entertainment,</quote> even if the " -"entertainment is tragedy." -msgstr "" -"Disse gjenfortellingene ga en Ã¸kende familiÃ¦r fÃ¸lelse. Det var musikk " -"spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers " -"over skjermen. Det var en formel for intervjuer. Det var <quote>balanse</" -"quote> og seriÃ¸sitet. Dette var nyheter koreaografert slik vi i stadig " -"stÃ¸rre grad forventer det, <quote>nyheter som underholdning</quote>, selv om " -"underholdningen er en tragedie." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "ABC" -msgstr "ABC" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "CBS" -msgstr "CBS" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But in addition to this produced news about the <quote>tragedy of September " -"11,</quote> those of us tied to the Internet came to see a very different " -"production as well. The Internet was filled with accounts of the same " -"events. Yet these Internet accounts had a very different flavor. Some people " -"constructed photo pages that captured images from around the world and " -"presented them as slide shows with text. Some offered open letters. There " -"were sound recordings. There was anger and frustration. There were attempts " -"to provide context. There was, in short, an extraordinary worldwide barn " -"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber " -"Rights</citetitle>, around a news event that had captured the attention of " -"the world. There was ABC and CBS, but there was also the Internet." -msgstr "" -"Men i tillegg til disse produserte nyhetene om <quote>tragedien 11. " -"september</quote>, kunne de av oss som er knyttet til Internettet i tillegg " -"se en svÃ¦rt annerledes produksjon. Internettet er fullt av fortellinger om " -"de samme hendelsene. Men disse internet-fortellingene hadde en veldig " -"annerledes smak. Noen folk konstruerte foto-sider som fanget bilder fra " -"hele verden og presenterte dem som lysbildepresentasjoner med tekst. Noen " -"tilbÃ¸d Ã¥pne brev. Det var lydopptak. Det var sinne og frustrasjon. Det " -"var forsÃ¸k pÃ¥ Ã¥ tilby en sammenheng. Det var, kort og godt, en " -"ekstraordinÃ¦r verdensomspennende lÃ¥vebygging, slik Mike Godwin bruker " -"begrepet i hans bok <citetitle>Cyber Rights</citetitle>, rundt en " -"nyhetshendelse som hadde fanget oppmerksomheten til hele verden. Det var " -"ABC og CBS, men det var ogsÃ¥ Internettet." - -#. PAGE BREAK 54 -#. type: Content of: <book><part><chapter><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 <quote>Just Think!</quote> bus, the visual images could be mixed with " -"sound or text." -msgstr "" -"Det er ikke sÃ¥ enkelt som at jeg Ã¸nsker Ã¥ lovprise Internettet—selv om " -"jeg mener at folkene som stÃ¸tter denne formen for tale bÃ¸r lovprises. Jeg " -"Ã¸nsker i stedet Ã¥ peke pÃ¥ viktigheten av denne formen for tale. For pÃ¥ " -"samme mÃ¥te som en Kodak, gjÃ¸r Internettet folk i stand til Ã¥ fange bilder. " -"Og pÃ¥ samme mÃ¥te som med en film laget av en av studentene pÃ¥ <quote>Just " -"Think!</quote>-bussen, kan visuelle bilder bli blandet med lyd og tekst." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But unlike any technology for simply capturing images, the Internet allows " -"these creations to be shared with an extraordinary number of people, " -"practically instantaneously. This is something new in our tradition—" -"not just that culture can be captured mechanically, and obviously not just " -"that events are commented upon critically, but that this mix of captured " -"images, sound, and commentary can be widely spread practically " -"instantaneously." -msgstr "" -"Men i motsetning til en hvilken som helst teknologi for Ã¥ enkelt fange " -"bilder, tillater Internettet at en nesten umiddelbart deler disse " -"kreasjonene med et ekstraordinÃ¦rt antall menesker. Dette er noe nytt i vÃ¥r " -"tradisjon—ikke bare kan kultur fanges inn mekanisk, og Ã¥penbart heller " -"ikke at hendelser blir kommentert kritisk, men at denne blandingen av " -"bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "blogs (Web-logs)" -msgstr "blogger (Web-logger)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "blogs on" -msgstr "blogger om" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Web-logs (blogs)" -msgstr "Web-logger (blogger)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"September 11 was not an aberration. It was a beginning. Around the same " -"time, a form of communication that has grown dramatically was just beginning " -"to come into public consciousness: the Web-log, or blog. The blog is a kind " -"of public diary, and within some cultures, such as in Japan, it functions " -"very much like a diary. In those cultures, it records private facts in a " -"public way—it's a kind of electronic <citetitle>Jerry Springer</" -"citetitle>, available anywhere in the world." -msgstr "" -"11. september var ikke et avvik. Det var en start. Omtrent pÃ¥ samme tid, " -"begynte en form for kommunkasjon som hadde vokst dramatisk Ã¥ komme inn i " -"offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig " -"dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en " -"dagbok. I disse kulturene registrerer den private fakta pÃ¥ en offentlig " -"mÃ¥te—det er en slags elektronisk <citetitle>Jerry Springer</" -"citetitle>, tilgjengelig overalt i verden." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "political discourse" -msgstr "politisk diskusjon" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "public discourse conducted on" -msgstr "offentlig diskusjon gjennomfÃ¸rt pÃ¥" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But in the United States, blogs have taken on a very different character. " -"There are some who use the space simply to talk about their private life. " -"But there are many who use the space to engage in public discourse. " -"Discussing matters of public import, criticizing others who are mistaken in " -"their views, criticizing politicians about the decisions they make, offering " -"solutions to problems we all see: blogs create the sense of a virtual public " -"meeting, but one in which we don't all hope to be there at the same time and " -"in which conversations are not necessarily linked. The best of the blog " -"entries are relatively short; they point directly to words used by others, " -"criticizing with or adding to them. They are arguably the most important " -"form of unchoreographed public discourse that we have." -msgstr "" -"Men i USA har blogger inntatt en svÃ¦rt annerledes karakter. Det er noen som " -"bruker denne plassen til Ã¥ snakke om sitt private liv. Men det er mange som " -"bruker denne plassen til Ã¥ delta i offentlig debatt. Diskuterer saker med " -"offentlig interesse, kritiserer andre som har feil synspunkt, kritisere " -"politigere for avgjÃ¸relser de tar, tilbyr lÃ¸sninger pÃ¥ problemer vi alle " -"ser. Blogger skaper en fÃ¸lelse av et virtuelt offentlig mÃ¸te, men et hvor " -"vi ikke alle hÃ¥per Ã¥ vÃ¦re tilstede pÃ¥ samme tid og hvor konversasjonene ikke " -"nÃ¸dvendigvis er koblet sammen. De beste av bloggoppfÃ¸ringene er relativt " -"korte. De peker direkte til ord bruk av andre, kritiserer dem eller bidrar " -"til dem. Det kan argumenteres for at de er den viktigste form for " -"ukoreografert offentlig debatt som vi har." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "elections" -msgstr "valg" - -#. PAGE BREAK 55 -#. type: Content of: <book><part><chapter><para> -msgid "" -"That's a strong statement. Yet it says as much about our democracy as it " -"does about blogs. This is the part of America that is most difficult for " -"those of us who love America to accept: Our democracy has atrophied. Of " -"course we have elections, and most of the time the courts allow those " -"elections to count. A relatively small number of people vote in those " -"elections. The cycle of these elections has become totally professionalized " -"and routinized. Most of us think this is democracy." -msgstr "" -"Dette er en sterk uttalelse. Likevel sier den like mye om vÃ¥rt demokrati " -"som den sier om blogger. Dette er delen av USA som det er mest vanskelig " -"for oss som elsker USA Ã¥ akseptere: vÃ¥rt demokrati har svunnet hen. Vi har " -"naturligvis valg, og mesteparten av tiden tillater domstolene at disse " -"valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. " -"Syklusen med disse valgene har blitt totalt profesjonalisert og " -"rutinepreget. De fleste av oss tenker pÃ¥ dette som demokrati." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Tocqueville, Alexis de" -msgstr "Tocqueville, Alexis de" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "public discourse in" -msgstr "offentlig diskusjon i" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "jury system" -msgstr "jurysystem" - -#. f15 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" -"citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " -"16." -msgstr "" -"Se for eksempel Alexis de Tocqueville, <citetitle>Democracy in America</" -"citetitle>, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. " -"16." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But democracy has never just been about elections. Democracy means rule by " -"the people, but rule means something more than mere elections. In our " -"tradition, it also means control through reasoned discourse. This was the " -"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" -"century French lawyer who wrote the most important account of early " -"<quote>Democracy in America.</quote> It wasn't popular elections that " -"fascinated him—it was the jury, an institution that gave ordinary " -"people the right to choose life or death for other citizens. And most " -"fascinating for him was that the jury didn't just vote about the outcome " -"they would impose. They deliberated. Members argued about the <quote>right</" -"quote> result; they tried to persuade each other of the <quote>right</quote> " -"result, and in criminal cases at least, they had to agree upon a unanimous " -"result for the process to come to an end.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket " -"styrer, og Ã¥ styre betyr noe mer enn kun valg. I vÃ¥r tradisjon betyr det " -"ogsÃ¥ kontroll gjennom gjennomtenkt meningsbrytning. Dette var idÃ©en som " -"fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-" -"advokaten som skrev den viktigste historien om det tidlige " -"<quote>demokratiet i Amerika</quote>. Det var ikke allmenn stemmerett som " -"fascinerte han—det var juryen, en institusjon som ga vanlige folk " -"retten til Ã¥ velge liv eller dÃ¸d fÃ¸r andre borgere. Og det som fascinerte " -"han mest var at juryen ikke bare stemte over hvilket resultat de ville legge " -"frem. De diskuterte. Medlemmene argumenterte om hva som var <quote>riktig</" -"quote> resultat, de forsÃ¸kte Ã¥ overbevise hverandre om <quote>riktig</" -"quote>resultat, og i hvert fall i kriminalsaker mÃ¥tte de bli enige om et " -"enstemmig resultat for at prosessen skulle avsluttes.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. f16 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> " -"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." -msgstr "" -"Bruce Ackerman og James Fishkin, <quote>Deliberation Day</quote>, " -"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet even this institution flags in American life today. And in its place, " -"there is no systematic effort to enable citizen deliberation. Some are " -"pushing to create just such an institution.<placeholder type=\"footnote\" id=" -"\"0\"/> And in some towns in New England, something close to deliberation " -"remains. But for most of us for most of the time, there is no time or place " -"for <quote>democratic deliberation</quote> to occur." -msgstr "" -"Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det " -"ingen systematisk innsats for Ã¥ muliggjÃ¸re borger-diskusjon. Noen gjÃ¸r en " -"innsats for Ã¥ lage en slik institusjon.<placeholder type=\"footnote\" id=" -"\"0\"/> Og i noen landsbyer i New England er det noe i nÃ¦rheten av diskusjon " -"igjen. Men for de fleste av oss mesteparten av tiden, er det ingen tid og " -"sted for Ã¥ gjennomfÃ¸re <quote>demokratisk diskusjon</quote>." - -#. f17 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " -"University Press, 2001), 65–80, 175, 182, 183, 192." -msgstr "" -"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " -"University Press, 2001), 65–80, 175, 182, 183, 192." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"More bizarrely, there is generally not even permission for it to occur. We, " -"the most powerful democracy in the world, have developed a strong norm " -"against talking about politics. It's fine to talk about politics with people " -"you agree with. But it is rude to argue about politics with people you " -"disagree with. Political discourse becomes isolated, and isolated discourse " -"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " -"our friends want to hear, and hear very little beyond what our friends say." -msgstr "" -"Mer merkelig er at en generelt sett ikke engang har aksept for at det skal " -"skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm " -"mot Ã¥ diskutere politikk. Det er greit Ã¥ diskutere politikk med folk du er " -"enig med, men det er uhÃ¸flig Ã¥ diskutere politikk med folk du er uenig med. " -"Politisk debatt blir isolert, og isolert diskusjon blir mer ekstrem." -"<placeholder type=\"footnote\" id=\"0\"/> Vi sier det vÃ¥re venner vil hÃ¸re, " -"og hÃ¸rer veldig lite utenom hva vÃ¥re venner sier." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "e-mail" -msgstr "epost" - -#. PAGE BREAK 56 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Enter the blog. The blog's very architecture solves one part of this " -"problem. People post when they want to post, and people read when they want " -"to read. The most difficult time is synchronous time. Technologies that " -"enable asynchronous communication, such as e-mail, increase the opportunity " -"for communication. Blogs allow for public discourse without the public ever " -"needing to gather in a single public place." -msgstr "" -"SÃ¥ kommer bloggen. Selve bloggens arkitektur lÃ¸ser en del av dette " -"problemet. Folk publiserer det de Ã¸nsker Ã¥ publisere, og folk leser det de " -"Ã¸nsker Ã¥ lese. Det vanskeligste tiden er synkron tid. Teknologier som " -"muliggjÃ¸r asynkron kommunasjons, slik som epost, Ã¸ker muligheten for " -"kommunikasjon. Blogger gjÃ¸r det mulig med offentlig debatt uten at folket " -"noen gang trenger Ã¥ samle seg pÃ¥ et enkelt offentlig sted." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But beyond architecture, blogs also have solved the problem of norms. " -"There's no norm (yet) in blog space not to talk about politics. Indeed, the " -"space is filled with political speech, on both the right and the left. Some " -"of the most popular sites are conservative or libertarian, but there are " -"many of all political stripes. And even blogs that are not political cover " -"political issues when the occasion merits." -msgstr "" -"Men i tillegg til arkitektur, har blogger ogsÃ¥ lÃ¸st problemet med normer. " -"Det er (ennÃ¥) ingen norm i blogg-sfÃ¦ren om Ã¥ ikke snakke om politikk. " -"SfÃ¦ren er faktisk fylt med politiske innlegg, bÃ¥de pÃ¥ hÃ¸yre- og " -"venstresiden. Noen av de mest populÃ¦re stedene er konservative eller " -"libertarianske, men det er mange av alle politiske farger. Til og med " -"blogger som ikke er politiske dekker politiske temaer nÃ¥r anledningen krever " -"det." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Dean, Howard" -msgstr "Dean, Howard" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The significance of these blogs is tiny now, though not so tiny. The name " -"Howard Dean may well have faded from the 2004 presidential race but for " -"blogs. Yet even if the number of readers is small, the reading is having an " -"effect." -msgstr "" -"Betydningene av disse bloggene er liten nÃ¥, men ikke ubetydelig. Navnet " -"Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett " -"fra hos noen fÃ¥ blogger. Men selv om antallet lesere er lavt, sÃ¥ har det Ã¥ " -"lese dem en effekt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Lott, Trent" -msgstr "Lott, Trent" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Thurmond, Strom" -msgstr "Thurmond, Strom" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "blog pressure on" -msgstr "blogg-press pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "news events on" -msgstr "nyhetsinnslag pÃ¥" - -#. f18 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</" -"quote> New York Times, 16 January 2003, G5." -msgstr "" -"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot</" -"quote>, New York Times, 16. januar 2003, G5." - -#. type: Content of: <book><part><chapter><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 " -"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially " -"praising Thurmond's segregationist policies, he calculated correctly that " -"this story would disappear from the mainstream press within forty-eight " -"hours. It did. But he didn't calculate its life cycle in blog space. The " -"bloggers kept researching the story. Over time, more and more instances of " -"the same <quote>misspeaking</quote> emerged. Finally, the story broke back " -"into the mainstream press. In the end, Lott was forced to resign as senate " -"majority leader.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"En direkte effekt er pÃ¥ historier som hadde en annerledes livssyklus i de " -"store mediene. Trend Lott-affÃ¦ren er et eksempel. Da Logg <quote>sa feil</" -"quote> pÃ¥ en fest for senator Storm Thurmond, og essensielt lovpriste " -"segregeringspolitikken til Thurmond, regnet han ganske riktig med at " -"historien ville forsvinne fra de store mediene i lÃ¸pet av fÃ¸rtiÃ¥tte timer. " -"Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfÃ¦ren. " -"Bloggerne fortsatte Ã¥ undersÃ¸ke historien. Etter hvert dukket flere og " -"flere tilfeller av tilsvarende <quote>feiluttalelser</quote> opp. SÃ¥ dukket " -"historien opp igjen hos de store mediene. Lott ble til slutt tvunget til Ã¥ " -"trekke seg som leder for senatets flertall.<placeholder type=\"footnote\" id=" -"\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "commercial imperatives of" -msgstr "kommersielle imperativer av" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This different cycle is possible because the same commercial pressures don't " -"exist with blogs as with other ventures. Television and newspapers are " -"commercial entities. They must work to keep attention. If they lose " -"readers, they lose revenue. Like sharks, they must move on." -msgstr "" -"Denne annerledes syklusen er mulig pÃ¥ grunn av at et tilsvarende kommersielt " -"press ikke eksisterer hos blogger slik det gjÃ¸r hos andre kanaler. " -"Televisjon og aviser er kommersielle aktÃ¸rer. De mÃ¥ arbeide for Ã¥ holde pÃ¥ " -"oppmerksomheten. Hvis de mister lesere, sÃ¥ mister de inntekter. Som haier, " -"mÃ¥ de bevege seg videre." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "peer-generated rankings on" -msgstr "node-generert rangeringer av" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But bloggers don't have a similar constraint. They can obsess, they can " -"focus, they can get serious. If a particular blogger writes a particularly " -"interesting story, more and more people link to that story. And as the " -"number of links to a particular story increases, it rises in the ranks of " -"stories. People read what is popular; what is popular has been selected by a " -"very democratic process of peer-generated rankings." -msgstr "" -"Men bloggere har ikke tilsvarende begrensninger. De kan bli opphengt, de " -"kan fokusere, de kan bli seriÃ¸se. Hvis en bestemt blogger skriver en " -"spesielt interessant historie, sÃ¥ vil flere og flere folk lenke til den " -"historien. Og etter hvert som antallet lenker til en bestemt historie Ã¸ker, " -"sÃ¥ stiger den i rangeringen for historier. Folk leser det som er populÃ¦rt, " -"og hva som er populÃ¦rt har blitt valgt gjennom en svÃ¦rt demokratisk prosess " -"av likemanns-generert rangering. " - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "journalism" -msgstr "journalistikk" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Winer, Dave" -msgstr "Winer, Dave" - -#. PAGE BREAK 57 -#. type: Content of: <book><part><chapter><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 <quote>conflict of interest.</quote> <quote>I think " -"you have to take the conflict of interest</quote> out of journalism, Winer " -"told me. <quote>An amateur journalist simply doesn't have a conflict of " -"interest, or the conflict of interest is so easily disclosed that you know " -"you can sort of get it out of the way.</quote>" -msgstr "" -"Det er ogsÃ¥ en annen mÃ¥te, hvor blogger har en annen syklus enn de store " -"mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en " -"programvareutvikler i mange tiÃ¥r fortalte meg, er en annen forskjell " -"fravÃ¦ret av finansiell <quote>interessekonflikt</quote>. <quote>Jeg tror du " -"mÃ¥ ta interessekonflikten</quote> ut av journalismen, fortalte Winer meg. " -"<quote>En amatÃ¸rjournalist har ganske enkelt ikke interessekonflikt, eller " -"interessekonflikten er sÃ¥ enkelt Ã¥ avslÃ¸re at du liksom vet du kan rydde den " -"av veien.</quote>" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "CNN" -msgstr "CNN" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Iraq war" -msgstr "Irak-krigen" - -#. f19 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Telephone interview with David Winer, 16 April 2003." -msgstr "Telefonintervju med David Winer, 16. april 2003." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These conflicts become more important as media becomes more concentrated " -"(more on this below). A concentrated media can hide more from the public " -"than an unconcentrated media can—as CNN admitted it did after the Iraq " -"war because it was afraid of the consequences to its own employees." -"<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " -"coherent account. (In the middle of the Iraq war, I read a post on the " -"Internet from someone who was at that time listening to a satellite uplink " -"with a reporter in Iraq. The New York headquarters was telling the reporter " -"over and over that her account of the war was too bleak: She needed to offer " -"a more optimistic story. When she told New York that wasn't warranted, they " -"told her that <emphasis>they</emphasis> were writing <quote>the story.</" -"quote>)" -msgstr "" -"Disse konfliktene blir mer viktig etter hvert som mediene blir mer " -"konsentrert (mer om dette under). Konsentrerte medier kan skjule mer fra " -"offentligheten enn ikke-konsentrerte medier kan—slik CNN innrÃ¸mte at " -"de gjorde etter Irak-krigen fordi de var rett for konsekvensene for sine " -"egne ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger ogsÃ¥ Ã¥ " -"opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste " -"jeg en melding pÃ¥ Internet fra noen som pÃ¥ det tidspunktet lyttet pÃ¥ " -"satellitt-forbindelsen til en reporter i Irak. New York-hovedkvarteret ba " -"reporteren gang pÃ¥ gang at hennes rapport om krigen var for trist: Hun mÃ¥tte " -"tilby en mer optimistisk historie. NÃ¥r hun fortalte New York at det ikke var " -"grunnlag for det, fortalte de henne at det var <emphasis>dem</emphasis> som " -"skrev <quote>historien</quote>.)" - -#. f20 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " -"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 " -"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, " -"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>." -msgstr "" -"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " -"Information Online</quote>, <citetitle>New York Times</citetitle>, 2 februar " -"2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but " -"Strong Overall</quote>, Online Journalism Review, 2. februar 2003, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #10</" -"ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Blog space gives amateurs a way to enter the debate—<quote>amateur</" -"quote> not in the sense of inexperienced, but in the sense of an Olympic " -"athlete, meaning not paid by anyone to give their reports. It allows for a " -"much broader range of input into a story, as reporting on the Columbia " -"disaster revealed, when hundreds from across the southwest United States " -"turned to the Internet to retell what they had seen.<placeholder type=" -"\"footnote\" id=\"0\"/> And it drives readers to read across the range of " -"accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, " -"Winer says, are <quote>communicating directly with our constituency, and the " -"middle man is out of it</quote>—with all the benefits, and costs, that " -"might entail." -msgstr "" -"Blogg-sfÃ¦ren gir amatÃ¸rer en mÃ¥te Ã¥ bli med i debatten—<quote>amatÃ¸r</" -"quote> ikke i betydningen uerfaren, men i betydningen til en Olympisk atlet, " -"det vil si ikke betalt av noen for Ã¥ komme med deres rapport. Det tillater " -"en mye bredere rekke av innspill til en historie, slik rapporteringen " -"Columbia-katastrofen avdekket, nÃ¥r hundrevis fra hele sÃ¸rvest-USA vendte seg " -"til Internettet for Ã¥ gjenfortelle hva de hadde sett.<placeholder type=" -"\"footnote\" id=\"0\"/> Og det fÃ¥r lesere til Ã¥ lese pÃ¥ tvers av en rekke " -"fortellinger og <quote>triangulere</quote>, som Winer formulerer det, " -"sannheten. Blogger, sier Winer, <quote>kommunserer direkte med vÃ¥r " -"velgermasse, og mellommannen er fjernet</quote>— med alle de fordeler " -"og ulemper det kan fÃ¸re med seg." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Olafson, Steve" -msgstr "Olafson, Steve" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" -"\"indexterm\" id=\"3\"/> See Michael Falcone, <quote>Does an Editor's Pencil " -"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29 September " -"2003, C4. (<quote>Not all news organizations have been as accepting of " -"employees who blog. Kevin Sites, a CNN correspondent in Iraq who started a " -"blog about his reporting of the war on March 9, stopped posting 12 days " -"later at his bosses' request. Last year Steve Olafson, a <citetitle>Houston " -"Chronicle</citetitle> reporter, was fired for keeping a personal Web log, " -"published under a pseudonym, that dealt with some of the issues and people " -"he was covering.</quote>)" -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" -"\"indexterm\" id=\"3\"/> Se Michael Falcone, <quote>Does an Editor's Pencil " -"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29. september " -"2003, C4. (<quote>Ikke alle nyhetsorganisasjoner har hatt like stor aksept " -"for ansatte som blogger. Kevin Sites, en CNN-korrespondent i Irak som " -"startet en blogg om sin rapportering av krigen 9. mars, stoppet Ã¥ publisere " -"12 dager senere pÃ¥ forespÃ¸rsel fra sine sjefer. I fjor fikk Steve Olafson, " -"en <citetitle>Houston Chronicle</citetitle>-reporter, sparken for Ã¥ ha hatt " -"en personlig web-logg, publisert under pseudonym, som handlet om noen av " -"temaene og folkene som han dekket.</quote>)" - -#. PAGE BREAK 58 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Winer is optimistic about the future of journalism infected with blogs. " -"<quote>It's going to become an essential skill,</quote> Winer predicts, for " -"public figures and increasingly for private figures as well. It's not clear " -"that <quote>journalism</quote> is happy about this—some journalists " -"have been told to curtail their blogging.<placeholder type=\"footnote\" id=" -"\"0\"/> But it is clear that we are still in transition. <quote>A lot of " -"what we are doing now is warm-up exercises,</quote> Winer told me. There is " -"a lot that must mature before this space has its mature effect. And as the " -"inclusion of content in this space is the least infringing use of the " -"Internet (meaning infringing on copyright), Winer said, <quote>we will be " -"the last thing that gets shut down.</quote>" -msgstr "" -"Winer er optimistisk nÃ¥r det gjelder en journalistfremtid infisert av " -"blogger. <quote>Det kommer til Ã¥ bli en nÃ¸dvendig ferdighet</quote>, spÃ¥r " -"Winer, for offentlige aktÃ¸rer og ogsÃ¥ i stÃ¸rre grad for private aktÃ¸rer. " -"Det er ikke klart at <quote>journalismen</quote> er glad for dette—" -"noen journalister har blitt bedt om Ã¥ kutte ut sin blogging.<placeholder " -"type=\"footnote\" id=\"0\"/> Men det er klart at vi fortsatt er i en " -"overgangsfase. <quote>Mye av det vi gjÃ¸r nÃ¥ er oppvarmingsÃ¸velser</quote>, " -"fortalte Winer meg. Det er mye som mÃ¥ modne fÃ¸r dette omrÃ¥det har sin modne " -"effekt. Og etter som inkludering av innhold i dette omrÃ¥det er det omrÃ¥det " -"med minst opphavsrettsbrudd pÃ¥ Internettet, sa Wiener at <quote>vi vil vÃ¦re " -"den siste tingen som blir skutt ned</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This speech affects democracy. Winer thinks that happens because <quote>you " -"don't have to work for somebody who controls, [for] a gatekeeper.</quote> " -"That is true. But it affects democracy in another way as well. As more and " -"more citizens express what they think, and defend it in writing, that will " -"change the way people understand public issues. It is easy to be wrong and " -"misguided in your head. It is harder when the product of your mind can be " -"criticized by others. Of course, it is a rare human who admits that he has " -"been persuaded that he is wrong. But it is even rarer for a human to ignore " -"when he has been proven wrong. The writing of ideas, arguments, and " -"criticism improves democracy. Today there are probably a couple of million " -"blogs where such writing happens. When there are ten million, there will be " -"something extraordinary to report." -msgstr "" -"Slik tale pÃ¥virker demokratiet. Winer mener dette skjer fordi <quote>du " -"trenger ikke jobber for noen som kontrollerer, [for] en portvokter</quote>. " -"Det er sant. Men det pÃ¥virker demokratiet ogsÃ¥ pÃ¥ en annen mÃ¥te. Etter " -"hvert som flere og flere borgere uttrykker hva de mener, og forsvarer det " -"skriftlig, sÃ¥ vil det endre hvordan folk forstÃ¥r offentlige temaer. Det er " -"enkelt Ã¥ ha feil og vÃ¦re pÃ¥ villspor i hodet ditt. Det er vanskeligere nÃ¥r " -"resultatet fra dine tanker kan bli kritisert av andre. Det er selvfÃ¸lgelig " -"et sjeldent menneske som innrÃ¸mmer at han ble overtalt til Ã¥ innse at han " -"tok feil. Men det er mer sjeldent for et menneske Ã¥ ignorere at noen har " -"bevist at han tok feil. Ã skrive ned idÃ©er, argumenter og kritikk forbedrer " -"demokratiet. I dag er det antagelig et par millioner blogger der det " -"skrives pÃ¥ denne mÃ¥ten. NÃ¥r det er ti millioner, sÃ¥ vil det vÃ¦re noe " -"ekstraordinÃ¦rt Ã¥ rapportere." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Brown, John Seely" -msgstr "Brown, John Seely" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>John Seely Brown</emphasis> is the chief scientist " -"of the Xerox Corporation. His work, as his Web site describes it, is " -"<quote>human learning and … the creation of knowledge ecologies for " -"creating … innovation.</quote>" -msgstr "" -"<emphasis role='strong'>John Seely Brown</emphasis> er sjefsforsker ved " -"Xerox Corporation. Hans arbeid, i fÃ¸lge hans eget nettsted, er " -"<quote>menneskelig lÃ¦ring og … Ã¥ skape kunnskapsÃ¸kologier for Ã¥ skape " -"… innovasjon</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Brown thus looks at these technologies of digital creativity a bit " -"differently from the perspectives I've sketched so far. I'm sure he would be " -"excited about any technology that might improve democracy. But his real " -"excitement comes from how these technologies affect learning." -msgstr "" -"Brown ser dermed pÃ¥ disse teknologiene for digital kreativitet litt " -"annerledes enn fra perspektivene jeg har skissert opp sÃ¥ langt. Jeg er " -"sikker pÃ¥ at han blir begeistret for enhver teknologi som kan forbedre " -"demokratiet. Men det han virkelig blir begeistret over er hvordan disse " -"teknologiene pÃ¥virker lÃ¦ring." - -#. PAGE BREAK 59 -#. type: Content of: <book><part><chapter><para> -msgid "" -"As Brown believes, we learn by tinkering. When <quote>a lot of us grew up,</" -"quote> he explains, that tinkering was done <quote>on motorcycle engines, " -"lawnmower engines, automobiles, radios, and so on.</quote> But digital " -"technologies enable a different kind of tinkering—with abstract ideas " -"though in concrete form. The kids at Just Think! not only think about how a " -"commercial portrays a politician; using digital technology, they can take " -"the commercial apart and manipulate it, tinker with it to see how it does " -"what it does. Digital technologies launch a kind of bricolage, or " -"<quote>free collage,</quote> as Brown calls it. Many get to add to or " -"transform the tinkering of many others." -msgstr "" -"Brown tror vi lÃ¦rer med Ã¥ fikle. Da <quote>mange av oss vokste opp</quote>, " -"forklarer han, ble fiklingen gjort <quote>pa motorsykkelmotorer, " -"gressklippermotorer, biler, radioer og sÃ¥ videre</quote>. Men digitale " -"teknologier muliggjÃ¸r en annen type fikling—med abstrakte idÃ©er i sin " -"konkrete form. Ungene i Just Think! tenker ikke bare pÃ¥ hvordan et " -"reklameinnslag fremstiller en politiker. Ved Ã¥ bruke digital teknologi kan " -"de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og " -"se hvordan det blir gjort. Digitale teknologier setter igang en slags " -"*bricolage* eller <quote>fritt tilgjengelig sammenstilling</quote>, som " -"Brown kaller det. Mange fÃ¥r mulighet til Ã¥ legge til pÃ¥ eller endre pÃ¥ " -"fiklingen til mange andre." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The best large-scale example of this kind of tinkering so far is free " -"software or open-source software (FS/OSS). FS/OSS is software whose source " -"code is shared. Anyone can download the technology that makes a FS/OSS " -"program run. And anyone eager to learn how a particular bit of FS/OSS " -"technology works can tinker with the code." -msgstr "" -"Det beste eksemplet i stÃ¸rre skala sÃ¥ langt pÃ¥ denne typen fikling er fri " -"programvare og Ã¥pen kildekode (FS/OSS). FS/OSS er programvare der " -"kildekoden deles ut. Alle kan laste ned teknologien som fÃ¥r et FS/OSS-" -"program til Ã¥ fungere. Og enhver som har lyst til Ã¥ lÃ¦re hvordan en bestemt " -"bit av FS/OSS-teknologi fungerer kan fikle med koden." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This opportunity creates a <quote>completely new kind of learning platform,</" -"quote> as Brown describes. <quote>As soon as you start doing that, you " -"… unleash a free collage on the community, so that other people can " -"start looking at your code, tinkering with it, trying it out, seeing if they " -"can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open " -"source becomes a major apprenticeship platform.</quote>" -msgstr "" -"Denne muligheten gir en <quote>helt ny type lÃ¦ringsplattform</quote>, i " -"fÃ¸lge Brown. <quote>SÃ¥ snart du begynner Ã¥ gjÃ¸re dette, sÃ¥ … slipper " -"du lÃ¸s en fritt tilgjengelig sammenstilling til fellesskapet, slik at andre " -"folk kan begynne Ã¥ se pÃ¥ koden din, fikle med den, teste den, se om de kan " -"forbedre den</quote>. Og hver innsats er et slags lÃ¦retid. <quote>Ãpen " -"kildekode blir en stor lÃ¦rlingsplatform.</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In this process, <quote>the concrete things you tinker with are abstract. " -"They are code.</quote> Kids are <quote>shifting to the ability to tinker in " -"the abstract, and this tinkering is no longer an isolated activity that " -"you're doing in your garage. You are tinkering with a community platform. " -"… You are tinkering with other people's stuff. The more you tinker " -"the more you improve.</quote> The more you improve, the more you learn." -msgstr "" -"I denne prosessen, <quote>er de konkrete tingene du fikler med abstrakte. De " -"er kildekode</quote>. Unger <quote>endres til Ã¥ fÃ¥ evnen til Ã¥ fikle med " -"det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du " -"gjÃ¸r i garasjen din. Du fikler med en fellesskapsplatform. … Du " -"fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer du.</" -"quote> Jo mer du forbedrer, jo mer lÃ¦rer du." - -#. type: Content of: <book><part><chapter><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, " -"<quote>the Web [is] the first medium that truly honors multiple forms of " -"intelligence.</quote> Earlier technologies, such as the typewriter or word " -"processors, helped amplify text. But the Web amplifies much more than text. " -"<quote>The Web … says if you are musical, if you are artistic, if you " -"are visual, if you are interested in film … [then] there is a lot you " -"can start to do on this medium. [It] can now amplify and honor these " -"multiple forms of intelligence.</quote>" -msgstr "" -"Denne sammen tingen skjer ogsÃ¥ med innhold. Og det skjer pÃ¥ samme " -"samarbeidende mÃ¥te nÃ¥r dette innholdet er del av nettet. Som Brown " -"formulerer det, <quote>nettet er det fÃ¸rste medium som virkelig tar hensyn " -"til flere former for intelligens</quote>. Tidligere teknologier, slik som " -"skrivemaskin eller tekstbehandling, hjelper med Ã¥ fremme tekst. Men nettet " -"fremmer mye mer enn tekst. <quote>Nettet … si hvis du er musikalsk, " -"hvis du er kunstnerisk, hvis du er visuell, hvis du er interessert i film " -"…da er det en masse du kan gÃ¥ igang med pÃ¥ dette mediet. Det kan " -"fremme og ta hensyn til alle disse formene for intelligens.</quote>" - -#. PAGE BREAK 60 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " -"Think! teach: that this tinkering with culture teaches as well as creates. " -"It develops talents differently, and it builds a different kind of " -"recognition." -msgstr "" -"Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lÃ¦rer " -"bort: at denne fiklingen med kultur lÃ¦rer sÃ¥vel som den skaper. Den utvikler " -"talenter litt anderledes, og den bygger en annen type gjenkjenning." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " -"we'll see through the course of this book, that freedom is increasingly " -"highly contested. While there's no doubt that your father had the right to " -"tinker with the car engine, there's great doubt that your child will have " -"the right to tinker with the images she finds all around. The law and, " -"increasingly, technology interfere with a freedom that technology, and " -"curiosity, would otherwise ensure." -msgstr "" -"Likevel er friheten til Ã¥ fikle med disse objektene ikke garantert. Faktisk, " -"som vi vil se i lÃ¸pet av denne boken, er den friheten i stadig stÃ¸rre grad " -"omstridt. Mens det ikke er noe tvil om at din far hadde rett til Ã¥ fikle " -"med bilmotoren, sÃ¥ er det stor tvil om dine barn vil ha retten til Ã¥ fikle " -"med bilder som hun finner over alt. Loven, og teknologi i stadig stÃ¸rre " -"grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre." - -#. f22 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See, for example, Edward Felten and Andrew Appel, <quote>Technological " -"Access Control Interferes with Noninfringing Scholarship,</quote> " -"<citetitle>Communications of the Association for Computer Machinery</" -"citetitle> 43 (2000): 9." -msgstr "" -"Se for eksempel, Edward Felten og Andrew Appel, <quote>Technological Access " -"Control Interferes with Noninfringing Scholarship,</quote> " -"<citetitle>Communications of the Association for Computer Machinery</" -"citetitle> 43 (2000): 9." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These restrictions have become the focus of researchers and scholars. " -"Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a " -"powerful argument in favor of the <quote>right to tinker</quote> as it " -"applies to computer science and to knowledge in general.<placeholder type=" -"\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " -"fundamental. It is about the learning that kids can do, or can't do, because " -"of the law." -msgstr "" -"Disse begresningene har blitt fokusen for forskere og akademikere. Professor " -"Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"property-i\"/>) har utviklet et kraftfylt " -"argument til fordel for <quote>retten til Ã¥ fikle</quote> slik det gjÃ¸res i " -"informatikk og til kunnskap generelt.<placeholder type=\"footnote\" id=\"0\"/" -"> Men bekymringen til Brown er tidligere, og mer fundamentalt. Det handler " -"om hva slags lÃ¦ring unger kan fÃ¥, eller ikke kan fÃ¥, pÃ¥ grunn av loven." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>This is where education in the twenty-first century is going,</quote> " -"Brown explains. We need to <quote>understand how kids who grow up digital " -"think and want to learn.</quote>" -msgstr "" -"<quote>Dette er dit utviklingen av utdanning i det tjuefÃ¸rste Ã¥rhundret er " -"pÃ¥ vei</quote>, forklarer Brown. Vi mÃ¥ <quote>forstÃ¥ hvordan unger som " -"vokser opp digitalt tenker og Ã¸nsker Ã¥ lÃ¦re</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Yet,</quote> as Brown continued, and as the balance of this book will " -"evince, <quote>we are building a legal system that completely suppresses the " -"natural tendencies of today's digital kids. … We're building an " -"architecture that unleashes 60 percent of the brain [and] a legal system " -"that closes down that part of the brain.</quote>" -msgstr "" -"<quote>Likevel</quote>, fortsatte Brown, og som balansen i denne boken vil " -"fÃ¸re bevis for, <quote>bygger vi et juridisk system som fullstendig " -"undertrykker den naturlige tendensen i dagens digitale unger. … We " -"bygger en arkitektur som frigjÃ¸r 60 prosent av hjernen [og] et juridisk " -"system som stenger ned den delen av hjernen</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"We're building a technology that takes the magic of Kodak, mixes moving " -"images and sound, and adds a space for commentary and an opportunity to " -"spread that creativity everywhere. But we're building the law to close down " -"that technology." -msgstr "" -"Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige " -"bilder og lyd, og legger inn plass for kommentarer og en mulighet til Ã¥ spre " -"denne kreativiteten over alt. Men vi bygger loven for Ã¥ stenge ned denne " -"teknologien." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet " -"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " -"quipped to me in a rare moment of despondence." -msgstr "" -"<quote>Ikke mÃ¥ten Ã¥ drive en kultur pÃ¥</quote>, sa Brewster Kahle, som vi " -"mÃ¸tte i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors" -"\"/>, kommenterte til meg i et sjeldent Ã¸yeblikk av nedstemthet." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER THREE: Catalogs" -msgstr "Kapittel tre: Kataloger" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Jordan, Jesse" -msgstr "Jordan, Jesse" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "RPI" -msgstr "RPI" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Rensselaer Polytechnic Institute (RPI)" -msgstr "Rensselaer Polytechnic Institute (RPI)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "computer network search engine of" -msgstr "datanettverksÃ¸kemotor ved" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "search engines" -msgstr "sÃ¸kemotorer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "university computer networks, p2p sharing on" -msgstr "universitetdatanettverk, p2p-fildeling pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "search engines used on" -msgstr "sÃ¸kemotorer brukt pÃ¥" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan of " -"Oceanside, New York, enrolled as a freshman at Rensselaer Polytechnic " -"Institute, in Troy, New York. His major at RPI was information technology. " -"Though he is not a programmer, in October Jesse decided to begin to tinker " -"with search engine technology that was available on the RPI network." -msgstr "" -"<emphasis role='strong'>HÃ¸sten 2001</emphasis>, ble Jesse Jordan fra " -"Oceanside, New York, innrullert som fÃ¸rsteÃ¥rsstudent ved Rensselaer " -"Polytechnic Institute, i Troy, New York. Hans studieprogram ved RPI var " -"informasjonsteknologi. Selv om han ikke var en programmerer, bestemte Jesse " -"seg i oktober Ã¥ begynne Ã¥ fikle med en sÃ¸kemotorteknologi som var " -"tilgjengelig pÃ¥ RPI-nettverket." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"RPI is one of America's foremost technological research institutions. It " -"offers degrees in fields ranging from architecture and engineering to " -"information sciences. More than 65 percent of its five thousand " -"undergraduates finished in the top 10 percent of their high school class. " -"The school is thus a perfect mix of talent and experience to imagine and " -"then build, a generation for the network age." -msgstr "" -"RPI er en av Amerikas fremste teknologiske forskningsinstitusjoner. De " -"tilbyr grader innen omrÃ¥der som gÃ¥r fra arkitektur og ingeniÃ¸rfag til " -"informasjonsvitenskap. Mer enn 65 prosent av de fem tusen " -"laveregradsstudentene fullfÃ¸rte blant de 10 prosent beste i deres klasse pÃ¥ " -"videregÃ¥ende. Skolen er dermed en perfekt blanding av talent og erfaring " -"for Ã¥ se for seg og deretter bygge, en generasjon tilpasset nettverksalderen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"RPI's computer network links students, faculty, and administration to one " -"another. It also links RPI to the Internet. Not everything available on the " -"RPI network is available on the Internet. But the network is designed to " -"enable students to get access to the Internet, as well as more intimate " -"access to other members of the RPI community." -msgstr "" -"RPIs data-nettverk kobler studenter, forelesere og administrasjon sammen. " -"Det kobler ogsÃ¥ RPI til Internettet. Ikke alt som er tilgjengelig pÃ¥ RPI-" -"nettet er tilgjengelig pÃ¥ Internettet. Men nettverket er utformet for Ã¥ gi " -"alle studentene mulighet til Ã¥ bruke Internettet, i tillegg til mer direkte " -"tilgang til andre medlemmer i RPI-fellesskapet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Google" -msgstr "Google" - -#. PAGE BREAK 62 -#. type: Content of: <book><part><chapter><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 <quote>intranet</quote> search engines, search engines that search " -"within the network of a particular institution, is to provide users of that " -"institution with better access to material from that institution. " -"Businesses do this all the time, enabling employees to have access to " -"material that people outside the business can't get. Universities do it as " -"well." -msgstr "" -"SÃ¸kemotorer er et mÃ¥l pa hvor nÃ¦rt et nettverk oppleves Ã¥ vÃ¦re. Google " -"brakte Internettet mye nÃ¦rmere oss alle ved en utrolig forbedring av " -"kvaliteten pÃ¥ sÃ¸k i nettverket. Spesialiserte sÃ¸kemotorer kan gjÃ¸re dette " -"enda bedre. IdÃ©en med <quote>intranett</quote>-sÃ¸kemotorer, sÃ¸kemotorer som " -"kun sÃ¸ker internt i nettverket til en bestemt institusjon, er Ã¥ tilby " -"brukerne i denne institusjonen bedre tilgang til materiale fra denne " -"institusjonen. Bedrifter gjÃ¸r dette hele tiden, ved Ã¥ gi ansatte mulighet " -"til Ã¥ fÃ¥ tak i materiale som folk pÃ¥ utsiden av bedriften ikke kan fÃ¥ tak i. " -"Universitetet gjÃ¸r ogsÃ¥ dette." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Microsoft" -msgstr "Microsoft" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "network file system of" -msgstr "nettverksfilsystemet til" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These engines are enabled by the network technology itself. Microsoft, for " -"example, has a network file system that makes it very easy for search " -"engines tuned to that network to query the system for information about the " -"publicly (within that network) available content. Jesse's search engine was " -"built to take advantage of this technology. It used Microsoft's network file " -"system to build an index of all the files available within the RPI network." -msgstr "" -"Disse motorene blir muliggjort av nettverksteknologien selv. For eksempel " -"har Microsoft et nettverksfilsystem som gjÃ¸r det veldig enkelt for " -"sÃ¸kemotorer tilpasset det nettverket Ã¥ spÃ¸rre systemet etter informasjon om " -"det offentlig (innen nettverket) tilgjengelige innholdet. SÃ¸kemotoren til " -"Jesse var bygget for Ã¥ dra nytte av denne teknologien. Den brukte " -"Microsofts nettverksfilsystem for Ã¥ bygge en indeks over alle filene " -"tilgjengelig inne i RPI-nettverket." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's wasn't the first search engine built for the RPI network. Indeed, " -"his engine was a simple modification of engines that others had built. His " -"single most important improvement over those engines was to fix a bug within " -"the Microsoft file-sharing system that could cause a user's computer to " -"crash. With the engines that existed before, if you tried to access a file " -"through a Windows browser that was on a computer that was off-line, your " -"computer could crash. Jesse modified the system a bit to fix that problem, " -"by adding a button that a user could click to see if the machine holding the " -"file was still on-line." -msgstr "" -"Jesse sin var ikke den fÃ¸rste sÃ¸kemotoren bygget for RPI-nettverket. Hans " -"motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans " -"viktigste enkeltforbedring i forhold til disse motorene var Ã¥ fikse en feil " -"i Microsofts fildelings-system som fikk en brukers datamaskin til Ã¥ krasje. " -"Med motorene som hadde eksistert tidligere, hvis du forsÃ¸kte Ã¥ koble deg ved " -"hjelp av Windows-utforskeren til en fil som var pÃ¥ en datamaskin som ikke " -"var pÃ¥ nett, sÃ¥ ville din datamaskin krasje. Jesse endret systemet litt for " -"Ã¥ fikse det problemet, ved Ã¥ legge til en knapp som en bruker kunne klikke " -"pÃ¥ for Ã¥ se om maskinen som hadde filen fortsatt var pÃ¥ nett." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's engine went on-line in late October. Over the following six months, " -"he continued to tweak it to improve its functionality. By March, the system " -"was functioning quite well. Jesse had more than one million files in his " -"directory, including every type of content that might be on users' computers." -msgstr "" -"Motoren til Jesse kom pa nett i slutten av oktober. I lÃ¸pet av de fÃ¸lgende " -"seks mÃ¥nedene fortsatte han Ã¥ justere den for Ã¥ forbedre dens " -"funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn " -"en million filer i sin katalog, inkludert alle mulige typer innhold som " -"fantes pÃ¥ brukernes datamaskiner." - -#. PAGE BREAK 63 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Thus the index his search engine produced included pictures, which students " -"could use to put on their own Web sites; copies of notes or research; copies " -"of information pamphlets; movie clips that students might have created; " -"university brochures—basically anything that users of the RPI network " -"made available in a public folder of their computer." -msgstr "" -"Dermed inneholdt indeksen som hans sÃ¸kemotor produserte bilder, som " -"studentene kunne bruke til Ã¥ legge inn pÃ¥ sine egne nettsider, kopier av " -"notater og forskning, kopier av informasjonshefter, filmklipp som studentene " -"kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som " -"brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe pÃ¥ sine " -"datamaskiner." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "tinkering as means of" -msgstr "fikling som metode for" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But the index also included music files. In fact, one quarter of the files " -"that Jesse's search engine listed were music files. But that means, of " -"course, that three quarters were not, and—so that this point is " -"absolutely clear—Jesse did nothing to induce people to put music files " -"in their public folders. He did nothing to target the search engine to these " -"files. He was a kid tinkering with a Google-like technology at a university " -"where he was studying information science, and hence, tinkering was the aim. " -"Unlike Google, or Microsoft, for that matter, he made no money from this " -"tinkering; he was not connected to any business that would make any money " -"from this experiment. He was a kid tinkering with technology in an " -"environment where tinkering with technology was precisely what he was " -"supposed to do." -msgstr "" -"Men indeksen inneholdt ogsÃ¥ musikkfiler. Faktisk var en fjerdedel av filene " -"som Jesses sÃ¸kemotor inneholdt musikkfiler. Men det betyr, naturligvis, at " -"tre fjerdedeler ikke var det, og—slik at dette poenget er helt " -"klart—Jesse gjorde ingenting for Ã¥ fÃ¥ folk til Ã¥ plassere musikkfiler " -"i deres fellesmapper. Han gjorde ingenting for Ã¥ sikte sÃ¸kemotoren mot " -"disse filene. Han var en ungdom som fiklet med Google-lignende teknologi " -"ved et universitet der han studerte informasjonsvitenskap, og dermed var " -"fiklingen mÃ¥let. I motsetning til Google, eller Microsoft for den saks " -"skyld, tjente han ingen penger pÃ¥ denne fiklingen. Han var ikke knyttet til " -"noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en " -"ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi " -"var nÃ¸yaktig hva han var ment Ã¥ gjÃ¸re." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "in recording industry" -msgstr "i plateindustri" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "against student file sharing" -msgstr "mot student-fildeling" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "recording industry" -msgstr "plateindustrien" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "copyright infringement lawsuits of" -msgstr "sÃ¸ksmÃ¥l om opphavsrettbrudd fra" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Recording Industry Association of America (RIAA)" -msgstr "Recording Industry Association of America (RIAA)" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "copyright infringement lawsuits filed by" -msgstr "stevning i sak om om krenkelse av opphavsrett tatt ut av" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " -"dean informed Jesse that the Recording Industry Association of America, the " -"RIAA, would be filing a lawsuit against him and three other students whom he " -"didn't even know, two of them at other universities. A few hours later, " -"Jesse was served with papers from the suit. As he read these papers and " -"watched the news reports about them, he was increasingly astonished." -msgstr "" -"Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved " -"RPI. Lederen fortalte Jesse at Foreningen for musikkindustri i USA, RIAA, " -"ville levere inn et sÃ¸ksmÃ¥l mot han og tre andre studenter som han ikke en " -"gang kjente, to av dem pÃ¥ andre universiteter. Noen fÃ¥ timer senere ble " -"Jesse forkynt sÃ¸ksmÃ¥let og fikk overlevert dokumentene. Mens han leste " -"disse dokumentene og sÃ¥ pÃ¥ nyhetsrapportene om den, ble han stadig mer " -"forbauset." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>It was absurd,</quote> he told me. <quote>I don't think I did " -"anything wrong. … I don't think there's anything wrong with the " -"search engine that I ran or … what I had done to it. I mean, I hadn't " -"modified it in any way that promoted or enhanced the work of pirates. I just " -"modified the search engine in a way that would make it easier to use</" -"quote>—again, a <emphasis>search engine</emphasis>, which Jesse had " -"not himself built, using the Windows filesharing system, which Jesse had not " -"himself built, to enable members of the RPI community to get access to " -"content, which Jesse had not himself created or posted, and the vast " -"majority of which had nothing to do with music." -msgstr "" -"<quote>Det var absurd</quote>, fortalte han meg. <quote>Jeg mener at jeg " -"ikke gjorde noe galt. … Jeg mener det ikke er noe galt med " -"sÃ¸kemotoren som jeg kjÃ¸rte eller … hva jeg hadde gjort med den. Jeg " -"mener, jeg hadde ikke endret den pÃ¥ noen mÃ¥te som fremmet eller forbedret " -"arbeidet til pirater. Jeg endret kun sÃ¸kemotoren slik at den ble enklere Ã¥ " -"bruke</quote>—igjen, en <emphasis>sÃ¸kemotor</emphasis>, som Jesse ikke " -"hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse ikke " -"hadde bygd selv, for Ã¥ gjÃ¸re det mulig for medlemmer av RPI-fellesskapet Ã¥ " -"fÃ¥ tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig, " -"og der det store flertall av dette ikke hadde noe Ã¥ gjÃ¸re med musikk." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "exaggerated claims of" -msgstr "overdrevne pÃ¥stander om" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "statutory damages of" -msgstr "lovbestemte skader for" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "individual defendants intimidated by" -msgstr "de enkelte saksÃ¸kte skremt av" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "statutory damages" -msgstr "lovbestemte skader" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "intimidation tactics of" -msgstr "skremselstaktikker til" - -#. PAGE BREAK 64 -#. type: Content of: <book><part><chapter><para> -msgid "" -"But the RIAA branded Jesse a pirate. They claimed he operated a network and " -"had therefore <quote>willfully</quote> violated copyright laws. They " -"demanded that he pay them the damages for his wrong. For cases of " -"<quote>willful infringement,</quote> the Copyright Act specifies something " -"lawyers call <quote>statutory damages.</quote> These damages permit a " -"copyright owner to claim $150,000 per infringement. As the RIAA alleged more " -"than one hundred specific copyright infringements, they therefore demanded " -"that Jesse pay them at least $15,000,000." -msgstr "" -"Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og " -"dermed <quote>med vilje</quote> hadde brutt Ã¥ndsverkslovene. De krevde at " -"han betalte dem skadeerstatning for det han hadde gjort galt. I saker med " -"<quote>krenkelser med vilje</quote>, spesifiserer Ã¥ndsverksloven noe som " -"advokater kaller <quote>lovbestemte skader</quote>. Disse skadene tillater " -"en opphavsrettighetseier Ã¥ kreve $150 000 per krenkelse. Etter som " -"RIAA pÃ¥sto det var mer enn et hundre spesifikke opphavsrettskrenkelser, " -"krevde de dermed at Jesse betalte dem minst $15 000 000." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Michigan Technical University" -msgstr "Michigan Technical University" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Princeton University" -msgstr "Princeton University" - -#. f1 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " -"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media " -"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." -msgstr "" -"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " -"Alleges $97.8 Billion in Damages</quote>, <citetitle>Professional Media " -"Group LCC</citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443." - -#. type: Content of: <book><part><chapter><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 " -"<quote>damages</quote> that the RIAA claimed it was entitled to. If you " -"added up the claims, these four lawsuits were asking courts in the United " -"States to award the plaintiffs close to $100 <emphasis>billion</" -"emphasis>—six times the <emphasis>total</emphasis> profit of the film " -"industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Lignende sÃ¸ksmÃ¥l ble gjort mot tre andre studenter: en annen student ved " -"RPI, en ved Michegan Technical University og en ved Princeton. Deres " -"situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige " -"detaljer, var hovedpoenget nÃ¸yaktig det samme: store krav om " -"<quote>erstatning</quote> som RIAA pÃ¥sto de hadde rett pÃ¥. Hvis du summerte " -"opp disse kravene, ba disse fire sÃ¸ksmÃ¥lene domstolene i USA Ã¥ tildele " -"saksÃ¸kerne nesten $100 <emphasis>milliarder</emphasis>—seks ganger det " -"<emphasis>totale</emphasis> overskuddet til filmindustrien i 2001." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse called his parents. They were supportive but a bit frightened. An " -"uncle was a lawyer. He began negotiations with the RIAA. They demanded to " -"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " -"other employment. They demanded $12,000 to dismiss the case." -msgstr "" -"Jesse kontaktet sine foreldre. De stÃ¸ttet ham, men var litt skremt. En " -"onkel var advokat. Han startet forhandlinger med RIAA. De krevde Ã¥ fÃ¥ vite " -"hvor mye penger Jesse hadde. Jesse hadde spart opp $12 000 fra " -"sommerjobber og annet arbeid. De krevde 12 000 for Ã¥ trekke saken." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Oppenheimer, Matt" -msgstr "Oppenheimer, Matt" - -#. type: Content of: <book><part><chapter><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, <quote>You don't want to " -"pay another visit to a dentist like me.</quote>) And throughout, the RIAA " -"insisted it would not settle the case until it took every penny Jesse had " -"saved." -msgstr "" -"RIAA ville at Jesse skulle innrÃ¸mme at han hadde gjort noe galt. Han " -"nektet. De ville ha han til Ã¥ godta en kjennelse som i praksis ville gjÃ¸re " -"det umulig for han Ã¥ arbeide i mange omrÃ¥der innen teknologi for resten av " -"hans liv. Han nektet. De fikk han til Ã¥ forstÃ¥ at denne prosessen med Ã¥ " -"bli saksÃ¸kt ikke kom til Ã¥ bli hyggelig. (Som faren til Jesse refererte til " -"meg, fortalte sjefsadvokaten pÃ¥ saken, Matt Oppenheimer, <quote>Du Ã¸nsker " -"ikke et tannlegebesÃ¸k hos meg flere ganger</quote>) Og gjennom det hele " -"insisterte RIAA at de ikke ville inngÃ¥ forlik fÃ¸r de hadde tatt hver eneste " -"Ã¸re som Jesse hadde spart opp." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "legal system, attorney costs in" -msgstr "juridisk system, advokatkostnader i" - -#. PAGE BREAK 65 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's family was outraged at these claims. They wanted to fight. But " -"Jesse's uncle worked to educate the family about the nature of the American " -"legal system. Jesse could fight the RIAA. He might even win. But the cost of " -"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " -"he won, he would not recover that money. If he won, he would have a piece of " -"paper saying he had won, and a piece of paper saying he and his family were " -"bankrupt." -msgstr "" -"Familien til Jessie ble opprÃ¸rt over disse pÃ¥standene. De Ã¸nsket Ã¥ kjempe. " -"Men onkelen til Jessie gjorde en innsats for Ã¥ lÃ¦re familien om hvordan det " -"amerikanske juridiske systemet fungerte. Jesse kunne sloss mot RIAA. Han " -"kunne til og med vinne. Men kostnaden med Ã¥ loss mot et sÃ¸ksmÃ¥l som dette, " -"ble Jesse fortalt, ville vÃ¦re minst $250 000. Hvis han vant ville han " -"ikke fÃ¥ tilbake noen av de pengene. Hvis han vant, sÃ¥ ville han ha en bit " -"papir som sa at han vant, og en bit papir som sa at han og hans familie var " -"konkurs." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " -"$12,000 and a settlement." -msgstr "" -"SÃ¥ Jesse hadde et mafia-lignende valg: $250 000 og en sjanse til Ã¥ " -"vinne, eller $12 000 og et forlik." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "artists" -msgstr "artister" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "recording industry payments to" -msgstr "musikkindustriens betaling til" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "artist remuneration in" -msgstr "artisthonorar i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "lobbying power of" -msgstr "lobbymakten til" - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Occupational Employment Survey, U.S. Dept. of Labor (2001) " -"(27–2042—Musicians and Singers). See also National Endowment for " -"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." -msgstr "" -"Occupational Employment Survey, U.S. Dept. of Labor (2001) " -"(27–2042—Musikere og Sangere). Se ogsÃ¥ National Endowment for " -"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</" -"quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." -msgstr "" -"Douglas Lichtman kommer med et relatert poeng i <quote>KaZaA and Punishment," -"</quote> <citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The recording industry insists this is a matter of law and morality. Let's " -"put the law aside for a moment and think about the morality. Where is the " -"morality in a lawsuit like this? What is the virtue in scapegoatism? The " -"RIAA is an extraordinarily powerful lobby. The president of the RIAA is " -"reported to make more than $1 million a year. Artists, on the other hand, " -"are not well paid. The average recording artist makes $45,900.<placeholder " -"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " -"and direct policy. So where is the morality in taking money from a student " -"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Musikkindustrien insisterer at dette er et spÃ¸rsmÃ¥l om lov og moral. La oss " -"legge loven til side for et Ã¸yeblikk og tenke pÃ¥ moralen. Hvor er moralen i " -"et sÃ¸ksmÃ¥l som dette? Hva er dyden i Ã¥ skape offerlam. RIAA er en spesielt " -"mektig lobby. Presidenten i RIAA tjener i fÃ¸lge rapporter mer enn $1 " -"million i Ã¥ret. Artister, pÃ¥ den andre siden, fÃ¥r ikke godt betalt. Den " -"gjennomsnittlige innspillingsartist tjener $45 900.<placeholder type=" -"\"footnote\" id=\"0\"/> Det er utallige mÃ¥ter som RIAA kan bruke for Ã¥ " -"pÃ¥virke og styre politikken. SÃ¥ hva er det moralske i Ã¥ ta penger fra en " -"student for Ã¥ drive en sÃ¸kemotor?<placeholder type=\"footnote\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " -"case against him was then dismissed. And with this, this kid who had " -"tinkered a computer into a $15 million lawsuit became an activist:" -msgstr "" -"23. juni overfÃ¸rte Jesse alle sine oppsparte midler til advokaten som jobbet " -"for RIAA. Saken mot ham ble trukket. Og med dette, ble unggutten som hadde " -"fiklet med en datamaskin og blitt saksÃ¸kt for 15 millioner dollar en " -"aktivist:" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"I was definitely not an activist [before]. I never really meant to be an " -"activist. … [But] I've been pushed into this. In no way did I ever " -"foresee anything like this, but I think it's just completely absurd what the " -"RIAA has done." -msgstr "" -"Jeg var definitivt ikke en aktivist [tidligere]. Jeg mente egentlig aldri Ã¥ " -"vÃ¦re en aktivist. … [men] jeg har blitt skjÃ¸vet inn i dette. Jeg " -"forutsÃ¥ over hodet ikke noe slik som dette, men jeg tror det er bare helt " -"absurd det RIAA har gjort." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's parents betray a certain pride in their reluctant activist. As his " -"father told me, Jesse <quote>considers himself very conservative, and so do " -"I. … He's not a tree hugger. … I think it's bizarre that they " -"would pick on him. But he wants to let people know that they're sending the " -"wrong message. And he wants to correct the record.</quote>" -msgstr "" -"Foreldrene til Jesse avslÃ¸rer en viss stolthet over deres motvillige " -"aktivist. Som hans far fortalte meg, Jesse <quote>anser seg selv for Ã¥ vÃ¦re " -"konservativ, og det samme gjÃ¸r jeg. … Han er ingen treklemmer. " -"… Jeg synes det er sÃ¦rt at de ville lage brÃ¥k med ham. Men han " -"Ã¸nsker Ã¥ la folk vite at de sender feil budskap. Og han Ã¸nsker Ã¥ korrigere " -"rullebladet.</quote>" - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER FOUR: <quote>Pirates</quote>" -msgstr "Kapittel fire: <quote>Pirater</quote>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in development of content industry" -msgstr "i utviklingen av innholdsindustri" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>If <quote>piracy</quote> means</emphasis> using the " -"creative property of others without their permission—if <quote>if " -"value, then right</quote> is true—then the history of the content " -"industry is a history of piracy. Every important sector of <quote>big media</" -"quote> today—film, records, radio, and cable TV—was born of a " -"kind of piracy so defined. The consistent story is how last generation's " -"pirates join this generation's country club—until now." -msgstr "" -"<emphasis role='strong'>Hvis <quote>piratvirksomhet</quote> betyr</emphasis> " -"Ã¥ bruke den kreative eiendommen til andre uten deres tillatelse—hvis " -"<quote>hvis verdi, sÃ¥ rettighet</quote> er sant—da er historien om " -"innholdsindustrien en historie om piratvirksomhet. Hver eneste viktige " -"sektor av <quote>store medier</quote> i dag—film, plater, radio og " -"kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den " -"konsekvente fortellingen er at forrige generasjon pirater blir del av denne " -"generasjonens borgerskap—inntil nÃ¥." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Film" -msgstr "Film" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro " -"for pointing me to this extraordinary history. See also Siva Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 87–93, which details " -"Edison's <quote>adventures</quote> with copyright and patent." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Jeg er takknemlig til Peter " -"DiMauro for Ã¥ ha pekt meg i retning av denne ekstraordinÃ¦re historien. Se " -"ogsÃ¥ Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " -"87–93, som forteller detaljer om Edisons <quote>eventyr</quote> med " -"opphavsrett og patent." - -#. PAGE BREAK 67 -#. type: Content of: <book><part><chapter><section><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 <quote>trust,</quote> the " -"Motion Pictures Patents Company, and were based on Thomas Edison's creative " -"property—patents. Edison formed the MPPC to exercise the rights this " -"creative property gave him, and the MPPC was serious about the control it " -"demanded." -msgstr "" -"Filmindustrien i Hollywood var bygget av flyktende pirater.<placeholder type=" -"\"footnote\" id=\"0\"/> Skapere og regissÃ¸rer migrerte fra Ã¸stkysten til " -"California tidlig i det tjuende Ã¥rhundret delvis for Ã¥ slippe unna " -"kontrollene som patenter ga oppfinneren av det Ã¥ lage filmer, Thomas " -"Edison. Disse kontrollene be utÃ¸vet gjennom et monopol-<quote>kartell</" -"quote>, The Motion Pictures Patents company, og var basert pÃ¥ Thomas Edisons " -"kreative eierrettigheter—patenter. Edison stiftet MPPC for Ã¥ utÃ¸ve " -"rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriÃ¸st " -"med kontrollen de krevde." - -#. type: Content of: <book><part><chapter><section><para> -msgid "As one commentator tells one part of the story," -msgstr "Som en kommentator forteller en del av historien," - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"A January 1909 deadline was set for all companies to comply with the " -"license. By February, unlicensed outlaws, who referred to themselves as " -"independents protested the trust and carried on business without submitting " -"to the Edison monopoly. In the summer of 1909 the independent movement was " -"in full-swing, with producers and theater owners using illegal equipment and " -"imported film stock to create their own underground market." -msgstr "" -"En tidsfrist ble satt til januar 1909 for alle selskaper Ã¥ komme i samsvar " -"med lisensen. NÃ¥r februar kom, protesterte de ulisensierte fredlÃ¸se, som " -"refererte til seg selv som uavhengige, mot kartellet og fortsatte sin " -"forretningsvirksomhet uten Ã¥ bÃ¸ye seg for Edisons monopol. Sommeren 1909 " -"var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som " -"brukte ulovlig utstyr og importerte filmlager for Ã¥ opprette sitt eget " -"undergrunnsmarked." - -#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> -msgid "Fox, William" -msgstr "Fox, William" - -#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> -msgid "General Film Company" -msgstr "General Film Company" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Picker, Randal C." -msgstr "Picker, Randal C." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "broadcast flag" -msgstr "kringkastingsflagg" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " -"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " -"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion " -"Picture Patents Company vs. the Independent Outlaws,</quote> available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a " -"discussion of the economic motive behind both these limits and the limits " -"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison " -"to the Broadcast Flag: Mechanisms of Consent and Refusal and the " -"Propertization of Copyright</quote> (September 2002), University of Chicago " -"Law School, James M. Olin Program in Law and Economics, Working Paper No. " -"159. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " -"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) og " -"utvidede tekster lagt ut pÃ¥ <quote>The Edison Movie Monopoly: The Motion " -"Picture Patents Company vs. the Independent Outlaws</quote>, tilgjengelig " -"fra <ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For en " -"diskusjon om det Ã¸konomiske motivet bak begge disse begresningene, og " -"begresningene pÃ¥lagt av Victor pÃ¥ fonografer, se Randal C. Picker, " -"<quote>From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal " -"and the Propertization of Copyright</quote> (september 2002), University of " -"Chicago Law School, James M. Olin Program in Law and Economics, Working " -"Paper No. 159. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"With the country experiencing a tremendous expansion in the number of " -"nickelodeons, the Patents Company reacted to the independent movement by " -"forming a strong-arm subsidiary known as the General Film Company to block " -"the entry of non-licensed independents. With coercive tactics that have " -"become legendary, General Film confiscated unlicensed equipment, " -"discontinued product supply to theaters which showed unlicensed films, and " -"effectively monopolized distribution with the acquisition of all U.S. film " -"exchanges, except for the one owned by the independent William Fox who " -"defied the Trust even after his license was revoked.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Med et land som sÃ¥ en kolossal Ã¸kning i antall billige kinoer, sÃ¥kalte " -"nickelodeons, reagerte patentselskapet pÃ¥ bevegelsen av uavhengige med Ã¥ " -"stifte et hardhendt datterselskap ved navn General Film Company for Ã¥ " -"blokkere innfÃ¸ringen av ulisensierte uavhengige. Med tvangstaktikker som " -"har blitt legendariske, konfiskerte General Film ulisensiert utstyr, stoppet " -"varelevering til kinoer som viste ulisensiert fil, og effektivt " -"monopoliserte distribusjon ved Ã¥ kjÃ¸pe opp alle USAs filmsentraler, med " -"unntak av den ene som var eid av den uavhengige William Fox som motsto " -"kartellet selv etter at hans lisens var trukket tilbake.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. f3 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents " -"Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/" -"\">link #12</ulink>." -msgstr "" -"Marc Wanamaker, <quote>The First Studios</quote>, <citetitle>The Silents " -"Majority</citetitle>, arkivert pÃ¥ <ulink url=\"http://free-culture.cc/notes/" -"\">link #12</ulink>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The Napsters of those days, the <quote>independents,</quote> were companies " -"like Fox. And no less than today, these independents were vigorously " -"resisted. <quote>Shooting was disrupted by machinery stolen, and " -"`accidents' resulting in loss of negatives, equipment, buildings and " -"sometimes life and limb frequently occurred.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. " -"California was remote enough from Edison's reach that filmmakers there could " -"pirate his inventions without fear of the law. And the leaders of Hollywood " -"filmmaking, Fox most prominently, did just that." -msgstr "" -"Napsterne i de dager, de <quote>uavhengige</quote>, var selskaper som Fox. " -"Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet. " -"<quote>Opptak ble avbrutt av stjÃ¥let maskineri, og 'uhell' som fÃ¸rte til " -"tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde ofte." -"</quote><placeholder type=\"footnote\" id=\"0\"/> Dette fikk de uavhengige " -"til Ã¥ flykte til Ã¸stkysten. California var fjernt nok fra Edisons " -"innflytelse til at filmskaperne der kunne rÃ¸ve hans nyvinninger uten Ã¥ " -"frykte loven. Og lederne blant Hollywoods filmskapere, Fox mest " -"fremtredende, gjorde akkurat dette." - -#. PAGE BREAK 68 -#. type: Content of: <book><part><chapter><section><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 <quote>limited</quote> monopoly (just seventeen years at that time), " -"by the time enough federal marshals appeared, the patents had expired. A new " -"industry had been born, in part from the piracy of Edison's creative " -"property." -msgstr "" -"California vokste naturligvis raskt, og effektiv hÃ¥ndhevelse av fÃ¸derale " -"lover spredte seg til slutt vestover. Men fordi patenter tildeler " -"patentinnehaveren et i sannhet <quote>begrenset</quote> monopol (kun sytten " -"Ã¥r pÃ¥ den tiden), sÃ¥ patentene var utgÃ¥tt fÃ¸r nok fÃ¸derale lovmenn dukket " -"opp. En ny industri var fÃ¸dt, delvis fra piratvirksomhet mot Edison's " -"kreative rettigheter." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Recorded Music" -msgstr "Innspilt musikk" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on music recordings" -msgstr "om musikkinnspillinger" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The record industry was born of another kind of piracy, though to see how " -"requires a bit of detail about the way the law regulates music." -msgstr "" -"Musikkindustrien ble fÃ¸dt av en annen type piratvirksomhet, dog for Ã¥ forstÃ¥ " -"hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer " -"musikk." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Fourneaux, Henri" -msgstr "Fourneaux, Henri" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Russel, Phil" -msgstr "Russel, Phil" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"At the time that Edison and Henri Fourneaux invented machines for " -"reproducing music (Edison the phonograph, Fourneaux the player piano), the " -"law gave composers the exclusive right to control copies of their music and " -"the exclusive right to control public performances of their music. In other " -"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy " -"Mose,</quote> the law said I would have to pay for the right to get a copy " -"of the musical score, and I would also have to pay for the right to perform " -"it publicly." -msgstr "" -"PÃ¥ den tiden da Edison og Henri Fourneaux fant opp maskiner for Ã¥ " -"reprodusere musikk (Edison fonografen, Fourneaux det automatiske pianoet), " -"gav loven komponister eksklusive rettigheter til Ã¥ kontrollere kopier av " -"deres musikk og eksklusive rettigheter til Ã¥ kontrollere fremfÃ¸ringer av " -"deres musikk. Med andre ord, i 1900, hvis jeg Ã¸nsket et kopi av Phil " -"Russels populÃ¦re lÃ¥t <quote>Happy Mose</quote>, sa loven at jeg mÃ¥tte betale " -"for rettigheten til Ã¥ fÃ¥ en kopi av notearkene, og jeg mÃ¥tte ogsÃ¥ betale for " -"Ã¥ ha rett til Ã¥ fremfÃ¸re det offentlig." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Beatles" -msgstr "Beatles" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But what if I wanted to record <quote>Happy Mose,</quote> using Edison's " -"phonograph or Fourneaux's player piano? Here the law stumbled. It was clear " -"enough that I would have to buy any copy of the musical score that I " -"performed in making this recording. And it was clear enough that I would " -"have to pay for any public performance of the work I was recording. But it " -"wasn't totally clear that I would have to pay for a <quote>public " -"performance</quote> if I recorded the song in my own house (even today, you " -"don't owe the Beatles anything if you sing their songs in the shower), or if " -"I recorded the song from memory (copies in your brain are not—" -"yet— regulated by copyright law). So if I simply sang the song into a " -"recording device in the privacy of my own home, it wasn't clear that I owed " -"the composer anything. And more importantly, it wasn't clear whether I owed " -"the composer anything if I then made copies of those recordings. Because of " -"this gap in the law, then, I could effectively pirate someone else's song " -"without paying its composer anything." -msgstr "" -"Men hva hvis jeg Ã¸nsket Ã¥ spille inn <quote>Happy Mose</quote> ved hjelp av " -"Edisons fonograf eller Fourneaux automatiske piano? Her snublet loven. Det " -"var klart nok at jeg mÃ¥tte kjÃ¸pe en kopi av notene som jeg fremfÃ¸rte nÃ¥r jeg " -"gjorde innspillingen. Og det var klart nok at jeg mÃ¥tte betale for enhver " -"offentlig fremfÃ¸relse av verket jeg spilte inn. Men det var ikke helt klart " -"at jeg mÃ¥tte betale for en <quote>offentlig fremfÃ¸ring</quote> hvis jeg " -"spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til " -"Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte " -"inn sangen fra hukommelsen (kopier i din hjerne er ikke—ennÃ¥—" -"regulert av Ã¥ndsverksloven). SÃ¥ hvis jeg ganske enkelt sang sangen inn i et " -"innspillingsapparat i mitt eget hjem, sÃ¥ var det ikke klart at jeg skyldte " -"komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte " -"komponisten noe hvis jeg sÃ¥ laget kopier av disse innspillingene. PÃ¥ grunn " -"av dette hullet i loven, sa kunne jeg i effekt rÃ¸ve noen andres sang uten Ã¥ " -"betale dets komponist noe." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Kittredge, Alfred" -msgstr "Kittredge, Alfred" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The composers (and publishers) were none too happy about this capacity to " -"pirate. As South Dakota senator Alfred Kittredge put it, <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til " -"Ã¥ rÃ¸ve. Som Senator Alfred Kittredge fra SÃ¸r-Dakota formulerte det," -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 <citetitle>Legislative History of the Copyright Act</" -"citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." -"J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Endre og slÃ¥ sammen lovforslag om Ã¥ respektere opphavsretten: HÃ¸ring om S. " -"6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59, 1. " -"sess. (1906) (uttalelse til senator Alfred B. Kittredge fra SÃ¸r-Dakota, " -"formann), gjengitt i <citetitle>Legislative History of the 1909 Copyright " -"Act</citetitle>, E. Fulton Brylawski og Abe Goldman, red. (South " -"Hackensack, N.J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Imagine the injustice of the thing. A composer writes a song or an opera. A " -"publisher buys at great expense the rights to the same and copyrights it. " -"Along come the phonographic companies and companies who cut music rolls and " -"deliberately steal the work of the brain of the composer and publisher " -"without any regard for [their] rights.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Forestill dere denne urettferdigheten. En komponist skriver en sang eller " -"en opera. En utgiver kjÃ¸per til et hÃ¸y sum rettighetene til denne, og " -"registrerer opphavsretten til den. SÃ¥ kommer de fonografiske selskapene og " -"selskapene som skjÃ¦rer musikk-ruller og med vitende og vilje stjeler " -"arbeidet som kommer fra hjernen til komponisten og utgiveren uten Ã¥ bry seg " -"om [deres] rettigheter.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Sousa, John Philip" -msgstr "Sousa, John Philip" - -#. f5 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " -"Nathan Burkan, attorney for the Music Publishers Association)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra " -"Nathan Burkan, advokat for the Music Publishers Association)." - -#. f6 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " -"Nathan Burkan, attorney for the Music Publishers Association)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra " -"Nathan Burkan, advokat for the Music Publishers Association)." - -#. f7 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " -"John Philip Sousa, composer)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra " -"John Philip Sousa, komponist)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The innovators who developed the technology to record other people's works " -"were <quote>sponging upon the toil, the work, the talent, and genius of " -"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the " -"<quote>music publishing industry</quote> was thereby <quote>at the complete " -"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> " -"As John Philip Sousa put it, in as direct a way as possible, <quote>When " -"they make money out of my pieces, I want a share of it.</quote><placeholder " -"type=\"footnote\" id=\"2\"/>" -msgstr "" -"InnovatÃ¸rene som utviklet teknologien for Ã¥ spille inn andres arbeide " -"<quote>snyltet pÃ¥ innsatsen, arbeidet, talentet og geniet til amerikanske " -"komponister</quote>,<placeholder type=\"footnote\" id=\"0\"/> og " -"<quote>musikkpubliseringsindistrien</quote> var dermed <quote>fullstendig i " -"denne piratens vold</quote>.<placeholder type=\"footnote\" id=\"1\"/> Som " -"John Philip Sousa formulerte det, sÃ¥ direkte som det kan sies, <quote>nÃ¥r de " -"tjener penger pÃ¥ mine stykker, sÃ¥ vil jeg ha en andel</quote>.<placeholder " -"type=\"footnote\" id=\"2\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "American Graphophone Company" -msgstr "American Graphophone Company" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "player pianos" -msgstr "automatiske piano" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Congress, U.S." -msgstr "Kongressen i USA" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on copyright laws" -msgstr "om Ã¥ndsverkslover" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on recording industry" -msgstr "om innspillingenindustri" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "statutory licenses in" -msgstr "lovbestemte lisenser i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "statutory license system in" -msgstr "lovbestemte lisenssystemer i" - -#. f8 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " -"(statement of Albert Walker, representative of the Auto-Music Perforating " -"Company of New York)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " -"(uttalelse fra Albert Walker, representant for the Auto-Music Perforating " -"Company of New York)." - -#. f9 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared " -"memorandum of Philip Mauro, general patent counsel of the American " -"Graphophone Company Association)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt " -"innlegg fra Philip Mauro, sjefspatentrÃ¥dgiver for the American Graphophone " -"Company Association)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"These arguments have familiar echoes in the wars of our day. So, too, do the " -"arguments on the other side. The innovators who developed the player piano " -"argued that <quote>it is perfectly demonstrable that the introduction of " -"automatic music players has not deprived any composer of anything he had " -"before their introduction.</quote> Rather, the machines increased the sales " -"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " -"innovators argued, the job of Congress was <quote>to consider first the " -"interest of [the public], whom they represent, and whose servants they are.</" -"quote> <quote>All talk about `theft,'</quote> the general counsel of the " -"American Graphophone Company wrote, <quote>is the merest claptrap, for there " -"exists no property in ideas musical, literary or artistic, except as defined " -"by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Disse argumentene hÃ¸res omtrent ut som argumentene fra vÃ¥re dager. Det samme " -"gjÃ¸r argumentene fra den andre siden. Oppfinnerne som utviklet det " -"automatiske pianoet argumenterte med at <quote>det er fullt mulig Ã¥ vise at " -"introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist " -"noe han hadde fÃ¸r det ble introdusert.</quote> I stedet Ã¸kte maskinene " -"salget av noteark.<placeholder type=\"footnote\" id=\"0\"/> Uansett, " -"argumenterte oppfinnerne, jobben til kongressen var <quote>Ã¥ fÃ¸rst vurdere " -"interessen til [folket], som de representerte, og som de skal tjene.</" -"quote>. <quote>Alt snakk om <quote>tyveri</quote></quote>, skrev " -"sjefsjuristen til American Graphophone Company, <quote>er kun nonsens, for " -"det finnes ingen eiendom i musikalske idÃ©er, skriftlig eller kunstnerisk, " -"unntatt det som er definert i loven.</quote><placeholder type=\"footnote\" " -"id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "cover songs" -msgstr "coverlÃ¥ter" - -#. PAGE BREAK 70 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The law soon resolved this battle in favor of the composer <emphasis>and</" -"emphasis> the recording artist. Congress amended the law to make sure that " -"composers would be paid for the <quote>mechanical reproductions</quote> of " -"their music. But rather than simply granting the composer complete control " -"over the right to make mechanical reproductions, Congress gave recording " -"artists a right to record the music, at a price set by Congress, once the " -"composer allowed it to be recorded once. This is the part of copyright law " -"that makes cover songs possible. Once a composer authorizes a recording of " -"his song, others are free to record the same song, so long as they pay the " -"original composer a fee set by the law." -msgstr "" -"Loven lÃ¸ste snart denne kampen i favÃ¸r av <emphasis>bÃ¥de</emphasis> " -"komponisten og innspillingsartisten. Kongressen endret loven slik at " -"komponisten fikk betalt for den <quote>mekaniske reproduksjonen</quote> av " -"deres musikk. Men i stedet for Ã¥ ganske enkelt gi komponisten full kontroll " -"over rettigheten til Ã¥ lage mekaniske reproduksjoner, ga kongressen " -"innspillingsartister rett en til Ã¥ spille inn musikk, til en pris satt av " -"kongressen, sÃ¥ snart komponisten har tillatt at den ble spilt inn en gang. " -"Det er denne delen av Ã¥ndsverksloven som gjÃ¸r cover-lÃ¥ter mulig. SÃ¥ snart " -"en komponist tillater en innspilling av hans sang, har andre mulighet til Ã¥ " -"spille inn samme sang, sÃ¥ lenge de betaler den originale komponisten et " -"gebyr fastsatt av loven." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "compulsory license" -msgstr "tvangslisens" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "statutory licenses" -msgstr "lovbestemte lisenser" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"American law ordinarily calls this a <quote>compulsory license,</quote> but " -"I will refer to it as a <quote>statutory license.</quote> A statutory " -"license is a license whose key terms are set by law. After Congress's " -"amendment of the Copyright Act in 1909, record companies were free to " -"distribute copies of recordings so long as they paid the composer (or " -"copyright holder) the fee set by the statute." -msgstr "" -"Amerikansk lov kaller dette vanligvis en <quote>tvangslisens</quote>, men " -"jeg vil referere til dette som en <quote>lovbestemt lisens</quote>. En " -"lovbestemt lisens er en lisens hvis nÃ¸kkelvilkÃ¥r er bestemt i lovverket. " -"Etter kongressens endring av Ã¥ndsverksloven i 1909, sto plateselskapene " -"fritt til Ã¥ distribuere kopier av innspillinger sÃ¥ lenge som de betalte " -"komponisten (eller opphavsrettsinnehaveren) gebyret spesifisert i lovverket." - -#. type: Content of: <book><chapter><section><section><para><indexterm><primary> -msgid "Grisham, John" -msgstr "Grisham, John" - -#. type: Content of: <book><part><chapter><section><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 Ã¥ndsverksloven. NÃ¥r John Grisham skriver en roman sÃ¥ " -"kan en utgiver kun utgi denne romanen hvis Grisham gir utgiveren tillatelse " -"til det. Grisham stÃ¥r fritt til Ã¥ kreve hvilken som helst betaling for den " -"tillatelsen. Prisen for Ã¥ publisere Grisham er dermed bestemt av Grisham og " -"Ã¥ndsverksloven sier at du ikke har tillatelse til Ã¥ bruke Grishams verker " -"med mindre du har tillatelse fra Grisham." - -#. f10 -#. type: Content of: <book><part><chapter><section><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 " -"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " -"Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " -"Reprints, 1976)." -msgstr "" -"Endring i Ã¥ndsverksloven: HÃ¸ring om S. 2499, S.2900, H.R. 243, og H.R. 11794 " -"foran (felles)-komiteen om patenter, 60. kongr., 1. sess., 217 (1908) " -"(uttalelse fra senator Reed Smooth, formann), gjengitt i " -"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " -"Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman " -"Reprints, 1976)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But the law governing recordings gives recording artists less. And thus, in " -"effect, the law <emphasis>subsidizes</emphasis> the recording industry " -"through a kind of piracy—by giving recording artists a weaker right " -"than it otherwise gives creative authors. The Beatles have less control over " -"their creative work than Grisham does. And the beneficiaries of this less " -"control are the recording industry and the public. The recording industry " -"gets something of value for less than it otherwise would pay; the public " -"gets access to a much wider range of musical creativity. Indeed, Congress " -"was quite explicit about its reasons for granting this right. Its fear was " -"the monopoly power of rights holders, and that that power would stifle " -"follow-on creativity.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Men loven som styrer innspillinger gir innspillingsartisten mindre. Og " -"dermed er effekten at loven <emphasis>subsidierer</emphasis> " -"musikkindustrien med et slags piratvirksomhet—ved Ã¥ gi " -"innspillingsartister en svakere rettighet enn de gir kreative forfattere. " -"The Beatles har mindre kontroll over deres kreative verker enn Grisham har. " -"Og de som nyter godt av at de har mindre kontroll er musikkindustrien og " -"folket. Musikkindustrien fÃ¥r noe av verdi for mindre enn de ellers mÃ¥tte " -"betalt, og folket fÃ¥r tilgang til en stÃ¸rre mengde musikalsk kreativitet. " -"Kongressen var faktisk svÃ¦rt eksplisitt i sine grunner for Ã¥ dele ut denne " -"rettigheten. Den fryktet monopolmakten til rettighetsinnehaverne, og at " -"denne makten skulle kvele pÃ¥fÃ¸lgende kreativitet.<placeholder type=\"footnote" -"\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 vÃ¦rt ganske stille om dette i det siste, har de " -"historisk vÃ¦rt hÃ¸ylytte tilhengere av den lovbestemte lisensen for " -"innspillinger. Som det sto i en rapport fra 1967 utgitt av House Committee " -"on the Judiciary:" - -#. f11 -#. type: Content of: <book><part><chapter><section><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 "" -"Endring av Ã¥ndsverksloven: Rapport som fÃ¸lger H.R. 2512, House Committee on " -"the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967). " -"Jeg er takknemlig til Glenn Brown for Ã¥ ha gjort meg oppmerksom pÃ¥ denne " -"rapporten." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"the record producers argued vigorously that the compulsory license system " -"must be retained. They asserted that the record industry is a half-billion-" -"dollar business of great economic importance in the United States and " -"throughout the world; records today are the principal means of disseminating " -"music, and this creates special problems, since performers need unhampered " -"access to musical material on nondiscriminatory terms. Historically, the " -"record producers pointed out, there were no recording rights before 1909 and " -"the 1909 statute adopted the compulsory license as a deliberate anti-" -"monopoly condition on the grant of these rights. They argue that the result " -"has been an outpouring of recorded music, with the public being given lower " -"prices, improved quality, and a greater choice.<placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"plateprodusentene argumenterte energisk for at tvangslisens-systemet mÃ¥tte " -"bevares. De tok utgangspunkt i at musikkindustrien er et forretningsomrÃ¥de " -"pÃ¥ en halv milliard dollar som er veldig viktig for Ã¸konomien i USA og " -"resten av verden. Plater er i dag den viktigste mÃ¥ten Ã¥ spre musikk, og " -"dette fÃ¸rer til spesielle problemer, siden utÃ¸vere trenger uhindret tilgang " -"til musikalsk materiale pÃ¥ ikke-diskriminerende vilkÃ¥r. Plateprodusentene " -"pekte pÃ¥ at historisk var det ingen innspillingsrettigheter fÃ¸r 1909 og 1909-" -"endringen i lovverket vedtok tvangslisensen som en gjennomtenkt mekanisme " -"for Ã¥ unngÃ¥ monopol da de tildelte disse rettighetene. De argumenterer med " -"at resultatet har vÃ¦rt at det har strÃ¸mmet pÃ¥ med innspilt musikk, at folket " -"har fÃ¥tt lavere priser, bedre kvalitet og flere valg.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"By limiting the rights musicians have, by partially pirating their creative " -"work, the record producers, and the public, benefit." -msgstr "" -"Ved Ã¥ begrense rettighetene musikere hadde, ved Ã¥ delvis rÃ¸ve deres kreative " -"verk, fikk innspillingsprodusentene, og folket, fordeler." - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Radio" -msgstr "Radio" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "radio broadcast and" -msgstr "radiokringkasting og" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Radio was also born of piracy." -msgstr "Radio kom ogsÃ¥ fra piratvirksomhet." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Hand, Learned" -msgstr "Hand, Learned" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " -"the beginning, record companies printed <quote>Not Licensed for Radio " -"Broadcast</quote> and other messages purporting to restrict the ability to " -"play a record on a radio station. Judge Learned Hand rejected the argument " -"that a warning attached to a record might restrict the rights of the radio " -"station. See <citetitle>RCA Manufacturing Co</citetitle>. v. " -"<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also " -"Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of " -"Consent and Refusal and the Propertization of Copyright,</quote> " -"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" -msgstr "" -"Se 17 <citetitle>United States Code</citetitle>, seksjon 106 og 110. I " -"begynnelsen skrev noen plateselskaper <quote>Ikke lisensiert for " -"radiokringkasting</quote> og andre meldinger som ga inntrykk av Ã¥ begrense " -"muligheten til Ã¥ spille en plate pÃ¥ en radiostasjon. Dommer Learned Hand " -"avviste argumentet om at en advarsel klistret pÃ¥ en plate kunne begrense " -"rettighetene til radiostasjonen. Se <citetitle>RCA Manufacturing Co</" -"citetitle>. mot <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. " -"1940). Se ogsÃ¥ Randal C. Picker, <quote>From Edison to the Broadcast Flag: " -"Mechanisms of Consent and Refusal and the Propertization of Copyright</" -"quote>, <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " -"281. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"When a radio station plays a record on the air, that constitutes a " -"<quote>public performance</quote> of the composer's work.<placeholder type=" -"\"footnote\" id=\"0\"/> As I described above, the law gives the composer (or " -"copyright holder) an exclusive right to public performances of his work. " -"The radio station thus owes the composer money for that performance." -msgstr "" -"NÃ¥r en radiostasjon spiller en plate pÃ¥ luften, sÃ¥ utgjÃ¸r dette en " -"<quote>offentlig fremfÃ¸ring</quote> av komponistens verk.<placeholder type=" -"\"footnote\" id=\"0\"/> Som jeg beskrev over, gir loven komponisten (eller " -"opphavsrettsinnehaveren) en eksklusiv rett til offentlige fremfÃ¸ringer av " -"hans verk. Radiostasjonen skylder dermed komponisten penger for denne " -"fremfÃ¸ringen." - -#. type: Content of: <book><part><chapter><para><indexterm><primary> -msgid "Lovett, Lyle" -msgstr "Lovett, Lyle" - -#. PAGE BREAK 72 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But when the radio station plays a record, it is not only performing a copy " -"of the <emphasis>composer's</emphasis> work. The radio station is also " -"performing a copy of the <emphasis>recording artist's</emphasis> work. It's " -"one thing to have <quote>Happy Birthday</quote> sung on the radio by the " -"local children's choir; it's quite another to have it sung by the Rolling " -"Stones or Lyle Lovett. The recording artist is adding to the value of the " -"composition performed on the radio station. And if the law were perfectly " -"consistent, the radio station would have to pay the recording artist for his " -"work, just as it pays the composer of the music for his work. <placeholder " -"type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Men nÃ¥r en radiostasjon spiller en plage, sÃ¥ fremfÃ¸rer det ikke bare et " -"eksemplar av <emphasis>komponistens</emphasis> verk. Radiostasjonen " -"fremfÃ¸rer ogsÃ¥ et eksemplar av <emphasis>innspillingsartistens</emphasis> " -"verk. Det er en ting Ã¥ fÃ¥ <quote>Happy Birthday</quote> sunget pÃ¥ radio av " -"det lokale barnekoret. Det er noe ganske annet Ã¥ fÃ¥ det sunget av Rolling " -"Stones eller Lyle Lovett. Innspillingsartisten legger til verdi pÃ¥ " -"komposisjonen fremfÃ¸rt pÃ¥ radiostasjonen. Og hvis loven var fullstendig " -"konsistent, sÃ¥ burde radiostasjonen ogsÃ¥ vÃ¦rt nÃ¸dt til Ã¥ betale " -"innspillingsartisten for hans verk, pÃ¥ samme mÃ¥ten som den betaler " -"komponisten av musikken for hans verk. <placeholder type=\"indexterm\" id=" -"\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 gjÃ¸r den ikke. I fÃ¸lge loven som styrer radiofremfÃ¸ringer, trenger " -"ikke radiostasjonen Ã¥ betale noe til innspillingsartisten. Radiostasjonen " -"trenger kun Ã¥ betale komponisten. Radiostasjonen fÃ¥r dermed noe uten Ã¥ " -"betale. Den fÃ¥r fremfÃ¸re innspillingsartistens verk gratis, selv om den mÃ¥ " -"betale komponisten noe for privilegiet det er Ã¥ spille sangen." - -#. type: Content of: <book><part><chapter><para><indexterm><primary> -msgid "Madonna" -msgstr "Madonna" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This difference can be huge. Imagine you compose a piece of music. Imagine " -"it is your first. You own the exclusive right to authorize public " -"performances of that music. So if Madonna wants to sing your song in public, " -"she has to get your permission." -msgstr "" -"Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke " -"musikk. Se for deg at det er ditt fÃ¸rste stykke. Du eier de eksklusive " -"rettighetene til Ã¥ godkjenne offentlig fremfÃ¸ring av den musikken. SÃ¥ hvis " -"Madonna Ã¸nsker Ã¥ synge din sang offentlig, mÃ¥ hun fÃ¥ din tillatelse." - -#. type: Content of: <book><part><chapter><section><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 <quote>protected</quote> right. " -"The radio station thus gets to <emphasis>pirate</emphasis> the value of " -"Madonna's work without paying her anything." -msgstr "" -"Tenkt deg videre at hun synger din sang, og at hun liker den veldig godt. " -"Hun bestemmer seg deretter for Ã¥ spille inn sangen din, og den blir en " -"populÃ¦r hitlÃ¥t. Med vÃ¥r lov vil du fÃ¥ litt penger hver gang en radiostasjon " -"spiller din sang. Men Madonna fÃ¥r ingenting, fortsett fra de indirekte " -"effektene fra salg av hennes CD-er. Den offentlige fremfÃ¸ringen av hennes " -"innspilling er ikke en <quote>beskyttet</quote> rettighet. Radiostasjonen " -"fÃ¥r dermed <emphasis>rÃ¸ve</emphasis> verdien av Madonnas arbeid uten Ã¥ " -"betale henne noen ting." - -#. type: Content of: <book><part><chapter><section><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 "" -"Uten tvil kan en argumentere at, totalt sett, tjener innspillingsartistene " -"pÃ¥ dette. I snitt er reklamen de fÃ¥r verdt mer enn fremfÃ¸ringsrettighetene " -"de frasier seg. Kanskje. Men selv om det er slik, sÃ¥ gir loven vanligvis " -"skaperen retten til Ã¥ gjÃ¸re dette valget. Ved Ã¥ gjÃ¸re valget for ham eller " -"henne, gir loven radiostasjonen rett til Ã¥ ta noe uten Ã¥ betale." - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Cable TV" -msgstr "Kabel-TV" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cable television" -msgstr "kabel-TV" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Cable TV was also born of a kind of piracy." -msgstr "Kabel-TV kom ogsÃ¥ fra en form for piratvirksomhet." - -#. PAGE BREAK 73 -#. type: Content of: <book><part><chapter><section><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-TV-grÃ¼ndere fÃ¸rst begynte Ã¥ koble opp fellesskap med kabel-TV i " -"1948, nektet de fleste Ã¥ betale kringkasterne for innholdet som de sendte " -"videre til sine kunder. Selv da kabelselskapene begynte Ã¥ selge tilgang til " -"TV-kringkastinger, nektet de Ã¥ betale for det de solgte. Kabelselskapene " -"Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster " -"noen gang gjorde—Napster tok aldri betalt for innholdet som det ble " -"mulig for andre Ã¥ gi bort." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Anello, Douglas" -msgstr "Anello, Douglas" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Burdick, Quentin" -msgstr "Burdick, Quentin" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Hyde, Rosel H." -msgstr "Hyde, Rosel H." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV: Hearing on S. 1006 Before the " -"Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee " -"on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. " -"Hyde, chairman of the Federal Communications Commission). <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Endring i Ã¥ndsverksloven—Kabel-TV: HÃ¸ring om S. 1006 foran " -"underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on " -"the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde, " -"styreleder i den fÃ¸derale kommunikasjonskommisjonen.<placeholder type=" -"\"indexterm\" id=\"0\"/>" - -#. f14 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, " -"general counsel of the National Association of Broadcasters)." -msgstr "" -"Endring i Ã¥ndsverksloven—Kabel-TV, 116 (uttalelse fra Douglas A. " -"Anello, sjefsjuristen i Nasjonalforeningen for kringkastere)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Broadcasters and copyright owners were quick to attack this theft. Rosel " -"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair " -"and potentially destructive competition.</quote><placeholder type=\"footnote" -"\" id=\"0\"/> There may have been a <quote>public interest</quote> in " -"spreading the reach of cable TV, but as Douglas Anello, general counsel to " -"the National Association of Broadcasters, asked Senator Quentin Burdick " -"during testimony, <quote>Does public interest dictate that you use somebody " -"else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another " -"broadcaster put it," -msgstr "" -"Kringkastere og opphavsrettsinnehavere var raske til Ã¥ angripe dette " -"tyveriet. Rosel Hyde, styreleder i FCC, sÃ¥ praksisen som en slags " -"<quote>urettferdig og potensielt Ã¸deleggende konkurranse</quote>." -"<placeholder type=\"footnote\" id=\"0\"/> Det kan ha vÃ¦rt en " -"<quote>offentlig interesse</quote> i Ã¥ Ã¸ke spredningen til kabel-TV, men som " -"Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte " -"senator Quentin Burdick under sitt vitnemÃ¥l, <quote>Dikterer offentlig " -"interesse at du kan bruke noen andres eiendom?</quote><placeholder type=" -"\"footnote\" id=\"1\"/> Som en annen kringkaster formulerte det," - -#. f15 -#. type: Content of: <book><part><chapter><section><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 "" -"Endring i Ã¥ndsverksloven—Kabel-TV, 126 (uttalelse fra Ernest W. " -"Jennes, sjefsjurist ved Association of Maximum Service Telecasters, Inc.). " - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"The extraordinary thing about the CATV business is that it is the only " -"business I know of where the product that is being sold is not paid for." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste " -"selskapene jeg vet om hvor produktet som blir solgt ikke er betalt for." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Again, the demand of the copyright holders seemed reasonable enough:" -msgstr "Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:" - -#. f16 -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -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 "" -"Endring i Ã¥ndsverksloven—Kabel-TV, 169 (felles uttalelse fra Arthur " -"B. Krim, president i United Artists Corp. og John Sinn, president i United " -"Artists Television Inc.)." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"All we are asking for is a very simple thing, that people who now take our " -"property for nothing pay for it. We are trying to stop piracy and I don't " -"think there is any lesser word to describe it. I think there are harsher " -"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Alt vi ber om er en veldig enkel ting, at folk som tar vÃ¥r eiendom gratis " -"betaler for den. Vi forsÃ¸ker Ã¥ stoppe piratvirksomhet og jeg kan ikke tenke " -"pÃ¥ et svakere ord for Ã¥ beskrive det. Jeg tror det er sterkere ord som " -"ville passe.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Heston, Charlton" -msgstr "Heston, Charlton" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV, 209 (statement of Charlton Heston, " -"president of the Screen Actors Guild). <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Copyright Law Revision—CATV, 209 (uttalelse fra Charlton Heston, " -"president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president " -"Charlton Heston said, who were <quote>depriving actors of compensation.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Disse var <quote>gratispassasjerer</quote>, sa presidenten Charlton Heston i " -"Screen Actor's Guild, som <quote>tok lÃ¸nna fra skuespillerne</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But again, there was another side to the debate. As Assistant Attorney " -"General Edwin Zimmerman put it," -msgstr "" -"Men igjen, det er en annen side i debatten. Som assisterende justisminister " -"Edwin Zimmerman sa det," - -#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> -msgid "Zimmerman, Edwin" -msgstr "Zimmerman, Edwin" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, " -"acting assistant attorney general). <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, " -"fungerende assisterende justisministeren). <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Our point here is that unlike the problem of whether you have any copyright " -"protection at all, the problem here is whether copyright holders who are " -"already compensated, who already have a monopoly, should be permitted to " -"extend that monopoly. … The question here is how much compensation " -"they should have and how far back they should carry their right to " -"compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" -msgstr "" -"VÃ¥rt poeng her er ikke problemet med om hvorvidt du over hode har " -"opphavsrettsbeskyttelse. Problemet her er hvorvidt opphavsrettsinnehavere " -"som allerede blir kompensert, som allerede har et monopol, skal fÃ¥ lov til Ã¥ " -"utvide dette monopolet. … SpÃ¸rsmÃ¥let er hvor mye kompensasjon de bÃ¸r " -"ha, og hvor langt de kan strekke sin rett pÃ¥ kompensasjon.<placeholder type=" -"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Copyright owners took the cable companies to court. Twice the Supreme Court " -"held that the cable companies owed the copyright owners nothing." -msgstr "" -"Opphavsrettinnehaverne tok kabelselskapene til retten. HÃ¸yesterett fant to " -"ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"It took Congress almost thirty years before it resolved the question of " -"whether cable companies had to pay for the content they <quote>pirated.</" -"quote> In the end, Congress resolved this question in the same way that it " -"resolved the question about record players and player pianos. Yes, cable " -"companies would have to pay for the content that they broadcast; but the " -"price they would have to pay was not set by the copyright owner. The price " -"was set by law, so that the broadcasters couldn't exercise veto power over " -"the emerging technologies of cable. Cable companies thus built their empire " -"in part upon a <quote>piracy</quote> of the value created by broadcasters' " -"content." -msgstr "" -"Det tok kongressen nesten tredve Ã¥r fÃ¸r den fikk lÃ¸st spÃ¸rsmÃ¥let om hvorvidt " -"kabel-TV-selskapene mÃ¥tte betale for innholdet de <quote>rÃ¸vet</quote>. Til " -"slutt lÃ¸ste kongressen dette spÃ¸rsmÃ¥let pÃ¥ samme mÃ¥te som den hadde lÃ¸st " -"spÃ¸rsmÃ¥let om platespillere og automatiske pianoer. Ja, kabel-TV-selskapene " -"mÃ¥tte betale for innholdet som de kringkastet, men prisen de mÃ¥tte betale " -"ble ikke satt av opphavsrettsinnehaveren. Prisen ble fastsatt ved lov, slik " -"at kringkasterne ikke kunne utÃ¸ve vetomakt over den nye teknologien kabel-" -"TV. Kabel-TV-selskapene bygde dermed deres imperium delvis ved Ã¥ " -"<quote>rÃ¸ve</quote> verdien skapt av kringkasternes innhold." - -#. f19 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See, for example, National Music Publisher's Association, <citetitle>The " -"Engine of Free Expression: Copyright on the Internet—The Myth of Free " -"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #13</ulink>. <quote>The threat of piracy—the use of " -"someone else's creative work without permission or compensation—has " -"grown with the Internet.</quote>" -msgstr "" -"Se for eksempel National Music Publisher's Association, <citetitle>The " -"Engine of Free Expression: Copyright on the Internet—The Myth of Free " -"Information</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #13</ulink>. <quote>Trusselen fra piratvirksomhet—" -"bruken av noen andres kreative verker uten tillatelse eller " -"kompensasjons—har vokst med Internettet.</quote>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>These separate stories</emphasis> sing a common " -"theme. If <quote>piracy</quote> means using value from someone else's " -"creative property without permission from that creator—as it is " -"increasingly described today<placeholder type=\"footnote\" id=\"0\"/> " -"— then <emphasis>every</emphasis> industry affected by copyright today " -"is the product and beneficiary of a certain kind of piracy. Film, records, " -"radio, cable TV. … The list is long and could well be expanded. Every " -"generation welcomes the pirates from the last. Every generation—until " -"now." -msgstr "" -"<emphasis role='strong'>Disse separate historiene</emphasis> synger en " -"felles melodi. Hvis <quote>piratvirksomhet</quote> betyr Ã¥ bruke verdien " -"fra noen andres kreative eiendom uten tillatelse fra dets skaper—slik " -"det stadig oftere beskrives i dag<placeholder type=\"footnote\" id=\"0\"/> " -"—da er <emphasis>enhver</emphasis> industri pÃ¥virket av opphavsrett i " -"dag produktet og de som har nytt godt av ulike former for piratvirksomhet. " -"Film, plater, radio, kabel-TV. … Listen er lang og kunne vÃ¦rt " -"lengre. Hver generasjon Ã¸nsker piratene fra den forrige velkommen. Hver " -"generasjon—inntil nÃ¥." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER FIVE: <quote>Piracy</quote>" -msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>There is piracy</emphasis> of copyrighted material. " -"Lots of it. This piracy comes in many forms. The most significant is " -"commercial piracy, the unauthorized taking of other people's content within " -"a commercial context. Despite the many justifications that are offered in " -"its defense, this taking is wrong. No one should condone it, and the law " -"should stop it." -msgstr "" -"Det rÃ¸ves opphavsrettsbeskyttet materiale. Massevis. Og denne " -"piratvirksomheten antar mange former. Den mest betydningsfulle er " -"kommersiell piratvirksomhet, det Ã¥ ta andres innhold uten lov i en " -"kommersiell setting. PÃ¥ tross av de mange forklaringer om hvorfor dette er " -"greit som fremfÃ¸res i dets forsvar, sÃ¥ er dette galt. Ingen bÃ¸r gÃ¥ god for " -"det, og loven bÃ¸r stoppe det." - -#. PAGE BREAK 76 -#. type: Content of: <book><part><chapter><para> -msgid "" -"But as well as copy-shop piracy, there is another kind of <quote>taking</" -"quote> that is more directly related to the Internet. That taking, too, " -"seems wrong to many, and it is wrong much of the time. Before we paint this " -"taking <quote>piracy,</quote> however, we should understand its nature a bit " -"more. For the harm of this taking is significantly more ambiguous than " -"outright copying, and the law should account for that ambiguity, as it has " -"so often done in the past." -msgstr "" -"Men pÃ¥ samme mÃ¥te som med piratvirksomheten til kopierings-firma, sÃ¥ " -"<quote>tas</quote> det pÃ¥ en annen mÃ¥te som er mer direkte relatert til " -"Internettet. Denne mÃ¥ten Ã¥ ta pÃ¥ virker galt for mante, og det er galt mye " -"av tiden. FÃ¸r vi kaller det Ã¥ ta pÃ¥ denne mÃ¥ten for <quote>piratvirksomhet</" -"quote>, bÃ¸r vi dog forstÃ¥ dets natur litt mer. For skaden som denne formen " -"for Ã¥ ta gjÃ¸r er betydelig mer tvetydig enn direkte kopiering, og loven bÃ¸r " -"ta hensyn til denne tvetydigheten, slik den har gjort ofte tidligere. " - -#. type: Content of: <book><part><chapter><section><title> -msgid "Piracy I" -msgstr "Piratvirksomhet I" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Asia, commercial piracy in" -msgstr "Asia, kommersiell piratvirksomhet i" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "CDs" -msgstr "CDer" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "foreign piracy of" -msgstr "utenlands piratvirksomhet mot" - -#. f1 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See IFPI (International Federation of the Phonographic Industry), " -"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " -"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk," -"</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11." -msgstr "" -"Se IFPI (International Federation of the Phonographic Industry), " -"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " -"juli 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #14</ulink>. Se ogsÃ¥ Ben Hunt, <quote>Companies Warned on Music " -"Piracy Risk</quote>, <citetitle>Financial Times</citetitle>, 14. februar " -"2003, 11." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"All across the world, but especially in Asia and Eastern Europe, there are " -"businesses that do nothing but take others people's copyrighted content, " -"copy it, and sell it—all without the permission of a copyright owner. " -"The recording industry estimates that it loses about $4.6 billion every year " -"to physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out " -"to one in three CDs sold worldwide). The MPAA estimates that it loses $3 " -"billion annually worldwide to piracy." -msgstr "" -"Over hele verden, men spesielt i Asia og Ãst-Europa, er det selskaper som " -"ikke gjÃ¸r annet enn Ã¥ ta andre folks opphavsrettsbeskyttede innhold, " -"kopierer det og selger det—alt dette uten tillatelse fra " -"opphavsrettseieren. Musikkindustrien estimerer at de taper rundt $4,6 " -"milliarder hvert Ã¥r pÃ¥ fysisk piratvirksomhet <placeholder type=\"footnote\" " -"id=\"0\"/> (det blir ca. en av tre CD-er solgt pÃ¥ verdensbasis). MPAA " -"estimerer at de taper $3 milliarder pÃ¥ verdensbasis pÃ¥ piratvirksomhet." - -#. type: Content of: <book><part><chapter><section><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 enkelt og greit piratvirksomhet. Ingenting i argumentet i denne " -"boken, og heller ikke i argumentet til de fleste folkene som omtaler temaet " -"i denne boken, bÃ¸r trekke i tvil dette enkle poenget: Slik piratvirksomhet " -"er galt." - -#. type: Content of: <book><part><chapter><section><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 "" -"Hvilket ikke er Ã¥ si at unnskyldninger og begrunnelser ikke kan lages for " -"det. Vi kan, for eksempel, minne oss selv om at for de fÃ¸rste hundre Ã¥rene " -"USA har vÃ¦rt republikk, respekterte ikke USA utenlandske " -"opphavsrettigheter. Vi ble pÃ¥ en mÃ¥te skapt som en piratnasjon. Det kan " -"dermed synes hyklersk for oss Ã¥ insistere sÃ¥ sterkt at andre utviklingsland " -"skal behandle som galt det vi, for de fÃ¸rste hundre Ã¥rene vi eksisterte, " -"behandlet som riktig." - -#. type: Content of: <book><part><chapter><section><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 "" -"Denne unnskyldningen er ikke veldig vektig. Teknisk sett forbÃ¸d ikke vÃ¥rt " -"lovverk Ã¥ ta utenlandske verker. Det begrenset seg eksplisitt til " -"amerikanske verker. Dermed brÃ¸t de amerikanske forleggerne som publiserte " -"utenlandske verker uten tillatelse fra de utenlandske forfattere noen " -"regler. Kopierings-selskapene i Asia bryter derimot loven i Asia. Loven i " -"Asia beskytter utenlandsk opphavsrett, og aktiviteten til kopierings-" -"selskapene bryter den loven. SÃ¥ det at piratvirksomheten er galt er ikke " -"bare moralsk galt, men juridisk galt. Og ikke bare galt i fÃ¸lge " -"internasjonal lovgiving, men ogsÃ¥ juridisk galt etter lokal lovgiving." - -#. PAGE BREAK 77 -#. type: Content of: <book><part><chapter><section><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 "" -"Joda, disse reglene har i praksis blitt pÃ¥tvunget disse landene. Intet land " -"kan vÃ¦re del av verdensÃ¸konomien og velge Ã¥ ikke beskytte opphavsrett " -"internasjonalt. Vi ble kanskje skapt som en piratnasjon, men vi tillater " -"ingen annen nasjon Ã¥ ha en tilsvarende barndom." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "agricultural patents" -msgstr "landbrukspatenter" - -#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary> -msgid "Drahos, Peter" -msgstr "Drahos, Peter" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Peter Drahos with John Braithwaite, Information Feudalism: " -"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " -"Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " -"Property Rights (TRIPS) agreement obligates member nations to create " -"administrative and enforcement mechanisms for intellectual property rights, " -"a costly proposition for developing countries. Additionally, patent rights " -"may lead to higher prices for staple industries such as agriculture. Critics " -"of TRIPS question the disparity between burdens imposed upon developing " -"countries and benefits conferred to industrialized nations. TRIPS does " -"permit governments to use patents for public, noncommercial uses without " -"first obtaining the patent holder's permission. Developing nations may be " -"able to use this to gain the benefits of foreign patents at lower prices. " -"This is a promising strategy for developing nations within the TRIPS " -"framework. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" -msgstr "" -"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " -"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " -"10–13, 209. Avtalen om handelsrelaterte aspektene av immaterielle " -"rettigheter (TRIPS) forplikter medlemsnasjonene til Ã¥ fÃ¥ pÃ¥ plass " -"administrative og hÃ¥ndhevingsmekanismer for immaterielle rettigheter, " -"hvilket er et kostbar forslag for utviklingsland. I tillegg kan " -"patentrettigheter fÃ¸re til hÃ¸yere priser for grunnleggende industrier som " -"landbruk. Kritikerne av TRIPS stiller spÃ¸rsmÃ¥l om avviket mellom " -"belastningen den legger pÃ¥ utviklingland og fordelene den gir til " -"industrialiserte land. TRIPS tillater myndigheter Ã¥ bruke patenter til ikke-" -"kommersielle formÃ¥l som kommer folket til gode uten Ã¥ fÃ¸rst fÃ¥ tillatelse " -"fra patentinnehaveren. Utviklingsland kan vÃ¦re i stand til Ã¥ bruke dette " -"til Ã¥ fÃ¥ fordelene fra utenlandske patenter til lavere priser. Dette er en " -"lovende strategi for utviklingsland innenfor TRIPS-rammeverket. <placeholder " -"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"If a country is to be treated as a sovereign, however, then its laws are its " -"laws regardless of their source. The international law under which these " -"nations live gives them some opportunities to escape the burden of " -"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " -"view, more developing nations should take advantage of that opportunity, but " -"when they don't, then their laws should be respected. And under the laws of " -"these nations, this piracy is wrong." -msgstr "" -"Men likevel, hvis et land skal behandles som selvstendig da er landets lover " -"landets lover, uavhengig av deres kilde. De internasjonale lovene som disse " -"landene lever under gir dem noen muligheter til Ã¥ slippe unna byrden til " -"immaterielle rettighetslover.<placeholder type=\"footnote\" id=\"0\"/> Etter " -"mitt syn burde flere utviklingsland utnytte den muligheten, men nÃ¥r de ikke " -"gjÃ¸r det bÃ¸r deres lover likevel respekteres. Og i fÃ¸lge lovene i disse " -"landene, er piratvirksomhet galt." - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Liebowitz, Stan" -msgstr "Liebowitz, Stan" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"For an analysis of the economic impact of copying technology, see Stan " -"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " -"Amacom, 2002), 144–90. <quote>In some instances … the impact of " -"piracy on the copyright holder's ability to appropriate the value of the " -"work will be negligible. One obvious instance is the case where the " -"individual engaging in pirating would not have purchased an original even if " -"pirating were not an option.</quote> Ibid., 149. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"For en analyse av den Ã¸konomiske effekten av kopieringsteknologi, se Stan " -"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " -"Amacom, 2002), 144–190. <quote>I noen tilfeller … vil effekten " -"av piratvirksomhet pÃ¥ opphavsrettsinnehaverens mulighet til Ã¥ nyte godt av " -"verdien av verket vil vÃ¦re neglisjerbart. Et Ã¥penbart tilfelle er der " -"individet som tar nyter godt av piratvirksomheten ikke ville ha kjÃ¸pt " -"originalen selv om piratvirksomhet ikke var en mulighet.</quote> Ibid., " -"149. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Alternatively, we could try to excuse this piracy by noting that in any " -"case, it does no harm to the industry. The Chinese who get access to " -"American CDs at 50 cents a copy are not people who would have bought those " -"American CDs at $15 a copy. So no one really has any less money than they " -"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Alternativt, sÃ¥ kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten ved Ã¥ " -"legge merke til at det uansett ikke skader industrien. Kineserne som fÃ¥r " -"tilgang til amerikanske CDer for 50 cent pr. utgave er ikke folk som ville " -"kjÃ¸pt disse CDene for #15 per utgave. SÃ¥ ingen har egentlig noe mindre " -"penger enn de ellers ville hatt.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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, <quote>You wouldn't go into " -"Barnes & Noble and take a book off of the shelf without paying; why " -"should it be any different with on-line music?</quote> The difference is, of " -"course, that when you take a book from Barnes & Noble, it has one less " -"book to sell. By contrast, when you take an MP3 from a computer network, " -"there is not one less CD that can be sold. The physics of piracy of the " -"intangible are different from the physics of piracy of the tangible." -msgstr "" -"Dette er ofte riktig (selv om jeg har venner som har kjÃ¸pt flere tusen " -"piratkopierte DVDer og som helt klart har nok penger til Ã¥ betale for " -"innholdet de har tatt), og det begrenser til en hvis grad skaden forÃ¥rsaket " -"av Ã¥ ta pÃ¥ denne mÃ¥ten. Ekstremister i denne debatten elsker Ã¥ si, " -"<quote>Du ville ikke gÃ¥ inn pÃ¥ Barnes & Noble og ta en bok fra hyllen " -"der uten Ã¥ betale. Hvorfor skulle det vÃ¦re noe annerledes med musikk pÃ¥ " -"nettet?</quote> Forskjellen er, naturligvis, at nÃ¥r du tar en bok fra Barnes " -"& Noble sÃ¥ er det en mindre bok som kan selges. Dette er forskjellig " -"fra nÃ¥r du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD " -"som kan selges. Fysikken til rÃ¸ving av det uhÃ¥ndgripelige er forskjellig " -"fra fysikken til rÃ¸ving av det hÃ¥ndgripelige." - -#. PAGE BREAK 78 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This argument is still very weak. However, although copyright is a property " -"right of a very special sort, it <emphasis>is</emphasis> a property right. " -"Like all property rights, the copyright gives the owner the right to decide " -"the terms under which content is shared. If the copyright owner doesn't want " -"to sell, she doesn't have to. There are exceptions: important statutory " -"licenses that apply to copyrighted content regardless of the wish of the " -"copyright owner. Those licenses give people the right to <quote>take</quote> " -"copyrighted content whether or not the copyright owner wants to sell. But " -"where the law does not give people the right to take content, it is wrong to " -"take that content even if the wrong does no harm. If we have a property " -"system, and that system is properly balanced to the technology of a time, " -"then it is wrong to take property without the permission of a property " -"owner. That is exactly what <quote>property</quote> means." -msgstr "" -"Dette er likevel et veldig dÃ¥rlig argument. For selv om opphavsretten er en " -"eiendomsrett av en veldig spesiell type, sÃ¥ <emphasis>er</emphasis> det en " -"eiendomsrett. PÃ¥ samme mÃ¥te som med alle eiendomsretter gir opphavsretten " -"eieren retten til Ã¥ bestemme vilkÃ¥rene for nÃ¥r innholdet blir delt. Hvis " -"opphavsrettseieren ikke Ã¸nsker Ã¥ selge, sÃ¥ mÃ¥ hun ikke det. Det finnes " -"unntak: viktige lovbestemte lisenser som gjelder for opphavsrettsbeskyttet " -"innhold uavhengig av Ã¸nsket til opphavsrettseieren. Disse lisensene gir " -"folk retten til Ã¥ <quote>ta</quote> opphavsrettsbeskyttet innhold uavhengig " -"av om opphavsrettseieren Ã¸nsker Ã¥ selge eller ikke. Men der loven ikke gir " -"folk retten til Ã¥ ta innhold, sÃ¥ er det galt Ã¥ ta det innholdet selv om det " -"ikke gjÃ¸r noen skade Ã¥ gjÃ¸re dette gale. Hvis vi har et eiendomssystem og " -"det systemet er skikkelig balansert opp mot teknologien i tiden, sÃ¥ er det " -"galt Ã¥ ta eiendom uten tillatelse fra eiendomseieren. Det er nÃ¸yaktig hva " -"<quote>eiendom</quote> betyr." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "in Asia" -msgstr "i Asia" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "free software/open-source software (FS/OSS)" -msgstr "fri programvare/Ã¥pen kildekode-programvare (FS/OSS)" - -#. type: Content of: <book><chapter><section><section><para><indexterm><primary> -msgid "GNU/Linux operating system" -msgstr "GNU/Linux-operativsystemet" - -#. type: Content of: <book><chapter><section><section><para><indexterm><primary> -msgid "Linux operating system" -msgstr "Linux-operativsystemet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "competitive strategies of" -msgstr "konkurransemessige strategier for" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Windows" -msgstr "Windows" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "international software piracy of" -msgstr "internasjonal piratkopiering av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "Windows operating system of" -msgstr "Windows-operativsystemet til" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Finally, we could try to excuse this piracy with the argument that the " -"piracy actually helps the copyright owner. When the Chinese <quote>steal</" -"quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft " -"loses the value of the software that was taken. But it gains users who are " -"used to life in the Microsoft world. Over time, as the nation grows more " -"wealthy, more and more people will buy software rather than steal it. And " -"hence over time, because that buying will benefit Microsoft, Microsoft " -"benefits from the piracy. If instead of pirating Microsoft Windows, the " -"Chinese used the free GNU/Linux operating system, then these Chinese users " -"would not eventually be buying Microsoft. Without piracy, then, Microsoft " -"would lose." -msgstr "" -"Til slutt kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten med argumentet " -"om at piratvirksomheten faktisk hjelper opphavsrettseieren. NÃ¥r kineserne " -"<quote>stjeler</quote> Windows, sÃ¥ gjÃ¸r det kineserne avhengig av " -"Microsoft. Microsoft mister verdien til programvaren som ble tatt, men det " -"vinner brukere som er vant til livet i Microsoft-verdenen. Over tid, etter " -"hvert som nasjonen blir mer velstÃ¥ende, vil flere og flere folk kjÃ¸pe " -"programvare is stedet for Ã¥ stjele den. Og dermed vil det over tid, pÃ¥ " -"grunn av at disse kjÃ¸pene kommer Microsoft til gode, vil Microsoft tjene pÃ¥ " -"piratvirksomheten. Hvis kineserne i stedet for Ã¥ piratkopiere Windows, " -"brukte det fritt tilgjengelige operativsystemet GNU/Linux, sÃ¥ ville disse " -"kinesiske brukerne ikke til slutt kjÃ¸pe Microsoft. Uten piratvirksomheten " -"ville dermed Microsoft tape." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "law" -msgstr "loven" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "databases of case reports in" -msgstr "databaser med saksrapporter om" - -#. type: Content of: <book><part><chapter><section><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 "" -"Det er ogsÃ¥ noe sant i dette argumentet. Ã gjÃ¸re folk avhengig er en god " -"strategi. Mange selskaper praktiserer det. Noen gjÃ¸r det godt pÃ¥ grunn av " -"det. Juss-studenter, for eksempel, fÃ¥r gratis tilgang til de to stÃ¸rste " -"juridiske databasene. Begge selskapenes markedsfÃ¸rer dette i hÃ¥p om at " -"studentene vil bli sÃ¥ vant til deres tjenester at de vil Ã¸nske Ã¥ bruke deres " -"tjeneste og ikke konkurrentens nÃ¥r de blir advokater (og mÃ¥ betale hÃ¸y " -"abonnementsavgift)." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Netscape" -msgstr "Netscape" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Internet Explorer" -msgstr "Internet Exporer" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Still, the argument is not terribly persuasive. We don't give the alcoholic " -"a defense when he steals his first beer, merely because that will make it " -"more likely that he will buy the next three. Instead, we ordinarily allow " -"businesses to decide for themselves when it is best to give their product " -"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " -"give its product away, as it did, for example, with Internet Explorer to " -"fight Netscape. A property right means giving the property owner the right " -"to say who gets access to what—at least ordinarily. And if the law " -"properly balances the rights of the copyright owner with the rights of " -"access, then violating the law is still wrong." -msgstr "" -"Likevel er ikke dette argumentet spesielt overbevistende. Vi gir ikke " -"alkoholikeren et forsvar nÃ¥r han stjeler sin fÃ¸rste Ã¸l, kun pÃ¥ grunn av at " -"det vil gjÃ¸re det mer sannsynlig at han vil betale for de tre neste. I " -"stedet lar vi vanligvis bedrifter bestemme selv nÃ¥r det er best for dem Ã¥ gi " -"bort deres produkter. Hvis Microsoft frykter konkurransen fra GNU/Linux, sÃ¥ " -"kan Microsoft gi bort produktet sitt, slik de for eksempel gjorde med " -"Internet Explorer for Ã¥ bekjempe Netscape. En eiendomsrett betyr Ã¥ la " -"eiendomseieren ha retten til Ã¥ si hvem som fÃ¥r tilgang til hva—i hvert " -"fall vanligvis. Og hvis loven ordentlig balanserer rettighetene til " -"opphavsrettighetseieren med rettighetene for tilgang, sÃ¥ er det Ã¥ bryte " -"loven fortsatt galt." - -#. PAGE BREAK 79 -#. type: Content of: <book><part><chapter><section><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, selv om jeg forstÃ¥r dragningen mot disse begrunnelsene for " -"piratvirksomhet, og helt klart ser motivasjonen, sÃ¥ er konklusjonen etter " -"mitt syn til slutt, at disse forsÃ¸kene pÃ¥ Ã¥ begrunne kommersiell " -"piratvirksomhet ganske enkelt ikke holder. Denne typen piratvirksomhet er " -"krampaktig og ganske enkelt galt. Den endrer ikke innholdet den stjeler, " -"den endrer ikke markedet den konkurrerer i. Den gir kun noen tilgang til noe " -"som loven sier at han ikke skulle hatt. Ingenting har endret for Ã¥ skape " -"tvil om loven. Denne formen for piratvirksomhet er rett ut galt." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But as the examples from the four chapters that introduced this part " -"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> " -"is. Or at least, not all <quote>piracy</quote> is wrong if that term is " -"understood in the way it is increasingly used today. Many kinds of " -"<quote>piracy</quote> are useful and productive, to produce either new " -"content or new ways of doing business. Neither our tradition nor any " -"tradition has ever banned all <quote>piracy</quote> in that sense of the " -"term." -msgstr "" -"Men som eksemplene fra de fire kapitlene som introduserte denne delen " -"foreslÃ¥r, selv om noe piratvirksomhet helt klart er galt, er ikke all " -"<quote>piratvirksomhet</quote> galt. Eller i det minste er ikke all " -"<quote>piratvirksomhet</quote> galt hvis uttrykket skal forstÃ¥s slik det i " -"stadig stÃ¸rre grad blir brukt i dag. Mange typer <quote>piratvirksomhet</" -"quote> er nyttig og produktivt, enten for Ã¥ produsere nytt innhold eller nye " -"mÃ¥ter Ã¥ drive forretninger. Hverken vÃ¥r tradisjon eller noen annen " -"tradisjon har noen sinne bannlyst all <quote>piratvirksomhet</quote> i den " -"betydningen av uttrykket." - -#. type: Content of: <book><part><chapter><section><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 ikke er reist noen spÃ¸rsmÃ¥l pÃ¥ grunn av den nyeste " -"piratvirksomhetsbekymringen, peer-to-peer-fildeling. Men det betyr at vi " -"trenger Ã¥ forstÃ¥ skaden i peer-to-peer-deling litt mer fÃ¸r vi dÃ¸mmer den til " -"galgen med anklager om piratvirksomhet." - -#. type: Content of: <book><part><chapter><section><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) pÃ¥ samme mÃ¥te som det opprinnelige Hollywood, rÃ¸mmer p2p-fildeling " -"fra en altfor kontrollerende industri og (2) pÃ¥ samme mÃ¥te som den " -"opprinnelige innspillingsindustrien, ganske enkelt utnytter den nye mÃ¥ter Ã¥ " -"spre innhold pÃ¥, men (3) til forskjell fra kabel-TV er det ingen som selger " -"innholdet som blir delt med p2p-tjenester." - -#. type: Content of: <book><part><chapter><section><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 skiller p2p-deling fra virkelig piratvirksomhet. " -"Forskjellen bÃ¸r fÃ¥ oss til Ã¥ finne en mÃ¥te Ã¥ beskytte kunstnerne mens vi " -"gjÃ¸r det mulig for denne delingen Ã¥ overleve." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Piracy II" -msgstr "Piratvirksomhet II" - -#. f4 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777)." -msgstr "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777)." - -#. PAGE BREAK 80 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The key to the <quote>piracy</quote> that the law aims to quash is a use " -"that <quote>rob[s] the author of [his] profit.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> This means we must determine whether and how much " -"p2p sharing harms before we know how strongly the law should seek to either " -"prevent it or find an alternative to assure the author of his profit." -msgstr "" -"NÃ¸kkelen til <quote>piratvirksomheten</quote> som loven tar sikte pÃ¥ Ã¥ " -"skvise er den bruken som <quote>frata forfatteren overskuddet</quote>." -"<placeholder type=\"footnote\" id=\"0\"/> Dette betyr vi mÃ¥ avgjÃ¸re hvorvidt " -"og hvor mye p2p-deling skader fÃ¸r vi vet hvor sterkt loven bÃ¸r sÃ¸ke Ã¥ enten " -"hindre det eller finne et alternativ for Ã¥ sikre forfatteren hans overskudd." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "innovation" -msgstr "innovasjon" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Fanning, Shawn" -msgstr "Fanning, Shawn" - -#. type: Content of: <book><part><chapter><section><para><indexterm><primary> -msgid "Christensen, Clayton M." -msgstr "Christensen, Clayton M." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> See Clayton M. Christensen, " -"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " -"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " -"2000). Professor Christensen examines why companies that give rise to and " -"dominate a product area are frequently unable to come up with the most " -"creative, paradigm-shifting uses for their own products. This job usually " -"falls to outside innovators, who reassemble existing technology in inventive " -"ways. For a discussion of Christensen's ideas, see Lawrence Lessig, " -"<citetitle>Future</citetitle>, 89–92, 139. <placeholder type=" -"\"indexterm\" id=\"1\"/>" -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Se Clayton M. Christensen, " -"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " -"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " -"2000). Professor Christensen undersÃ¸ker hvorfor selskaper som gir opphav " -"til og dominerer et produktomrÃ¥de ofte ikke er i stand til Ã¥ komme opp med " -"de mest kreative, paradigmeskiftende mÃ¥tene Ã¥ bruke deres egne produkter " -"pÃ¥. Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter " -"sammen eksisterende teknologi pÃ¥ nyskapende mÃ¥ter. For en diskusjon om " -"Christensens idÃ©er, se Lawrence Lessig, <citetitle>Future</citetitle>, " -"89–92, 139. <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Peer-to-peer sharing was made famous by Napster. But the inventors of the " -"Napster technology had not made any major technological innovations. Like " -"every great advance in innovation on the Internet (and, arguably, off the " -"Internet as well<placeholder type=\"footnote\" id=\"0\"/>), Shawn Fanning " -"and crew had simply put together components that had been developed " -"independently." -msgstr "" -"Peer-to-peer-deling ble gjort berÃ¸mt av Napster. Men oppfinnerne av Napster-" -"teknologien hadde ikke gjort noen store teknologiske nyskapninger. Som " -"ethvert stort steg i nyskapningen pÃ¥ Internettet (og, kan det argumenteres " -"for, utenfor Internettet<placeholder type=\"footnote\" id=\"0\"/>) hadde " -"Shawn Fanning og hans bemanning ganske enkelt satt sammen deler som hadde " -"blitt utviklet uavhengig av hverandre." - -#. f6 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</" -"quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, " -"A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</" -"citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " -"Secures New Financing,</quote> <citetitle>San Francisco Chronicle</" -"citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> " -"<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, " -"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" -"citetitle>, 26 July 2002, 18." -msgstr "" -"Se Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare</" -"quote>, <citetitle>San Francisco Chronicle</citetitle>, 24. september 2002, " -"A1; <quote>Rock 'n' Roll Suicide</quote>, <citetitle>New Scientist</" -"citetitle>, 6. juli 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " -"Secures New Financing</quote>, <citetitle>San Francisco Chronicle</" -"citetitle>, 23. mai 2003, C1; <quote>Napster's Wake-Up Call,</quote> " -"<citetitle>Economist</citetitle>, 24. juni 2000, 23; John Naughton, " -"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" -"citetitle>, 26. juli 2002, 18." - -#. type: Content of: <book><part><chapter><section><para> -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 "" -"Resultatet var en eksplosjon. Etter lansering i juli 1999, samlet Napster " -"over 10 millioner brukere i lÃ¸pet av ni mÃ¥neder. Etter atten mÃ¥neder var " -"det nesten 80 millioner registrerte brukere av systemet.<placeholder type=" -"\"footnote\" id=\"0\"/> Rettsaker skjÃ¸t Napster raskt ned, men andre " -"tjenester dukket opp for Ã¥ overta plassen. (Kazaa er for tiden den mest " -"populÃ¦re p2p-tjenesten. Den skryter av over 100 millioner medlemmer.) " -"Disse tjenestene har en anderledes arkitektur selv om de ikke er veldig " -"forskjellige i funksjon: Hver av dem gjÃ¸r det mulig for brukerne Ã¥ gjÃ¸re " -"innhold tilgjengelig til et ubegrenset antall andre brukere. Med et p2p-" -"system kan du dele dine favorittsanger med dine beste venner— eller " -"dine 20 000 beste venner." - -#. f7 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " -"Distribution</citetitle> (September 2002), reporting that 28 percent of " -"Americans aged twelve and older have downloaded music off of the Internet " -"and 30 percent have listened to digital music files stored on their " -"computers." -msgstr "" -"Se Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " -"Distribution</citetitle> (september 2002), som rapporterer at 28 prosent av " -"amerikanere eldre enn tolv Ã¥r hadde lastet musikk ned fra Internettet og 30 " -"prosent hadde lyttet til digitale musikkfiler lagred pÃ¥ sine datamaskiner." - -#. f8 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " -"<citetitle>New York Times</citetitle>, 6 June 2003, A1." -msgstr "" -"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " -"<citetitle>New York Times</citetitle>, 6. juni 2003, A1." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"According to a number of estimates, a huge proportion of Americans have " -"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " -"estimated that 60 million Americans had downloaded music—28 percent of " -"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " -"by the NPD group quoted in <citetitle>The New York Times</citetitle> " -"estimated that 43 million citizens used file-sharing networks to exchange " -"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " -"majority of these are not kids. Whatever the actual figure, a massive " -"quantity of content is being <quote>taken</quote> on these networks. The " -"ease and inexpensiveness of file-sharing networks have inspired millions to " -"enjoy music in a way that they hadn't before." -msgstr "" -"I fÃ¸lge en rekke estimater har en stor andel av amerikanere testet " -"fildelings-teknologi. En studie av Ipsos-Insight i september 2002 estimerte " -"at 60 millioner amerikanere har lastet ned musikk—28 prosent av " -"amerikanerne over 12.<placeholder type=\"footnote\" id=\"0\"/> En " -"spÃ¸rreundersÃ¸kelse fra NPD-gruppen sitert i <citetitle>The New York Times</" -"citetitle> estimerte at 43 millioner innbyggere brukte fildelingsnettverk " -"for Ã¥ utveksle innhold i mai 2003.<placeholder type=\"footnote\" id=\"1\"/> " -"De aller fleste av dem er ikke unger. Uansett hva de egentlige tallene er, " -"en massiv mengde innhold blir <quote>tatt</quote> pÃ¥ disse nettverkene. " -"Enkelheten og den lave kostnaden til fildelingsnettverkene har inspirert " -"millioner til Ã¥ nyte musikk pÃ¥ mÃ¥ter de ikke fÃ¸r hadde gjort." - -#. type: Content of: <book><part><chapter><section><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 "" -"Noe av denne nytelsen involverer brudd pÃ¥ opphavsretten. Noe av den gjÃ¸r " -"det ikke. Og selv for den delen som teknisk sett er brudd pÃ¥ opphavsretten " -"er det Ã¥ beregne den faktiske skaden pÃ¥fÃ¸rt opphavsrettseierne mer " -"komplisert enn en skulle tro. Vurder—litt mer nÃ¸ye enn de polariserte " -"stemmene i denne debatten vanligvis gjÃ¸r—de ulike typer deling som " -"fildeling muliggjÃ¸r, og hva slags skader de innebÃ¦rer." - -#. PAGE BREAK 81 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"File sharers share different kinds of content. We can divide these different " -"kinds into four types." -msgstr "" -"Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i " -"fire typer." - -#. A. -#. type: Content of: <book><part><chapter><section><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 delingsnettverk som erstatninger for Ã¥ kjÃ¸pe " -"innhold. Dermed vil disse i stedet for Ã¥ kjÃ¸pe den nÃ¥r en ny Madonna-CD " -"blir gitt ut, ganske enkelt ta den. Vi kan diskutere om alle som tar den " -"ville ha kjÃ¸pt den hvis deling ikke gjorde den gratis tilgjengelig. De " -"fleste ville sannsynligvis ikke det, men det er Ã¥penbart noen som ville " -"det. Den siste gruppen er mÃ¥let for kategori A: Brukere som laster ned i " -"stedet for Ã¥ kjÃ¸pe." - -#. B. -#. type: Content of: <book><part><chapter><section><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 delingsnettverk til Ã¥ teste musikk fÃ¸r de kjÃ¸per " -"den. For eksempel kan noen sende en en MP3 til en av sine venner med en " -"artist han aldri har hÃ¸rt om. Denne vennen kjÃ¸per sÃ¥ CDer av denne " -"artisten. Dette er en slags mÃ¥lrettet reklame som har stor suksessrate. " -"Hvis en venn som anbefaler albumet ikke har noen fordeler av Ã¥ gi en dÃ¥rlig " -"anbefaling, sÃ¥ kan en forvente at anbefalingene faktisk vil vÃ¦re ganske " -"gode. Totaleffekten av denne delingen kan Ã¸ke mengden musikk som blir kjÃ¸pt." - -#. C. -#. type: Content of: <book><part><chapter><section><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 <quote>recalling</quote> old songs. She was astonished at the " -"range and mix of content that was available.) For content not sold, this is " -"still technically a violation of copyright, though because the copyright " -"owner is not selling the content anymore, the economic harm is zero—" -"the same harm that occurs when I sell my collection of 1960s 45-rpm records " -"to a local collector." -msgstr "" -"Det er mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " -"opphavsrettsbeskyttet innhold som ikke lenger er til salgs, eller som de " -"ikke ville ha kjÃ¸pt pÃ¥ grunn av at transaksjonskostnadene pÃ¥ nettet er for " -"hÃ¸ye. Denne bruken av delingsnettverk er blant det mange finner mest " -"givende. Sanger som var del av din barndom men som har forsvunnet fra " -"markedsplassen dukker magisk opp igjen pÃ¥ nettet. (En venn fortalte meg at " -"da hun oppdaget Napster, tilbrakte hun en hel helg med <quote>Ã¥ mimre</" -"quote> over gamle sanger. Hun var overrasket over omfanget og variasjonen i " -"innhold som var tilgjengelig. For innhold som ikke blir solgt, sÃ¥ er dette " -"fortsatt teknisk sett brudd pÃ¥ opphavsretten, selv om pÃ¥ grunn av at " -"opphavsrettseieren ikke selger innholdet lenger sÃ¥ er den Ã¸konomiske skaden " -"null—den samme skaden som inntreffer nÃ¥r jeg selger min samling med 45-" -"rpm grammofonplater fra 1960-tallet til en lokal samler." - -#. PAGE BREAK 82 -#. D. -#. type: Content of: <book><part><chapter><section><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 er det mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " -"innhold som ikke er opphavsrettsbeskyttet eller der opphavsrettseieren " -"Ã¸nsker Ã¥ gi det bort." - -#. type: Content of: <book><part><chapter><section><para> -msgid "How do these different types of sharing balance out?" -msgstr "Hvordan balanserer disse ulike delingstypene?" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " -"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " -"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Let's start with some simple but important points. From the perspective of " -"the law, only type D sharing is clearly legal. From the perspective of " -"economics, only type A sharing is clearly harmful.<placeholder type=" -"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " -"Type C sharing is illegal, yet good for society (since more exposure to " -"music is good) and harmless to the artist (since the work is not otherwise " -"available). So how sharing matters on balance is a hard question to " -"answer—and certainly much more difficult than the current rhetoric " -"around the issue suggests." -msgstr "" -"La oss starte med noen enkle men viktige poeng. Fra lovens perspektiv er " -"det kun type-D-deling som helt klart er lovlig. Fra et Ã¸konomisk perspektiv " -"er det kun type-A-deling som helt klart forÃ¥rsaker skade.<placeholder type=" -"\"footnote\" id=\"0\"/> Type-B-deling er ulovlig men gir klare fordeler. " -"Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til " -"musikk er bra) og skadelig for artistene (siden verket ellers ikke er " -"tilgjengelig. SÃ¥ det er vanskelig Ã¥ avgjÃ¸re hvordan deling kommer ut totalt " -"sett—og helt klart mye vanskeligere enn den gjeldende retorikken rundt " -"temaet foreslÃ¥r." - -#. type: Content of: <book><part><chapter><section><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 <quote>theft</quote> that is <quote>devastating</" -"quote> the industry." -msgstr "" -"Hvorvidt deling er skadelig totalt sett er mye avhengig av hvor skadelig " -"type-A-deling er. Slik Edison klaget over Hollywood, komponister klaget " -"over pianoruller, plateartister klaget over radio og kringkastere klaget " -"over kabel-TV, klager musikkindustrien over at type-A-deling er en slags " -"<quote>tyveri</quote> som vil <quote>Ã¸delegge</quote> industrien." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cassette recording" -msgstr "kassettopptak" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "VCRs" -msgstr "Videospillere/opptakere" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> See Cap Gemini Ernst & Young, " -"<citetitle>Technology Evolution and the Music Industry's Business Model " -"Crisis</citetitle> (2003), 3. This report describes the music industry's " -"effort to stigmatize the budding practice of cassette taping in the 1970s, " -"including an advertising campaign featuring a cassette-shape skull and the " -"caption <quote>Home taping is killing music.</quote> At the time digital " -"audio tape became a threat, the Office of Technical Assessment conducted a " -"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " -"had taped music to a cassette format. U.S. Congress, Office of Technology " -"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the " -"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing " -"Office, October 1989), 145–56." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Se Cap Gemini Ernst & Young, " -"<citetitle>Technology Evolution and the Music Industry's Business Model " -"Crisis</citetitle> (2003), 3. Denne rapporten beskriver musikkindustriens " -"innsats for Ã¥ stigmatisere den voksende praksis med Ã¥ ta opp pÃ¥ kassett pÃ¥ " -"1970-tallet, inkludert en reklamekampanje med en kasse-formet hodeskalle og " -"uttrykket <quote>Home taping is killing music</quote>. PÃ¥ det tidspunktet " -"som digitale lydkassetter ble en trussel, utfÃ¸rte the Office of Technical " -"Assessment en spÃ¸rreundersÃ¸kelse om forbrukeroppfÃ¸rsel. I 1988 hadde 40 " -"prosent av forbrukerne eldre enn ti tatt opp musikk pÃ¥ et kassettformat. U." -"S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home " -"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " -"D.C.: U.S. Government Printing Office, oktober 1989), 145–56." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"While the numbers do suggest that sharing is harmful, how harmful is harder " -"to reckon. It has long been the recording industry's practice to blame " -"technology for any drop in sales. The history of cassette recording is a " -"good example. As a study by Cap Gemini Ernst & Young put it, " -"<quote>Rather than exploiting this new, popular technology, the labels " -"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels " -"claimed that every album taped was an album unsold, and when record sales " -"fell by 11.4 percent in 1981, the industry claimed that its point was " -"proved. Technology was the problem, and banning or regulating technology was " -"the answer." -msgstr "" -"Mens disse tallene jo foreslÃ¥r at deling er skadelig, sÃ¥ er det vanskeligere " -"Ã¥ finne ut hvor skadelig det er. Det har lenge vÃ¦rt praksis for " -"platebransjen Ã¥ skylde pÃ¥ teknologi for all nedgang i salg. Historien til " -"kassettopptak er et godt eksempel. Som et studie av Cap Gemini Ernst & " -"Young formulerer det: <quote>I stedet for Ã¥ utforske denne nye populÃ¦re " -"teknologien, sloss selskapene imot den.</quote><placeholder type=\"footnote" -"\" id=\"0\"/> Selskapene pÃ¥sto at hvert album som ble tatt opp pÃ¥ kassett " -"var et album som ikke ble solgt, og da platesalget falt med 11,4 prosent i " -"1981, pÃ¥sto industrien at dets poeng var bevist. Teknologien var problemet, " -"og forbud eller regulering av teknologien var svaret." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MTV" -msgstr "MTV" - -#. f11 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." -msgstr "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Yet soon thereafter, and before Congress was given an opportunity to enact " -"regulation, MTV was launched, and the industry had a record turnaround. " -"<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' " -"… was not the fault of the tapers—who did not [stop after MTV " -"came into being]—but had to a large extent resulted from stagnation in " -"musical innovation at the major labels.</quote><placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"Ikke lenge etterpÃ¥, og fÃ¸r kongressen fikk muligheten til Ã¥ innfÃ¸re " -"reguleringer, ble MTV lansert, og industrien fikk et rekordoppsving. " -"<quote>Til slutt</quote>, konkluderte Cap Gemini, <quote>var ikke " -"<quote>krisen</quote> … forÃ¥rsaket av de som tok opp pÃ¥ kassett—" -"som ikke [sluttet etter at MTV dukket opp]—men hadde i stor grad vÃ¦rt " -"resultatet av en stagnasjon i musikknyskapningen hos de store selskapene.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 <emphasis>how</" -"emphasis> harmful type A sharing is, and how beneficial the other types of " -"sharing are." -msgstr "" -"Men det at industrien har tatt feil fÃ¸r betyr ikke at de tar feil i dag. " -"For Ã¥ evaluere den virkelige trusselen som p2p-deling representerer for " -"industrien spesielt, og samfunnet generelt—eller i hvert fall det " -"samfunnet som arvet tradisjonen som ga oss filmindustrien, plateindustrien, " -"radioindustrien, kabel-TV og videospilleren—sÃ¥ er ikke spÃ¸rsmÃ¥let kun " -"om type-A-deling er skadelig. SpÃ¸rsmÃ¥let er ogsÃ¥ <emphasis>hvor</emphasis> " -"skadelig type-A-deling er, og hvor nyttige de andre typene deling er." - -#. type: Content of: <book><part><chapter><section><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 " -"<quote>net harm</quote> to the industry as a whole is the amount by which " -"type A sharing exceeds type B. If the record companies sold more records " -"through sampling than they lost through substitution, then sharing networks " -"would actually benefit music companies on balance. They would therefore have " -"little <emphasis>static</emphasis> reason to resist them." -msgstr "" -"Vi gÃ¥r igang med Ã¥ svare pÃ¥ dette spÃ¸rsmÃ¥let ved Ã¥ fokusere pÃ¥ netto skade, " -"sett fra industrien som helhet, som delingsnettverkene forÃ¥rsaker. " -"<quote>Netto skade</quote> for industrien som helhet er verdien av type-A-" -"deling som overgÃ¥r type B. Hvis plateselskapene solgte flere plater som " -"resultat av at folk testet musikken enn de taper gjennom at en lar vÃ¦re Ã¥ " -"kjÃ¸pe, sÃ¥ har delingsnettverkene totalt sett faktisk vÃ¦rt til fordel for " -"musikkselskapene. De ville dermed ha liten <emphasis>*static*</emphasis> " -"grunn til Ã¥ motarbeide dem." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "sales levels of" -msgstr "salgsnivÃ¥ for" - -#. type: Content of: <book><part><chapter><section><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 vÃ¦re riktig? Kan industrien som helhet Ã¸ke i omfang pÃ¥ grunn av " -"fildeling? Selv om det kan hÃ¸res rart ut, sÃ¥ foreslÃ¥r faktisk salgstall for " -"CD-er at det ikke er langt unna sannheten." - -#. f12 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Recording Industry Association of America, <citetitle>2002 Yearend " -"Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #15</ulink>. A later report indicates even greater losses. See " -"Recording Industry Association of America, <citetitle>Some Facts About Music " -"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit " -"shipments of recorded music have fallen by 26 percent from 1.16 billion " -"units in to 860 million units in 2002 in the United States (based on units " -"shipped). In terms of sales, revenues are down 14 percent, from $14.6 " -"billion in to $12.6 billion last year (based on U.S. dollar value of " -"shipments). The music industry worldwide has gone from a $39 billion " -"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " -"dollar value of shipments).</quote>" -msgstr "" -"Se Recording Industry Association of America, <citetitle>2002 Yearend " -"Statistics</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/" -"notes/\">link #15</ulink>. En senere rapport indikerer enda stÃ¸rre tap. Se " -"Recording Industry Association of America, <citetitle>Some Facts About Music " -"Piracy</citetitle>, 25. juni 2003, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #16</ulink>: <quote>I de siste fire Ã¥rene har " -"antall utsendinger av enheter innspilt musikk falt med 26 prosent fra 1,16 " -"milliarder enheter til 860 millioner enheter i 2002 i USA (basert pÃ¥ antall " -"utsendt). I salg er omsetning redusert med 14 prosent, fra $14,6 milliarder " -"til $12,6 milliarder siste Ã¥r (basert pÃ¥ US dollar-verdi for utsendingene). " -"Musikkindustrien pÃ¥ verdensbasis har gÃ¥tt ned fra Ã¥ vÃ¦re en $39 milliarders " -"industri i 2000 til Ã¥ bli en $32 milliarders industri i 2002 (basert pÃ¥ US " -"dollarverdi for utsendinger.</quote>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Black, Jane" -msgstr "Black, Jane" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, " -"13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Jane Black, <quote>Big Music's Broken Record</quote>, BusinessWeek online, " -"13. februar 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " -"million to 803 million units; revenues fell 6.7 percent.<placeholder type=" -"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " -"RIAA blames Internet piracy for the trend, though there are many other " -"causes that could account for this drop. SoundScan, for example, reports a " -"more than 20 percent drop in the number of CDs released since 1999. That no " -"doubt accounts for some of the decrease in sales. Rising prices could " -"account for at least some of the loss. <quote>From 1999 to 2001, the average " -"price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder " -"type=\"footnote\" id=\"1\"/> Competition from other forms of media could " -"also account for some of the decline. As Jane Black of " -"<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film " -"<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could " -"get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote" -"\" id=\"2\"/>" -msgstr "" -"I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882 " -"millioner til 803 millioner enheter, og inntektene hadde falt 6,7 prosent." -"<placeholder type=\"footnote\" id=\"0\"/> Dette bekrefter en trend fra de " -"siste Ã¥rene. RIAA skylder pÃ¥ piratvirksomhet pÃ¥ Internett for denne " -"trenden, selv om det er mange andre Ã¥rsaker som kan forklare denne " -"reduksjonen. SoundScan rapporterte for eksempel om en reduksjon pÃ¥ over 20 " -"prosent siden 1999 nÃ¥r det gjelder antall CD-er er gitt ut Dette er uten " -"tvil Ã¥rsaken til noe av nedgangen i salget. Stigende priser kan ogsÃ¥ ha " -"bidratt til noe av tapet. <quote>Fra 1999 til 201 steg den gjennomsnittlige " -"prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.</quote><placeholder " -"type=\"footnote\" id=\"1\"/> Konkurranse fra andre typer media kan ogsÃ¥ " -"forklare noe av nedgangen. Som Jane Black i <citetitle>BusinessWeek</" -"citetitle> kommenterer, <quote>Lydsporet for filmen <citetitle>High " -"Fidelity</citetitle> har en listepris pÃ¥ $19,98. Du kan fÃ¥ hele filmen [pÃ¥ " -"DVD] for $19,99.</quote><placeholder type=\"footnote\" id=\"2\"/>" - -#. PAGE BREAK 84 -#. type: Content of: <book><part><chapter><section><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 har rett, at all nedgangen i CD-salg er forÃ¥rsaket " -"av deling pÃ¥ Internett. Her er hvor det skurrer: I samme periode som RIAA " -"estimerer at 803 milloner CDer ble solgt, estimerer RIAA at 2,1 milliarder " -"CD-er ble lastet ned gratis. Dermed selv om 2,6 ganger det totale antallet " -"CDer ble lastet ned gratis, sÃ¥ falt salgsinntektene med kun 6,7 prosent." - -#. type: Content of: <book><part><chapter><section><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, <quote>What's the difference between downloading a " -"song and stealing a CD?</quote>—but their own numbers reveal the " -"difference. If I steal a CD, then there is one less CD to sell. Every taking " -"is a lost sale. But on the basis of the numbers the RIAA provides, it is " -"absolutely clear that the same is not true of downloads. If every download " -"were a lost sale—if every use of Kazaa <quote>rob[bed] the author of " -"[his] profit</quote>—then the industry would have suffered a 100 " -"percent drop in sales last year, not a 7 percent drop. If 2.6 times the " -"number of CDs sold were downloaded for free, and yet sales revenue dropped " -"by just 6.7 percent, then there is a huge difference between " -"<quote>downloading a song and stealing a CD.</quote>" -msgstr "" -"Det er for mange ulike ting som skjer samtidig til Ã¥ forklare disse tallene " -"med sikkerhet, men en konklusjon er uunngÃ¥elig: Musikkindustrien spÃ¸r " -"stadig, <quote>Hva er forskjellen mellom Ã¥ laste ned en sang og Ã¥ stjele en " -"CD?</quote>—men deres egne tall avslÃ¸rer forskjellen. Hvis jeg " -"stjeler en CD, sÃ¥ er det en mindre CD Ã¥ selge. Hvert eneste som blir tatt " -"er et tapt salg. Men basert pÃ¥ tallene som RIAA gjÃ¸r tilgjengelig, sÃ¥ er " -"det helt klart at det samme ikke er sant for nedlastinger. Hvis hver " -"nedlasting var et tapt salg—hvis hver bruk av Kazaa <quote>fratok " -"forfatteren overskuddet</quote>—da skulle industrien vÃ¦rt pÃ¥fÃ¸rt 100 " -"prosent reduksjon i salg i fjor, ikke e 7 prosents nedgang. Hvis 2,6 ganger " -"antallet solgte CDer ble lastet ned gratis, og salgsinntektene kun ble " -"redusert med 6,7 prosent, sÃ¥ er det en stor forskjell mellom Ã¥ <quote>laste " -"ned en sang og Ã¥ stjele en CD</quote>." - -#. type: Content of: <book><part><chapter><section><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 "" -"Dette er skadene—pÃ¥stÃ¥tte og muligens overdrevende men, la oss anta at " -"de er reelle. Hva er fordelene? Fildeling pÃ¥fÃ¸rer muligens kostnader for " -"plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene?" - -#. f15 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"By one estimate, 75 percent of the music released by the major labels is no " -"longer in print. See Online Entertainment and Copyright Law—Coming " -"Soon to a Digital Device Near You: Hearing Before the Senate Committee on " -"the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of " -"the Future of Music Coalition), available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #18</ulink>." -msgstr "" -"Et estimat forteller at 75 prosent av musikken gitt ut av de store " -"plateselskapene ikke lenger trykkes opp. Se Online Entertainment and " -"Copyright Law—Coming Soon to a Digital Device Near You: HÃ¸ring foran " -"the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001) " -"(forberedt innlegg av the Future of Music Coalition), tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #18</ulink>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"One benefit is type C sharing—making available content that is " -"technically still under copyright but is no longer commercially available. " -"This is not a small category of content. There are millions of tracks that " -"are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/" -"> And while it's conceivable that some of this content is not available " -"because the artist producing the content doesn't want it to be made " -"available, the vast majority of it is unavailable solely because the " -"publisher or the distributor has decided it no longer makes economic sense " -"<emphasis>to the company</emphasis> to make it available." -msgstr "" -"En fordel er type-C-deling—Ã¥ gjÃ¸re innhold tilgjengelig som teknisk " -"sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt " -"tilgjengelig. Dette er ikke en liten kategori med innhold Det er millioner " -"av spor som ikke lenger er kommersielt tilgjengelig.<placeholder type=" -"\"footnote\" id=\"0\"/> Og mens det kan tenkes at noe av dette innholdet " -"ikke er tilgjengelig fordi artisten som laget innholdet ikke Ã¸nsker at det " -"blir gjort tilgjengelig, sÃ¥ er det meste av dette utilgjengelig kun fordi " -"forlaget eller distributÃ¸ren har bestemt at det ikke lenger gir Ã¸konomisk " -"mening <emphasis>for selskapet</emphasis> Ã¥ gjÃ¸re det tilgjengelig." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "books" -msgstr "bÃ¸ker" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "resales of" -msgstr "bruktsalg av" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good " -"estimates of the number of used record stores in existence, in 2002, there " -"were 7,198 used book dealers in the United States, an increase of 20 percent " -"since 1993. See Book Hunter Press, <citetitle>The Quiet Revolution: The " -"Expansion of the Used Book Market</citetitle> (2002), available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " -"accounted for $260 million in sales in 2002. See National Association of " -"Recording Merchandisers, <quote>2002 Annual Survey Results,</quote> " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Mens det ikke finnes noen gode " -"estimater over antallet bruktplatebutikker, sÃ¥ var det i 2002 7 7198 " -"bruktbokhandler i USA, en Ã¸kning pÃ¥ 20 prosent siden 1993. Se Book Hunter " -"Press, <citetitle>The Quiet Revolution: The Expansion of the Used Book " -"Market</citetitle> (2002), tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #19</ulink>. Brukte plater utgjorde $260 millioner i salg " -"i 2002. Se National Association of Recording Merchandisers, <quote>2002 " -"Annual Survey Results</quote>, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #20</ulink>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In real space—long before the Internet—the market had a simple " -"response to this problem: used book and record stores. There are thousands " -"of used book and used record stores in America today.<placeholder type=" -"\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " -"content they buy. And under American copyright law, when they buy and sell " -"this content, <emphasis>even if the content is still under copyright</" -"emphasis>, the copyright owner doesn't get a dime. Used book and record " -"stores are commercial entities; their owners make money from the content " -"they sell; but as with cable companies before statutory licensing, they " -"don't have to pay the copyright owner for the content they sell." -msgstr "" -"I den virkelige verden—lenge fÃ¸r Internettet—hadde markedet et " -"enkelt svar pÃ¥ dette problemet: bruktbok- og bruktplate-butikker. Det er " -"tusenvis av butikker for brukte bÃ¸ker og plater i Amerika i dag.<placeholder " -"type=\"footnote\" id=\"0\"/> Disse butikkene kjÃ¸per innhold fra eierne og " -"selger sÃ¥ videre innholdet de kjÃ¸pte. Og i fÃ¸lge amerikansk Ã¥ndsverkslov, " -"nÃ¥r de kjÃ¸per og selger dette innholdet, <emphasis>selv om innholdet " -"fortsatt er vernet av Ã¥ndsverksloven</emphasis>, sÃ¥ fÃ¥r ikke " -"opphavsrettseieren et Ã¸re. Bruktbok- og bruktplatebutikkene er kommersielle " -"aktÃ¸rer. Deres eiere tjener penger pÃ¥ innholdet de selger, men pÃ¥ samme " -"mÃ¥te som med kabel-TV-selskapene fÃ¸r lovbestemt lisensiering mÃ¥ de ikke " -"betale opphavsrettseierene for innholdet de selger." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Bernstein, Leonard" -msgstr "Bernstein, Leonard" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "out of print" -msgstr "utsolgt fra forlaget" - -#. type: Content of: <book><part><chapter><section><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 <quote>Two Love Songs,</quote> I still have it. That " -"difference would matter economically if the owner of the copyright were " -"selling the record in competition to my sharing. But we're talking about the " -"class of content that is not currently commercially available. The Internet " -"is making it available, through cooperative sharing, without competing with " -"the market." -msgstr "" -"Type-C-deling har dermed veldig mye til felles med bruktbok- og " -"bruktplatebutikker. Det er naturligvis ogsÃ¥ veldig forskjellig, fordi " -"personen som gjÃ¸r innhold tilgjengelig tjener ikke penger pÃ¥ Ã¥ gjÃ¸re " -"innholdet tilgjengelig. Det er naturligvis ogsÃ¥ forskjellig fra i den " -"virkelige verden ved at nÃ¥r jeg selger en plate sÃ¥ har jeg den ikke lenger, " -"mens pÃ¥ nettet nÃ¥r jeg deler min 1949-plate av Bernsteins <quote>Two Love " -"Songs</quote> med noen, sa har jeg den fortsatt. Denne forskjellen betyr noe " -"Ã¸konomisk hvis eieren av opphavsretten selger platen i konkurranse med min " -"deling. Men vi snakker om den klassen av innhold som nÃ¥ ikke er kommersielt " -"tilgjengelig. Internettet gjÃ¸r det tilgjengelig, gjennom samarbeidende " -"deling, uten Ã¥ konkurrere med markedet." - -#. type: Content of: <book><part><chapter><section><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 vÃ¦re, nÃ¥r alle faktorer vurderes, at det ville vÃ¦rt bedre om " -"opphavsrettseieren fikk noe fra denne handelen. Men det at det kunne vÃ¦rt " -"bedre fÃ¸rer ikke til at det ville vÃ¦rt en god ide Ã¥ forby bruktbokbutikker. " -"Eller sagt pÃ¥ en annen mÃ¥te, hvis du tror type-C-deling burde vÃ¦rt stoppet, " -"mener du ogsÃ¥ at biblioteker og bruktbokhandler ogsÃ¥ burde vÃ¦rt stengt?" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "free on-line releases of" -msgstr "gratis online-utgivelser av" - -#. PAGE BREAK 86 -#. type: Content of: <book><part><chapter><section><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, <citetitle>Down and Out in the Magic " -"Kingdom</citetitle>, both free on-line and in bookstores on the same day. " -"His (and his publisher's) thinking was that the on-line distribution would " -"be a great advertisement for the <quote>real</quote> book. People would read " -"part on-line, and then decide whether they liked the book or not. If they " -"liked it, they would be more likely to buy it. Doctorow's content is type D " -"content. If sharing networks enable his work to be spread, then both he and " -"society are better off. (Actually, much better off: It is a great book!)" -msgstr "" -"Til slutt, og kanskje mest viktig, muliggjÃ¸r fildelingsnettverk type-D-" -"deling—delingen av innhold som opphavsrettseierne Ã¸nsker Ã¥ fÃ¥ delt " -"eller der det ikke er vert etter Ã¥ndsverksloven. Denne delingen er klart " -"til fordel for forfattere og samfunnet. Science fiction-forfatteren Cory " -"Doctorow, for eksempel, utga sin fÃ¸rste roman, <citetitle>Down and Out in " -"the Magic Kingdom</citetitle>, bÃ¥de fritt tilgjengelig pÃ¥ nettet og i " -"bokhandler pÃ¥ samme dag. Han (og hans forlag) mente at distribusjon pÃ¥ " -"nettet ville vÃ¦re flott markedsfÃ¸ring for den <quote>ekte</quote> boken. " -"Folk ville lese deler pÃ¥ nettet, og sÃ¥ bestemme seg for om de likte boken " -"eller ikke. Hvis de likte den, sÃ¥ var det mer sannsynlig at de kjÃ¸pte den. " -"Doctorows innhold er type-D-innhold. Hvis delingsnettverkene gjÃ¸r det mulig " -"Ã¥ spre hans verk, sÃ¥ kommer bÃ¥de han og samfunnet bedre ut. (Faktisk sÃ¥ " -"kommer de mye bedre ut: det er en god bok!)" - -#. type: Content of: <book><part><chapter><section><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 for allemannseide verk: Denne delingen gagner samfunnet " -"uten noen juridisk skade mot forfattere i det hele tatt. Hvis innsats for Ã¥ " -"lÃ¸se problemet med type-A-deling Ã¸delegger muligheten for type-D-deling, sÃ¥ " -"mister vi noe viktig for Ã¥ beskytte type-A-innhold." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The point throughout is this: While the recording industry understandably " -"says, <quote>This is how much we've lost,</quote> we must also ask, " -"<quote>How much has society gained from p2p sharing? What are the " -"efficiencies? What is the content that otherwise would be unavailable?</" -"quote>" -msgstr "" -"Poenget med alt dette er: Selv om plateindustrien forstÃ¥elig nok sier, " -"<quote>Dette er hvor mye vi har tapt</quote>, sÃ¥ mÃ¥ vi ogsÃ¥ spÃ¸rre oss " -"<quote>hvor mye har samfunnet fÃ¥tt igjen fra p2p-deling? Hva gjÃ¸r oss mer " -"effektive? Hva er innholdet som ellers ville vÃ¦re utilgjengelig?</quote>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"For unlike the piracy I described in the first section of this chapter, much " -"of the <quote>piracy</quote> that file sharing enables is plainly legal and " -"good. And like the piracy I described in chapter <xref xrefstyle=\"select: " -"labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a " -"new way of spreading content caused by changes in the technology of " -"distribution. Thus, consistent with the tradition that gave us Hollywood, " -"radio, the recording industry, and cable TV, the question we should be " -"asking about file sharing is how best to preserve its benefits while " -"minimizing (to the extent possible) the wrongful harm it causes artists. The " -"question is one of balance. The law should seek that balance, and that " -"balance will be found only with time." -msgstr "" -"For til forskjell fra piratvirksomheten jeg beskrev i fÃ¸rste seksjon av " -"dette kapittelet, er mye av <quote>piratvirksomheten</quote> som fildeling " -"gjÃ¸r mulig klart lovlig og bra. Og i likhet med piratvirksomheten jeg " -"beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"pirates" -"\"/>, sÃ¥ er mye av denne piratvirksomheten motivert av de nye mÃ¥tene Ã¥ spre " -"innhold pÃ¥ som er forÃ¥rsaket av endringer i distribusjonsteknologien. " -"Dermed, konsistent med tradisjonen som ga oss Hollywood, radio, " -"plateindustrien og kabel-TV, er spÃ¸rsmÃ¥let vi bÃ¸r stille om fildeling om " -"hvordan vi best kan bevare dets fordeler mens vi minimerer (sÃ¥ langt det er " -"mulig) de uÃ¸nskede skadene de pÃ¥fÃ¸rer kunstnere. SpÃ¸rsmÃ¥let er et om " -"balanse. Loven bÃ¸r strebe etter den balansen, og den balansen blir funnet " -"kun etter en tid." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<quote>But isn't the war just a war against illegal sharing? Isn't the " -"target just what you call type A sharing?</quote>" -msgstr "" -"<quote>Men er ikke krigen bare en krig mot ulovlig deling? Er ikke " -"angrepsmÃ¥let bare det du kaller type-A-deling?</quote>" - -#. f17 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " -"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " -"account of the litigation and its toll on Napster, see Joseph Menn, " -"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" -"citetitle> (New York: Crown Business, 2003), 269–82." -msgstr "" -"Se referat fra forhandlingene, In Re: Napster Copyright Litigation ved 34-35 " -"(N.D. Cal., 11. juli 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #21</" -"ulink>. For en oppsummering av sÃ¸ksmÃ¥let og dets effekt pÃ¥ Napster, se " -"Joseph Menn, <citetitle>All the Rave: The Rise and Fall of Shawn Fanning's " -"Napster</citetitle> (New York: Crown Business, 2003), 269–82." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"You would think. And we should hope. But so far, it is not. The effect of " -"the war purportedly on type A sharing alone has been felt far beyond that " -"one class of sharing. That much is obvious from the Napster case itself. " -"When Napster told the district court that it had developed a technology to " -"block the transfer of 99.4 percent of identified infringing material, the " -"district court told counsel for Napster 99.4 percent was not good enough. " -"Napster had to push the infringements <quote>down to zero.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"En skulle tro det. Og vi bÃ¸r hÃ¥pe pÃ¥ det. Men sÃ¥ langt er det ikke " -"tilfelle. Effekten som krigen som pÃ¥stÃ¥s Ã¥ kun vÃ¦re mot type-A-deling har " -"blitt kjent langt uten den klassen med deling. Det er Ã¥penbart fra Napster-" -"saken selv. Da Napster fortalte *district*-retten at den hadde utviklet " -"teknologi som ville blokkere for 99,4 prosent av identifisert " -"opphavsrettsbrytende materiale, fortalte *district*-retten advokatene til " -"Napster at 99,4 prosent var ikke godt nok. Napster mÃ¥tte fÃ¥ " -"opphavsrettsbruddene <quote>ned til null</quote>.<placeholder type=\"footnote" -"\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 ikke er godt nok, sÃ¥ er dette en krig mot " -"fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd. Det er ikke " -"mulig Ã¥ sikre at et p2p-system brukes 100 prosent av tiden i henhold til " -"loven, like lite som det er mulig Ã¥ sikre at 100 prosent av videospillere " -"eller 100 prosent av kopimaskiner eller 100 prosent av hÃ¥ndvÃ¥pen blir brukt " -"i henhold til loven. Ingen toleranse betyr ingen p2p. Rettens avgjÃ¸relser " -"betyr at vi som samfunn mÃ¥ miste fordelene med p2p, selv for de fullstendig " -"lovlige og fordelaktige bruksomrÃ¥dene som de tjener, kun for Ã¥ sikre at de " -"ikke er brudd pÃ¥ opphavsretten forÃ¥rsaket av p2p." - -#. type: Content of: <book><part><chapter><section><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 har ikke vÃ¦rt vÃ¥r historie. Det har ikke gitt oss " -"innholdsindustrien som vi kjenner i dag. Historien til amerikansk lovgiving " -"har vÃ¦rt en prosess om balanse. Etter hvert som nye teknologier endret " -"mÃ¥ten innhold ble spredt sÃ¥ har loven justert seg, etter litt tid, til Ã¥ " -"mÃ¸te den nye teknologien. I denne justeringen har loven forsÃ¸kt Ã¥ sikre " -"legitime rettigheter til skaperne mens den beskytter nyskapning. Noen gang " -"har det gitt mer rettigheter til skaperne, og noen ganger mindre." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "composers, copyright protections of" -msgstr "komponister, opphavsrettsbeskyttelser for" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "music recordings played on" -msgstr "musikkinnspillinger spillt pÃ¥" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "copyright protections in" -msgstr "opphavsrettbeskyttelser i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "composer's rights vs. producers' rights in" -msgstr "komponistens rettigheter versus produsentenes rettigheter i" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"So, as we've seen, when <quote>mechanical reproduction</quote> threatened " -"the interests of composers, Congress balanced the rights of composers " -"against the interests of the recording industry. It granted rights to " -"composers, but also to the recording artists: Composers were to be paid, but " -"at a price set by Congress. But when radio started broadcasting the " -"recordings made by these recording artists, and they complained to Congress " -"that their <quote>creative property</quote> was not being respected (since " -"the radio station did not have to pay them for the creativity it broadcast), " -"Congress rejected their claim. An indirect benefit was enough." -msgstr "" -"Dermed, slik vi har sett, nÃ¥r <quote>mekanisk reprodusjon</quote> truet " -"interessene til komponister, balanserte kongressen rettighetene til " -"komponistene mot interessene til plateindustrien. Den ga rettigheter til " -"komponistene, men ogsÃ¥ til plateartistene: Komponistene skulle fÃ¥ betalt, " -"men til en pris satt av kongressen. Men da radio begynte kringkasting av " -"platene laget av disse plateartistene, og de klaget til kongressen om at " -"deres <quote>kreative eiendom</quote> ikke ble respektert (siden en " -"radiostasjon ikke mÃ¥tte betale dem for kreativiteten den kringkastet), da " -"avviste kongressen kravet. En indirekte fordel var nok." - -#. type: Content of: <book><part><chapter><section><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 fulgte samme mÃ¸nster som plater. Da retten avviste kravet om at " -"kabel-TV-kringkasterne mÃ¥tte betale for innholdet de videre-kringkastet, sÃ¥ " -"svarte kongressen med Ã¥ gi kringkasterne rett til betaling, men pÃ¥ et nivÃ¥ " -"fastsatt av loven. De ga pÃ¥ samme mÃ¥te kabel-TV-selskapene rett til " -"innholdet, sÃ¥ lenge de betalte den lovbestemte prisen." - -#. PAGE BREAK 88 -#. type: Content of: <book><part><chapter><section><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 <emphasis>compensation</emphasis> " -"without giving the past (broadcasters) control over the future (cable)." -msgstr "" -"Dette kompromisset, pÃ¥ samme mÃ¥te som kompromisset som pÃ¥virket plater og " -"automatiske piano, oppnÃ¥dde to mÃ¥l—faktisk de to sentrale mÃ¥lene i " -"enhver opphavsrettslovgiving. For det fÃ¸rste, sikret loven at nye " -"oppfinnere ville ha friheten til Ã¥ utvikle nye mÃ¥ter Ã¥ levere innhold pÃ¥. " -"For det andre, sikret loven at opphavsrettsinnehaverne ville fÃ¥ betalt for " -"innholdet som ble distribuert. En frykt var at hvis kongressen ganske " -"enkelt krevde at kabel-TV-selskapene mÃ¥te betale opphavsrettsinnehaverne " -"uansett hva de krevde for sitt innhold, sÃ¥ ville opphavsrettsinnehaverne " -"knyttet til kringkastere bruke sin makt til Ã¥ hemme denne nye teknologien " -"kabel-TV. Men hvis kongressen hadde tillat kabel-TV Ã¥ bruke kringkasternes " -"innhold uten Ã¥ betale, sÃ¥ ville den gitt urettferdig subsidiering til kabel-" -"TV. Dermed valgte kongressen en sti som ville sikre <emphasis>kompensasjon</" -"emphasis> uten Ã¥ gi fortiden (kringkasterne) kontroll over fremtiden (kabel-" -"TV)." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Betamax" -msgstr "Betamax" - -#. type: Content of: <book><part><chapter><section><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 <quote>record</quote> button, the device could " -"be used to record copyrighted movies and shows. Sony was therefore " -"benefiting from the copyright infringement of its customers. It should " -"therefore, Disney and Universal claimed, be partially liable for that " -"infringement." -msgstr "" -"Samme Ã¥r som kongressen valgte denne balansen, gikk to store produsenter og " -"distributÃ¸rer av filminnhold til sak mot en annen teknologi, videospiller/" -"opptakeren som Sony hadde produsert, Betamax. Disneys og Universals pÃ¥stand " -"mot Sony var relativt enkelt: Sony produserte en enhet, pÃ¥sto Disney og " -"Universal, som gjorde det mulig for forbrukere Ã¥ gjennomfÃ¸re " -"opphavsrettsbrudd. PÃ¥ grunn av at enheten Sony hadde laget hadde en " -"<quote>opptaks-knapp</quote>, kunne enheten bli brukt til Ã¥ ta opp " -"opphavsrettsbeskyttede filmer og programmer. Sony hadde derfor fordel av " -"opphavsrettsbruddene til sine kunder og skulle derfor, pÃ¥sto Disney og " -"Universal, vÃ¦re delvis ansvarlig or disse bruddene." - -#. PAGE BREAK 89 -#. type: Content of: <book><part><chapter><section><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 <quote>copy me</quote> signal on the line. It " -"was clear that there were many television shows that did not grant anyone " -"permission to copy. Indeed, if anyone had asked, no doubt the majority of " -"shows would not have authorized copying. And in the face of this obvious " -"preference, Sony could have designed its system to minimize the opportunity " -"for copyright infringement. It did not, and for that, Disney and Universal " -"wanted to hold it responsible for the architecture it chose." -msgstr "" -"Det er noe i pÃ¥standene til Disney og Universal. Sony valgte Ã¥ utforme sin " -"maskin slik at det var veldig enkelt Ã¥ ta opp TV-programmer. De kunne ha " -"bygget maskinen slik at den blokkerte eller hindret enhver direkte kopiering " -"fra en TV-kringkasting. Eller sÃ¥ kunne de muligens ha bygget maskinen slik " -"at det kun var mulig Ã¥ kopiere hvis det var et spesielt <quote>kopier meg</" -"quote>-signal pÃ¥ linjen. Det var klart at det var mange TV-programmer som " -"ikke ga noen tillatelse til Ã¥ kopiere. Faktisk ville en, hvis en spurte, " -"uten tvil fÃ¥tt beskjed fra flertallet av programmer at de ikke tillot " -"kopiering. Og i mÃ¸tet med denne Ã¥penbare Ã¸nsket, kunne Sony ha utformet " -"systemet sitt for Ã¥ minimere muligheten for opphavsrettsbrudd. Det gjorde " -"de ikke, og pÃ¥ grunn av dette ville Disney og Universal holde dem ansvarlig " -"for arkitekturen de valgte." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on VCR technology" -msgstr "pÃ¥ videospiller-teknologi" - -#. f18 -#. type: Content of: <book><part><chapter><section><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 "" -"Copyright Infringements (Audio and Video Recorders): hÃ¸ring om S. 1758 foran " -"the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459 " -"(1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association " -"of America, Inc.)." - -#. f19 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "Copyright Infringements (Audio and Video Recorders), 475." -msgstr "Copyright Infringements (Audio and Video Recorders), 475." - -#. f20 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " -"of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." -msgstr "" -"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " -"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." - -#. f21 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack " -"Valenti)." -msgstr "" -"Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra " -"Jack Valenti)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"MPAA president Jack Valenti became the studios' most vocal champion. Valenti " -"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, " -"30, 40 million of these VCRs in the land, we will be invaded by millions of " -"`tapeworms,' eating away at the very heart and essence of the most precious " -"asset the copyright owner has, his copyright.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> <quote>One does not have to be trained in " -"sophisticated marketing and creative judgment,</quote> he told Congress, " -"<quote>to understand the devastation on the after-theater marketplace caused " -"by the hundreds of millions of tapings that will adversely impact on the " -"future of the creative community in this country. It is simply a question of " -"basic economics and plain common sense.</quote><placeholder type=\"footnote" -"\" id=\"1\"/> Indeed, as surveys would later show, 45 percent of VCR owners " -"had movie libraries of ten videos or more<placeholder type=\"footnote\" id=" -"\"2\"/> — a use the Court would later hold was not <quote>fair.</" -"quote> By <quote>allowing VCR owners to copy freely by the means of an " -"exemption from copyright infringement without creating a mechanism to " -"compensate copyright owners,</quote> Valenti testified, Congress would " -"<quote>take from the owners the very essence of their property: the " -"exclusive right to control who may use their work, that is, who may copy it " -"and thereby profit from its reproduction.</quote><placeholder type=\"footnote" -"\" id=\"3\"/>" -msgstr "" -"MPAA-presidenten Jack Valenti ble studioenes mest synlige forkjemper. " -"Valenti kalte videospillerne for <quote>bendelormer</quote> (engelsk: " -"tapeworm). Han advarte om at <quote>nÃ¥r det er 20, 30, 40 millioner av " -"disse videospillerne i landet, vil vi bli invadert av millioner av " -"<quote>bendelormer</quote> som spiser i vei i hjertet og essensen til den " -"mest verdifulle eiendelen som opphavsrettseieren har, hans opphavsrett</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/> <quote>En mÃ¥ ikke vÃ¦re " -"opplÃ¦rt i sofistikert markedsfÃ¸ring eller kreativ vurdering</quote>, " -"fortalte han kongressen, <quote>for Ã¥ forstÃ¥ Ã¸deleggelsen av etter-kino-" -"markedet forÃ¥rsaket av de hundrevis av millioner opptak som vil seriÃ¸st " -"pÃ¥virke fremtiden til det kreative miljÃ¸et i dette landet. Det er ganske " -"enkelt et spÃ¸rsmÃ¥l om grunnleggende Ã¸konomi og enkel sunn fornuft.</" -"quote><placeholder type=\"footnote\" id=\"1\"/> Og ganske riktig, slik " -"spÃ¸rreundersÃ¸kelser senere ville vise, 45 prosent av videospillereierne " -"hadde filmbiblioteker som inneholdt ti filmer eller mer.<placeholder type=" -"\"footnote\" id=\"2\"/> — en bruk som retten senere ville avgjÃ¸re ikke " -"var <quote>rettferdig</quote>. Ved Ã¥ <quote>tillate videospillereierne Ã¥ " -"kopiere fritt ved hjelp av et unntak fra brudd pÃ¥ opphavsrettsloven uten Ã¥ " -"lage en mekanisme for Ã¥ kompensere opphavsrettseierne</quote>, forklarte " -"Valenti, sÃ¥ ville kongressen <quote>ta fra eierne selve essensen i deres " -"eiendom: den eksklusive retten til a kontrollere hvem som kan bruke deres " -"verker, det vil si, hvem som kan kopiere det og dermed nyte godt at dets " -"reproduksjon</quote>.<placeholder type=\"footnote\" id=\"3\"/>" - -#. f22 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " -"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." -msgstr "" -"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " -"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." - -#. type: Content of: <book><part><chapter><section><para><indexterm><primary> -msgid "Kozinski, Alex" -msgstr "Kozinski, Alex" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"It took eight years for this case to be resolved by the Supreme Court. In " -"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " -"its jurisdiction—leading Judge Alex Kozinski, who sits on that court, " -"refers to it as the <quote>Hollywood Circuit</quote>—held that Sony " -"would be liable for the copyright infringement made possible by its " -"machines. Under the Ninth Circuit's rule, this totally familiar " -"technology—which Jack Valenti had called <quote>the Boston Strangler " -"of the American film industry</quote> (worse yet, it was a " -"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)" -"—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Det tok Ã¥tte Ã¥r fÃ¸r denne saken ble avgjort av hÃ¸yesterett. I mellomtiden " -"hadde den niende appellsirkel, som har Hollywood i sin jurisdiksjon—" -"den ledende dommeren Alex Kozinski, som er medlem i den domstolen, referer " -"til den som <quote>Hollywood-sirkelen</quote>—fant at Sony mÃ¥tte " -"holdes ansvarlig for de opphavsrettsbruddene som ble muliggjort med deres " -"maskiner. I fÃ¸lge niende sirkels regel var denne kjente teknologien—" -"som Jack Valenti hadde omtalt som <quote>Boston-kveleren for amerikansk " -"filmindustri</quote> (verre enn dette, det var en <emphasis>japansk</" -"emphasis> Boston-kveler for amerikansk filmindustri)— var en ulovlig " -"teknologi.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. PAGE BREAK 90 -#. type: Content of: <book><part><chapter><section><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 hÃ¸yesterett omstÃ¸tte avgjÃ¸relsen til niende appellsirkel. Og i sin " -"avgjÃ¸relse formulerte domstolen klart sin forstÃ¥else av nÃ¥r og om domstoler " -"burde intervenere i slike konflikter. Som retten skrev," - -#. f23 -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." -msgstr "" -"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Sound policy, as well as history, supports our consistent deference to " -"Congress when major technological innovations alter the market for " -"copyrighted materials. Congress has the constitutional authority and the " -"institutional ability to accommodate fully the varied permutations of " -"competing interests that are inevitably implicated by such new technology." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Fornuftig policy, og vÃ¥r historie, stÃ¸tter vÃ¥r konsistente henvisning til " -"kongressen nÃ¥r store teknologiske nyvinninger endrer markedet for " -"opphavsrettsbeskyttet materiale. Kongressen har den konstituelle " -"autoriteten og institusjonsevnen til Ã¥ ta fullt hensyn til de forskjellige " -"sammensetningene av konkurrerende interesser som uunngÃ¥elig blir involvert " -"av slik ny teknologi.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 " -"<quote>taking</quote> notwithstanding. If we put these cases together, a " -"pattern is clear:" -msgstr "" -"Kongressen ble bedt om Ã¥ svare pÃ¥ avgjÃ¸relsen fra HÃ¸yesterett. Men pÃ¥ samme " -"mÃ¥te som med appellen fra plateartistene om radiokringkastinger, ignorerte " -"kongressen denne forespÃ¸rselen. Kongressen var overbevist om at Amerikansk " -"film fikk nok, pÃ¥ tross av at det her ble <quote>tatt</quote>. Hvis vi " -"samler disse saken, trer et mÃ¸nster frem:" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "CASE" -msgstr "Tilfelle" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "WHOSE VALUE WAS <quote>PIRATED</quote>" -msgstr "Hvems verdi ble <quote>rÃ¸vet</quote>" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "RESPONSE OF THE COURTS" -msgstr "Responsen til domstolene" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "RESPONSE OF CONGRESS" -msgstr "Responsen til Kongressen" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Recordings" -msgstr "Innspillinger" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Composers" -msgstr "Komponister" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "No protection" -msgstr "Ingen beskyttelse" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Statutory license" -msgstr "Lovbestemt lisens" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Recording artists" -msgstr "Plateartister" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "N/A" -msgstr "" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Nothing" -msgstr "Ingenting" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Broadcasters" -msgstr "Kringkastere" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "VCR" -msgstr "Videospiller / opptaker" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Film creators" -msgstr "Filmskapere" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"These are the most important instances in our history, but there are other " -"cases as well. The technology of digital audio tape (DAT), for example, was " -"regulated by Congress to minimize the risk of piracy. The remedy Congress " -"imposed did burden DAT producers, by taxing tape sales and controlling the " -"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " -"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " -"4237, codified at 17 U.S.C. Â§1001. Again, however, this regulation did not " -"eliminate the opportunity for free riding in the sense I've described. See " -"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From " -"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law " -"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" " -"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Dette er de viktigste forekomstene i vÃ¥r historie, men det er ogsÃ¥ andre " -"tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT) " -"regulert av kongressen for Ã¥ minimere risikoen for piratkopiering. " -"Medisinen som kongressen valgte pÃ¥fÃ¸rte en belastning for DAT-produsenter, " -"ved Ã¥ legge en skatt pÃ¥ kassettsalg og ved Ã¥ kontrollere DAT-teknologien. Se " -"Audio Home Recording Act fra 1992 (overskrift 17 i <citetitle>United States " -"Code</citetitle>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S." -"C. Â§1001. Igjen eliminerte heller ikke denne regulereringen muligheten for " -"gratispassasjerer slik jeg har beskrevet. Se Lessig <citetitle>Future</" -"citetitle>, 71. Se ogsÃ¥ Picker, <quote>From Edison to the Broadcast Flag,</" -"quote> <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " -"293–96. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In each case throughout our history, a new technology changed the way " -"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " -"case, throughout our history, that change meant that someone got a " -"<quote>free ride</quote> on someone else's work." -msgstr "" -"I hvert tilfelle gjennom vÃ¥r historie har ny teknologi endret hvordan " -"innhold ble distribuert.<placeholder type=\"footnote\" id=\"0\"/> I hvert " -"tilfelle, gjennom hele vÃ¥r historie, har den endringen fÃ¸rt til at noen ble " -"<quote>gratispassasjer</quote> pÃ¥ noen andres verk." - -#. PAGE BREAK 91 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In <emphasis>none</emphasis> of these cases did either the courts or " -"Congress eliminate all free riding. In <emphasis>none</emphasis> of these " -"cases did the courts or Congress insist that the law should assure that the " -"copyright holder get all the value that his copyright created. In every " -"case, the copyright owners complained of <quote>piracy.</quote> In every " -"case, Congress acted to recognize some of the legitimacy in the behavior of " -"the <quote>pirates.</quote> In each case, Congress allowed some new " -"technology to benefit from content made before. It balanced the interests at " -"stake." -msgstr "" -"I <emphasis>ingen</emphasis> av disse tilfellene eliminerte domstolene og " -"kongressen alle gratispassasjerer. I <emphasis>ingen</emphasis> av disse " -"tilfellene insisterte domstolene og kongressen at loven skulle sikre at " -"opphavsrettsinnehaveren skulle fÃ¥ all verdi som hans opphavsrett hadde " -"skapt. I hvert tilfelle klaget opphavsrettseieren om " -"<quote>piratvirksomhet</quote>. I hvert tilfelle valgte kongressen Ã¥ ta " -"hensyn til noe av legitimiteten til oppfÃ¸rselen hos <quote>piratene</" -"quote>. I hvert tilfelle tillot kongressen noe ny teknologi a ha fordel av " -"innhold laget tidligere. Den balanserte interessene pÃ¥ spill." - -#. type: Content of: <book><part><chapter><section><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 "" -"NÃ¥r du tenker over disse eksemplene, og de andre eksemplene som utgjÃ¸r de " -"fÃ¸rste fire kapittelene i denne avdelingen, sÃ¥ gir denne balansen mening. " -"Var Walt Disney en pirat? Ville doujinshi vÃ¦re bedre hvis skaperne mÃ¥tte be " -"om tillatelse? BÃ¸r verktÃ¸y som gjÃ¸r det mulig for andre Ã¥ fange og spre " -"bilder som en mÃ¥te Ã¥ kultivere og kritisere vÃ¥r kultur vÃ¦re bedre hvis den " -"var regulert? Er det virkelig riktig at a bygge en sÃ¸kemotor bÃ¸r eksponere " -"deg for krav om $15 millioner i erstatning. Ville det ha vÃ¦rt bedre om " -"Edison hadde kontrollert all film? Burde et hvert cover-band mÃ¥tte hyre inn " -"en advokat for Ã¥ fÃ¥ tillatelse til Ã¥ spille inn en sang?" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on balance of interests in copyright law" -msgstr "om interesseavveininger i opphavsrettslovgivning" - -#. f25 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." -msgstr "" -"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"We could answer yes to each of these questions, but our tradition has " -"answered no. In our tradition, as the Supreme Court has stated, copyright " -"<quote>has never accorded the copyright owner complete control over all " -"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> " -"Instead, the particular uses that the law regulates have been defined by " -"balancing the good that comes from granting an exclusive right against the " -"burdens such an exclusive right creates. And this balancing has historically " -"been done <emphasis>after</emphasis> a technology has matured, or settled " -"into the mix of technologies that facilitate the distribution of content." -msgstr "" -"Vi kunne svart ja pÃ¥ hvert av disse spÃ¸rsmÃ¥lene, men vÃ¥r tradisjon har svart " -"nei. I vÃ¥r tradisjon, som hÃ¸yesterett uttalte har opphavsretten " -"<quote>aldri gitt opphavsrettseieren fullstendig kontroll over all mulig " -"bruk av hans verk</quote>.<placeholder type=\"footnote\" id=\"0\"/> I stedet " -"har de spesifikke bruksomrÃ¥der som loven regulerer vÃ¦rt definert ved Ã¥ " -"balansere de goder som kommer fra Ã¥ dele ut en eksklusiv rettighet mot " -"ulempene en slik eksklusiv rettighet skaper. Og denne balanseringen har " -"historisk vÃ¦rt gjort <emphasis>etter</emphasis> at teknologien har modnet, " -"eller landet pÃ¥ en blanding av teknologier som bidrar til distribusjonen av " -"innhold." - -#. type: Content of: <book><part><chapter><section><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 <quote>stealing</quote> from artists. But neither should the law " -"become a tool to entrench one particular way in which artists (or more " -"accurately, distributors) get paid. As I describe in some detail in the last " -"chapter of this book, we should be securing income to artists while we allow " -"the market to secure the most efficient way to promote and distribute " -"content. This will require changes in the law, at least in the interim. " -"These changes should be designed to balance the protection of the law " -"against the strong public interest that innovation continue." -msgstr "" -"Vi burde gjÃ¸re det samme i dag. Teknologien pÃ¥ Internettet endrer seg " -"raskt. MÃ¥ten folk kobler seg til Internettet (trÃ¥dbasert eller trÃ¥dlÃ¸st) " -"endrer seg veldig raskt. Uten tvil bÃ¸r ikke nettverket bli et verktÃ¸y for " -"<quote>stjeling</quote> fra kunstnere. Men loven bÃ¸r heller ikke bli et " -"verktÃ¸y for Ã¥ tvinge igjennom en bestemt mÃ¥te som kunstnere (eller mer " -"korrekt, distributÃ¸rer) fÃ¥r betalt. Som jeg beskriver i litt detalj i det " -"siste kapittelet i denne boken, bÃ¸r vi sikre inntekter til kunstnere mens vi " -"tillater markedet Ã¥ fÃ¥ pÃ¥ plass den mest effektive mÃ¥ten Ã¥ fremme og " -"distribuere innhold. Dette vil kreve endringer i loven, i hvert fall i en " -"mellomperiode. Disse endringene burde utformes slik at de balanserer " -"beskyttelsen gitt i loven mot den sterke folkeinteressen for at nyskapning " -"fortsetter." - -#. f26 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " -"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 " -"September 2003, C3." -msgstr "" -"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " -"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22. " -"september 2003, C3." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This is especially true when a new technology enables a vastly superior mode " -"of distribution. And this p2p has done. P2p technologies can be ideally " -"efficient in moving content across a widely diverse network. Left to " -"develop, they could make the network vastly more efficient. Yet these " -"<quote>potential public benefits,</quote> as John Schwartz writes in " -"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the " -"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Dette er spesielt riktig nÃ¥r en ny teknologi muliggjÃ¸r en svÃ¦rt overlegen " -"mÃ¥te Ã¥ distribuere pÃ¥. Og dette har p2p gjort. P2p-teknologier kan vÃ¦re " -"ideelt effektivt for Ã¥ flytte innhold pÃ¥ tvers av et stort og variert " -"nettverk. Utviklet videre sÃ¥ kan de gjÃ¸re nettverkene mye mer effektivt. " -"Likevel kan disse <quote>potensielle fordelene for folket</quote>, som John " -"Schwartz skriver i <citetitle>The New York Times</citetitle>, <quote>bli " -"forsinket av p2p-kampen</quote>.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about " -"<quote>balance,</quote> the copyright warriors raise a different argument. " -"<quote>All this hand waving about balance and incentives,</quote> they say, " -"<quote>misses a fundamental point. Our content,</quote> the warriors insist, " -"<quote>is our <emphasis>property</emphasis>. Why should we wait for Congress " -"to `rebalance' our property rights? Do you have to wait before calling the " -"police when your car has been stolen? And why should Congress deliberate at " -"all about the merits of this theft? Do we ask whether the car thief had a " -"good use for the car before we arrest him?</quote>" -msgstr "" -"<emphasis role='strong'>Men nÃ¥r noen</emphasis> begynner Ã¥ snakke om " -"<quote>balanse</quote>, kommer opphavsrettskrigerne med et annet argument. " -"<quote>All denne varme luften om balanse og insentiver</quote>, sier de, " -"<quote>gÃ¥r glipp av det fundamentale poenget. VÃ¥rt innhold</quote>, " -"insisterer krigerne, <quote>er vÃ¥r <emphasis>eiendom</emphasis>. Hvorfor " -"burde vi vente pÃ¥ at kongressen skal finne en ny balanse for vÃ¥re " -"eiendomsretter? MÃ¥ vi vente fÃ¸r vi kontakter politiet nÃ¥r bilen vÃ¥r har " -"blitt stjÃ¥let? Og hvorfor burde kongressen i det hele tatt debattere nytten " -"av dette tyveriet? SpÃ¸r vi dem om biltyven hadde god bruk for bilen fÃ¸r vi " -"arresterer han?</quote>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. " -"<quote>And it should be protected just as any other property is protected.</" -"quote>" -msgstr "" -"<quote>Det er <emphasis>vÃ¥r eiendom</emphasis>,</quote> insisterer krigerne. " -"<quote>og den bÃ¸r vÃ¦re beskyttet pÃ¥ samme mÃ¥te som all annen eiendom er " -"beskyttet.</quote>" - -#. type: Content of: <book><part><title> -msgid "<quote>PROPERTY</quote>" -msgstr "<quote>Eiendom</quote>" - -#. PAGE BREAK 94 -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role='strong'>The copyright warriors</emphasis> are right: A " -"copyright is a kind of property. It can be owned and sold, and the law " -"protects against its theft. Ordinarily, the copyright owner gets to hold out " -"for any price he wants. Markets reckon the supply and demand that partially " -"determine the price she can get." -msgstr "" -"<emphasis role='strong'>Opphavsretts-krigerne</emphasis> har rett: " -"Opphavsretten er en type eiendom. Den kan eies og selges, og loven beskytter " -"mot at den blir stjÃ¥let. Vanligvis, kan opphavsrettseieren be om hvilken som " -"helst pris som han Ã¸nsker. Markeder bestemmer tilbud og etterspÃ¸rsel som i " -"hvert tilfelle bestemmer prisen hun kan fÃ¥." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"But in ordinary language, to call a copyright a <quote>property</quote> " -"right is a bit misleading, for the property of copyright is an odd kind of " -"property. Indeed, the very idea of property in any idea or any expression " -"is very odd. I understand what I am taking when I take the picnic table you " -"put in your backyard. I am taking a thing, the picnic table, and after I " -"take it, you don't have it. But what am I taking when I take the good " -"<emphasis>idea</emphasis> you had to put a picnic table in the " -"backyard—by, for example, going to Sears, buying a table, and putting " -"it in my backyard? What is the thing I am taking then?" -msgstr "" -"Men i vanlig sprÃ¥k er det Ã¥ kalle opphavsrett for en <quote>eiendoms</quote>-" -"rett litt misvisende, for eiendommen i opphavsretten er en merkelig type " -"eiendom. Selve idÃ©en om eierrettigheter til en idÃ© eller et uttrykk er " -"nemlig veldig merkelig. Jeg forstÃ¥r hva jeg tar nÃ¥r jeg tar en piknik-bord " -"som du plasserte i din bakhage. Jeg tar en ting, piknik-bordet, og etter at " -"jeg tar det har ikke du det. Men hva tar jeg nÃ¥r jeg tar den gode " -"<emphasis>idÃ©en</emphasis> som du hadde om Ã¥ plassere piknik-bordet i " -"bakhagen—ved Ã¥ for eksempel dra til butikken Sears, kjÃ¸pe et bord, og " -"plassere det i min egen bakhage? Hva er tingen jeg tar da?" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Jefferson, Thomas" -msgstr "Jefferson, Thomas" - -#. f1 -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " -"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " -"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." -msgstr "" -"Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i " -"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " -"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The point is not just about the thingness of picnic tables versus ideas, " -"though that's an important difference. The point instead is that in the " -"ordinary case—indeed, in practically every case except for a narrow " -"range of exceptions—ideas released to the world are free. I don't take " -"anything from you when I copy the way you dress—though I might seem " -"weird if I did it every day, and especially weird if you are a woman. " -"Instead, as Thomas Jefferson said (and as is especially true when I copy the " -"way someone else dresses), <quote>He who receives an idea from me, receives " -"instruction himself without lessening mine; as he who lights his taper at " -"mine, receives light without darkening me.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Poenget er ikke bare om hvorvidt piknik-bord og idÃ©er er ting, selv om det " -"er en viktig forskjell. Poenget er istedet at i det vanlige tilfelle—" -"faktisk i praktisk talt ethvert tilfelle unntatt en begrenset rekke med " -"unntak—er idÃ©er sluppet ut i verden frie. Jeg tar ingenting fra deg " -"nÃ¥r jeg kopierer mÃ¥ten du kler deg—selv om det ville se sÃ¦rt ut hvis " -"jeg gjorde det hver dag, og spesielt sÃ¦rt hvis du er en kvinne. Istedet, " -"som Thomas Jefferson sa (og det er spesielt sant nÃ¥r jeg kopierer hvordan " -"noen andre kler seg), <quote>Den som mottar en idÃ© fra meg, fÃ¥r selv " -"informasjon uten Ã¥ ta noe fra meg, pÃ¥ samme mÃ¥te som den som tenner sitt lys " -"fra min veike fÃ¥r lys uten Ã¥ forlate meg i mÃ¸rket</quote>.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "intangibility of" -msgstr "ubegripelighet av" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The exceptions to free use are ideas and expressions within the reach of the " -"law of patent and copyright, and a few other domains that I won't discuss " -"here. Here the law says you can't take my idea or expression without my " -"permission: The law turns the intangible into property." -msgstr "" -"Unntakene til fri bruk er idÃ©er og uttrykk innenfor dekningsomrÃ¥det til " -"loven om patent og opphavsrett, og noen fÃ¥ andre omrÃ¥der som jeg ikke vil " -"diskutere her. Her sier loven at du ikke kan ta min idÃ© eller uttrykk uten " -"min tillatelse: Loven gjÃ¸r det immaterielle til eiendom. " - -#. f2 -#. type: Content of: <book><part><partintro><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, " -"<quote>What Is Property? Putting the Pieces Back Together,</quote> " -"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241." -msgstr "" -"Slik de juridiske realistene lÃ¦rte bort amerikansk lov, var alle " -"eiendomsretter immaterielle. En eiendomsrett er ganske enkelt den retten " -"som et individ har mot verden til Ã¥ gjÃ¸re eller ikke gjÃ¸re visse ting som er " -"eller ikke er knyttet til et fysisk objekt. Retten i seg selv er " -"immateriell, selv om objektet som det er (metafysisk) knyttet til er " -"materielt. Se Adam Mossoff, <quote>What Is Property? Putting the Pieces " -"Back Together,</quote> <citetitle>Arizona Law Review</citetitle> 45 (2003): " -"373, 429 n. 241." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"But how, and to what extent, and in what form—the details, in other " -"words—matter. To get a good sense of how this practice of turning the " -"intangible into property emerged, we need to place this <quote>property</" -"quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Men hvordan, og i hvilken utstrekning, og i hvilken form—detaljene, " -"med andre ord—betyr noe. For Ã¥ fÃ¥ en god forstÃ¥else om hvordan denne " -"praksis om Ã¥ gjÃ¸re det immaterielle om til eiendom vokste frem, trenger vi Ã¥ " -"plassere denne <quote>eiendom</quote> i sin rette sammenheng.<placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><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 <quote>copyright material " -"is property</quote> in context. Where did the idea come from? What are its " -"limits? How does it function in practice? After these stories, the " -"significance of this true statement—<quote>copyright material is " -"property</quote>— will be a bit more clear, and its implications will " -"be revealed as quite different from the implications that the copyright " -"warriors would have us draw." -msgstr "" -"Min strategi for Ã¥ gjÃ¸re dette er den samme som min strategi i den " -"foregÃ¥ende del. Jeg tilbyr fire historier som bidrar til Ã¥ plassere " -"<quote>opphavsrettsmateriale er eiendom</quote> i sammenheng. Hvor kom " -"idÃ©en fra? Hva er dens begrensninger? Hvordan fungerer dette i praksis. " -"Etter disse historiene vil betydningen til dette sanne utsagnet—" -"<quote>opphavsrettsmateriale er eiendom</quote>— bli litt mer klart, " -"og dets implikasjoner vil bli avslÃ¸rt som ganske forskjellig fra " -"implikasjonene som opphavsrettskrigerne vil at vi skal forstÃ¥." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER SIX: Founders" -msgstr "Kapittel seks: Grunnleggerne" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "English copyright law developed for" -msgstr "Engelsk Ã¥ndsverkslov utviklet for" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "England, copyright laws developed in" -msgstr "England, Ã¥ndsverkslov utviklet i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "United Kingdom" -msgstr "Storbritannia" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "history of copyright law in" -msgstr "historie av opphavsrettslovgivning i" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Branagh, Kenneth" -msgstr "Branagh, Kenneth" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Henry V" -msgstr "Henry V" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Romeo and Juliet (Shakespeare)" -msgstr "Romeo og Julie (Shakespeare)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>William Shakespeare</emphasis> wrote " -"<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first " -"published in 1597. It was the eleventh major play that Shakespeare had " -"written. He would continue to write plays through 1613, and the plays that " -"he wrote have continued to define Anglo-American culture ever since. So " -"deeply have the works of a sixteenth-century writer seeped into our culture " -"that we often don't even recognize their source. I once overheard someone " -"commenting on Kenneth Branagh's adaptation of Henry V: <quote>I liked it, " -"but Shakespeare is so full of clichÃ©s.</quote>" -msgstr "" -"<emphasis role='strong'>William Shakespeare</emphasis> skrev " -"<citetitle>Romeo og Julie</citetitle> i 1595. Skuespillet ble fÃ¸rst utgitt i " -"1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han " -"fortsatte Ã¥ skrive skuespill helt til 1613, og stykkene han skrev har " -"fortsatt Ã¥ definere angloamerikansk kultur siden. SÃ¥ dypt har verkene av en " -"1500-talls forfatter sunket inn i vÃ¥r kultur at vi ofte ikke engang kjenner " -"kilden. Jeg overhÃ¸rte en gang noen som kommentere Kenneth Branaghs utgave av " -"Henry V: <quote>Jeg likte det, men Shakespeare er sÃ¥ full av klisjeer.</" -"quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Conger" -msgstr "Conger" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Tonson, Jacob" -msgstr "Tonson, Jacob" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Jonson, Ben" -msgstr "Jonson, Ben" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Dryden, John" -msgstr "Dryden, John" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Jacob Tonson is typically remembered for his associations with " -"prominent eighteenth-century literary figures, especially John Dryden, and " -"for his handsome <quote>definitive editions</quote> of classic works. In " -"addition to <citetitle>Romeo and Juliet</citetitle>, he published an " -"astonishing array of works that still remain at the heart of the English " -"canon, including collected works of Shakespeare, Ben Jonson, John Milton, " -"and John Dryden. See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> " -"<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets " -"litterÃ¦re storheter, spesielt John Dryden, og for hans kjekke<quote>ferdige " -"versjoner</quote> av klassiske verk. I tillegg til <citetitle>Romeo og " -"Julie</citetitle>, utga han en utrolig rekke liste av verk som ennÃ¥ er " -"hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben " -"Jonson, John Milton, og John Dryden. Se Keith Walker: <quote>Jacob Tonson, " -"Bookseller</quote>, <citetitle>American Scholar</citetitle> 61:3 (1992): 424-Â" -"31." - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" -"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." -msgstr "" -"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" -"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." - -#. PAGE BREAK 97 -#. type: Content of: <book><part><chapter><para> -msgid "" -"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " -"written, the <quote>copy-right</quote> for the work was still thought by " -"many to be the exclusive right of a single London publisher, Jacob Tonson." -"<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a " -"small group of publishers called the Conger<placeholder type=\"footnote\" id=" -"\"1\"/> who controlled bookselling in England during the eighteenth century. " -"The Conger claimed a perpetual right to control the <quote>copy</quote> of " -"books that they had acquired from authors. That perpetual right meant that " -"no one else could publish copies of a book to which they held the " -"copyright. Prices of the classics were thus kept high; competition to " -"produce better or cheaper editions was eliminated." -msgstr "" -"I 1774, nesten 180 Ã¥r etter at <citetitle>Romeo og Julie</citetitle> ble " -"skrevet, mente mange at <quote>opphavsretten</quote> kun tilhÃ¸rte Ã©n eneste " -"utgiver i London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> " -"Tonson var den mest fremstÃ¥ende av en liten gruppe utgivere kalt <quote>the " -"Conger</quote><placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte " -"boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde " -"en evigvarende rett over <quote>kopier</quote> av bÃ¸ker de hadde fÃ¥tt av " -"forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere " -"kopier av disse bÃ¸kene. Slik ble prisen pÃ¥ klassiske bÃ¸ker holdt oppe; alle " -"konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "British Parliament" -msgstr "Britiske parlamentet, det" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "renewability of" -msgstr "fornyelsesevnen til" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Statute of Anne (1710)" -msgstr "Statute of Anne (1710)" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> As Siva Vaidhyanathan nicely " -"argues, it is erroneous to call this a <quote>copyright law.</quote> See " -"Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Som Siva Vaidhyanathan sÃ¥ pent " -"argumenterer, er det feilaktige Ã¥ kalle dette en <quote>Ã¥ndsverkslov</" -"quote>. Se Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " -"40." - -#. type: Content of: <book><part><chapter><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 " -"<quote>copyright</quote> act. Known as the Statute of Anne, the act stated " -"that all published works would get a copyright term of fourteen years, " -"renewable once if the author was alive, and that all works already published " -"by 1710 would get a single term of twenty-one additional years.<placeholder " -"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</" -"citetitle> should have been free in 1731. So why was there any issue about " -"it still being under Tonson's control in 1774?" -msgstr "" -"Men altsÃ¥, det er noe spennende med Ã¥ret 1774 for alle som vet litt om " -"opphavsretts-lovgivning. Det mest kjente Ã¥ret for opphavsrett er 1710, da " -"det britiske parlamentet vedtok den fÃ¸rste loven. Denne loven er kjent som " -"<quote>Statute of Anne</quote> og sa at alle publiserte verk skulle vÃ¦re " -"beskyttet i fjorten Ã¥r, en periode som kunne fornyes Ã©n gang dersom " -"forfatteren ennÃ¥ levde, og at alle verk publisert i eller fÃ¸r 1710 skulle ha " -"en ekstraperiode pÃ¥ 22 tilleggsÃ¥r.<placeholder type=\"footnote\" id=\"0\"/> " -"PÃ¥ grunn av denne loven, sÃ¥ skulle <citetitle>Romeo og Julie</citetitle> ha " -"falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over " -"verket i 1774?" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "common vs. positive" -msgstr "felles vs. positive" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "positive law" -msgstr "positiv rett" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Licensing Act (1662)" -msgstr "Licensing Act (1662)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The reason is that the English hadn't yet agreed on what a <quote>copyright</" -"quote> was—indeed, no one had. At the time the English passed the " -"Statute of Anne, there was no other legislation governing copyrights. The " -"last law regulating publishers, the Licensing Act of 1662, had expired in " -"1695. That law gave publishers a monopoly over publishing, as a way to make " -"it easier for the Crown to control what was published. But after it " -"expired, there was no positive law that said that the publishers, or " -"<quote>Stationers,</quote> had an exclusive right to print books." -msgstr "" -"Ãrsaken var ganske enkelt at engelskmennene ennÃ¥ ikke hadde bestemt hva " -"opphavsrett innebar -- faktisk hadde ingen i verden det. PÃ¥ den tiden da " -"engelskmennene vedtok <quote>Statute of Anne</quote>, var det ingen annen " -"lovgivning om opphavsrett. Den siste loven som regulerte utgivere var " -"lisensieringsloven av 1662, utlÃ¸pt i 1695. At loven ga utgiverne monopol " -"over publiseringen, noe som gjorde det enklere for kronen Ã¥ kontrollere hva " -"ble publisert. Men etter at det har utlÃ¸pt, var det ingen positiv lov som sa " -"at utgiverne hadde en eksklusiv rett til Ã¥ trykke bÃ¸ker." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "common law" -msgstr "sedvanerett" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"There was no <emphasis>positive</emphasis> law, but that didn't mean that " -"there was no law. The Anglo-American legal tradition looks to both the words " -"of legislatures and the words of judges to know the rules that are to govern " -"how people are to behave. We call the words from legislatures " -"<quote>positive law.</quote> We call the words from judges <quote>common law." -"</quote> The common law sets the background against which legislatures " -"legislate; the legislature, ordinarily, can trump that background only if it " -"passes a law to displace it. And so the real question after the licensing " -"statutes had expired was whether the common law protected a copyright, " -"independent of any positive law." -msgstr "" -"At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " -"det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de " -"til lover skapt av politikere (det lovgivende statsorgen)og til lover " -"(prejudikater) skapt av domstolene for Ã¥ bestemme hvordan folket skal leve. " -"Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " -"dommerne sedvanerett.<quote>Common law</quote> angir bakgrunnen for de " -"lovgivendes lovgivning; retten til lovgiving, vanligvis kan trumfe at " -"bakgrunnen bare hvis det gÃ¥r gjennom en lov til Ã¥ forskyve den. Og sÃ¥ var " -"det virkelige spÃ¸rsmÃ¥let etter lisensiering lover hadde utlÃ¸pt om felles lov " -"beskyttet opphavsretten, uavhengig av lovverket positiv." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Scottish publishers" -msgstr "Skotske utgivere" - -#. PAGE BREAK 98 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This question was important to the publishers, or <quote>booksellers,</" -"quote> as they were called, because there was growing competition from " -"foreign publishers. The Scottish, in particular, were increasingly " -"publishing and exporting books to England. That competition reduced the " -"profits of the Conger, which reacted by demanding that Parliament pass a law " -"to again give them exclusive control over publishing. That demand ultimately " -"resulted in the Statute of Anne." -msgstr "" -"Dette spÃ¸rsmÃ¥let var viktig for utgiverne eller <quote>bokselgere</quote>, " -"som de ble kalt, fordi det var Ã¸kende konkurranse fra utenlandske utgivere, " -"SÃ¦rlig fra Skottland hvor publiseringen og eksporten av bÃ¸ker til England " -"hadde Ã¸kt veldig. Denne konkurransen reduserte fortjenesten til <quote>The " -"Conger</quote>, som derfor krevde at parlamentet igjen skulle vedta en lov " -"for Ã¥ gi dem eksklusiv kontroll over publisering. Dette kravet resulterte i " -"<quote>Statute of Anne</quote>." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "as narrow monopoly right" -msgstr "som smal monopolrett" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Statute of Anne granted the author or <quote>proprietor</quote> of a " -"book an exclusive right to print that book. In an important limitation, " -"however, and to the horror of the booksellers, the law gave the bookseller " -"that right for a limited term. At the end of that term, the copyright " -"<quote>expired,</quote> and the work would then be free and could be " -"published by anyone. Or so the legislature is thought to have believed." -msgstr "" -"<quote>Statute of Anne</quote> ga forfatteren eller <quote>eieren</quote> av " -"en bok en eksklusiv rett til Ã¥ publisere denne boken. Men det var, til " -"bokhandlernes forferdelse en viktig begrensning, nemlig hvor lenge denne " -"retten skulle vare. Etter dette gikk trykkeretten bort og verket falt i det " -"fri og kunne trykkes av hvem som helst. Det var ihvertfall det lovgiverne " -"hadde tenkt." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Now, the thing to puzzle about for a moment is this: Why would Parliament " -"limit the exclusive right? Not why would they limit it to the particular " -"limit they set, but why would they limit the right <emphasis>at all?</" -"emphasis>" -msgstr "" -"Men nÃ¥ det mest interessante med dette: Hvorfor ville parlamentet begrense " -"trykkeretten? SpÃ¸rsmÃ¥let er ikke hvorfor de bestemte seg for denne perioden, " -"men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For the booksellers, and the authors whom they represented, had a very " -"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " -"That play was written by Shakespeare. It was his genius that brought it into " -"the world. He didn't take anybody's property when he created this play " -"(that's a controversial claim, but never mind), and by his creating this " -"play, he didn't make it any harder for others to craft a play. So why is it " -"that the law would ever allow someone else to come along and take " -"Shakespeare's play without his, or his estate's, permission? What reason is " -"there to allow someone else to <quote>steal</quote> Shakespeare's work?" -msgstr "" -"Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " -"krav. Ta <citetitle>Romeo og Julie</citetitle> som et eksempel: Skuespillet " -"ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " -"verden. Han krenket ikke noens rett da han skrev dette verket (det er en " -"kontroversiell pÃ¥standen, men det er ikke relevant), og med sin egen rett " -"skapte han verket, han gjorde det ikke noe vanskeligere for andre til Ã¥ lage " -"skuespill. SÃ¥ hvorfor skulle loven tillate at noen annen kunne komme og ta " -"Shakespeares verk uten hans, eller hans arvingers, tillatelse? Hvilke " -"grunner finnes for Ã¥ tillate at noen <quote>stjeler</quote> Shakespeares " -"verk?" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The answer comes in two parts. We first need to see something special about " -"the notion of <quote>copyright</quote> that existed at the time of the " -"Statute of Anne. Second, we have to see something important about " -"<quote>booksellers.</quote>" -msgstr "" -"Svaret er todel. FÃ¸rst mÃ¥ vi se pÃ¥ noe spesielt med oppfatningen av " -"opphavsrett som fantes pÃ¥ tidspunktet da <quote>Statute of Anne</quote> ble " -"vedtatt. Deretter mÃ¥ vi se pÃ¥ noe spesielt med bokhandlerne." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "usage restrictions attached to" -msgstr "bruksbegrensninger knyttet til" - -#. PAGE BREAK 99 -#. type: Content of: <book><part><chapter><para> -msgid "" -"First, about copyright. In the last three hundred years, we have come to " -"apply the concept of <quote>copyright</quote> ever more broadly. But in " -"1710, it wasn't so much a concept as it was a very particular right. The " -"copyright was born as a very specific set of restrictions: It forbade others " -"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right " -"to use a particular machine to replicate a particular work. It did not go " -"beyond that very narrow right. It did not control any more generally how a " -"work could be <emphasis>used</emphasis>. Today the right includes a large " -"collection of restrictions on the freedom of others: It grants the author " -"the exclusive right to copy, the exclusive right to distribute, the " -"exclusive right to perform, and so on." -msgstr "" -"FÃ¸rst om opphavsretten. I de siste tre hundre Ã¥r har vi kommet til Ã¥ bruke " -"begrepet <quote>copyright</quote> i stadig videre forstand. Men i 1710 var " -"det ikke sÃ¥ mye et konsept som det var en bestemt rett. Opphavsretten ble " -"fÃ¸dt som et svÃ¦rt spesifikt sett med begrensninger: den forbÃ¸d andre Ã¥ " -"reprodusere en bok. I 1710 var <quote>kopi-rett</quote> en rett til Ã¥ bruke " -"en bestemt maskin til Ã¥ replikere en bestemt arbeid. Den gikk ikke utover " -"dette svÃ¦rt smale formÃ¥let. Den kontrollerte ikke mer generelt hvordan et " -"verk kunne <emphasis>brukes</emphasis>. Idag inkluderer retten en stor " -"samling av restriksjoner pÃ¥ andres frihet: den gir forfatteren eksklusiv " -"rett til Ã¥ kopiere, eksklusiv rett til Ã¥ distribuere, eksklusiv rett til Ã¥ " -"fremfÃ¸re, og sÃ¥ videre." - -#. type: Content of: <book><part><chapter><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 " -"<quote>copy-right</quote> was only an exclusive right to print—no " -"less, of course, but also no more." -msgstr "" -"SÃ¥ selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, " -"betydde det under den opprinnelige betydningen av begrepet at ingen kunne " -"trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den " -"ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne " -"fremfÃ¸res, om verket kunne oversettes eller om Kenneth Branagh ville hatt " -"lov til Ã¥ lage filmer. <quote>Kopi-retten</quote> var bare en eksklusiv rett " -"til Ã¥ trykke--ikke noe mindre, selvfÃ¸lgelig, men heller ikke mer." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Henry VIII, King of England" -msgstr "Henry VIII, Konge av England" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "monopoly, copyright as" -msgstr "monopol, opphavsrett som" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Statute of Monopolies (1656)" -msgstr "Statute of Monopolis (1656)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Even that limited right was viewed with skepticism by the British. They had " -"had a long and ugly experience with <quote>exclusive rights,</quote> " -"especially <quote>exclusive rights</quote> granted by the Crown. The English " -"had fought a civil war in part about the Crown's practice of handing out " -"monopolies—especially monopolies for works that already existed. King " -"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to " -"print playing cards. The English Parliament began to fight back against this " -"power of the Crown. In 1656, it passed the Statute of Monopolies, limiting " -"monopolies to patents for new inventions. And by 1710, Parliament was eager " -"to deal with the growing monopoly in publishing." -msgstr "" -"Selv denne begrensede retten ble mÃ¸tt med skepsis av britene. De hadde hatt " -"en lang og stygg erfaring med <quote>eksklusive rettigheter</quote>, " -"spesielt <quote>enerett</quote> gitt av kronen. Engelskmennene hadde " -"utkjempet en borgerkrig delvis mot kronens praksis med Ã¥ dele ut monopoler--" -"spesielt monopoler for verk som allerede eksisterte. Kong Henrik VIII hadde " -"gitt patent til Ã¥ trykke Bibelen og monopol til Darcy for Ã¥ lage spillkort. " -"Det engelske parlamentet begynte Ã¥ kjempe tilbake mot denne makten hos " -"kronen. I 1656 ble <quote>Statute of Monopolis</quote> vedtatt for Ã¥ " -"begrense monopolene pÃ¥ patenter for nye oppfinnelser. Og i 1710 var " -"parlamentet ivrig etter Ã¥ hÃ¥ndtere det voksende monopolet pÃ¥ publisering." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was " -"naturally viewed as a right that should be limited. (However convincing the " -"claim that <quote>it's my property, and I should have it forever,</quote> " -"try sounding convincing when uttering, <quote>It's my monopoly, and I should " -"have it forever.</quote>) The state would protect the exclusive right, but " -"only so long as it benefited society. The British saw the harms from " -"specialinterest favors; they passed a law to stop them." -msgstr "" -"Dermed ble <quote>kopi-retten</quote>, nÃ¥r den sees pÃ¥ som en monopolrett, " -"en rettighet som bÃ¸r vÃ¦re begrenset. (Uansett hvor overbevisende pÃ¥standen " -"om at <quote>det er min eiendom, og jeg skal ha for alltid,</quote> prÃ¸v " -"hvor overbevisende det er nÃ¥r men sier <quote>det er mitt monopol, og jeg " -"skal ha det for alltid.</quote>) Staten ville beskytte eneretten, men bare " -"sÃ¥ lenge det gavnet samfunnet. Britene sÃ¥ skadene sÃ¦rinteressene kunne " -"skape; de vedtok en lov for Ã¥ stoppe dem." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Milton, John" -msgstr "Milton, John" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "booksellers, English" -msgstr "bokselgere, Engelske" - -#. f4 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " -"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." -msgstr "" -"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " -"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Second, about booksellers. It wasn't just that the copyright was a monopoly. " -"It was also that it was a monopoly held by the booksellers. Booksellers " -"sound quaint and harmless to us. They were not viewed as harmless in " -"seventeenth-century England. Members of the Conger were increasingly seen as " -"monopolists of the worst kind—tools of the Crown's repression, selling " -"the liberty of England to guarantee themselves a monopoly profit. The " -"attacks against these monopolists were harsh: Milton described them as " -"<quote>old patentees and monopolizers in the trade of book-selling</quote>; " -"they were <quote>men who do not therefore labour in an honest profession to " -"which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. " -"Det var ogsÃ¥ et monopol holdt av bokhandlerne. En bokhandler hÃ¸res greie og " -"ufarlige ut for oss, men slik var det ikke i syttenhundretallets England. " -"Medlemmene i <quote>the Conger</quote> ble av en voksende mengde sett pÃ¥ som " -"monopolister av verste sort - et verktÃ¸y for kronens undertrykkelse, de " -"solgte Englands frihet mot Ã¥ vÃ¦re garantert en monopolskinntekt. Men " -"monopolistene ble kvast kritisert: Milton beskrev dem som <quote>gamle " -"patentholdere og monopolister i bokhandlerkunsten</quote>; de var " -"<quote>menn som derfor ikke hadde et Ã¦rlig arbeide hvor utdanning er " -"nÃ¸dvendig.</quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Enlightenment" -msgstr "opplysningstiden" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "knowledge, freedom of" -msgstr "kunnskap, frihet for" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Many believed the power the booksellers exercised over the spread of " -"knowledge was harming that spread, just at the time the Enlightenment was " -"teaching the importance of education and knowledge spread generally. The " -"idea that knowledge should be free was a hallmark of the time, and these " -"powerful commercial interests were interfering with that idea." -msgstr "" -"Mange trodde at den makten bokhandlerne utÃ¸vde over spredning av kunnskap, " -"var til skade for selve spredningen, men pÃ¥ dette tidspunktet viste " -"Opplysningen viktigheten av utdannelse og kunnskap for alle. idÃ©en om at " -"kunnskap burde vÃ¦re gratis er et kjennetegn for tiden, og disse kraftige " -"kommersielle interesser forstyrret denne idÃ©en." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"To balance this power, Parliament decided to increase competition among " -"booksellers, and the simplest way to do that was to spread the wealth of " -"valuable books. Parliament therefore limited the term of copyrights, and " -"thereby guaranteed that valuable books would become open to any publisher to " -"publish after a limited time. Thus the setting of the term for existing " -"works to just twenty-one years was a compromise to fight the power of the " -"booksellers. The limitation on terms was an indirect way to assure " -"competition among publishers, and thus the construction and spread of " -"culture." -msgstr "" -"For Ã¥ balansere denne makten, besluttet Parlamentet Ã¥ Ã¸ke konkurransen blant " -"bokhandlerne, og den enkleste mÃ¥ten Ã¥ gjÃ¸re det pÃ¥, var Ã¥ spre mengden av " -"verdifulle bÃ¸ker. Parlamentet begrenset derfor begrepet om opphavsrett, og " -"garantert slik at verdifulle bÃ¸ker ville bli frie for alle utgiver Ã¥ " -"publisere etter en begrenset periode. Slik ble det Ã¥ gi eksisterende verk en " -"periode pÃ¥ tjueen Ã¥r et kompromiss for Ã¥ bekjempe bokhandlernes makt. " -"Begrensninger med dato var en indirekte mÃ¥te Ã¥ skape konkurranse mellom " -"utgivere, og slik en skapelse og spredning av kultur." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in perpetuity" -msgstr "for evig" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"When 1731 (1710 + 21) came along, however, the booksellers were getting " -"anxious. They saw the consequences of more competition, and like every " -"competitor, they didn't like them. At first booksellers simply ignored the " -"Statute of Anne, continuing to insist on the perpetual right to control " -"publication. But in 1735 and 1737, they tried to persuade Parliament to " -"extend their terms. Twenty-one years was not enough, they said; they needed " -"more time." -msgstr "" -"NÃ¥r 1731 (1710+21) kom, ble bokhandlerne engstelige. De sÃ¥ konsekvensene av " -"mer konkurranse, og som alle konkurrenter, likte de det ikke. FÃ¸rst " -"ignorerte bokhandlere ganske enkelt <quote>Statute of Anne</quote>, og " -"fortsatte Ã¥ kreve en evigvarende rett til Ã¥ kontrollere publiseringen. Men i " -"1735 og 1737 de prÃ¸vde Ã¥ tvinge Parlamentet til Ã¥ utvide periodene. Tjueen " -"Ã¥r var ikke nok, sa de; de trengte mer tid." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Parliament rejected their requests. As one pamphleteer put it, in words that " -"echo today," -msgstr "" -"Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennÃ¥ " -"idag," - -#. f5 -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -msgid "" -"A Letter to a Member of Parliament concerning the Bill now depending in the " -"House of Commons, for making more effectual an Act in the Eighth Year of the " -"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " -"Vesting the Copies of Printed Books in the Authors or Purchasers of such " -"Copies, during the Times therein mentioned (London, 1735), in Brief Amici " -"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " -"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." -msgstr "" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"I see no Reason for granting a further Term now, which will not hold as well " -"for granting it again and again, as often as the Old ones Expire; so that " -"should this Bill pass, it will in Effect be establishing a perpetual " -"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " -"great Cramp to Trade, a Discouragement to Learning, no Benefit to the " -"Authors, but a general Tax on the Publick; and all this only to increase the " -"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Jeg ser ingen grunn til Ã¥ gi en utvidet perioden nÃ¥ som ikke ville kunne gi " -"utvidelser om igjen og om igjen, sÃ¥ fort de gamle utgÃ¥r; sÃ¥ dersom dette " -"lovforslaget blir vedtatt, vil effekten vÃ¦re: at et evig monopol blir skapt, " -"et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for " -"forfatterne, men en stor avgift for folket; og alt dette kun for Ã¥ Ã¸ke " -"bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>property</quote> and " -"use it without his permission. The Statute of Anne, the booksellers argued, " -"didn't change that. Therefore, just because the protections of the Statute " -"of Anne expired, that didn't mean the protections of the common law expired: " -"Under the common law they had the right to ban the publication of a book, " -"even if its Statute of Anne copyright had expired. This, they argued, was " -"the only way to protect authors." -msgstr "" -"Etter Ã¥ ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke " -"saker. Deres argument var enkelt og direkte: <quote>Statute of Anne</quote> " -"ga forfatterne en viss beskyttelse gjennom positiv loven, men denne " -"beskyttelsen var ikke ment som en erstatning for felles lov. Istedet var de " -"ment Ã¥ supplere felles lov. IfÃ¸lge sedvanerett var det galt Ã¥ ta en annen " -"persons kreative eiendom og bruke den uten hans tillatelse. <quote>Statute " -"of Anne</quote>, hevdet bokhandlere, endret ikke dette faktum. Derfor " -"betydde ikke det at beskyttelsen gitt av <quote>Statute of Anne</quote> " -"utlÃ¸p, at beskyttelsen fra sedvaneretten utlÃ¸p: IfÃ¸lge sedvaneretten hadde " -"de rett til Ã¥ fordÃ¸mme publiseringen av en bok, selv fÃ¸lgelig om " -"<quote>Statute of Anne</quote> sa at de var falt i det fri. Dette, mente de, " -"var den eneste mÃ¥ten Ã¥ beskytte forfatterne." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Patterson, Raymond" -msgstr "Patterson, Raymond" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use," -"</quote> <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " -"wonderfully compelling account, see Vaidhyanathan, 37–48." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use</" -"quote>, <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " -"fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48." - -#. type: Content of: <book><part><chapter><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, <quote>The publishers " -"… had as much concern for authors as a cattle rancher has for cattle." -"</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care " -"squat for the rights of the author. His concern was the monopoly profit " -"that the author's work gave." -msgstr "" -"Dette var et godt argument, og hadde stÃ¸tte fra flere av den tidens ledende " -"jurister. Det viste ogsÃ¥ en ekstraordinÃ¦r chutzpah. Inntil da, som " -"jusprofessor Raymond Pattetson har sagt, <quote>var utgiverne … like " -"bekymret for forfatterne som en gjeter for sine lam.</quote><placeholder " -"type=\"footnote\" id=\"0\"/> Bokselgerne brydde seg ikke det spor om " -"forfatternes rettigheter. Deres bekymring var den monopolprofitten " -"forfatterens verk ga." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Donaldson, Alexander" -msgstr "Donaldson, Alexander" - -#. f7 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For a compelling account, see David Saunders, <citetitle>Authorship and " -"Copyright</citetitle> (London: Routledge, 1992), 62–69." -msgstr "" -"For en fascinerende fremstilling, se David Saunders, <citetitle>Authorship " -"and Copyright</citetitle> (London: Routledge, 1992), 62–69." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The booksellers' argument was not accepted without a fight. The hero of " -"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " -"type=\"footnote\" id=\"0\"/>" -msgstr "" -"Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne " -"kampen var den skotske bokselgeren Alexander Donaldson.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Boswell, James" -msgstr "Boswell, James" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Erskine, Andrew" -msgstr "Erskine, Andrew" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Rose, Mark" -msgstr "Rose, Mark" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " -"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " -"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. f9 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Ibid., 93." -msgstr "Ibid., 93." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Donaldson was an outsider to the London Conger. He began his career in " -"Edinburgh in 1750. The focus of his business was inexpensive reprints " -"<quote>of standard works whose copyright term had expired,</quote> at least " -"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> " -"Donaldson's publishing house prospered and became <quote>something of a " -"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor " -"Mark Rose writes, was <quote>the young James Boswell who, together with his " -"friend Andrew Erskine, published an anthology of contemporary Scottish poems " -"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Donaldson var en fremmed for Londons <quote>the Conger</quote>. Han startet " -"in karriere i Edinburgh i 1750. Hans forretningsidÃ© var billige kopier av " -"standardverk falt i det fri, ihvertfall fri ifÃ¸lge <quote>Statute of Anne</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/> Donaldsons forlag vokste og " -"ble <quote>et sentrum for litterÃ¦re skotter.</quote> <quote>Blant dem,</" -"quote> skriver professor Mark Rose, var <quote>den unge James Boswell som, " -"sammen med sin venn Andrew Erskine, publiserte en hel antologi av skotsk " -"samtidspoesi sammen med Donaldson.</quote><placeholder type=\"footnote\" id=" -"\"1\"/>" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " -"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting " -"Borwell)." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " -"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (der Borwell " -"blir sitert)." - -#. type: Content of: <book><part><chapter><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 <quote>of the most popular English books, in defiance of the " -"supposed common law right of Literary Property.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to 50 " -"percent, and he rested his right to compete upon the ground that, under the " -"Statute of Anne, the works he was selling had passed out of protection." -msgstr "" -"Da Londons bokselgere prÃ¸vde Ã¥ fÃ¥ stengt Donaldsons butikk i Skottland, sÃ¥ " -"flyttet han butikken til London. Her solgte han billige utgaver av <quote>de " -"mest populÃ¦re, engelske bÃ¸ker, i kamp mot sedvanerettens rett til litterÃ¦r " -"eiendom.</quote> <placeholder type=\"footnote\" id=\"0\"/> BÃ¸kene hans var " -"mellom 30% og 50% billigere enn <quote>the Conger</quote>s, og han baserte " -"sin rett til denne konkurransen pÃ¥ at bÃ¸kene, takket vÃ¦re <quote>Statute of " -"Anne</quote>, var falt i det fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Millar v. Taylor" -msgstr "Millar mot taylor" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The London booksellers quickly brought suit to block <quote>piracy</quote> " -"like Donaldson's. A number of actions were successful against the " -"<quote>pirates,</quote> the most important early victory being " -"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>." -msgstr "" -"Londons bokselgere begynte straks Ã¥ slÃ¥ ned mot <quote>pirater</quote> som " -"Donaldson. Flere tiltak var vellykkede, den viktigste var den tidlig seieren " -"i kampen mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</" -"citetitle>." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Thomson, James" -msgstr "Thomson, James" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Seasons, The (Thomson)" -msgstr "Seasons, The (Thomson)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Taylor, Robert" -msgstr "Taylor, Robert" - -#. f11 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law " -"Review</citetitle> 29 (1983): 1152." -msgstr "" -"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright</quote>, <citetitle>Wayne Law " -"Review</citetitle> 29 (1983): 1152." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Millar was a bookseller who in 1729 had purchased the rights to James " -"Thomson's poem <quote>The Seasons.</quote> Millar complied with the " -"requirements of the Statute of Anne, and therefore received the full " -"protection of the statute. After the term of copyright ended, Robert Taylor " -"began printing a competing volume. Millar sued, claiming a perpetual common " -"law right, the Statute of Anne notwithstanding.<placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"Millar var en bokhandler som i 1729 hadde kjÃ¸pt opp rettighetene til James " -"Thomsons dikt <quote>The Seasons</quote>. Millar hadde da full beskyttelse " -"gjennom <quote>Statute of Anne</quote>, men etter at denne beskyttelsen var " -"utlÃ¸pt, begynte Robert Taylor Ã¥ trykke et konkurrerende bind. Millar gikk " -"til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva " -"<quote>Statute of Anne</quote> sa.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>pirates.</quote> Mansfield's answer was " -"yes: The common law would bar Taylor from reprinting Thomson's poem without " -"Millar's permission. That common law rule thus effectively gave the " -"booksellers a perpetual right to control the publication of any book " -"assigned to them." -msgstr "" -"Til moderne juristers forblÃ¸ffelse, var en av, ikke bare datidens, men en av " -"de stÃ¸rste dommere i engelsk historie, Lord Mansfield, enig med " -"bokhandlerne. Uansett hvilken beskyttelse <quote>Statute of Anne</quote> gav " -"bokhandlerne, sÃ¥ sa han at den ikke fortrengte noe fra sedvaneretten. " -"SpÃ¸rsmÃ¥let var hvorvidt sedvaneretten beskyttet forfatterne mot " -"<quote>pirater</quote>. Mansfield svar var ja: Sedvaneretten nektet Taylor Ã¥ " -"reprodusere Thomsons dikt uten Millars tillatelse. Slik gav sedvaneretten " -"bokselgerne en evig publiseringsrett til bÃ¸ker solgt til dem." - -#. PAGE BREAK 103 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Considered as a matter of abstract justice—reasoning as if justice " -"were just a matter of logical deduction from first principles—" -"Mansfield's conclusion might make some sense. But what it ignored was the " -"larger issue that Parliament had struggled with in 1710: How best to limit " -"the monopoly power of publishers? Parliament's strategy was to offer a term " -"for existing works that was long enough to buy peace in 1710, but short " -"enough to assure that culture would pass into competition within a " -"reasonable period of time. Within twenty-one years, Parliament believed, " -"Britain would mature from the controlled culture that the Crown coveted to " -"the free culture that we inherited." -msgstr "" -"Ser man pÃ¥ det som et spÃ¸rsmÃ¥l innen abstrakt jus - dersom man resonnere som " -"om rettferdighet bare var logisk deduksjon fra de fÃ¸rste bud - kunne " -"Mansfields konklusjon gitt mening. Men den oversÃ¥ det Parlamentet hadde " -"kjempet for i 1710: Hvordan man pÃ¥ best mulig vis kunne innskrenke " -"utgivernes monopolmakt. Parlamentets strategi hadde vÃ¦rt Ã¥ kjÃ¸pe fred " -"gjennom Ã¥ tilby en beskyttelsesperiode ogsÃ¥ for eksisterende verk, men " -"perioden mÃ¥tte vÃ¦re sÃ¥ kort at kulturen ble utsatt for konkurranse innen " -"rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under " -"kronen, inn i en fri og Ã¥pen kultur." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The fight to defend the limits of the Statute of Anne was not to end there, " -"however, and it is here that Donaldson enters the mix." -msgstr "" -"Kampen for Ã¥ forsvare <quote>Statute of Anne</quote>s begrensninger sluttet " -"uansett ikke der, for nÃ¥ kommer Donaldson." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Beckett, Thomas" -msgstr "Beckett, Thomas" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "House of Lords" -msgstr "Overhuset, det britiske" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "House of Lords vs." -msgstr "Overhuset, det britiske mot" - -#. f12 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Ibid., 1156." -msgstr "Ibid., 1156." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Millar died soon after his victory, so his case was not appealed. His estate " -"sold Thomson's poems to a syndicate of printers that included Thomas Beckett." -"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " -"unauthorized edition of Thomson's works. Beckett, on the strength of the " -"decision in <citetitle>Millar</citetitle>, got an injunction against " -"Donaldson. Donaldson appealed the case to the House of Lords, which " -"functioned much like our own Supreme Court. In February of 1774, that body " -"had the chance to interpret the meaning of Parliament's limits from sixty " -"years before." -msgstr "" -"Millar dÃ¸de kort tid etter sin seier. Boet hans solgte rettighetene over " -"Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." -"<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " -"utgave av Thomsons verk. Etter avgjÃ¸relsen i <citetitle>Millar</citetitle>-" -"saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " -"Overhuset, som da fungerte som en slags hÃ¸yesterett. I februar 1774 hadde " -"dette organet muligheten til Ã¥ tolke Parlamentets mening med utlÃ¸psdatoen " -"fra seksti Ã¥r fÃ¸r." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Donaldson v. Beckett" -msgstr "Donaldson mot beckett" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " -"<citetitle>Beckett</citetitle> drew an enormous amount of attention " -"throughout Britain. Donaldson's lawyers argued that whatever rights may have " -"existed under the common law, the Statute of Anne terminated those rights. " -"After passage of the Statute of Anne, the only legal protection for an " -"exclusive right to control publication came from that statute. Thus, they " -"argued, after the term specified in the Statute of Anne expired, works that " -"had been protected by the statute were no longer protected." -msgstr "" -"Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" -"citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " -"advokater mente at selv om det fÃ¸r fantes en del rettigheter i " -"sedvaneretten, sÃ¥ var disse fortrengt av <quote>Statute of Anne</quote>. " -"Etter at <quote>Statute of Anne</quote> var blitt vedtatt, skulle den eneste " -"lovlige beskyttelse for trykkerett kom derfra. Og derfor, mente de, i trÃ¥d " -"med vilkÃ¥rene i <quote>Statute of Anne</quote>, falle i det fri sÃ¥ fort " -"beskyttelsesperioden var over." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The House of Lords was an odd institution. Legal questions were presented to " -"the House and voted upon first by the <quote>law lords,</quote> members of " -"special legal distinction who functioned much like the Justices in our " -"Supreme Court. Then, after the law lords voted, the House of Lords generally " -"voted." -msgstr "" -"Overhuset var en merkelig institusjon. Juridiske spÃ¸rsmÃ¥l ble presentert for " -"huset, og ble fÃ¸rst stemt over av <quote>juslorder</quote>, medlemmer av en " -"spesiell rettslig gruppe som fungerte nesten slik som justiariusene i vÃ¥r " -"HÃ¸yesterett. Deretter, etter at <quote>juslordene</quote> hadde stemt, " -"stemte resten av Overhuset." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "English legal establishment of" -msgstr "den engelske juridiske etableringen av" - -#. PAGE BREAK 104 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The reports about the law lords' votes are mixed. On some counts, it looks " -"as if perpetual copyright prevailed. But there is no ambiguity about how the " -"House of Lords voted as whole. By a two-to-one majority (22 to 11) they " -"voted to reject the idea of perpetual copyrights. Whatever one's " -"understanding of the common law, now a copyright was fixed for a limited " -"time, after which the work protected by copyright passed into the public " -"domain." -msgstr "" -"Rapportene om juslordene stemmer er uenige. PÃ¥ enkelte punkter ser det ut " -"som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om " -"hvordan resten av Overhuset stemte. Med en majoritet pÃ¥ to mot en (22 mot " -"11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man " -"hadde tolket sedvaneretten, var nÃ¥ kopiretten begrenset til en periode, og " -"etter denne ville verket falle i det fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Bacon, Francis" -msgstr "Bacon, Francis" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Bunyan, John" -msgstr "Bunyan, John" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Johnson, Samuel" -msgstr "Johnson, Samuel" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</" -"citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a " -"public domain in England. Before 1774, there was a strong argument that " -"common law copyrights were perpetual. After 1774, the public domain was " -"born. For the first time in Anglo-American history, the legal control over " -"creative works expired, and the greatest works in English history—" -"including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—" -"were free of legal restraint." -msgstr "" -"<quote>Ã falle i det fri</quote>. FÃ¸r rettssaken <citetitle>Donaldson</" -"citetitle> mot <citetitle>Beckett</citetitle> var det ingen klar oppfatning " -"om hva Ã¥ falle i det fri innebar. FÃ¸r 1774 var det jo en allmenn oppfatning " -"om at kopiretten var evigvarende. Men etter 1774 ble Public Domain fÃ¸dt. For " -"fÃ¸rste gang i angloamerikansk historie var den lovlige beskyttelsen av et " -"verk utgÃ¥tt, og de stÃ¸rste verk i engelsk historie - inkludert Shakespeare, " -"Bacon, Milton, Johnson og Bunyan - var frie." - -#. f13 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Rose, 97." -msgstr "Rose, 97." - -#. type: Content of: <book><part><chapter><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 <quote>pirate publishers</quote> did their work, people celebrated " -"the decision in the streets. As the <citetitle>Edinburgh Advertiser</" -"citetitle> reported, <quote>No private cause has so much engrossed the " -"attention of the public, and none has been tried before the House of Lords " -"in the decision of which so many individuals were interested.</quote> " -"<quote>Great rejoicing in Edinburgh upon victory over literary property: " -"bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Vi kan knapt forestille oss det, men denne avgjÃ¸relsen fra Overhuset fyrte " -"opp under en svÃ¦rt populÃ¦r og politisk reaksjon. I Skottland, hvor de fleste " -"piratutgiverne hadde holdt til, ble avgjÃ¸relsen feiret i gatene. Som " -"<citetitle>Edinburgh Advertiser</citetitle> skrev <quote>Ingen privatsak har " -"noen gang fÃ¥tt slik oppmerksomhet fra folket, og ingen sak som har blitt " -"prÃ¸vet i Overhuset har interessert sÃ¥ mange enkeltmennesker.</quote> " -"<quote>Stor glede i Edinburgh etter seieren over litterÃ¦r eiendom: bÃ¥l og " -"*illuminations*.</quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In London, however, at least among publishers, the reaction was equally " -"strong in the opposite direction. The <citetitle>Morning Chronicle</" -"citetitle> reported:" -msgstr "" -"I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " -"motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"By the above decision … near 200,000 pounds worth of what was " -"honestly purchased at public sale, and which was yesterday thought property " -"is now reduced to nothing. The Booksellers of London and Westminster, many " -"of whom sold estates and houses to purchase Copy-right, are in a manner " -"ruined, and those who after many years industry thought they had acquired a " -"competency to provide for their families now find themselves without a " -"shilling to devise to their successors.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Gjennom denne avgjÃ¸relsen … er verdier til nesten 200 000 pund, som " -"er blitt Ã¦rlig kjÃ¸pt gjennom allment salg, og som i gÃ¥r var eiendom, er nÃ¥ " -"redusert til ingenting. Bokselgerne i London og Westminster, mange av dem " -"har solgt hus og eiendom for Ã¥ kjÃ¸pe kopirettigheter, er med ett ruinerte, " -"og mange som gjennom mange Ã¥r har opparbeidet kompetanse for Ã¥ brÃ¸dfÃ¸ " -"familien, sitter nÃ¥ uten en shilling til sine.<placeholder type=\"footnote\" " -"id=\"0\"/>" - -#. PAGE BREAK 105 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Ruined</quote> is a bit of an exaggeration. But it is not an " -"exaggeration to say that the change was profound. The decision of the House " -"of Lords meant that the booksellers could no longer control how culture in " -"England would grow and develop. Culture in England was thereafter " -"<emphasis>free</emphasis>. Not in the sense that copyrights would not be " -"respected, for of course, for a limited time after a work was published, the " -"bookseller had an exclusive right to control the publication of that book. " -"And not in the sense that books could be stolen, for even after a copyright " -"expired, you still had to buy the book from someone. But <emphasis>free</" -"emphasis> in the sense that the culture and its growth would no longer be " -"controlled by a small group of publishers. As every free market does, this " -"free market of free culture would grow as the consumers and producers chose. " -"English culture would develop as the many English readers chose to let it " -"develop— chose in the books they bought and wrote; chose in the memes " -"they repeated and endorsed. Chose in a <emphasis>competitive context</" -"emphasis>, not a context in which the choices about what culture is " -"available to people and how they get access to it are made by the few " -"despite the wishes of the many." -msgstr "" -"<quote>Ruinert</quote> er en overdrivelse. Men det er ingen overdrivelse Ã¥ " -"si at endringen var stor. Vedtaket fra Overhuset betydde at bokhandlerne " -"ikke lenger kunnen kontrollere hvordan kulturen i England ville vokse og " -"utvikle seg. Kulturen i England var etter dette <emphasis>fri</emphasis>. " -"Ikke i den betydning at kopiretten ble ignorert, for utgiverne hadde i en " -"begrenset periode rett over trykkingen. Og heller ikke i den betydningen at " -"bÃ¸ker kunne stjeles, for selv etter at boken var falt i det fri, sÃ¥ mÃ¥tte " -"den kjÃ¸pes. Men <emphasis>fri</emphasis> i betydningen at kulturen og dens " -"vekst ikke lenger var kontrollert av en liten gruppe utgivere. Som alle frie " -"markeder, ville dette markedet vokse og utvikle seg etter tilbud og " -"etterspÃ¸rsel. Den engelske kulturen ble nÃ¥ formet slik flertallet Englands " -"lesere ville at det skulle formes - gjennom valget av hva de kjÃ¸pte og " -"skrev, gjennom valget av memer de gjentok og beundret. Valg i en " -"<emphasis>konkurrerende sammenheng</emphasis>, ikke der hvor valgene var om " -"hvilken kultur som skulle vÃ¦re tilgjengelig for folket og hvor deres tilgang " -"til den ble styrt av noen fÃ¥, pÃ¥ tros av flertallets Ã¸nsker." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"At least, this was the rule in a world where the Parliament is antimonopoly, " -"resistant to the protectionist pleas of publishers. In a world where the " -"Parliament is more pliant, free culture would be less protected." -msgstr "" -"Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " -"holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett Ã¥ " -"pÃ¥virke, vil den frie kultur vÃ¦re mindre beskyttet." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER SEVEN: Recorders" -msgstr "Kapittel sju: Innspillerne" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "fair use and" -msgstr "rimelig bruk og" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "documentary film" -msgstr "dokumentarfilm" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Else, Jon" -msgstr "Else, Jon" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "fair use" -msgstr "rimelig bruk" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in documentary film" -msgstr "i dokumentarfilm" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "fair use of copyrighted material in" -msgstr "rimelig bruk av opphavsrettsbeskyttet materiale i" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best known " -"for his documentaries and has been very successful in spreading his art. He " -"is also a teacher, and as a teacher myself, I envy the loyalty and " -"admiration that his students feel for him. (I met, by accident, two of his " -"students at a dinner party. He was their god.)" -msgstr "" -"<emphasis role='strong'>Jon Else</emphasis> er en filmskaper. Han er mest " -"kjent for sine dokumentarer og har pÃ¥ ypperlig vis klart Ã¥ spre sin kunst. " -"Han er ogsÃ¥ en lÃ¦rer, som meg selv, og jeg misunner den lojaliteten og " -"beundringen hans studenter har for ham. (Ved et uhell mÃ¸tte jeg to av hans " -"studenter i et middagsselskap og han var deres Gud.)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Else worked on a documentary that I was involved in. At a break, he told me " -"a story about the freedom to create with film in America today." -msgstr "" -"Else arbeidet med en dokumentarfilm hvor ogsÃ¥ jeg var involvert. I en pause " -"sÃ¥ fortalte han meg om hvordan det kunne vÃ¦re Ã¥ skape film i dagens Amerika." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Wagner, Richard" -msgstr "Wagner, Richard" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "San Francisco Opera" -msgstr "San Francisco Opera" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " -"focus was stagehands at the San Francisco Opera. Stagehands are a " -"particularly funny and colorful element of an opera. During a show, they " -"hang out below the stage in the grips' lounge and in the lighting loft. They " -"make a perfect contrast to the art on the stage." -msgstr "" -"I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var pÃ¥ " -"scenearbeidere pÃ¥ San Francisco Opera. Scenearbeiderne er spesielt morsomme " -"og fargerike innslag i en opera. I lÃ¸pet av forestillingen oppholder de seg " -"blant publikum og pÃ¥ lysloftet. De er en perfekt kontrast til kunsten pÃ¥ " -"scenen." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Simpsons, The" -msgstr "Simpsons, The" - -#. PAGE BREAK 107 -#. type: Content of: <book><part><chapter><para> -msgid "" -"During one of the performances, Else was shooting some stagehands playing " -"checkers. In one corner of the room was a television set. Playing on the " -"television set, while the stagehands played checkers and the opera company " -"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " -"this touch of cartoon helped capture the flavor of what was special about " -"the scene." -msgstr "" -"Under en forestilling, filmet Else noen scenearbeidere som spilte dam. I et " -"hjÃ¸rne av rommet stod det et fjernsynsapparat. PÃ¥ fjernsynet, mens " -"forestillingen pÃ¥gikk, mens scenearbeiderne spilte dam og operakompaniet " -"spilte Wagner, gikk <citetitle>The Simpsons</citetitle>. Slik Else sÃ¥ det, " -"sÃ¥ hjalp dette tegnefilm-innslaget med Ã¥ fange det spesielle med scenen." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "multiple copyrights associated with" -msgstr "flere opphavsrettigheter knyttet" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Years later, when he finally got funding to complete the film, Else " -"attempted to clear the rights for those few seconds of <citetitle>The " -"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " -"of course, to use copyrighted material you need the permission of the " -"copyright owner, unless <quote>fair use</quote> or some other privilege " -"applies." -msgstr "" -"SÃ¥ noen Ã¥r senere, da han endelig hadde fÃ¥tt ordnet den siste " -"finansieringen, ville Else skaffe rettigheter til Ã¥ bruke disse fÃ¥ sekundene " -"med <citetitle>The Simpson</citetitle>. For disse fÃ¥ sekundene var selvsagt " -"beskyttet av opphavsretten, og for Ã¥ bruke beskyttet materiale mÃ¥ man ha " -"tillatelse fra eieren, dersom det ikke er <quote>rimelig bruk</quote> eller " -"det foreligger spesielle avtaler." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Gracie Films" -msgstr "Gracie Films" - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "Groening, Matt" -msgstr "Groening, Matt" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " -"to get permission. Groening approved the shot. The shot was a four-and-a-" -"halfsecond image on a tiny television set in the corner of the room. How " -"could it hurt? Groening was happy to have it in the film, but he told Else " -"to contact Gracie Films, the company that produces the program." -msgstr "" -"Else kontaktet <citetitle>Simpson</citetitle>-skaper Matt Groenings kontor " -"for Ã¥ fÃ¥ tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om " -"fire og et halvt sekund pÃ¥ et lite fjernsyn, bakerst i et hjÃ¸rne av rommet. " -"Hvordan kunne det skade? Groening var glad for Ã¥ fÃ¥ ha det med i filmen, men " -"han ba Else om Ã¥ kontakte Gracie Films, firmaet som produserer programmet." - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "Fox (film company)" -msgstr "Fox (filmselskap)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Gracie Films was okay with it, too, but they, like Groening, wanted to be " -"careful. So they told Else to contact Fox, Gracie's parent company. Else " -"called Fox and told them about the clip in the corner of the one room shot " -"of the film. Matt Groening had already given permission, Else said. He was " -"just confirming the permission with Fox." -msgstr "" -"Gracie Films sa ogsÃ¥ at det var greit, men de, slik som Groening, Ã¸nsket Ã¥ " -"vÃ¦re forsiktige, og ba Else om Ã¥ kontakte Fox, konsernet som eide Gracie. Og " -"Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i " -"hjÃ¸rnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt " -"sin tillatelse, sa Else. Han ville bare fÃ¥ det avklart med Fox." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Then, as Else told me, <quote>two things happened. First we discovered " -"… that Matt Groening doesn't own his own creation—or at least " -"that someone [at Fox] believes he doesn't own his own creation.</quote> And " -"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to " -"use this four-point-five seconds of … entirely unsolicited " -"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>" -msgstr "" -"Deretter, fortalte Else: <quote>skjedde to ting. FÃ¸rst oppdaget vi … " -"at Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos " -"Fox] trodde at han ikke eide sitt eget verk.</quote> Som det andre krevde " -"Fox <quote>ti tusen dollar i lisensavgift for disse fire og et halvt " -"sekundene med … fullstendig tilfeldig <citetitle>Simpson</citetitle> " -"som var i et hjÃ¸rne i ett opptak.</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Herrera, Rebecca" -msgstr "Herrera, Rebecca" - -#. type: Content of: <book><part><chapter><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, <quote>There must be some mistake here. … We're asking for " -"your educational rate on this.</quote> That was the educational rate, " -"Herrera told Else. A day or so later, Else called again to confirm what he " -"had been told." -msgstr "" -"Ellers var sikker pÃ¥ at det var en feil. Han fikk tak i noen som han trodde " -"var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at " -"<quote>det mÃ¥ vÃ¦re en feil her … Vi ber deg om en utdanningssats pÃ¥ " -"dette.</quote> Og de hadde fÃ¥tt utdanningssats, fortalte Herrera. Kort tid " -"etter ringte Else igjen for Ã¥ fÃ¥ dette bekreftet." - -#. PAGE BREAK 108 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>I wanted to make sure I had my facts straight,</quote> he told me. " -"<quote>Yes, you have your facts straight,</quote> she said. It would cost " -"$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner " -"of a shot in a documentary film about Wagner's Ring Cycle. And then, " -"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you " -"over to our attorneys.</quote> As an assistant to Herrera told Else later " -"on, <quote>They don't give a shit. They just want the money.</quote>" -msgstr "" -"<quote>Jeg mÃ¥tte vÃ¦re sikker pÃ¥ at jeg hadde riktige opplysninger foran meg</" -"quote>, sa han. <quote>Ja, du har riktige opplysninger</quote>, sa hun. Det " -"ville koste $10 000 Ã¥ bruke dette lille klippet av <citetitle>The Simpson</" -"citetitle>, plassert bakerst i et hjÃ¸rne i en scene i en dokumentar om " -"Wagners Ring Cycle. Som om det ikke var nok, forblÃ¸ffet Herrera Else med Ã¥ " -"si <quote>Og om du siterer meg, vil du hÃ¸re fra vÃ¥re advokater.</quote> En " -"av Herreras assistenter fortalte Else at <quote>De bryr seg ikke i det hele " -"tatt. Alt de vil ha er pengene.</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Day After Trinity, The" -msgstr "Day After Trinity, The" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Else didn't have the money to buy the right to replay what was playing on " -"the television backstage at the San Francisco Opera. To reproduce this " -"reality was beyond the documentary filmmaker's budget. At the very last " -"minute before the film was to be released, Else digitally replaced the shot " -"with a clip from another film that he had worked on, <citetitle>The Day " -"After Trinity</citetitle>, from ten years before." -msgstr "" -"Men Else hadde ikke penger til Ã¥ kjÃ¸pe lisens for klippet. SÃ¥ Ã¥ gjenskape " -"denne delen av virkeligheten, lÃ¥ langt utenfor hans budsjett. Like fÃ¸r " -"dokumentaren skulle slippes, redigerte Else inn et annet klipp pÃ¥ " -"fjernsynet, et klipp fra en av hans andre filmer <citetitle>The Day After " -"Trinity</citetitle> fra ti Ã¥r tidligere." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"There's no doubt that someone, whether Matt Groening or Fox, owns the " -"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " -"property. To use that copyrighted material thus sometimes requires the " -"permission of the copyright owner. If the use that Else wanted to make of " -"the <citetitle>Simpsons</citetitle> copyright were one of the uses " -"restricted by the law, then he would need to get the permission of the " -"copyright owner before he could use the work in that way. And in a free " -"market, it is the owner of the copyright who gets to set the price for any " -"use that the law says the owner gets to control." -msgstr "" -"Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier " -"rettighetene til <citetitle>The Simpsons</citetitle>. Rettighetene er deres " -"eiendom. For Ã¥ bruke beskyttet materiale, kreves det ofte at men fÃ¥r " -"tillatelse fra eieren eller eierne. Dersom Else Ã¸nsket Ã¥ bruke " -"<citetitle>The Simpsons</citetitle> til noe hvor loven gir verket " -"beskyttelse, sÃ¥ mÃ¥ han innhente tillatelse fra eieren fÃ¸r han kan bruke det. " -"Og i et fritt marked er det eieren som bestemmer hvor mye han/hun vil ta for " -"hvilken som helst bruk (hvor loven krever tillatelse fra eier)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For example, <quote>public performance</quote> is a use of <citetitle>The " -"Simpsons</citetitle> that the copyright owner gets to control. If you take a " -"selection of favorite episodes, rent a movie theater, and charge for tickets " -"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then " -"you need to get permission from the copyright owner. And the copyright owner " -"(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. " -"That's her right, as set by the law." -msgstr "" -"For eksempel <quote>offentlig fremvisning</quote> av <citetitle>The Simpson</" -"citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du " -"velger ut dine favorittepisoder, leier en kinosal og selger billetter til " -"<quote>Mine <citetitle>Simpson</citetitle>-favoritter</quote>, sÃ¥ mÃ¥ du ha " -"tillatelse fra rettighetsinnehaveren (eieren). Og eieren kan (med rette, " -"slik jeg ser det) kreve hvor mye han vil; $10 eller $1 000 000. " -"Det er hans rett ifÃ¸lge loven." - -#. f1 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For an excellent argument that such use is <quote>fair use,</quote> but that " -"lawyers don't permit recognition that it is <quote>fair use,</quote> see " -"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory " -"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file " -"with author), University of Chicago Law School, 5 August 2003." -msgstr "" -"Ãnsker du Ã¥ lese en flott redegjÃ¸relse om hvordan dette er <quote>fair use</" -"quote>, og hvordan advokatene ikke anerkjenner det, sÃ¥ les Richard A. Posner " -"og William F. Patry, <quote>Fair Use and Statutory Reform in the Wake of " -"<citetitle>Eldred</citetitle> </quote> (utkast arkivert hos forfatteren), " -"University of Chicago Law School, 5. august 2003." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But when lawyers hear this story about Jon Else and Fox, their first thought " -"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's " -"use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" -"citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" -"citetitle>—and fair use does not require the permission of anyone." -msgstr "" -"Men nÃ¥r jurister hÃ¸rer denne historien om Jon Else og Fox, sÃ¥ er deres " -"fÃ¸rste tanke <quote>rimelig bruk</quote>.<placeholder type=\"footnote\" id=" -"\"0\"/> Elses bruk av 4,5 sekunder med et indirekte klipp av en " -"<citetitle>Simpsons</citetitle>-episode er et klart eksempel pÃ¥ " -"<quote>rimelig bruk</quote> av <citetitle>The Simpsons</citetitle>— og " -"<quote>rimelig bruk</quote> krever ingen tillatelse fra noen." - -#. PAGE BREAK 109 -#. type: Content of: <book><part><chapter><para> -msgid "" -"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's " -"his reply:" -msgstr "" -"SÃ¥ jeg spurte Else om hvorfor han ikke bare stolte pÃ¥ <quote>fair use</" -"quote>. Og her er hans svar:" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "legal intimidation tactics against" -msgstr "juridiske trusler taktikk mot" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " -"gulf between what lawyers find irrelevant in some abstract sense, and what " -"is crushingly relevant in practice to those of us actually trying to make " -"and broadcast documentaries. I never had any doubt that it was " -"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't " -"rely on the concept in any concrete way. Here's why:" -msgstr "" -"<citetitle>Simpsons</citetitle>-fiaskoen lÃ¦rte meg om hvor stor avstand det " -"var mellom det jurister ikke finner relevant pÃ¥ en abstrakt mÃ¥te, og hva som " -"er knusende relevant pÃ¥ en konkret mÃ¥te for oss som prÃ¸ver Ã¥ lage og " -"kringkaste dokumentarer. Jeg tvilte aldri pÃ¥ at dette helt klart var " -"<quote>rimelig bruk</quote>, men jeg kunne ikke stole pÃ¥ konseptet pÃ¥ noen " -"konkret mÃ¥te. Og dette er grunnen:" - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -#, mtrans, fuzzy -msgid "Errors and Omissions insurance" -msgstr "feil og utelatelser forsikring" - -#. 1. -#. type: Content of: <book><part><chapter><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 <quote>visual cue " -"sheet</quote> listing the source and licensing status of each shot in the " -"film. They take a dim view of <quote>fair use,</quote> and a claim of " -"<quote>fair use</quote> can grind the application process to a halt." -msgstr "" -"FÃ¸r vÃ¥re filmer kan kringkastes, krever nettverket at vi kjÃ¸per en " -"<quote>Errors and Omissions</quote>-forsikring. Den krever en detaljert " -"<quote>visual cue sheet</quote> med alle kilder og lisens-status pÃ¥ alle " -"scener i filmen. De har et smalt syn pÃ¥ <quote>fair use</quote>, og Ã¥ pÃ¥stÃ¥ " -"at noe er nettopp det kan forsinke, og i verste fall stoppe, prosessen." - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "Lucas, George" -msgstr "Lucas, George" - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "<citetitle>Star Wars</citetitle>" -msgstr "<citetitle>Star Wars</citetitle>" - -#. 2. -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> -msgid "" -"I probably never should have asked Matt Groening in the first place. But I " -"knew (at least from folklore) that Fox had a history of tracking down and " -"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " -"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " -"usage. So I decided to play by the book, thinking that we would be granted " -"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " -"a documentary producer working to exhaustion on a shoestring, the last thing " -"I wanted was to risk legal trouble, even nuisance legal trouble, and even to " -"defend a principle." -msgstr "" -"Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste " -"(ihvertfall fra rykter) at Fox tidligere hadde brukt Ã¥ jakte pÃ¥ og stoppe " -"ulisensiert bruk av <citetitle>The Simpsons</citetitle>, pÃ¥ samme mÃ¥te som " -"George Lucas var veldig ivrig pÃ¥ Ã¥ forfÃ¸lge bruken av <citetitle>Star Wars</" -"citetitle>. SÃ¥ jeg bestemte meg for Ã¥ fÃ¸lge boka, og trodde at vi kulle fÃ¥ " -"til en gratis, i alle fall rimelig, avtale for fire sekunders bruk av " -"<citetitle>The Simpsons</citetitle>. Som en dokumentarskaper, arbeidende pÃ¥ " -"randen av utryddelse, var det siste jeg Ã¸nsket en juridisk strid, selv for Ã¥ " -"forsvare et prinsipp." - -#. 3. -#. PAGE BREAK 110 -#. type: Content of: <book><part><chapter><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 <quote>depose and litigate you to within an inch of your life,</quote> " -"regardless of the merits of my claim. He made clear that it would boil down " -"to who had the bigger legal department and the deeper pockets, me or them." -msgstr "" -"Jeg snakket faktisk med en av dine kolleger pÃ¥ Stanford Law School … " -"som bekreftet at dette var rimelig bruk. Han bekreftet ogsÃ¥ at Fox ville " -"<quote>depose and litigate you to within an inch of your life</quote>, " -"uavhengig av sannheten i mine krav. Han gjorde det klart at alt ville koke " -"ned til hvem som hadde flest jurister og dypest lommer, jeg eller dem." - -#. 4. -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> -msgid "" -"The question of fair use usually comes up at the end of the project, when we " -"are up against a release deadline and out of money." -msgstr "" -"SpÃ¸rsmÃ¥let om <quote>fair use</quote> dukker om regel opp helt mot slutten " -"av prosjektet, nÃ¥r vi nÃ¦rmer oss siste frist og er tomme for penger." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In theory, fair use means you need no permission. The theory therefore " -"supports free culture and insulates against a permission culture. But in " -"practice, fair use functions very differently. The fuzzy lines of the law, " -"tied to the extraordinary liability if lines are crossed, means that the " -"effective fair use for many types of creators is slight. The law has the " -"right aim; practice has defeated the aim." -msgstr "" -"I teorien betyr <quote>fair use</quote> at du ikke trenger tillatelse. " -"Teorien stÃ¸tter derfor den frie kultur og arbeider mot tillatelseskulturen. " -"Men i praksis fungerer <quote>fair use</quote> helt annerledes. Men de " -"uklare linjene i lovverket, samt de fryktelige konsekvensene dersom man tar " -"feil, gjÃ¸r at mange kunstnere ikke stoler pÃ¥ <quote>fair use</quote>. Loven " -"har en svÃ¦rt god hensikt, men praksisen har ikke fulgt opp." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This practice shows just how far the law has come from its eighteenth-" -"century roots. The law was born as a shield to protect publishers' profits " -"against the unfair competition of a pirate. It has matured into a sword that " -"interferes with any use, transformative or not." -msgstr "" -"Dette eksempelet viser hvor langt denne loven har kommet fra sine " -"syttenhundretalls rÃ¸tter. Loven som skulle beskytte utgiverne mot " -"urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned pÃ¥ " -"_all_ bruk, transformativ* eller ikke." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER EIGHT: Transformers" -msgstr "Kapittel Ã¥tte: Omformerne" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Allen, Paul" -msgstr "Allen, Paul" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Alben, Alex" -msgstr "Alben, Alex" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer working " -"at Starwave, Inc. Starwave was an innovative company founded by Microsoft " -"cofounder Paul Allen to develop digital entertainment. Long before the " -"Internet became popular, Starwave began investing in new technology for " -"delivering entertainment in anticipation of the power of networks." -msgstr "" -"<emphasis role='strong'>I 1993</emphasis> var Alex Alben en jurist som " -"arbeidet hos Starwave Inc. Starwave var et innovativt firma grunnlagt av " -"Paul Allen, som ogsÃ¥ hadde vÃ¦rt med pÃ¥ Ã¥ grunnlegge Microsoft.Starwaves mÃ¥l " -"var Ã¥ utvikle digital underholdning. Lenge fÃ¸r Internett ble superpopulÃ¦rt, " -"forsket Starwave pÃ¥ ny teknologi for Ã¥ levere underholdning uten nettverk." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "retrospective compilations on" -msgstr "retrospektiv samleplater pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "CD-ROMs, film clips used in" -msgstr "CD-ROMer, filmklipp brukt i" - -#. type: Content of: <book><part><chapter><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 var veldig interessert i ny teknologi. Han var fascinert av det " -"voksende markedet for CD-ROM-teknologi—ikke for Ã¥ distribuere film, " -"men for Ã¥ gjÃ¸re ting med filmen som fÃ¸r ville vÃ¦rt svÃ¦rt vanskelig. I 1993 " -"lanserte han idÃ©en om Ã¥ utvikle et produkt for Ã¥ vise retrospectives* rundt " -"verkene av en bestemt kunstner. Den fÃ¸rste skuespilleren som ble valgt, var " -"Clint Eastwood. IdÃ©en var Ã¥ vise alle Eastwoods verker, sammen med klipp fra " -"filmene hans og intervjuer av personer som hadde vÃ¦rt viktige i hans " -"karriere." - -#. type: Content of: <book><part><chapter><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 "" -"PÃ¥ den tiden hadde Eastwood lagd over femti filmer, bÃ¥de som skuespiller og " -"som regissÃ¸r. Alben begynte med en serie intervjuer med Eastwood, hvor tema " -"var hans karriere. Siden Starwave produserte disse intervjuene, kunne de " -"fritt ha dem med pÃ¥ CD-en." - -#. PAGE BREAK 112 -#. type: Content of: <book><part><chapter><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 "" -"Men det alene hadde ikke blitt noe interessant produkt, sÃ¥ Starwave Ã¸nsket Ã¥ " -"legge til litt innhold fra noen av Eastwoods filmer, noen plakater, manus og " -"andre ting som kunne knyttes til filmene hans. Mesteparten av Eastwoods " -"karriere hadde foregÃ¥tt hos Warner Brothers og det var relativt enkelt Ã¥ fÃ¥ " -"tillatelse for det materialet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Then Alben and his team decided to include actual film clips. <quote>Our " -"goal was that we were going to have a clip from every one of Eastwood's " -"films,</quote> Alben told me. It was here that the problem arose. <quote>No " -"one had ever really done this before,</quote> Alben explained. <quote>No one " -"had ever tried to do this in the context of an artistic look at an actor's " -"career.</quote>" -msgstr "" -"Deretter Ã¸nsket Alben og hans team Ã¥ bruke noen faktiske klipp fra aktuelle " -"filmer. <quote>VÃ¥rt mÃ¥l var Ã¥ ha et klipp fra alle Eastwoods filmer</quote> " -"fortalte Alben meg. Det var her problemene startet. <quote>Ingen hadde " -"noensinne gjort dette fÃ¸r</quote>, forklarte Alben. <quote>Ingen hadde prÃ¸vd " -"Ã¥ presentere et slikt kunstnerisk overblikk over en skuespillers karriere.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " -"<quote>Well, what will it take?</quote>" -msgstr "" -"Alben tok idÃ©en videre til Michael Slade, leder for Starwave. Slade spurte " -"<quote>Vel, hvor mye vil det kreve?</quote>" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary> -#, mtrans, fuzzy -msgid "publicity rights on images of" -msgstr "publisitet rettigheter pÃ¥ bilder av" - -#. type: Content of: <book><part><chapter><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 <quote>Rip, Mix, Burn</quote> " -"creativity, as this chapter evinces. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Teknisk sett var rettighetene som Alben mÃ¥tte klarere i hovedsak de om " -"publisitet—rettigheten en artist har til Ã¥ kontrollere den " -"kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster " -"ogsÃ¥ <quote>rip, miks, brenn</quote>-kreativiteten slik dette kapittelet " -"demonstrerer. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Alben replied, <quote>Well, we're going to have to clear rights from " -"everyone who appears in these films, and the music and everything else that " -"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for " -"it.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Alben svarte, <quote>Tja, vi mÃ¥ innhente tillatelse fra alle som opptrer i " -"disse filmene, for musikken og for alt annet som er i disse filmklippene.</" -"quote> Slade svarte <quote>Flott! GjÃ¸r det.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 forstod hva det innebar Ã¥ innhente " -"disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav pÃ¥ " -"royalties for bruk av sin film. Men CD-ROM hadde ikke vÃ¦rt spesifisert i " -"skuespillernes kontrakter, sÃ¥ ingen visste helt hva Starwave skulle gjÃ¸re." - -#. type: Content of: <book><part><chapter><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 om hvordan han lÃ¸ste problemet. Med en tydelig stolthet som " -"overskygget hvor bisarr historien var, sÃ¥ fortalte han hva de gjorde:" - -#. type: Content of: <book><part><chapter><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 <quote>Make my day</quote> clip from <citetitle>Dirty " -"Harry</citetitle>. But you then need to get the guy on the ground who's " -"wiggling under the gun and you need to get his permission. And then you " -"have to decide what you are going to pay him." -msgstr "" -"SÃ¥ vi dro og fant frem filmene og gjorde noen kunstneriske beslutninger om " -"hvilke klipp som skulle vÃ¦re med. Selvsagt skulle vi bruke <quote>Make my " -"day</quote>-scenen fra Dirty Harry. Men da mÃ¥tte vi oppsÃ¸ke den personen som " -"ligger pÃ¥ bakken under gevÃ¦ret og fÃ¥ hans tillatelse. Og sÃ¥ mÃ¥tte vi " -"bestemme hva han skulle fÃ¥ betalt." - -#. PAGE BREAK 113 -#. type: Content of: <book><part><chapter><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 bestemte at det ville vÃ¦re rettferdig hvis vi tilbydde dem en dagspiller-" -"sats for retten til Ã¥ bruke klippet. Vi snakker tross alt om et klipp pÃ¥ " -"under et minutt, men satsen for Ã¥ bruke klippet pÃ¥ CD-ROM lÃ¥ pÃ¥ den tiden pÃ¥ " -"$600. SÃ¥ vi mÃ¥tte identifisere personene - noen var vanskelig Ã¥ " -"identifisere, siden det ofte er vanskelig Ã¥ vite hvem som er skuespilleren " -"og hvem som er stuntmannen i Eastwoods filmer. Og deretter samlet vi oss en " -"gjeng og begynte Ã¥ ringe rundt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Sutherland, Donald" -msgstr "Sutherland, Donald" - -#. type: Content of: <book><part><chapter><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, <quote>Hey, can I pay " -"you $600 or maybe if you were in two films, you know, $1,200?</quote> And " -"they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</" -"quote> And some of course were a bit difficult (estranged ex-wives, in " -"particular). But eventually, Alben and his team had cleared the rights to " -"this retrospective CD-ROM on Clint Eastwood's career." -msgstr "" -"Noen skuespillere var glade for Ã¥ kunne hjelpe — Donald Sutherland " -"fulgte for eksempel opp saken personlig for Ã¥ sÃ¸rge for at alt var greit. " -"Andre brydde seg mest om pengene. Alben kunne spÃ¸rre <quote>Hei, kan jeg " -"betale deg $600, eller hvis du var i to filmer $1200?</quote> Og de kunne " -"svare <quote>Er det sant? Jeg vil svÃ¦rt gjerne ha $1200.</quote> Og noen " -"kunne vÃ¦re litt vanskelige av seg (sÃ¦rlig krevende eks-koner). Men til slutt " -"greide Alben og hans team Ã¥ gjÃ¸re rede for alle rettighetene til CD-en om " -"Clint Eastwoods karriere." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"It was one <emphasis>year</emphasis> later—<quote>and even then we " -"weren't sure whether we were totally in the clear.</quote>" -msgstr "" -"Det gÃ¥tt ett <emphasis>Ã¥r</emphasis> <quote>og selv da var vi ikke sikre pÃ¥ " -"om alt var helt klart.</quote>" - -#. type: Content of: <book><part><chapter><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 stolt av arbeidet sitt. Prosjektet var det fÃ¸rste av sitt slag, og " -"fÃ¸rste gang han hadde hÃ¸rt om et team som hadde tatt pÃ¥ seg sÃ¥ mye arbeid " -"for Ã¥ gi ut en *retrospective*." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"Everyone thought it would be too hard. Everyone just threw up their hands " -"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the " -"music, there's the screenplay, there's the director, there's the actors.</" -"quote> But we just broke it down. We just put it into its constituent parts " -"and said, <quote>Okay, there's this many actors, this many directors, " -"… this many musicians,</quote> and we just went at it very " -"systematically and cleared the rights." -msgstr "" -"Alle hadde trodd det skulle bli for vanskelig. De hadde kastet hendene i " -"vÃ¦ret og sagt <quote>Oi, en film. Det er sÃ¥ mange rettigheter; det er " -"musikk, det er scenekusten, det er skuespillere, det er regissÃ¸rer.</quote> " -"Men vi gjorde det! Vi tok delen fra hverandre og sa <quote>okei, det er sÃ¥ " -"mange skuespillere, sÃ¥ mange regissÃ¸rer ... sÃ¥ mange musikere</quote>, sÃ¥ " -"gikk vi systematisk igjennom det og fikk tak i rettighetene." - -#. PAGE BREAK 114 -#. type: Content of: <book><part><chapter><para> -msgid "" -"And no doubt, the product itself was exceptionally good. Eastwood loved it, " -"and it sold very well." -msgstr "" -"Og produktet ble uten tvil sÃ¦rdeles godt. Eastwood elsket det og det solgte " -"veldig godt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Drucker, Peter" -msgstr "Drucker, Peter" - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"U.S. Department of Commerce Office of Acquisition Management, " -"<citetitle>Seven Steps to Performance-Based Services Acquisition</" -"citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#22</ulink>." -msgstr "" -"U.S. Department of Commerce Office of Acquisition Management, " -"<citetitle>Seven Steps to Performance-Based Services Acquisition</" -"citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #22</ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But I pressed Alben about how weird it seems that it would have to take a " -"year's work simply to clear rights. No doubt Alben had done this " -"efficiently, but as Peter Drucker has famously quipped, <quote>There is " -"nothing so useless as doing efficiently that which should not be done at all." -"</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " -"Alben, that this is the way a new work has to be made?" -msgstr "" -"Men jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt Ã¥r " -"bare Ã¥ fÃ¥ orden pÃ¥ rettigheter. Alben hadde gjort det hele svÃ¦rt effektivt, " -"men som Peter Drucker sÃ¥ berÃ¸mmelig har sagt <quote>Det er ikke noe som er " -"sÃ¥ ubrukelig Ã¥ gjÃ¸re effektivt enn det som egentlig ikke gjÃ¸res i det hele " -"tatt.</quote><placeholder type=\"footnote\" id=\"0\"/> Var det noe fornuft i " -"at det var slik et nye verk skulle skapes, spurte jeg Alben." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For, as he acknowledged, <quote>very few … have the time and " -"resources, and the will to do this,</quote> and thus, very few such works " -"would ever be made. Does it make sense, I asked him, from the standpoint of " -"what anybody really thought they were ever giving rights for originally, " -"that you would have to go clear rights for these kinds of clips?" -msgstr "" -"For, som han innrÃ¸mmet, <quote>veldig fÃ¥ ... har tid og ressurser, og ikke " -"minst vilje til Ã¥ gjÃ¸re dette</quote>, og veldig fÃ¥ slike verk har blitt " -"lagd, Gir det noen mening, spurte jeg ham, ********* at du mÃ¥ gjÃ¸re alt " -"dette for Ã¥ fÃ¥ rett til Ã¥ bruke disse klippene?" - -#. type: Content of: <book><part><chapter><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. NÃ¥r en skuespiller gjengir en forestilling i en film, fÃ¥r " -"han eller hun veldig godt betalt … Og derfor, nÃ¥r 30 sekunder av " -"denne forestillingen blir brukt i et nytt produkt som er et tilbakeblikk pÃ¥ " -"noens karriere, sÃ¥ tror jeg ikke at den personen … burde fÃ¥ " -"kompensasjon for det." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Or at least, is this <emphasis>how</emphasis> the artist should be " -"compensated? Would it make sense, I asked, for there to be some kind of " -"statutory license that someone could pay and be free to make derivative use " -"of clips like this? Did it really make sense that a follow-on creator would " -"have to track down every artist, actor, director, musician, and get explicit " -"permission from each? Wouldn't a lot more be created if the legal part of " -"the creative process could be made to be more clean?" -msgstr "" -"Eller er det kanskje <emphasis>slik</emphasis> en kunstner burde fÃ¥ " -"kompensasjon? Gir det noen mening, spurte jeg, om det var en form for " -"lovbestemt lisens som noen kan betale og fritt videreutvikle og bearbeide " -"klipp som disse? Ga det virkelig mening at en videreutviklende skaper " -"skulle mÃ¥tte spore opp hver eneste artist, skuespiller, regissÃ¸r, musiker og " -"fÃ¥ eksplisitt tillatelse fra hver av dem. Ville ikke mye mer bli laget hvis " -"den juridiske delen av den kreative prosessen kunne gjÃ¸res enklere." - -#. PAGE BREAK 115 -#. type: Content of: <book><part><chapter><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, <quote>Oh, I want a hundred minutes of something " -"and I have no idea what it's going to cost me, and a certain number of " -"people are going to hold me up for money,</quote> then it becomes difficult " -"to put one of these things together." -msgstr "" -"Absolutt. Jeg tror at hvis det fantes en form for " -"lisensieringsmekanisme—hvor du ikke risikerte Ã¥ bli offer for " -"forglemmelser eller problematiske ekskoner—ville man kanskje ha sett " -"mange flere av denne typen verk, rett og slett fordi det ikke ville sett sÃ¥ " -"skrekkinngytende ut Ã¥ sette sammen et tilbakeblikk pÃ¥ noens karriere og Ã¥ " -"bruke mange media-illustrasjoner fra dennes karriere. Du ville kunne lage en " -"budsjettpost pÃ¥ dette. Sette opp en kostnad pÃ¥ X dollar til talentet som " -"fremfÃ¸rte. Og det ville vÃ¦re en kjent kostnad. Det er kanskje " -"kjerneproblemet med Ã¥ produsere slike produkter. Hvis man visste at man " -"hadde 100 minutter med film, kunne man si at dette vil koste meg sÃ¥ og sÃ¥ " -"mange dollar, og lage et budsjett rundt det. Deretter kan du skaffe " -"investorer og alt annet som trengs for Ã¥ produsere det. Men dersom man kun " -"kan si <quote>Hm, jeg Ã¸nsker 100 minutter med noe, og jeg aner ikke hvor mye " -"det vil koste meg, og et bestemt antall personer vil kreve penger</quote>, " -"vil det vÃ¦re ganske vanskelig Ã¥ fÃ¥ til slike ting." - -#. type: Content of: <book><part><chapter><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?" -msgstr "" -"Alben jobbet for et stort selskap. Hans selskap var stÃ¸ttet av noen av de " -"rikeste investorene i verden. Derfor hadde han myndighet og ressurser som en " -"gjennomsnittlig webdesigner ikke kunne drÃ¸mme om. SÃ¥ hvis det tok ham et Ã¥r, " -"hvor lang tid ville det ta noen andre? Og hvor mye kreativitet fÃ¥r aldri " -"form pÃ¥ grunn av kostnadene rundt Ã¥ kartlegge og skaffe rettigheter? " - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These costs are the burdens of a kind of regulation. Put on a Republican hat " -"for a moment, and get angry for a bit. The government defines the scope of " -"these rights, and the scope defined determines how much it's going to cost " -"to negotiate them. (Remember the idea that land runs to the heavens, and " -"imagine the pilot purchasing flythrough rights as he negotiates to fly from " -"Los Angeles to San Francisco.) These rights might well have once made " -"sense; but as circumstances change, they make no sense at all. Or at least, " -"a well-trained, regulationminimizing Republican should look at the rights " -"and ask, <quote>Does this still make sense?</quote>" -msgstr "" -"Disse kostnadene er byrdene av en form for regulering. Vi kan prÃ¸ve Ã¥ ta pÃ¥ " -"oss en republikanerhatt og bli sinte for et Ã¸yeblikk. Staten styrer disse " -"rettighetenes dekningsomrÃ¥de, og dekningsomrÃ¥det bestemmer hvor mye det vil " -"koste Ã¥ krenke disse rettighetene. (Husker dere idÃ©en om at en eiendom " -"strakte seg til universets grense? Og se for dere piloten som mÃ¥ betale for " -"Ã¥ krysse eiendommen som han krenker ved Ã¥ fly fra Los Angeles til San " -"Francisco.) Disse rettighetene gav sikkert mening en gang, men nÃ¥ som " -"forholdene har endret seg, er meningen borte. Ihvertfall sÃ¥ burde en " -"veltrenet, reguleringsfiendtlig republikaner se pÃ¥ rettighetene og spÃ¸rre " -"<quote>Gir dette mening nÃ¥?</quote>" - -#. PAGE BREAK 116 -#. type: Content of: <book><part><chapter><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 glimt av gjenkjennelse pÃ¥ dette punktet, men bare noen fÃ¥ " -"ganger. FÃ¸rste gang var pÃ¥ en konferanse for fÃ¸derale dommere i California. " -"Dommerne var samlet for Ã¥ diskutere det Ã¸kende temaet cyber-lov. Jeg ble " -"spurt om Ã¥ sitte i panelet. Harvey Saferstein, en respektert advokat fra et " -"firma i Los Angeles, introduserte en film han og hans venn Robert Fairbank " -"hadde laget for panelet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The video was a brilliant collage of film from every period in the twentieth " -"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " -"episode. The execution was perfect, down to the sixty-minute stopwatch. The " -"judges loved every minute of it." -msgstr "" -"Videoen var en glimrende sammenstilling av filmer fra hver periode i det " -"tjuende Ã¥rhundret, rammet inn rundt idÃ©en om en episode i TV-serien " -"<citetitle>60 Minutes</citetitle>. UtfÃ¸relsen var perfekt, ned til seksti " -"minutter stoppeklokken. Dommerne elsket enhver minutt av den." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Nimmer, David" -msgstr "Nimmer, David" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"When the lights came up, I looked over to my copanelist, David Nimmer, " -"perhaps the leading copyright scholar and practitioner in the nation. He had " -"an astonished look on his face, as he peered across the room of over 250 " -"well-entertained judges. Taking an ominous tone, he began his talk with a " -"question: <quote>Do you know how many federal laws were just violated in " -"this room?</quote>" -msgstr "" -"Da lysene kom pÃ¥, kikket jeg over til min medpaneldeltager, David Nimmer, " -"kanskje den ledende opphavsrettakademiker og utÃ¸ver i nasjonen. Han hadde en " -"forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over " -"250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin " -"tale med et spÃ¸rsmÃ¥l: <quote>Vet dere hvor mange fÃ¸derale lover som nettopp " -"brutt i dette rommet?</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Boies, David" -msgstr "Boies, David" - -#. type: Content of: <book><part><chapter><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 "" -"Og selvsagt hadde ikke disse to briljante talentene gjort hva Alben hadde " -"gjort. De hadde ikke ordnet alle rettighetene til klippene de brukte. Rent " -"teknisk hadde de brutt loven. Men ingen kom til Ã¥ straffeforfÃ¸lge disse to " -"(selv om de viste den for 250 dommere og en gjeng fÃ¸derale marshaller\". Men " -"Nimmer hadde et viktig poeng: Et Ã¥r fÃ¸r noen hadde hÃ¸rt ordet Napster, og to " -"Ã¥r fÃ¸r et annet medlem av panelet, David Boies, ville forsvare Napster for " -"den niende Circuit Court of Appeals, prÃ¸vde Nimmer Ã¥ fÃ¥ dommerne til Ã¥ " -"forstÃ¥ at loven ikke var sÃ¦rlig Ã¥pen for de nye kapasitetene den nye " -"teknologien ville gi. Teknologi betyr at du kan gjÃ¸re fantastiske ting, " -"enkelt. Men du kan ikke nÃ¸dvendigvis gjÃ¸re dem enkelt, lovlig." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"We live in a <quote>cut and paste</quote> culture enabled by technology. " -"Anyone building a presentation knows the extraordinary freedom that the cut " -"and paste architecture of the Internet created—in a second you can " -"find just about any image you want; in another second, you can have it " -"planted in your presentation." -msgstr "" -"Vi lever i en <quote>klippe og lime</quote>-kultur som er muliggjort av " -"dagens teknologi. Alle som lager presentasjoner vet hvilken eksepsjonell " -"frihet Internettets <quote>klippe og lime</quote>-arkitektur gir—pÃ¥ et " -"sekund kan du finne akkurat det bildet du vil ha, og du kan fÃ¥ den inn i " -"presentasjonen din." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Camp Chaos" -msgstr "Camp Chaos" - -#. PAGE BREAK 117 -#. type: Content of: <book><part><chapter><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 " -"dets arkiver, er musikere i stand til Ã¥ sy sammen nye lydmikser som ingen " -"hadde kunnet forestille seg; filmskapere er i stand til Ã¥ lage filmer ut av " -"klipp pÃ¥ datamaskiner rundt om i verden. Et spesielt nettsted i Sverige tar " -"bilder av politikere og blander dem med musikk Ã¥ skape bitende politiske " -"kommentarer. En nettside kalt Camp Chaos har skapt noe av den skarpeste " -"kritikken som finnes mot musikkindustrien, gjennom Ã¥ mikse Flash! og musikk." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"All of these creations are technically illegal. Even if the creators wanted " -"to be <quote>legal,</quote> the cost of complying with the law is impossibly " -"high. Therefore, for the law-abiding sorts, a wealth of creativity is never " -"made. And for that part that is made, if it doesn't follow the clearance " -"rules, it doesn't get released." -msgstr "" -"Men alt dette er rent teknisk ulovlig. Selv om skaperen Ã¸nsket Ã¥ holde seg " -"pÃ¥ rett side av loven, ville kostnadene ved Ã¥ fÃ¸lge loven vÃ¦rt " -"umenneskelige. Derfor vil de som Ã¸nsker Ã¥ fÃ¸lge loven bli hindret i Ã¥ bruke " -"sin kreativitet, og mye blir aldri skapt. Og det som er skapt, vil ikke bli " -"publisert fordi det ikke fÃ¸lger *clearence-rules*." - -#. type: Content of: <book><part><chapter><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 <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, " -"the system could simply make it easy for follow-on creators to compensate " -"artists without requiring an army of lawyers to come along: a rule, for " -"example, that says <quote>the royalty owed the copyright owner of an " -"unregistered work for the derivative reuse of his work will be a flat 1 " -"percent of net revenues, to be held in escrow for the copyright owner.</" -"quote> Under this rule, the copyright owner could benefit from some royalty, " -"but he would not have the benefit of a full property right (meaning the " -"right to name his own price) unless he registers the work." -msgstr "" -"Noen ser synes at denne historien kommer med et forslag til forbedring: La " -"oss fjerne miksen av rettigheter slik at folk fritt kan bygge pÃ¥ vÃ¥r kultur. " -"Fritt Ã¥ legge til eller mikse som de synes det passer. Vi kunne innfÃ¸re " -"dette uten at det ble fritt som i <quote>fri bar</quote>. I stedet kunne " -"systemet gjÃ¸re det lettere for nye kunstnere Ã¥ kompensere den originale " -"artisten uten at det krever en hÃ¦r av jurister. Hva med regler som f. eks. " -"<quote>kompensasjon til en opphavsrettholder for uregistrerte verk vil for " -"avledede verk fÃ¸re 1% av netto overskudd (*to be held in escrow for the " -"copyright owner.*)</quote> Med en slik regel ville opphavsrettholderen fÃ¥ en " -"inntekt, men han vil ikke ha en full eiendomsrett over opphavsretten (som " -"betyr retten til Ã¥ sette sin egen pris) uten Ã¥ ha registrert verket." - -#. type: Content of: <book><part><chapter><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 vil nekte Ã¥ bli med pÃ¥ det? Og hvilke grunner finner for Ã¥ nekte dette? " -"Vi snakker om et verk som ikke blir lagd akkurat nÃ¥, men om det blir lagd " -"under denne planen, vil det skape inntekter for artistene. Hvilke baktanker " -"kan noen ha for motarbeide det?" - -#. PAGE BREAK 118 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In February 2003</emphasis>, DreamWorks studios " -"announced an agreement with Mike Myers, the comic genius of " -"<citetitle>Saturday Night Live</citetitle> and Austin Powers. According to " -"the announcement, Myers and Dream-Works would work together to form a " -"<quote>unique filmmaking pact.</quote> Under the agreement, DreamWorks " -"<quote>will acquire the rights to existing motion picture hits and classics, " -"write new storylines and—with the use of stateof-the-art digital " -"technology—insert Myers and other actors into the film, thereby " -"creating an entirely new piece of entertainment.</quote>" -msgstr "" -"<emphasis role='strong'>I februar 2003</emphasis> kunne DreamWorks studios " -"kunngjÃ¸re at de hadde fÃ¥tt en avtale med komikeren Mike Myers (mannen bak " -"Saturday Night Liva og Austin Powers). IfÃ¸lge kunngjÃ¸ringen skulle " -"DreamWorks og Myers arbeide for Ã¥ skape en <quote>unik filmskaperavtale</" -"quote>. Og under denne avtalen ville DreamWorks <quote>fÃ¥ rett til Ã¥ benytte " -"eksisterende filmklipp, skrive nye storylines* og - med hjelp av *stateof-" -"the-art-teknologi - sette inn Myers og andre skuespillere i filmene, og slik " -"skape et helt nytt stykke underholdning.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The announcement called this <quote>film sampling.</quote> As Myers " -"explained, <quote>Film Sampling is an exciting way to put an original spin " -"on existing films and allow audiences to see old movies in a new light. Rap " -"artists have been doing this for years with music and now we are able to " -"take that same concept and apply it to film.</quote> Steven Spielberg is " -"quoted as saying, <quote>If anyone can create a way to bring old films to " -"new audiences, it is Mike.</quote>" -msgstr "" -"Dette ble kalt <quote>film sampling</quote>, og som Myers forklarte var " -"<quote>film sampling en fantastisk mÃ¥te Ã¥ fÃ¥ ny vri pÃ¥ eksisterende filmer " -"og lar publikum se gamle filmer i et nytt lys. Rap-artister har gjort slikt " -"i en Ã¥rrekke og nÃ¥ kan vi ta det samme konseptet og bruke det pÃ¥ film.</" -"quote> Steven Spielberg er sitert med fÃ¸lgende utsagn <quote>Hvis noen kan " -"klare Ã¥ bringe gamle filmer til et nytt publikum, sÃ¥ er det Mike.</quote>" - -#. type: Content of: <book><part><chapter><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 har rett. Film sampling med Myers ville vÃ¦rt briljant. Men hvis du " -"ikke fÃ¸lger godt med, sÃ¥ vil du overse det forblÃ¸ffende med denne " -"kunngjÃ¸ringen. Siden den aller stÃ¸rste delen av vÃ¥r filmarv fortsetter Ã¥ " -"vÃ¦re regulert av loven, sÃ¥ er den virkelige meningen i DreamWorks " -"kunngjÃ¸ring fÃ¸lgende: Det er Mike Myers og kun Mike Myers som har lov til Ã¥ " -"gjÃ¸re slikt. All generell frihet til Ã¥ fortsette Ã¥ bygge pÃ¥ verdens " -"filmkultur, en frihet som i andre sammenhenger er en selvfÃ¸lge, er et " -"privilegium forbeholdt de morsomme og berÃ¸mte - og antakelig rike." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This privilege becomes reserved for two sorts of reasons. The first " -"continues the story of the last chapter: the vagueness of <quote>fair use.</" -"quote> Much of <quote>sampling</quote> should be considered <quote>fair use." -"</quote> But few would rely upon so weak a doctrine to create. That leads to " -"the second reason that the privilege is reserved for the few: The costs of " -"negotiating the legal rights for the creative reuse of content are " -"astronomically high. These costs mirror the costs with fair use: You either " -"pay a lawyer to defend your fair use rights or pay a lawyer to track down " -"permissions so you don't have to rely upon fair use rights. Either way, the " -"creative process is a process of paying lawyers—again a privilege, or " -"perhaps a curse, reserved for the few." -msgstr "" -"Dette privilegiet er sÃ¥pass reservert av to grunner: FÃ¸rste grunn er en " -"fortsettelse av forrige kapittel, vagheten i <quote>rimelig bruk</quote>. " -"Mye av denne <quote>samplingen</quote> vil nok betraktes som <quote>rimelig " -"bruk</quote>, men ingen vÃ¥ger Ã¥ stole pÃ¥ et sÃ¥ vagt prinsipp. Det leder oss " -"til neste grunn for at privilegiet er forbeholdt fÃ¥: Kostnadene ved Ã¥ krenke " -"opphavsretten ved kreativt gjenbruk er astronomiske. Disse kostnadene " -"speiler kostnaden for <quote>rimelig bruk</quote>: Enten betaler du en " -"jurist til Ã¥ forsvare dine <quote>rimelig bruk</quote>-rettigheter, eller sÃ¥ " -"betaler du en jurist for Ã¥ oppspore og ordne med rettighetene du trenger, " -"slik at du slipper Ã¥ stole pÃ¥ rimelig bruk. I begge tilfeller er den " -"kreative prosessen blitt en prosess med Ã¥ betale jurister—igjen, et " -"privilegium forbeholdt de fÃ¥." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER NINE: Collectors" -msgstr "Kapittel ni: Samlere" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "archives, digital" -msgstr "arkiver, digitale" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "bots" -msgstr "boter" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In April 1996</emphasis>, millions of <quote>bots</" -"quote>—computer codes designed to <quote>spider,</quote> or " -"automatically search the Internet and copy content—began running " -"across the Net. Page by page, these bots copied Internet-based information " -"onto a small set of computers located in a basement in San Francisco's " -"Presidio. Once the bots finished the whole of the Internet, they started " -"again. Over and over again, once every two months, these bits of code took " -"copies of the Internet and stored them." -msgstr "" -"<emphasis role='strong'>I april 1996</emphasis> hadde millioner av " -"<quote>bots</quote> dataprogramkode utformet for Ã¥ <quote>kravle</quote> " -"eller automatisk sÃ¸king pÃ¥ Internettet og kopiering av innhold—gikk i " -"gang over nettet. Side for side kopierte disse botene internet-basert " -"informasjon til et lite sett maskiner plassert i en kjeller i San Franciscos " -"Presidio. Da botene var ferdig med hele Internettet startet de pÃ¥ nytt. " -"Igjen og igjen, en gang hver to mÃ¥neder, tok disse bitene med kode kopier av " -"Internettet og lagret dem." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Way Back Machine" -msgstr "Way Back Machine" - -#. type: Content of: <book><part><chapter><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 <quote>the Way Back Machine,</quote> you could enter a Web " -"page, and see all of its copies going back to 1996, as well as when those " -"pages changed." -msgstr "" -"I oktober 2001 hadde botene samlet mer enn fem Ã¥r med kopier. Og ved en " -"liten kunngjÃ¸ring i Berkeley, Californa, ble arkivene som disse kopiene " -"utgjorde, Internettarkivet, Ã¥pnet for verden. Ved Ã¥ bruke en teknologi ved " -"navn <quote>Way Back machine</quote> kan du skrive inn en nettside og se " -"alle dets kopier helt tilbake til 1996, samt se nÃ¥r disse sidene endret seg." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Orwell, George" -msgstr "Orwell, George" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is the thing about the Internet that Orwell would have appreciated. In " -"the dystopia described in <citetitle>1984</citetitle>, old newspapers were " -"constantly updated to assure that the current view of the world, approved of " -"by the government, was not contradicted by previous news reports." -msgstr "" -"Dette er en egenskap med Internettet som Orwell visse satt pris pÃ¥. I den " -"dystre verden beskrevet i <citetitle>1984</citetitle> ble gamle aviser " -"kontinuerlig oppdatert for Ã¥ sikre at gjeldende oppfattning av verden, " -"godkjent av myndighetene, ikke ble motsagt av gamle nyhetsmeldinger." - -#. PAGE BREAK 120 -#. type: Content of: <book><part><chapter><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 arbeidere redigerte konstant fortiden, hvilket gjorde at det " -"aldri var mulig Ã¥ vite om historien du leste i dag var historien som ble " -"trykket den datoen som sto fÃ¸rt opp pÃ¥ papiret." - -#. type: Content of: <book><part><chapter><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 Internettet. Hvis du besÃ¸ker en nettside i dag sÃ¥ har " -"du ingen mÃ¥te Ã¥ vite om innholdte du leser nÃ¥ er det samme som innholdet du " -"leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt " -"vÃ¦r helt annerledes. Internettet er Orwells bibliotek—kontinuerlig " -"oppdatert, uten en pÃ¥litelig hukommelse." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "White House press releases" -msgstr "pressemeldinger fra det hvite hus" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the " -"White House changes its own press releases without notice. A May 13, 2003, " -"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> " -"That was later changed, without notice, to <quote>Major Combat Operations in " -"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det " -"hvite hus endrer sine egne pressemeldinger uten varsel. En pressemelding " -"fra 13. mai 2003 inneholdt <quote>Kampoperasjoner i Irak er over</quote>. " -"Det ble senere endret, uten varsel, til <quote>StÃ¸rre kampoperasjoner i Irak " -"er over</quote>. Epost fra Brewster Kahle, 1. desember 2003." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Until the Way Back Machine, at least. With the Way Back Machine, and the " -"Internet Archive underlying it, you can see what the Internet was. You have " -"the power to see what you remember. More importantly, perhaps, you also have " -"the power to find what you don't remember and what others might prefer you " -"forget.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I hvert fall fÃ¸r Way Back Machine dukket opp. Ved hjelp av Way Back " -"Machine, og Internettarkivet som ligger til grunn for denne, sÃ¥ kan du se " -"hvordan Internettet var. Du har mulighet til Ã¥ se det du husker. Og " -"kanskje viktigere, sÃ¥ har du mulighet til Ã¥ finne det du ikke husker og det " -"andre kanskje fortrekker at du glemmer.<placeholder type=\"footnote\" id=" -"\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "history, records of" -msgstr "historien, arkiv over" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>We take it</emphasis> for granted that we can go " -"back to see what we remember reading. Think about newspapers. If you wanted " -"to study the reaction of your hometown newspaper to the race riots in Watts " -"in 1965, or to Bull Connor's water cannon in 1963, you could go to your " -"public library and look at the newspapers. Those papers probably exist on " -"microfiche. If you're lucky, they exist in paper, too. Either way, you are " -"free, using a library, to go back and remember—not just what it is " -"convenient to remember, but remember something close to the truth." -msgstr "" -"<emphasis role='strong'>Vi tar det</emphasis> for gitt at vi kan gÃ¥ tilbake " -"Ã¥ se det vi husker Ã¥ ha lest. Tenk for eksempel pÃ¥ aviser. Hvis du Ã¸nsker Ã¥ " -"studenere reaksjonene i lokalavisen din om raseopprÃ¸rene i Watts i 1965, " -"eller til vannkanonen til Bull Connor i 1963, sÃ¥ kan du gÃ¥ til ditt lokale " -"bibliotek og se i avisene. Disse artiklene finnes sannsynligvis pÃ¥ " -"microfiche. Hvis du er heldig, sÃ¥ eksisterer de ogsÃ¥ pÃ¥ papir. Uansett, sÃ¥ " -"stÃ¥r du fritt til, ved Ã¥ bruke et bibliotek, Ã¥ gÃ¥ tilbake for Ã¥ huske—" -"ikke bare det som er behagelig Ã¥ huske, men Ã¥ huske noe som er nÃ¦r sannheten." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"It is said that those who fail to remember history are doomed to repeat it. " -"That's not quite correct. We <emphasis>all</emphasis> forget history. The " -"key is whether we have a way to go back to rediscover what we forget. More " -"directly, the key is whether an objective past can keep us honest. Libraries " -"help do that, by collecting content and keeping it, for schoolchildren, for " -"researchers, for grandma. A free society presumes this knowedge." -msgstr "" -"Det sies at de som ikke husker historien er dÃ¸mt til Ã¥ gjenta den. Det er " -"ikke helt riktig. Vi <emphasis>alle</emphasis> glemmer historien. NÃ¸kkelen " -"er hvorvidt vi har en mÃ¥te Ã¥ gÃ¥ tilbake for Ã¥ gjenoppdage det vi har glemt. " -"Helt konkret er nÃ¸kkelen hvorvidt en objektiv fortid kan holde oss Ã¦rlige. " -"Biblioteker bidrar til dette, ved Ã¥ samle innhold og ta vare pÃ¥ det, for " -"skolebarn, for forskere, for bestemor. Et fritt samfunn forutsetter denne " -"kunnskapen." - -#. PAGE BREAK 121 -#. type: Content of: <book><part><chapter><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 "" -"Internettet var en unntak fra denne forutsetningen. FÃ¸r Internettarkivet " -"var det ikke mulig Ã¥ gÃ¥ tilbake. Internettet var i essens et flyktig " -"medium. Og likevel, etter hvert som det ble viktigere og viktigere i Ã¥ " -"forme og reformere samfunnet, sÃ¥ blir det viktigere og viktigere Ã¥ bevare " -"det i en eller annen historisk form. Det er helt sÃ¦rt Ã¥ tenke pÃ¥ at vi har " -"masse arkiver med aviser fra smÃ¥ tettsteder rundt om i hele verden, men det " -"finnes bare en kopi av Internettet—den som blir oppbevart av " -"Internettarkivet." - -#. type: Content of: <book><part><chapter><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 stifter av Internettarkivet. Han var en svÃ¦rt vellykket " -"Internett-entreprenÃ¸r etter at han hadde vÃ¦rt en vellykket data-forsker. PÃ¥ " -"1990-tallet bestemte Kahle seg at han hadde hatt nok suksess som " -"forretningsmann, og at det var pÃ¥ tide Ã¥ lykkes pÃ¥ et annet omrÃ¥de. Derfor " -"lanserte han en serie prosjekter som ble utformet for Ã¥ arkivere menneskelig " -"kunnskap. Internettarkivet var bare det fÃ¸rste av prosjektene til denne " -"*Andrew Carnige* for Internettet. I desember 2002 hadde arkivet over ti " -"milliard sider, og det vokste med omtrent en milliard sider i mÃ¥neden." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Library of Congress" -msgstr "Kongress-biblioteket" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Television Archive" -msgstr "TV-arkivet" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Vanderbilt University" -msgstr "Vanderbilt University" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "libraries" -msgstr "biblioteker" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "archival function of" -msgstr "arkiveringsfunksjonen til" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Way Back Machine is the largest archive of human knowledge in human " -"history. At the end of 2002, it held <quote>two hundred and thirty terabytes " -"of material</quote>—and was <quote>ten times larger than the Library " -"of Congress.</quote> And this was just the first of the archives that Kahle " -"set out to build. In addition to the Internet Archive, Kahle has been " -"constructing the Television Archive. Television, it turns out, is even more " -"ephemeral than the Internet. While much of twentieth-century culture was " -"constructed through television, only a tiny proportion of that culture is " -"available for anyone to see today. Three hours of news are recorded each " -"evening by Vanderbilt University—thanks to a specific exemption in the " -"copyright law. That content is indexed, and is available to scholars for a " -"very low fee. <quote>But other than that, [television] is almost unavailable," -"</quote> Kahle told me. <quote>If you were Barbara Walters you could get " -"access to [the archives], but if you are just a graduate student?</quote> As " -"Kahle put it," -msgstr "" -"Way Back Machine er det stÃ¸rste arkivet over menneskelig kunnskap i " -"menneskehetens historie. Ved slutten av 2002 inneholdt det <quote>to hundre " -"og tredve terrabyte med materiale</quote>—og var <quote>ti ganger " -"stÃ¸rre enn kongressbiblioteket</quote>. Og dette var bare det fÃ¸rste av " -"arkivene som Kahle gikk i gang med Ã¥ bygge. I tillegg til Internettarkivet " -"er Kahle i gang med Ã¥ konstruere TV-arkivet. TV, viser det seg, er enda mer " -"flyktig enn Internettet. Selv om mye av kulturen i det tjuende Ã¥rhundret ble " -"til gjennom fjernsyn, sÃ¥ er bare en liten andel av den kulturen tilgjengelig " -"for de som vil se det i dag. Tre timer med nyheter blir tatt opp hver kveld " -"av Vanderbilt University—takket vÃ¦re et spesifikt unntak i " -"opphavsrettsloven. Det innholdet blir gjort sÃ¸kbart og er tilgjengelig for " -"forskere for en svÃ¦rt lav avgift. <quote>Men bortsett fra det, sÃ¥ er [TV] " -"nesten fullstendig utilgjengelig</quote>, fortalte Kahle meg. <quote>Hvis " -"du er Barbara Walters sÃ¥ kan du fÃ¥ tilgang til [arkivene], men hva hvis du " -"bare er en student?</quote> Som Kahle formulete det," - -#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> -msgid "Quayle, Dan" -msgstr "Quayle, Dan" - -#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> -msgid "60 Minutes" -msgstr "60 Minutes" - -#. PAGE BREAK 122 -#. type: Content of: <book><part><chapter><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 <citetitle>60 Minutes</citetitle> episode that came out " -"after it … it would be almost impossible. … Those materials " -"are almost unfindable. …" -msgstr "" -"Husker du da Dan Quayle snakket med Murphy Brown? Husker du den uvirkelige " -"opplevelsen av samtalen som gikk frem og tilbake mellom en politiker og en " -"fiktig TV-karakter? Hvis du var en student som Ã¸nsket Ã¥ studere dette, og " -"du Ã¸nsket Ã¥ fÃ¥ tak i den originale samtalen som gikk frem og tilbake mellom " -"de to og <citetitle>60 Minutes</citetitle>-episoden som kom ut etter dette " -"… sÃ¥ ville det vÃ¦re nesten umulig … Dette materialet er nesten " -"umulig Ã¥ finne. …" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "newspapers" -msgstr "aviser" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "archives of" -msgstr "arkiver over" - -#. type: Content of: <book><part><chapter><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 slik? Hvor er den delen av kulturen vÃ¥r som er lagret i " -"aviser tilgjengelige til evig tid, mens ikke den delen som er lagret pÃ¥ " -"videobÃ¥nd er det? Hvorfor har vi laget en verden der forskere som forsÃ¸ker " -"a forstÃ¥ effekten av media pÃ¥ Amerika i det nittende Ã¥rhundre har en enklere " -"jobb enn forskere som forsÃ¸ker Ã¥ forstÃ¥ effekten av media pÃ¥ Amerika i det " -"tjuende Ã¥rhundre?" - -#. type: Content of: <book><part><chapter><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 pÃ¥ grunn av loven. Opphavsrettseiere var tidlig i " -"amerikansk opphavsrettslov nÃ¸dt til Ã¥ deponere kopier av sine verk i " -"biblioteker. Disse kopiene skulle bÃ¥de sikre spredning av kunnskap, og " -"sikre at det fantes en kopi av verket tilgjenggelig nÃ¥r vernetiden utlÃ¸p, " -"slik at andre kunne fÃ¥ tilgang til og kopiere verket." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "archive of" -msgstr "arkiv for" - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " -"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" -"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " -"Won't Wait: A History of Film Preservation in the United States</citetitle> " -"( Jefferson, N.C.: McFarland & Co., 1992), 36." -msgstr "" -"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " -"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" -"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " -"Won't Wait: A History of Film Preservation in the United States</citetitle> " -"( Jefferson, N.C.: McFarland & Co., 1992), 36." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These rules applied to film as well. But in 1915, the Library of Congress " -"made an exception for film. Film could be copyrighted so long as such " -"deposits were made. But the filmmaker was then allowed to borrow back the " -"deposits—for an unlimited time at no cost. In 1915 alone, there were " -"more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when " -"the copyrights to films expire, there is no copy held by any library. The " -"copy exists—if it exists at all—in the library archive of the " -"film company.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Disse reglene gjalt ogsÃ¥ for filmer. Men i 1915 gjorde kongressbiblioteket " -"et unntak for film. Filmer kunne bli opphavsrettsbeskyttet sÃ¥ lenge det ble " -"gjort slik deponering. Men filmskaperne fikk sÃ¥ lov til Ã¥ lÃ¥ne tilbake de " -"deponerte filmene—sÃ¥ lenge de ville uten noe kostnad. Bare i 1915 var " -"det mer enn 5475 filmer deponert og <quote>lÃ¥nt tilbake</quote>. Dermed var " -"det ikke noe eksemplar i noe bibliotek nÃ¥r vernetiden til filmen utlÃ¸p. " -"Eksemplaret eksisterer—hvis den finnes i det hele tatt—i " -"arkivbiblioteket til filmselskapet.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>theft.</quote> But as technology enabled " -"capturing, broadcasters relied increasingly upon the law. The law required " -"they make a copy of each broadcast for the work to be <quote>copyrighted.</" -"quote> But those copies were simply kept by the broadcasters. No library had " -"any right to them; the government didn't demand them. The content of this " -"part of American culture is practically invisible to anyone who would look." -msgstr "" -"Det samme er generelt sett sant ogsÃ¥ for TV. Fjernsynssendinger var " -"opprinnelig ikke oppphavsrettsbeskyttet—det fantes ingen mÃ¥te Ã¥ ta opp " -"kringkastinger, sÃ¥ det var ikke noe frykt for <quote>tyveri</quote>. Men " -"etter hvert som teknologien gjorde det mulig Ã¥ ta opp TV-sendinger, baserte " -"kringkastere seg i stÃ¸rre grad pÃ¥ loven. Loven krevde at de laget et " -"eksemplar av hver kringkastingssending for at verk skulle bli " -"<quote>opphavsrettsbeskyttet</quote>. Men disse eksemplarene ble kun lagret " -"hos kringkastingsselskapene. Intet bibliotek hadde noen rettigheter knyttet " -"til dem, og myndighetene gjorde ikke krav pÃ¥ dem. Innholdet fra denne delen " -"av amerikansk kultur er i praksis usynlig for alle som kunne tenke seg Ã¥ se " -"den." - -#. PAGE BREAK 123 -#. type: Content of: <book><part><chapter><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 ivret etter Ã¥ rette pÃ¥ dette. FÃ¸r 11. september 2001 hadde han og " -"hans allierte begynt Ã¥ ta opp TV. De valgte tjue stasjoner rundt om i " -"verden og trykket pÃ¥ opptaksknappen. Etter 11. september jobbet Kahle med " -"et dusin andre og valgte tjue stasjoner verden rundt og 11. oktober 2001 ut " -"alt dekningen derfra for uken rundt 11. september fritt tilgjengelig pÃ¥ " -"nett. Envher kunne se hvordan nyhetsmeldingene verden rundt dekket " -"hendelsene den dagen." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Movie Archive" -msgstr "Movie Archive" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "archive.org" -msgstr "archive.org" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Internet Archive" -msgstr "Internettarkivet" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Duck and Cover film" -msgstr "Dukk og skjul deg-film" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "ephemeral films" -msgstr "flyktige filmer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Prelinger, Rick" -msgstr "Prelinger, Rick" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Kahle had the same idea with film. Working with Rick Prelinger, whose " -"archive of film includes close to 45,000 <quote>ephemeral films</quote> " -"(meaning films other than Hollywood movies, films that were never " -"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle " -"digitize 1,300 films in this archive and post those films on the Internet to " -"be downloaded for free. Prelinger's is a for-profit company. It sells copies " -"of these films as stock footage. What he has discovered is that after he " -"made a significant chunk available for free, his stock footage sales went up " -"dramatically. People could easily find the material they wanted to use. Some " -"downloaded that material and made films on their own. Others purchased " -"copies to enable other films to be made. Either way, the archive enabled " -"access to this important part of our culture. Want to see a copy of the " -"<quote>Duck and Cover</quote> film that instructed children how to save " -"themselves in the middle of nuclear attack? Go to archive.org, and you can " -"download the film in a few minutes—for free." -msgstr "" -"Kahle hadde samme idÃ© for film. I samarbeid med Rick Relinger, hvis " -"filmarkiv inneholder nesten 45 000 <quote>flyktige filmer</quote> (i " -"betydningen filmer som ikke er Hollywood-filmer, filmer som aldri ble " -"opphavsrettsbeskyttet), etablerte Kahle Filmarkivet. Prelinger lot Kahle " -"digitalisere 1 300 filmer i dette arkivet og publisere disse filmene pÃ¥ " -"Internettet for gratis nedlasting. Prelingers selskap er et kommersielt " -"selskap og selger eksemplarer av disse filmene som klipparkiv. Det han " -"oppdaget etter at han gjorde en anseelig andel gratis tilgjengelig, var at " -"salget av klipparkivmaterialet steg dramatisk. Folk kunne nÃ¥ enkelt finne " -"materialet som de Ã¸nsket Ã¥ bruke. Noen lastet ned materialet og laget " -"filmer pÃ¥ egen hÃ¥nd. Andre kjÃ¸pte kopier for Ã¥ gjÃ¸re det mulig Ã¥ lage andre " -"filmer. Uansett gjorde arkivet det mulig Ã¥ fÃ¥ tilgang til denne viktige " -"delen av vÃ¥r kultur. Vil du se et eksemplar av <quote>Dukk og skjul deg</" -"quote>-filmen som gir barn instrukser om hvordan de skal redde seg selv " -"under et atomangrep? BesÃ¸k archive.org og du kan laste ned filmen pÃ¥ noen " -"fÃ¥ minutter—gratis." - -#. type: Content of: <book><part><chapter><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 "" -"Nok en gang gir Kahle tilgang til en del av vÃ¥r kultur som vi ellers ikke " -"ville fÃ¥tt enkel tilgang til, hvis vi i det hele tatt fikk tilgang. Det er " -"nok en del av det som definerer det tjuende Ã¥rhundret som er tapt i " -"historien. Loven krever ikke at disse eksemplarene oppevares av noen, eller " -"at de skal deponeres for Ã¥ arkiveres av noen. Dermed er det ikke noen enkel " -"mÃ¥te Ã¥ finne dem." - -#. type: Content of: <book><part><chapter><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 "" -"Og nÃ¸kkelen her er tilgang, ikke pris. Kahle Ã¸nsker Ã¥ gjÃ¸re det mulig Ã¥ fÃ¥ " -"ubegrenset tilgang til dette innholdet, men han Ã¸nsker ogsÃ¥ at andre skal ha " -"mulighet til Ã¥ selge tilgang til det. MÃ¥let hans er Ã¥ sikre konkurranse " -"rundt tilgang til denne viktige delen av kuturen vÃ¥r. Ikke i den " -"kommersielle delen av en kreativ eiendoms liv, men i lÃ¸pet av det andre " -"liven som all kreativ eiendom har—et ikke-kommersielt liv." - -#. PAGE BREAK 124 -#. type: Content of: <book><part><chapter><para> -msgid "" -"For here is an idea that we should more clearly recognize. Every bit of " -"creative property goes through different <quote>lives.</quote> In its first " -"life, if the creator is lucky, the content is sold. In such cases the " -"commercial market is successful for the creator. The vast majority of " -"creative property doesn't enjoy such success, but some clearly does. For " -"that content, commercial life is extremely important. Without this " -"commercial market, there would be, many argue, much less creativity." -msgstr "" -"For her er en idÃ© som vi bÃ¸r kjenne bedre. Hver bit av kreativ eiendom gÃ¥r " -"igjennom ulike <quote>liv</quote>. I dens fÃ¸rste liv, hvis skaperen er " -"heldig, blir innholdet solgt. I slike tilfeller er det kommersielle " -"markedet en suksess for skaperen. Det store flertallet av kreativ eiendom " -"nyter ikke slik suksess, men noen gjÃ¸r helt klart dette. For det innholdet " -"er kommersielt liv ekstremt viktig. Uten dette kommersielle markedet hevder " -"mange at det ville vÃ¦rt mindre kreativitet." - -#. type: Content of: <book><part><chapter><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 at det kommersielle livet til kreativ eiendom har tatt slutt, har vÃ¥r " -"tradisjon alltid stÃ¸ttet opp om et andre liv. En avis leverer nyheter hver " -"dag pÃ¥ dÃ¸rkarmen til Amerika. Neste dag blir det brukt til Ã¥ pakke inn fiks " -"eller fylle bokser med skjÃ¸re gaver eller til Ã¥ bygge et arkiv med kunnskap " -"om vÃ¥r historie. Dette er det andre live, der innholdet kan fortsatt " -"informere selv om informasjonen ikke lenger blir solgt." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " -"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " -"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5 " -"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " -"only 2.2 percent were in print in 2002. R. Anthony Reese, <quote>The First " -"Sale Doctrine in the Era of Digital Networks,</quote> <citetitle>Boston " -"College Law Review</citetitle> 44 (2003): 593 n. 51." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " -"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " -"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5. " -"september 1997, ved Metro Lake 1L. For bÃ¸ker publisert mellom 1927 og 1946, " -"var kun 2,2 prosent fortsatt tilgjengelig fra forlaget 2002. R. Anthony " -"Reese, <quote>The First Sale Doctrine in the Era of Digital Networks,</" -"quote> <citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51." -"Dave barns, \"fledgling karriere i antikke bÃ¸ker: woodstock utleier, bar " -"eier starter et nytt kapittel ved Ã¥ innta virksomhet,\" chicago tribune, 5 " -"september 1997, pÃ¥ t lake 1 l. bÃ¸ker publisert mellom 1927 og 1946, bare 2,2 " -"prosent var i Skriv ut i 2002. r. anthony reese, \"den fÃ¸rste salg doktrinen " -"i tid med digitale nettverk,\" boston college lov gÃ¥ gjennom 44 (2003): 593 " -"n. 51." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The same has always been true about books. A book goes out of print very " -"quickly (the average today is after about a year<placeholder type=\"footnote" -"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " -"without the copyright owner getting anything and stored in libraries, where " -"many get to read the book, also for free. Used book stores and libraries are " -"thus the second life of a book. That second life is extremely important to " -"the spread and stability of culture." -msgstr "" -"Det samme har alltid vÃ¦rt tilfelle for bÃ¸ker. En bok blir utsolgt fra " -"forlaget svÃ¦rt raskt (i dag skjer det i snitt etter et Ã¥r<placeholder type=" -"\"footnote\" id=\"0\"/>). Etter at den er utsolgt fra forlaget kan den " -"selges i bruktbokhandler uten at opphavsrettsinnehaveren fÃ¥r noe. Den kan " -"ogsÃ¥ oppbevares i biblioteker, hvor mange fÃ¥r mulighet til Ã¥ lese boken, " -"helt gratis. Bruktbokhandler og biblioteker er dermed det andre livet til en " -"bok. Dette andre livet er ekstremt viktig for spredningen og stabiliteten " -"til kulturen." - -#. type: Content of: <book><part><chapter><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 "" -"Likevel gjelder i stadig mindre grad antagelsen om et stabilt annet liv for " -"kreativ eiendom de viktigste komponentene som utgjÃ¸r populÃ¦rkulturen i det " -"tjuende og tjuefÃ¸rste Ã¥rhundre. For disse—TV, filmer, musikk, radio, " -"Internettet—finnes det ingen garanti for et annet liv. For denne " -"typen kultur, er det som om vi har byttet ut biblioteker med Barnes & " -"Noble-supermarkeder. Med denne kulturen er det ingenting annet tilgjengelig " -"enn det som et visst begrenset marked etterspÃ¸r. Ut over det forsvinner " -"kulturen." - -#. PAGE BREAK 125 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>For most of</emphasis> the twentieth century, it was " -"economics that made this so. It would have been insanely expensive to " -"collect and make accessible all television and film and music: The cost of " -"analog copies is extraordinarily high. So even though the law in principle " -"would have restricted the ability of a Brewster Kahle to copy culture " -"generally, the real restriction was economics. The market made it impossibly " -"difficult to do anything about this ephemeral culture; the law had little " -"practical effect." -msgstr "" -"<emphasis role='strong'>I det meste</emphasis> av det tjuende Ã¥rhundre var " -"det Ã¸konomi som sÃ¸rget for dette. Det ville vÃ¦rt sinnsykt dyrt a samle og " -"gjÃ¸re alt av TV, film og musikk tilgjengelig: Kostnaden for analoge " -"eksemplarer er ekstremt hÃ¸y. SÃ¥ selv om loven i prinsippet ville ha " -"begrenset muligheten for en som Brewster Kahle til Ã¥ kopiere kulturen " -"generelt, sÃ¥ var den reelle begresningen Ã¸konomi. Markedet gjorde det helt " -"umulig Ã¥ gjÃ¸re noe med denne flyktige kulturen. Loven hadde liten praktisk " -"effekt." - -#. type: Content of: <book><part><chapter><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 den viktigste enkeltegenskapen i den digitale revolusjonen er at for " -"fÃ¸rste gang siden biblioteket i Aleksandria er det gjennomfÃ¸rbart Ã¥ tenke " -"seg Ã¥ lage et arkiv som kan holde all kultur som er produsert eller " -"distribuert offentlig. Teknologien gjÃ¸r det mulig Ã¥ forestille seg et arkiv " -"med alle bÃ¸ker som er publisert, og gjÃ¸r det stadig enklere Ã¥ forestille seg " -"et arkiv over alle bevegelige bilder og lyd." - -#. type: Content of: <book><part><chapter><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 for dette potensielle arkivet er noe vi aldri har forstilt oss " -"fÃ¸r. Folk som Brewster Kahle har drÃ¸mt om det opp igjennom historien, men " -"vi er for fÃ¸rste gang ved et punkt der denne drÃ¸mmen er mulig. Som Kahle " -"beskriver det," - -#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary> -msgid "total number of" -msgstr "totalt antall" - -#. type: Content of: <book><part><chapter><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 til at det er omtrent to til tre millioner opptak av musikk. I " -"gjennom hele historien. Det er omtrent hundre tusen kinofilmer utgitt, " -"… og omtrent en til to millioner filmer [distribuert] i lÃ¸pet av det " -"tjuende Ã¥rhundret. Det finnes omtrente tjueseks millioner ulike boktitler. " -"Alt dette vil fÃ¥ plass pÃ¥ datamaskiner som ville fÃ¥ plas i dette rommet og " -"et lite firma villa ha rÃ¥d til det. SÃ¥ vi er ved et vendepunkt i " -"historien. Universell tilgang er mÃ¥let. Og utsikten til Ã¥ fÃ¥ et annet liv " -"basert pÃ¥ dette er … spennende. Det kan bli en av de tingene som " -"menneskeheten ville vÃ¦re mest stolt av. Helt der oppe blant biblioteket i " -"Aleksandria, plassere en mann pÃ¥ mÃ¥nen, og oppfinnelsen av trykkpressen." - -#. PAGE BREAK 126 -#. type: Content of: <book><part><chapter><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. <emphasis>When</emphasis> the commercial " -"life of creative property ends, I don't know. But it does. And whenever it " -"does, Kahle and his archive hint at a world where this knowledge, and " -"culture, remains perpetually available. Some will draw upon it to understand " -"it; some to criticize it. Some will use it, as Walt Disney did, to re-create " -"the past for the future. These technologies promise something that had " -"become unimaginable for much of our past—a future <emphasis>for</" -"emphasis> our past. The technology of digital arts could make the dream of " -"the Library of Alexandria real again." -msgstr "" -"Kahle er ikke den eneste bibliotekaren. Internetarkivet er ikke det eneste " -"arkivet. Men Kahle og Internetarkivet antyder hva fremtiden for biblioteker " -"eller arkiver kunne vÃ¦re. Jeg vet ikke <emphasis>nÃ¥r</emphasis> det " -"kommersielle liven til kreativ eiendom tar slutt. Men det gjÃ¸r det. Og " -"uansett nÃ¥r det skjer, hinter Kahle og hans arkiv om en verden hvor denne " -"kunnskapen, og kulturen, forblir tilgjengelig til evig tid. Noen vil bruke " -"det for Ã¥ forstÃ¥ det. Andre for Ã¥ kritisere det. Noen vil bruke det, slik " -"Walt Disney gjorde, for Ã¥ gjenskape fortiden for fremtiden. Disse " -"teknologiene har lovnaden om noe som hadde blitt umulig Ã¥ tenke seg i store " -"deler av vÃ¥r fortid—en fremtid <emphasis>for</emphasis> vÃ¥r fortid. " -"Teknologien til digital kunst kunne gjÃ¸re drÃ¸mmen om biblioteket i " -"Aleksandria virkelig igjen." - -#. type: Content of: <book><part><chapter><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 <quote>archives,</quote> as warm as the idea of a <quote>library</" -"quote> might seem, the <quote>content</quote> that is collected in these " -"digital spaces is also someone's <quote>property.</quote> And the law of " -"property restricts the freedoms that Kahle and others would exercise." -msgstr "" -"Teknologer har dermed fjernet den Ã¸konomiske kostnaden med Ã¥ bygge et slikt " -"arkiv. Men advokatkostnadene bestÃ¥r. For uansett hvor mye vi Ã¸nsker Ã¥ " -"kalle dette <quote>arkiver</quote>, og uansett hvor koselig idÃ©en om et " -"<quote>bibliotek</quote> kan virke, sÃ¥ er <quote>innholdet</quote> som er " -"samlet i disse digitale omrÃ¥dene ogsÃ¥ noens <quote>eiendom</quote>. Og " -"eiendoms-lover begrenser friheten til folk som Kahle." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER TEN: <quote>Property</quote>" -msgstr "Kapittel ti: <quote>Eiendom</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Johnson, Lyndon" -msgstr "Johnson, Lyndon" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Kennedy, John F." -msgstr "Kennedy, John F." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of " -"the Motion Picture Association of America since 1966. He first came to " -"Washington, D.C., with Lyndon Johnson's administration—literally. The " -"famous picture of Johnson's swearing-in on Air Force One after the " -"assassination of President Kennedy has Valenti in the background. In his " -"almost forty years of running the MPAA, Valenti has established himself as " -"perhaps the most prominent and effective lobbyist in Washington." -msgstr "" -"<emphasis role='strong'>Jack Valenti</emphasis> har vÃ¦rt president for " -"Motion Picture Assication of America siden 1966. Han ankom Washing D.C. med " -"Lyndon Johnson-administrasjonen—bokstavlig talt. PÃ¥ det berÃ¸mte " -"bildet av edsavleggingen til Johnson pÃ¥ Air Force One etter snikmordet pÃ¥ " -"president Kennedy befinner Valenti seg i bakgrunnen. I sine nesten fÃ¸rt Ã¥r " -"som leder av MPAA har Valenti etablert seg som kanskje den mest synlige og " -"effektive lobbyisten i Washington." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Sony Pictures Entertainment" -msgstr "Sony Pictures Entertainment" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "MGM" -msgstr "MGM" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Paramount Pictures" -msgstr "Paramount Pictures" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Twentieth Century Fox" -msgstr "Twentieth Century Fox" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Universal Pictures" -msgstr "Universal Pictures" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Warner Brothers" -msgstr "Warner Brothers" - -#. type: Content of: <book><part><chapter><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 grenen av den internasjonale filmforeningen. Den ble " -"stiftet i 1922 som en handelsforening hvis mÃ¥l var Ã¥ forsvare amerikanske " -"filmer mot Ã¸kende kritikk innenlands. Organisasjonen representerer nÃ¥ ikke " -"bare filmskapere, med ogsÃ¥ produsenter og distributÃ¸rer av underholdning for " -"TV, video og kabel-TV. Styret er satt sammen av styrelederne og " -"presidentene i de syv stÃ¸rste produsentene og distributÃ¸rene for film og TV-" -"programmer i USA: Walt Disney, Sony Pictures Entertainment, MGM, Paramount " -"Pictures, Twentieth Centory Fox, Universal Studios og Warner Brothers." - -#. PAGE BREAK 128 -#. type: Content of: <book><part><chapter><para> -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 den tredje presidenten for MPAA. Ingen president fÃ¸r han har " -"hatt like mye innflytelse over organisasjonen, eller over Washington. " -"Valenti, som kommer fra Texas, har mestret den viktigste politiske " -"enkeltferdighet som trengs av en fra sÃ¸rstatene—evnen til Ã¥ fremstÃ¥ " -"enkel og treg mens en skjuler sitt lynraske intellekt. Valenti spiller " -"fortsatt en enkel og ydmyk man. Men denne mannen, med MBA fra Harward har " -"skrevet fire bÃ¸ker, fullfÃ¸rt videregÃ¥ende skole i en alder av femten Ã¥r og " -"flÃ¸yet mer enn femti kampoppdrag under andre verdenskrig, er ingen Mr. " -"Smith. Da Valenti dro til Washington mestret han byen like godt som en " -"innfÃ¸dt." - -#. type: Content of: <book><part><chapter><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 " -"<quote>creative property.</quote>" -msgstr "" -"Ved Ã¥ forsvare kunstnerisk frihet og ytringsfrihet som vÃ¥r kultur er " -"avhengig av, sÃ¥ har MPAA gjort viktig og positivt arbeide. Ved Ã¥ utarbeide " -"MPAAs klassifiseringsystem har de antagelig unngÃ¥tt betydelig skade pÃ¥ " -"talefriheten. Men det er et aspekt ved organisasjonens mÃ¥l som bÃ¥de er det " -"mest radikale og det viktigste. Dette er organisasjonens innsats, " -"personifisert i alt Valenti gjÃ¸r, for Ã¥ omdefiniere betydningen av " -"<quote>kreativ eiendom</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In 1982, Valenti's testimony to Congress captured the strategy perfectly:" -msgstr "" -"Valentis vitnemÃ¥l i 1982 til kongressen fanget denne strategien perfekt:" - -#. f1 -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. " -"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, " -"Civil Liberties, and the Administration of Justice of the Committee on the " -"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 " -"(testimony of Jack Valenti)." -msgstr "" -"Hjem registrering av opphavsrettslig beskyttet verk: hearings pÃ¥ hr 4783, hr " -"4794, hr 4808, hr 5250, hr 5488 og hr 5705 fÃ¸r subcommittee on domstoler, " -"borgerrettigheter og administrasjonen av rettferdighet av committee on " -"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 " -"(vitnesbyrd om jack valenti)." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"No matter the lengthy arguments made, no matter the charges and the counter-" -"charges, no matter the tumult and the shouting, reasonable men and women " -"will keep returning to the fundamental issue, the central theme which " -"animates this entire debate: <emphasis>Creative property owners must be " -"accorded the same rights and protection resident in all other property " -"owners in the nation</emphasis>. That is the issue. That is the question. " -"And that is the rostrum on which this entire hearing and the debates to " -"follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. PAGE BREAK 129 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The strategy of this rhetoric, like the strategy of most of Valenti's " -"rhetoric, is brilliant and simple and brilliant because simple. The " -"<quote>central theme</quote> to which <quote>reasonable men and women</" -"quote> will return is this: <quote>Creative property owners must be accorded " -"the same rights and protections resident in all other property owners in the " -"nation.</quote> There are no second-class citizens, Valenti might have " -"continued. There should be no second-class property owners." -msgstr "" -"Strategien for denne retorikken, som strategien til det meste av Valentis " -"retorikk, er strÃ¥lende og enkel og strÃ¥lede fordi den er enkel. Det " -"<quote>sentrale temaet</quote> som <quote>fornuftige menn og kvinner</quote> " -"vil komme tilbake til er dette: <quote>Kreative eiendomseiere mÃ¥ fÃ¥ de samme " -"rettigheter og beskyttelse som gis til alle andre eiendomseiere i nasjonen</" -"quote>. Det finnes ikke annenrangs borgere, kunne Valenti fortsatt. Det " -"bÃ¸r ikke finnes noen annenrangs eiendomseiere." - -#. type: Content of: <book><part><chapter><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 <emphasis>anyone</emphasis> who is serious in this debate than this " -"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " -"perhaps the nation's foremost extremist when it comes to the nature and " -"scope of <quote>creative property.</quote> His views have <emphasis>no</" -"emphasis> reasonable connection to our actual legal tradition, even if the " -"subtle pull of his Texan charm has slowly redefined that tradition, at least " -"in Washington." -msgstr "" -"Denne pÃ¥standen har en Ã¥penbar og kraftig intuitiv appell. Den er uttrykt " -"med slik klarhet for Ã¥ gjÃ¸re idÃ©en like Ã¥penbar som oppfatningen om at vi " -"bruker avstemming for Ã¥ velge presidenter. Men faktum er at det ikke er mer " -"ekstreme pÃ¥stander fremmet av <quote>noen</quote> som er seriÃ¸s i denne " -"debatten enn denne pÃ¥standen fra Valenti. Jack Valenti, uansett hvor " -"hyggelig og brilliant han fremstÃ¥r, er kanskje nasjonens fremste ekstremist " -"nÃ¥r det gjelder egenskapene og rekkeviden for <quote>kreativ eiendom</" -"quote>. Hans syn har <emphasis>ingen</emphasis> fornuftig forbindelse til " -"vÃ¥r faktiske juridiske tradisjon, selv om subtile pÃ¥virkning fra hans Texas-" -"sjarm sakte har endret definisjonen pÃ¥ denne tradisjonen, i hvert fall i " -"Washington." - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a " -"bundle of rights that are sometimes associated with a particular object. " -"Thus, my <quote>property right</quote> to my car gives me the right to " -"exclusive use, but not the right to drive at 150 miles an hour. For the best " -"effort to connect the ordinary meaning of <quote>property</quote> to " -"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property " -"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), " -"26–27." -msgstr "" -"Advokater snakker ikke om <quote>eiendom</quote> som en absolutt ting, men " -"som en samling med rettigheter som noen ganger er knyttet til et bestemt " -"objekt. Dermed gir <quote>eiendomsretten</quote> min til bilen min meg en " -"ekslusiv rett til Ã¥ bruke den, men ikke retten til Ã¥ kjÃ¸re i 200 kilometer i " -"timen. For det beste forsÃ¸ket pÃ¥ Ã¥ knytte den vanlige betydningen av " -"<quote>eiendom</quote> til <quote>advokatsprÃ¥k</quote>, se Bruce Ackerman, " -"<citetitle>Private Property and the Constitution</citetitle> (New Haven: " -"Yale University Press 1977), 26–27." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"While <quote>creative property</quote> is certainly <quote>property</quote> " -"in a nerdy and precise sense that lawyers are trained to understand," -"<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor " -"should it be, that <quote>creative property owners</quote> have been " -"<quote>accorded the same rights and protection resident in all other " -"property owners.</quote> Indeed, if creative property owners were given the " -"same rights as all other property owners, that would effect a radical, and " -"radically undesirable, change in our tradition." -msgstr "" -"Mens <quote>kreativ eiendom</quote> helt klart er <quote>property</quote> pÃ¥ " -"en nerdete og presis mÃ¥te som advokater er trent til Ã¥ forstÃ¥,<placeholder " -"type=\"footnote\" id=\"0\"/> sÃ¥ har det aldri vÃ¦rt tilfelle, og det bÃ¸r det " -"heller ikke vÃ¦re, at <quote>eiere av kreativ eiendom</quote> har fÃ¥tt " -"<quote>tildelt de samme rettigheter og beskyttelser som alle andre " -"eiendomseiere</quote>. Faktisk ville det vÃ¦re en radikal og radikalt " -"uÃ¸nsket endring i vÃ¥r tradisjon hvis eiere av kreativ eiendom ble gitt de " -"samme rettighetene som alle andre eiendomseiere." - -#. type: Content of: <book><part><chapter><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 snakker pÃ¥ vegne av en industri som ikke bryr " -"seg om vÃ¥r tradisjon og verdiene den representerer. Han snakker i stedet " -"for en industri som sloss for Ã¥ gjeninnfÃ¸re tradisjonen som britene gjorde " -"slutt pÃ¥ i 1710. I verden skapt av endringene Valenti foreslÃ¥r, vil noen fÃ¥ " -"mektige aktÃ¸rer utÃ¸ve kraftig kontroll over hvordan vÃ¥r kreative kultur fÃ¥r " -"utvikle seg." - -#. PAGE BREAK 130 -#. type: Content of: <book><part><chapter><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 formÃ¥l med dette kapittelet. Dte fÃ¸rste er Ã¥ overbevise deg om " -"at historisk sett er Valentis pÃ¥stander helt gale. Det andre er Ã¥ " -"overbevise deg om at det ville vÃ¦re forferdelig galt av oss Ã¥ avvise fÃ¥r " -"historie. Vi har alltid behandlet kreative eiendomsretter forskjellig fra " -"rettighetene som hÃ¸rer til alle andre eiendomseiere. De har aldri vÃ¦rt " -"like. Og de bÃ¸r aldri bli like, uansett hvor lite intititivt det kan virke, " -"for Ã¥ gjÃ¸re dem like ville vÃ¦re Ã¥ fundamentalt svekke muligheten for nye " -"skapere til Ã¥ skape. Kreativitet er avhengig av at eierne av kreativitet " -"ikke har perfekt kontroll." - -#. type: Content of: <book><part><chapter><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." -msgstr "" -"Organisasjoner som MPAA, der styret inkluderer de mektigste av den gamle " -"garde, hra liten interesse, pÃ¥ tross av deres retorikk, i Ã¥ sikre at det nye " -"kan erstatte dem. Ingen organisasjon har det. Ingen person har det. (SpÃ¸r " -"for eksempel meg om ansettelsestrygghet.) Men det som er bra for MPA er " -"ikke nÃ¸dvendigvis bra for Amerika. Et samfunn som forsvarer idealene til en " -"fri kultur mÃ¥ ta vare pÃ¥ spesielt muligheten for ny kreativitet til Ã¥ true " -"den gamle." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>To get</emphasis> just a hint that there is " -"something fundamentally wrong in Valenti's argument, we need look no further " -"than the United States Constitution itself." -msgstr "" -"<emphasis role='strong'>For Ã¥ fÃ¥</emphasis> et lite hint om at det er noe " -"fundamentalt galt med Valentis argument trenger vi ikke se lenger en til " -"grunnloven til USA." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The framers of our Constitution loved <quote>property.</quote> Indeed, so " -"strongly did they love property that they built into the Constitution an " -"important requirement. If the government takes your property—if it " -"condemns your house, or acquires a slice of land from your farm—it is " -"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay " -"you <quote>just compensation</quote> for that taking. The Constitution thus " -"guarantees that property is, in a certain sense, sacred. It cannot " -"<emphasis>ever</emphasis> be taken from the property owner unless the " -"government pays for the privilege." -msgstr "" -"Forfatterne av vÃ¥r grunnlov elsket <quote>eiendom</quote>. De elsket de " -"eiendom sÃ¥ sterkt at de bygde inn en viktig forutsetning i grunnloven. Hvis " -"myndigheten tar din eiendom—hvis den kondemnerer huset ditt eller " -"eksproprierer et stykke land fra gÃ¥rden din—sÃ¥ er det et krav, i fÃ¸lge " -"det femte grunnlovstilleggets <quote>beslagleggings-avsnitt</quote>, at du " -"mÃ¥ fÃ¥ <quote>rimelig kompensasjon</quote> hvis noe blir beslaglagt. " -"Grunnloven garanterer dermed at eiendom pÃ¥ en mÃ¥te er urenkelig. Den kan " -"<emphasis>aldri</emphasis> tas fra eiendomseieren med mindre myndighetene " -"betaler for det privilegiet." - -#. PAGE BREAK 131 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet the very same Constitution speaks very differently about what Valenti " -"calls <quote>creative property.</quote> In the clause granting Congress the " -"power to create <quote>creative property,</quote> the Constitution " -"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> " -"Congress take back the rights that it has granted and set the " -"<quote>creative property</quote> free to the public domain. Yet when " -"Congress does this, when the expiration of a copyright term <quote>takes</" -"quote> your copyright and turns it over to the public domain, Congress does " -"not have any obligation to pay <quote>just compensation</quote> for this " -"<quote>taking.</quote> Instead, the same Constitution that requires " -"compensation for your land requires that you lose your <quote>creative " -"property</quote> right without any compensation at all." -msgstr "" -"Likevel snakker den samme grunnloven svÃ¦rt annerledes om det Valenti " -"kaller <quote>kreativ eiendom</quote>. I *clause* som gir kongressen " -"myndighet til Ã¥ skape <quote>creativ eiendom</quote>, " -"<emphasis>krever</emphasis> grunnloven at kongressen etter en " -"<quote>begrenset tid</quote> tar tilbake rettighetene den har delt ut " -"og lar den <quote>kreative eiendommen</quote> falle i det fri og bli " -"allemannseie. Men nÃ¥r kongressen gjÃ¸r dette, nÃ¥r utlÃ¸pet av " -"vernetiden <quote>tar</quote> din opphavsrett og overleverer den til " -"allemannseiet, sÃ¥ har ikke kongressen noe pÃ¥legg om Ã¥ betale " -"<quote>rimelig kompensasjon</quote> for denne <quote>beslaget</quote>. " -"I stedet krever den samme konstitusjonen som krever kompensasjon nÃ¥r " -"det gjelder landomrÃ¥der at du skal miste din <quote>kreative " -"eiendom</quote> helt uten kompensasjon overhodet." - -#. type: Content of: <book><part><chapter><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 "" -"Grunnloven sier dermed rett frem at disse to formene for eiendom ikke skal " -"tildeles de samme rettighetene. De skal tydelig behandles forskjellig. " -"Valenti ber dermed ikke bare om at vÃ¥r tradisjon skal endres nÃ¥r an " -"argumenterer med at eiere av kreativ eiendom skal fÃ¥ de samme rettighetene " -"som enhver annen eiendomseier. Han argumenterer i effekt for Ã¥ endre " -"grunnloven selv." - -#. type: Content of: <book><part><chapter><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 "" -"Ã argumentere for en endring i grunnlvoen vÃ¥r er ikke nÃ¸dvendigvis galt. " -"Det var mye i vÃ¥r originale grunnlov som helt tydelig var galt. Grunnloven " -"av 1789 *entrenched* slaveri. Den sa at senatorer skulle utnevnes i stedet " -"for Ã¥ bli valgt. Den gjorde det mulig Ã¥ fÃ¥ en valgforsamling som ga like " -"mange stemmer til presidenten og hans egen visepresident (som den gjorde i " -"1800). Grunnlovsforfatterne var uten tvil ekstraordinÃ¦re, men jeg vil vÃ¦re " -"den fÃ¸rste til Ã¥ innrÃ¸mme at de gjorde store feil. Vi har siden avvist noen " -"av disse feilene, og det er uten tvil andre som vi ogsÃ¥ burde avvise. SÃ¥ " -"argumentet mitt er ikke at bare pÃ¥ grunn av at Jefferson gjorde det, sÃ¥ bÃ¸r " -"vi ogsÃ¥ gjÃ¸re det." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Instead, my argument is that because Jefferson did it, we should at least " -"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " -"property types that they were, reject the claim that creative property be " -"given the same rights as all other property? Why did they require that for " -"creative property there must be a public domain?" -msgstr "" -"I stedet er mitt argument at pÃ¥ grunn av at Jefferson gjorde det, bÃ¸r vi i " -"det minste forsÃ¸ke Ã¥ forstÃ¥ <emphasis>hvorfor</emphasis>. Hvorfor avviste " -"grunnlovsforfatterne, som jo var fanatiske eiendomstilhengere, avvise " -"pÃ¥standen om at kreativ eiendom skulle tildeles de samme rettighetene som " -"all annen eiendom? Hvorfor krevde de at for kreativ eiendom mÃ¥ det finnes " -"et allemannseie?" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"To answer this question, we need to get some perspective on the history of " -"these <quote>creative property</quote> rights, and the control that they " -"enabled. Once we see clearly how differently these rights have been " -"defined, we will be in a better position to ask the question that should be " -"at the core of this war: Not <emphasis>whether</emphasis> creative property " -"should be protected, but how. Not <emphasis>whether</emphasis> we will " -"enforce the rights the law gives to creative-property owners, but what the " -"particular mix of rights ought to be. Not <emphasis>whether</emphasis> " -"artists should be paid, but whether institutions designed to assure that " -"artists get paid need also control how culture develops." -msgstr "" -"for Ã¥ besvare dette spÃ¸rsmÃ¥let, trenger vi Ã¥ fÃ¥ noen perspektiv om disse " -"\"kreative eiendom\", og kontrollen som de aktivert historie. NÃ¥r vi ser " -"klart hvor annerledes disse rettighetene er definert, vil vi vÃ¦re i en bedre " -"posisjon til Ã¥ stille spÃ¸rsmÃ¥l som bÃ¸r vÃ¦re kjernen i denne krigen: ikke om " -"kreative egenskapen skal beskyttes, men hvordan. ikke om vi vil hÃ¥ndheve " -"rettigheter gir loven til creative-bolig, men hva bestemt blanding av " -"rettigheter bÃ¸r vÃ¦re. ikke om artister som skal betales, men om " -"institusjoner utformet for Ã¥ forsikre at artister fÃ¥r betalt mÃ¥ du ogsÃ¥ " -"kontrollere hvordan kultur utvikler seg." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "four modalities of constraint on" -msgstr "fire modalitetene for begrensningen pÃ¥" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "regulation" -msgstr "regulering" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "four modalities of" -msgstr "fire modalitetene for" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "as ex post regulation modality" -msgstr "som ex post regulering modality" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "as constraint modality" -msgstr "som betingelse modality" - -#. PAGE BREAK 132 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"To answer these questions, we need a more general way to talk about how " -"property is protected. More precisely, we need a more general way than the " -"narrow language of the law allows. In <citetitle>Code and Other Laws of " -"Cyberspace</citetitle>, I used a simple model to capture this more general " -"perspective. For any particular right or regulation, this model asks how " -"four different modalities of regulation interact to support or weaken the " -"right or regulation. I represented it with this diagram:" -msgstr "" -"Hvis du vil svare pÃ¥ disse spÃ¸rsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " -"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " -"generell mÃ¥te enn smale sprÃ¥ket i loven tillater. i koden og andre lover av " -"cyberspace brukte jeg en enkel modell for Ã¥ fange dette mer generelle " -"perspektivet. for en bestemt rettighet eller regulering, denne modellen spÃ¸r " -"hvordan fire forskjellige modalitetene for regulering samhandler for Ã¥ " -"stÃ¸tte eller svekke hÃ¸yre eller regulering. Jeg representerte det med dette " -"diagrammet:" - -#. type: Content of: <book><part><chapter><figure><title> -#, mtrans, fuzzy -msgid "" -"How four different modalities of regulation interact to support or weaken " -"the right or regulation." -msgstr "" -"Hvordan fire forskjellige modalitetene for regulering samhandle Ã¥ stÃ¸tte " -"eller svekke hÃ¸yre eller regulering." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1331.png\"></graphic>" -msgstr "<graphic fileref=\"images/1331.png\"></graphic>" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"At the center of this picture is a regulated dot: the individual or group " -"that is the target of regulation, or the holder of a right. (In each case " -"throughout, we can describe this either as regulation or as a right. For " -"simplicity's sake, I will speak only of regulations.) The ovals represent " -"four ways in which the individual or group might be regulated— either " -"constrained or, alternatively, enabled. Law is the most obvious constraint " -"(to lawyers, at least). It constrains by threatening punishments after the " -"fact if the rules set in advance are violated. So if, for example, you " -"willfully infringe Madonna's copyright by copying a song from her latest CD " -"and posting it on the Web, you can be punished with a $150,000 fine. The " -"fine is an ex post punishment for violating an ex ante rule. It is imposed " -"by the state. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"midt pÃ¥ dette bildet er et regulert punkt: pÃ¥ personen eller gruppen som er " -"mÃ¥let 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 " -"mÃ¥ter der personen eller gruppen kan reguleres—enten begrenset eller, " -"alternativt, aktivert. loven er den mest Ã¥penbare begrensningen (til " -"advokater, minst). den begrenser ved truende straffene etter faktum Hvis " -"reglene satt pÃ¥ forhÃ¥nd er brutt. sÃ¥ hvis for eksempel du willfully krenke " -"madonna's copyright ved Ã¥ kopiere en sang fra hennes siste CD-ROMen, og " -"bokfÃ¸re det\\/den pÃ¥ weben, kan du bli straffet med en $150.000 fine. fine " -"er en ex post straff for Ã¥ bryte en ex ante regelen. Det er pÃ¥lagt av staten." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "norms, regulatory influence of" -msgstr "normer, reguleringspÃ¥virkning fra" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Norms are a different kind of constraint. They, too, punish an individual " -"for violating a rule. But the punishment of a norm is imposed by a " -"community, not (or not only) by the state. There may be no law against " -"spitting, but that doesn't mean you won't be punished if you spit on the " -"ground while standing in line at a movie. The punishment might not be harsh, " -"though depending upon the community, it could easily be more harsh than many " -"of the punishments imposed by the state. The mark of the difference is not " -"the severity of the rule, but the source of the enforcement." -msgstr "" -"normer er en annen type betingelse. de, ogsÃ¥, straffe en person for Ã¥ bryte " -"en regel. men straffen av en normen er pÃ¥lagt 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 pÃ¥ bakken mens du " -"stÃ¥r i kÃ¸ pÃ¥ en film. straff kan ikke vÃ¦re harde, men avhengig av samfunnet, " -"det kan lett bli mer harde enn mange av straffene pÃ¥lagt av staten. Merk av " -"differansen er ikke av alvorlighetsgraden av regelen, men kilden for " -"hÃ¥ndhevelse." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "market constraints" -msgstr "markedskonsentrasjon" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The market is a third type of constraint. Its constraint is effected through " -"conditions: You can do X if you pay Y; you'll be paid M if you do N. These " -"constraints are obviously not independent of law or norms—it is " -"property law that defines what must be bought if it is to be taken legally; " -"it is norms that say what is appropriately sold. But given a set of norms, " -"and a background of property and contract law, the market imposes a " -"simultaneous constraint upon how an individual or group might behave." -msgstr "" -"markedet er en tredje type betingelse. betingelsen er berÃ¸rt gjennom " -"betingelser: du kan gjÃ¸re x Hvis du betaler y; vil du fÃ¥ betalt m Hvis du " -"gjÃ¸r n. slike betingelser er Ã¥penbart ikke uavhengig av loven eller " -"normer—det er regler som definerer hva mÃ¥ kjÃ¸pes Hvis det er Ã¥ bli " -"tatt lovlig; Det er normer som sier hva selges pÃ¥ riktig mÃ¥te. men gitt et " -"sett av normer og bakgrunn av eiendom og kontrakt lov, markedet pÃ¥legger en " -"samtidige begrensning pÃ¥ hvor en person eller gruppe kan oppfÃ¸re seg." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "architecture, constraint effected through" -msgstr "arkitektur, begrensninger med opphav i" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Finally, and for the moment, perhaps, most mysteriously, " -"<quote>architecture</quote>—the physical world as one finds it—" -"is a constraint on behavior. A fallen bridge might constrain your ability " -"to get across a river. Railroad tracks might constrain the ability of a " -"community to integrate its social life. As with the market, architecture " -"does not effect its constraint through ex post punishments. Instead, also as " -"with the market, architecture effects its constraint through simultaneous " -"conditions. These conditions are imposed not by courts enforcing contracts, " -"or by police punishing theft, but by nature, by <quote>architecture.</quote> " -"If a 500-pound boulder blocks your way, it is the law of gravity that " -"enforces this constraint. If a $500 airplane ticket stands between you and a " -"flight to New York, it is the market that enforces this constraint." -msgstr "" -"til slutt, og for Ã¸yeblikket, kanskje mest mysteriously \"arkitektur\"—" -"den fysiske verden som en finner den—er en begrensning pÃ¥ atferd. en " -"falne bro kan begrense din evne til Ã¥ komme over en elv. Railroad tracks kan " -"begrense evnen til et fellesskap for Ã¥ integrere sin sosiale liv. som med " -"markedet, pÃ¥virker ingen arkitektur betingelsen gjennom ex post straffene. i " -"stedet, ogsÃ¥ som med markedet, arkitektur effekter betingelsen gjennom " -"samtidige forhold. disse betingelsene er pÃ¥lagt ikke av domstolene hÃ¥ndheve " -"kontrakter, eller av politiet straffe tyveri, men av natur, \"arkitektur.\" " -"Hvis en 500-pund kampestein blokkerer deg, det er lov av tyngdekraften som " -"gjennomfÃ¸rer denne betingelsen. Hvis en $500 flybillett stÃ¥r mellom deg og " -"et fly til new york, er det markedet som hÃ¥ndhever denne betingelsen." - -#. PAGE BREAK 134 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"So the first point about these four modalities of regulation is obvious: " -"They interact. Restrictions imposed by one might be reinforced by another. " -"Or restrictions imposed by one might be undermined by another." -msgstr "" -"sÃ¥ det fÃ¸rste punktet om disse fire metoder av regulering er Ã¥penbare: de " -"samhandler. restriksjoner pÃ¥lagt av en kan bli forsterket av en annen. eller " -"restriksjoner pÃ¥lagt av en kan bli undergravd av en annen." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The second point follows directly: If we want to understand the effective " -"freedom that anyone has at a given moment to do any particular thing, we " -"have to consider how these four modalities interact. Whether or not there " -"are other constraints (there may well be; my claim is not about " -"comprehensiveness), these four are among the most significant, and any " -"regulator (whether controlling or freeing) must consider how these four in " -"particular interact." -msgstr "" -"det andre punktet fÃ¸lger direkte: Hvis vi Ã¸nsker Ã¥ forstÃ¥ effektiv friheten " -"som noen har pÃ¥ et gitt Ã¸yeblikk Ã¥ gjÃ¸re noen bestemt ting, vi har til Ã¥ " -"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser " -"(det kan godt vÃ¦re; min pÃ¥stand er ikke om objektivitet), disse fire er " -"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjÃ¸r) " -"mÃ¥ vurdere hvordan disse fire spesielt samhandle." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "driving speed, constraints on" -msgstr "kjÃ¸rehastighet, begrensninger pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "speeding, constraints on" -msgstr "hastighet, begrensning av" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"So, for example, consider the <quote>freedom</quote> to drive a car at a " -"high speed. That freedom is in part restricted by laws: speed limits that " -"say how fast you can drive in particular places at particular times. It is " -"in part restricted by architecture: speed bumps, for example, slow most " -"rational drivers; governors in buses, as another example, set the maximum " -"rate at which the driver can drive. The freedom is in part restricted by the " -"market: Fuel efficiency drops as speed increases, thus the price of gasoline " -"indirectly constrains speed. And finally, the norms of a community may or " -"may not constrain the freedom to speed. Drive at 50 mph by a school in your " -"own neighborhood and you're likely to be punished by the neighbors. The same " -"norm wouldn't be as effective in a different town, or at night." -msgstr "" -"sÃ¥, for eksempel vurdere \"friheten\" Ã¥ kjÃ¸re bil til en hÃ¸y hastighet. at " -"frihet er delvis begrenset av lover: fartsgrenser som sier hvor fort du kan " -"kjÃ¸re spesielt steder pÃ¥ bestemte tidspunkter. Det er delvis begrenset av " -"arkitektur: hastighet stÃ¸t, for eksempel sakte mest rasjonell drivere; " -"GuvernÃ¸rer i busser, som et annet eksempel, angir den maksimale hastigheten " -"som driveren kan kjÃ¸re. frihet er delvis begrenset av markedet: " -"drivstoffeffektivitet drops som farten Ã¸ker, dermed bensinprisen indirekte " -"begrenser hastighet. og endelig normer for et fellesskap kan eller kan ikke " -"begrense friheten til Ã¥ Ã¸ke. kjÃ¸re pÃ¥ 50 mph av en skole i nabolaget ditt " -"eget og du sannsynligvis til Ã¥ bli straffet av naboene. samme normen ville " -"ikke vÃ¦re sÃ¥ effektiv i en annen by, eller om natten." - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"By describing the way law affects the other three modalities, I don't mean " -"to suggest that the other three don't affect law. Obviously, they do. Law's " -"only distinction is that it alone speaks as if it has a right self-" -"consciously to change the other three. The right of the other three is more " -"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of " -"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " -"Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal " -"Studies</citetitle>, June 1998." -msgstr "" -"ved Ã¥ beskrive hvordan trenger ikke loven pÃ¥virker andre tre metoder, jeg " -"bety Ã¥ foreslÃ¥ at tre andre ikke pÃ¥virker lov. SelvfÃ¸lgelig, de gjÃ¸r. law's " -"eneste forskjellen er at det alene snakker som om den har en rett " -"selvbevisst til Ã¥ endre de andre tre. hÃ¸yre for tre andre uttrykkes mer " -"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new " -"york: grunnleggende bÃ¸ker, 1999): 90Â95; Lawrence lessig, \"den nye chicago " -"skolen,\" journal of Jusstudier, Juni 1998." - -#. PAGE BREAK 135 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The final point about this simple model should also be fairly clear: While " -"these four modalities are analytically independent, law has a special role " -"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " -"other words, sometimes operates to increase or decrease the constraint of a " -"particular modality. Thus, the law might be used to increase taxes on " -"gasoline, so as to increase the incentives to drive more slowly. The law " -"might be used to mandate more speed bumps, so as to increase the difficulty " -"of driving rapidly. The law might be used to fund ads that stigmatize " -"reckless driving. Or the law might be used to require that other laws be " -"more strict—a federal requirement that states decrease the speed " -"limit, for example—so as to decrease the attractiveness of fast " -"driving." -msgstr "" - -#. type: Content of: <book><part><chapter><figure><title> -msgid "Law has a special role in affecting the three." -msgstr "Lovverket har en spesiell rolle i Ã¥ pÃ¥virke disse tre." - -#. type: Content of: <book><part><chapter><figure> -msgid "<graphic fileref=\"images/1361.png\"></graphic>" -msgstr "<graphic fileref=\"images/1361.png\"></graphic>" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "Americans with Disabilities Act (1990)" -msgstr "amerikanerne med funksjonshemminger act (1990)" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Commons, John R." -msgstr "Commons, John R." - -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Some people object to this way of talking about <quote>liberty.</quote> They " -"object because their focus when considering the constraints that exist at " -"any particular moment are constraints imposed exclusively by the government. " -"For instance, if a storm destroys a bridge, these people think it is " -"meaningless to say that one's liberty has been restrained. A bridge has " -"washed out, and it's harder to get from one place to another. To talk about " -"this as a loss of freedom, they say, is to confuse the stuff of politics " -"with the vagaries of ordinary life. I don't mean to deny the value in this " -"narrower view, which depends upon the context of the inquiry. I do, however, " -"mean to argue against any insistence that this narrower view is the only " -"proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come " -"from a long tradition of political thought with a broader focus than the " -"narrow question of what the government did when. John Stuart Mill defended " -"freedom of speech, for example, from the tyranny of narrow minds, not from " -"the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</" -"citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons " -"famously defended the economic freedom of labor from constraints imposed by " -"the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom " -"Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected " -"Essays</citetitle> (London: Routledge: 1997), 62. The Americans with " -"Disabilities Act increases the liberty of people with physical disabilities " -"by changing the architecture of certain public places, thereby making access " -"to those places easier; 42 <citetitle>United States Code</citetitle>, " -"section 12101 (2000). Each of these interventions to change existing " -"conditions changes the liberty of a particular group. The effect of those " -"interventions should be accounted for in order to understand the effective " -"liberty that each of these groups might face. <placeholder type=\"indexterm" -"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" -"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" -msgstr "" -"noen mennesker objektet til denne mÃ¥ten av snakker om \"frihet.\" de " -"objektet fordi deres fokus nÃ¥r de vurderer begrensninger som finnes pÃ¥ et " -"bestemt tidspunkt er begrensninger pÃ¥lagt utelukkende av regjeringen. for " -"eksempel, hvis en storm Ã¸delegger en bro, tror disse folk det er meningslÃ¸st " -"Ã¥ si at en frihet har vÃ¦rt behersket. en bro er vasket ut, og det er " -"vanskeligere for Ã¥ fÃ¥ fra ett sted til et annet. Ã¥ snakke om dette som et " -"tap av frihet, de sier, er Ã¥ forvirre ting av politikk med vagaries av " -"ordinÃ¦rt liv. Jeg trenger ikke bety Ã¥ nekte verdien i denne smalere " -"visningen, som er avhengig av konteksten for henvendelsen. Jeg gjÃ¸r, men " -"mener Ã¥ argumentere mot eventuelle insisterte pÃ¥ 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 " -"spÃ¸rsmÃ¥let om hva regjeringen gjorde nÃ¥r. John stuart mill forsvarte " -"ytringsfriheten, for eksempel fra tyranni av trange sinn, ikke fra frykt for " -"regjeringen rettsforfÃ¸lgelse; John stuart mill, pÃ¥ frihet (indiana: hackett " -"publishing co., 1978), 19. John r. commons forsvarte famously Ã¸konomiske " -"friheten av arbeidskraft fra begrensninger pÃ¥lagt 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 Ã¸ker frihet for personer med " -"funksjonshemninger ved Ã¥ endre arkitekturen i visse offentlige steder, og " -"dermed gjÃ¸r tilgang til de plasserer enklere; 42 united states code, delen " -"12101 (2000). hver av disse intervensjoner for Ã¥ endre eksisterende " -"betingelser, endres frihet Ã¥ en bestemt gruppe. effekten av disse tiltakene " -"bÃ¸r tas med i betraktningen for Ã¥ forstÃ¥ den effektive frihet at hver av " -"disse gruppene kan gjÃ¸re ansiktet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These constraints can thus change, and they can be changed. To understand " -"the effective protection of liberty or protection of property at any " -"particular moment, we must track these changes over time. A restriction " -"imposed by one modality might be erased by another. A freedom enabled by one " -"modality might be displaced by another.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><title> -msgid "Why Hollywood Is Right" -msgstr "Hvorfor Hollywood har rett" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "four regulatory modalities on" -msgstr "fire regulatoriske modaliteter pÃ¥" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The most obvious point that this model reveals is just why, or just how, " -"Hollywood is right. The copyright warriors have rallied Congress and the " -"courts to defend copyright. This model helps us see why that rallying makes " -"sense." -msgstr "" -"det mest Ã¥penbare punktet som denne modellen avslÃ¸rer er bare hvorfor eller " -"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og " -"domstolene Ã¥ forsvare copyright. Denne modellen hjelper oss se hvorfor denne " -"samlingspunkt fornuftig." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let's say this is the picture of copyright's regulation before the Internet:" -msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" - -#. type: Content of: <book><part><chapter><section><figure><title> -#, mtrans, fuzzy -msgid "Copyright's regulation before the Internet." -msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" - -#. PAGE BREAK 136 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There is balance between law, norms, market, and architecture. The law " -"limits the ability to copy and share content, by imposing penalties on those " -"who copy and share content. Those penalties are reinforced by technologies " -"that make it hard to copy and share content (architecture) and expensive to " -"copy and share content (market). Finally, those penalties are mitigated by " -"norms we all recognize—kids, for example, taping other kids' records. " -"These uses of copyrighted material may well be infringement, but the norms " -"of our society (before the Internet, at least) had no problem with this form " -"of infringement." -msgstr "" -"Det er balansen mellom lov, normer, markedet og arkitektur. loven begrenser " -"muligheten til Ã¥ kopiere og dele innhold, ved Ã¥ angi strafferammer for de " -"som kopiere og dele innhold. disse straffer er forsterket av teknologier som " -"gjÃ¸r det vanskelig Ã¥ kopiere og dele innhold (arkitektur) og det er dyrt Ã¥ " -"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 vÃ¦re brudd, men normer for " -"vÃ¥rt samfunn (fÃ¸r Internett, minst) hadde ingen problemer med denne form for " -"krenkelse av." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright regulatory balance lost with" -msgstr "opphavsrett regulatoriske balanse mistet med" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "regulatory balance lost in" -msgstr "regulatoriske balanse tapt i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MP3s" -msgstr "MP3-er" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Enter the Internet, or, more precisely, technologies such as MP3s and p2p " -"sharing. Now the constraint of architecture changes dramatically, as does " -"the constraint of the market. And as both the market and architecture relax " -"the regulation of copyright, norms pile on. The happy balance (for the " -"warriors, at least) of life before the Internet becomes an effective state " -"of anarchy after the Internet." -msgstr "" -"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. " -"nÃ¥ begrensningen av arkitektur endres dramatisk, som gjÃ¸r begrensningen av " -"markedet. og som bÃ¥de markedet og arkitektur kan du slappe av med regulering " -"av copyright, normer haug pÃ¥. happy saldoen (for krigere, minst) av livet " -"fÃ¸r Internett blir en effektiv stat av anarchy etter Internett." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "technology" -msgstr "teknologi" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "established industries threatened by changes in" -msgstr "etablert industri truet av endringer i" - -#. PAGE BREAK 137 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Thus the sense of, and justification for, the warriors' response. " -"Technology has changed, the warriors say, and the effect of this change, " -"when ramified through the market and norms, is that a balance of protection " -"for the copyright owners' rights has been lost. This is Iraq after the fall " -"of Saddam, but this time no government is justifying the looting that " -"results." -msgstr "" -"SÃ¥ledes fÃ¸lelse av, og den begrunnelsen for warriors' svar. teknologi er " -"endret, krigere, sier, og effekten av denne endringen, nÃ¥r ramified gjennom " -"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes " -"rettigheter har gÃ¥tt tapt. Dette er Irak etter fallet av saddam, men denne " -"gangen ingen regjering er rettferdiggjÃ¸rende looting resultater." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "effective state of anarchy after the Internet." -msgstr "effektiv tilstand av anarki etter Internettet." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1381.png\"></graphic>" -msgstr "<graphic fileref=\"images/1381.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Commerce, U.S. Department of" -msgstr "handel-setningsdelen i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "as establishment protectionism" -msgstr "som etablering proteksjonistisk" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Neither this analysis nor the conclusions that follow are new to the " -"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce " -"Department (one heavily influenced by the copyright warriors) in 1995, this " -"mix of regulatory modalities had already been identified and the strategy to " -"respond already mapped. In response to the changes the Internet had " -"effected, the White Paper argued (1) Congress should strengthen intellectual " -"property law, (2) businesses should adopt innovative marketing techniques, " -"(3) technologists should push to develop code to protect copyrighted " -"material, and (4) educators should educate kids to better protect copyright." -msgstr "" -"Denne analysen verken konklusjonene som fÃ¸lger er en ny warriors. faktisk i " -"en \"hvitbok\" utarbeidet av commerce department (en sterkt pÃ¥virket av " -"opphavsrett warriors) i 1995, denne blandingen av regulatoriske modaliteter " -"hadde allerede identifisert og strategi for Ã¥ svare allerede tilordnet. svar " -"pÃ¥ endringene Internett hadde berÃ¸rt, hevdet den tekniske beskrivelsen (1) " -"Kongressen bÃ¸r styrke lovgivning for immaterielle, (2) bedrifter skal vedta " -"innovativ markedsfÃ¸ring teknikker, (3) Teknologorganisasjon push for Ã¥ " -"utvikle kode for Ã¥ beskytte opphavsrettsbeskyttet materiale og (4) lÃ¦rere " -"skal utdanne barn Ã¥ bedre beskytte opphavsretten." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "farming" -msgstr "landbruk" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "steel industry" -msgstr "stÃ¥lindustri" - -#. PAGE BREAK 138 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This mixed strategy is just what copyright needed—if it was to " -"preserve the particular balance that existed before the change induced by " -"the Internet. And it's just what we should expect the content industry to " -"push for. It is as American as apple pie to consider the happy life you have " -"as an entitlement, and to look to the law to protect it if something comes " -"along to change that happy life. Homeowners living in a flood plain have no " -"hesitation appealing to the government to rebuild (and rebuild again) when a " -"flood (architecture) wipes away their property (law). Farmers have no " -"hesitation appealing to the government to bail them out when a virus " -"(architecture) devastates their crop. Unions have no hesitation appealing to " -"the government to bail them out when imports (market) wipe out the U.S. " -"steel industry." -msgstr "" -"Dette blandet strategi er bare hva copyright needed—Hvis det var Ã¥ " -"bevare bestemt saldoen som eksisterte fÃ¸r endringen indusert av Internett. " -"og det er akkurat hva vi kan forvente innhold industrien Ã¥ presse for. Det " -"er sÃ¥ amerikanske som eplepai Ã¥ vurdere det lykkelige liv som du har som en " -"rettighet, og for Ã¥ se til lov til Ã¥ beskytte det hvis noe kommer til Ã¥ " -"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nÃ¸le " -"appellere til regjeringen Ã¥ gjenoppbygge (og gjenoppbygging igjen) nÃ¥r en " -"flom (arkitektur) tÃ¸rke bort deres eiendom (lov). bÃ¸nder har ingen nÃ¸le " -"appellere til regjeringen Ã¥ kausjon dem ut nÃ¥r et virus (arkitektur) " -"devastates deres BeskjÃ¦r. fagforeninger har ingen nÃ¸le appellere til " -"regjeringen Ã¥ kausjon dem. NÃ¥r import (markedet) tÃ¸rke ut amerikanske stÃ¥l " -"industrien." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Thus, there's nothing wrong or surprising in the content industry's campaign " -"to protect itself from the harmful consequences of a technological " -"innovation. And I would be the last person to argue that the changing " -"technology of the Internet has not had a profound effect on the content " -"industry's way of doing business, or as John Seely Brown describes it, its " -"<quote>architecture of revenue.</quote>" -msgstr "" -"SÃ¥ledes, det er ingenting galt eller overraskende i innhold bransjens " -"kampanje til Ã¥ beskytte seg fra skadelige konsekvensene av en teknologisk " -"innovasjon. og jeg vil vÃ¦re den siste personen som hevder at den endrede " -"teknologien pÃ¥ Internett ikke har hatt en dyp effekt pÃ¥ innhold bransjens " -"mÃ¥ten Ã¥ drive virksomhet, eller som john seely brown beskriver den, dens " -"\"arkitektur av inntekter.\"" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "railroad industry" -msgstr "jernbaneindustri" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "remote channel changers" -msgstr "Medieskiftere for ekstern kanal" - -#. f5 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</" -"quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of " -"Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak " -"Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But just because a particular interest asks for government support, it " -"doesn't follow that support should be granted. And just because technology " -"has weakened a particular way of doing business, it doesn't follow that the " -"government should intervene to support that old way of doing business. " -"Kodak, for example, has lost perhaps as much as 20 percent of their " -"traditional film market to the emerging technologies of digital cameras." -"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " -"should ban digital cameras just to support Kodak? Highways have weakened the " -"freight business for railroads. Does anyone think we should ban trucks from " -"roads <emphasis>for the purpose of</emphasis> protecting the railroads? " -"Closer to the subject of this book, remote channel changers have weakened " -"the <quote>stickiness</quote> of television advertising (if a boring " -"commercial comes on the TV, the remote makes it easy to surf ), and it may " -"well be that this change has weakened the television advertising market. But " -"does anyone believe we should regulate remotes to reinforce commercial " -"television? (Maybe by limiting them to function only once a second, or to " -"switch to only ten channels within an hour?)" -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "free market, technological changes in" -msgstr "frie marked, teknologiske endringer i" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Brezhnev, Leonid" -msgstr "Brezhnev, Leonid" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Gates, Bill" -msgstr "Gates, Bill" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "market competition" -msgstr "markedskonkurranse" - -#. f6 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " -"1994), 170–71." -msgstr "" -"Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The obvious answer to these obviously rhetorical questions is no. In a free " -"society, with a free market, supported by free enterprise and free trade, " -"the government's role is not to support one way of doing business against " -"others. Its role is not to pick winners and protect them against loss. If " -"the government did this generally, then we would never have any progress. As " -"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " -"patents, <quote>established companies have an interest in excluding future " -"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative " -"to a startup, established companies also have the means. (Think RCA and FM " -"radio.) A world in which competitors with new ideas must fight not only the " -"market but also the government is a world in which competitors with new " -"ideas will not succeed. It is a world of stasis and increasingly " -"concentrated stagnation. It is the Soviet Union under Brezhnev." -msgstr "" -"Det Ã¥penbare svaret pÃ¥ disse Ã¥penbart retoriske spÃ¸rsmÃ¥lene er nei. I et " -"fritt samfunn, med et fritt marked, stÃ¸ttet av frie markedsaktÃ¸rer og fri " -"handel, er ikke myndighetenes rolle Ã¥ stÃ¸tte en bestemt mÃ¥te Ã¥ gjÃ¸re " -"forretninger mot andre mÃ¥ter. Deres rolle er ikke Ã¥ velge vinnere og " -"beskytte dem mot tap. Hvis myndighetene gjorde dette generelt, sÃ¥ ville vi " -"aldri fÃ¥ noen fremgang. Bill Gates, styrelederen i Microsoft, skrev i 1991 " -"i et notat soma kritiserte programvarepatenter at <quote>etablerte selskaper " -"har interesse av Ã¥ eksludere fremtidige konkurrenter</quote>.<placeholder " -"type=\"footnote\" id=\"0\"/> Og i forhold til et nystartet selskap har " -"etablerte selskaper ogsÃ¥ andre virkemidler. (Tenk RCA og FM-radio.) En " -"verden hvor konkurrenter med nye idÃ©er mÃ¥ sloss ikke bare mot markedet men " -"ogsÃ¥ mot myndighetene er en verden hvor konkurrenter med nye idÃ©er ikke vil " -"lykkes. Det er en verden i stillstand og Ã¸kende konsentrert stagnering. " -"Det er sovjetunionen under Brezhnev." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Thus, while it is understandable for industries threatened with new " -"technologies that change the way they do business to look to the government " -"for protection, it is the special duty of policy makers to guarantee that " -"that protection not become a deterrent to progress. It is the duty of policy " -"makers, in other words, to assure that the changes they create, in response " -"to the request of those hurt by changing technology, are changes that " -"preserve the incentives and opportunities for innovation and change." -msgstr "" -"dermed mens det er forstÃ¥elig for bransjer som er truet med nye teknologier " -"som endrer mÃ¥ten de gjÃ¸r forretninger Ã¥ se til regjeringen for beskyttelse, " -"er det en spesiell plikt for beslutningstakere Ã¥ garantere at beskyttelse " -"ikke blir et avskrekkende til fremgang. Det er plikten til " -"beslutningstakere, med andre ord, Ã¥ sikre at endringene de oppretter, svar " -"pÃ¥ forespÃ¸rsel fra de vondt ved Ã¥ endre teknologi, er endringer som bevare " -"insentiver og muligheter for innovasjon og endre." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "speech, freedom of" -msgstr "talefrihet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional guarantee of" -msgstr "konstitusjonelle garanti for" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In the context of laws regulating speech—which include, obviously, " -"copyright law—that duty is even stronger. When the industry " -"complaining about changing technologies is asking Congress to respond in a " -"way that burdens speech and creativity, policy makers should be especially " -"wary of the request. It is always a bad deal for the government to get into " -"the business of regulating speech markets. The risks and dangers of that " -"game are precisely why our framers created the First Amendment to our " -"Constitution: <quote>Congress shall make no law … abridging the " -"freedom of speech.</quote> So when Congress is being asked to pass laws that " -"would <quote>abridge</quote> the freedom of speech, it should ask— " -"carefully—whether such regulation is justified." -msgstr "" -"i sammenheng med lover som regulerer tale—, og som omfatter, " -"tydeligvis, copyright lov—at plikt er enda sterkere. NÃ¥r industrien " -"klagende om hvordan du endrer teknologier ber Kongressen til Ã¥ svare pÃ¥ en " -"mÃ¥te som byrder tale og kreativitet, bÃ¸r beslutningstakere vÃ¦re spesielt " -"skeptisk til forespÃ¸rselen. Det er alltid en dÃ¥rlig deal for regjeringen Ã¥ " -"komme inn i virksomheten av regulerer tale markeder. risikoer og farer av " -"spillet er nÃ¸yaktig hvorfor vÃ¥re underskrev opprettet den fÃ¸rste endringen " -"til vÃ¥r grunnlov: \"Kongressen skal gjÃ¸re ingen lov... abridging friheten " -"til tale.\" sÃ¥ nÃ¥r Kongressen blir bedt om Ã¥ passere lovgivning som ville " -"\"abridge\" ytringsfriheten, det bÃ¸r spÃ¸rre—nÃ¸ye—om slike " -"regulering er begrunnet." - -#. PAGE BREAK 140 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My argument just now, however, has nothing to do with whether the changes " -"that are being pushed by the copyright warriors are <quote>justified.</" -"quote> My argument is about their effect. For before we get to the question " -"of justification, a hard question that depends a great deal upon your " -"values, we should first ask whether we understand the effect of the changes " -"the content industry wants." -msgstr "" -"mitt argument akkurat nÃ¥, men har ingenting Ã¥ gjÃ¸re med om endringene som " -"skyves av opphavsrett krigerne er \"blokkjustert.\" mitt argument er om " -"deres effekt. for fÃ¸r vi komme til spÃ¸rsmÃ¥let om berettigelse, et vanskelig " -"spÃ¸rsmÃ¥l som mye avhenger av verdier, bÃ¸r vi fÃ¸rst be om vi forstÃ¥r effekten " -"av endringene innhold industrien Ã¸nsker." - -#. type: Content of: <book><part><chapter><section><para> -msgid "Here's the metaphor that will capture the argument to follow." -msgstr "Her kommer metaforen som vil forklare argumentet." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MÃ¼ller, Paul Hermann" -msgstr "MÃ¼ller, Paul Hermann" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "DDT" -msgstr "DDT" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "insecticide, environmental consequences of" -msgstr "insektmiddel, miljÃ¸konsekvensene fra" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul " -"Hermann MÃ¼ller 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 kjemikaliet DDT syntesert fÃ¸rste gang. I 1948 vant den " -"sveitsiske kjemikeren Paul Hermann MÃ¼ller nobelprisen for sitt arbeide med Ã¥ " -"demonstrere de insektsdrepende egenskapene til DDT. I lÃ¸pet av 1950-tallet " -"ble insektsmiddelet mye brukt rundt om i verden for Ã¥ drepe sykdomsbÃ¦rende " -"skadedyr. Det ble ogsÃ¥ brukt til Ã¥ Ã¸ke landbruksproduksjon." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"No one doubts that killing disease-carrying pests or increasing crop " -"production is a good thing. No one doubts that the work of MÃ¼ller was " -"important and valuable and probably saved lives, possibly millions." -msgstr "" -"Ingen tviler pÃ¥ at det er en god ting Ã¥ drepe sykdomsbÃ¦rende skadedyr eller " -"Ã¥ Ã¸ke avlingene. Og ingen tviler pÃ¥ at arbeidet til MÃ¼ller var viktig og " -"verdifult, og antagelig sparte liv, kanskje millioner av liv." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Carson, Rachel" -msgstr "Carson, Rachel" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Silent Spring (Carson)" -msgstr "Silent Spring (Carson)" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "environmentalism" -msgstr "environmentalism" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " -"which argued that DDT, whatever its primary benefits, was also having " -"unintended environmental consequences. Birds were losing the ability to " -"reproduce. Whole chains of the ecology were being destroyed." -msgstr "" -"men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " -"dens primÃ¦re fordeler, hadde ogsÃ¥ utilsiktede miljÃ¸messige konsekvenser. " -"fugler var Ã¥ miste muligheten til Ã¥ reprodusere. hele kjeder av Ã¸kologi ble " -"blir Ã¸delagt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"No one set out to destroy the environment. Paul MÃ¼ller 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 Ã¥ Ã¸delegge miljÃ¸et. Paul mÃ¼ller sikkert ikke mÃ¥l Ã¥ skade " -"noen fugler. men arbeidet med Ã¥ lÃ¸se ett sett med problemer produsert et " -"annet sett som i visningen av noen, var langt verre enn problemene som " -"opprinnelig ble angrepet. eller mer nÃ¸yaktig problemer ddt forÃ¥rsaket var " -"verre enn problemer det lÃ¸st, minst nÃ¥r de vurderer den andre, mer " -"miljÃ¸vennlig mÃ¥ten Ã¥ lÃ¸se problemer som ddt var ment Ã¥ lÃ¸se." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Boyle, James" -msgstr "Boyle, James" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "innovative freedom balanced with fair compensation in" -msgstr "nyskapende frihet balansert med rettferdig kompensasjon i" - -#. f7 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See, for example, James Boyle, <quote>A Politics of Intellectual Property: " -"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" -"citetitle> 47 (1997): 87." -msgstr "" -"Se for eksempel James Boyle, <quote>A Politics of Intellectual Property: " -"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" -"citetitle> 47 (1997): 87." - -#. PAGE BREAK 141 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"It is to this image precisely that Duke University law professor James Boyle " -"appeals when he argues that we need an <quote>environmentalism</quote> for " -"culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I " -"want to develop in the balance of this chapter, is not that the aims of " -"copyright are flawed. Or that authors should not be paid for their work. Or " -"that music should be given away <quote>for free.</quote> The point is that " -"some of the ways in which we might protect authors will have unintended " -"consequences for the cultural environment, much like DDT had for the natural " -"environment. And just as criticism of DDT is not an endorsement of malaria " -"or an attack on farmers, so, too, is criticism of one particular set of " -"regulations protecting copyright not an endorsement of anarchy or an attack " -"on authors. It is an environment of creativity that we seek, and we should " -"be aware of our actions' effects on the environment." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My argument, in the balance of this chapter, tries to map exactly this " -"effect. No doubt the technology of the Internet has had a dramatic effect on " -"the ability of copyright owners to protect their content. But there should " -"also be little doubt that when you add together the changes in copyright law " -"over time, plus the change in technology that the Internet is undergoing " -"just now, the net effect of these changes will not be only that copyrighted " -"work is effectively protected. Also, and generally missed, the net effect of " -"this massive increase in protection will be devastating to the environment " -"for creativity." -msgstr "" -"mitt argument, i balanse av dette kapitlet, prÃ¸ver Ã¥ tilordne nÃ¸yaktig denne " -"effekten. teknologi pÃ¥ Internett har ingen tvil hadde en dramatisk effekt pÃ¥ " -"evnen til eiere av opphavsretter Ã¥ beskytte innholdet sitt. men det bÃ¸r ogsÃ¥ " -"vÃ¦re liten tvil om at nÃ¥r du legger sammen endringene i lov om opphavsrett " -"over tid, i tillegg til endringen i teknologi som Internett er under akkurat " -"nÃ¥, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet " -"arbeid effektivt er beskyttet. ogsÃ¥, og generelt savnet, vil netto effekt av " -"denne massive Ã¸kningen i beskyttelse vÃ¦re Ã¸deleggende for miljÃ¸et for " -"kreativitet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In a line: To kill a gnat, we are spraying DDT with consequences for free " -"culture that will be far more devastating than that this gnat will be lost." -msgstr "" -"i en linje: for Ã¥ drepe en mygg, er vi sprÃ¸yting ddt med konsekvenser, for " -"fri kultur som vil vÃ¦re langt mer Ã¸deleggende enn denne mygg, vil gÃ¥ tapt." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Beginnings" -msgstr "Opphav" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "on creative property" -msgstr "pÃ¥ kreative eiendom" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright purpose established in" -msgstr "opphavsrett formÃ¥l som er etablert i" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "Progress Clause of" -msgstr "fremdrift-setningsdelen i" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional purpose of" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional tradition on" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Progress Clause" -msgstr "handel-setningsdelen i" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"America copied English copyright law. Actually, we copied and improved " -"English copyright law. Our Constitution makes the purpose of <quote>creative " -"property</quote> rights clear; its express limitations reinforce the English " -"aim to avoid overly powerful publishers." -msgstr "" -"Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og forbedret " -"engelsk lov om opphavsrett. vÃ¥r grunnlov gjÃ¸r formÃ¥let med \"creative " -"property\" fjerner du rettigheter; uttrykkelig begrensninger forsterke den " -"engelske mÃ¥l Ã¥ unngÃ¥ altfor kraftig utgivere." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "in constitutional Progress Clause" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The power to establish <quote>creative property</quote> rights is granted to " -"Congress in a way that, for our Constitution, at least, is very odd. Article " -"I, section 8, clause 8 of our Constitution states that:" -msgstr "" -"makt til Ã¥ etablere \"kreative\" eiendomsrettigheter gis til Kongressen pÃ¥ " -"en mÃ¥te som for vÃ¥r grunnlov, minst, er veldig rart. artikkel, del 8, 8-" -"setningsdelen i vÃ¥r grunnlov sier at:" - -#. PAGE BREAK 142 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Congress has the power to promote the Progress of Science and useful Arts, " -"by securing for limited Times to Authors and Inventors the exclusive Right " -"to their respective Writings and Discoveries. We can call this the " -"<quote>Progress Clause,</quote> for notice what this clause does not say. It " -"does not say Congress has the power to grant <quote>creative property rights." -"</quote> It says that Congress has the power <emphasis>to promote progress</" -"emphasis>. The grant of power is its purpose, and its purpose is a public " -"one, not the purpose of enriching publishers, nor even primarily the purpose " -"of rewarding authors." -msgstr "" -"Kongressen har makt til Ã¥ fremme utviklingen av vitenskap og nyttig kunst, " -"ved Ã¥ sikre begrenset ganger til forfattere og oppfinnere den eksklusive " -"retten til deres respektive skrifter og funn. Vi kan kalle dette den " -"\"fremgang setningen,\" for Ã¥ se hva denne bestemmelsen ikke si. Det er ikke " -"si Kongressen har makt til Ã¥ gi \"kreative egenskapen rettigheter.\" det " -"stÃ¥r at Kongressen har makt til Ã¥ fremme fremdrift. grant strÃ¸m er formÃ¥let, " -"og formÃ¥let er en offentlig, ikke hensikten med berikende utgivere, eller " -"med hovedsakelig formÃ¥let med givende forfatternes." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "history of American" -msgstr "historie for Amerikansk" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Progress Clause expressly limits the term of copyrights. As we saw in " -"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the " -"English limited the term of copyright so as to assure that a few would not " -"exercise disproportionate control over culture by exercising " -"disproportionate control over publishing. We can assume the framers followed " -"the English for a similar purpose. Indeed, unlike the English, the framers " -"reinforced that objective, by requiring that copyrights extend <quote>to " -"Authors</quote> only." -msgstr "" -"fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. som " -"vi sÃ¥ i kapittel 6, ville engelsk begrenset av copyright Ã¥ forsikre om at " -"noen ikke utÃ¸ve uforholdsmessig kontroll over kultur ved Ã¥ trene " -"uforholdsmessig kontroll over publisering. Vi kan anta underskrev etterfulgt " -"engelsk for lignende formÃ¥l. faktisk, i motsetning til engelsk, underskrev " -"forsterket det mÃ¥let ved Ã¥ kreve at opphavsretten utvide \"til forfattere\" " -"bare." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Senate, U.S." -msgstr "Senatet i USA" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "structural checks and balances of" -msgstr "strukturelle sjekker og Periodenes" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "electoral college" -msgstr "valgkollegiet" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The design of the Progress Clause reflects something about the " -"Constitution's design in general. To avoid a problem, the framers built " -"structure. To prevent the concentrated power of publishers, they built a " -"structure that kept copyrights away from publishers and kept them short. To " -"prevent the concentrated power of a church, they banned the federal " -"government from establishing a church. To prevent concentrating power in the " -"federal government, they built structures to reinforce the power of the " -"states—including the Senate, whose members were at the time selected " -"by the states, and an electoral college, also selected by the states, to " -"select the president. In each case, a <emphasis>structure</emphasis> built " -"checks and balances into the constitutional frame, structured to prevent " -"otherwise inevitable concentrations of power." -msgstr "" -"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " -"design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " -"vil hindre at konsentrert strÃ¸m av utgivere, bygget de en struktur som holdt " -"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at " -"konsentrert strÃ¸m av en kirke, forbudt de den fÃ¸derale regjeringen fra Ã¥ " -"etablere en kirke. Ã¥ hindre konsentrere seg makten i den fÃ¸derale " -"regjeringen, de bygget strukturer for Ã¥ forsterke kraften i USA—" -"inkludert Senatet, der medlemmene var pÃ¥ tiden som er valgt av USA, og en " -"valg college, ogsÃ¥ valgt av USA, Ã¥ velge presidenten. i hvert tilfelle, en " -"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, " -"strukturert for Ã¥ hindre at ellers uunngÃ¥elig konsentrasjoner av makt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I doubt the framers would recognize the regulation we call <quote>copyright</" -"quote> today. The scope of that regulation is far beyond anything they ever " -"considered. To begin to understand what they did, we need to put our " -"<quote>copyright</quote> in context: We need to see how it has changed in " -"the 210 years since they first struck its design." -msgstr "" -"Jeg tviler underskrev ville anerkjenne regulering vi kaller \"copyright\" i " -"dag. omfanget av denne forskriften er langt overgÃ¥r alt de noensinne " -"vurdert. Hvis du vil begynne Ã¥ forstÃ¥ hva de gjorde, vi trenger Ã¥ sette vÃ¥r " -"\"copyright\" i sammenheng: vi trenger Ã¥ se hvordan det har endret i 210 " -"Ã¥rene siden de fÃ¸rst slo sin design." - -#. PAGE BREAK 143 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Some of these changes come from the law: some in light of changes in " -"technology, and some in light of changes in technology given a particular " -"concentration of market power. In terms of our model, we started here:" -msgstr "" -"noen av disse endringene kommer fra loven: noen i lys av endringer i " -"teknologi, og noen i lys av endringer i teknologi gitt en bestemt " -"konsentrasjon av markedets makt. NÃ¥r det gjelder vÃ¥r modell startet vi her:" - -#. type: Content of: <book><part><chapter><section><para> -msgid "We will end here:" -msgstr "Vi kommer til Ã¥ ende opp her:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "<quote>Copyright</quote> today." -msgstr "<quote>Opphavsrett</quote> i dag." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1442.png\"></graphic>" -msgstr "<graphic fileref=\"images/1442.png\"></graphic>" - -#. PAGE BREAK 144 -#. type: Content of: <book><part><chapter><section><para> -msgid "Let me explain how." -msgstr "La meg forklare hvordan." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Law: Duration" -msgstr "Loven: Varighet" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Copyright Act (1790)" -msgstr "Berlin act (1908)" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "common law protections of" -msgstr "komponister, copyright beskyttelse av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "balance of U.S. content in" -msgstr "balanse mellom you.s. innhold i" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Crosskey, William W." -msgstr "Crosskey, William W." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"William W. Crosskey, <citetitle>Politics and the Constitution in the History " -"of the United States</citetitle> (London: Cambridge University Press, 1953), " -"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the " -"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " -"or were supposed by some to have, under the Common Law</emphasis></quote> " -"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"William W. Crosskey, politikk og Grunnloven i historien av USA (London: " -"Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved " -"vanlig implikasjon av\"Ã¸verstkommanderende lov av land\", evigvarende " -"rettigheter som forfattere hadde eller skulle etter noen Ã¥ ha, under felles " -"lov\" (vekt legges til)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"When the first Congress enacted laws to protect creative property, it faced " -"the same uncertainty about the status of creative property that the English " -"had confronted in 1774. Many states had passed laws protecting creative " -"property, and some believed that these laws simply supplemented common law " -"rights that already protected creative authorship.<placeholder type=" -"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " -"domain in the United States in 1790. If copyrights were protected by the " -"common law, then there was no simple way to know whether a work published in " -"the United States was controlled or free. Just as in England, this lingering " -"uncertainty would make it hard for publishers to rely upon a public domain " -"to reprint and distribute works." -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "federal vs. state" -msgstr "fÃ¸derale vs. tilstand" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"That uncertainty ended after Congress passed legislation granting " -"copyrights. Because federal law overrides any contrary state law, federal " -"protections for copyrighted works displaced any state law protections. Just " -"as in England the Statute of Anne eventually meant that the copyrights for " -"all English works expired, a federal statute meant that any state copyrights " -"expired as well." -msgstr "" -"Det usikkerheten tok slutt da kongressen vedtok lovgivning som tildelte " -"opphavsrettigheter. Da fÃ¸deral lov overstyrer medlemsstatenes lov, " -"fortrengte fÃ¸deral beskyttelse av opphavsrettslig beskyttet verk noen staten " -"lov beskyttelse. akkurat som i england betydde Vedtektene for anne til slutt " -"at opphavsretten for alle engelsk arbeider utlÃ¸pt, en fÃ¸derale vedtekter " -"betydde at staten opphavsrettigheter utlÃ¸pt ogsÃ¥." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1790, Congress enacted the first copyright law. It created a federal " -"copyright and secured that copyright for fourteen years. If the author was " -"alive at the end of that fourteen years, then he could opt to renew the " -"copyright for another fourteen years. If he did not renew the copyright, his " -"work passed into the public domain." -msgstr "" -"i 1790 vedtatt Kongressen den fÃ¸rste lov om opphavsrett. den opprettet en " -"fÃ¸derale copyright og sikret at copyright for fjorten Ã¥r. Hvis forfatteren " -"var Live pÃ¥ slutten av at fjorten Ã¥r, kan han velge for Ã¥ fornye " -"opphavsretten for en annen fjorten Ã¥r. Hvis han ikke fornye opphavsretten, " -"bestÃ¥tt hans arbeid i public domain." - -#. f9 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Although 13,000 titles were published in the United States from 1790 to " -"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " -"History of Book Publishing in the United States</citetitle>, vol. 1, " -"<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " -"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " -"twelve were copyrighted under the 1790 act; William J. Maher, " -"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " -"1790 in Historical Context</citetitle>, 7–10 (2002), available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " -"overwhelming majority of works fell immediately into the public domain. Even " -"those works that were copyrighted fell into the public domain quickly, " -"because the term of copyright was short. The initial term of copyright was " -"fourteen years, with the option of renewal for an additional fourteen years. " -"Copyright Act of May 31, 1790, Â§1, 1 stat. 124." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"While there were many works created in the United States in the first ten " -"years of the Republic, only 5 percent of the works were actually registered " -"under the federal copyright regime. Of all the work created in the United " -"States both before 1790 and from 1790 through 1800, 95 percent immediately " -"passed into the public domain; the balance would pass into the pubic domain " -"within twenty-eight years at most, and more likely within fourteen years." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Selv om det ble skapt mange verker i USA i de fÃ¸rste 10 Ã¥rene til " -"republikken, sÃ¥ ble kun 5 prosent av verkene registrert under det fÃ¸derale " -"opphavsrettsregimet. Av alle verker skapt i USA bÃ¥de fÃ¸r 1790 og fra 1790 " -"fram til 1800, sÃ¥ ble 95 prosent Ã¸yeblikkelig allemannseie (public domain). " -"Resten ble allemannseie etter maksimalt 20 Ã¥r, og som oftest etter 14 Ã¥r." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. PAGE BREAK 145 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This system of renewal was a crucial part of the American system of " -"copyright. It assured that the maximum terms of copyright would be granted " -"only for works where they were wanted. After the initial term of fourteen " -"years, if it wasn't worth it to an author to renew his copyright, then it " -"wasn't worth it to society to insist on the copyright, either." -msgstr "" -"Dette fornyelsessystemet var en avgjÃ¸rende del av det amerikanske systemet " -"for opphavsrett. Det sikret at maksimal vernetid i opphavsretten bare ble " -"gitt til verker der det var Ã¸nsket. Etter den fÃ¸rste perioden pÃ¥ fjorten Ã¥r, " -"hvis forfatteren ikke sÃ¥ verdien av Ã¥ fornye sin opphavsrett, var det heller " -"ikke verdt det for samfunnet Ã¥ hÃ¥ndheve opphavsretten." - -#. f10 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Few copyright holders ever chose to renew their copyrights. For instance, of " -"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " -"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " -"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on " -"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), " -"618. For a more recent and comprehensive analysis, see William M. Landes and " -"Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> " -"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, " -"498–501, and accompanying figures." -msgstr "" -"noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " -"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " -"1910. for et Ã¥r etter Ã¥r analyse av opphavsrett fornyelse priser, kan du se " -"barbara a. ringer, \"studere nr. 31: fornyelse av opphavsrett,\" studier pÃ¥ " -"opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. Hvis " -"en nyere og omfattende analyse, se william m landes og richard en. Posner, " -"\"pÃ¥ ubestemt tid fornybar copyright,\" university of chicago lov gÃ¥ gjennom " -"70 (2003): 471, 498Â501 og tilhÃ¸rende tallene." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Fourteen years may not seem long to us, but for the vast majority of " -"copyright owners at that time, it was long enough: Only a small minority of " -"them renewed their copyright after fourteen years; the balance allowed their " -"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. f11 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "See Ringer, ch. 9, n. 2." -msgstr "Se Ringer, kap. 9, n. 2." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Even today, this structure would make sense. Most creative work has an " -"actual commercial life of just a couple of years. Most books fall out of " -"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " -"happens, the used books are traded free of copyright regulation. Thus the " -"books are no longer <emphasis>effectively</emphasis> controlled by " -"copyright. The only practical commercial use of the books at that time is to " -"sell the books as used books; that use—because it does not involve " -"publication—is effectively free." -msgstr "" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright terms extended by" -msgstr "opphavsrett hensikt endret av" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "term extensions in" -msgstr "sikt utvidelser i" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In the first hundred years of the Republic, the term of copyright was " -"changed once. In 1831, the term was increased from a maximum of 28 years to " -"a maximum of 42 by increasing the initial term of copyright from 14 years to " -"28 years. In the next fifty years of the Republic, the term increased once " -"again. In 1909, Congress extended the renewal term of 14 years to 28 years, " -"setting a maximum term of 56 years." -msgstr "" -"i de fÃ¸rste hundre Ã¥r av republikken ble av copyright endret Ã©n gang. i " -"1831, ble begrepet Ã¸kt fra maksimum 28 Ã¥r til maksimalt 42 ved Ã¥ Ã¸ke fÃ¸rste " -"begrepet av opphavsrett fra 14 Ã¥r til 28 Ã¥r. i de neste femti Ã¥rene av " -"Republikken begrepet Ã¸kt igjen. i 1909 utvidet Kongressen begrepet fornyelse " -"av 14 Ã¥r til 28 Ã¥r, angi en maksimal periode pÃ¥ 56 Ã¥r." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)" -msgstr "Sonny bono opphavsrett begrepet filtypen handle (ctea) (1998)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "future patents vs. future copyrights in" -msgstr "fremtidige patenter vs. fremtidige opphavsrettigheter i" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Then, beginning in 1962, Congress started a practice that has defined " -"copyright law since. Eleven times in the last forty years, Congress has " -"extended the terms of existing copyrights; twice in those forty years, " -"Congress extended the term of future copyrights. Initially, the extensions " -"of existing copyrights were short, a mere one to two years. In 1976, " -"Congress extended all existing copyrights by nineteen years. And in 1998, " -"in the Sonny Bono Copyright Term Extension Act, Congress extended the term " -"of existing and future copyrights by twenty years." -msgstr "" -"sÃ¥, begynner i 1962, Kongressen begynte en praksis som har definert " -"opphavsrett siden. elleve ganger i de siste 40 Ã¥rene, har Kongressen utvidet " -"vilkÃ¥rene i eksisterende opphavsrettigheter; to ganger i de fÃ¸rti Ã¥r utvidet " -"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var " -"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to Ã¥r. i " -"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten Ã¥r. " -"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen " -"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue Ã¥r." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "patents" -msgstr "patenter" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in public domain" -msgstr "i allemannseie (public domain)" - -#. PAGE BREAK 146 -#. type: Content of: <book><part><chapter><section><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 utvidelsene er ganske enkelt Ã¥ skattlegge, eller forsinke, " -"nÃ¥r verk faller i det fri og blir allemannseie. Denne siste utvidelsen " -"betyr at allemannseie vil ha blitt skattlagt for trettivi av femtifem Ã¥r, " -"eller 70 prosent av tiden siden 1962. Dermed vil det i de tjue Ã¥rene etter " -"Sonny Bono-loven, samtidig som en million patenter har blitt allemannseie, " -"ikke vÃ¦re et eneste opphavsrettsbeskyttet verk som har falt i det fri takket " -"vÃ¦re utlÃ¸p av vernetiden i opphavsretten." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The effect of these extensions has been exacerbated by another, little-" -"noticed change in the copyright law. Remember I said that the framers " -"established a two-part copyright regime, requiring a copyright owner to " -"renew his copyright after an initial term. The requirement of renewal meant " -"that works that no longer needed copyright protection would pass more " -"quickly into the public domain. The works remaining under protection would " -"be those that had some continuing commercial value." -msgstr "" -"effekten av disse tilleggene har blitt forverret av en annen, lite merke " -"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt " -"opphavsrett regime, som krever en rettighetsinnehaveren Ã¥ fornye sin " -"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som " -"ikke lenger nÃ¸dvendig opphavsrettsbeskyttelse ville passere raskere i public " -"domain. works gjenvÃ¦rende under beskyttelse vil vÃ¦re de som hadde noen " -"vedvarende kommersiell verdi." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "of natural authors vs. corporations" -msgstr "av naturlige forfattere vs. selskaper" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "corporations" -msgstr "selskaper" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright terms for" -msgstr "opphavsrett vilkÃ¥r for" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The United States abandoned this sensible system in 1976. For all works " -"created after 1978, there was only one copyright term—the maximum " -"term. For <quote>natural</quote> authors, that term was life plus fifty " -"years. For corporations, the term was seventy-five years. Then, in 1992, " -"Congress abandoned the renewal requirement for all works created before " -"1978. All works still under copyright would be accorded the maximum term " -"then available. After the Sonny Bono Act, that term was ninety-five years." -msgstr "" -"USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet " -"etter 1978, var det bare en opphavsrett term—den maksimale " -"betegnelsen. for \"naturlige\" forfattere var dette ordet livet pluss femti " -"Ã¥r. for bedrifter var begrepet sytti-fem Ã¥r. deretter, i 1992, Kongressen " -"forlatt fornyelse kravet for alle arbeider opprettet fÃ¸r 1978. alle fungerer " -"fortsatt under opphavsrett ville substansiell den maksimale betegnelsen " -"deretter tilgjengelig. etter sonny bono loven, at begrepet var fem og nitti " -"Ã¥r." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This change meant that American law no longer had an automatic way to assure " -"that works that were no longer exploited passed into the public domain. And " -"indeed, after these changes, it is unclear whether it is even possible to " -"put works into the public domain. The public domain is orphaned by these " -"changes in copyright law. Despite the requirement that terms be " -"<quote>limited,</quote> we have no evidence that anything will limit them." -msgstr "" -"Denne endringen betydde at amerikansk lov ikke lenger en automatisk mÃ¥te Ã¥ " -"forsikre som fungerer som utnyttes ikke lenger sendes til public domain. og " -"faktisk, etter disse endringene, er det uklart om det er ogsÃ¥ mulig Ã¥ sette " -"fungerer i public domain. public domain er foreldrelÃ¸se av disse endringene " -"i lov om opphavsrett. til tross for kravet om at vilkÃ¥rene vÃ¦re \"begrenset" -"\", har vi ingen bevis for at noe vil begrense dem." - -#. f12 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"These statistics are understated. Between the years 1910 and 1962 (the first " -"year the renewal term was extended), the average term was never more than " -"thirty-two years, and averaged thirty years. See Landes and Posner, " -"<quote>Indefinitely Renewable Copyright,</quote> loc. cit." -msgstr "" -"disse statistikkene er undervurdert. i Ã¥rene 1910 og 1962 (det fÃ¸rste Ã¥ret " -"fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri mer enn " -"tretti-to Ã¥r, og tretti Ã¥r i gjennomsnitt. se landes og posner, \"pÃ¥ " -"ubestemt tid fornybar copyright,\" loc. cit." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The effect of these changes on the average duration of copyright is " -"dramatic. In 1973, more than 85 percent of copyright owners failed to renew " -"their copyright. That meant that the average term of copyright in 1973 was " -"just 32.2 years. Because of the elimination of the renewal requirement, the " -"average term of copyright is now the maximum term. In thirty years, then, " -"the average term has tripled, from 32.2 years to 95 years.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><title> -msgid "Law: Scope" -msgstr "Loven: VirkeomrÃ¥de" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "scope of" -msgstr "omfanget av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The <quote>scope</quote> of a copyright is the range of rights granted by " -"the law. The scope of American copyright has changed dramatically. Those " -"changes are not necessarily bad. But we should understand the extent of the " -"changes if we're to keep this debate in context." -msgstr "" -"<quote>DekningsomrÃ¥det</quote> for opphavsretten er den rekken av " -"rettighetsomrÃ¥der tildelt gjennom lovverket. DekningsomrÃ¥det for amerikansk " -"opphavsrett har endret seg dramatisk. Disse endringene er ikke nÃ¸dvendigvis " -"dÃ¥rlige, men vi bÃ¸r forstÃ¥ omfanget av endringer hvis vi skal forholde oss " -"til sammenhengen i denne debatten." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "historical shift in copyright coverage of" -msgstr "historisk endring i opphavsrettslig dekning av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1790, that scope was very narrow. Copyright covered only <quote>maps, " -"charts, and books.</quote> That means it didn't cover, for example, music or " -"architecture. More significantly, the right granted by a copyright gave the " -"author the exclusive right to <quote>publish</quote> copyrighted works. That " -"means someone else violated the copyright only if he republished the work " -"without the copyright owner's permission. Finally, the right granted by a " -"copyright was an exclusive right to that particular book. The right did not " -"extend to what lawyers call <quote>derivative works.</quote> It would not, " -"therefore, interfere with the right of someone other than the author to " -"translate a copyrighted book, or to adapt the story to a different form " -"(such as a drama based on a published book)." -msgstr "" -"i 1790 var at omfanget svÃ¦rt smale. Copyright dekket bare \"kart, diagrammer " -"og bÃ¸ker.\", 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 pÃ¥ nytt. Endelig, retten som er " -"innvilget av en opphavsrett var en eksklusiv rett til den aktuelle boken. " -"hÃ¸yre ikke strekker seg til det advokater kaller \"avledede works.\" det vil " -"ikke, derfor forstyrre retten av andre enn forfatteren Ã¥ oversette en " -"opphavsrettsbeskyttet bok, eller Ã¥ tilpasse historien til et annet skjema " -"(for eksempel et drama basert pÃ¥ en publiserte bok)." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This, too, has changed dramatically. While the contours of copyright today " -"are extremely hard to describe simply, in general terms, the right covers " -"practically any creative work that is reduced to a tangible form. It covers " -"music as well as architecture, drama as well as computer programs. It gives " -"the copyright owner of that creative work not only the exclusive right to " -"<quote>publish</quote> the work, but also the exclusive right of control " -"over any <quote>copies</quote> of that work. And most significant for our " -"purposes here, the right gives the copyright owner control over not only his " -"or her particular work, but also any <quote>derivative work</quote> that " -"might grow out of the original work. In this way, the right covers more " -"creative work, protects the creative work more broadly, and protects works " -"that are based in a significant way on the initial creative work." -msgstr "" -"Dette, ogsÃ¥, har endret seg dramatisk. mens konturene av copyright i dag er " -"ekstremt vanskelig Ã¥ beskrive bare, i generelle termer, dekker hÃ¸yre nesten " -"ethvert skapende arbeid som er redusert til en hÃ¥ndgripelig form. den dekker " -"musikk sÃ¥ vel som arkitektur, drama og programmer pÃ¥ datamaskinen. Det gir " -"eieren av opphavsretten av det kreative arbeidet ikke bare den eksklusive " -"retten til \"Publiser\" arbeidet, men ogsÃ¥ den etablerte eneretten for " -"kontroll over alle \"Kopier\" av dem som fungerer. og mest betydningsfulle " -"for vÃ¥rt formÃ¥l her, hÃ¸yre gir opphavsrettsinnehaveren-kontroll over ikke " -"bare hans eller hennes bestemt arbeid, men ogsÃ¥ noen \"avledet arbeid\" som " -"kan vokse ut av det opprinnelige arbeidet. pÃ¥ denne mÃ¥ten, hÃ¸yre dekker mer " -"kreativt arbeid, beskytter det kreative arbeidet mer forstand, og beskytter " -"verk som er basert pÃ¥ en betydelig mÃ¥te pÃ¥ det fÃ¸rste skapende arbeidet." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "marking of" -msgstr "merking av" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "formalities" -msgstr "formaliteter" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "registration requirement of" -msgstr "registreringskrav for" - -#. PAGE BREAK 148 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"At the same time that the scope of copyright has expanded, procedural " -"limitations on the right have been relaxed. I've already described the " -"complete removal of the renewal requirement in 1992. In addition to the " -"renewal requirement, for most of the history of American copyright law, " -"there was a requirement that a work be registered before it could receive " -"the protection of a copyright. There was also a requirement that any " -"copyrighted work be marked either with that famous © or the word " -"<emphasis>copyright</emphasis>. And for most of the history of American " -"copyright law, there was a requirement that works be deposited with the " -"government before a copyright could be secured." -msgstr "" -"pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " -"begrensninger til hÃ¸yre 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 fÃ¸r den kan motta beskyttelse av opphavsretten. Det " -"var ogsÃ¥ et krav at opphavsrettsbeskyttet arbeid merkes enten med det " -"berÃ¸mte Â© eller word-copyright. og for de fleste av historien til amerikansk " -"lov om opphavsrett, det var et krav at works settes med regjeringen fÃ¸r " -"opphavsretten som kan sikres." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The reason for the registration requirement was the sensible understanding " -"that for most works, no copyright was required. Again, in the first ten " -"years of the Republic, 95 percent of works eligible for copyright were never " -"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't " -"need copyright, so registration narrowed the regulation of the law to the " -"few that did. The same reasoning justified the requirement that a work be " -"marked as copyrighted—that way it was easy to know whether a copyright " -"was being claimed. The requirement that works be deposited was to assure " -"that after the copyright expired, there would be a copy of the work " -"somewhere so that it could be copied by others without locating the original " -"author." -msgstr "" -"Ã¥rsaken til registreringskrav var fornuftig forstÃ¥elsen om at for de fleste " -"arbeider, ingen opphavsrett var nÃ¸dvendig. igjen, i de fÃ¸rste ti Ã¥rene 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—mÃ¥ten " -"det var lett Ã¥ vite om en copyright ble hevdet. kravet som fungerer vÃ¦re var " -"avsatt Ã¥ sikre at etter at opphavsretten utlÃ¸pt, det ville vÃ¦re en kopi av " -"arbeidet et sted slik at den kan kopieres av andre uten Ã¥ finne den " -"opprinnelige forfatteren." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "European" -msgstr "europeiske" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"All of these <quote>formalities</quote> were abolished in the American " -"system when we decided to follow European copyright law. There is no " -"requirement that you register a work to get a copyright; the copyright now " -"is automatic; the copyright exists whether or not you mark your work with a " -"©; and the copyright exists whether or not you actually make a copy " -"available for others to copy." -msgstr "" -"alle disse \"formaliteter\" ble avskaffet i det amerikanske systemet nÃ¥r vi " -"besluttet Ã¥ fÃ¸lge europeiske lov om opphavsrett. Det er ingen krav at du " -"registrerer et arbeid for Ã¥ fÃ¥ en copyright; opphavsretten nÃ¥ er automatisk; " -"opphavsretten finnes om du merker arbeidet med en Â©; og opphavsretten finnes " -"om du faktisk lage en kopi tilgjengelig for andre Ã¥ kopiere." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Consider a practical example to understand the scope of these differences." -msgstr "" -"La oss se pÃ¥ et praktisk eksempel for Ã¥ forstÃ¥ omfanget av disse " -"forskjellene." - -#. f13 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the " -"Creation of American Literature,</quote> 29 <citetitle>New York University " -"Journal of International Law and Politics</citetitle> 255 (1997), and James " -"Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., " -"1987)." -msgstr "" -"se thomas bender og david sampliner, \"poeter, pirater og etableringen av " -"amerikansk litteratur,\" 29 new york university journal of internasjonal lov " -"og politikk 255 (1997), og james gilraeth, ed., fÃ¸derale opphavsrett " -"records, 1790Â1800 (US g.p.o., 1987)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"If, in 1790, you wrote a book and you were one of the 5 percent who actually " -"copyrighted that book, then the copyright law protected you against another " -"publisher's taking your book and republishing it without your permission. " -"The aim of the act was to regulate publishers so as to prevent that kind of " -"unfair competition. In 1790, there were 174 publishers in the United States." -"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " -"regulation of a tiny proportion of a tiny part of the creative market in the " -"United States—publishers." -msgstr "" -"Hvis du i 1790 skrev en bok og du var en av de fem prosentene som faktisk " -"registrerte opphavsretten for den boken, sÃ¥ ville opphavsrettsloven beskytte " -"deg mot at andre utgivere tok boken din og publiserte den pÃ¥ nytt uten din " -"tillatelse. MÃ¥let med loven var Ã¥ regulere utgivere for Ã¥ hindre denne " -"typen urimelig konkurranse. I 1790 var det 174 utgivere i USA.<placeholder " -"type=\"footnote\" id=\"0\"/> Opphavsrettslovgivingen var dermed en liten " -"regulering av en liten andel av et liten del av det kreative markedet i " -"USA—utgivere." - -#. PAGE BREAK 149 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The act left other creators totally unregulated. If I copied your poem by " -"hand, over and over again, as a way to learn it by heart, my act was totally " -"unregulated by the 1790 act. If I took your novel and made a play based upon " -"it, or if I translated it or abridged it, none of those activities were " -"regulated by the original copyright act. These creative activities remained " -"free, while the activities of publishers were restrained." -msgstr "" -"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet " -"for hÃ¥nd, igjen og igjen, som en mÃ¥te Ã¥ lÃ¦re det ved hjertet, var min " -"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en " -"spiller som er basert pÃ¥ det, eller hvis jeg har oversatt eller utdrag det, " -"var ingen av disse aktivitetene regulert av opprinnelige copyright act. " -"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere " -"var behersket." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Today the story is very different: If you write a book, your book is " -"automatically protected. Indeed, not just your book. Every e-mail, every " -"note to your spouse, every doodle, <emphasis>every</emphasis> creative act " -"that's reduced to a tangible form—all of this is automatically " -"copyrighted. There is no need to register or mark your work. The protection " -"follows the creation, not the steps you take to protect it." -msgstr "" -"i dag historien er svÃ¦rt 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 hÃ¥ndgripelig form—alt dette automatisk beskyttet med " -"kopirettigheter. Det er ikke nÃ¸dvendig Ã¥ registrere deg eller merke arbeidet " -"ditt. beskyttelse fÃ¸lger etablering, ikke trinnene du ta for Ã¥ beskytte den." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"That protection gives you the right (subject to a narrow range of fair use " -"exceptions) to control how others copy the work, whether they copy it to " -"republish it or to share an excerpt." -msgstr "" -"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use " -"unntak) til Ã¥ kontrollere hvordan andre kopierer arbeidet, om de kopiere den " -"til Ã¥ publisere den pÃ¥ nytt, eller for Ã¥ dele et utdrag." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"That much is the obvious part. Any system of copyright would control " -"competing publishing. But there's a second part to the copyright of today " -"that is not at all obvious. This is the protection of <quote>derivative " -"rights.</quote> If you write a book, no one can make a movie out of your " -"book without permission. No one can translate it without permission. " -"CliffsNotes can't make an abridgment unless permission is granted. All of " -"these derivative uses of your original work are controlled by the copyright " -"holder. The copyright, in other words, is now not just an exclusive right to " -"your writings, but an exclusive right to your writings and a large " -"proportion of the writings inspired by them." -msgstr "" -"Det er mye den Ã¥penbare delen. et system av copyright ville styre " -"konkurrerende publisering. men det er en andre del til opphavsretten i dag " -"som er overhodet ikke Ã¥penbart. 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 gjÃ¸re ikke en forkortelse, med mindre tillatelse er gitt. alle disse " -"avledede bruksomrÃ¥dene for det originale arbeidet er styrt av " -"opphavsrettsinnehaveren. opphavsretten, med andre ord, er nÃ¥ ikke bare en " -"eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en stor " -"andel av skrifter som er inspirert av dem." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"It is this derivative right that would seem most bizarre to our framers, " -"though it has become second nature to us. Initially, this expansion was " -"created to deal with obvious evasions of a narrower copyright. If I write a " -"book, can you change one word and then claim a copyright in a new and " -"different book? Obviously that would make a joke of the copyright, so the " -"law was properly expanded to include those slight modifications as well as " -"the verbatim original work." -msgstr "" -"Det er denne derivat hÃ¸yre som vil synes mest bisarre til vÃ¥re underskrev, " -"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne " -"ekspansjonen opprettet for Ã¥ hÃ¥ndtere Ã¥penbare 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 gjÃ¸re en " -"spÃ¸k av opphavsretten, slik loven ble riktig utvidet til Ã¥ omfatte disse smÃ¥ " -"endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal " -"Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Jonathan Zittrain, <quote>The Copyright Cage</quote>, <citetitle>Legal " -"Affairs</citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In preventing that joke, the law created an astonishing power within a free " -"culture—at least, it's astonishing when you understand that the law " -"applies not just to the commercial publisher but to anyone with a computer. " -"I understand the wrong in duplicating and selling someone else's work. But " -"whatever <emphasis>that</emphasis> wrong is, transforming someone else's " -"work is a different wrong. Some view transformation as no wrong at all—" -"they believe that our law, as the framers penned it, should not protect " -"derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> Whether " -"or not you go that far, it seems plain that whatever wrong is involved is " -"fundamentally different from the wrong of direct piracy." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Rubenfeld, Jeb" -msgstr "Rubenfeld, Jeb" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Professor Rubenfeld has presented a powerful constitutional argument about " -"the difference that copyright law should draw (from the perspective of the " -"First Amendment) between mere <quote>copies</quote> and derivative works. " -"See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's " -"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 " -"(2002): 1–60 (see especially pp. 53–59). <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"professor rubenfeld har presentert en kraftig konstitusjonelle argument om " -"forskjellen som lov om opphavsrett bÃ¸r trekke (fra perspektivet til den " -"fÃ¸rste endringen) bare \"Kopier\" og avledede produkter. se jed rubenfeld, " -"\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\" yale law " -"journal 112 (2002): 1Â60 (se spesielt s. 53Â59)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Yet copyright law treats these two different wrongs in the same way. I can " -"go to court and get an injunction against your pirating my book. I can go to " -"court and get an injunction against your transformative use of my book." -"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " -"creative work are treated the same." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This again may seem right to you. If I wrote a book, then why should you be " -"able to write a movie that takes my story and makes money from it without " -"paying me or crediting me? Or if Disney creates a creature called " -"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse " -"toys and be the one to trade on the value that Disney originally created?" -msgstr "" -"Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, sÃ¥ hvorfor skal " -"du kunne skrive en film som tar min historie og gjÃ¸r penger fra det uten Ã¥ " -"betale meg eller kreditering meg? eller hvis disney oppretter en skapning " -"kalt \"Mikke Mus\", hvorfor skal du kunne gjÃ¸re Mikke Mus leker og vÃ¦re en " -"til Ã¥ handle pÃ¥ verdien som disney opprinnelig opprettet?" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"These are good arguments, and, in general, my point is not that the " -"derivative right is unjustified. My aim just now is much narrower: simply to " -"make clear that this expansion is a significant change from the rights " -"originally granted." -msgstr "" -"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat hÃ¸yre " -"er grunnlÃ¸s. meg sikte akkurat nÃ¥ er mye smalere: bare for Ã¥ gjÃ¸re det klart " -"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Law and Architecture: Reach" -msgstr "Lov og arkitektur: Rekkevidde" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copies as core issue of" -msgstr "Kopier som kjernen utgave av" - -#. f16 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"This is a simplification of the law, but not much of one. The law certainly " -"regulates more than <quote>copies</quote>—a public performance of a " -"copyrighted song, for example, is regulated even though performance per se " -"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section " -"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; " -"17 <citetitle>United States Code</citetitle>, section 112(a). But the " -"presumption under the existing law (which regulates <quote>copies;</quote> " -"17 <citetitle>United States Code</citetitle>, section 102) is that if there " -"is a copy, there is a right." -msgstr "" -"Dette er en forenkling av loven, men ikke mye av en. loven absolutt " -"regulerer mer enn \"Kopier\"—en offentlig fremfÃ¸ring av en " -"kopibeskyttet sang, for eksempel er regulert selv om ytelse per se ikke " -"gjÃ¸re en kopi; 17 united states code, delen 106(4). og det sikkert noen " -"ganger regulere ikke en \"kopi\"; 17 united states code, delen 112(a). men " -"antagelse under den eksisterende lov (som regulerer \"Kopier\"; 17 united " -"states code, avsnitt 102) er at hvis det er en kopi, det er rett." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Whereas originally the law regulated only publishers, the change in " -"copyright's scope means that the law today regulates publishers, users, and " -"authors. It regulates them because all three are capable of making copies, " -"and the core of the regulation of copyright law is copies.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "other property rights vs." -msgstr "andre eiendomsretter vs." - -#. PAGE BREAK 151 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<quote>Copies.</quote> That certainly sounds like the obvious thing for " -"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's " -"argument at the start of this chapter, that <quote>creative property</quote> " -"deserves the <quote>same rights</quote> as all other property, it is the " -"<emphasis>obvious</emphasis> that we need to be most careful about. For " -"while it may be obvious that in the world before the Internet, copies were " -"the obvious trigger for copyright law, upon reflection, it should be obvious " -"that in the world with the Internet, copies should <emphasis>not</emphasis> " -"be the trigger for copyright law. More precisely, they should not " -"<emphasis>always</emphasis> be the trigger for copyright law." -msgstr "" -"\"Kopier.\" som absolutt hÃ¸res ut som det Ã¥penbare tingen for opphavsrett Ã¥ " -"regulere. men som med jack valenti argumentet i begynnelsen av dette " -"kapitlet, at \"kreative property\" fortjener \"samme rettigheter\" som alle " -"andre eiendom, det er Ã¥penbart at vi trenger Ã¥ vÃ¦re mest forsiktig med. for " -"mens det kan vÃ¦re opplagt at i verden fÃ¸r Internett, Kopier var Ã¥penbare " -"utlÃ¸ser for opphavsrett, pÃ¥ refleksjon, bÃ¸r det vÃ¦re Ã¥penbart at i verden " -"med Internett, Kopier ikke bÃ¸r vÃ¦re utlÃ¸ser for lov om opphavsrett. mer " -"presist, bÃ¸r de ikke alltid vÃ¦re utlÃ¸ser for lov om opphavsrett." - -#. f17 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Thus, my argument is not that in each place that copyright law extends, we " -"should repeal it. It is instead that we should have a good argument for its " -"extending where it does, and should not determine its reach on the basis of " -"arbitrary and automatic changes caused by technology." -msgstr "" -"SÃ¥ledes, mitt argument er ikke at i hvert sett at lov om opphavsrett " -"utvider, vi bÃ¸r oppheve den. Det er i stedet at vi bÃ¸r ha et godt argument " -"for dens utvidelse der den does, og bÃ¸r ikke avgjÃ¸re sin rekkevidde pÃ¥ " -"grunnlag av vilkÃ¥rlig og automatiske endringer forÃ¥rsaket av teknologi." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This is perhaps the central claim of this book, so let me take this very " -"slowly so that the point is not easily missed. My claim is that the Internet " -"should at least force us to rethink the conditions under which the law of " -"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " -"because it is clear that the current reach of copyright was never " -"contemplated, much less chosen, by the legislators who enacted copyright law." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"We can see this point abstractly by beginning with this largely empty circle." -msgstr "" -"Vi kan se dette poenget helt abstrakt ved Ã¥ starte med denne i hovedsak " -"tomme sirkel." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "All potential uses of a book." -msgstr "Alle potensielle bruksomrÃ¥der for en bok." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1521.png\"></graphic>" -msgstr "<graphic fileref=\"images/1521.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "three types of uses of" -msgstr "tre typer bruk av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright applicability altered by technology of" -msgstr "opphavsrett anvendbarhet endret av teknologien i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright intent altered by" -msgstr "opphavsrett hensikt endret av" - -#. PAGE BREAK 152 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Think about a book in real space, and imagine this circle to represent all " -"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " -"by copyright law, because the uses don't create a copy. If you read a book, " -"that act is not regulated by copyright law. If you give someone the book, " -"that act is not regulated by copyright law. If you resell a book, that act " -"is not regulated (copyright law expressly states that after the first sale " -"of a book, the copyright owner can impose no further conditions on the " -"disposition of the book). If you sleep on the book or use it to hold up a " -"lamp or let your puppy chew it up, those acts are not regulated by copyright " -"law, because those acts do not make a copy." -msgstr "" -"Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " -"representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene 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 fÃ¸rste salg av en bok, eieren av opphavsretten kan pÃ¥legge uten " -"ytterligere betingelser om tilstanden i boken). Hvis du sove pÃ¥ boken eller " -"bruke den til Ã¥ 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 gjÃ¸r en kopi." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Examples of unregulated uses of a book." -msgstr "Eksempler pÃ¥ uregulert bruk av en bok." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1531.png\"></graphic>" -msgstr "<graphic fileref=\"images/1531.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Obviously, however, some uses of a copyrighted book are regulated by " -"copyright law. Republishing the book, for example, makes a copy. It is " -"therefore regulated by copyright law. Indeed, this particular use stands at " -"the core of this circle of possible uses of a copyrighted work. It is the " -"paradigmatic use properly regulated by copyright regulation (see first " -"diagram on next page)." -msgstr "" -"Ã¥penbart, 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 stÃ¥r bruk i kjernen av denne " -"kretsen av mulige bruksomrÃ¥der for et opphavsrettslig beskyttet verk. Det er " -"paradigmatic bruk riktig regulert av opphavsrett regulering (se fÃ¸rste " -"diagrammet pÃ¥ neste side)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Finally, there is a tiny sliver of otherwise regulated copying uses that " -"remain unregulated because the law considers these <quote>fair uses.</quote>" -msgstr "" -"Til slutt er det en tynn skive av ellers regulert kopierings-bruk som " -"forblir uregluert pÃ¥ grunn av at loven anser dette som <quote>rimelig bruk</" -"quote>." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "" -"Republishing stands at the core of this circle of possible uses of a " -"copyrighted work." -msgstr "" -"Ã gi ut pÃ¥ nytt stÃ¥r i midten av denne sirkelen av mulige bruksomrÃ¥der for " -"et opphavsrettsbeskyttet verk." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1541.png\"></graphic>" -msgstr "<graphic fileref=\"images/1541.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"These are uses that themselves involve copying, but which the law treats as " -"unregulated because public policy demands that they remain unregulated. You " -"are free to quote from this book, even in a review that is quite negative, " -"without my permission, even though that quoting makes a copy. That copy " -"would ordinarily give the copyright owner the exclusive right to say whether " -"the copy is allowed or not, but the law denies the owner any exclusive right " -"over such <quote>fair uses</quote> for public policy (and possibly First " -"Amendment) reasons." -msgstr "" -"disse er bruker at selv innebÃ¦re kopiering, men som det lov behandler som " -"unregulated fordi public policy krever at de forblir unregulated. du er fri " -"til Ã¥ 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 Ã¥ si om kopien er " -"tillatt eller ikke, men loven fornekter eieren av en eksklusiv rett over " -"slike \"fair bruker\" for offentlig politikk (og muligens first endring) " -"grunner." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Unregulated copying considered <quote>fair uses.</quote>" -msgstr "Uregulert kopiering anses som <quote>rimelig bruk</quote>." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1542.png\"></graphic>" -msgstr "<graphic fileref=\"images/1542.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "" -"Uses that before were presumptively unregulated are now presumptively " -"regulated." -msgstr "" -"Bruk som tidligere var antatt Ã¥ ikke vÃ¦re regulert er nÃ¥ antatt Ã¥ vÃ¦re " -"regulert." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1551.png\"></graphic>" -msgstr "<graphic fileref=\"images/1551.png\"></graphic>" - -#. PAGE BREAK 154 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In real space, then, the possible uses of a book are divided into three " -"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that " -"are nonetheless deemed <quote>fair</quote> regardless of the copyright " -"owner's views." -msgstr "" -"i virkelige rommet, deretter mulige bruksomrÃ¥der 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." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on Internet" -msgstr "pÃ¥ internet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "books on" -msgstr "bÃ¸ker pÃ¥" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "Internet burdens on" -msgstr "Internett byrder pÃ¥" - -#. f18 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"I don't mean <quote>nature</quote> in the sense that it couldn't be " -"different, but rather that its present instantiation entails a copy. Optical " -"networks need not make copies of content they transmit, and a digital " -"network could be designed to delete anything it copies so that the same " -"number of copies remain." -msgstr "" -"Jeg trenger ikke bety \"natur\" i den forstand at det kunne ikke vÃ¦re " -"annerledes, men heller at sin nÃ¥vÃ¦rende objektforekomst innebÃ¦rer en kopi. " -"optisk nettverk ikke trenger lage kopier av innhold de overfÃ¸re, og en " -"digital network kan vÃ¦re utformet for Ã¥ slette noe det kopierer slik at det " -"samme antallet kopier forblir." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Enter the Internet—a distributed, digital network where every use of a " -"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> " -"And because of this single, arbitrary feature of the design of a digital " -"network, the scope of category 1 changes dramatically. Uses that before were " -"presumptively unregulated are now presumptively regulated. No longer is " -"there a set of presumptively unregulated uses that define a freedom " -"associated with a copyrighted work. Instead, each use is now subject to the " -"copyright, because each use also makes a copy—category 1 gets sucked " -"into category 2. And those who would defend the unregulated uses of " -"copyrighted work must look exclusively to category 3, fair uses, to bear the " -"burden of this shift." -msgstr "" - -#. PAGE BREAK 155 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"So let's be very specific to make this general point clear. Before the " -"Internet, if you purchased a book and read it ten times, there would be no " -"plausible <emphasis>copyright</emphasis>-related argument that the copyright " -"owner could make to control that use of her book. Copyright law would have " -"nothing to say about whether you read the book once, ten times, or every " -"night before you went to bed. None of those instances of use—" -"reading— could be regulated by copyright law because none of those " -"uses produced a copy." -msgstr "" -"sÃ¥ la oss vÃ¦re svÃ¦rt spesifikke Ã¥ gjÃ¸re herfra Generelt og fjerner. fÃ¸r " -"Internett, hvis du kjÃ¸pte en bok og Les det ti ganger, ville det ikke " -"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan " -"gjÃ¸re for Ã¥ kontrollere at bruk av hennes bok. lov om opphavsrett har " -"ingenting Ã¥ si om hvorvidt du lese boken en gang, ti ganger eller hver natt " -"fÃ¸r du gikk til sengs. Ingen av disse forekomstene av bruk—" -"lesing—kan reguleres av lov om opphavsrett, fordi ingen av de bruker " -"produsert en kopi." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "e-books" -msgstr "e-bÃ¸ker" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "technological developments and" -msgstr "teknologisk utvikling og" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But the same book as an e-book is effectively governed by a different set of " -"rules. Now if the copyright owner says you may read the book only once or " -"only once a month, then <emphasis>copyright law</emphasis> would aid the " -"copyright owner in exercising this degree of control, because of the " -"accidental feature of copyright law that triggers its application upon there " -"being a copy. Now if you read the book ten times and the license says you " -"may read it only five times, then whenever you read the book (or any portion " -"of it) beyond the fifth time, you are making a copy of the book contrary to " -"the copyright owner's wish." -msgstr "" -"men den samme bok som en e-bok styres effektivt av et annet sett med regler. " -"nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare Ã©n gang, eller " -"bare en gang i mÃ¥neden, sÃ¥ lov om opphavsrett skulle hjelpe eieren av " -"opphavsretten i utÃ¸velse slik grad av kontroll, pÃ¥ grunn av funksjonen " -"tilfeldig i lov om opphavsrett som utlÃ¸ser sin sÃ¸knad pÃ¥ det Ã¥ vÃ¦re en kopi. " -"nÃ¥ 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, gjÃ¸r du en kopi av boken i strid med opphavsrett eierens Ã¸nske." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There are some people who think this makes perfect sense. My aim just now is " -"not to argue about whether it makes sense or not. My aim is only to make " -"clear the change. Once you see this point, a few other points also become " -"clear:" -msgstr "" -"Det er noen folk som tror dette gjÃ¸r perfekt forstand. meg sikte er akkurat " -"nÃ¥ ikke Ã¥ krangle om hvorvidt det er fornuftig eller ikke. min mÃ¥let er bare " -"Ã¥ gjÃ¸re det klart endringen. NÃ¥r du ser dette punktet, bli noen andre " -"punkter ogsÃ¥ klar:" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"First, making category 1 disappear is not anything any policy maker ever " -"intended. Congress did not think through the collapse of the presumptively " -"unregulated uses of copyrighted works. There is no evidence at all that " -"policy makers had this idea in mind when they allowed our policy here to " -"shift. Unregulated uses were an important part of free culture before the " -"Internet." -msgstr "" -"FÃ¸rst gjÃ¸r 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 pÃ¥ " -"alle at beslutningstakere hadde denne idÃ©en i tankene nÃ¥r de tillater vÃ¥r " -"policy her for Ã¥ skifte. unregulated bruker var en viktig del av fri kultur " -"fÃ¸r Internett." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Second, this shift is especially troubling in the context of transformative " -"uses of creative content. Again, we can all understand the wrong in " -"commercial piracy. But the law now purports to regulate <emphasis>any</" -"emphasis> transformation you make of creative work using a machine. " -"<quote>Copy and paste</quote> and <quote>cut and paste</quote> become " -"crimes. Tinkering with a story and releasing it to others exposes the " -"tinkerer to at least a requirement of justification. However troubling the " -"expansion with respect to copying a particular work, it is extraordinarily " -"troubling with respect to transformative uses of creative work." -msgstr "" -"andre, dette skiftet er spesielt troubling i sammenheng med transformative " -"bruk av kreative innholdet. igjen, kan vi alle forstÃ¥ feil i kommersielle " -"piratkopiering. men loven nÃ¥ hensikt Ã¥ regulere alle transformasjoner som du " -"gjÃ¸r 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 Ã¥ minst et krav for justering. " -"troubling utvidelse med hensyn til kopiere et bestemt arbeid, men det er " -"svÃ¦rt troubling med hensyn til transformative bruk av skapende arbeid." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "fair use vs." -msgstr "rettferdig bruk vs." - -#. PAGE BREAK 156 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Third, this shift from category 1 to category 2 puts an extraordinary burden " -"on category 3 (<quote>fair use</quote>) that fair use never before had to " -"bear. If a copyright owner now tried to control how many times I could read " -"a book on-line, the natural response would be to argue that this is a " -"violation of my fair use rights. But there has never been any litigation " -"about whether I have a fair use right to read, because before the Internet, " -"reading did not trigger the application of copyright law and hence the need " -"for a fair use defense. The right to read was effectively protected before " -"because reading was not regulated." -msgstr "" -"tredje, dette skiftet fra Kategori 1 til kategori 2 setter en ekstraordinÃ¦re " -"belastning pÃ¥ kategori 3 (\"fair use\"), som rettferdig bruk aldri fÃ¸r hadde " -"Ã¥ bÃ¦re. Hvis en opphavsrettsinnehaveren nÃ¥ prÃ¸vde Ã¥ kontrollere hvor mange " -"ganger jeg kunne lese en bok pÃ¥ nettet, ville den naturlige reaksjon vÃ¦re Ã¥ " -"hevde at dette er et brudd pÃ¥ mine fair use-rettigheter. men det har aldri " -"vÃ¦rt noen rettssaker jeg ha en rettferdig bruk hÃ¸yre for Ã¥ lese, fordi fÃ¸r " -"Internett, leser ikke utlÃ¸se anvendelsen av lov om opphavsrett og dermed " -"behovet for en rettferdig bruk forsvar. retten til Ã¥ lese var effektivt " -"beskyttet fÃ¸r fordi lesing ikke ble regulert." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This point about fair use is totally ignored, even by advocates for free " -"culture. We have been cornered into arguing that our rights depend upon fair " -"use—never even addressing the earlier question about the expansion in " -"effective regulation. A thin protection grounded in fair use makes sense " -"when the vast majority of uses are <emphasis>unregulated</emphasis>. But " -"when everything becomes presumptively regulated, then the protections of " -"fair use are not enough." -msgstr "" -"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " -"kultur. Vi har vÃ¦rt cornered til kranglet at vÃ¥re rettigheter er avhengige " -"av fair use—adressering aldri selv tidligere spÃ¸rsmÃ¥let om utvidelse i " -"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig nÃ¥r det " -"store flertallet av bruker er unregulated. men nÃ¥r alt blir presumptively " -"regulert, deretter beskyttelse av fair use er ikke nok." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Video Pipeline" -msgstr "video rÃ¸rledningen" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "film industry" -msgstr "filmindustri" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "trailer advertisements of" -msgstr "Trailer reklame av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The case of Video Pipeline is a good example. Video Pipeline was in the " -"business of making <quote>trailer</quote> advertisements for movies " -"available to video stores. The video stores displayed the trailers as a way " -"to sell videos. Video Pipeline got the trailers from the film distributors, " -"put the trailers on tape, and sold the tapes to the retail stores." -msgstr "" -"tilfelle av video rÃ¸rledning er et godt eksempel. video rÃ¸rledningen var i " -"bransjen for Ã¥ gjÃ¸re \"trailer\" reklame for filmer tilgjengelig til video " -"butikker. video butikkene vises tilhengere som en mÃ¥te Ã¥ selge videoer. " -"video rÃ¸rledningen fikk tilhengere fra trevare, sette tilhengere pÃ¥ bÃ¥nd, og " -"solgt kassetter til selge i detalj butikker." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -#, mtrans, fuzzy -msgid "browsing" -msgstr "surfing" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The company did this for about fifteen years. Then, in 1997, it began to " -"think about the Internet as another way to distribute these previews. The " -"idea was to expand their <quote>selling by sampling</quote> technique by " -"giving on-line stores the same ability to enable <quote>browsing.</quote> " -"Just as in a bookstore you can read a few pages of a book before you buy the " -"book, so, too, you would be able to sample a bit from the movie on-line " -"before you bought it." -msgstr "" -"selskapet gjorde dette i omtrent femten Ã¥r. deretter, i 1997, det begynte Ã¥ " -"tenke pÃ¥ Internett som en mÃ¥te Ã¥ distribuere disse forhÃ¥ndsvisninger. idÃ©en " -"var Ã¥ utvide sin \"selger ved prÃ¸vetaking\" teknikk ved Ã¥ gi on-line " -"butikker samme muligheten til Ã¥ aktivere \"surfing.\" akkurat som i en " -"bokhandel du kan lese noen fÃ¥ sider av en bok fÃ¸r du kjÃ¸per boken, sÃ¥, du " -"vil ogsÃ¥ kunne smake litt fra filmen on-line fÃ¸r du kjÃ¸pte den." - -#. PAGE BREAK 157 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1998, Video Pipeline informed Disney and other film distributors that it " -"intended to distribute the trailers through the Internet (rather than " -"sending the tapes) to distributors of their videos. Two years later, Disney " -"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to " -"talk about the matter—he had built a business on distributing this " -"content as a way to help sell Disney films; he had customers who depended " -"upon his delivering this content. Disney would agree to talk only if Video " -"Pipeline stopped the distribution immediately. Video Pipeline thought it " -"was within their <quote>fair use</quote> rights to distribute the clips as " -"they had. So they filed a lawsuit to ask the court to declare that these " -"rights were in fact their rights." -msgstr "" -"i 1998 informert video rÃ¸rledningen disney og andre trevare at det ment Ã¥ " -"distribuere tilhengere gjennom Internett (i stedet for Ã¥ sende bÃ¥ndene) til " -"distributÃ¸rer av deres videoer. to Ã¥r senere, fortalte disney video " -"rÃ¸rledning til Ã¥ stoppe. eieren av video rÃ¸rledningen spurte disney Ã¥ snakke " -"om saken, hadde han bygget en bedrift pÃ¥ distribuere dette innholdet som en " -"mÃ¥te Ã¥ hjelp Selg disney filmer; Han hadde kunder som var avhengig av hans " -"leverer dette innholdet. Disney aksepterer Ã¥ snakke bare hvis video " -"rÃ¸rledningen stoppet fordelingen umiddelbart. video rÃ¸rledningen trodde det " -"var innenfor sine \"fair use\"-rettigheter til Ã¥ distribuere utklippene som " -"de hadde. sÃ¥ de anlagt en sak Ã¥ be retten Ã¥ erklÃ¦re at disse rettighetene " -"var faktisk sine rettigheter." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "willful infringement findings in" -msgstr "willful krenkelse funnene i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "willful infringement" -msgstr "willful krenkelse" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Disney countersued—for $100 million in damages. Those damages were " -"predicated upon a claim that Video Pipeline had <quote>willfully infringed</" -"quote> on Disney's copyright. When a court makes a finding of willful " -"infringement, it can award damages not on the basis of the actual harm to " -"the copyright owner, but on the basis of an amount set in the statute. " -"Because Video Pipeline had distributed seven hundred clips of Disney movies " -"to enable video stores to sell copies of those movies, Disney was now suing " -"Video Pipeline for $100 million." -msgstr "" -"Disney countersued—for $100 millioner i skader. disse skader ble " -"predicated upon et krav at video rÃ¸rledningen hadde \"willfully krenket\" pÃ¥ " -"disney's copyright. NÃ¥r en domstol gjÃ¸r en oppdagelse av willful brudd, kan " -"den prisen skader ikke pÃ¥ grunnlag av den faktiske skaden for eieren av " -"opphavsretten, men pÃ¥ grunnlag av et belÃ¸p som er angitt i vedtektene. fordi " -"video rÃ¸rledningen hadde distribuert syv hundre klipp av disney film Ã¥ " -"aktivere video butikker Ã¥ selge kopier av disse filmene, var disney nÃ¥ suing " -"video rÃ¸rledning for $100 millioner." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Disney has the right to control its property, of course. But the video " -"stores that were selling Disney's films also had some sort of right to be " -"able to sell the films that they had bought from Disney. Disney's claim in " -"court was that the stores were allowed to sell the films and they were " -"permitted to list the titles of the films they were selling, but they were " -"not allowed to show clips of the films as a way of selling them without " -"Disney's permission." -msgstr "" -"Disney har rett til Ã¥ kontrollere sin eiendom, selvfÃ¸lgelig. men video " -"butikkene som solgte Disneys filmer hadde ogsÃ¥ en slags rett til Ã¥ vÃ¦re i " -"stand til Ã¥ selge filmer som de hadde kjÃ¸pt fra disney. disney's krav i " -"domstol var at butikkene ble tillatt Ã¥ selge filmene og de ble tillatt Ã¥ " -"vise titlene pÃ¥ filmene de solgte, men de var ikke lov til Ã¥ vise klipp av " -"filmer som en mÃ¥te Ã¥ selge dem uten disney's tillatelse." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "first-sale doctrine" -msgstr "fÃ¸rste salg doktrine" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Now, you might think this is a close case, and I think the courts would " -"consider it a close case. My point here is to map the change that gives " -"Disney this power. Before the Internet, Disney couldn't really control how " -"people got access to their content. Once a video was in the marketplace, the " -"<quote>first-sale doctrine</quote> would free the seller to use the video as " -"he wished, including showing portions of it in order to engender sales of " -"the entire movie video. But with the Internet, it becomes possible for " -"Disney to centralize control over access to this content. Because each use " -"of the Internet produces a copy, use on the Internet becomes subject to the " -"copyright owner's control. The technology expands the scope of effective " -"control, because the technology builds a copy into every transaction." -msgstr "" -"NÃ¥ kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser det " -"som en Lukk saken. Mitt poeng her er Ã¥ tilordne endringen som gir disney " -"denne makten. fÃ¸r Internett, kunne ikke disney virkelig styre hvordan folk " -"har tilgang til innholdet. NÃ¥r en video var i markedet, ville \"fÃ¸rste-salg " -"doktrine\" gratis selgeren for Ã¥ bruke videoen som han Ã¸nsket, inkludert " -"viser deler av det for Ã¥ skape salg av hele filmen video. men med Internett, " -"blir det mulig for disney Ã¥ sentralisere kontroll over tilgang til dette " -"innholdet. fordi hver bruk av Internett gir en kopi, blir copyrighteieren " -"kontroll en bruk pÃ¥ Internett. teknologien utvider omfanget av effektiv " -"kontroll, fordi teknologien bygger en kopi til hver transaksjon." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Barnes & Noble" -msgstr "Barnes & Noble" - -#. PAGE BREAK 158 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"No doubt, a potential is not yet an abuse, and so the potential for control " -"is not yet the abuse of control. Barnes & Noble has the right to say you " -"can't touch a book in their store; property law gives them that right. But " -"the market effectively protects against that abuse. If Barnes & Noble " -"banned browsing, then consumers would choose other bookstores. Competition " -"protects against the extremes. And it may well be (my argument so far does " -"not even question this) that competition would prevent any similar danger " -"when it comes to copyright. Sure, publishers exercising the rights that " -"authors have assigned to them might try to regulate how many times you read " -"a book, or try to stop you from sharing the book with anyone. But in a " -"competitive market such as the book market, the dangers of this happening " -"are quite slight." -msgstr "" -"ingen tvil, et potensial er ikke et misbruk, og sÃ¥ potensialet for kontroll " -"er ikke ennÃ¥ misbruk av kontroll. Barnes & noble har rett til Ã¥ si du " -"ikke rÃ¸re en bok i deres store; Ã¥ndsverkslovgivningen 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 vÃ¦re (mitt argument " -"sÃ¥ langt ikke selv spÃ¸rsmÃ¥let dette) at konkurransen ville hindre noen " -"lignende fare nÃ¥r det gjelder opphavsrett. sikker, kan utgivere utÃ¸ve " -"rettigheter som forfattere har tildelt dem prÃ¸ver Ã¥ regulere hvor mange " -"ganger du leser en bok, eller prÃ¸v Ã¥ opphÃ¸re du fra deler av boken med noen. " -"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer " -"er ganske liten." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Again, my aim so far is simply to map the changes that this changed " -"architecture enables. Enabling technology to enforce the control of " -"copyright means that the control of copyright is no longer defined by " -"balanced policy. The control of copyright is simply what private owners " -"choose. In some contexts, at least, that fact is harmless. But in some " -"contexts it is a recipe for disaster." -msgstr "" -"igjen, mitt mÃ¥l sÃ¥ langt er ganske enkelt Ã¥ kartlegge endringene som er at " -"dette endret arkitekturen aktiverer. aktivere teknologien Ã¥ hÃ¥ndheve " -"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger " -"definert av balansert policyen. kontroll pÃ¥ opphavsrett er bare hva privat " -"eiere velge. i enkelte sammenhenger, minst, er det faktum harmlÃ¸se. men det " -"er en oppskrift pÃ¥ katastrofe i enkelte sammenhenger." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Architecture and Law: Force" -msgstr "Arkitektur og lov: Makt" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The disappearance of unregulated uses would be change enough, but a second " -"important change brought about by the Internet magnifies its significance. " -"This second change does not affect the reach of copyright regulation; it " -"affects how such regulation is enforced." -msgstr "" -"forsvinningen av unregulated bruker ville vÃ¦re endre nok, men andre viktige " -"endringer forÃ¥rsaket av Internett Ã¸ker sin betydning. denne andre endringen " -"pÃ¥virker ikke rekkevidden av opphavsrett regulering; det pÃ¥virker hvordan " -"slike regulering fremtvinges." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "technology as automatic enforcer of" -msgstr "teknologi som automatisk inndriver av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright enforcement controlled by" -msgstr "opphavsrett hensikt endret av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In the world before digital technology, it was generally the law that " -"controlled whether and how someone was regulated by copyright law. The law, " -"meaning a court, meaning a judge: In the end, it was a human, trained in the " -"tradition of the law and cognizant of the balances that tradition embraced, " -"who said whether and how the law would restrict your freedom." -msgstr "" -"i verden fÃ¸r digital teknologi var det generelt loven som kontrollerte om og " -"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en " -"court, som betyr en dommer: til slutt, det var et menneske, utdannet i " -"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa " -"om og hvordan loven ville begrense friheten." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Casablanca" -msgstr "Casablanca" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Marx Brothers" -msgstr "BrÃ¸drene Marx" - -#. f19 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See David Lange, <quote>Recognizing the Public Domain,</quote> " -"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73." -msgstr "" -"Se David Lange, <quote>Recognizing the Public Domain</quote>, <citetitle>Law " -"and Contemporary Problems</citetitle> 44 (1981): 172–73." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"There's a famous story about a battle between the Marx Brothers and Warner " -"Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" -"citetitle>. Warner Brothers objected. They wrote a nasty letter to the " -"Marxes, warning them that there would be serious legal consequences if they " -"went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Det er en berÃ¸mt historie om en kamp mellom Marx-brÃ¸drene (the Marx " -"Brothers) og Warner Brothers. Marx-brÃ¸drene planla Ã¥ lage en parodi av " -"<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " -"ufint brev til Marx-brÃ¸drene og advarte dem om at det ville fÃ¥ seriÃ¸se " -"juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. See also Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. Se ogsÃ¥ Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This led the Marx Brothers to respond in kind. They warned Warner Brothers " -"that the Marx Brothers <quote>were brothers long before you were.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " -"owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " -"insisted on trying to control <citetitle>Casablanca</citetitle>, then the " -"Marx Brothers would insist on control over <citetitle>brothers</citetitle>." -msgstr "" -"Dette fikk Marx-brÃ¸drene til Ã¥ svare tilbake med samme mynt. De advarte " -"Warner Brothers om at Marx-brÃ¸drene <quote>var brÃ¸dre lenge fÃ¸r dere var " -"det</quote>.<placeholder type=\"footnote\" id=\"0\"/> Marx-brÃ¸drene eide " -"derfor ordet <citetitle>Brothers</citetitle>, og hvis Warner Brothers " -"insisterte pÃ¥ Ã¥ forsÃ¸ke Ã¥ kontrollere <citetitle>Casablanca</citetitle>, sÃ¥ " -"ville Marx-brÃ¸drene insistere pÃ¥ kontroll over <citetitle>Brothers</" -"citetitle>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"An absurd and hollow threat, of course, because Warner Brothers, like the " -"Marx Brothers, knew that no court would ever enforce such a silly claim. " -"This extremism was irrelevant to the real freedoms anyone (including Warner " -"Brothers) enjoyed." -msgstr "" -"Det var en absurd og hul trussel, selvfÃ¸lgelig, fordi Warner Brothers, pÃ¥ " -"samme mÃ¥te som Marx-brÃ¸drene, visste at ingen domstol noensinne ville " -"hÃ¥ndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte " -"friheter som alle (inkludert Warner Brothers) nÃ¸t godt av." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"On the Internet, however, there is no check on silly rules, because on the " -"Internet, increasingly, rules are enforced not by a human but by a machine: " -"Increasingly, the rules of copyright law, as interpreted by the copyright " -"owner, get built into the technology that delivers copyrighted content. It " -"is code, rather than law, that rules. And the problem with code regulations " -"is that, unlike law, code has no shame. Code would not get the humor of the " -"Marx Brothers. The consequence of that is not at all funny." -msgstr "" -"PÃ¥ Internett, er det derimot ingen kontroll mot dum regler, fordi pÃ¥ " -"Internett, i Ã¸kende grad, blir regler ikke hÃ¥ndhevet av et menneske, men av " -"en maskin: i Ã¸kende grad reglene om opphavsrett, som tolkes av eieren av " -"opphavsretten fÃ¥ 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 fÃ¥ humor av the marx brothers. Konsekvensen av dette er overhodet " -"ikke morsomt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Adobe eBook Reader" -msgstr "Adobe eBok-leser" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Consider the life of my Adobe eBook Reader." -msgstr "La oss se pÃ¥ livet til min Adobe eBook Reader." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"An e-book is a book delivered in electronic form. An Adobe eBook is not a " -"book that Adobe has published; Adobe simply produces the software that " -"publishers use to deliver e-books. It provides the technology, and the " -"publisher delivers the content by using the technology." -msgstr "" -"En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok " -"som Adobe har publisert. Adobe produserer kun programvaren som utgivere " -"bruker Ã¥ levere e-bÃ¸ker. Den bidrar med teknologien, og utgiveren leverer " -"innholdet ved hjelp av teknologien." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"On the next page is a picture of an old version of my Adobe eBook Reader." -msgstr "" -"pÃ¥ neste er siden et bilde av en gammel versjon av min adobe eBok-leser." - -#. PAGE BREAK 160 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"As you can see, I have a small collection of e-books within this e-book " -"library. Some of these books reproduce content that is in the public domain: " -"<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " -"Some of them reproduce content that is not in the public domain: My own book " -"<citetitle>The Future of Ideas</citetitle> is not yet within the public " -"domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " -"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " -"cover, and then a button at the bottom called Permissions." -msgstr "" -"som du ser, har jeg en liten samling av e-bÃ¸ker i denne e-boken biblioteket. " -"noen av disse bÃ¸kene 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 idÃ©er er ennÃ¥ ikke i public domain. " -"vurdere middlemarch fÃ¸rst. Hvis du klikker pÃ¥ min e-bok-kopi av middlemarch, " -"vil du se en fancy cover og deretter en knapp pÃ¥ bunnen kalt tillatelser." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Picture of an old version of Adobe eBook Reader" -msgstr "Bilde av en gammel versjon av Adobe eBook Reader." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1611.png\"></graphic>" -msgstr "<graphic fileref=\"images/1611.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If you click on the Permissions button, you'll see a list of the permissions " -"that the publisher purports to grant with this book." -msgstr "" -"Hvis du klikker pÃ¥ knappen tillatelser, ser du en liste over tillatelsene " -"som utgiveren hensikt Ã¥ gi med denne boken." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "List of the permissions that the publisher purports to grant." -msgstr "Liste med tillatelser som utgiveren har til hensikt Ã¥ gi." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1612.png\"></graphic>" -msgstr "<graphic fileref=\"images/1612.png\"></graphic>" - -#. PAGE BREAK 161 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"According to my eBook Reader, I have the permission to copy to the clipboard " -"of the computer ten text selections every ten days. (So far, I've copied no " -"text to the clipboard.) I also have the permission to print ten pages from " -"the book every ten days. Lastly, I have the permission to use the Read Aloud " -"button to hear <citetitle>Middlemarch</citetitle> read aloud through the " -"computer." -msgstr "" -"IfÃ¸lge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " -"datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " -"til utklippstavlen.) Jeg har ogsÃ¥ tillatelse til Ã¥ skrive ut ti sider fra " -"boken ti dager. til slutt, jeg har tillatelse til Ã¥ bruke lese hÃ¸yt knapp " -"for Ã¥ hÃ¸re middlemarch lest hÃ¸yt gjennom datamaskinen." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Aristotle" -msgstr "Aristoteles" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "<citetitle>Politics</citetitle>, (Aristotle)" -msgstr "<citetitle>Politikk</citetitle>, (Aristotles)" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Here's the e-book for another work in the public domain (including the " -"translation): Aristotle's <citetitle>Politics</citetitle>." -msgstr "" -"Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): " -"Aristoteles <citetitle>Politikk</citetitle>." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "E-book of Aristotle;s <quote>Politics</quote>" -msgstr "E-bok av Aristoteles <quote>Politikk</quote>" - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1621.png\"></graphic>" -msgstr "<graphic fileref=\"images/1621.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"According to its permissions, no printing or copying is permitted at all. " -"But fortunately, you can use the Read Aloud button to hear the book." -msgstr "" -"i henhold til tillatelsene, ingen utskrift eller kopiering er tillatt i det " -"hele tatt. men heldigvis kan du bruke lese hÃ¸yt knappen for Ã¥ hÃ¸re boken." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "List of the permissions for Aristotle;s <quote>Politics</quote>." -msgstr "Liste med tillatelser for Aristotles "Politikk"." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1622.png\"></graphic>" -msgstr "<graphic fileref=\"images/1622.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Future of Ideas, The (Lessig)" -msgstr "fremtiden for ideer, (lessig)" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Lessig, Lawrence" -msgstr "Lessig, Lawrence" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Finally (and most embarrassingly), here are the permissions for the original " -"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" -msgstr "" -"Endelig (og mest embarrassingly), her er du tillatelsene for den " -"opprinnelige e-bok-versjonen av boken min siste, fremtiden for idÃ©er:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "List of the permissions for <quote>The Future of Ideas</quote>." -msgstr "Liste med tillatelser for <quote>The Future of Ideas</quote>." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1631.png\"></graphic>" -msgstr "<graphic fileref=\"images/1631.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "No copying, no printing, and don't you dare try to listen to this book!" -msgstr "" -"Ingen kopiering, ingen utskrift, og vÃ¥g ikke Ã¥ prÃ¸ve Ã¥ lytte til denne boken!" - -#. f21 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"In principle, a contract might impose a requirement on me. I might, for " -"example, buy a book from you that includes a contract that says I will read " -"it only three times, or that I promise to read it three times. But that " -"obligation (and the limits for creating that obligation) would come from the " -"contract, not from copyright law, and the obligations of contract would not " -"necessarily pass to anyone who subsequently acquired the book." -msgstr "" -"i prinsippet, kan en kontrakt pÃ¥legge et krav pÃ¥ meg. Jeg kan, for eksempel " -"kjÃ¸pe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den " -"bare tre ganger, eller at jeg lover Ã¥ lese den tre ganger. men at " -"forpliktelse (og grensene for Ã¥ opprette denne plikten) ville komme fra " -"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville " -"ikke nÃ¸dvendigvis gÃ¥ til alle som senere kjÃ¸pt boken." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Now, the Adobe eBook Reader calls these controls <quote>permissions</" -"quote>— as if the publisher has the power to control how you use these " -"works. For works under copyright, the copyright owner certainly does have " -"the power—up to the limits of the copyright law. But for work not " -"under copyright, there is no such copyright power.<placeholder type=" -"\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> " -"says I have the permission to copy only ten text selections into the memory " -"every ten days, what that really means is that the eBook Reader has enabled " -"the publisher to control how I use the book on my computer, far beyond the " -"control that the law would enable." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The control comes instead from the code—from the technology within " -"which the e-book <quote>lives.</quote> Though the e-book says that these are " -"permissions, they are not the sort of <quote>permissions</quote> that most " -"of us deal with. When a teenager gets <quote>permission</quote> to stay out " -"till midnight, she knows (unless she's Cinderella) that she can stay out " -"till 2 A.M., but will suffer a punishment if she's caught. But when the " -"Adobe eBook Reader says I have the permission to make ten copies of the text " -"into the computer's memory, that means that after I've made ten copies, the " -"computer will not make any more. The same with the printing restrictions: " -"After ten pages, the eBook Reader will not print any more pages. It's the " -"same with the silly restriction that says that you can't use the Read Aloud " -"button to read my book aloud—it's not that the company will sue you if " -"you do; instead, if you push the Read Aloud button with my book, the machine " -"simply won't read aloud." -msgstr "" -"kontrollen kommer i stedet fra koden—fra teknologi som e-bok \"liv.\" " -"om e-boken sier at disse er tillatelsene, de er ikke typen \"tillatelser\" " -"som de fleste av oss hÃ¥ndtere. NÃ¥r en tenÃ¥ring blir \"tillatelse\" til Ã¥ " -"vÃ¦re ute til midnatt, vet hun (med mindre hun er cinderella) at hun kan vÃ¦re " -"ute til 2 am, men vil lide en straff hvis hun er fanget. men nÃ¥r adobe eBok " -"reader sier jeg har tillatelse til Ã¥ lage ti Kopier teksten inn i " -"datamaskinens minne, som betyr at etter at jeg har gjort ti eksemplarer, " -"datamaskinen ikke vil gjÃ¸re noe mer. det samme med utskrift begrensninger: " -"eBok-leser ikke skrives ut flere sider etter ti sider. Det er det samme med " -"dum stÃ¸rrelsesbegrensningen som sier at du ikke kan bruke lese hÃ¸yt knappen " -"til Ã¥ lese boken min hÃ¸yt—det er ikke at selskapet vil saksÃ¸ke deg " -"hvis du gjÃ¸r; i stedet, hvis du presse lese hÃ¸yt knappen med min bok, " -"maskinen bare vil ikke lese hÃ¸yt." - -#. PAGE BREAK 163 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"These are <emphasis>controls</emphasis>, not permissions. Imagine a world " -"where the Marx Brothers sold word processing software that, when you tried " -"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from " -"the sentence." -msgstr "" -"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " -"brÃ¸drene solgte tekstbehandling programvare som, da du prÃ¸vde Ã¥ skrive inn " -"\"warner brothers,\" slettet \"brÃ¸dre\" fra setningen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is the future of copyright law: not so much copyright <emphasis>law</" -"emphasis> as copyright <emphasis>code</emphasis>. The controls over access " -"to content will not be controls that are ratified by courts; the controls " -"over access to content will be controls that are coded by programmers. And " -"whereas the controls that are built into the law are always to be checked by " -"a judge, the controls that are built into the technology have no similar " -"built-in check." -msgstr "" -"Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ 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 vÃ¦re kontroller som er kodet av programmerere. og mens " -"kontrollene som er innebygd i loven er alltid skal kontrolleres av en " -"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende " -"innebygde kontroller." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"How significant is this? Isn't it always possible to get around the controls " -"built into the technology? Software used to be sold with technologies that " -"limited the ability of users to copy the software, but those were trivial " -"protections to defeat. Why won't it be trivial to defeat these protections " -"as well?" -msgstr "" -"hvor betydelig er dette? er det ikke alltid mulig Ã¥ komme seg rundt " -"kontrollene som er innebygd i teknologien? programvaren brukes til Ã¥ bli " -"solgt med teknologier som begrenset mulighet til brukere Ã¥ kopiere " -"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke " -"vÃ¦re trivielt Ã¥ beseire slik beskyttelse ogsÃ¥?" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"We've only scratched the surface of this story. Return to the Adobe eBook " -"Reader." -msgstr "" -"Vi har kun sÃ¥vidt berÃ¸rt overflaten til denne historien. La oss gÃ¥ tilbake " -"til Adobe eBook reader." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Alice's Adventures in Wonderland (Carroll)" -msgstr "Alice i Eventyrland (Carroll)" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "e-book restrictions on" -msgstr "ebok-begrensninger pÃ¥" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Early in the life of the Adobe eBook Reader, Adobe suffered a public " -"relations nightmare. Among the books that you could download for free on the " -"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</" -"citetitle>. This wonderful book is in the public domain. Yet when you " -"clicked on Permissions for that book, you got the following report:" -msgstr "" -"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bÃ¸kene " -"som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " -"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennÃ¥ nÃ¥r " -"du klikket pÃ¥ tillatelser for boken, fikk du det fulgte rapporten:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "" -"List of the permissions for <quote>Alice's Adventures in Wonderland</quote>." -msgstr "Liste med tillatelser for <quote>Alice i Eventyrland</quote>." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1641.png\"></graphic>" -msgstr "<graphic fileref=\"images/1641.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Here was a public domain children's book that you were not allowed to copy, " -"not allowed to lend, not allowed to give, and, as the <quote>permissions</" -"quote> indicated, not allowed to <quote>read aloud</quote>!" -msgstr "" -"Her var et frivare barnebok som du ikke var tillatt for Ã¥ kopiere, ikke lov " -"til Ã¥ lÃ¥ne, ikke lov til Ã¥ gi og, som \"tillatelser\" angitt, ikke lov til Ã¥ " -"\"lese hÃ¸yt\"!" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The public relations nightmare attached to that final permission. For the " -"text did not say that you were not permitted to use the Read Aloud button; " -"it said you did not have the permission to read the book aloud. That led " -"some people to think that Adobe was restricting the right of parents, for " -"example, to read the book to their children, which seemed, to say the least, " -"absurd." -msgstr "" -"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si " -"at du ikke var tillatt Ã¥ bruke lese hÃ¸yt knappen; det sa du ikke har " -"tillatelse til Ã¥ lese boken hÃ¸yt. som ledet noen folk Ã¥ tenke at adobe var " -"begrense hÃ¸yre for foreldre, for eksempel Ã¥ lese boken til sine barn, som " -"syntes Ã¥ si mildt, absurd." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Adobe responded quickly that it was absurd to think that it was trying to " -"restrict the right to read a book aloud. Obviously it was only restricting " -"the ability to use the Read Aloud button to have the book read aloud. But " -"the question Adobe never did answer is this: Would Adobe thus agree that a " -"consumer was free to use software to hack around the restrictions built into " -"the eBook Reader? If some company (call it Elcomsoft) developed a program to " -"disable the technological protection built into an Adobe eBook so that a " -"blind person, say, could use a computer to read the book aloud, would Adobe " -"agree that such a use of an eBook Reader was fair? Adobe didn't answer " -"because the answer, however absurd it might seem, is no." -msgstr "" -"Adobe svarte raskt at det var absurd Ã¥ tro at den prÃ¸vde Ã¥ begrense " -"rettigheten til Ã¥ lese en bok hÃ¸yt. Det ble Ã¥penbart bare begrense " -"muligheten til Ã¥ bruke lese hÃ¸yt knappen for Ã¥ fÃ¥ boken lest hÃ¸yt. Men " -"spÃ¸rsmÃ¥let adobe aldri svar er dette: er adobe dermed enig at en forbruker " -"var fri til Ã¥ bruke programvare for Ã¥ banalisere rundt restriksjoner som er " -"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et " -"program for Ã¥ deaktivere teknologiske beskyttelsen som er innebygd i en " -"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til Ã¥ lese " -"boken hÃ¸yt, vil adobe vÃ¦re enig at slik bruk av en eBok-leser var " -"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er " -"ingen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The point is not to blame Adobe. Indeed, Adobe is among the most innovative " -"companies developing strategies to balance open access to content with " -"incentives for companies to innovate. But Adobe's technology enables " -"control, and Adobe has an incentive to defend this control. That incentive " -"is understandable, yet what it creates is often crazy." -msgstr "" -"Poenget er ikke Ã¥ klandre adobe. faktisk, adobe er blant de mest innovative " -"selskapene som utvikler strategier for Ã¥ balansere Ã¥pen tilgang til innhold " -"med insentiver for bedriftene Ã¥ skape noe nytt. men Adobes teknologi gjÃ¸r " -"det mulig for kontroll, og adobe har et insentiv til Ã¥ forsvare denne " -"kontrollen. dette insentiv er forstÃ¥elig, men hva som skaper er ofte gal." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"To see the point in a particularly absurd context, consider a favorite story " -"of mine that makes the same point." -msgstr "" -"Hvis du vil se punktet i en spesielt absurd sammenheng, bÃ¸r du vurdere en " -"favoritt historien om mine som gjÃ¸r det samme punktet." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Aibo robotic dog" -msgstr "Aibo robothund" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "robotic dog" -msgstr "robothund" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Sony" -msgstr "Sony" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "Aibo robotic dog produced by" -msgstr "Aibo robothund produsert av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo " -"learns tricks, cuddles, and follows you around. It eats only electricity and " -"that doesn't leave that much of a mess (at least in your house)." -msgstr "" -"vurdere robotic hunden gjort av sony kalt \"aibo.\" i aibo lÃ¦rer triks, " -"cuddles, og fÃ¸lger deg. det spiser bare elektrisitet og som ikke la sÃ¥ mye " -"av et rot (i det minste i huset)." - -#. PAGE BREAK 165 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Aibo is expensive and popular. Fans from around the world have set up " -"clubs to trade stories. One fan in particular set up a Web site to enable " -"information about the Aibo dog to be shared. This fan set 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 populÃ¦re. fans fra hele verden har satt opp klubber til " -"handel historier. en vifte spesielt satt opp et webomrÃ¥de slik at " -"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com " -"(og aibohack.com, men de lÃ¸ser til det samme omrÃ¥det), og han gitt " -"informasjon om hvordan du lÃ¦re en aibo Ã¥ gjÃ¸re triks i tillegg til de sony " -"hadde lÃ¦rt det pÃ¥ det omrÃ¥det." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<quote>Teach</quote> here has a special meaning. Aibos are just cute " -"computers. You teach a computer how to do something by programming it " -"differently. So to say that aibopet.com was giving information about how to " -"teach the dog to do new tricks is just to say that aibopet.com was giving " -"information to users of the Aibo pet about how to hack their computer " -"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)." -msgstr "" -"\"lÃ¦re\" har her en spesiell betydning. aibos er bare sÃ¸t datamaskiner. du " -"lÃ¦re en datamaskin hvor Ã¥ gjÃ¸re noe ved programmering det annerledes. sÃ¥ Ã¥ " -"si at aibopet.com var Ã¥ gi informasjon om hvordan du lÃ¦re hunden Ã¥ gjÃ¸re nye " -"triks er bare Ã¥ si at aibopet.com var Ã¥ gi informasjon til brukere av aibo-" -"pet om hvordan Ã¥ hacke datamaskinen \"hund\" slik at den gjÃ¸r nye triks " -"(derfor aibohack.com)." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "hacks" -msgstr "Hacks" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If you're not a programmer or don't know many programmers, the word " -"<citetitle>hack</citetitle> has a particularly unfriendly connotation. " -"Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " -"worse. But to programmers, or coders, as I call them, <citetitle>hack</" -"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " -"means code that enables the program to do something it wasn't originally " -"intended or enabled to do. If you buy a new printer for an old computer, you " -"might find the old computer doesn't run, or <quote>drive,</quote> the " -"printer. If you discovered that, you'd later be happy to discover a hack on " -"the Net by someone who has written a driver to enable the computer to drive " -"the printer you just bought." -msgstr "" -"Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har det " -"ord banalisere en spesielt unfriendly connotation. nonprogrammers banalisere " -"busker eller ugress. nonprogrammers i horror filmer gjÃ¸re enda verre. men " -"programmerere eller coders, som jeg kaller dem, banalisere er et mye mer " -"positiv begrep. banalisere betyr bare kode som gjÃ¸r at programmet til Ã¥ " -"gjÃ¸re noe det ikke var opprinnelig ment eller aktivert Ã¥ gjÃ¸re. Hvis du " -"kjÃ¸per en ny skriver for en gammel datamaskin, kan du finne den gamle " -"datamaskinen ikke kjÃ¸rer, eller \"drive\", skriveren. Hvis du oppdaget at, " -"vil du senere gjerne til Ã¥ oppdage en hack pÃ¥ nettet av noen som har skrevet " -"en driver for Ã¥ aktivere datamaskinen til Ã¥ kjÃ¸re skriveren du nettopp kjÃ¸pt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Some hacks are easy. Some are unbelievably hard. Hackers as a community like " -"to challenge themselves and others with increasingly difficult tasks. " -"There's a certain respect that goes with the talent to hack well. There's a " -"well-deserved respect that goes with the talent to hack ethically." -msgstr "" -"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap " -"liker Ã¥ utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er " -"en viss respekt som gÃ¥r med talent Ã¥ hacke godt. Det er en velfortjent " -"respekt som gÃ¥r med talent Ã¥ hacke etisk." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Aibo fan was displaying a bit of both when he hacked the program and " -"offered to the world a bit of code that would enable the Aibo to dance jazz. " -"The dog wasn't programmed to dance jazz. It was a clever bit of tinkering " -"that turned the dog into a more talented creature than Sony had built." -msgstr "" -"fan aibo var vise litt av begge nÃ¥r han hacket programmet og tilbÃ¸d Ã¥ verden " -"litt kode som ville gjÃ¸re det mulig for aibo Ã¥ danse jazz. hunden var ikke " -"programmert Ã¥ danse jazz. Det var en smart bit av fiksing og triksing som " -"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget." - -#. PAGE BREAK 166 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I've told this story in many contexts, both inside and outside the United " -"States. Once I was asked by a puzzled member of the audience, is it " -"permissible for a dog to dance jazz in the United States? We forget that " -"stories about the backcountry still flow across much of the world. So let's " -"just be clear before we continue: It's not a crime anywhere (anymore) to " -"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " -"be a crime (though we don't have a lot to go on here) to teach your robot " -"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " -"that the owner of aibopet.com thought, <emphasis>What possible problem could " -"there be with teaching a robot dog to dance?</emphasis>" -msgstr "" -"Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " -"NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " -"hunden Ã¥ danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles " -"flyter gjennom store deler av verden. sÃ¥ la oss vÃ¦re klare fÃ¸r vi " -"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) Ã¥ danse jazz. " -"heller ikke er det en forbrytelse Ã¥ lÃ¦re din hunden Ã¥ danse jazz. heller " -"ikke bÃ¸r det vÃ¦re en forbrytelse (selv om vi ikke har mye Ã¥ gÃ¥ pÃ¥ her) Ã¥ " -"lÃ¦re hunden din robot Ã¥ danse jazz. dans jazz er en helt lovlig aktivitet. " -"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det vÃ¦re " -"med undervisning en robot hunden Ã¥ danse?" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "government case against" -msgstr "regjeringen sak mot" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let's put the dog to sleep for a minute, and turn to a pony show— not " -"literally a pony show, but rather a paper that a Princeton academic named Ed " -"Felten prepared for a conference. This Princeton academic is well known and " -"respected. He was hired by the government in the Microsoft case to test " -"Microsoft's claims about what could and could not be done with its own code. " -"In that trial, he demonstrated both his brilliance and his coolness. Under " -"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not " -"about to be bullied into being silent about something he knew very well." -msgstr "" -"La oss sette hunden Ã¥ sove litt, og slÃ¥ til en ponni Vis—ikke " -"bokstavelig talt en ponni show, men heller et papir som en princeton " -"akademiske kalt ed felten forberedt pÃ¥ en konferanse. Denne princeton " -"akademiske er godt kjent og respektert. Han ble ansatt av regjeringen i " -"microsoft-saken til Ã¥ teste Microsofts krav om hva kunne og ikke kunne " -"gjÃ¸res med en egen kode. i denne rettssaken demonstrerte han bÃ¥de hans " -"herlighet og hans coolness. under tung badgering av microsoft advokater, ed " -"felten stÃ¥tt sin bakken. Han var ikke om Ã¥ bli mobba til Ã¥ vÃ¦re stille om " -"noe han visste godt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Electronic Frontier Foundation" -msgstr "Elektronisk forpost-stiftelsen (EFF)" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</" -"quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, " -"<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks," -"</quote> <citetitle>American Prospect</citetitle>, January 2002; " -"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> " -"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 " -"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech " -"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, " -"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic " -"Frontier Foundation, <quote>Frequently Asked Questions about " -"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " -"Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But Felten's bravery was really tested in April 2001.<placeholder type=" -"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " -"to be submitted at conference. The paper was intended to describe the " -"weakness in an encryption system being developed by the Secure Digital Music " -"Initiative as a technique to control the distribution of music." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The SDMI coalition had as its goal a technology to enable content owners to " -"exercise much better control over their content than the Internet, as it " -"originally stood, granted them. Using encryption, SDMI hoped to develop a " -"standard that would allow the content owner to say <quote>this music cannot " -"be copied,</quote> and have a computer respect that command. The technology " -"was to be part of a <quote>trusted system</quote> of control that would get " -"content owners to trust the system of the Internet much more." -msgstr "" -"sdmi-koalisjonen hadde som mÃ¥l en teknologi for Ã¥ aktivere innholdseiere Ã¥ " -"utÃ¸ve mye bedre kontroll over deres innhold enn Internett, som den " -"opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi hÃ¥pet Ã¥ utvikle " -"en standard som ville tillate innholdseieren Ã¥ si \"denne musikken ikke kan " -"kopieres\", og har en datamaskin respekterer kommandoen. teknologien var Ã¥ " -"vÃ¦re del av et \"klarert system\" av kontroll som ville fÃ¥ innholdseiere kan " -"stole pÃ¥ systemet av Internett mye mer." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"When SDMI thought it was close to a standard, it set up a competition. In " -"exchange for providing contestants with the code to an SDMI-encrypted bit of " -"content, contestants were to try to crack it and, if they did, report the " -"problems to the consortium." -msgstr "" -"NÃ¥r sdmi trodde det var nÃ¦r en standard, satt det opp en konkurranse. i " -"bytte for Ã¥ gi contestants med koden til en sdmi-krypterte bit av innholdet, " -"var contestants Ã¥ prÃ¸ve Ã¥ sprekk det, og hvis de gjorde, kan du rapportere " -"problemer til konsortiet." - -#. PAGE BREAK 167 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Felten and his team figured out the encryption system quickly. He and the " -"team saw the weakness of this system as a type: Many encryption systems " -"would suffer the same weakness, and Felten and his team thought it " -"worthwhile to point this out to those who study encryption." -msgstr "" -"felten og teamet hans funnet ut kryptering systemet raskt. Han og teamet sÃ¥ " -"svakheten av dette systemet som en type: mange kryptering systemer vil lide " -"samme svakhet, og felten og teamet hans trodde det verdt Ã¥ pÃ¥peke dette til " -"de som studerer kryptering." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let's review just what Felten was doing. Again, this is the United States. " -"We have a principle of free speech. We have this principle not just because " -"it is the law, but also because it is a really great idea. A strongly " -"protected tradition of free speech is likely to encourage a wide range of " -"criticism. That criticism is likely, in turn, to improve the systems or " -"people or ideas criticized." -msgstr "" -"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et " -"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er " -"loven, men ogsÃ¥ fordi det er en virkelig god idÃ©. en sterkt beskyttet " -"tradisjon av ytringsfriheten er sannsynlig Ã¥ oppmuntre til et bredt spekter " -"av kritikk. at kritikk er sannsynlig, i sin tur til Ã¥ forbedre systemer " -"eller personer eller idÃ©er kritisert." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"What Felten and his colleagues were doing was publishing a paper describing " -"the weakness in a technology. They were not spreading free music, or " -"building and deploying this technology. The paper was an academic essay, " -"unintelligible to most people. But it clearly showed the weakness in the " -"SDMI system, and why SDMI would not, as presently constituted, succeed." -msgstr "" -"Hva felten og hans kolleger gjorde var publisering en papiret beskriver " -"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og " -"distribusjon av denne teknologien. papiret var en faglige essay, uleselig " -"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi " -"ville ikke, sÃ¥ dag konstituert, lykkes." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"What links these two, aibopet.com and Felten, is the letters they then " -"received. Aibopet.com received a letter from Sony about the aibopet.com " -"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:" -msgstr "" -"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter " -"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. " -"Selv om en jazz-dans hunden er helt lovlig, skrev sony:" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"Your site contains information providing the means to circumvent AIBO-ware's " -"copy protection protocol constituting a violation of the anti-circumvention " -"provisions of the Digital Millennium Copyright Act." -msgstr "" -"nettstedet inneholder informasjon metoder for Ã¥ omgÃ¥ aibo-ware " -"kopibeskyttelse protokollen utgjÃ¸r et brudd pÃ¥ anti-omgÃ¥else bestemmelsene i " -"digital millennium copyright act." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"And though an academic paper describing the weakness in a system of " -"encryption should also be perfectly legal, Felten received a letter from an " -"RIAA lawyer that read:" -msgstr "" -"og selv om en akademisk papiret beskriver svakhet i et system av kryptering " -"bÃ¸r ogsÃ¥ vÃ¦re helt lovlig, felten mottatt et brev fra en riaa advokat som " -"lese:" - -#. PAGE BREAK 168 -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"Any disclosure of information gained from participating in the Public " -"Challenge would be outside the scope of activities permitted by the " -"Agreement and could subject you and your research team to actions under the " -"Digital Millennium Copyright Act (<quote>DMCA</quote>)." -msgstr "" -"enhver formidling av informasjon fra Ã¥ delta i offentlig challenge ville " -"vÃ¦re utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen og " -"kunne utsettes du og din undersÃ¸kelsesgruppen for handlinger under digital " -"millennium copyright act (\"dmca\")." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In both cases, this weirdly Orwellian law was invoked to control the spread " -"of information. The Digital Millennium Copyright Act made spreading such " -"information an offense." -msgstr "" -"i begge tilfeller ble denne nifs orwellian loven startet for Ã¥ kontrollere " -"spredningen av informasjon. digital millennium copyright act gjort sprer seg " -"slik informasjon en krenkelser." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The DMCA was enacted as a response to copyright owners' first fear about " -"cyberspace. The fear was that copyright control was effectively dead; the " -"response was to find technologies that might compensate. These new " -"technologies would be copyright protection technologies— technologies " -"to control the replication and distribution of copyrighted material. They " -"were designed as <emphasis>code</emphasis> to modify the original " -"<emphasis>code</emphasis> of the Internet, to reestablish some protection " -"for copyright owners." -msgstr "" -"dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes fÃ¸rste frykt om " -"cyberspace. frykt var at opphavsrett kontroll var effektivt dÃ¸d; svaret var " -"Ã¥ finne teknologier som kan kompensere. disse nye teknologiene ville vÃ¦re " -"opphavsrettsbeskyttelse teknologier—teknologier for Ã¥ kontrollere " -"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble " -"utviklet som kode for Ã¥ endre den opprinnelige koden for Internett, for Ã¥ " -"gjenopprette noe beskyttelse for eiere av opphavsretter." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The DMCA was a bit of law intended to back up the protection of this code " -"designed to protect copyrighted material. It was, we could say, " -"<emphasis>legal code</emphasis> intended to buttress <emphasis>software " -"code</emphasis> which itself was intended to support the <emphasis>legal " -"code of copyright</emphasis>." -msgstr "" -"dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " -"koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " -"var vi kunne si, Juridisk Lisenstekst ment Ã¥ buttress programvarekode som " -"selv var ment Ã¥ stÃ¸tte Juridisk Lisenstekst av opphavsrett." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But the DMCA was not designed merely to protect copyrighted works to the " -"extent copyright law protected them. Its protection, that is, did not end at " -"the line that copyright law drew. The DMCA regulated devices that were " -"designed to circumvent copyright protection measures. It was designed to ban " -"those devices, whether or not the use of the copyrighted material made " -"possible by that circumvention would have been a copyright violation." -msgstr "" -"men dmca ble ikke utformet for bare Ã¥ beskytte opphavsrettslig beskyttet " -"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si " -"ikke slutten pÃ¥ linjen som trakk av lov om opphavsrett. dmca regulert " -"enheter som ble utviklet for Ã¥ omgÃ¥ opphavsrettsbeskyttelse tiltak. den ble " -"utformet for Ã¥ forby disse enheter, om bruk av opphavsrettslig materiale " -"gjort mulig ved at omgÃ¥else ville ha vÃ¦rt et brudd pÃ¥ opphavsretten." - -#. PAGE BREAK 169 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Aibopet.com and Felten make the point. The Aibo hack circumvented a " -"copyright protection system for the purpose of enabling the dog to dance " -"jazz. That enablement no doubt involved the use of copyrighted material. But " -"as aibopet.com's site was noncommercial, and the use did not enable " -"subsequent copyright infringements, there's no doubt that aibopet.com's hack " -"was fair use of Sony's copyrighted material. Yet fair use is not a defense " -"to the DMCA. The question is not whether the use of the copyrighted material " -"was a copyright violation. The question is whether a copyright protection " -"system was circumvented." -msgstr "" -"aibopet.com og felten gjÃ¸re punktet. det aibo banalisere omgikk et system " -"for opphavsrettsbeskyttelse for Ã¥ aktivere hunden Ã¥ danse jazz. at " -"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men " -"som aibopet.com's omrÃ¥det var ikke-kommersielt, og bruk ikke aktiverte " -"etterfÃ¸lgende opphavsrett infringements, er det ingen tvil om at aibopet.com " -"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. " -"rettferdig bruk er ennÃ¥ ikke krenkelser av dmca. spÃ¸rsmÃ¥let er ikke om bruk " -"av opphavsrettslig materiale var et brudd pÃ¥ opphavsretten. spÃ¸rsmÃ¥let er om " -"et system for opphavsrettsbeskyttelse var omgikk." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The threat against Felten was more attenuated, but it followed the same line " -"of reasoning. By publishing a paper describing how a copyright protection " -"system could be circumvented, the RIAA lawyer suggested, Felten himself was " -"distributing a circumvention technology. Thus, even though he was not " -"himself infringing anyone's copyright, his academic paper was enabling " -"others to infringe others' copyright." -msgstr "" -"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med " -"resonnement. ved Ã¥ publisere en papir som beskriver hvordan et system for " -"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslÃ¥tt, felten " -"selv var distribuere en omgÃ¥else-teknologi. SÃ¥ledes, selv om han ikke var " -"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre " -"til Ã¥ krenke andres opphavsrett." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Rogers, Fred" -msgstr "Rogers, Fred" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Conrad, Paul" -msgstr "Conrad, Paul" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by " -"Paul Conrad. At that time, a court in California had held that the VCR could " -"be banned because it was a copyright-infringing technology: It enabled " -"consumers to copy films without the permission of the copyright owner. No " -"doubt there were uses of the technology that were legal: Fred Rogers, aka " -"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified " -"in that case that he wanted people to feel free to tape Mr. Rogers' " -"Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av " -"paul conrad. pÃ¥ den tiden, en domstol i california hadde holdt at " -"videoopptakeren kan bli utestengt fordi det var en copyright-krenkende " -"teknologi: det aktivert forbrukere til Ã¥ 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 sÃ¥ " -"fall at han Ã¸nsket Ã¥ fremkalle gratis Ã¥ tape mr. rogers' neighborhood." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <citetitle>Sony Corporation of " -"America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., " -"464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the " -"VCR. See James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, " -"and the Onslaught of the VCR</citetitle> (New York: W. W. Norton, 1987), " -"270–71. <placeholder type=\"indexterm\" id=\"1\"/>" -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), 270Â71." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Some public stations, as well as commercial stations, program the " -"<quote>Neighborhood</quote> at hours when some children cannot use it. I " -"think that it's a real service to families to be able to record such " -"programs and show them at appropriate times. I have always felt that with " -"the advent of all of this new technology that allows people to tape the " -"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the " -"<quote>Neighborhood</quote> because that's what I produce, that they then " -"become much more active in the programming of their family's television " -"life. Very frankly, I am opposed to people being programmed by others. My " -"whole approach in broadcasting has always been <quote>You are an important " -"person just the way you are. You can make healthy decisions.</quote> Maybe " -"I'm going on too long, but I just feel that anything that allows a person to " -"be more active in the control of his or her life, in a healthy way, is " -"important.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. PAGE BREAK 170 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Even though there were uses that were legal, because there were some uses " -"that were illegal, the court held the companies producing the VCR " -"responsible." -msgstr "" -"Selv om det var bruker som var juridiske, fordi det var noen bruksomrÃ¥der " -"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This led Conrad to draw the cartoon below, which we can adopt to the DMCA. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Dette fÃ¸rte conrad Ã¥ trekke tegneserie nedenfor, som vi kan vedta Ã¥ dmca." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "No argument I have can top this picture, but let me try to get close." -msgstr "" -"ingen argument jeg har kan topp dette bildet, men la meg prÃ¸ve Ã¥ komme nÃ¦r." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The anticircumvention provisions of the DMCA target copyright circumvention " -"technologies. Circumvention technologies can be used for different ends. " -"They can be used, for example, to enable massive pirating of copyrighted " -"material—a bad end. Or they can be used to enable the use of " -"particular copyrighted materials in ways that would be considered fair " -"use—a good end." -msgstr "" -"anticircumvention bestemmelsene i dmca mot opphavsrett omgÃ¥else teknologier. " -"omgÃ¥else teknologiene kan brukes for ulike ender. de kan brukes, for " -"eksempel Ã¥ aktivere massiv pirating av opphavsrettsbeskyttet materiale—" -"en dÃ¥rlig slutt. eller de kan brukes til Ã¥ aktivere bruken av bestemt " -"opphavsrettsbeskyttet materiale pÃ¥ mÃ¥ter som vil anses rimelig bruk—en " -"god slutt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "handguns" -msgstr "hÃ¥ndvÃ¥pen" - -#. PAGE BREAK 171 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"A handgun can be used to shoot a police officer or a child. Most would agree " -"such a use is bad. Or a handgun can be used for target practice or to " -"protect against an intruder. At least some would say that such a use would " -"be good. It, too, is a technology that has both good and bad uses." -msgstr "" -"en pistol kan brukes til Ã¥ skyte en politimann eller et barn. de fleste vil " -"vÃ¦re enige slik bruk er dÃ¥rlig. eller en pistol kan brukes for mÃ¥let " -"praksis, eller for Ã¥ beskytte mot en inntrenger. minst noen vil si at slik " -"bruk ville vÃ¦rt bra. det, ogsÃ¥, er en teknologi som har bÃ¥de gode og dÃ¥rlige " -"bruker." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "VCR/handgun cartoon." -msgstr "" - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1711.png\"></graphic>" -msgstr "<graphic fileref=\"images/1711.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The obvious point of Conrad's cartoon is the weirdness of a world where guns " -"are legal, despite the harm they can do, while VCRs (and circumvention " -"technologies) are illegal. Flash: <emphasis>No one ever died from copyright " -"circumvention</emphasis>. Yet the law bans circumvention technologies " -"absolutely, despite the potential that they might do some good, but permits " -"guns, despite the obvious and tragic harm they do." -msgstr "" -"den Ã¥penbare punkt conrad's tegneserie er weirdness av en verden der guns er " -"juridisk, til tross for skade som de kan gjÃ¸re, mens videospillere (og " -"omgÃ¥else teknologier) er ulovlig. Flash: ingen noensinne dÃ¸de fra " -"opphavsrett omgÃ¥else. ennÃ¥ forbud lov omgÃ¥else teknologier absolutt, til " -"tross for potensialet som de kan gjÃ¸re noe godt, men tillater vÃ¥pen, til " -"tross for den Ã¥penbare og tragisk skaden de gjÃ¸r." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Aibo and RIAA examples demonstrate how copyright owners are changing the " -"balance that copyright law grants. Using code, copyright owners restrict " -"fair use; using the DMCA, they punish those who would attempt to evade the " -"restrictions on fair use that they impose through code. Technology becomes a " -"means by which fair use can be erased; the law of the DMCA backs up that " -"erasing." -msgstr "" -"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som " -"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter " -"fair use; bruker dmca, straffe de de som vil forsÃ¸ke Ã¥ unngÃ¥ begrensningene " -"pÃ¥ rimelig bruk som de innfÃ¸re gjennom koden. teknologien blir et middel som " -"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " -"controls built into the technology of copy and access protection become " -"rules the violation of which is also a violation of the law. In this way, " -"the code extends the law—increasing its regulation, even if the " -"subject it regulates (activities that would otherwise plainly constitute " -"fair use) is beyond the reach of the law. Code becomes law; code extends the " -"law; code thus extends the control that copyright owners effect—at " -"least for those copyright holders with the lawyers who can write the nasty " -"letters that Felten and aibopet.com received." -msgstr "" -"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " -"for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " -"pÃ¥ loven. pÃ¥ denne mÃ¥ten utvider koden loven—Ã¸ke sin regulering, selv " -"om emnet den regulerer (aktiviteter som ellers tydelig utgjÃ¸r rimelig bruk) " -"er utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode " -"dermed utvider kontrollen som eiere av opphavsretter effekt—minst for " -"de innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene " -"som felten og aibopet.com som er mottatt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There is one final aspect of the interaction between architecture and law " -"that contributes to the force of copyright's regulation. This is the ease " -"with which infringements of the law can be detected. For contrary to the " -"rhetoric common at the birth of cyberspace that on the Internet, no one " -"knows you're a dog, increasingly, given changing technologies deployed on " -"the Internet, it is easy to find the dog who committed a legal wrong. The " -"technologies of the Internet are open to snoops as well as sharers, and the " -"snoops are increasingly good at tracking down the identity of those who " -"violate the rules." -msgstr "" -"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til " -"styrken av copyright's regulering. Dette er enkelt som infringements av " -"loven som kan oppdages. for i motsetning til retorikken felles fÃ¸dselen av " -"cyberspace at pÃ¥ Internett, ingen vet du er en hunden, i Ã¸kende grad er gitt " -"skiftende teknologier som er deployert pÃ¥ Internett, det enkelt Ã¥ finne " -"hunden som har begÃ¥tt en juridisk feil. teknologien av Internett er Ã¥pne for " -"snoops, sÃ¥ vel som brukere, og snoops er stadig gode pÃ¥ sporing ned " -"identiteten til de som bryter reglene." - -#. f24 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal " -"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> " -"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 " -"(1997): 651." -msgstr "" -"for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-" -"fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles " -"underholdning law journal 17 (1997): 651." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " -"club. You gathered every month to share trivia, and maybe to enact a kind of " -"fan fiction about the show. One person would play Spock, another, Captain " -"Kirk. The characters would begin with a plot from a real story, then simply " -"continue it.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Before the Internet, this was, in effect, a totally unregulated activity. " -"No matter what happened inside your club room, you would never be interfered " -"with by the copyright police. You were free in that space to do as you " -"wished with this part of our culture. You were allowed to build on it as you " -"wished without fear of legal control." -msgstr "" -"fÃ¸r 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 Ã¥ gjÃ¸re som du vil. med denne delen " -"av vÃ¥r kultur. du ble tillatt Ã¥ bygge videre pÃ¥ det som du selv Ã¸nsker, uten " -"frykt for juridisk kontroll." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But if you moved your club onto the Internet, and made it generally " -"available for others to join, the story would be very different. Bots " -"scouring the Net for trademark and copyright infringement would quickly find " -"your site. Your posting of fan fiction, depending upon the ownership of the " -"series that you're depicting, could well inspire a lawyer's threat. And " -"ignoring the lawyer's threat would be extremely costly indeed. The law of " -"copyright is extremely efficient. The penalties are severe, and the process " -"is quick." -msgstr "" -"men hvis du har flyttet din klubb til Internett, og gjorde det vanligvis " -"tilgjengelig for andre til Ã¥ delta, historien ville vÃ¦re svÃ¦rt forskjellige. " -"robotsÃ¸keprogrammer scouring nettet for varemerke- og copyright infringement " -"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av " -"eierskap av serien som du som viser, kan ogsÃ¥ inspirere en advokat trussel. " -"og ignorerer den advokat trussel ville vÃ¦re uhyre kostbart faktisk. loven om " -"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er " -"rask." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This change in the effective force of the law is caused by a change in the " -"ease with which the law can be enforced. That change too shifts the law's " -"balance radically. It is as if your car transmitted the speed at which you " -"traveled at every moment that you drove; that would be just one step before " -"the state started issuing tickets based upon the data you transmitted. That " -"is, in effect, what is happening here." -msgstr "" -"Denne endringen i effektiv makt i loven er forÃ¥rsaket av en endring i lett " -"som kan hÃ¥ndheves loven. at endringen ogsÃ¥ skifter loven er balansere " -"radikalt. Det er som om bilen overfÃ¸res hastigheten som du reist pÃ¥ hvert " -"Ã¸yeblikk som du kjÃ¸rte; det ville vÃ¦re bare ett trinn fÃ¸r staten begynte Ã¥ " -"utstede billetter basert pÃ¥ dataene du har overfÃ¸rt. det vil si, hva som " -"skjer her." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Market: Concentration" -msgstr "Marked: Konsentrasjon" - -#. PAGE BREAK 173 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"So copyright's duration has increased dramatically—tripled in the past " -"thirty years. And copyright's scope has increased as well—from " -"regulating only publishers to now regulating just about everyone. And " -"copyright's reach has changed, as every action becomes a copy and hence " -"presumptively regulated. And as technologists find better ways to control " -"the use of content, and as copyright is increasingly enforced through " -"technology, copyright's force changes, too. Misuse is easier to find and " -"easier to control. This regulation of the creative process, which began as a " -"tiny regulation governing a tiny part of the market for creative work, has " -"become the single most important regulator of creativity there is. It is a " -"massive expansion in the scope of the government's control over innovation " -"and creativity; it would be totally unrecognizable to those who gave birth " -"to copyright's control." -msgstr "" -"Slik copyright's varighet har Ã¸kt dramatisk—tredoblet de siste tretti " -"Ã¥rene. og copyright's omfang har Ã¸kt samt—fra regulerer bare utgivere " -"Ã¥ regulere nÃ¥ omtrent alle. og copyright's rekkevidde har endret, som hver " -"handling blir en kopi og dermed presumptively regulert. og som " -"Teknologorganisasjon finne bedre mÃ¥ter Ã¥ kontrollere bruken av innhold, og " -"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft " -"endringer, ogsÃ¥. misbruk er enklere Ã¥ finne og enklere Ã¥ 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 Ã¸kning i " -"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville " -"vÃ¦re helt ugjenkjennelige til de som fÃ¸dte copyright's kontroll." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Still, in my view, all of these changes would not matter much if it weren't " -"for one more change that we must also consider. This is a change that is in " -"some sense the most familiar, though its significance and scope are not well " -"understood. It is the one that creates precisely the reason to be concerned " -"about all the other changes I have described." -msgstr "" -"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det " -"ikke var for en enda en endring som mÃ¥ vi ogsÃ¥ vurdere. Dette er en endring " -"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er " -"godt forstÃ¥tt. Det er den som oppretter nettopp grunnen til Ã¥ vÃ¦re bekymret " -"for alle andre endringer jeg har beskrevet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is the change in the concentration and integration of the media. In " -"the past twenty years, the nature of media ownership has undergone a radical " -"alteration, caused by changes in legal rules governing the media. Before " -"this change happened, the different forms of media were owned by separate " -"media companies. Now, the media is increasingly owned by only a few " -"companies. Indeed, after the changes that the FCC announced in June 2003, " -"most expect that within a few years, we will live in a world where just " -"three companies control more than percent of the media." -msgstr "" -"Dette er endring i konsentrasjon og integrering av media. i de siste tjue " -"Ã¥rene, har natur av media eierskapet gjennomgÃ¥tt en radikal endring, " -"forÃ¥rsaket av endringer i juridiske reglene som styrer media. fÃ¸r denne " -"endringen skjedde, var de ulike formene for media eid av egen media " -"selskapene. media eies nÃ¥, i Ã¸kende grad av bare et par selskaper. faktisk, " -"etter endringene som fcc annonsert i juni 2003, mest forventer at innen fÃ¥ " -"Ã¥r vil vi lever i en verden der bare tre selskaper kontrollere mer enn " -"prosent av media." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"These changes are of two sorts: the scope of concentration, and its nature." -msgstr "" -"Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "BMG" -msgstr "BMG" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "EMI" -msgstr "EMI" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "McCain, John" -msgstr "McCain, John" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Universal Music Group" -msgstr "Universal music group" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Warner Music Group" -msgstr "Warner music group" - -#. f25 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"FCC Oversight: Hearing Before the Senate Commerce, Science and " -"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement " -"of Senator John McCain)." -msgstr "" -"FCC oversight: hÃ¸ring fÃ¸r Senatet commerce, science and transport komiteen, " -"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)." - -#. f26 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to " -"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002." -msgstr "" -"lynette holloway, \"til tross for en markedsfÃ¸ring blitz cd salg fortsette Ã¥ " -"skyve,\" new york times, 23 desember 2002." - -#. f27 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> " -"<citetitle>Charleston Gazette</citetitle>, 31 May 2003." -msgstr "" -"Molly ivins, \"media konsolidering mÃ¥ stoppes,\" charleston gazette, 31 kan " -"2003." - -#. type: Content of: <book><part><chapter><section><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, " -"<quote>five companies control 85 percent of our media sources.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> The five recording labels of " -"Universal Music Group, BMG, Sony Music Entertainment, Warner Music Group, " -"and EMI control 84.8 percent of the U.S. music market.<placeholder type=" -"\"footnote\" id=\"1\"/> The <quote>five largest cable companies pipe " -"programming to 74 percent of the cable subscribers nationwide.</" -"quote><placeholder type=\"footnote\" id=\"2\"/>" -msgstr "" - -#. PAGE BREAK 174 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The story with radio is even more dramatic. Before deregulation, the " -"nation's largest radio broadcasting conglomerate owned fewer than seventy-" -"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 " -"stations. During that period of consolidation, the total number of radio " -"owners dropped by 34 percent. Today, in most markets, the two largest " -"broadcasters control 74 percent of that market's revenues. Overall, just " -"four companies control 90 percent of the nation's radio advertising revenues." -msgstr "" -"historien med radio er enda mer dramatisk. fÃ¸r dereguleringen, landets " -"stÃ¸rste radio sendinger konglomerat eid fÃ¦rre 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 stÃ¸rste broadcasters 74 prosent av dette " -"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets " -"radio annonsering inntekter." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Newspaper ownership is becoming more concentrated as well. Today, there are " -"six hundred fewer daily newspapers in the United States than there were " -"eighty years ago, and ten companies control half of the nation's " -"circulation. There are twenty major newspaper publishers in the United " -"States. The top ten film studios receive 99 percent of all film revenue. The " -"ten largest cable companies account for 85 percent of all cable revenue. " -"This is a market far from the free press the framers sought to protect. " -"Indeed, it is a market that is quite well protected— by the market." -msgstr "" -"avisen eierskap er i ferd med Ã¥ bli mer konsentrert ogsÃ¥. i dag, er det seks " -"hundre fÃ¦rre daglige aviser i USA enn det var Ã¥tti Ã¥r 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 " -"stÃ¸rste kabelselskaper konto for 85 prosent av alle inntekter for kabel. " -"Dette er et marked langt fra fri presse underskrev sÃ¸kt Ã¥ beskytte. Det er " -"faktisk et marked som er svÃ¦rt godt beskyttet—av markedet." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Fallows, James" -msgstr "Fallows, James" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Concentration in size alone is one thing. The more invidious change is in " -"the nature of that concentration. As author James Fallows put it in a recent " -"article about Rupert Murdoch, <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"konsentrasjon i stÃ¸rrelse alene er Ã©n ting. mer invidious endringen er i " -"natur at konsentrasjon. som forfatter james fallows sette den i en fersk " -"artikkel om rupert murdoch," - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic " -"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " -"id=\"0\"/>" -msgstr "" -"James Fallows, <quote>The Age of Murdoch</quote>, <citetitle>Atlantic " -"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The pattern with Murdoch is the pattern of modern media. Not just large " -"companies owning many radio stations, but a few companies owning as many " -"outlets of media as possible. A picture describes this pattern better than a " -"thousand words could do:" -msgstr "" -"mÃ¸nsteret med murdoch er mÃ¸nsteret av moderne medier. ikke bare store " -"selskaper Ã¥ eie mange radiostasjoner, men noen selskaper Ã¥ eie sÃ¥ mange " -"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjÃ¸re " -"dette mÃ¸nsteret:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Pattern of modern media ownership." -msgstr "MÃ¸nster for moderne mediaeierskap." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1761.png\"></graphic>" -msgstr "<graphic fileref=\"images/1761.png\"></graphic>" - -#. PAGE BREAK 175 -#. type: Content of: <book><part><chapter><section><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 "" -"Betyr denne konsentrasjonen noe? PÃ¥virker det hva som blir laget, eller hva " -"som blir distribuert? Eller er det bare en mer effektiv mÃ¥te Ã¥ produsere og " -"distribuere innhold?" - -#. type: Content of: <book><part><chapter><section><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 "" -"Mitt syn var at konsentrasjonen ikke betÃ¸d noe. Jeg tenkte det ikke var noe " -"mer enn en mer effektiv finansiell struktur. Men nÃ¥, etter Ã¥ ha lest og " -"hÃ¸rt pÃ¥ en haug av skapere prÃ¸ve Ã¥ overbevise meg om det motsatte, har jeg " -"begynt Ã¥ endre mening." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Here's a representative story that begins to suggest how this integration " -"may matter." -msgstr "" -"Her er en representativ historie som kan foreslÃ¥ hvorfor denne integreringen " -"er viktig." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Lear, Norman" -msgstr "Lear, Norman" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "All in the Family" -msgstr "alle i familien" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</" -"citetitle>. He took the pilot to ABC. The network didn't like it. It was too " -"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy " -"than the first. ABC was exasperated. You're missing the point, they told " -"Lear. We wanted less edgy, not more." -msgstr "" -"I 1969 laget Norman Lear en polit for <citetitle>All in the Family</" -"citetitle>. Han tok piloten til ABC, og nettverket likte det ikke. Da sa " -"til Lear at det var for pÃ¥ kanten. GjÃ¸r det om igjen. Lear lagde piloten pÃ¥ " -"nytt, mer pÃ¥ kanten enn den fÃ¸rste. ABC ble fra seg. Du fÃ¥r ikke med deg " -"poenget, fortalte de Lear. Vi vil ha det mindre pÃ¥ kanten, ikke mer." - -#. f29 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum " -"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> " -"St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the " -"Lear story, not included in the prepared remarks, see <ulink url=\"http://" -"free-culture.cc/notes/\">link #29</ulink>)." -msgstr "" - -#. type: Content of: <book><part><chapter><section><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 "" -"I stedet for Ã¥ fÃ¸ye seg, to Lear ganske enkelt serien sin til noen andre. " -"CBS var glad for Ã¥ ha seriene, og ABC kunne ikke stoppe Lear fra Ã¥ gÃ¥ til " -"andre. Opphavsretten som Lear hadde sikret uavhengighet fra nettverk-" -"kontroll.<placeholder type=\"footnote\" id=\"0\"/>" - -#. PAGE BREAK 176 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The network did not control those copyrights because the law forbade the " -"networks from controlling the content they syndicated. The law required a " -"separation between the networks and the content producers; that separation " -"would guarantee Lear freedom. And as late as 1992, because of these rules, " -"the vast majority of prime time television—75 percent of it—was " -"<quote>independent</quote> of the networks." -msgstr "" -"nettverket ikke kontrollere mâÃte av opphavsrettighetene fordi lov forbÃ¸d " -"nettverk fra controlling the content de skal grupperes. loven kreves et " -"skille mellom nettverkene og innhold produsenter; at separasjon ville " -"garantere lear frihet. og sÃ¥ sent som i 1992, pÃ¥ grunn av disse reglene, det " -"store flertallet av prime-time TV—75 prosent av det—var " -"\"uavhengige\" av nettverk." - -#. f30 -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><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. <quote>In 1992, only 15 percent of " -"new series were produced for a network by a company it controlled. Last " -"year, the percentage of shows produced by controlled companies more than " -"quintupled to 77 percent.</quote> <quote>In 1992, 16 new series were " -"produced independently of conglomerate control, last year there was one.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime " -"time television was owned by the networks that ran it. <quote>In the ten-" -"year period between 1992 and 2002, the number of prime time television hours " -"per week produced by network studios increased over 200%, whereas the number " -"of prime time television hours per week produced by independent studios " -"decreased 63%.</quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Today, another Norman Lear with another <citetitle>All in the Family</" -"citetitle> would find that he had the choice either to make the show less " -"edgy or to be fired: The content of any show developed for a network is " -"increasingly owned by the network." -msgstr "" -"i dag, en annen norman lear med en annen alle i familien ville finne at han " -"mÃ¥tte velge Ã¥ gjÃ¸re showet mindre irritabel eller sparken: innholdet i et " -"hvilket som helst Vis utviklet for et nettverk er i Ã¸kende grad eid av " -"nettverket." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Diller, Barry" -msgstr "Diller, Barry" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Moyers, Bill" -msgstr "Moyers, Bill" - -#. type: Content of: <book><part><chapter><section><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 Ã¸kt dramatisk, har eierskapet til disse kanalene " -"snevret inn fra fÃ¥ til stadig fÃ¦rre. Som Barry Diller sa til Bill Moyers," - -#. f32 -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with " -"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>." -msgstr "" -"<quote>Barry Diller Takes on Media Deregulation</quote>, <citetitle>Now with " -"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, redigert avskrift " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #31</" -"ulink>." - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This narrowing has an effect on what is produced. The product of such large " -"and concentrated networks is increasingly homogenous. Increasingly safe. " -"Increasingly sterile. The product of news shows from networks like this is " -"increasingly tailored to the message the network wants to convey. This is " -"not the communist party, though from the inside, it must feel a bit like the " -"communist party. No one can question without risk of consequence—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 pÃ¥ 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 Ã¸nsker Ã¥ formidle. Dette er ikke det " -"kommunistiske parten, selv om fra innsiden, mÃ¥ det fÃ¸les litt som det " -"kommunistiske parten. Ingen kan spÃ¸rsmÃ¥let uten risiko for konsekvens—" -"ikke nÃ¸dvendigvis banishment til Sibir, men straff likevel. uavhengige, " -"kritiske, forskjellige visninger er Ã¸dela. Dette er ikke miljÃ¸ for et " -"demokrati." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Clark, Kim B." -msgstr "Clark, Kim B." - -#. f33 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " -"Revolutionary National Bestseller that Changed the Way We Do Business</" -"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen " -"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. " -"Clark, <quote>The Interaction of Design Hierarchies and Market Concepts in " -"Technological Evolution,</quote> <citetitle>Research Policy</citetitle> 14 " -"(1985): 235–51. For a more recent study, see Richard Foster and Sarah " -"Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to " -"Last Underperform the Market—and How to Successfully Transform Them</" -"citetitle> (New York: Currency/Doubleday, 2001)." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Economics itself offers a parallel that explains why this integration " -"affects creativity. Clay Christensen has written about the " -"<quote>Innovator's Dilemma</quote>: the fact that large traditional firms " -"find it rational to ignore new, breakthrough technologies that compete with " -"their core business. The same analysis could help explain why large, " -"traditional media companies would find it rational to ignore new cultural " -"trends.<placeholder type=\"footnote\" id=\"0\"/> Lumbering giants not only " -"don't, but should not, sprint. Yet if the field is only open to the giants, " -"there will be far too little sprinting. <placeholder type=\"indexterm\" id=" -"\"1\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I don't think we know enough about the economics of the media market to say " -"with certainty what concentration and integration will do. The efficiencies " -"are important, and the effect on culture is hard to measure." -msgstr "" -"Jeg tror ikke vi vet nok om Ã¸konomien i media markedet Ã¥ si med sikkerhet " -"hva konsentrasjon og integrering vil gjÃ¸re. effektiviteten er viktig, og " -"effekten pÃ¥ kultur er vanskelig Ã¥ mÃ¥le." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But there is a quintessentially obvious example that does strongly suggest " -"the concern." -msgstr "men det er en typiske Ã¥penbare eksempel som sterkt at bekymringen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In addition to the copyright wars, we're in the middle of the drug wars. " -"Government policy is strongly directed against the drug cartels; criminal " -"and civil courts are filled with the consequences of this battle." -msgstr "" -"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. " -"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker " -"og sivile domstolene er fylt med konsekvensene av denne kampen." - -#. PAGE BREAK 178 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let me hereby disqualify myself from any possible appointment to any " -"position in government by saying I believe this war is a profound mistake. I " -"am not pro drugs. Indeed, I come from a family once wrecked by drugs—" -"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 Ã¥ 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 sÃ¥ stor at gjÃ¸re fÃ¸re krig galskap. " -"NÃ¥r du legger til sammen byrdene pÃ¥ det strafferettslige systemet, " -"desperasjon generasjoner av barna som har bare ekte Ã¸konomiske muligheter er " -"som narkotika krigere, queering av konstitusjonelle vern pÃ¥ grunn av " -"konstant overvÃ¥king krever at denne krigen, og, mest dypt total Ã¸deleggelse " -"av juridiske systemer av mange sÃ¸ramerikanske land pÃ¥ grunn av kraften i " -"lokale stoffet cartelsJeg finner det umulig Ã¥ tro at marginal nytte i " -"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse " -"kostnadene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"You may not be convinced. That's fine. We live in a democracy, and it is " -"through votes that we are to choose policy. But to do that, we depend " -"fundamentally upon the press to help inform Americans about these issues." -msgstr "" -"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og " -"det er gjennom stemmer at vi skal velge policyen. men for Ã¥ gjÃ¸re det, vi " -"avhengig fundamentalt pressen for Ã¥ informere amerikanerne om disse " -"problemene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Beginning in 1998, the Office of National Drug Control Policy launched a " -"media campaign as part of the <quote>war on drugs.</quote> The campaign " -"produced scores of short film clips about issues related to illegal drugs. " -"In one series (the Nick and Norm series) two men are in a bar, discussing " -"the idea of legalizing drugs as a way to avoid some of the collateral damage " -"from the war. One advances an argument in favor of drug legalization. The " -"other responds in a powerful and effective way against the argument of the " -"first. In the end, the first guy changes his mind (hey, it's television). " -"The plug at the end is a damning attack on the pro-legalization campaign." -msgstr "" -"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 Ã©n serie (nick og normen-serie) to menn er i en bar, diskuterer " -"idÃ©en om legalizing narkotika som en mÃ¥te Ã¥ unngÃ¥ noen av " -"sikkerhetsstillelse skade fra krigen. en avanserer et argument for narkotika " -"legalization. de andre svarer pÃ¥ en kraftig og effektiv mÃ¥te mot argumentet " -"av fÃ¸rste. til slutt, den fÃ¸rste mann forandrer mening (Hei, det er TV). " -"pluggen pÃ¥ slutten er en damning angrep pÃ¥ pro-legalization kampanjen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Fair enough. It's a good ad. Not terribly misleading. It delivers its " -"message well. It's a fair and reasonable message." -msgstr "" -"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding " -"godt. Det er en rettferdig og rimelig melding." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But let's say you think it is a wrong message, and you'd like to run a " -"countercommercial. Say you want to run a series of ads that try to " -"demonstrate the extraordinary collateral harm that comes from the drug war. " -"Can you do it?" -msgstr "" -"men la oss si at du tror det er en feil melding, og du Ã¸nsker Ã¥ kjÃ¸re en " -"countercommercial. si du vil kjÃ¸re en rekke annonser som prÃ¸ver Ã¥ " -"demonstrere den ekstraordinÃ¦re sikkerhetsstillelse skaden som kommer fra " -"stoffet krigen. kan du gjÃ¸re det?" - -#. PAGE BREAK 179 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Well, obviously, these ads cost lots of money. Assume you raise the money. " -"Assume a group of concerned citizens donates all the money in the world to " -"help you get your message out. Can you be sure your message will be heard " -"then?" -msgstr "" -"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve " -"penger. Anta at en gruppe av berÃ¸rte borgere donerer alle pengene i verden " -"for Ã¥ hjelpe deg Ã¥ fÃ¥ budskapet. kan du vÃ¦re sikker pÃ¥ at meldingen vil " -"deretter bli hÃ¸rt?" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Comcast" -msgstr "Comcast" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "Marijuana Policy Project" -msgstr "marihuana policy project" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "NBC" -msgstr "NBC" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "WJOA" -msgstr "WJOA" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "WRC" -msgstr "WRC" - -#. type: Content of: <book><part><chapter><section><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 <quote>against [their] " -"policy.</quote> The local NBC affiliate, WRC, rejected the ads without " -"reviewing them. The local ABC affiliate, WJOA, originally agreed to run the " -"ads and accepted payment to do so, but later decided not to run the ads and " -"returned the collected fees. Interview with Neal Levine, 15 October 2003. " -"These restrictions are, of course, not limited to drug policy. See, for " -"example, Nat Ives, <quote>On the Issue of an Iraq War, Advocacy Ads Meet " -"with Rejection from TV Networks,</quote> <citetitle>New York Times</" -"citetitle>, 13 March 2003, C4. Outside of election-related air time there " -"is very little that the FCC or the courts are willing to do to even the " -"playing field. For a general overview, see Rhonda Brown, <quote>Ad Hoc " -"Access: The Regulation of Editorial Advertising on Television and Radio,</" -"quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): " -"449–79, and for a more recent summary of the stance of the FCC and the " -"courts, see <citetitle>Radio-Television News Directors Association</" -"citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872 (D.C. Cir. 1999). " -"Municipal authorities exercise the same authority as the networks. In a " -"recent example from San Francisco, the San Francisco transit authority " -"rejected an ad that criticized its Muni diesel buses. Phillip Matier and " -"Andrew Ross, <quote>Antidiesel Group Fuming After Muni Rejects Ad,</quote> " -"SFGate.com, 16 June 2003, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #32</ulink>. The ground was that the criticism was <quote>too " -"controversial.</quote> <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " -"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=" -"\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/> " -"<placeholder type=\"indexterm\" id=\"6\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"No. You cannot. Television stations have a general policy of avoiding " -"<quote>controversial</quote> ads. Ads sponsored by the government are deemed " -"uncontroversial; ads disagreeing with the government are controversial. " -"This selectivity might be thought inconsistent with the First Amendment, but " -"the Supreme Court has held that stations have the right to choose what they " -"run. Thus, the major channels of commercial media will refuse one side of a " -"crucial debate the opportunity to present its case. And the courts will " -"defend the rights of the stations to be this biased.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -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 vÃ¦re glad for Ã¥ 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 hÃ¥ndfull selskaper kontrollere " -"tilgangen til media, og at hÃ¥ndfull selskaper kommer til Ã¥ bestemme hvilke " -"politiske holdninger som den gjÃ¸r det mulig Ã¥ bli forfremmet pÃ¥ sine " -"kanaler, sÃ¥ i en Ã¥penbare og viktig mÃ¥te, konsentrasjon teller. du kanskje " -"liker posisjoner hÃ¥ndfull selskaper velger. men du bÃ¸r ikke liker en verden " -"der bare en noen kommer til Ã¥ bestemme hvilke problemer med resten av oss fÃ¥ " -"vite om." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Together" -msgstr "Sammen" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There is something innocent and obvious about the claim of the copyright " -"warriors that the government should <quote>protect my property.</quote> In " -"the abstract, it is obviously true and, ordinarily, totally harmless. No " -"sane sort who is not an anarchist could disagree." -msgstr "" -"Det er noe uskyldig og Ã¥penbar om kravet om opphavsrett warriors at " -"regjeringen bÃ¸r \"beskytte min egenskapen.\" i abstrakt, det er Ã¥penbart " -"sann og, vanligvis helt ufarlig. Ingen forstandig sortering som ikke er en " -"Anarkisten kan uenige." - -#. PAGE BREAK 180 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But when we see how dramatically this <quote>property</quote> 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 <quote>property</quote> rights granted by copyright fundamentally " -"changes the freedom within this culture to cultivate and build upon our " -"past, then we have to ask whether this property should be redefined." -msgstr "" -"men nÃ¥r vi ser hvor dramatisk denne \"property\" er endret—nÃ¥r vi " -"innser hvor den kan nÃ¥ kommunisere med bÃ¥de teknologi og markeder Ã¥ bety at " -"effektiv begrensningen pÃ¥ den frihet Ã¥ dyrke vÃ¥r kultur er dramatisk " -"annerledes—kravet begynner Ã¥ synes mindre uskyldig og Ã¥penbar. gitt " -"(1) den kraftige teknologi til Ã¥ supplere lovens kontroll, og (2) makt " -"konsentrert markeder for Ã¥ svekke muligheten for dissens, hvis strengt " -"hÃ¥ndheve massivt utvidet \"property\"-rettigheter som er gitt av copyright " -"fundamentalt endres frihet i denne kulturen til Ã¥ dyrke og bygge pÃ¥ vÃ¥r " -"fortid, sÃ¥ mÃ¥ vi spÃ¸rre om denne egenskapen skal defineres." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Not starkly. Or absolutely. My point is not that we should abolish copyright " -"or go back to the eighteenth century. That would be a total mistake, " -"disastrous for the most important creative enterprises within our culture " -"today." -msgstr "" -"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bÃ¸r avskaffe " -"copyright eller gÃ¥ tilbake til 1700-tallet. det ville vÃ¦re en totalt feil, " -"katastrofalt for de viktigste kreative bedriftene i vÃ¥r kultur i dag." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But there is a space between zero and one, Internet culture " -"notwithstanding. And these massive shifts in the effective power of " -"copyright regulation, tied to increased concentration of the content " -"industry and resting in the hands of technology that will increasingly " -"enable control over the use of culture, should drive us to consider whether " -"another adjustment is called for. Not an adjustment that increases " -"copyright's power. Not an adjustment that increases its term. Rather, an " -"adjustment to restore the balance that has traditionally defined copyright's " -"regulation—a weakening of that regulation, to strengthen creativity." -msgstr "" -"men det er et mellomrom mellom null og Ã©n, Internett-kultur til tross for. " -"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet " -"til Ã¸kt konsentrasjon av innhold industrien og hvile i hendene pÃ¥ teknologi " -"som i Ã¸kende grad vil aktivere kontroll over bruken av kultur, bÃ¸r kjÃ¸re oss " -"til Ã¥ vurdere om en annen justering kalles for. ikke en justering som Ã¸ker " -"copyright's strÃ¸m. ikke en justering som Ã¸ker sin sikt. snarere en justering " -"for Ã¥ gjenopprette balansen som tradisjonelt har definert copyright's " -"regulering—en svekkelse av den reguleringen, Ã¥ styrke kreativitet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Copyright law has not been a rock of Gibraltar. It's not a set of constant " -"commitments that, for some mysterious reason, teenagers and geeks now flout. " -"Instead, copyright power has grown dramatically in a short period of time, " -"as the technologies of distribution and creation have changed and as " -"lobbyists have pushed for more control by copyright holders. Changes in the " -"past in response to changes in technology suggest that we may well need " -"similar changes in the future. And these changes have to be " -"<emphasis>reductions</emphasis> in the scope of copyright, in response to " -"the extraordinary increase in control that technology and the market enable." -msgstr "" -"lov om opphavsrett har ikke vÃ¦rt en rock of gibraltar. Det er ikke et sett " -"med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " -"geeks nÃ¥ 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 pÃ¥ at vi kan godt trenger " -"lignende endringer i fremtiden. og disse endringene mÃ¥ vÃ¦re reduksjoner i " -"omfanget av opphavsrett, svar pÃ¥ det ekstraordinÃ¦re Ã¸kning i kontrollen som " -"teknologi og markedet aktivere." - -#. PAGE BREAK 181 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"For the single point that is lost in this war on pirates is a point that we " -"see only after surveying the range of these changes. When you add together " -"the effect of changing law, concentrated markets, and changing technology, " -"together they produce an astonishing conclusion: <emphasis>Never in our " -"history have fewer had a legal right to control more of the development of " -"our culture than now</emphasis>." -msgstr "" -"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi " -"ser bare etter kartlegging pÃ¥ rekke disse endringene. NÃ¥r du legger sammen " -"til effekten av Ã¥ endre loven, konsentrert markeder, og endre teknologien, " -"sammen de produserer en forblÃ¸ffende konklusjon: aldri i vÃ¥r historie har " -"fÃ¦rre hadde en lovfestet rett til Ã¥ styre flere av utviklingen av vÃ¥r kultur " -"enn nÃ¥." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan captures a " -"similar point in his <quote>four surrenders</quote> of copyright law in the " -"digital age. See Vaidhyanathan, 159–60." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan fanger et " -"lignende poeng i hans <quote>fire kapitulasjoner</quote> for Ã¥ndsverksloven " -"i den digitale tidsalder. Se Vaidhyanathan, 159–60." - -#. type: Content of: <book><part><chapter><section><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. " -"<emphasis>Never</emphasis> has copyright protected such a wide range of " -"rights, against as broad a range of actors, for a term that was remotely as " -"long. This form of regulation—a tiny regulation of a tiny part of the " -"creative energy of a nation at the founding—is now a massive " -"regulation of the overall creative process. Law plus technology plus the " -"market now interact to turn this historically benign regulation into the " -"most significant regulation of culture that our free society has known." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point " -"can now be briefly stated." -msgstr "Dette har vÃ¦rt en lang kapittel. sitt punkt kan nÃ¥ kort oppgis." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"At the start of this book, I distinguished between commercial and " -"noncommercial culture. In the course of this chapter, I have distinguished " -"between copying a work and transforming it. We can now combine these two " -"distinctions and draw a clear map of the changes that copyright law has " -"undergone. In 1790, the law looked like this:" -msgstr "" -"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell " -"kultur. i lÃ¸pet av dette kapitlet, har jeg skilte mellom kopiere et arbeid " -"og transformerer det. Vi kan nÃ¥ kombinere disse to utmerkelser og tegne en " -"Fjern tilordning av endringene som har gjennomgÃ¥tt en lov om opphavsrett. i " -"1790, loven sÃ¥ ut som dette:" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "PUBLISH" -msgstr "Publisere" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "TRANSFORM" -msgstr "Omforme" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Commercial" -msgstr "Kommersiell" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "©" -msgstr "©" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Free" -msgstr "Fri" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Noncommercial" -msgstr "Ikke-kommersiell" - -#. PAGE BREAK 182 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The act of publishing a map, chart, and book was regulated by copyright law. " -"Nothing else was. Transformations were free. And as copyright attached only " -"with registration, and only those who intended to benefit commercially would " -"register, copying through publishing of noncommercial work was also free." -msgstr "" -"loven av publisering pÃ¥ 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 Ã¥ gagne " -"kommersielt ville registrere, kopiere gjennom publisering av ikke-" -"kommersielt arbeid var ogsÃ¥ gratis." - -#. type: Content of: <book><part><chapter><section><para> -msgid "By the end of the nineteenth century, the law had changed to this:" -msgstr "" -"PÃ¥ slutten av det nittende Ã¥rhundre hadde loven blitt endret til dette:" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -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 nÃ¥ regulert av lov om opphavsrett—Hvis publisert, som " -"igjen, gitt Ã¸konomien i publisering pÃ¥ tiden, betyr hvis tilbudt " -"kommersielt. men ikke-kommersiell publisering og transformasjon var fortsatt " -"hovedsakelig gratis." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1909 the law changed to regulate copies, not publishing, and after this " -"change, the scope of the law was tied to technology. As the technology of " -"copying became more prevalent, the reach of the law expanded. Thus by 1975, " -"as photocopying machines became more common, we could say the law began to " -"look like this:" -msgstr "" -"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne " -"endringen omfanget av loven var knyttet til teknologi. som teknologi med Ã¥ " -"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, " -"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte Ã¥ se " -"slik ut:" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "COPY" -msgstr "Kopiere" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "©/Free" -msgstr "©/Fri" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The law was interpreted to reach noncommercial copying through, say, copy " -"machines, but still much of copying outside of the commercial market " -"remained free. But the consequence of the emergence of digital technologies, " -"especially in the context of a digital network, means that the law now looks " -"like this:" -msgstr "" -"loven ble tolket for Ã¥ nÃ¥ reklamefrie kopiering gjennom, si, kopimaskiner, " -"men fortsatt mye med Ã¥ kopiere utenfor det kommersielle markedet vÃ¦rt " -"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i " -"sammenheng med en digital network, betyr at loven nÃ¥ ser slik ut:" - -#. PAGE BREAK 183 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Every realm is governed by copyright law, whereas before most creativity was " -"not. The law now regulates the full range of creativity— commercial or " -"not, transformative or not—with the same rules designed to regulate " -"commercial publishers." -msgstr "" -"hver riket er underlagt lov om opphavsrett, mens fÃ¸r de fleste kreativitet " -"ikke var. loven regulerer nÃ¥ hele omfanget av kreativitet—kommersielle " -"eller ikke, transformative eller ikke â med de samme reglene som er utformet " -"for Ã¥ regulere kommersielle utgivere." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Obviously, copyright law is not the enemy. The enemy is regulation that does " -"no good. So the question that we should be asking just now is whether " -"extending the regulations of copyright law into each of these domains " -"actually does any good." -msgstr "" -"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som " -"virker ikke godt. SÃ¥ spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre akkurat nÃ¥ er enten utvide " -"forskrifter om opphavsrett i hver av disse domenene faktisk gjÃ¸r noe bra." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I have no doubt that it does good in regulating commercial copying. But I " -"also have no doubt that it does more harm than good when regulating (as it " -"regulates just now) noncommercial copying and, especially, noncommercial " -"transformation. And increasingly, for the reasons sketched especially in " -"chapters <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> and " -"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, one " -"might well wonder whether it does more harm than good for commercial " -"transformation. More commercial transformative work would be created if " -"derivative rights were more sharply restricted." -msgstr "" -"Jeg har ingen tvil om at den gjÃ¸r bra i regulerer kommersielle kopiering. " -"men jeg har ingen tvil om at det gjÃ¸r mer skade enn bra nÃ¥r regulerer (som " -"den regulerer akkurat nÃ¥) ikke-kommersiell kopiering og, spesielt, ikke-" -"kommersiell transformasjon ogsÃ¥. og i Ã¸kende grad av Ã¥rsaker som skisserte " -"spesielt i kapitlene 7 og 8, en kan vel rart om det gjÃ¸r mer skade enn godt " -"for kommersielle transformasjon. mer kommersielt transformative arbeid vil " -"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "legal realist movement" -msgstr "juridiske realist bevegelse" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"It was the single most important contribution of the legal realist movement " -"to demonstrate that all property rights are always crafted to balance public " -"and private interests. See Thomas C. Grey, <quote>The Disintegration of " -"Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland " -"Pennock and John W. Chapman, eds. (New York: New York University Press, " -"1980). <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for Ã¥ " -"demonstrere at alle eiendomsrettigheter alltid er laget for Ã¥ balansere " -"offentlige og private interesser. se thomas c. grey, \"opplÃ¸sningen av " -"eiendom,\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, Red. " -"(new york: new york university press, 1980)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The issue is therefore not simply whether copyright is property. Of course " -"copyright is a kind of <quote>property,</quote> and of course, as with any " -"property, the state ought to protect it. But first impressions " -"notwithstanding, historically, this property right (as with all property " -"rights<placeholder type=\"footnote\" id=\"0\"/>) has been crafted to " -"balance the important need to give authors and artists incentives with the " -"equally important need to assure access to creative work. This balance has " -"always been struck in light of new technologies. And for almost half of our " -"tradition, the <quote>copyright</quote> did not control <emphasis>at all</" -"emphasis> the freedom of others to build upon or transform a creative work. " -"American culture was born free, and for almost 180 years our country " -"consistently protected a vibrant and rich free culture." -msgstr "" - -#. PAGE BREAK 184 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"We achieved that free culture because our law respected important limits on " -"the scope of the interests protected by <quote>property.</quote> The very " -"birth of <quote>copyright</quote> as a statutory right recognized those " -"limits, by granting copyright owners protection for a limited time only (the " -"story of chapter 6). The tradition of <quote>fair use</quote> is animated by " -"a similar concern that is increasingly under strain as the costs of " -"exercising any fair use right become unavoidably high (the story of chapter " -"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 oppnÃ¥dde at fri kultur fordi vÃ¥r lov respektert viktig begrensninger pÃ¥ " -"omfanget av interessene beskyttet av \"egenskapen.\" svÃ¦rt fÃ¸dselen av " -"\"copyright\" som en lovfestet rett gjenkjennes disse grensene, ved Ã¥ 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 Ã¥ utÃ¸ve noen rettferdig bruk hÃ¸yre " -"bli uunngÃ¥elig hÃ¸y (historien om kapittel 7). legge lovbestemte rettigheter " -"der markeder kan kveler innovasjon er en annen kjent grensen pÃ¥ eiendommen " -"hÃ¸yre at opphavsretten er (kapittel 8). og gi arkiver og biblioteker en bred " -"frihet til Ã¥ samle inn, pÃ¥stander om egenskapen tross, er en avgjÃ¸rende 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 svÃ¦rt forskjellig fra ekstremistgrupper visjonen som dominerer " -"debatten i dag." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Free culture is increasingly the casualty in this war on piracy. In response " -"to a real, if not yet quantified, threat that the technologies of the " -"Internet present to twentieth-century business models for producing and " -"distributing culture, the law and technology are being transformed in a way " -"that will undermine our tradition of free culture. The property right that " -"is copyright is no longer the balanced right that it was, or was intended to " -"be. The property right that is copyright has become unbalanced, tilted " -"toward an extreme. The opportunity to create and transform becomes weakened " -"in a world in which creation requires permission and creativity must check " -"with a lawyer." -msgstr "" -"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar pÃ¥ " -"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 pÃ¥ en mÃ¥te som vil " -"undergrave vÃ¥r tradisjon for fri kultur. eiendommen er copyright ikke lenger " -"rettigheten balansert som det var, eller var ment Ã¥ vÃ¦re. egenskapen akkurat " -"det vil si opphavsrett har blitt ubalansert, skrÃ¥stilt mot en ekstrem. " -"muligheten til Ã¥ opprette og transformere blir svekket i en verden der " -"oppretting krever tillatelse og kreativitet mÃ¥ kontrollere med en advokat." - -#. type: Content of: <book><part><title> -msgid "PUZZLES" -msgstr "NÃ¸tter" - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER ELEVEN: Chimera" -msgstr "Kapittel elleve: Fantasifoster" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "chimeras" -msgstr "fantasifoster/chimera" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Wells, H. G." -msgstr "Wells, H. G." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "<quote>Country of the Blind, The</quote> (Wells)" -msgstr "<quote>Country of the Blind, The</quote> (Wells)" - -#. f1. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See H. G. " -"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " -"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." -msgstr "" -"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). Se H. G. " -"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " -"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In a well-known</emphasis> short story by H. G. " -"Wells, a mountain climber named Nunez trips (literally, down an ice slope) " -"into an unknown and isolated valley in the Peruvian Andes.<placeholder type=" -"\"footnote\" id=\"0\"/> The valley is extraordinarily beautiful, with " -"<quote>sweet water, pasture, an even climate, slopes of rich brown soil with " -"tangles of a shrub that bore an excellent fruit.</quote> But the villagers " -"are all blind. Nunez takes this as an opportunity. <quote>In the Country of " -"the Blind,</quote> he tells himself, <quote>the One-Eyed Man is King.</" -"quote> So he resolves to live with the villagers to explore life as a king." -msgstr "" -"<emphasis role='strong'>I en velkjent</emphasis> novelle av H. G. Wells, " -"snublet en fjellklatrer ved navn Nunez ned en is-skrÃ¥ning inn i en ukjent og " -"isolert dal i de Peruanske Andesfjellene.<placeholder type=\"footnote\" id=" -"\"0\"/> Dalen er utrolig vakker, med <quote>friskt vann, *pasture*, et jevnt " -"klima og sletter med rik brun jord med *tangles* av buskas som bar en " -"utmerket frukt</quote>. Men landsbybeboerne er alle blinde. Nunez ser " -"dette som en mulighet. <quote>I de blindes rike</quote>, forteller han seg " -"selv, <quote>er den enÃ¸yde konge</quote>. SÃ¥ han bestemmer seg for Ã¥ slÃ¥ " -"seg ned hos landsbybeboerne for Ã¥ utforske livet som konge." - -#. type: Content of: <book><part><chapter><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 <quote>blind." -"</quote> They don't have the word <citetitle>blind</citetitle>. They think " -"he's just thick. Indeed, as they increasingly notice the things he can't do " -"(hear the sound of grass being stepped on, for example), they increasingly " -"try to control him. He, in turn, becomes increasingly frustrated. " -"<quote>`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!'</quote>" -msgstr "" -"Ting blir ikke helt som han har planlagt. Han forsÃ¸ker Ã¥ forklare idÃ©en om " -"syn til landsbybeboerne. De forstÃ¥r ikke. Han forteller dem at de er " -"<quote>blind</quote>. De mangler et ord for <citetitle>blind</citetitle>. " -"De tror han bare er treg. Etterhvert som de oppdager tingene ha ikke kan " -"gjÃ¸re (for eksempel hÃ¸re lyden av gress som blir trÃ¥kket pÃ¥), forsÃ¸ker de " -"mer og mer Ã¥ kontrollere ham. Han blir dermed mer og mer frustrert. " -"<quote><quote>Dere forstÃ¥r ikke</quote>, ropte han, i en stemme som var ment " -"Ã¥ vÃ¦re storslÃ¥tt og bestemt, og som skar ut. <quote>Dere er blinde og jeg " -"kan se. La meg vÃ¦re i fred!</quote></quote>" - -#. PAGE BREAK 187 -#. type: Content of: <book><part><chapter><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 <quote>the most beautiful thing in the whole " -"of creation,</quote> understands the beauty of sight. Nunez's description of " -"what he sees <quote>seemed to her the most poetical of fancies, and she " -"listened to his description of the stars and the mountains and her own sweet " -"white-lit beauty as though it was a guilty indulgence.</quote> <quote>She " -"did not believe,</quote> Wells tells us, and <quote>she could only half " -"understand, but she was mysteriously delighted.</quote>" -msgstr "" -"Landsbybeboerne lot han ikke vÃ¦re i fred. Og de ser (for Ã¥ si det slik) " -"ikke det fine i hans spesielle krefter. Ikke en gang det ultimale mÃ¥let for " -"hans hengivenhet, en ung kvinde som for han synes <quote>den vakreste tingen " -"i hele skapelsen</quote>, forstÃ¥r skjÃ¸nnheten i Ã¥ kunne se. Ninez sine " -"beskrivelser av det han ser <quote>virket for henne Ã¥ vÃ¦re de mest poetiske " -"av fantasier, og hun hÃ¸rte pÃ¥ hans beskrivelser av stjernene og fjellene og " -"hennes egen sÃ¸te hvit-lysende skjÃ¸nnhet som om det var en skylding " -"tilfredsstillelse </quote>. <quote>Hun trodde ikke</quote>, forteller Wells " -"oss, og <quote>hun kunne bare halvveis forstÃ¥, men hun var underlig gledet</" -"quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"When Nunez announces his desire to marry his <quote>mysteriously delighted</" -"quote> love, the father and the village object. <quote>You see, my dear,</" -"quote> her father instructs, <quote>he's an idiot. He has delusions. He " -"can't do anything right.</quote> They take Nunez to the village doctor." -msgstr "" -"NÃ¥r Nuez kunngjÃ¸r sitt Ã¸nske om Ã¥ gifte seg med sin <quote>underlig gledet</" -"quote> kjÃ¦rlighet, protesterte faaren og landsbyen. <quote>Du skjÃ¸nner, " -"kjÃ¦re</quote>, instruerer hennes far, <quote>han er en idiot. Han har " -"vrangforestillinger. Han kan ikke gjÃ¸re noe riktig.</quote> De tar Nunez " -"til landsbylegen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"After a careful examination, the doctor gives his opinion. <quote>His brain " -"is affected,</quote> he reports." -msgstr "" -"Etter en nÃ¸ye undersÃ¸kelse gir legen sin vurdering. <quote>Hjernen hans er " -"pÃ¥virket</quote>, rapporterer han." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>What affects it?</quote> the father asks. <quote>Those queer things " -"that are called the eyes … are diseased … in such a way as to " -"affect his brain.</quote>" -msgstr "" -"<quote>Hva pÃ¥virker den?</quote> spÃ¸r faren. <quote>De sÃ¦re tingene som " -"kalles Ã¸yene … er sykelige … pÃ¥ en mÃ¥te som pÃ¥virker hjernen " -"hans.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The doctor continues: <quote>I think I may say with reasonable certainty " -"that in order to cure him completely, all that we need to do is a simple and " -"easy surgical operation—namely, to remove these irritant bodies [the " -"eyes].</quote>" -msgstr "" -"Legen fortsetter: <quote>Jeg tror jeg med rimelig sikkerhet kan si at for Ã¥ " -"kunne helbrede han er alt vi trenger Ã¥ gjÃ¸re en enkel og lett kirurgisk " -"operasjon—nemlig Ã¥ fjerne disse irriterte organene [Ã¸ynene].</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Thank Heaven for science!</quote> says the father to the doctor. They " -"inform Nunez of this condition necessary for him to be allowed his bride. " -"(You'll have to read the original to learn what happens in the end. I " -"believe in free culture, but never in giving away the end of a story.)" -msgstr "" -"<quote>Takk gud for vitenskapen!</quote> sier faren til doktoren. De " -"forteller Nunez om dette kravet som han mÃ¥ oppfylle for Ã¥ fÃ¥ sin brud. (Du " -"fÃ¥r lese originalen for Ã¥ lÃ¦re hvordan historien ender. Jeg tror pÃ¥ fri " -"kultur, men ikke pÃ¥ Ã¥ avslÃ¸re hvordan en historie slutter.)" - -#. PAGE BREAK 188 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>It sometimes</emphasis> happens that the eggs of " -"twins fuse in the mother's womb. That fusion produces a <quote>chimera.</" -"quote> A chimera is a single creature with two sets of DNA. The DNA in the " -"blood, for example, might be different from the DNA of the skin. This " -"possibility is an underused plot for murder mysteries. <quote>But the DNA " -"shows with 100 percent certainty that she was not the person whose blood was " -"at the scene. …</quote>" -msgstr "" -"<emphasis role='strong'>Det skjer</emphasis> noen ganger at eggene til " -"tvillinger sveises sammen i morens livmor. Den sammensveisingen skaper et " -"<quote>fantasifoster/chimera</quote>. Et fantasifoster er en enkelt " -"skapning med to sett med DNA. DNA-et i bloet kan for eksempel vÃ¦re " -"forskjellig fra DNA-et i huden. Denne muligheten er et for lite brukt " -"handling i mordmysterer. <quote>Men DNA-et viser med 100 prosent sikkerhet " -"at hennes blod ikke var det som var pÃ¥ Ã¥stedet. …</quote>" - -#. type: Content of: <book><part><chapter><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 <quote>person</quote> should " -"reflect this reality." -msgstr "" -"FÃ¸r jeg hadde lest om fantasifoster, sÃ¥ ville jeg ha sagt at de var umulig. " -"En enkelt person kan ikke ha to sett med DNA. Selve idÃ©en med DNA er at det " -"er koden til et individ. Likevel er det jo faktisk slik at ikke bare kan to " -"individer ha samme sett med DNA (identiske tvillinger), men en person kan ha " -"to ulike sett med DNA (et fantasifoster). Var forstÃ¥else av en " -"<quote>person</quote> bÃ¸r gjenspeile denne virkeligheten." - -#. type: Content of: <book><part><chapter><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, <quote>the copyright wars,</quote> the more I think we're dealing " -"with a chimera. For example, in the battle over the question <quote>What is " -"p2p file sharing?</quote> both sides have it right, and both sides have it " -"wrong. One side says, <quote>File sharing is just like two kids taping each " -"others' records—the sort of thing we've been doing for the last thirty " -"years without any question at all.</quote> That's true, at least in part. " -"When I tell my best friend to try out a new CD that I've bought, but rather " -"than just send the CD, I point him to my p2p server, that is, in all " -"relevant respects, just like what every executive in every recording company " -"no doubt did as a kid: sharing music." -msgstr "" -"Jo mer jeg arbeider for Ã¥ forstÃ¥ den nÃ¥vÃ¦rende <quote>opphavsrettskrigen</" -"quote> rundt opphavsrett og kultur, som jeg bÃ¥de har kalt urettferdig og " -"ikke urettferdig nok, jo mer tenker jeg at det er et fantasifoster vi " -"snakker om. For eksempel i kampen om spÃ¸rsmÃ¥let <quote>Hva er p2p-fildeling?" -"</quote> har begge sider rett, og begge sider tar feil. En side sier, " -"<quote>fildeling er akkurat som om to unger tar opp hverandres plater pÃ¥ " -"bÃ¥nd—akkurat slik vi har gjort det de siste tredve Ã¥rene uten at noen " -"har stilt spÃ¸rsmÃ¥l ved det i det hele tatt</quote>. Det er riktig, i hvert " -"fall delvis. NÃ¥r jeg ber min beste venn om Ã¥ hÃ¸re pÃ¥ en ny CD jeg har kjÃ¸pt " -"og i stedet for Ã¥ bare sende CDen sÃ¥ peker jeg han til min p2p-tjener, sÃ¥ er " -"det pÃ¥ alle relevante mÃ¥ter akkurat slik enhver leder i ethvert plateselskap " -"uten tvil gjorde som barn: deling av musikk." - -#. type: Content of: <book><part><chapter><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 <quote>friends</" -"quote> beyond recognition to say <quote>my ten thousand best friends</quote> " -"can get access. Whether or not sharing my music with my best friend is what " -"<quote>we have always been allowed to do,</quote> we have not always been " -"allowed to share music with <quote>our ten thousand best friends.</quote>" -msgstr "" -"Men beskrivelsen er ogsÃ¥ delvis uriktig. For nÃ¥r min p2p-tjener er pÃ¥ et " -"p2p-nettverk der enhver kan fÃ¥ tilgang til min musikk, sÃ¥ kan helt klart " -"mine venner fÃ¥ tilgang, men det strekker betydningen av <quote>venner</" -"quote> forbi bristepunktet nÃ¥r en sier <quote>mine ti tusen beste venner</" -"quote> kan fÃ¥ tilgang. Uansett om <quote>vi alltid har hatt lov til</quote> " -"Ã¥ dele min musikk med min beste venner, sÃ¥ har vi ikke alltid hatt lov til Ã¥ " -"dele musikk med <quote>vÃ¥re ti tusen beste venner</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Likewise, when the other side says, <quote>File sharing is just like walking " -"into a Tower Records and taking a CD off the shelf and walking out with it,</" -"quote> that's true, at least in part. If, after Lyle Lovett (finally) " -"releases a new album, rather than buying it, I go to Kazaa and find a free " -"copy to take, that is very much like stealing a copy from Tower. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Tilsvarende, nÃ¥r den andre siden sier, <quote>Fildeling er som Ã¥ gÃ¥ inn hos " -"Tower Records Ã¥ ta en CD fra hylla og gÃ¥ ut av butikken med den</quote>, sÃ¥ " -"er det riktig, i hvert fall delvis. Hvis jeg, etter at Lyle Lovett " -"(endelig) gir ut et nytt album, i stedet for Ã¥ kjÃ¸pe den gÃ¥r pÃ¥ Kazaa og " -"finner et gratis eksemplar jeg kan ta, sÃ¥ er det veldig likt det Ã¥ stjele et " -"eksemplar fra Tower.<placeholder type=\"indexterm\" id=\"0\"/>" - -#. PAGE BREAK 189 -#. type: Content of: <book><part><chapter><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 som Ã¥ sjele fra Tower. Tross alt har Tower Record en " -"mindre CD de kan selge nÃ¥r jeg tar en CD fra Tower. Og nÃ¥r jeg tar en CD " -"fra Tower Records, sÃ¥ fÃ¥r jeg en bit plastik og et omslag, og noe Ã¥ vise " -"frem pÃ¥ hyllene mine. (Og nÃ¥r vi fÃ¸rst er i gang, bÃ¸r vi ogsÃ¥ ta med at nÃ¥r " -"jeg tar en CD fra Tower Records, sÃ¥ er den masimale boten jeg kan pÃ¥rda meg, " -"i hvert fall i fÃ¸lge loven i California, $1 000. I fÃ¸lge RIAA kan jeg, " -"derimot, hvis jeg laster ned en ti-sangs CD, bli ansvarlig for " -"$1 500 000 i erstatning.)" - -#. type: Content of: <book><part><chapter><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 beskrivelsen fra begge sider er feil. Poenget er at " -"begge sider har rett—bÃ¥de som RIAA beskriver det og som Kazaa " -"beskriver det. Det er et fantasifoster. Og i stedet for Ã¥ ganske enkelt " -"benekte det den andre siden hevder, sÃ¥ mÃ¥ vi begynne Ã¥ Ã¥ tenke pÃ¥ hvordan vi " -"kan svare pÃ¥ dette fantasifosteret. Hvilke regler bÃ¸r styre det?" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "ISPs (Internet service providers), user identities revealed by" -msgstr "ISPer (Internet-tilbydere), brukeridentiteter avslÃ¸rt av" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Conyers, John, Jr." -msgstr "Conyers, John, Jr." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Berman, Howard L." -msgstr "Berman, Howard L." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> For an excellent summary, see the " -"report prepared by GartnerG2 and the Berkman Center for Internet and Society " -"at Harvard Law School, <quote>Copyright and Digital Media in a Post-Napster " -"World,</quote> 27 June 2003, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #33</ulink>. Reps. John Conyers Jr. (D-Mich.) and Howard L. " -"Berman (D-Calif.) have introduced a bill that would treat unauthorized on-" -"line copying as a felony offense with punishments ranging as high as five " -"years imprisonment; see Jon Healey, <quote>House Bill Aims to Up Stakes on " -"Piracy,</quote> <citetitle>Los Angeles Times</citetitle>, 17 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " -"Civil penalties are currently set at $150,000 per copied song. For a recent " -"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " -"the identity of a user accused of sharing more than 600 songs through a " -"family computer, see <citetitle>RIAA</citetitle> v. <citetitle>Verizon " -"Internet Services (In re. Verizon Internet Services)</citetitle>, 240 F. " -"Supp. 2d 24 (D.D.C. 2003). Such a user could face liability ranging as high " -"as $90 million. Such astronomical figures furnish the RIAA with a powerful " -"arsenal in its prosecution of file sharers. Settlements ranging from $12,000 " -"to $17,500 for four students accused of heavy file sharing on university " -"networks must have seemed a mere pittance next to the $98 billion the RIAA " -"could seek should the matter proceed to court. See Elizabeth Young, " -"<quote>Downloading Could Lead to Fines,</quote> redandblack.com, August " -"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #35</" -"ulink>. For an example of the RIAA's targeting of student file sharing, and " -"of the subpoenas issued to universities to reveal student file-sharer " -"identities, see James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to " -"Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8 August 2003, " -"D3, available at <ulink url=\"http://free-culture.cc/notes/\">link #36</" -"ulink>. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" -"\"indexterm\" id=\"2\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><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 "" -"Vi kunne svare ved Ã¥ ganske enkelt late som om det ikke er et " -"fantasifoster. Vi kunne, sammen med RIAA, bestemme at hver eneste fildeling " -"bÃ¸r vÃ¦re en forbrytelse. Vi kan straffeforfÃ¸lge familier for millioner av " -"dollar i skader kun pÃ¥ bakgrunn av at fildelingen skjedde pÃ¥ en av familiens " -"datamaskiner. Og vi kan fÃ¥ universiteter til Ã¥ overvÃ¥ke all datatrafikk for " -"Ã¥ sikre at ingen datamaskin blir brukt til Ã¥ gjennomfÃ¸re denne " -"forbrytelsen. Disse svarene er kanskje ekstreme, men hver av dem har enten " -"blitt foreslÃ¥tt eller er allerede gjennomfÃ¸rt.<placeholder type=\"footnote\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 pÃ¥ fildeling slik mange unger oppfÃ¸rer seg som om " -"vi har svart. Vi kan legalisere det fullstendig. Fjern alt ansvar for " -"brudd pÃ¥ opphavsretten, bÃ¥de sivilt og strafferettslig, nÃ¥r en gjÃ¸r " -"opphavsrettsbeskyttet materiale tilgjengelig pÃ¥ nettet. GjÃ¸r fildeling som " -"sladder: regulert av sosiale normer i stedet for med lov, hvis det er " -"regulert i det hele tatt." - -#. type: Content of: <book><part><chapter><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 " -"<emphasis>either</emphasis> extreme would be worse than a reasonable " -"alternative. But I believe the zero-tolerance solution would be the worse " -"of the two extremes." -msgstr "" -"Begge svarene er mulige. Jeg tror hver av dem ville vÃ¦re en tabbe. I stedet " -"for Ã¥ velge en av disse to ekstremene, sÃ¥ bÃ¸r vi velge noe som gjenkjenner " -"sannheten i begge. Og selv om jeg avslutter denne boken med en sksse til et " -"system som gjÃ¸r akkurat det, sÃ¥ er mÃ¥let mitt med neste kapittel Ã¥ vise " -"akkurat hvor grufult det ville vÃ¦re for oss om vi adopterer nulltoleranse-" -"ekstremet. Jeg tror <emphasis>begge</emphasis> ekstremene vil vÃ¦re verre " -"enn et rimelig alternativ. Men jeg tror nulltoleranse-lÃ¸sningen vil vÃ¦re " -"den verste av de to ekstremene." - -#. PAGE BREAK 190 -#. type: Content of: <book><part><chapter><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 "" -"Likevel er nulltoleranse i stadig stÃ¸rre grad vÃ¥re myndigheters politikk. " -"Midt i dette kaoset som Internettet har skapt, finner en ekstraordinÃ¦r *land " -"grab* sted. Retten og teknologien endres til Ã¥ gi innholdsinnehaverne en " -"type kontroll over kulturen vÃ¥r som de aldri har hatt fÃ¸r. Og i denne " -"ekstremiteten vil mange muligheter for nye oppfinnelser og ny kreativitet gÃ¥ " -"tapt." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"I'm not talking about the opportunities for kids to <quote>steal</quote> " -"music. My focus instead is the commercial and cultural innovation that this " -"war will also kill. We have never seen the power to innovate spread so " -"broadly among our citizens, and we have just begun to see the innovation " -"that this power will unleash. Yet the Internet has already seen the passing " -"of one cycle of innovation around technologies to distribute content. The " -"law is responsible for this passing. As the vice president for global public " -"policy at one of these new innovators, eMusic.com, put it when criticizing " -"the DMCA's added protection for copyrighted material," -msgstr "" -"Jeg snakker ikke om mulighetene for unger til Ã¥ <quote>stjele</quote> " -"musikk. Min fokus er i stedet pÃ¥ den kommersielle og kulturelle " -"nyskapningen som denne krigen ogsÃ¥ vil ta knekken pÃ¥. Vi har aldri fÃ¸r sett " -"muligheten til Ã¥ skape spre seg sÃ¥ bredt blant vÃ¥re borgere, og vi har bare " -"sÃ¥ vidt begynt Ã¥ se nyskapingen som denne muligheten vil slippe fri. " -"Likevel har Internettet allerede sett slutten pÃ¥ en generasjon av nyskaping " -"rundt teknologier for Ã¥ distribuere innhold. Loven er ansvarlig for at den " -"forsvant. Som visepresidenten for global offentlig politikk hos en av disse " -"nye oppfinnerne, eMusic.com, formulerte det da han kritiserte hvordan DMCA " -"la til vern for opphavsrettsbeskyttet materiale." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"eMusic opposes music piracy. We are a distributor of copyrighted material, " -"and we want to protect those rights." -msgstr "" -"eMusic er imot piratkopiering av musikk. Vi er en distributÃ¸r av " -"opphavsrettsbeskyttet materiale, og vi Ã¸nsker Ã¥ beskytte disse rettighetene." - -#. type: Content of: <book><part><chapter><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 Ã¥ bygge en teknologisk festning som inn interessene til de store " -"plateselskapene er ikke nÃ¸dvendigvis den eneste mÃ¥ten Ã¥ beskytte " -"opphavsrettsinteresser, og heller ikke nÃ¸dvendige den beste. Det er ganske " -"enkelt for tidlig Ã¥ svare pÃ¥ det spÃ¸rsmÃ¥let. Markedskrefter som opererer " -"fritt kan godt gi en helt annen indistri-modell." - -#. f3. -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital " -"Entertainment on the Internet and Other Media: Hearing Before the " -"Subcommittee on Telecommunications, Trade, and Consumer Protection, House " -"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, " -"vice president, Global Public Policy and Standards, EMusic.com), available " -"in LEXIS, Federal Document Clearing House Congressional Testimony File." -msgstr "" -"WIPO og dmca ett Ã¥r senere: vurdering av forbruker tilgang til digital " -"underholdning pÃ¥ Internett og andre medier: hÃ¸re fÃ¸r 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, " -"fÃ¸derale dokumentet Ã¥ fjerne huset Kongressens vitnesbyrd fil." - -#. type: Content of: <book><part><chapter><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 "" -"Dette er et kritisk poeng. Valgene som industrisektorer gjÃ¸r relatert til " -"disse systemene vil pÃ¥ mange vis direkte forme markedet for digitale media " -"og hvordan digitale medier blir distribuert. Dette pÃ¥virker sÃ¥ hvilke valg " -"som er tilgjengelig for forbrukere, bÃ¥de nÃ¥r det gjelder hvor enkelt de vil " -"vÃ¦re i stand til Ã¥ fÃ¥ tilgang til digitale medier, og utstyret som de vil " -"kreve for Ã¥ gjÃ¸re dette. DÃ¥rlige valg som gjÃ¸res tidlig i dette spillet vil " -"hemme veksten i dette markedet og skade alles interesser.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Vivendi Universal" -msgstr "Vivendi Universal" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In April 2001, eMusic.com was purchased by Vivendi Universal, one of " -"<quote>the major labels.</quote> Its position on these matters has now " -"changed. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"I april 2001 ble eMusic.com kjÃ¸pt opp av Vivendi Universal, et av <quote>de " -"store plateselskapene</quote>. Selskapets holdning i disse saken har nÃ¥ " -"endret seg. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 "" -"Ã nÃ¥ reversere vÃ¥r tolerante tradisjon vil ikke bare knuse piratvirksomhet. " -"Det vil ofre verdier som er viktige for denne kulturen, og det vil drepe " -"muligheter som kan vÃ¦re svÃ¦rt verdifulle." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER TWELVE: Harms" -msgstr "Kapittel tolv: Skader" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to " -"protect <quote>property,</quote> the content industry has launched a war. " -"Lobbying and lots of campaign contributions have now brought the government " -"into this war. As with any war, this one will have both direct and " -"collateral damage. As with any war of prohibition, these damages will be " -"suffered most by our own people." -msgstr "" -"<emphasis role='strong'>Ved Ã¥ bekjempe</emphasis> <quote>piratvirksomhet</" -"quote> for Ã¥ beskytte <quote>eiendom</quote> har innholdsindustrien erklÃ¦rt " -"krig. Lobbyering og mange valgkampbidrag har nÃ¥ dratt myndighetene inn i " -"denne krigen. Og som med enhver krig vil en bÃ¥de ha direkte og utilsiktet " -"Ã¸deleggelse. Og som med enhver forbudskrig, er det mest vÃ¥re egne folk som " -"lider under disse Ã¸deleggelsene." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"My aim so far has been to describe the consequences of this war, in " -"particular, the consequences for <quote>free culture.</quote> But my aim now " -"is to extend this description of consequences into an argument. Is this war " -"justified?" -msgstr "" -"SÃ¥ langt har mÃ¥let mitt vÃ¦rt Ã¥ beskrive konsekvensene av denne krigen, og " -"spesielt konsekvensene for <quote>fri kultur</quote>. Men nÃ¥ er mÃ¥let mitt " -"Ã¥ utvide denne beskrivelsen av konsekvensene til et argument. Er dette en " -"godt begrunnet krig?" - -#. type: Content of: <book><part><chapter><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 <quote>intellectual property</quote> is at its greatest " -"in our history." -msgstr "" -"Etter mitt syn er den ikke det. Det er ingen god grunn nÃ¥, for fÃ¸rste gang, " -"at loven burde forsvare det gamle mot det nye, akkurat nÃ¥r makten til " -"eiendomsretten som kalles <quote>immateriell eiendom</quote> er stÃ¸rre en " -"den noen gang har vÃ¦rt i vÃ¥r historie." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet <quote>common sense</quote> does not see it this way. Common sense is " -"still on the side of the Causbys and the content industry. The extreme " -"claims of control in the name of property still resonate; the uncritical " -"rejection of <quote>piracy</quote> still has play." -msgstr "" -"Likevel ser ikke <quote>sunn fornuft</quote> det slik. Sunn fornuft er " -"fortsatt enig med Causby-ene og innholdsindustrien. Det ekstreme krav om " -"kontroll som fremmes pÃ¥ vegne av eiendomsrett aksepteres fortsatt. " -"<quote>Piratvirksomhet</quote> avvises fortsatt ukritisk." - -#. PAGE BREAK 193 -#. type: Content of: <book><part><chapter><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 vÃ¦re mange konsekvenser ved Ã¥ fortsette denne krigen. Jeg Ã¸nsker Ã¥ " -"beskrive kun tre. Alle tre kan sies Ã¥ vÃ¦re utilsiktet. Jeg er ganske " -"sikker pÃ¥ at den tredje er utilsiktet, men jeg er mindre sikker om de fÃ¸rste " -"to. De fÃ¸rste to beskytter de moderne RCA-ene, men det er ingen Howard " -"Armstrong pÃ¥ flankene for Ã¥ sloss mot dagens kulturmonopolister." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Constraining Creators" -msgstr "Legger bÃ¥nd pÃ¥ skaperne" - -#. type: Content of: <book><part><chapter><section><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 Ã¥rene vil vi se en eksplosjon av digitale teknologier. Disse " -"teknologiene vil gjÃ¸re det mulig for nesten hvem som helst Ã¥ lagre og dele " -"innhold. Ã lagre og dele innhold er naturligvis det mennesker har gjort " -"siden historiens begynnelse. Det er slik vi lÃ¦rer og kommuniserer. Men " -"lagring og deling ved hjelp av digital teknologi er annerledes. " -"Gjengivelsen og kraften er forskjellig. Du kunne sende en epost og fortalt " -"noen om en vits du sÃ¥ pÃ¥ Comedy Central, eller du kan sende selve klippet. " -"Du kan skrive et innlegg om inkonsekvenser i argumentene til en politiker " -"som du elsker Ã¥ hate, eller du kan lage en kort film som setter uttalelser " -"mot hverandre. Du kan skrive et dikt som uttrykker din kjÃ¦rlighet, eller du " -"kan veve sammen en trÃ¥d—en nettfletting— av sanger fra dine " -"favorittartister i en collage og gjÃ¸re den tilgjengelig pÃ¥ nettet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This digital <quote>capturing and sharing</quote> is in part an extension of " -"the capturing and sharing that has always been integral to our culture, and " -"in part it is something new. It is continuous with the Kodak, but it " -"explodes the boundaries of Kodak-like technologies. The technology of " -"digital <quote>capturing and sharing</quote> promises a world of " -"extraordinarily diverse creativity that can be easily and broadly shared. " -"And as that creativity is applied to democracy, it will enable a broad range " -"of citizens to use technology to express and criticize and contribute to the " -"culture all around." -msgstr "" -"Denne digitale \"fange inn og dele\" er delvis en utvidelse for Ã¥ registrere " -"og dele det har alltid vÃ¦rt del av vÃ¥r 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\" lÃ¸fter en " -"verden av svÃ¦rt mangfoldig kreativitet som kan enkelt og forstand deles. og " -"sÃ¥ at kreativiteten brukes til demokrati, det vil muliggjÃ¸re et bredt " -"spekter av borgere Ã¥ bruke teknologi for Ã¥ uttrykke og kritisere og bidra " -"til kultur rundt." - -#. PAGE BREAK 194 -#. type: Content of: <book><part><chapter><section><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 Ã¥ gjÃ¸re noe med kultur som " -"bare har vÃ¦rt mulig for enkeltpersoner i smÃ¥ grupper, isolert fra andre " -"grupper. Forestill deg en gammel mann som forteller en historie til en " -"samling med naboer i en liten landsby. Forestill deg sÃ¥ den samme " -"historiefortellingen utvidet til Ã¥ nÃ¥ over hele verden." - -#. type: Content of: <book><part><chapter><section><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 "" -"Likevel er alt dette kun mulig hvis aktiviteten antas Ã¥ vÃ¦re lovlig. I " -"dagens juridiske reguleringsregime er det ikke det. La oss glemme fildeling " -"et Ã¸yeblikk. Tenk pÃ¥ dine fantastiske favorittsteder pÃ¥ nettet. Nettsteder " -"som tilbyr oppsummeringer av handlingen for glemte TV-serier, steder som " -"samler tegneserier fra 1960-tallet, steder som mikser bilde og lyd for Ã¥ " -"kritisere politikere eller bedrifter, steder som samler avisartikler fra " -"smale tema om vitenskap eller kultur. Det er store mengder kreativte verker " -"spredt rundt om pÃ¥ Internettet. Men slik loven er satt sammen i dag er " -"disse verkene antatt Ã¥ vÃ¦re ulovlig." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Worldcom" -msgstr "Worldcom" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "doctors malpractice claims against" -msgstr "legers feilbehandlingsanklager mot" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at " -"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; " -"for details of the settlement, see MCI press release, <quote>MCI Wins U.S. " -"District Court Approval for SEC Settlement</quote> (7 July 2003), available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</" -"citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for " -"detaljer om dette forliket, se pressemelding fra MCI, <quote>MCI Wins U.S. " -"District Court Approval for SEC Settlement</quote> (7. juli 2003), " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #37</" -"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Bush, George W." -msgstr "Bush, George W." - -#. type: Content of: <book><part><chapter><section><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, <quote>Measure Stalls in Senate: `We'll Be " -"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and " -"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #39</ulink>. " -"President Bush has continued to urge tort reform in recent months. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Lovforslaget, som var modellerert etter Califorias *tort reform*-modell, ble " -"vedtatt i Representantenes hus men stoppet i Senatet i juli 2003. For en " -"oversikt, se Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,' " -"Say Tort Reformers</quote>, amednews.com, 28. juli 2003, tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, og " -"<quote>Senate Turns Back Malpractice Caps</quote>, CBSNews.com, 9. juli " -"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " -"#39</ulink>. President Bush har fortsatt Ã¥ argumentere for *tort reform* de " -"siste mÃ¥nedene. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "art, underground" -msgstr "kunst, undergrunns" - -#. f3. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> " -"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #40</ulink>. For an overview of the " -"exhibition, see <ulink url=\"http://free-culture.cc/notes/\">link #41</" -"ulink>." -msgstr "" -"Se Danit Lidor, <quote>Artists Just Wanna Be Free</quote>, <citetitle>Wired</" -"citetitle>, 7. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #40</ulink>. For en oversikt over utstillingen, se <ulink " -"url=\"http://free-culture.cc/notes/\">link #41</ulink>." - -#. type: Content of: <book><part><chapter><section><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 <quote>pirates.</" -"quote> We make it impossible for businesses to rely upon a public domain, " -"because the boundaries of the public domain are designed to be unclear. It " -"never pays to do anything except pay for the right to create, and hence only " -"those who can pay are allowed to create. As was the case in the Soviet " -"Union, though for very different reasons, we will begin to see a world of " -"underground art—not because the message is necessarily political, or " -"because the subject is controversial, but because the very act of creating " -"the art is legally fraught. Already, exhibits of <quote>illegal art</quote> " -"tour the United States.<placeholder type=\"footnote\" id=\"0\"/> In what " -"does their <quote>illegality</quote> consist? In the act of mixing the " -"culture around us with an expression that is critical or reflective." -msgstr "" -"Konsekvensen av denne juridiske usikkerheten, sammen med desse ekstreme hÃ¸ye " -"straffene, er at en ekstraordinÃ¦r mengde kreativitet aldri vil gjennomfÃ¸res, " -"eller aldri vil gjennomfÃ¸res Ã¥pnelyst. Vi tvinger denne kreative prosessen " -"under jorda ved Ã¥ hevde at de moderne Walt Disney-ene er <quote>pirater</" -"quote>. Vi gjÃ¸r det umulig for bedrifter Ã¥ basere seg pÃ¥ et allemannseie pÃ¥ " -"grunn av at grensene for allemannsienet er laget for Ã¥ vÃ¦re uklare. Det " -"betaler seg aldri Ã¥ gjÃ¸re noe annet enn Ã¥ betale for retten til Ã¥ skape, og " -"dermed vil kun de som kan betale fÃ¥ lov til Ã¥ skape. Slik det var tilfelle " -"i Sovjetunionen, dog av helt andre Ã¥rsaker, sÃ¥ vil vi begynne Ã¥ se en verden " -"av undergrunns-kust—ikke fordi budskapet nÃ¸dvendigvis er politisk, " -"eller fordi temaet er kontroversielt, men pÃ¥ grunn av at selve det Ã¥ skape " -"denne kunsten er juridisk skummelt. Allerede har utstillinger med " -"<quote>ulovlig kunst</quote> vÃ¦rt pÃ¥ turnÃ© i USA.<placeholder type=\"footnote" -"\" id=\"0\"/> Hva bestÃ¥r deres <quote>ulovlighet</quote> i? I det Ã¥ mikse " -"kulturen rundt oss med et uttrykk som er kritisk eller ettertenksomt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Part of the reason for this fear of illegality has to do with the changing " -"law. I described that change in detail in chapter <xref xrefstyle=\"select: " -"labelnumber\" linkend=\"property-i\"/>. But an even bigger part has to do " -"with the increasing ease with which infractions can be tracked. As users of " -"file-sharing systems discovered in 2002, it is a trivial matter for " -"copyright owners to get courts to order Internet service providers to reveal " -"who has what content. It is as if your cassette tape player transmitted a " -"list of the songs that you played in the privacy of your own home that " -"anyone could tune into for whatever reason they chose." -msgstr "" -"en del av Ã¥rsaken til denne frykten for illegality har Ã¥ gjÃ¸re med endring " -"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda " -"stÃ¸rre del har Ã¥ gjÃ¸re med den Ã¸kende enkelt som brudd kan spores. som " -"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell " -"sak for opphavsrett eiere Ã¥ fÃ¥ domstoler Ã¥ bestille Internett-leverandÃ¸rer Ã¥ " -"avslÃ¸re 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><part><chapter><section><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 fÃ¸r i vÃ¥r historie har en maler trengt Ã¥ bekymre seg om hans maleri " -"krenker noen andres verk. Men en moderne maler, som bruker verktÃ¸yene til " -"Photoshop og deler innholdet pÃ¥ nettet, mÃ¥ bekymre seg for dette hele " -"tiden. Bilder er over alt, men de eneste trygge bildene Ã¥ bruke i " -"skapelsesprosessen er de som er kjÃ¸pt fra Corbis eller en annen av " -"bildebutikkene. Og i denne kjÃ¸psprosessen skjer det sensurering. Det er et " -"fritt marked for blyanter. Vi trenger ikke bekymre oss for dets effekt pÃ¥ " -"kreativiteten. Men det er en strengt regulert og monopolisert marked for " -"kulturelle ikoner, retten til Ã¥ kultivere og endre pÃ¥ dem er ikke " -"tilsvarende fritt." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Lawyers rarely see this because lawyers are rarely empirical. As I described " -"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, " -"in response to the story about documentary filmmaker Jon Else, I have been " -"lectured again and again by lawyers who insist Else's use was fair use, and " -"hence I am wrong to say that the law regulates such a use." -msgstr "" -"Advokater ser sjelden dette pÃ¥ grunn av at advokater er sjelden empiriske. " -"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"recorders\"/>, som respons pÃ¥ historien om dokumentarfilmskaper Jon Else, " -"har jeg blitt belÃ¦rt gang pÃ¥ gang av advokater som insisterer pÃ¥ at Elses " -"bruk var rimelig bruk. Og at jeg derfor tok feil nÃ¥r jeg sa at loven " -"regulerer slik bruk." - -#. PAGE BREAK 196 -#. type: Content of: <book><part><chapter><section><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 USA betyr bare en har rett til Ã¥ hyre inn en advokat til " -"Ã¥ forsvare din rett til Ã¥ skape. Og som advokater liker Ã¥ glemme er vÃ¥rt " -"system for Ã¥ forsvare ens rett utrolig dÃ¥rlig—i nÃ¦r sagt enhver " -"sammenheng, men spesielt her. Det koster for mye, det leverer for tregt, og " -"det som blir levert har ofte liten tilknytning til rettferdigheten i det " -"underliggende kravet. Rettssystemet er kanskje tolererbart for de veldig " -"rike. Men for alle andre er det pinlig for en tradisjon som ellers liker Ã¥ " -"vÃ¦re stolt av rettssikkerheten." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Judges and lawyers can tell themselves that fair use provides adequate " -"<quote>breathing room</quote> between regulation by the law and the access " -"the law should allow. But it is a measure of how out of touch our legal " -"system has become that anyone actually believes this. The rules that " -"publishers impose upon writers, the rules that film distributors impose upon " -"filmmakers, the rules that newspapers impose upon journalists— these " -"are the real laws governing creativity. And these rules have little " -"relationship to the <quote>law</quote> with which judges comfort themselves." -msgstr "" -"Dommere og advokater kan fortelle hverandre at rimelig bruk gir " -"tilstrekkelig <quote>pusterom</quote> mellom lovregulering og tilgangen som " -"loven bÃ¸r tillate. Men det viser hvor fjernt vÃ¥rt juridiske system har " -"blitt at noen faktisk kan tro dette. Reglene som utgivere pÃ¥legger " -"forfattere, reglene som filmdistributÃ¸rer pÃ¥legger filmskapere, reglene som " -"aviser pÃ¥legger journalister—dette er de virkelige lovene som styrer " -"kreativitet. Og disse reglene har lite til felles med <quote>loven</quote> " -"som dommerne trÃ¸ster hverandre med." - -#. type: Content of: <book><part><chapter><section><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 <quote>copyright</quote> silence speech and " -"creativity. And in that world, it takes a studied blindness for people to " -"continue to believe they live in a culture that is free." -msgstr "" -"For i en verden som truer med $150 000 i erstatningskrav for et enkelt " -"opphavsrettsbrudd gjort med hensikt, og som krever titusener av dollar bare " -"for Ã¥ forsvare seg mot en pÃ¥stand om Ã¥ ha brutt oppahvsretten, og som aldri " -"vil gi de som er feilaktig anklaget noen av de kostnadene hun ble pÃ¥fÃ¸rt for " -"Ã¥ forsvare sin rett til Ã¥ uttale seg—i den verden, knebler de utrolig " -"vidtrekkende reguleringene som gÃ¥r under navnet <quote>opphavsrett</quote> " -"bÃ¥de tale og kreativitet. Og i den verden kreves det en utstudert blindhet " -"for at noen fortsatt skal tro at de lever i en fri kultur." - -#. type: Content of: <book><part><chapter><section><para> -msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me," -msgstr "" -"Som Jed Horovitz, forretningsmannen som stÃ¥r bak Video Pipelie sa til meg," - -#. PAGE BREAK 197 -#. type: Content of: <book><part><chapter><section><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, <quote>This has been cleared.</quote> You're not even going " -"to get it on PBS without that kind of permission. That's the point at which " -"they control it." -msgstr "" -"Vi mister [kreative] muligheter over alt. Kreative folk blir tvunget til Ã¥ " -"ikke uttrykke seg. Mange tanker kommer aldri ned pÃ¥ papiret. Og mens en " -"masse ting kanskje [fortsatt] blir skapt, sÃ¥ blir det ikke distribuert. " -"Selv om tingene blir laget … sÃ¥ fÃ¥r du ikke distribuert det i de " -"tradisjonelle mediene med mindre du har en liten lapp fra en advokat som " -"sier <quote>dette er blitt klarert</quote>. Du klarer ikke en gang Ã¥ fÃ¥ det " -"pÃ¥ PBS uten slik tillatelse. Det er poenget med den type kontroll de har." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Constraining Innovators" -msgstr "Legger bÃ¥nd pÃ¥ oppfinnere" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "innovation hampered by" -msgstr "nyskapning hemmet av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "industry establishment opposed to" -msgstr "industrien etablering motsetning til" - -#. type: Content of: <book><part><chapter><section><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 i den siste delen var en knasende venstreorientert historie—" -"kreativitet knust, artister fÃ¥r ikke uttrykke seg, bla bla bla. Kanskje " -"slikt ikke overbeviser deg. Kanskje du mener det er nok sÃ¦r kunst der ute, " -"og uttrykk som er kritiske til omtrent alt mulig. Og hvis du tenker slik, " -"sÃ¥ mener du kanskje at det er lite i den historien Ã¥ bekymre deg over." - -#. type: Content of: <book><part><chapter><section><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, " -"<xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> pages into a " -"book like this), then you can see this other aspect by substituting " -"<quote>free market</quote> every place I've spoken of <quote>free culture.</" -"quote> The point is the same, even if the interests affecting culture are " -"more fundamental." -msgstr "" -"Men det er det en fasett med denne historien som over hodet ikke er " -"venstrevridd. Faktisk er det en fasett som kunne vÃ¦rt skrevet av den mest " -"ekstreme ideologiske forkjemper for markedet. hvis du er en av disse (og en " -"svÃ¦rt spesiell en, <xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> sider inn i en bok som denne), sÃ¥ kan du se denne " -"andre fasetten ved Ã¥ bytte inn <quote>fritt marked</quote> hver gang jeg har " -"snakket om <quote>fri kultur</quote>. Poenget er det samme, selv om " -"interessene som pÃ¥virker kultur er mer fundamentale." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The charge I've been making about the regulation of culture is the same " -"charge free marketers make about regulating markets. Everyone, of course, " -"concedes that some regulation of markets is necessary—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 vÃ¦rt Ã¥ gjÃ¸re om regulering av kultur er samme tillegget gratis " -"markedsfÃ¸rere gjÃ¸re om regulerer markeder. enhver, selvfÃ¸lgelig innrÃ¸mme at " -"noen regulering av markeder er nÃ¸dvendig—et minimum, vi trenger " -"reglene for egenskapen og kontrakt og domstolene for Ã¥ hÃ¥ndheve begge. pÃ¥ " -"samme mÃ¥te i denne kultur debatten innrÃ¸mme enhver at minst noen rammen av " -"copyright er ogsÃ¥ nÃ¸dvendig. men begge perspektiver insisterer vehemently at " -"bare fordi noen regulering er bra, ikke det fÃ¸lger at mer regulering er " -"bedre. og begge perspektiver er stadig attuned til mÃ¥tene i hvilke " -"regulering aktiverer bare de kraftige industriene i dag for Ã¥ beskytte seg " -"mot konkurrenter i morgen." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Barry, Hank" -msgstr "Barry, Hank" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "venture capitalists" -msgstr "venture kapitalister" - -#. PAGE BREAK 198 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is the single most dramatic effect of the shift in regulatory strategy " -"that I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>. The consequence of this massive threat of liability tied " -"to the murky boundaries of copyright law is that innovators who want to " -"innovate in this space can safely innovate only if they have the sign-off " -"from last generation's dominant industries. That lesson has been taught " -"through a series of cases that were designed and executed to teach venture " -"capitalists a lesson. That lesson—what former Napster CEO Hank Barry " -"calls a <quote>nuclear pall</quote> 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 " -"Ã¸nsker Ã¥ skape noe nytt i denne plassen kan trygt innovate bare hvis de har " -"avlogging fra siste generasjon dominerende bransjer. denne leksjonen har " -"lÃ¦rt gjennom en rekke tilfeller som ble utformet og utfÃ¸rt for Ã¥ lÃ¦re " -"venture kapitalister en leksjon. denne leksjonen—hva tidligere napster " -"ceo hank barry kaller en \"kjernefysisk pall\" som har falt over dalen—" -"har blitt lÃ¦rt." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Consider one example to make the point, a story whose beginning I told in " -"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way " -"that even I (pessimist extraordinaire) would never have predicted." -msgstr "" -"Her er et eksempel for Ã¥ demonstrere dette poenget, en historie jeg fortalte " -"starten av i <citetitle>The Future of Ideas</citetitle> og som har utviklet " -"seg pÃ¥ en mÃ¥te som selv ikke jeg (en ekstraordinÃ¦r pessimist) kunne ha spÃ¥dd." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MP3.com" -msgstr "MP3.com" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "my.mp3.com" -msgstr "my.mp3.com" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Roberts, Michael" -msgstr "Roberts, Michael" - -#. type: Content of: <book><part><chapter><section><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 etablerte Michael Roberts et selskap ved navn MP3.com. MP3.com var " -"ute etter Ã¥ endre pÃ¥ musikkbransjen. MÃ¥let deres var ikke bare Ã¥ bidra til " -"nye mÃ¥ter Ã¥ fÃ¥ tilgang til innhold. MÃ¥let var ogsÃ¥ Ã¥ bidra til nye mÃ¥ter Ã¥ " -"skape innhold. Til forskjell fra de store plateselskapene tilbÃ¸d MP3.com " -"opphavspersonene en arena for Ã¥ distribuere sin kreativitet, uten Ã¥ kreve et " -"eksklusivt engasjement fra opphavspersonene." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "preference data on" -msgstr "preferanse data pÃ¥" - -#. type: Content of: <book><part><chapter><section><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 "" -"Men for Ã¥ fÃ¥ dette systemet til Ã¥ virke, trengte MP3.com en pÃ¥litelig mÃ¥te Ã¥ " -"anbefale musikk til sine brukere. IdÃ©en bak dette alternativet var Ã¥ " -"utnytte musikklytternes eksponerte musikkvalg for Ã¥ anbefale nye artister. " -"Hvis du liker Lyle Lovett, sÃ¥ vil du antagelig nyte Bonnie Raitt. Og sÃ¥ " -"videre." - -#. type: Content of: <book><part><chapter><section><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 "" -"Denne idÃ©en krevde et enkel mÃ¥te Ã¥ samle inn data om hva brukerne " -"foretrekker. MP3.com kom opp med en svÃ¦rt snedig mÃ¥te Ã¥ samle inn data om " -"hva brukerne foretrakk. Januar 2000 lanserte selskapet tjenesten my.mp3." -"com. Ved Ã¥ bruke programvare fra MP3.com logget brukeren inn pÃ¥ en konto og " -"satte sÃ¥ en CD inn i datamaskinen sin. Programvaren ville kjenne igjen CDen " -"og sÃ¥ gi brukeren tilgang til det innholdet. Dermed kunne du hvis du f." -"eks. satte inn en CD av Jill Sobule, fÃ¥ tilgang til den musikken uansett " -"hvor du var—pÃ¥ jobb eller hjemme—sÃ¥ snart du hadde logget inn pÃ¥ " -"konto. Systemet var dermed en slags lÃ¥sbart musikk-skrin." - -#. PAGE BREAK 199 -#. type: Content of: <book><part><chapter><section><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 "" -"Det er ingen tvil om at noen kunne bruke dette systemet til Ã¥ kopiere " -"ulovlig innhold. Men den muligheten eksisterte bÃ¥de fÃ¸r og etter MP3.com. " -"MÃ¥let med my.mpr.com-tjenesten var Ã¥ gi brukere tilgang til deres eget " -"innhold, og som et biprodukt av Ã¥ se hva slags innhold de allerede eide, " -"oppdage hva slags innhold brukerne likte." - -#. type: Content of: <book><part><chapter><section><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 "" -"Men for Ã¥ fÃ¥ dette systemet til Ã¥ fungere, mÃ¥tte MP3.com kopiere 50 000 " -"CD-er til en tjener. (I prinsippet kunne det vÃ¦rt brukerne som lastet opp " -"musikken, men det ville tatt svÃ¦rt mye tid, og det ville gjort at produktet " -"hadde tvilsom kvalitet.) Det kjÃ¸pte derfor 50 000 CDer fra en butikk " -"og gikk igang med Ã¥ kopiere disse CD-ene. Og nok en gang, selskapet ville " -"ikke gi ut innholdet fra disse kopiene til noen andre enn de som kunne " -"bekrefte at de allerede hadde et eksemplar av Cd-en de Ã¸nsket tilgang til. " -"SÃ¥ selv pom dette var 50 000 kopier, sÃ¥ var det 50 000 kopier som " -"ble tilbudt for Ã¥ gi kunder noe de allerede hadde kjÃ¸pt." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "distribution technology targeted in" -msgstr "distribusjon-teknologi mÃ¥l for" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "outsize penalties of" -msgstr "Ã¸kte straffer ved" - -#. type: Content of: <book><part><chapter><section><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 at MP3.com lanserte sin tjeneste anla de fem store " -"plateselskapene, under ledelse av RIAA, sak mot MP3.com. MP3.com inngikk " -"forlik med fire av de fem. Ni mÃ¥neder senere avgjorde en fÃ¸deral dommer at " -"MP3.com hadde vÃ¦rt skyldig i Ã¥ med hensikt ha brutt opphavsretten nÃ¥r det " -"gjalt den femte. Ved Ã¥ anvende loven slik den er utformet nÃ¥ ila dommeren " -"MP3.com en bot pÃ¥ $118 millioner. MP3.com inngikk sÃ¥ et forlik med den " -"gjenstÃ¥ende saksÃ¸ker, Vivendi Universal, og betalte mer enn $54 millioner. " -"Vivendi kjÃ¸pte MP3.com omtrent et Ã¥r senere." - -#. type: Content of: <book><part><chapter><section><para> -msgid "That part of the story I have told before. Now consider its conclusion." -msgstr "Den delen av historien har jeg fortalt fÃ¸r. NÃ¥ kommer konklusjonen." - -#. type: Content of: <book><part><chapter><section><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 kjÃ¸pte MP3.com, snudde Vivendi seg rundt og saksÃ¸kte for " -"pliktforsÃ¸mmelse de advokatene som hadde gitt rÃ¥d om at selskapet i god tro " -"kunne hevde at tjenesten selskapet Ã¸nsket Ã¥ tilby ville bli ansett som " -"lovlig i henhold til opphavsretten. Dette sÃ¸ksmÃ¥let hevdet at det burde ha " -"vÃ¦rt Ã¥penbart at domstolene ville anse denne oppfÃ¸rselen for ulovlig. " -"Dermed forsÃ¸kte dette sÃ¸ksmÃ¥let Ã¥ straffe enhver advokat som vÃ¥get Ã¥ foreslÃ¥ " -"at loven var mindre restrektiv en plateselskapene krevde." - -#. PAGE BREAK 200 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The clear purpose of this lawsuit (which was settled for an unspecified " -"amount shortly after the story was no longer covered in the press) was to " -"send an unequivocal message to lawyers advising clients in this space: It is " -"not just your clients who might suffer if the content industry directs its " -"guns against them. It is also you. So those of you who believe the law " -"should be less restrictive should realize that such a view of the law will " -"cost you and your firm dearly." -msgstr "" -"Den Ã¥penbare hensikten med dette sÃ¸ksmÃ¥let (som ble avsluttet med et forlik " -"for et uspesifisert belÃ¸p like etter at saken ikke lenger fikk " -"pressedekning), var Ã¥ sende en melding som ikke kan misforstÃ¥s til advokater " -"som gir rÃ¥d til klienter pÃ¥ dette omrÃ¥det: Det er ikke bare dine klienter " -"som fÃ¥r lide hvis innholdsindustrien retter sine vÃ¥pen mot dem. Det fÃ¥r " -"ogsÃ¥ du. SÃ¥ de av dere som tror loven burde vÃ¦re mindre restriktiv bÃ¸r " -"innse at et slikt syn pÃ¥ loven vil koste deg og ditt firma dyrt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "BMW" -msgstr "BMW" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "cars, MP3 sound systems in" -msgstr "biler, MP3-lydsystem i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Hummer, John" -msgstr "Hummer, John" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Hummer Winblad" -msgstr "Hummer Winblad" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MP3 players" -msgstr "MP3-spillere" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "venture capital for" -msgstr "risikovillig kapital for" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Needleman, Rafe" -msgstr "Needleman, Rafe" - -#. f4. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> " -"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel " -"argument about the effects on innovation in the distribution of music, see " -"Janelle Brown, <quote>The Music Revolution Will Not Be Digitized,</quote> " -"Salon.com, 1 June 2001, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #42</ulink>. See also Jon Healey, <quote>Online Music " -"Services Besieged,</quote> <citetitle>Los Angeles Times</citetitle>, 28 May " -"2001." -msgstr "" - -#. type: Content of: <book><part><chapter><section><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 <citetitle>Business 2.0</citetitle>, " -"Rafe Needleman describes a discussion with BMW:" -msgstr "" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> " -"<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #43</ulink>. I am grateful to Dr. " -"Mohammad Al-Ubaydli for this example. <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Rafe Needleman, <quote>Driving in Cars with MP3s</quote>, " -"<citetitle>Business 2.0</citetitle>, 16. juni 2003, tilgjengelig via <ulink " -"url=\"http://free-culture.cc/notes/\">link #43</ulink>. Jeg er takknemlig " -"til Dr. Mohammad Al-Ubaydli for dette eksemplet. <placeholder type=" -"\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -msgid "" -"This is the world of the mafia—filled with <quote>your money or your " -"life</quote> offers, governed in the end not by courts but by the threats " -"that the law empowers copyright holders to exercise. It is a system that " -"will obviously and necessarily stifle new innovation. It is hard enough to " -"start a company. It is impossibly hard if that company is constantly " -"threatened by litigation." -msgstr "" -"Dette er verden til mafiaen—fylt med <quote>penger eller livet</quote>-" -"trusler, som ikke er regulert av domstolene men av trusler som loven gir " -"rettighetsinnehaver mulighet til Ã¥ komme med. Det er et system som Ã¥penbart " -"og nÃ¸dvendigvis vil kvele ny innovasjon. Det er vanskelig nok Ã¥ starte et " -"selskap. Det blir helt umulig hvis selskapet er stadig truet av sÃ¸ksmÃ¥l." - -#. PAGE BREAK 201 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The point is not that businesses should have a right to start illegal " -"enterprises. The point is the definition of <quote>illegal.</quote> The law " -"is a mess of uncertainty. We have no good way to know how it should apply to " -"new technologies. Yet by reversing our tradition of judicial deference, and " -"by embracing the astonishingly high penalties that copyright law imposes, " -"that uncertainty now yields a reality which is far more conservative than is " -"right. If the law imposed the death penalty for parking tickets, we'd not " -"only have fewer parking tickets, we'd also have much less driving. The same " -"principle applies to innovation. If innovation is constantly checked by this " -"uncertain and unlimited liability, we will have much less vibrant innovation " -"and much less creativity." -msgstr "" -"Poenget er ikke at virksomheter skal ha lov til Ã¥ starte ulovlig aktivitet. " -"Poenget er definisjonen av <quote>ulovlig</quote>. Loven er et rot av " -"usikkerhet. Vi har ingen god mÃ¥te Ã¥ vite hvordan den bÃ¸r anvendes pÃ¥ nye " -"teknologier. Og likevel, ved Ã¥ reverse vÃ¥r tradisjon for juridisk " -"hensynsfullhet og omfavne det forblÃ¸ffende hÃ¸ye straffenivÃ¥et som pÃ¥legges " -"av opphavsretten, gir denne usikkerheten nÃ¥ en virkelighet som er mye mer " -"konservativ enn det som er rett. Hvis loven pÃ¥la dÃ¸dsstraff for Ã¥ parkere " -"ulovlig, sÃ¥ ville vi ikke bare ha fÃ¦rre ulovlige parkeringer, vi ville ogsÃ¥ " -"ha mye mindre kjÃ¸ring. Det samme prinsippet gjelder for nyskapning. Hvis " -"innovasjon stadig kontrolleres av denne usikre og ubegrensede " -"strafferettsansvaret, sÃ¥ vil vi ha mye mindre levende nyskapning og mye " -"mindre kreativitet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The point is directly parallel to the crunchy-lefty point about fair use. " -"Whatever the <quote>real</quote> law is, realism about the effect of law in " -"both contexts is the same. This wildly punitive system of regulation will " -"systematically stifle creativity and innovation. It will protect some " -"industries and some creators, but it will harm industry and creativity " -"generally. Free market and free culture depend upon vibrant competition. " -"Yet the effect of the law today is to stifle just this kind of competition. " -"The effect is to produce an overregulated culture, just as the effect of too " -"much control in the market is to produce an 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 Ã¥ " -"undertrykke akkurat denne type konkurranse. effekten er Ã¥ produsere en " -"overregulated kultur, akkurat som effekten av for mye kontroll i markedet er " -"Ã¥ produsere en overregulatedregulated markedet." - -#. PAGE BREAK 202 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The building of a permission culture, rather than a free culture, is the " -"first important way in which the changes I have described will burden " -"innovation. A permission culture means a lawyer's culture—a culture in " -"which the ability to create requires a call to your lawyer. Again, I am not " -"antilawyer, at least when they're kept in their proper place. I am certainly " -"not antilaw. But our profession has lost the sense of its limits. And " -"leaders in our profession have lost an appreciation of the high costs that " -"our profession imposes upon others. The inefficiency of the law is an " -"embarrassment to our tradition. And while I believe our profession should " -"therefore do everything it can to make the law more efficient, it should at " -"least do everything it can to limit the reach of the law where the law is " -"not doing any good. The transaction costs buried within a permission culture " -"are enough to bury a wide range of creativity. Someone needs to do a lot of " -"justifying to justify that result." -msgstr "" -"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den fÃ¸rste " -"viktige mÃ¥ten der vil endringene jeg har beskrevet byrden innovasjon. en " -"tillatelse kultur betyr en advokat kultur—en kultur der muligheten til " -"Ã¥ opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke " -"antilawyer, minst nÃ¥r de er holdt i deres riktig sted. Jeg er sikkert ikke " -"antilaw. Men vÃ¥rt yrke har mistet fÃ¸lelsen av sine grenser. og ledere i vÃ¥r " -"profesjon har mistet en styrking av de hÃ¸ye kostnadene som vÃ¥rt yrke " -"pÃ¥legger over andre. ineffektiviteten i loven er en forlegenhet til vÃ¥r " -"tradisjon. og mens jeg tror vÃ¥rt yrke bÃ¸r derfor gjÃ¸re alt den kan for Ã¥ " -"effektivisere loven, det bÃ¸r minst gjÃ¸re alt den kan for Ã¥ begrense " -"rekkevidden av loven der loven ikke gjÃ¸r noe bra. transaksjonskostnader " -"begravde innen en tillatelse kultur er nok Ã¥ begrave et bredt spekter av " -"kreativitet. noen mÃ¥ gjÃ¸re en masse rettferdiggjÃ¸rende for Ã¥ rettferdiggjÃ¸re " -"dette resultatet. Usikkerheten av loven er en byrde pÃ¥ innovasjon. Det er en " -"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen " -"innhold for Ã¥ bruke loven til Ã¥ regulere direkte teknologi pÃ¥ Internett slik " -"at det bedre beskytter innholdet." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>The uncertainty</emphasis> of the law is one burden " -"on innovation. There is a second burden that operates more directly. This is " -"the effort by many in the content industry to use the law to directly " -"regulate the technology of the Internet so that it better protects their " -"content." -msgstr "" -"<emphasis role='strong'>Usikkerheten</emphasis> i loven er en av byrdene som " -"legges pÃ¥ nyskapningen. Det er en annen byrde som virker mer direkte. " -"Dette er effekten fra mange i innholdsindustrien som bruker loven til Ã¥ " -"direkte regulere teknologien pÃ¥ Internettet slik at den beskytter deres " -"innhold bedre." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The motivation for this response is obvious. The Internet enables the " -"efficient spread of content. That efficiency is a feature of the Internet's " -"design. But from the perspective of the content industry, this feature is a " -"<quote>bug.</quote> The efficient spread of content means that content " -"distributors have a harder time controlling the distribution of content. " -"One obvious response to this efficiency is thus to make the Internet less " -"efficient. If the Internet enables <quote>piracy,</quote> then, this " -"response says, we should break the kneecaps of the Internet." -msgstr "" -"motivasjon for dette svaret er Ã¥penbart. Internett gjÃ¸r 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 " -"distributÃ¸rer har en hardere tid kontrollere distribusjon av innhold. ettall " -"Ã¥penbare svaret Ã¥ denne effektiviteten er derfor Ã¥ gjÃ¸re Internett mindre " -"effektivt. Hvis Internett gjÃ¸r at \"piratkopiering\", deretter dette svaret " -"sier, vi bÃ¸r bryte kneecaps av Internett." - -#. f6. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<quote>Copyright and Digital Media in a Post-Napster World,</quote> " -"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law " -"School (2003), 33–35, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #44</ulink>." -msgstr "" - -#. f7. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "GartnerG2, 26–27." -msgstr "GartnerG2, 26–27." - -#. type: Content of: <book><part><chapter><section><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 <quote>broadcast flag</quote> that would be required on any " -"device capable of transmitting digital video (i.e., a computer), and that " -"would disable the copying of any content that is marked with a broadcast " -"flag. Other members of Congress have proposed immunizing content providers " -"from liability for technology they might deploy that would hunt down " -"copyright violators and disable their machines.<placeholder type=\"footnote" -"\" id=\"1\"/>" -msgstr "" - -#. PAGE BREAK 203 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In one sense, these solutions seem sensible. If the problem is the code, why " -"not regulate the code to remove the problem. But any regulation of technical " -"infrastructure will always be tuned to the particular technology of the day. " -"It will impose significant burdens and costs on the technology, but will " -"likely be eclipsed by advances around exactly those requirements." -msgstr "" -"i en forstand synes disse lÃ¸sningene fornuftig. Hvis problemet er koden, " -"hvorfor ikke regulere koden for Ã¥ fjerne problemet. men noen regulering av " -"tekniske infrastruktur vil alltid er stilt inn pÃ¥ bestemt teknologi av " -"dagen. det vil innfÃ¸re betydelig byrder og kostnader pÃ¥ teknologi, men vil " -"trolig vÃ¦re eclipsed av fremskritt rundt akkurat disse kravene." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Intel" -msgstr "Intel" - -#. f8. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> " -"Newsbytes, February 2002 (Entertainment)." -msgstr "" -"se david mcguire, \"tech execs torget off over piratkopiering,\" newsbytes, " -"februar 2002 (underholdning)." - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>There is one</emphasis> more obvious way in which " -"this war has harmed innovation—again, a story that will be quite " -"familiar to the free market crowd." -msgstr "" -"<emphasis role='strong'>Det er en</emphasis> mer Ã¥penbar mÃ¥te som denne " -"krigen har skadet nyskapning—igjen, en historie som vil vÃ¦re ganske " -"familiÃ¦r for de som stÃ¸tter det frie markedet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Copyright may be property, but like all property, it is also a form of " -"regulation. It is a regulation that benefits some and harms others. When " -"done right, it benefits creators and harms leeches. When done wrong, it is " -"regulation the powerful use to defeat competitors." -msgstr "" -"Copyright kanskje eiendom, men som all eiendom, det er ogsÃ¥ en form for " -"regulering. Det er en forordning som fordeler noen og skader andre. NÃ¥r det " -"gjÃ¸res riktig, det fordeler skaperne og skader leeches. NÃ¥r gjort galt, det " -"er regulering kraftig bruk Ã¥ beseire konkurrenter." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Digital Copyright (Litman)" -msgstr "Digital Copyright (Litman)" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: " -"Prometheus Books, 2001). <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Jessica litman, digitale copyright (amherst, n.y.: prometheus bÃ¸ker, 2001)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, despite this feature of copyright as regulation, and " -"subject to important qualifications outlined by Jessica Litman in her book " -"<citetitle>Digital Copyright</citetitle>,<placeholder type=\"footnote\" id=" -"\"0\"/> overall this history of copyright is not bad. As chapter 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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But that pattern of deference to new technologies has now changed with the " -"rise of the Internet. Rather than striking a balance between the claims of a " -"new technology and the legitimate rights of content creators, both the " -"courts and Congress have imposed legal restrictions that will have the " -"effect of smothering the new to benefit the old." -msgstr "" -"men dette mÃ¸nsteret av deference til nye teknologier er nÃ¥ endret med " -"veksten av Internett. i stedet for Ã¥ treffe en balanse mellom kravene til en " -"ny teknologi og legitime rettighetene til skapere av innhold, har bÃ¥de " -"domstoler og Kongressen innfÃ¸rt juridiske restriksjoner som vil ha effekten " -"av smothering ny for Ã¥ dra nytte av gamle." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "radio on" -msgstr "radio pÃ¥" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Grokster, Ltd." -msgstr "Grokster, Ltd." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> The only circuit court exception " -"is found in <citetitle>Recording Industry Association of America (RIAA)</" -"citetitle> v. <citetitle>Diamond Multimedia Systems</citetitle>, 180 F. 3d " -"1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit " -"reasoned that makers of a portable MP3 player were not liable for " -"contributory copyright infringement for a device that is unable to record or " -"redistribute music (a device whose only copying function is to render " -"portable a music file already stored on a user's hard drive). At the " -"district court level, the only exception is found in <citetitle>Metro-" -"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</" -"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found " -"the link between the distributor and any given user's conduct too attenuated " -"to make the distributor liable for contributory or vicarious infringement " -"liability." -msgstr "" -"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 bÃ¦rbar 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 Ã¥ gjengi bÃ¦rbare en musikkfil som " -"allerede er lagret pÃ¥ brukerens harddisk). pÃ¥ district court-nivÃ¥, 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 distributÃ¸ren og noen gitt bruker 's " -"gjennomfÃ¸re for attenuated Ã¥ gjÃ¸re distributÃ¸ren ansvarlig for krenkelse av " -"medvirkende eller stedfortredende erstatningsansvar." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Tauzin, Billy" -msgstr "Tauzin, Billy" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Hollings, Fritz" -msgstr "Hollings, Fritz" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> For example, in July 2002, " -"Representative Howard Berman introduced the Peer-to-Peer Piracy Prevention " -"Act (H.R. 5211), which would immunize copyright holders from liability for " -"damage done to computers when the copyright holders use technology to stop " -"copyright infringement. In August 2002, Representative Billy Tauzin " -"introduced a bill to mandate that technologies capable of rebroadcasting " -"digital copies of films broadcast on TV (i.e., computers) respect a " -"<quote>broadcast flag</quote> that would disable copying of that content. " -"And in March of the same year, Senator Fritz Hollings introduced the " -"Consumer Broadband and Digital Television Promotion Act, which mandated " -"copyright protection technology in all digital media devices. See GartnerG2, " -"<quote>Copyright and Digital Media in a Post-Napster World,</quote> 27 June " -"2003, 33–34, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #44</ulink>. <placeholder type=\"indexterm\" id=\"1\"/> " -"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " -"id=\"3\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"pirates\"/>, when a radio station plays a song, the recording artist " -"doesn't get paid for that <quote>radio performance</quote> unless he or she " -"is also the composer. So, for example if Marilyn Monroe had recorded a " -"version of <quote>Happy Birthday</quote>—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 <quote>Happy Birthday</quote> would get some money, whereas " -"Marilyn Monroe would not." -msgstr "" -"som jeg beskrevet i kapittel 4, nÃ¥r en radiostasjon spiller en sang, fÃ¥r " -"ikke innspillingen artisten betalt for at \"radio ytelse\" med mindre han " -"eller hun er ogsÃ¥ komponisten. sÃ¥, for eksempel hvis marilyn monroe hadde " -"spilt inn en versjon av \"happy birthday\"—for Ã¥ memorialize sin " -"berÃ¸mte opptreden fÃ¸r president kennedy i madison square garden—" -"deretter nÃ¥r denne innspillingen ble spilt pÃ¥ radio, gjeldende opphavsrett " -"eierne av \"happy birthday\" ville fÃ¥ noen penger, mens marilyn monroe ville " -"ikke." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The reasoning behind this balance struck by Congress makes some sense. The " -"justification was that radio was a kind of advertising. The recording artist " -"thus benefited because by playing her music, the radio station was making it " -"more likely that her records would be purchased. Thus, the recording artist " -"got something, even if only indirectly. Probably this reasoning had less to " -"do with the result than with the power of radio stations: Their lobbyists " -"were quite good at stopping any efforts to get Congress to require " -"compensation to the recording artists." -msgstr "" -"begrunnelsen bak denne balansen truffet av Kongressen gjÃ¸r noe fornuftig. " -"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte " -"dermed fordi ved Ã¥ spille musikken hennes, radiostasjonen var Ã¥ gjÃ¸re det " -"mer sannsynlig at hennes poster ville vÃ¦re kjÃ¸pt. dermed Plateartist fikk " -"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre Ã¥ " -"gjÃ¸re med resultatet enn med makten av radiostasjoner: deres lobbyister var " -"ganske god til Ã¥ stoppe enhver innsats for Ã¥ fÃ¥ Kongressen til Ã¥ kreve " -"kompensasjon for artistene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Enter Internet radio. Like regular radio, Internet radio is a technology to " -"stream content from a broadcaster to a listener. The broadcast travels " -"across the Internet, not across the ether of radio spectrum. Thus, I can " -"<quote>tune in</quote> to an Internet radio station in Berlin while sitting " -"in San Francisco, even though there's no way for me to tune in to a regular " -"radio station much beyond the San Francisco metropolitan area." -msgstr "" -"Skriv inn Internett-radio. som vanlige radio er Internett-radio en teknologi " -"Ã¥ direktesende innhold fra en kringkasteren til en lytter. kringkastingen " -"reiser over Internett, ikke pÃ¥ tvers av Eter av radio spectrum. SÃ¥ledes, jeg " -"kan \"stille inn\" til Internett-radiostasjonen i berlin mens du sitter i " -"san francisco, selv om det er ingen mÃ¥te for meg Ã¥ stille inn pÃ¥ en vanlig " -"radiostasjon langt utover san francisco metropolitan area." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This feature of the architecture of Internet radio means that there are " -"potentially an unlimited number of radio stations that a user could tune in " -"to using her computer, whereas under the existing architecture for broadcast " -"radio, there is an obvious limit to the number of broadcasters and clear " -"broadcast frequencies. Internet radio could therefore be more competitive " -"than regular radio; it could provide a wider range of selections. And " -"because the potential audience for Internet radio is the whole world, niche " -"stations could easily develop and market their content to a relatively large " -"number of users worldwide. According to some estimates, more than eighty " -"million users worldwide have tuned in to this new form of radio." -msgstr "" -"Denne funksjonen i arkitekturen av Internett-radio betyr at det er " -"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn " -"til Ã¥ bruke sin datamaskin, mens under den eksisterende arkitekturen for " -"kringkasting, det er en Ã¥penbar grense for hvor mange broadcasters og fjerne " -"kringkastingsfrekvenser. Internett-radio kan derfor vÃ¦re 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 markedsfÃ¸re innholdet til et relativt " -"stort antall brukere over hele verden. IfÃ¸lge noen anslag har mer enn Ã¥tti " -"millioner brukere over hele verden stilt inn pÃ¥ denne nye formen for radio." - -#. PAGE BREAK 205 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Internet radio is thus to radio what FM was to AM. It is an improvement " -"potentially vastly more significant than the FM improvement over AM, since " -"not only is the technology better, so, too, is the competition. Indeed, " -"there is a direct parallel between the fight to establish FM radio and the " -"fight to protect Internet radio. As one author describes Howard Armstrong's " -"struggle to enable FM radio," -msgstr "" -"Internett-radio er dermed til radio hva fm var Ã¥ am. Det er en forbedring " -"potensielt vesentlig stÃ¸rre betydning enn fm-forbedring over am, siden ikke " -"bare er teknologien bedre, sÃ¥, ogsÃ¥, er konkurransen. faktisk er det en " -"direkte parallell mellom kampen for Ã¥ etablere fm-radio og kampen for Ã¥ " -"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp " -"for Ã¥ aktivere fm-radio," - -#. f12. -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "Lessing, 239." -msgstr "Lessing, 239." - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "Ibid., 229." -msgstr "ibid., 229." - -#. type: Content of: <book><part><chapter><section><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 " -"<quote>vested interests, habits, customs and legislation</quote><placeholder " -"type=\"footnote\" id=\"0\"/> to retard the growth of this competing " -"technology." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Now the very same claim could be made about Internet radio. For again, there " -"is no technical limitation that could restrict the number of Internet radio " -"stations. The only restrictions on Internet radio are those imposed by the " -"law. Copyright law is one such law. So the first question we should ask is, " -"what copyright rules would govern Internet radio?" -msgstr "" -"nÃ¥ kunne samme kravet gjort om Internett-radio. for pÃ¥ nytt finnes det ingen " -"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de " -"eneste begrensningene pÃ¥ Internett-radio som er pÃ¥lagt av loven. lov om " -"opphavsrett er en slik lov. sÃ¥ det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre er, " -"hvilke opphavsrett regler ville styre Internett-radio?" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on radio" -msgstr "om radio" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "Internet radio hampered by" -msgstr "Internett-radio som er hemmet av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on Internet radio fees" -msgstr "om radio-avgifter pÃ¥ internet" - -#. PAGE BREAK 206 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But here the power of the lobbyists is reversed. Internet radio is a new " -"industry. The recording artists, on the other hand, have a very powerful " -"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet " -"radio in 1995, the lobbyists had primed Congress to adopt a different rule " -"for Internet radio than the rule that applies to terrestrial radio. While " -"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " -"it plays her hypothetical recording of <quote>Happy Birthday</quote> on the " -"air, <emphasis>Internet radio does</emphasis>. Not only is the law not " -"neutral toward Internet radio—the law actually burdens Internet radio " -"more than it burdens terrestrial radio." -msgstr "" -"men her kraften i lobbyister tilbakefÃ¸res. Internett-radio er en ny " -"industri. artister, derimot, har en svÃ¦rt kraftig lobby, riaa. dermed hadde " -"Kongressen vurdert nÃ¥r fenomenet Internett-radio i 1995, lobbyister primed " -"Kongressen Ã¥ adoptere en annen regel for Internett-radio enn regelen som " -"gjelder bakkesendte radio. mens bakkesendte radio ikke trenger Ã¥ betale vÃ¥re " -"hypotetisk marilyn monroe nÃ¥r den spilles hennes hypotetisk innspillingen av " -"\"happy birthday\" pÃ¥ luften, Internett-radio gjÃ¸r. ikke bare er loven ikke " -"nÃ¸ytral mot Internett-radio—loven faktisk byrder Internettradio mer " -"enn det byrder bakkesendte radio." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "CARP (Copyright Arbitration Royalty Panel)" -msgstr "Carp (opphavsrett voldgift royalty-panelet)" - -#. type: Content of: <book><part><chapter><section><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, <quote>Copyright as " -"Entry Policy: The Case of Digital Distribution,</quote> <citetitle>Antitrust " -"Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was not confusion, " -"these are just old-fashioned entry barriers. Analog radio stations are " -"protected from digital entrants, reducing entry in radio and diversity. Yes, " -"this is done in the name of getting royalties to copyright holders, but, " -"absent the play of powerful interests, that could have been done in a media-" -"neutral way.</quote> <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " -"type=\"indexterm\" id=\"1\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The burden is not financial only. Under the original rules that were " -"proposed, an Internet radio station (but not a terrestrial radio station) " -"would have to collect the following data from <emphasis>every listening " -"transaction</emphasis>:" -msgstr "" -"byrden er ikke Ã¸konomiske bare. under de opprinnelige reglene som ble " -"foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " -"ville ha til Ã¥ samle inn fÃ¸lgende data fra hver lytting transaksjon:" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "name of the service;" -msgstr "navn pÃ¥ tjenesten," - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "channel of the program (AM/FM stations use station ID);" -msgstr "kanalen til programmet (AM/FM-stasjoner bruker stasjons-ID);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "type of program (archived/looped/live);" -msgstr "type program (fra arkivet/i lÃ¸kke/direkte);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "date of transmission;" -msgstr "dato for sending;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "time of transmission;" -msgstr "tidspunkt for sending;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "time zone of origination of transmission;" -msgstr "tidssone til opprinnelsen for sending;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "" -"numeric designation of the place of the sound recording within the program;" -msgstr "numeriske angivelsen av i stedet for lydopptak programmet;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "duration of transmission (to nearest second);" -msgstr "varigheten av sending (til nÃ¦rmeste sekund):" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "sound recording title;" -msgstr "lydinnspilling-tittel;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "ISRC code of the recording;" -msgstr "ISRC-kode for opptaket;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "" -"release year of the album per copyright notice and in the case of " -"compilation albums, the release year of the album and copy- right date of " -"the track;" -msgstr "" -"gi Ã¥r av albumet per opphavsrett og nÃ¥r det gjelder samlealbum, utgivelsesÃ¥r " -"av albumet og kopi hÃ¸yre datoen for spor;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "featured recording artist;" -msgstr "spillende plateartist;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "retail album title;" -msgstr "tittel pÃ¥ album i butikker;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "recording label;" -msgstr "plateselskap;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "UPC code of the retail album;" -msgstr "UPC-koden for albumet i butikker;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "catalog number;" -msgstr "katalognummer;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "copyright owner information;" -msgstr "informasjon om opphavsrettsinnehaver;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "musical genre of the channel or program (station format);" -msgstr "musikksjanger for kanal eller programmet (stasjonsformat);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "name of the service or entity;" -msgstr "navn pÃ¥ tjenesten eller selskap;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "channel or program;" -msgstr "kanal eller program;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "date and time that the user logged in (in the user's time zone);" -msgstr "datoen og klokkeslettet da brukeren logget pÃ¥ (i brukerens tidssone);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "date and time that the user logged out (in the user's time zone);" -msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "time zone where the signal was received (user);" -msgstr "tidssone der signalet ble mottatt (bruker);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "unique user identifier;" -msgstr "unik bruker-identifikator;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "the country in which the user received the transmissions." -msgstr "landet til brukeren som mottok sendingene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Librarian of Congress eventually suspended these reporting requirements, " -"pending further study. And he also changed the original rates set by the " -"arbitration panel charged with setting rates. But the basic difference " -"between Internet radio and terrestrial radio remains: Internet radio has to " -"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does " -"not." -msgstr "" -"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " -"ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " -"voldgift panelet belastet med angivelse av priser. men den grunnleggende " -"forskjellen mellom Internett-radio og bakkesendte radio gjenstÃ¥r: Internett " -"radio har Ã¥ betale en type opphavsrett gebyr som bakkesendte radio ikke." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Why? What justifies this difference? Was there any study of the economic " -"consequences from Internet radio that would justify these differences? Was " -"the motive to protect artists against piracy?" -msgstr "" -"hvorfor? Hva rettferdiggjÃ¸r denne forskjellen? var det noen studier av " -"Ã¸konomiske konsekvensene fra Internett-radio som ville forsvare disse " -"forskjellene? var motivet Ã¥ beskytte kunstnere mot piratkopiering?" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Real Networks" -msgstr "Real Networks" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In a rare bit of candor, one RIAA expert admitted what seemed obvious to " -"everyone at the time. As Alex Alben, vice president for Public Policy at " -"Real Networks, told me," -msgstr "" -"i sjeldne litt candor innrÃ¸mmet Ã©n riaa ekspert hva syntes Ã¥penbar for alle " -"samtidig. som alex alben fortalte visepresident for public policy pÃ¥ real " -"networks, meg:" - -#. PAGE BREAK 208 -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"The RIAA, which was representing the record labels, presented some testimony " -"about what they thought a willing buyer would pay to a willing seller, and " -"it was much higher. It was ten times higher than what radio stations pay to " -"perform the same songs for the same period of time. And so the attorneys " -"representing the webcasters asked the RIAA, … <quote>How do you come " -"up with a rate that's so much higher? Why is it worth more than radio? " -"Because here we have hundreds of thousands of webcasters who want to pay, " -"and that should establish the market rate, and if you set the rate so high, " -"you're going to drive the small webcasters out of business. …</quote>" -msgstr "" -"riaa, som var som representerer plateselskapene, presentert noen vitnesbyrd " -"om hva de tenkte en villig kjÃ¸per betaler til en villig selger, og det var " -"mye hÃ¸yere. Det var ti ganger hÃ¸yere enn hva radiostasjoner betale for Ã¥ " -"utfÃ¸re de samme sangene i samme periode av tid. og sÃ¥ advokater som " -"representerer webcasters spurte riaa... \"hvordan kan du komme opp med en " -"hastighet som er sÃ¥ mye hÃ¸yere? Hvorfor er det verdt mer enn radio? fordi " -"her har vi hundretusener av webcasters som Ã¸nsker Ã¥ betale, og som bÃ¸r " -"etablere markedet rate, og hvis du angir satsen sÃ¥ hÃ¸yt, du kommer til Ã¥ " -"drive smÃ¥ webcasters ut av business.... \"" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"And the RIAA experts said, <quote>Well, we don't really model this as an " -"industry with thousands of webcasters, <emphasis>we think it should be an " -"industry with, you know, five or seven big players who can pay a high rate " -"and it's a stable, predictable market</emphasis>.</quote> (Emphasis added.)" -msgstr "" -"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med " -"tusenvis av webcasters, vi tror det bÃ¸r vÃ¦re en bransje med, du vet, fem " -"eller sju store spillere som kan betale en hÃ¸y hastighet, og det er en " -"stabil, forutsigbar marked.\" (vekt legges)." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Translation: The aim is to use the law to eliminate competition, so that " -"this platform of potentially immense competition, which would cause the " -"diversity and range of content available to explode, would not cause pain to " -"the dinosaurs of old. There is no one, on either the right or the left, who " -"should endorse this use of the law. And yet there is practically no one, on " -"either the right or the left, who is doing anything effective to prevent it." -msgstr "" -"oversettelse: mÃ¥let er Ã¥ bruke loven til Ã¥ eliminere konkurranse, slik at " -"denne plattformen av potensielt enorme konkurransen, som ville fÃ¸re til " -"mangfoldet og omfanget av innholdet tilgjengelig til Ã¥ eksplodere, ikke " -"ville forÃ¥rsake smerte til dinosaurs av gamle. Det er ingen, enten til hÃ¸yre " -"eller venstre, som bÃ¸r bifaller denne bruken av loven. og ennÃ¥ er det " -"praktisk talt ingen, enten til hÃ¸yre eller venstre, som gjÃ¸r noe effektivt " -"for Ã¥ hindre den." - -#. type: Content of: <book><part><chapter><section><title> -#, mtrans, fuzzy -msgid "Corrupting Citizens" -msgstr "Ã¸delegge borgere" - -#. type: Content of: <book><part><chapter><section><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 "" -"For mye regulering knebler kretiviteten. Den kveler nyskapning. Den gir " -"dinosaurer vetorett over fremtiden. Den kaster bort den ekstraordinÃ¦re " -"muligheten for en demokratisk kreativitet som digital teknologi gjÃ¸r mulig." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In addition to these important harms, there is one more that was important " -"to our forebears, but seems forgotten today. Overregulation corrupts " -"citizens and weakens the rule of law." -msgstr "" -"i tillegg til disse viktige skadene er det en mer som var viktig for vÃ¥re " -"forfedre, men synes glemt i dag. overregulation skader borgere og svekker " -"rettssikkerhet." - -#. f15. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> " -"Pew Internet and American Life Project (24 April 2001), available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #46</ulink>. The Pew Internet " -"and American Life Project reported that 37 million Americans had downloaded " -"music files from the Internet by early 2001." -msgstr "" - -#. PAGE BREAK 209 -#. type: Content of: <book><part><chapter><section><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 <citetitle>The New York Times</citetitle>, 43 " -"million Americans downloaded music in May 2002.<placeholder type=\"footnote" -"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million " -"Americans is a felony. We thus have a set of rules that transform 20 percent " -"of America into criminals. As the RIAA launches lawsuits against not only " -"the Napsters and Kazaas of the world, but against students building search " -"engines, and increasingly against ordinary users downloading content, the " -"technologies for sharing will advance to further protect and hide illegal " -"use. It is an arms race or a civil war, with the extremes of one side " -"inviting a more extreme response by the other." -msgstr "" - -#. f16. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA Case,</" -"quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business." -msgstr "" -"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" " -"los angeles times, 10 september 2003, business." - -#. type: Content of: <book><part><chapter><section><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 "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "alcohol prohibition" -msgstr "alkohol forbud" - -#. f17. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During " -"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, no. " -"2 (1991): 242." -msgstr "" -"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" " -"amerikanske Ã¸konomiske anmeldelse 81, no. 2 (1991): 242." - -#. f18. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"National Drug Control Policy: Hearing Before the House Government Reform " -"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. " -"Walters, director of National Drug Control Policy)." -msgstr "" -"nasjonale narkotikapolitikken kontroll: hÃ¸re fÃ¸r house government reform " -"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, " -"direktÃ¸r for nasjonale narkotikapolitikken kontroll)." - -#. f19. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax " -"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 " -"(1998): 818 (survey of compliance literature)." -msgstr "" -"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" " -"journal av Ã¸konomiske litteratur 36 (1998): 818 (undersÃ¸kelse av samsvar " -"litteratur)." - -#. type: Content of: <book><part><chapter><section><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 <quote>free society,</" -"quote> but an endless array of ordinary behavior is regulated within our " -"society. And as a result, a huge proportion of Americans regularly violate " -"at least some law." -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "law schools" -msgstr "Jusstudier" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This state of affairs is not without consequence. It is a particularly " -"salient issue for teachers like me, whose job it is to teach law students " -"about the importance of <quote>ethics.</quote> As my colleague Charlie " -"Nesson told a class at Stanford, each year law schools admit thousands of " -"students who have illegally downloaded music, illegally consumed alcohol and " -"sometimes drugs, illegally worked without paying taxes, illegally driven " -"cars. These are kids for whom behaving illegally is increasingly the norm. " -"And then we, as law professors, are supposed to teach them how to behave " -"ethically—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 <quote>normally</quote> entails " -"a certain degree of illegality." -msgstr "" -"denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt " -"fremtredende spÃ¸rsmÃ¥let for lÃ¦rere som meg, hvis jobb er det Ã¥ undervise law " -"studenter om betydningen av \"etikk.\" som min kollega charlie nesson " -"fortalte en klasse ved stanford, hvert Ã¥r lov skoler innrÃ¸mme tusenvis av " -"studentene som har ulovlig lastet ned musikk, ulovlig konsumert alkohol og " -"noen ganger narkotika, ulovlig arbeidet uten Ã¥ betale skatt, ulovlig drevet " -"biler. disse er barna som oppfÃ¸rer seg ulovlig er stadig normen. og deretter " -"vi, som loven professorer, skal lÃ¦re dem hvordan Ã¥ oppfÃ¸re seg etisk—" -"hvordan Ã¥ si nei til bestikkelser, holde klienten midler atskilt eller Ã¦re " -"et krav til Ã¥ avslÃ¸re 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 bÃ¥de normalt og lovlig, siden \"normalt\" innebÃ¦rer en viss grad av " -"illegality." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The response to this general illegality is either to enforce the law more " -"severely or to change the law. We, as a society, have to learn how to make " -"that choice more rationally. Whether a law makes sense depends, in part, at " -"least, upon whether the costs of the law, both intended and collateral, " -"outweigh the benefits. If the costs, intended and collateral, do outweigh " -"the benefits, then the law ought to be changed. Alternatively, if the costs " -"of the existing system are much greater than the costs of an alternative, " -"then we have a good reason to consider the alternative." -msgstr "" -"response til denne generelle illegality er Ã¥ hÃ¥ndheve loven mer alvorlig " -"eller endre loven. Vi har som et samfunn Ã¥ lÃ¦re hvordan du gjÃ¸r mer " -"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om " -"kostnadene ved loven, bÃ¥de tiltenkte og sikkerhetsstillelse, oppveier " -"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, " -"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet " -"er mye stÃ¸rre enn kostnadene for et alternativ, vi har en god grunn til Ã¥ " -"vurdere alternativet." - -#. PAGE BREAK 211 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My point is not the idiotic one: Just because people violate a law, we " -"should therefore repeal it. Obviously, we could reduce murder statistics " -"dramatically by legalizing murder on Wednesdays and Fridays. But that " -"wouldn't make any sense, since murder is wrong every day of the week. A " -"society is right to ban murder always and everywhere." -msgstr "" -"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bÃ¸r " -"derfor oppheve den. Vi kan selvfÃ¸lgelig redusere mord statistikk dramatisk " -"ved legalizing drap for pÃ¥ onsdager og fredager. men det ville ikke gi noen " -"mening, siden drap er galt hver dag i uken. et samfunn er rett Ã¥ utestenge " -"drap alltid og overalt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My point is instead one that democracies understood for generations, but " -"that we recently have learned to forget. The rule of law depends upon people " -"obeying the law. The more often, and more repeatedly, we as citizens " -"experience violating the law, the less we respect the law. Obviously, in " -"most cases, the important issue is the law, not respect for the law. I don't " -"care whether the rapist respects the law or not; I want to catch and " -"incarcerate the rapist. But I do care whether my students respect the law. " -"And I do care if the rules of law sow increasing disrespect because of the " -"extreme of regulation they impose. Twenty million Americans have come of " -"age since the Internet introduced this different idea of <quote>sharing.</" -"quote> We need to be able to call these twenty million Americans " -"<quote>citizens,</quote> not <quote>felons.</quote>" -msgstr "" -"Mitt poeng er i stedet en som demokratier forstÃ¥tt i generasjoner, men som " -"vi nylig har lÃ¦rt Ã¥ glemme. rettssikkerhet, er avhengig av folk som fÃ¸lge " -"loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve brudd pÃ¥ " -"loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste tilfeller, " -"det viktige spÃ¸rsmÃ¥let er lov, ikke respekt for loven. jeg ikke bryr seg om " -"voldtektsforbryter respekterer loven eller ikke; Jeg Ã¸nsker Ã¥ fange og " -"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer " -"loven. og jeg bryr seg Hvis reglene for loven purke Ã¸kende aktelse pÃ¥ grunn " -"av ekstreme regulering de innfÃ¸re. fem millioner amerikanere har kommet av " -"alder siden Internett innfÃ¸rt denne annen idÃ© om \"deling.\" vi trenger Ã¥ " -"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"When at least forty-three million citizens download content from the " -"Internet, and when they use tools to combine that content in ways " -"unauthorized by copyright holders, the first question we should be asking is " -"not how best to involve the FBI. The first question should be whether this " -"particular prohibition is really necessary in order to achieve the proper " -"ends that copyright law serves. Is there another way to assure that artists " -"get paid without transforming forty-three million Americans into felons? " -"Does it make sense if there are other ways to assure that artists get paid " -"without transforming America into a nation of felons?" -msgstr "" -"NÃ¥r minst fÃ¸rti - tre millioner innbyggere dataoverfÃ¸re innhold fra " -"Internett, og nÃ¥r de bruker verktÃ¸y til Ã¥ kombinere at innhold pÃ¥ mÃ¥ter " -"uautorisert ved innehaver av opphavsrett, det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r " -"spÃ¸rre ikke er hvordan man best kan innebÃ¦re fbi. det fÃ¸rste spÃ¸rsmÃ¥let bÃ¸r " -"vÃ¦re om dette bestemte forbudet er virkelig nÃ¸dvendig for Ã¥ oppnÃ¥ riktig " -"ender som serverer lov om opphavsrett. er det en annen mÃ¥te Ã¥ forsikre at " -"artister fÃ¥r betalt uten Ã¥ transformere fÃ¸rti - tre millioner amerikanere i " -"felons? betyr det fornuftig hvis det finnes andre mÃ¥ter Ã¥ sikre at artister " -"fÃ¥r betalt uten Ã¥ transformere Amerika til en nasjon av felons?" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "This abstract point can be made more clear with a particular example." -msgstr "Denne abstrakte punkt kan gjÃ¸res mer tydelig med en bestemt eksempel." - -#. PAGE BREAK 212 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"We all own CDs. Many of us still own phonograph records. These pieces of " -"plastic encode music that in a certain sense we have bought. The law " -"protects our right to buy and sell that plastic: It is not a copyright " -"infringement for me to sell all my classical records at a used record store " -"and buy jazz records to replace them. That <quote>use</quote> 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 kjÃ¸pt. loven beskytter vÃ¥r " -"rett til Ã¥ kjÃ¸pe og selge den plasten: det er ikke en krenkelse av " -"opphavsrett for meg Ã¥ selge min klassisk poster pÃ¥ en brukte platebutikk og " -"kjÃ¸pe jazz poster hvis du vil erstatte dem. \"Bruk\" av opptak er gratis." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But as the MP3 craze has demonstrated, there is another use of phonograph " -"records that is effectively free. Because these recordings were made without " -"copy-protection technologies, I am <quote>free</quote> to copy, or " -"<quote>rip,</quote> music from my records onto a computer hard disk. Indeed, " -"Apple Corporation went so far as to suggest that <quote>freedom</quote> was " -"a right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, " -"Burn</quote> capacities of digital technologies." -msgstr "" -"men som mp3-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 Ã¥ kopiere eller \"rip\" musikk fra min poster pÃ¥ en " -"harddisk pÃ¥ datamaskinen. faktisk apple corporation gikk sÃ¥ langt som Ã¥ " -"foreslÃ¥ at \"friheten\" var en rett: i en rekke reklamefilmer, apple " -"godkjent \"rip, mikse, brenne\" kapasiteter digitale teknologier." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Andromeda" -msgstr "Andromeda" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "mix technology and" -msgstr "blande teknologi og" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This <quote>use</quote> of my records is certainly valuable. I have begun a " -"large process at home of ripping all of my and my wife's CDs, and storing " -"them in one archive. Then, using Apple's iTunes, or a wonderful program " -"called Andromeda, we can build different play lists of our music: Bach, " -"Baroque, Love Songs, Love Songs of Significant Others—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 vÃ¥re musikk: bach, " -"barokk, love songs, love songs av betydelige andre—potensialet er " -"uendelige. og ved Ã¥ redusere kostnadene ved Ã¥ blande spillelister, disse " -"teknologier hjelpe bygge en kreativitet med spille lister som selv er " -"uavhengig verdifull. samlinger av sanger er kreative og meningsfull i egen " -"rett." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -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 ogsÃ¥ aktivere fildeling. fildeling truer (eller sÃ¥ innhold " -"industrien mener) evne til skaperne Ã¥ tjene en god avkastning fra sin " -"kreativitet. og dermed mange begynner Ã¥ eksperimentere med teknologier for Ã¥ " -"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere " -"CDer som ikke blir rippet. eller de kan aktivere spion programmer Ã¥ " -"identifisere rippede innhold pÃ¥ folks maskiner." - -#. PAGE BREAK 213 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If these technologies took off, then the building of large archives of your " -"own music would become quite difficult. You might hang in hacker circles, " -"and get technology to disable the technologies that protect the content. " -"Trading in those technologies is illegal, but maybe that doesn't bother you " -"much. In any case, for the vast majority of people, these protection " -"technologies would effectively destroy the archiving use of CDs. The " -"technology, in other words, would force us all back to the world where we " -"either listened to music by manipulating pieces of plastic or were part of a " -"massively complex <quote>digital rights management</quote> 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 fÃ¥ " -"teknologi for Ã¥ 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 " -"Ã¸delegge arkivering bruk av CDer. teknologi, med andre ord, vil tvinge oss " -"alle tilbake til verden der vi lyttet til musikk ved Ã¥ manipulere stykker av " -"plast eller var del av en svÃ¦rt kompleks \"digital rights management\" " -"systemet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If the only way to assure that artists get paid were the elimination of the " -"ability to freely move content, then these technologies to interfere with " -"the freedom to move content would be justifiable. But what if there were " -"another way to assure that artists are paid, without locking down any " -"content? What if, in other words, a different system could assure " -"compensation to artists while also preserving the freedom to move content " -"easily?" -msgstr "" -"Hvis den eneste mÃ¥ten Ã¥ sikre at artister fÃ¥r betalt var eliminering av " -"muligheten til Ã¥ fritt flytte innhold, ville sÃ¥ disse teknologiene Ã¥ " -"forstyrre bevege innhold vÃ¦re forsvarlig. men hva hvis det var en annen mÃ¥te " -"Ã¥ forsikre at kunstnere er betalt, uten Ã¥ lÃ¥se ned innhold? Hva om, med " -"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig " -"som du beholder ogsÃ¥ bevege innhold lett?" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My point just now is not to prove that there is such a system. I offer a " -"version of such a system in the last chapter of this book. For now, the only " -"point is the relatively uncontroversial one: If a different system achieved " -"the same legitimate objectives that the existing copyright system achieved, " -"but left consumers and creators much more free, then we'd have a very good " -"reason to pursue this alternative—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 nÃ¥ ikke for Ã¥ bevise at det er et slikt system. Jeg " -"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for " -"nÃ¥, det eneste punktet er den relativt ukontroversiell: Hvis et annet system " -"oppnÃ¥dd mÃ¥lene er samme legitime som eksisterende opphavsretten til systemet " -"oppnÃ¥dd, men forlot forbrukere og skaperne mye mer gratis, sÃ¥ vi ville ha en " -"svÃ¦rt god grunn til Ã¥ forfÃ¸lge denne alternative—nemlig frihet. valg, " -"med andre ord, ville ikke vÃ¦re mellom eiendom og piratkopiering; valget " -"ville vÃ¦re mellom forskjellige eiendom systemer og frihetene hver tillatt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I believe there is a way to assure that artists are paid without turning " -"forty-three million Americans into felons. But the salient feature of this " -"alternative is that it would lead to a very different market for producing " -"and distributing creativity. The dominant few, who today control the vast " -"majority of the distribution of content in the world, would no longer " -"exercise this extreme of control. Rather, they would go the way of the horse-" -"drawn buggy." -msgstr "" -"Jeg tror det er en mÃ¥te Ã¥ sikre at kunstnere er betalt uten Ã¥ slÃ¥ fÃ¸rti - " -"tre millioner amerikanere i felons. men funksjonen fremspringende i denne " -"alternativ er at det ville fÃ¸re til en svÃ¦rt forskjellige markedet for " -"produksjon og distribusjon av kreativitet. de dominerende fÃ¥, som i dag " -"kontrollerer det store flertallet av distribusjon av innhold i verden, ville " -"ikke lenger utÃ¸ve denne ekstreme av kontroll. de ville heller gÃ¥ veien for " -"hest trukket buggy." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Except that this generation's buggy manufacturers have already saddled " -"Congress, and are riding the law to protect themselves against this new form " -"of competition. For them the choice is between fortythree million Americans " -"as criminals and their own survival." -msgstr "" -"bortsett fra at denne generasjon vognen produsenter har allerede saddled " -"Kongressen, og sykle loven for Ã¥ 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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"It is understandable why they choose as they do. It is not understandable " -"why we as a democracy continue to choose as we do. Jack Valenti is charming; " -"but not so charming as to justify giving up a tradition as deep and " -"important as our tradition of free culture." -msgstr "" -"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " -"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " -"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " -"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>There's one more</emphasis> aspect to this " -"corruption that is particularly important to civil liberties, and follows " -"directly from any war of prohibition. As Electronic Frontier Foundation " -"attorney Fred von Lohmann describes, this is the <quote>collateral damage</" -"quote> that <quote>arises whenever you turn a very large percentage of the " -"population into criminals.</quote> This is the collateral damage to civil " -"liberties generally." -msgstr "" -"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " -"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " -"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " -"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur. Det er en mer " -"aspekt til dette kan fÃ¸re til minnefeil som er spesielt viktig for " -"borgerrettigheter, og fÃ¸lger direkte fra noen krig av forbudet. som " -"electronic frontier foundation advokat fred von sang beskriver, dette er den " -"\"sikkerhetsstillelse skaden\" som \"oppstÃ¥r nÃ¥r du slÃ¥r en veldig stor " -"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse " -"skader pÃ¥ borgerrettigheter vanligvis." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "von Lohmann, Fred" -msgstr "von Lohmann, Fred" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<quote>If you can treat someone as a putative lawbreaker,</quote> von " -"Lohmann explains," -msgstr "" -"<quote>Hvis du kan behandle noen som en antatt lovbryter</quote>, forklarer " -"von Lohmann," - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"then all of a sudden a lot of basic civil liberty protections evaporate to " -"one degree or another. … If you're a copyright infringer, how can you " -"hope to have any privacy rights? If you're a copyright infringer, how can " -"you hope to be secure against seizures of your computer? How can you hope to " -"continue to receive Internet access? … Our sensibilities change as " -"soon as we think, <quote>Oh, well, but that person's a criminal, a " -"lawbreaker.</quote> Well, what this campaign against file sharing has done " -"is turn a remarkable percentage of the American Internet-using population " -"into <quote>lawbreakers.</quote>" -msgstr "" -"sÃ¥ plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe " -"til en grad eller annen.... Hvis du er en opphavsrett pÃ¥ lovgivningen, " -"hvordan kan du hÃ¥per Ã¥ ha noen personvernet? Hvis du er en opphavsrett pÃ¥ " -"lovgivningen, hvordan kan du hÃ¥per Ã¥ bli sikker mot beslag av datamaskinen? " -"Hvordan kan du hÃ¥per Ã¥ fortsette Ã¥ motta Internett-tilgang? ... vÃ¥r " -"sensibilities endre sÃ¥ snart vi tror, \"oh, vel, men denne personen er en " -"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er " -"Ã¥ slÃ¥ en bemerkelsesverdig prosent av den amerikanske Internett-bruker " -"befolkningen i \"lawbreakers.\"" - -#. type: Content of: <book><part><chapter><section><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 konsekvensen av denne transformeringen av det amerikanske folket til " -"kriminelle er at det blir trivielt, i trÃ¥d med god rettspraksis, og " -"effektivt sett radere ut mye av personvernet som de fleste tar for gitt." - -#. type: Content of: <book><part><chapter><section><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 pÃ¥ Internettet begynte Ã¥ se dette generelt i 2003 da RIAA lanserte " -"sin kampanje for Ã¥ tvinge InternettleverandÃ¸rer til Ã¥ overlevere navnene pÃ¥ " -"kundene som RIAA trodde brÃ¸t opphavsrettloven. Verizon kjempet mot dette " -"kravet og tapte. Men en enkel forespÃ¸rsel til en dommer, og uten Ã¥ gi " -"beskjed til kunden i det hele tatt, blir identiteten til en internetbruker " -"avslÃ¸rt." - -#. f20. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " -"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " -"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, " -"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry " -"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs " -"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</" -"citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording Industry " -"Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September 2003, " -"4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop Fan, " -"Either,</quote> <citetitle>New York Times</citetitle>, 25 September 2003, " -"C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> <citetitle>Toronto " -"Star</citetitle>, 18 September 2003, P7." -msgstr "" -"se frank ahrens, \"riaa's sÃ¸ksmÃ¥l mÃ¸te overrasket over mÃ¥l; enkelt mor i " -"California, 12-Ã¥r gammel jente i ny blant saksÃ¸kte,\"washington post, 10 " -"september 2003, e1; Chris cobbs, \"bekymret foreldre trekke pluggen pÃ¥ filen" -"\"stjele\"; med musikkbransjen cracking ned pÃ¥ Filbytte, er foreldre prÃ¸ver " -"Ã¥ lure programvare fra hjemme-PC Ã¥ unngÃ¥ blir saksÃ¸kte,\"orlando sentinel " -"tribune, 30 august 2003, c1; Jefferson graham, \"innspillingen industri sues " -"foreldre,\" usa today, 15 september 2003, 4 d; John schwartz, \"hun sier hun " -"er ingen musikk pirat. ikke snoop fan, enten,\"new york times, 25 september " -"2003, c1; Margo varadi, \"er brianna en kriminell?\" toronto star, 18 " -"september 2003, p7." - -#. type: Content of: <book><part><chapter><section><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 "" -"RIAA utvidet sÃ¥ denne kampanjen ved Ã¥ annonsere en generell strategi om Ã¥ " -"saksÃ¸ke individuelle brukere av Internettet som blir anklaget for Ã¥ ha " -"lastet ned opphavsrettsbeskyttet musikk fra fildelingssystemer. Men som vi " -"har sett er de potensielle skadene fra slike sÃ¸ksmÃ¥l astronomiske: Hvis en " -"families datamaskin blir brukt til Ã¥ laste ned musikk tilsvarende en enkelt " -"CD, sa kan familien risikere Ã¥ mÃ¥tte betale 2 millioner dollar i " -"erstatning. Dette stoppet ikke RIAA fra Ã¥ saksÃ¸ke et antall av disse " -"familiene, pÃ¥ samme mÃ¥te som de hadde saksÃ¸kt Jesse Jordan.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. f21. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses " -"Some Methods Used,</quote> CNN.com, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #47</ulink>." -msgstr "" -"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" -"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " -"#49</ulink>." - -#. type: Content of: <book><part><chapter><section><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 <quote>fingerprint.</quote>" -msgstr "" -"Selv dette undervurderer spioneringen som blir gjennomfÃ¸rt av RIAA. I en " -"rapport fra CNN sent sist sommer beskriver en strategi som RIAA har adoptert " -"for Ã¥ spore Napster-brukere.<placeholder type=\"footnote\" id=\"0\"/> Ved Ã¥ " -"bruke en sofistikert hashings-algoritme tok RIAA det som effektivt sett er " -"et fingeravtrykk av hver eneste sang i Napster-katalogen. Enhver kopi av " -"disse MP3-ene vil ha samme <quote>fingerprint</quote>." - -#. f22. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</" -"quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; " -"Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry Group " -"Targets File Sharing at Colleges,</quote> <citetitle>Washington Post</" -"citetitle>, 4 April 2003, E1; Elizabeth Armstrong, <quote>Students `Rip, " -"Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science Monitor</" -"citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, " -"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed " -"Over; Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 " -"July 2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on Universities," -"</quote> <citetitle>Internet News</citetitle>, 30 January 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny " -"Evangelista, <quote>Download Warning 101: Freshman Orientation This Fall to " -"Include Record Industry Warnings Against File Sharing,</quote> " -"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; " -"<quote>Raid, Letters Are Weapons at Universities,</quote> <citetitle>USA " -"Today</citetitle>, 26 September 2000, 3D." -msgstr "" - -#. type: Content of: <book><part><chapter><section><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 <quote>cooperating</quote> with the RIAA's " -"espionage, and she hasn't properly protected her content from the network " -"(do you know how to do that yourself ?), then the RIAA will be able to " -"identify your daughter as a <quote>criminal.</quote> And under the rules " -"that universities are beginning to deploy,<placeholder type=\"footnote\" id=" -"\"0\"/> your daughter can lose the right to use the university's computer " -"network. She can, in some cases, be expelled." -msgstr "" -"SÃ¥ se for deg det fÃ¸lgende ikke usannsynlige scenariet: Tenk at en venn gir " -"en CD til din datter—en samling med sanger lik de kasettene du laget " -"som barn. Hverken du eller din datter vet hvor disse sangene kom fra. Men " -"hun kopierer disse sangene inn pÃ¥ datamaskinen sin, og tar sÃ¥ maskinen med " -"seg til universitetet og kobler den pÃ¥ universitetsnettverket. Hvis " -"universitetsnettet <quote>samarbeider</quote> med RIAAs spionering, og hun " -"ikke har beskyttet sitt innhold pÃ¥ riktig vis (vet du selv hvordan du gjÃ¸r " -"dette?), sÃ¥ vil RIAA kunne identifisere din datter som en <quote>kriminell</" -"quote>. Og i henhold til de reglene som universiteter er i gang med Ã¥ rulle " -"ut,<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ kan din datter miste retten " -"til Ã¥ bruke universitetets datanettverk. Hun kan i noen tilfeller bli " -"utvist." - -#. PAGE BREAK 216 -#. type: Content of: <book><part><chapter><section><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 <quote>contraband</" -"quote> as presumptive of guilt. And as any number of college students have " -"already learned, our presumptions about innocence disappear in the middle of " -"wars of prohibition. This war is no different. Says von Lohmann," -msgstr "" -"NÃ¥ har hun selvfÃ¸lgelig rett til Ã¥ forsvare seg selv. Du kan leie inn en " -"advokat til henne (til $300 per time, hvis du er heldig), og hun kan hevde " -"at hun ikke visste noenting om hvor sangene kom fra eller at de kom fra " -"Napster. Og det kan godt hende at universitetet tror henne. Men det kan " -"ogsÃ¥ godt hende at universitetet ikke tror henne. Og som et antall " -"universitetsstudenter allerede har lÃ¦rt, forsvinner vÃ¥r antagelse om Ã¥ vÃ¦re " -"uskylding inntil det motsatte er bevist nÃ¥r en er midt i en forbudskrig. " -"Denne krigen er ikke annerledes. Som von Lohmann sier det," - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"So when we're talking about numbers like forty to sixty million Americans " -"that are essentially copyright infringers, you create a situation where the " -"civil liberties of those people are very much in peril in a general matter. " -"[I don't] think [there is any] analog where you could randomly choose any " -"person off the street and be confident that they were committing an unlawful " -"act that could put them on the hook for potential felony liability or " -"hundreds of millions of dollars of civil liability. Certainly we all speed, " -"but speeding isn't the kind of an act for which we routinely forfeit civil " -"liberties. Some people use drugs, and I think that's the closest analog, " -"[but] many have noted that the war against drugs has eroded all of our civil " -"liberties because it's treated so many Americans as criminals. Well, I think " -"it's fair to say that file sharing is an order of magnitude larger number of " -"Americans than drug use. … If forty to sixty million Americans have " -"become lawbreakers, then we're really on a slippery slope to lose a lot of " -"civil liberties for all forty to sixty million of them." -msgstr "" -"NÃ¥r vi snakker om tall som fÃ¸rti til seksti millioner amerikanere som i " -"essensen bryter opphavsretten, sÃ¥ skaper du en situasjon der " -"borgerrettighetene til disse folkene er stÃ¥r i fare for Ã¥ forsvinne i " -"praksis. [Jeg] tror [ikke det finnes noen] tilsvarende tilfeller hvor du kan " -"velge en tilfeldig person pÃ¥ gata og vÃ¦re trygg pÃ¥ at de har brutt loven pÃ¥ " -"en mÃ¥te som gjÃ¸r at de risikerer straffedom eller Ã¥ mÃ¥tte betale milloner av " -"dollar i sivil erstatning. Vi kjÃ¸rer alle for fort, men Ã¥ kjÃ¸re for fort er " -"ikke den type handlinger hvor vi pÃ¥ rutine fratar folk borgerrettigheter. " -"Noen folk bruker narkotika, og jeg tror det er den nÃ¦rmeste analogien, [men] " -"mange har kommentert at krigen mot narkotika har radert alle vÃ¥re " -"borgerrettigheter pÃ¥ grunn av at det behandler sÃ¥ mange amerikanere som " -"kriminelle. Jeg tror det er rimelig Ã¥ si at fildeling gjelder en " -"stÃ¸rrelsesorden flere amerikanere enn burk av narkotika. … Hvis fÃ¸rti " -"til seksti millioner amerikanere har blitt lovbrytere, da er vi pÃ¥ en " -"*slippery slope* der vi kan miste borgerrettighetene for alle disse fÃ¸rti " -"til seksti personene." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"When forty to sixty million Americans are considered <quote>criminals</" -"quote> under the law, and when the law could achieve the same " -"objective— securing rights to authors—without these millions " -"being considered <quote>criminals,</quote> who is the villain? Americans or " -"the law? Which is American, a constant war on our own people or a concerted " -"effort through our democracy to change our law?" -msgstr "" -"NÃ¥r fÃ¸rti til seksti millioner amerikanere i fÃ¸lge loven anses som " -"<quote>kriminelle</quote>, og nÃ¥r loven kunne oppnÃ¥ det samme mÃ¥let—" -"sikre rettigheter til forfattere— uten at disse millionene anses Ã¥ " -"vÃ¦re <quote>kriminelle</quote>, hvem er det da som er skurken? Amerikanerne " -"eller loven? Hva er amerikansk, en konstant krig mot vÃ¥rt eget folk, eller " -"en felles innsats i vÃ¥rt demokrati for Ã¥ endre loven vÃ¥r?" - -#. type: Content of: <book><part><title> -msgid "BALANCES" -msgstr "Maktfordeling" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role='strong'>So here's</emphasis> the picture: You're standing at " -"the side of the road. Your car is on fire. You are angry and upset because " -"in part you helped start the fire. Now you don't know how to put it out. " -"Next to you is a bucket, filled with gasoline. Obviously, gasoline won't put " -"the fire out." -msgstr "" -"<emphasis role='strong'>SÃ¥ her</emphasis> er bildet: Du stÃ¥r pÃ¥ siden av " -"veien. Bilen din er pÃ¥ brann. Du er sint og opprÃ¸rt fordi du delvis bidro " -"til Ã¥ starte brannen. NÃ¥ vet du ikke hvordan du slokker den. Ved siden av " -"deg er en bÃ¸tte, fylt med bensin. Bensin vil Ã¥penbart ikke slukke brannen." - -#. type: Content of: <book><part><partintro><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 "" -"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper " -"hun bÃ¸tta, og fÃ¸r du har hatt sjansen til Ã¥ be henne stoppe—eller fÃ¸r " -"hun forstÃ¥r hvorfor hun bÃ¸r stoppe—er bÃ¸tten i svevet. Bensinen er pÃ¥ " -"tur mot den brennende bilen. Og brannen som bensinen kommer til Ã¥ fyre opp " -"vil straks sette fyr pÃ¥ alt i omgivelsene." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role='strong'>A war</emphasis> 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 "" -"<emphasis role='strong'>En krig</emphasis> om opphavsrett pÃ¥gÃ¥r over " -"alt— og vi fokuserer alle pÃ¥ feil ting. Det er ingen tvil om at " -"dagens teknologier truer eksisterende virksomheter. Uten tvil kan de true " -"artister. Men teknologier endrer seg. Industrien og teknologer har en " -"rekke mÃ¥ter Ã¥ bruke teknologi til Ã¥ beskytte dem selv mot dagens trusler pÃ¥ " -"Internet. Dette er en brann som overlatt til seg selv vil brenne ut." - -#. PAGE BREAK 219 -#. type: Content of: <book><part><partintro><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 "" -"Likevel er ikke besluttningstagere villig til Ã¥ la denne brannen i fred. " -"Ladet med masse penger fra lobbyister er de lystne pÃ¥ Ã¥ gÃ¥ i mellom for Ã¥ " -"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det " -"er ikke den reelle trusselen som denne kulturen stÃ¥r med ansiktet mot. For " -"mens vi ser pÃ¥ denne lille brannen i hjÃ¸rnet er det en massiv endring i " -"hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " - -#. type: Content of: <book><part><partintro><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 "" -"PÃ¥ en eller annen mÃ¥te mÃ¥ vi klare Ã¥ snu oppmerksomheten mot dette mer " -"viktige og fundametale problemet. Vi mÃ¥ finne en mÃ¥te Ã¥ unngÃ¥ Ã¥ helle " -"bensin pÃ¥ denne brannen." - -#. type: Content of: <book><part><partintro><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 funne denne mÃ¥ten ennÃ¥. Istedet synes vi Ã¥ vÃ¦re fanget i en " -"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser pÃ¥ for Ã¥ " -"gjÃ¸re rammen for debatten litt bredere, er det dette enkle sort-hvit-synet " -"som bestÃ¥r. Vi kjÃ¸rer sakte forbi og stirrer pÃ¥ brannen nÃ¥r vi i stedet " -"burde holde Ã¸ynene pÃ¥ veien." - -#. type: Content of: <book><part><partintro><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 vÃ¦rt livet mitt de siste Ã¥rene. Det har ogsÃ¥ vÃ¦rt " -"min falitt. I de to neste kapitlene, beskriver jeg en liten innsats, sÃ¥ " -"langt uten suksess, pÃ¥ Ã¥ finne en mÃ¥te Ã¥ endre fokus pÃ¥ denne debatten. Vi " -"mÃ¥ forstÃ¥ disse mislyktede forsÃ¸kene hvis vi skal forstÃ¥ hva som kreves for " -"Ã¥ lykkes." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER THIRTEEN: Eldred" -msgstr "Kapittel tretten: Eldred" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Eldred, Eric" -msgstr "Eldred, Eric" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Hawthorne, Nathaniel" -msgstr "Hawthorne, Nathaniel" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In 1995</emphasis>, a father was frustrated that his " -"daughters didn't seem to like Hawthorne. No doubt there was more than one " -"such father, but at least one did something about it. Eric Eldred, a retired " -"computer programmer living in New Hampshire, decided to put Hawthorne on the " -"Web. An electronic version, Eldred thought, with links to pictures and " -"explanatory text, would make this nineteenth-century author's work come " -"alive." -msgstr "" -"<emphasis role='strong'>I 1995</emphasis> var en far frustrert over at hans " -"dÃ¸tre ikke syntes Ã¥ like Hawthorne. Det var uten tvil mer enn en slik far, " -"men i hvert fall en gjorde noe med det. Eric Eldred, en pensjonert " -"dataprogrammerer som bodde i New Hampshire, bestemte seg for Ã¥ putte " -"Hawthorne pÃ¥ nettet. En elektronisk versjon, tenkte Eldred, med lenker til " -"bilder og forklarende tekst, ville gjÃ¸re denne nittenhundretalls-" -"forfatterens verk mer levende." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "of public-domain literature" -msgstr "av allemannseid litteratur" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "library of works derived from" -msgstr "bibliotek av verker avledet fra" - -#. type: Content of: <book><part><chapter><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 "" -"Det virket ikke—i hvert fall ikke for hans dÃ¸tre. De fant ikke " -"Hawthorne noe mer interessant enn tidligere. Men Eldreds eksperiment ga " -"opphavet til en hobby, og hobbyen hans ga opphav til et kall: Eldred ville " -"lage et bibliotek over verk i det fri ved Ã¥ scanne disse og gjÃ¸re dem gratis " -"tilgjengelig." - -#. PAGE BREAK 221 -#. type: Content of: <book><part><chapter><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 "" -"Biblioteket til Eldred var ikke bare en kopi av visse verk i det fri, selv " -"om en kopi ville vÃ¦rt av stor verdi for folk rundt om i verden som ikke kan " -"fÃ¥ tilgang til papirutgaver av disse verkene. I stedet laget Eldred " -"avledede verk fra disse allemannseide verkene. PÃ¥ samme mÃ¥te som Disney " -"gjorde Grimm om til historier som var mer tilgjengelige i det tjuende " -"Ã¥rhundret, formet Eldred om pÃ¥ Hawthorne og mange andre til noe mer " -"tilgjengelig—teknisk tilgjengelig—i dag." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Scarlet Letter, The (Hawthorne)" -msgstr "Scarlet Letter, The (Hawthorne)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Eldred's freedom to do this with Hawthorne's work grew from the same source " -"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed " -"into the public domain in 1907. It was free for anyone to take without the " -"permission of the Hawthorne estate or anyone else. Some, such as Dover Press " -"and Penguin Classics, take works from the public domain and produce printed " -"editions, which they sell in bookstores across the country. Others, such as " -"Disney, take these stories and turn them into animated cartoons, sometimes " -"successfully (<citetitle>Cinderella</citetitle>), sometimes not " -"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure " -"Planet</citetitle>). These are all commercial publications of public domain " -"works." -msgstr "" -"Eldreds frihet til Ã¥ gjÃ¸re dette med Hawthornes verk kom fra samme kilde som " -"Disneys. Hawthornes <citetitle>Scarlet Letter</citetitle> hadde falt i det " -"fri i 1907. Alle hadde frihet til Ã¥ ta det uten tillatelse fra boet etter " -"Hawthorne eller noen andre. Noen, slik som Dover Press og Penguin Classics, " -"tar verk som er falt i det fri og lager papirutgaver som de selger i " -"bokhandler rundt om i landet. Andre, slik som Disney, tar disse historiene " -"og gjÃ¸r dem om til tegnefilmer. Noen ganger med suksess " -"((<citetitle>Askepott</citetitle>) og noen ganger uten (<citetitle>Ringeren " -"i Notre Dame</citetitle>, <citetitle>Treasure Planet</citetitle>). Disse er " -"alle kommersielle publiseringer av verk i det fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "pornography" -msgstr "pornografi" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with " -"pornography that is a bit hard to describe, but it's a strong one. One " -"phenomenon that the Internet created was a world of noncommercial " -"pornographers—people who were distributing porn but were not making " -"money directly or indirectly from that distribution. Such a class didn't " -"exist before the Internet came into being because the costs of distributing " -"porn were so high. Yet this new class of distributors got special attention " -"in the Supreme Court, when the Court struck down the Communications Decency " -"Act of 1996. It was partly because of the burden on noncommercial speakers " -"that the statute was found to exceed Congress's power. The same point could " -"have been made about noncommercial publishers after the advent of the " -"Internet. The Eric Eldreds of the world before the Internet were extremely " -"few. Yet one would think it at least as important to protect the Eldreds of " -"the world as to protect noncommercial pornographers." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Det er en parallell her til " -"pornografi som er litt vanskelig Ã¥ beskrive men som er veldig sterk. Et " -"fenomen som Internettet skapte var en verden av ikke-kommersiell " -"pornografi—folk som distribuerte porno men som ikke tjente penger " -"direkte eller indirekte fra denne distribusjonen. Noe slikt eksisterte ikke " -"fÃ¸r Internettet dukket opp, pÃ¥ grunn av at kostnaden med Ã¥ distribuere porno " -"var sÃ¥ hÃ¸y. Likevel fikk denne nye klassen av distributÃ¸rer spesiell " -"oppmerksomhet fra hÃ¸yesterett, da retten slo ned pÃ¥ Anstendig Kommunikasjons-" -"loven fra 1996. Det var delvis pÃ¥ grunn av byrden pÃ¥ ikke-kommersielle " -"talere at loven ble funnet Ã¥ gÃ¥ ut over kongressens myndighet. Det samme " -"poenget kan sies Ã¥ gjelde for ikke-kommersielle utgivere etter at " -"Internettet dukket opp. Alle Eric Eldred-ene i verden fÃ¸r internettet var " -"ekstremt fÃ¥. Likevel skulle en tro at det er minst like viktig Ã¥ beskytte " -"alle Eldred-ene i verden som det er Ã¥ beskytte ikkekommersielle pornografer." - -#. type: Content of: <book><part><chapter><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 " -"<quote>noncommercial publishing industry,</quote> which before the Internet " -"was limited to people with large egos or with political or social causes. " -"But with the Internet, it includes a wide range of individuals and groups " -"dedicated to spreading culture generally.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Internettet skapte muligheten for ikke-kommersiell publisering av verk i det " -"fri. Eldreds publisering er bare ett eksempel. Det finnes bokstavlig talt " -"tusenvis andre. Hundretusenvis rundt om i verden har oppdaget denne " -"platformen for Ã¥ uttrykke seg og bruker den til Ã¥ dele verk som, i fÃ¸lge " -"loven, kan tas fritt. Dette har skapt det vi kan kalle den " -"<quote>ikkekommersielle utgiverindustrien</quote>, hvilket fÃ¸r Internettet " -"var begrenset til folk med store ego eller med politiske eller sosiale " -"kall. Men med Internettet inkluderer det en lang rekke med individer og " -"grupper som er dedikert til Ã¥ spre kultur generelt.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Frost, Robert" -msgstr "Frost, Robert" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "New Hampshire (Frost)" -msgstr "New Hampshire (Frost)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " -"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the " -"public domain. Eldred wanted to post that collection in his free public " -"library. But Congress got in the way. As I described in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, in 1998, for the " -"eleventh time in forty years, Congress extended the terms of existing " -"copyrights—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 Hapshire. I 1998 skulle diktsamlingen " -"<citetitle>New Hampshire</citetitle> av Robert Frost falle i det fri. Eldred " -"Ã¸nsket Ã¥ legge den samlingen til i hans fritt tilgjengelige bibliotek. Men " -"kongressen kom i veien. Som jeg beskrev i kapittel <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"property-i\"/>, utvidet kongressen for " -"ellevte gang pÃ¥ fÃ¸rti Ã¥r, vernetiden for eksisterende opphavsrett—" -"denne gang med tjue Ã¥r. Eldred ville ikke stÃ¥ fritt til Ã¥ legge inn verker " -"nyere enn 1923 til sin samlig fÃ¸r 2019. Faktisk vil ikke et eneste " -"opphavsrettsbeskyttet verk falle i det fri fÃ¸r det Ã¥ret (og ikke en gang da, " -"hvis kongressen utvidet vernetiden igjen). Som kontrast ville mer enn en " -"million patenter falle i det fri i samme periode." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Bono, Mary" -msgstr "Bono, Mary" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Bono, Sonny" -msgstr "Bono, Sonny" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of " -"copyright protection to last forever. I am informed by staff that such a " -"change would violate the Constitution. I invite all of you to work with me " -"to strengthen our copyright laws in all of the ways available to us. As you " -"know, there is also Jack Valenti's proposal for a term to last forever less " -"one day. Perhaps the Committee may look at that next Congress,</quote> 144 " -"Cong. Rec. H9946, 9951-2 (October 7, 1998)." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Hele teksten er: <quote>Sonny [Bono] Ã¸nsket at vernetiden i " -"opphavsretten skulle vare evig. Jeg er informert av ansatte at en slik " -"endring ville vÃ¦re i strid med grunnloven. Jeg inviterer dere alle til Ã¥ " -"jobbe sammen med meg for Ã¥ styrke vÃ¥re opphavsrettslover pÃ¥ alle mÃ¥ter som " -"er tilgjengelig for oss. Som dere vet, er det ogsÃ¥ et forslag fra Jack " -"Valenti om en vernetid som varer evig minus en dag. Kanskje komiteen kan se " -"pÃ¥ i neste periode.</quote> 144 Kongr. Ref. H9946, 9951-2 (7. oktober 1998)." - -#. type: Content of: <book><part><chapter><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 <quote>copyrights should be forever.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Dette var Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA), lagt " -"frem til minne om kongressrepresentant og tidligere musiker Sonny Bony, som " -"i fÃ¸lge hans enke Mari Bony mente at <quote>opphavsreten bÃ¸r vare evig</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "felony punishment for infringement of" -msgstr "" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "NET (No Electronic Theft) Act (1998)" -msgstr "NET(Nei til Elektronisk Tyveri)-loven (1998)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "No Electronic Theft (NET) Act (1998)" -msgstr "Nei til Elektronisk Tyveri(NET)-loven (1998)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "felony punishments for" -msgstr "" - -#. type: Content of: <book><part><chapter><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 bestemte seg for Ã¥ sloss mot denne loven. Han valgte fÃ¸rst Ã¥ " -"bekjempe den gjennom sivil ulydighet. I en serie intervjuer annonserte " -"Eldred at han kom til Ã¥ publisere som planlagt, pÃ¥ tross av CTEA. Men pÃ¥ " -"grunn av en annen lov som ble vedtatt i 1998, NET-loven (Nei til Elektronisk " -"Tyveri), sÃ¥ ville det Ã¥ publisere gjÃ¸re Eldred til en kriminell—uanset " -"om noen protesteret eller ikke. Dette var en varlig strategi Ã¥ gjennomfÃ¸re " -"for en handikappet programmerer." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional powers of" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "Eldred case involvement of" -msgstr "" - -#. type: Content of: <book><part><chapter><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 jeg ble involvert i Eldreds kamp. Jeg var en grunnlovsforsker " -"hvis fÃ¸rste lidenskap var grunnlovstolkning. Og selv om grunnlovskursene " -"aldri fokuserer pÃ¥ <quote>fremme</quote>-delen av grunnloven, sÃ¥ har det at " -"den er forskjellig fra resten alltid slÃ¥tt meg som viktig. Som du vet sier " -"grunnloven fÃ¸lgende," - -#. type: Content of: <book><part><chapter><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 myndighet til Ã¥ fremme utviklingen av vitenskapen…ved " -"Ã¥ sikre forfattere, i et begrenset tidsrom, … eksklusive rettigheter " -"til sine … skrifter. …" - -#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> or " -"<quote>declare War.</quote> But here, the <quote>something</quote> is " -"something quite specific—to <quote>promote … Progress</" -"quote>—through means that are also specific— by <quote>securing</" -"quote> <quote>exclusive Rights</quote> (i.e., copyrights) <quote>for limited " -"Times.</quote>" -msgstr "" -"Som jeg har beskrevet er denne bestemmelsen unik innenfor bestemmelsene som " -"deler ut myndighet i artikkel I, seksjon 8, av vÃ¥r grunnlov. Alle de andre " -"bestemmelsene deler ut myndighet til kongressen ved Ã¥ ganske enkelt si at " -"kongressen har myndighet til Ã¥ gjÃ¸re noe—for eksempel til Ã¥ regulere " -"<quote>handel mellom flere stater</quote> eller <quote>erklÃ¦re krig</" -"quote>. Men her er dette <quote>noe</quote> ganske spesifikt—Ã¥ " -"<quote>fremme utviklingen</quote>—gjennom virkemidler som ogsÃ¥ er " -"ganske spesifikke—ved Ã¥ <quote>sikre</quote> <quote>eksklusive " -"rettigheter</quote> (det vil si opphavsretten) <quote>i et begrenset " -"tidsrom</quote>." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Jaszi, Peter" -msgstr "Jaszi, Peter" - -#. PAGE BREAK 223 -#. type: Content of: <book><part><chapter><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 <quote>limited</quote> will have no practical " -"effect. If every time a copyright is about to expire, Congress has the power " -"to extend its term, then Congress can achieve what the Constitution plainly " -"forbids—perpetual terms <quote>on the installment plan,</quote> as " -"Professor Peter Jaszi so nicely put it." -msgstr "" -"I de siste fÃ¸rti Ã¥rene har kongressen lagt seg pÃ¥ en praksis med Ã¥ utvide " -"eksisterende vernetid i opphavsretten. Det som ga meg hodebry var at hvis " -"kongressen hadde myndighet til Ã¥ utvide eksisterende vernetid, da ville " -"grunnlovens krav om at vernetiden skulle vÃ¦re <quote>begrenset</quote> ikke " -"ha noen praktisk effekt. Hvis kongressen hadde myndighet til Ã¥ utvide " -"vernetiden, hver gang vernetiden holder pÃ¥ Ã¥ gÃ¥ ut, sÃ¥ kunne kongressen " -"oppnÃ¥ det grunnloven tydelig forbyr—evigvarende vernetid <quote>pÃ¥ " -"avbetaling</quote> som professor Peter Jaszi sÃ¥ pent formulerte det." - -#. type: Content of: <book><part><chapter><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 akademiker var min fÃ¸rste reaksjon Ã¥ vende meg til bÃ¸kene. Jeg husker " -"at jeg satt sent pÃ¥ kontoret og sÃ¸kte gjennom nett-databaser etter enhver " -"seriÃ¸s vurdering av spÃ¸rsmÃ¥let. Ingen hadde noen gang utfordret kongressens " -"praksis med Ã¥ utvide eksisterende verneperioder. Den feilen kan vÃ¦re deler " -"av Ã¥rsaken til at kongressen virket sÃ¥ ubekymret i sin praksis. Det, og det " -"faktum at denne praksisen hadde blitt sÃ¥ lukrativ for konressen. Kongressen " -"vet at opphavsrettseiere vil vÃ¦re villig til Ã¥ betale mye penger for Ã¥ se " -"utvidelser i vernetiden for opphavsretten. Og dermed er kongressen ganske " -"fornÃ¸yd med Ã¥ fortsatt kunne fÃ¥ disse lettjente pengene." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For this is the core of the corruption in our present system of government. " -"<quote>Corruption</quote> not in the sense that representatives are bribed. " -"Rather, <quote>corruption</quote> in the sense that the system induces the " -"beneficiaries of Congress's acts to raise and give money to Congress to " -"induce it to act. There's only so much time; there's only so much Congress " -"can do. Why not limit its actions to those things it must do—and those " -"things that pay? Extending copyright terms pays." -msgstr "" -"For dette er kjernen i korrupsjonen av vÃ¥rt nÃ¥vÃ¦rende styringssystem. " -"<quote>Korrupsjon</quote> ikke i den forstand at representanter blir " -"bestukket. I stedet, <quote>korrupsjon</quote> pÃ¥ den mÃ¥ten at systemet " -"legger opp til at de som har fordeler av det som gjÃ¸res i kongressens skal " -"skaffe og gi penger til kongressen for Ã¥ legge opp til at bestemte ting blir " -"gjort. Det er begresnset med tid, og det er sÃ¥ mye kongressen kan gjÃ¸re. " -"Hvorfor ikke begrense det den gjÃ¸r til de tingene den mÃ¥ gjÃ¸re— og de " -"tingene som betaler seg? Ã utvide vernetiden i opphavsretten betaler seg." - -#. type: Content of: <book><part><chapter><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 Ã¥penbart for deg, vurder fÃ¸lgende: La oss si at du er en av " -"de heldige fÃ¥ opphavsrettseierne hvis opphavsrett fortsetter Ã¥ skaffe penger " -"ett hundre Ã¥r etter at den ble tildelt. Boet etter Robert Frost er et godt " -"eksempel. Frost dÃ¸de i 1963. Hans poesi forsetter Ã¥ vÃ¦rÃ¦ svÃ¦rt verdifull. " -"Dermed har boet etter Robert Frost store fordeler av en utvidelse av " -"opphavsretten, siden ingen utgiver ville betale boet penger hvis diktene " -"Frost skrev kunne gis gratis ut av enhver." - -#. type: Content of: <book><part><chapter><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 "" -"Forestill deg sÃ¥ at boet etter Robert Frost tjener $100 000 hvert Ã¥r " -"fra tre av diktene til Frist. Og forestill deg sÃ¥ at disse diktene snart " -"faller i det fri. Du sitter i styret for boet etter Robert Frost. Din " -"Ã¸konomirÃ¥dgiver kommer til styremÃ¸tet med en veldig dyster rapport:" - -#. PAGE BREAK 224 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Next year,</quote> the adviser announces, <quote>our copyrights in " -"works A, B, and C will expire. That means that after next year, we will no " -"longer be receiving the annual royalty check of $100,000 from the publishers " -"of those works.</quote>" -msgstr "" -"<quote>Neste Ã¥r</quote>, kunngjÃ¸r rÃ¥dgiveren, <quote>vil verkene A, B og C " -"falle i det fri. Det betyr at etter neste Ã¥r vil vi ikke lenger motta den " -"Ã¥rlige vederlags-sjekken pÃ¥ $100 000 fra utgiverne av disse verkene.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>There's a proposal in Congress, however,</quote> she continues, " -"<quote>that could change this. A few congressmen are floating a bill to " -"extend the terms of copyright by twenty years. That bill would be " -"extraordinarily valuable to us. So we should hope this bill passes.</quote>" -msgstr "" -"<quote>Men det er et forslag i kongressen</quote>, forsetter hun, <quote>som " -"kan endre dette. Noen kongressrepresentanter har lansert et lovforslag om Ã¥ " -"utvide vernetiden i opphavsretten med tjue Ã¥r. Det forslaget vil vÃ¦re " -"ekstremt verdifullt for oss. SÃ¥ vi bÃ¸r hÃ¥pe at den loven blir vedtatt.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing " -"something about it?</quote>" -msgstr "" -"<quote>HÃ¥pe?</quote>, sier en kollega i styret. <quote>Kan vi ikke gjÃ¸re " -"mer enn det?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could " -"contribute to the campaigns of a number of representatives to try to assure " -"that they support the bill.</quote>" -msgstr "" -"<quote>Vel, jo, selvfÃ¸lgelig</quote>, svarer rÃ¥dgiveren. <quote>Vi kan " -"bidra til valgkampanjene til et antall representanter for Ã¥ forsÃ¸ke Ã¥ sikre " -"at de vil stÃ¸tte lovforslaget.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"You hate politics. You hate contributing to campaigns. So you want to know " -"whether this disgusting practice is worth it. <quote>How much would we get " -"if this extension were passed?</quote> you ask the adviser. <quote>How much " -"is it worth?</quote>" -msgstr "" -"Du hater politikk. Du hater Ã¥ bidra til valgkampanjer. SÃ¥ du Ã¸nsker Ã¥ vite " -"hvorvidt denne motbydelige praksisen er verdt det. <quote>Hvor mye vil vi " -"fÃ¥ hvis denne utvidelsen blir vedtatt?</quote> spÃ¸r du rÃ¥dgiveren. " -"<quote>Hvor mye er det verdt?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Well,</quote> the adviser says, <quote>if you're confident that you " -"will continue to get at least $100,000 a year from these copyrights, and you " -"use the `discount rate' that we use to evaluate estate investments (6 " -"percent), then this law would be worth $1,146,000 to the estate.</quote>" -msgstr "" -"<quote>Vel</quote>, sier rÃ¥dgiveren og fortsetter. <quote>Hvis du er sikker " -"pÃ¥ at du vil fortsette Ã¥ fÃ¥ minst $100 000 i Ã¥ret for disse " -"opphavsrettene, og du bruker samme <quote>diskonteringssats</quote> som vi " -"bruker for Ã¥ vurdere eiendomsinvesteringer (6 prosent), sÃ¥ vil denne loven " -"vÃ¦re verdt $1 146 000 til boet.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"You're a bit shocked by the number, but you quickly come to the correct " -"conclusion:" -msgstr "" -"Du blir litt sjokkert over tallet, men du kommer raskt frem til riktig " -"konklusjon:" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>So you're saying it would be worth it for us to pay more than " -"$1,000,000 in campaign contributions if we were confident those " -"contributions would assure that the bill was passed?</quote>" -msgstr "" -"<quote>SÃ¥ du sier at det vil vÃ¦re verdt det for oss Ã¥ betale mer enn " -"$1 000 000 i valgkampbidrag hvis vi var trygge pÃ¥ at disse " -"bidragene ville sikre at loven ble vedtatt?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Absolutely,</quote> the adviser responds. <quote>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.</quote>" -msgstr "" -"<quote>Aboslutt</quote>, svarer rÃ¥dgiveren. <quote>Det er verdt det hvis du " -"bidrar med opp til dagens verdi av inntektene du forventer fra disse " -"opphavsrettene. Hvilket for oss betyr over $1 000 000.</quote>" - -#. PAGE BREAK 225 -#. type: Content of: <book><part><chapter><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 tar raskt poenget—du som medlem av styret og, regner jeg med, du " -"som leser. Hver gang opphavsretten holder pÃ¥ Ã¥ lÃ¸pe ut, har hver eneste " -"mottaker i samme posisjon som boet etter Robert Frost det samme valget: Hvis " -"de bidrar til Ã¥ fÃ¥ en lov vedtatt som utvider opphavsretten sÃ¥ vil de ha " -"stor nytte av den utvidelsen. SÃ¥ hver eneste gang opphavsretten er i ferd " -"med Ã¥ lÃ¸pe ut, sÃ¥ er det en massiv lobbyering for Ã¥ fÃ¥ " -"opphavsrettsvernetiden utvidet." - -#. type: Content of: <book><part><chapter><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 har vi en kongressbasert evighetsmaskin: SÃ¥ lenge lovgiving kan " -"kjÃ¸pes (riktignok indirekte), sÃ¥ vil det vÃ¦re alle insentiver i verden for Ã¥ " -"kjÃ¸pe ytterligere utvidelser av opphavsretten." - -#. f3. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " -"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> " -"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22." -msgstr "" -"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " -"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years</quote>, " -"<citetitle>Chicago Tribune</citetitle>, 17. oktober 1998, 22." - -#. f4. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age,</" -"quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #49</" -"ulink>." -msgstr "" -"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" -"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " -"#49</ulink>." - -#. f5. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> " -"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>." -msgstr "" -"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars</quote>, " -"<citetitle>Congressional Quarterly This Week</citetitle>, 8. august 1990, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #50</" -"ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In the lobbying that led to the passage of the Sonny Bono Copyright Term " -"Extension Act, this <quote>theory</quote> about incentives was proved real. " -"Ten of the thirteen original sponsors of the act in the House received the " -"maximum contribution from Disney's political action committee; in the " -"Senate, eight of the twelve sponsors received contributions.<placeholder " -"type=\"footnote\" id=\"0\"/> The RIAA and the MPAA are estimated to have " -"spent over $1.5 million lobbying in the 1998 election cycle. They paid out " -"more than $200,000 in campaign contributions.<placeholder type=\"footnote\" " -"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to " -"reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>" -msgstr "" -"I lobbyeringen som fÃ¸rte til at Sonny Bono utvidelse av opphavsrettsvernetid-" -"loven ble vedtatt ble denne <quote>teorien</quote> om insentiver bevist Ã¥ " -"vÃ¦re riktig. Ti av de tretten originale sponsorene til loven i overhuset " -"mottok maksimalt bidrag fra Disneys politiske handlingskomite. I senatet " -"mottok Ã¥tte av de tolv sponsorene bidrag.<placeholder type=\"footnote\" id=" -"\"0\"/> RIAA og MPAA er estimert Ã¥ ha brukt mer enn $1,5 lobby-millioner i " -"1998-valgperioden. De betalte ut mer enn $200 000 i kampanjebidrag." -"<placeholder type=\"footnote\" id=\"1\"/> Disney er estimert Ã¥ ha bidratt " -"med mer enn $800 000 i gjenvelgelseskampaner den perioden.<placeholder " -"type=\"footnote\" id=\"2\"/>" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>Constitutional law</emphasis> is not oblivious to " -"the obvious. Or at least, it need not be. So when I was considering Eldred's " -"complaint, this reality about the never-ending incentives to increase the " -"copyright term was central to my thinking. In my view, a pragmatic court " -"committed to interpreting and applying the Constitution of our framers would " -"see that if Congress has the power to extend existing terms, then there " -"would be no effective constitutional requirement that terms be " -"<quote>limited.</quote> If they could extend it once, they would extend it " -"again and again and again." -msgstr "" -"konstitusjonelle loven er ikke oblivious til det Ã¥penbare. eller i det " -"minste, det trenger ikke vÃ¦re. sÃ¥ nÃ¥r jeg var vurderer eldred's klage, denne " -"virkeligheten om never-ending insentiver til Ã¥ Ã¸ke opphavsrett begrepet var " -"sentral til min tenkning. i min mening, vil en pragmatisk domstol forpliktet " -"til Ã¥ tolke og bruke Grunnloven av vÃ¥re underskrev se at hvis Kongressen har " -"makt til Ã¥ utvide eksisterende vilkÃ¥r, og det vil vÃ¦re ingen effektiv " -"konstitusjonelle krav at vilkÃ¥rene vÃ¦re \"begrenset.\" Hvis de kunne " -"forlenge det en gang, de ville utvide den igjen og igjen og igjen." - -#. PAGE BREAK 226 -#. type: Content of: <book><part><chapter><para> -msgid "" -"It was also my judgment that <emphasis>this</emphasis> Supreme Court would " -"not allow Congress to extend existing terms. As anyone close to the Supreme " -"Court's work knows, this Court has increasingly restricted the power of " -"Congress when it has viewed Congress's actions as exceeding the power " -"granted to it by the Constitution. Among constitutional scholars, the most " -"famous example of this trend was the Supreme Court's decision in 1995 to " -"strike down a law that banned the possession of guns near schools." -msgstr "" -"Det var ogsÃ¥ min vurdering at <emphasis>denne</emphasis> hÃ¸yesteretten ikke " -"ville tillate kongressen Ã¥ utvide den eksisterende vernetiden. Som alle som " -"kjenner hÃ¸yestretts arbeid vet, har denne retten i stadig stÃ¸rre grad " -"begrenset myndigheten til kongressen nÃ¥r den har vurdert at kongressens " -"vedtak gÃ¥r ut over myndigheten tildelt dem i grunnloven. Blant " -"grunnlovsforskere var det mest berÃ¸mte eksemplet pÃ¥ denne trenden " -"avgjÃ¸relsen fra hÃ¸yesterett i 1995 om Ã¥ slÃ¥ ned pÃ¥ en lov som forbÃ¸d " -"besittelse av vÃ¥pen nÃ¦r skoler." - -#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> (aka <quote>interstate " -"commerce</quote>), the Supreme Court had interpreted that power to include " -"the power to regulate any activity that merely affected interstate commerce." -msgstr "" -"Siden 1937 hadde hÃ¸yesterett tolket kongressens tildelte myndighet svÃ¦rt " -"bredt. SÃ¥ mens grunnloven gir kongressen myndighet til Ã¥ kun regulere " -"<quote>handel mellom stater</quote> (aka <quote>mellomstatlig handel</" -"quote>), sÃ¥ hadde hÃ¸yesterett tolket den myndigheten til Ã¥ inneholde " -"myndigheten til Ã¥ regulere enhver aktivitet som kun berÃ¸rer mellomstatlig " -"handel." - -#. type: Content of: <book><part><chapter><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 "" -"Etter hvert som Ã¸konomien vokste, betÃ¸d denne standarden i stadig stÃ¸rre " -"grad at det ikke var noen grenser for kongressens myndighet til Ã¥ regulere, " -"siden omtrent hver eneste aktivitet, nÃ¥r en vurderte det pÃ¥ nasjonal skala, " -"pÃ¥virker mellomstatlig handel. En grunnlov utformet for Ã¥ begrense " -"kongressens myndighet ble istedet tolket til Ã¥ ikke ha noen grense." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Rehnquist, William H." -msgstr "Rehnquist, William H." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Supreme Court, under Chief Justice Rehnquist's command, changed that in " -"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The " -"government had argued that possessing guns near schools affected interstate " -"commerce. Guns near schools increase crime, crime lowers property values, " -"and so on. In the oral argument, the Chief Justice asked the government " -"whether there was any activity that would not affect interstate commerce " -"under the reasoning the government advanced. The government said there was " -"not; if Congress says an activity affects interstate commerce, then that " -"activity affects interstate commerce. The Supreme Court, the government " -"said, was not in the position to second-guess Congress." -msgstr "" -"HÃ¸yesterett endret, under ledelse av hÃ¸yesterettsjustitiarius " -"Rehnquist, det i <citetitle>United States</citetitle> mot " -"<citetitle>Lopez</citetitle>. Staten hadde argumentert med at Ã¥ bÃ¦re " -"vÃ¥pen nÃ¦r skoler pÃ¥virket mellomstatlig handel. VÃ¥pen nÃ¦r skoler Ã¸ker " -"kriminalitet, kriminalitet reduserte eiendomsverdier, og sÃ¥ videre. I " -"den muntlige argumentasjonen spurte hÃ¸yesterettsjustitiariusen staten " -"om det fantes noen aktivitet som ikke ville pÃ¥virke mellomstatlig " -"handel i henhold til resoneringen som staten fremfÃ¸rte. Staten sa at " -"det fantes ikke. Hvis kongressen sa at en aktivitet pÃ¥virket " -"mellomstatlig handel, sÃ¥ pÃ¥virket den aktiviteten mellomstatlig " -"handel. Staten sa at HÃ¸yesterett ikke var i posisjon til Ã¥ etterprÃ¸ve " -"kongressen." - -#. f6. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U." -"S. 549, 564 (1995)." -msgstr "" -"<citetitle>United States</citetitle> mot <citetitle>Lopez</citetitle>, 514 U." -"S. 549, 564 (1995)." - -#. f7. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 " -"U.S. 598 (2000)." -msgstr "" -"<citetitle>United States</citetitle> mot <citetitle>Morrison</citetitle>, " -"529 U.S. 598 (2000)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>We pause to consider the implications of the government's arguments,</" -"quote> the Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If " -"anything Congress says is interstate commerce must therefore be considered " -"interstate commerce, then there would be no limit to Congress's power. The " -"decision in <citetitle>Lopez</citetitle> was reaffirmed five years later in " -"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>." -"<placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" - -#. f8. -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"If it is a principle about enumerated powers, then the principle carries " -"from one enumerated power to another. The animating point in the context of " -"the Commerce Clause was that the interpretation offered by the government " -"would allow the government unending power to regulate commerce—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 <quote>limited times</quote> " -"notwithstanding." -msgstr "" -"Hvis det er et prinsipp om nummerert kreftene, deretter bÃ¦rer 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 Ã¥ regulere handel—begrenset til " -"utdanningen handel til tross for. det samme punktet er sant i forbindelse " -"med opphavsrett-setningsdel. her ogsÃ¥, regjeringens tolkning ville tillate " -"regjeringen unending makt til Ã¥ regulere opphavsrett—begrenset til " -"\"begrenset ganger\" til tross for." - -#. PAGE BREAK 227 -#. type: Content of: <book><part><chapter><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 " -"<quote>stopping point</quote> to Congress's power over terms, though the " -"Constitution expressly states that there is such a limit. Thus, the same " -"principle applied to the power to grant copyrights should entail that " -"Congress is not allowed to extend the term of existing copyrights." -msgstr "" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis>If</emphasis>, that is, the principle announced in " -"<citetitle>Lopez</citetitle> stood for a principle. Many believed the " -"decision in <citetitle>Lopez</citetitle> stood for politics—a " -"conservative Supreme Court, which believed in states' rights, using its " -"power over Congress to advance its own personal political preferences. But I " -"rejected that view of the Supreme Court's decision. Indeed, shortly after " -"the decision, I wrote an article demonstrating the <quote>fidelity</quote> " -"in such an interpretation of the Constitution. The idea that the Supreme " -"Court decides cases based upon its politics struck me as extraordinarily " -"boring. I was not going to devote my life to teaching constitutional law if " -"these nine Justices were going to be petty politicians." -msgstr "" -"Det vil si <emphasis>hvis</emphasis> prinsippet annonsert i " -"<citetitle>Lopez</citetitle> sto for et prinsipp. Mange mente " -"avgjÃ¸relsen i <citetitle>Lopez</citetitle> sto for politikk—en " -"konservativ hÃ¸yesterett, som trodde pÃ¥ statenes rettigheter, brukte " -"sin myndighet over kongressen til Ã¥ fremme sine egne personlige " -"politiske preferanser. Men jeg avviste det synet pÃ¥ avgjÃ¸relsen fra " -"hÃ¸yesterett. Jeg hadde til og med skrevet en artikkel like etter " -"avgjÃ¸relsen som demonstrerte hvor <quote>tro mot opphavet</quote> en " -"slik tolking var mot Grunnloven. IdÃ©en om at hÃ¸yesterett avgjorde " -"saker basert pÃ¥ sin politiske overbevisning slo meg som Ã¥ usedvanlig " -"kjedelig. Jeg kom ikke til Ã¥ dedikere mitt liv til Ã¥ lÃ¦re bort " -"grunnlovsjus hvis disse ni dommerne kun skulle vÃ¦re smÃ¥lige " -"politikere." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>Now let's pause</emphasis> for a moment to make sure " -"we understand what the argument in <citetitle>Eldred</citetitle> was not " -"about. By insisting on the Constitution's limits to copyright, obviously " -"Eldred was not endorsing piracy. Indeed, in an obvious sense, he was " -"fighting a kind of piracy—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 "" -"NÃ¥ la oss pause for et Ã¸yeblikk Ã¥ sÃ¸rge for at vi forstÃ¥r hva argumentet i " -"eldred ikke var om. ved Ã¥ insistere pÃ¥ grunnlovens grenser for opphavsrett, " -"var Ã¥penbart eldred ikke stÃ¸ttet piratkopiering. faktisk i en Ã¥penbar " -"forstand kjemper han en form for piratkopiering—piratkopiering av den " -"offentlige sfÃ¦ren. da robert frost skrev hans arbeid og nÃ¥r walt disney " -"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks Ã¥r. pÃ¥ " -"grunn av midlertidige endringer, hadde frost og disney allerede likte " -"monopol sytti-fem Ã¥r for deres arbeid. de hadde fÃ¥tt fordelen av handel som " -"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-" -"seks Ã¥r, de opprettet nytt arbeid. men nÃ¥ disse enhetene bruker deres " -"makt—uttrykt gjennom strÃ¸mmen av lobbyister penger—for Ã¥ fÃ¥ en " -"annen tyve Ã¥rs dollop av monopol. at tyve Ã¥rs Dollop dollop ville bli Hentet " -"fra public domain. Eric eldred var kjemper en piratkopiering som pÃ¥virker " -"oss alle." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Nashville Songwriters Association" -msgstr "Nashville sangforfatterforening" - -#. f9. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Brief of the Nashville Songwriters Association, <citetitle>Eldred</" -"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " -"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #51</ulink>." -msgstr "" -"Orientering fra Nashvillesangforfatterforening, <citetitle>Eldred</" -"citetitle> mot <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " -"01-618), n.10, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #51</ulink>." - -#. type: Content of: <book><part><chapter><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 <quote>legal piracy.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> But it is not piracy when the law allows it; and in " -"our constitutional system, our law requires it. Some may not like the " -"Constitution's requirements, but that doesn't make the Constitution a " -"pirate's charter." -msgstr "" -"Noen folk ser pÃ¥ allemannseiet med forakt. I notatet de sendt til " -"hÃ¸yesterett, skrev Nashville sangforfatterforening at allemannseiet ikke var " -"noe annet enn <quote>lovlig piratvirksomhet</quote>.<placeholder type=" -"\"footnote\" id=\"0\"/> Men det er ikke piratvirksomhet nÃ¥r loven tillater " -"det. Og i vÃ¥rt konstituelle system krever loven dette. Noen liker kanskje " -"ikke kravene i grunnloven vÃ¥r, men det gjÃ¸r ikke grunnloven til en " -"piratkodeks." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"As we've seen, our constitutional system requires limits on copyright as a " -"way to assure that copyright holders do not too heavily influence the " -"development and distribution of our culture. Yet, as Eric Eldred discovered, " -"we have set up a system that assures that copyright terms will be repeatedly " -"extended, and extended, and extended. We have created the perfect storm for " -"the public domain. Copyrights have not expired, and will not expire, so long " -"as Congress is free to be bought to extend them again." -msgstr "" -"som vi har sett, krever systemet vÃ¥rt konstitusjonelle begrensninger pÃ¥ " -"opphavsrett som en mÃ¥te Ã¥ sikre at innehaver av opphavsrett ikke for sterkt " -"pÃ¥virke utviklingen og distribueringen av vÃ¥r kultur. ennÃ¥, som eric eldred " -"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkÃ¥rene vil " -"vÃ¦re gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den " -"perfekte stormen for public domain. opphavsrett er utlÃ¸pt ikke, og utlÃ¸per " -"ikke, sÃ¥ lenge congress er gratis kjÃ¸pes for Ã¥ utvide dem igjen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>It is valuable</emphasis> copyrights that are " -"responsible for terms being extended. Mickey Mouse and <quote>Rhapsody in " -"Blue.</quote> These works are too valuable for copyright owners to ignore. " -"But the real harm to our society from copyright extensions is not that " -"Mickey Mouse remains Disney's. Forget Mickey Mouse. Forget Robert Frost. " -"Forget all the works from the 1920s and 1930s that have continuing " -"commercial value. The real harm of term extension comes not from these " -"famous works. The real harm is to the works that are not famous, not " -"commercially exploited, and no longer available as a result." -msgstr "" -"<emphasis role='strong'>Det er verdifull</emphasis> opphavsrett som er " -"ansvarlig for at verneperioden blir utvidet. Mikke Mus og <quote>Rhapsody " -"in Blue</quote>. Disse verkene er for verdifulle til at opphavsrettseierene " -"kan ignorere dem. Men den egentlige skaden fra opphavsrettsutvidelser for " -"vÃ¥rt samfunn er ikke at Mikke Mus forblir Disneys. Glem Mikke Mus. Glem " -"Robert Frost. Glem alle verk fra tjue-tallet og tredve-tallet som fortsatt " -"har kommersiell verdi. Den egentlige skaden fra utvidelse av vernetiden " -"kommer ikke fra disse berÃ¸mte verkene. Den egenelige skaden er fra de " -"verkene som ikke er berÃ¸mte, ikke kommersielt utnytttet, og dermed heller " -"ikke lenger tilgjengelig." - -#. f10. -#. type: Content of: <book><part><chapter><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, <citetitle>Eldred</citetitle> v. " -"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #52</ulink>." -msgstr "" -"Tallet 2 prosent er en ektrapolering fra en undersÃ¸kelse gjort av " -"kongressens forskningstjeneste, med bakgrunn i de estimerte " -"fornyelsespennene. Se Brief of Petitioners, <citetitle>Eldred</citetitle> " -"mot <citetitle>Ashcroft</citetitle>, 7, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #52</ulink>." - -#. type: Content of: <book><part><chapter><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 "" -"Hvis du ser pÃ¥ arbeider laget i de fÃ¸rste tjue Ã¥rene (1923 til 1942) " -"pÃ¥virket av Sonny Bono utvidelse av opphavsrettsvernetid-loven, sÃ¥ har 2 " -"prosent av disse verkene fortsatt kommersielle verdi. Det var " -"opphavsrettsinnehaverne for disse 2 prosentene som fikk igjennom CTEA. Men " -"loven og dens effekt var ikke begresnet til disse 2 prosentene. Loven " -"utvidet vernetiden til opphavsretten generelt.<placeholder type=\"footnote\" " -"id=\"0\"/>" - -#. PAGE BREAK 229 -#. type: Content of: <book><part><chapter><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 om konsekvensen av denne utvidelsen—praktisk som en " -"forretningsmann, ikke som en advokat ivrig etter mer juridisk arbeide. I " -"1930 ble 10047 bÃ¸ker publisert. I 2000 var 174 av disse bÃ¸kene fortsatt " -"tilgjengelig fra forlaget. La oss anta at du var Brewster Kahle, og du " -"Ã¸nsket Ã¥ gjÃ¸re de resterende 9873 tilgjengelig for verden i ditt iArkiv-" -"prosjekt. Hva ville du mÃ¥tte gjÃ¸re?" - -#. type: Content of: <book><part><chapter><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, fÃ¸rst mÃ¥ du finne ut hvilke av disse 9873 bÃ¸kene som fortsatt er vernet " -"av opphavsretten. Det krever at du gÃ¥r til biblioteket (den informasjonen " -"er ikke tilgjengelig pÃ¥ nettet) og blar igjennom haller med bÃ¸ker mens du " -"kryss-sjekker titler og forfatterne av disse 9873 bÃ¸kene med " -"opphavsrettsregistreringene og fornyingsmeldingene for verker publisert i " -"1930. Dette vil gi en liste med bÃ¸ker som fortsatt er vernet av " -"opphavsretten." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Then for the books still under copyright, you would need to locate the " -"current copyright owners. How would you do that?" -msgstr "" -"SÃ¥ for bÃ¸kerne som fortsatt er vernet av opphavsretten mÃ¥ en finne de " -"nÃ¥vÃ¦rende opphavsrettseiere. Hvordan vil du gjÃ¸re det?" - -#. type: Content of: <book><part><chapter><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 folk tenker at det mÃ¥ vÃ¦re en liste over disse opphavsrettseierne " -"en eller annen plass. Praktiske folk tenker slik. Hvordan kan det vÃ¦re " -"tusener pÃ¥ tusener av monopoler delt ut av myndighetene uten at det i hvert " -"fall finnes en liste?" - -#. type: Content of: <book><part><chapter><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 vÃ¦re et navn fra 1930, og deretter i 1959, " -"for personen som registrerte opphavsretten. Men bare tenkt praktisk rundt " -"hvor utrolig vanskelig det vil vÃ¦re Ã¥ spore opp tusenvis av slike " -"arkivoppfÃ¸ringer—spesielt siden personen som er registrert ikke " -"nÃ¸dvendigvis er den nÃ¥vÃ¦rende eier. Og vi snakker kun om 1930!" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>But there isn't a list of who owns property generally,</quote> the " -"apologists for the system respond. <quote>Why should there be a list of " -"copyright owners?</quote>" -msgstr "" -"<quote>Men det er ikke generelt en liste over hvem som eier eiendom</quote> " -"svarer forsvarerne av systemet. <quote>Hvorfor skulle det finnes en liste " -"over opphavsrettseiere?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty " -"of lists of who owns what property. Think about deeds on houses, or titles " -"to cars. And where there isn't a list, the code of real space is pretty " -"good at suggesting who the owner of a bit of property is. (A swing set in " -"your backyard is probably yours.) So formally or informally, we have a " -"pretty good way to know who owns what tangible property." -msgstr "" -"Vel, egentlig, nÃ¥r du tenker pÃ¥ det, sÃ¥ <emphasis>finnes</emphasis> det " -"mange lister over hvem som eier hvilken eiendom. Tenk pÃ¥ skjÃ¸ter for hus, " -"eller hvem som eier biler. Og der det ikke finnes en liste, sÃ¥ er koden for " -"den virkelige verden ganske god til Ã¥ foreslÃ¥ hvem som eier en bit eiendom " -"(en huske plassert i bakhagen din er sannsynlig vis din) SÃ¥ formelt eller " -"uformelt har vi en ganske god mÃ¥te Ã¥ vite hvem som eier hvilken hÃ¥ndgripelig " -"eiendom." - -#. PAGE BREAK 230 -#. type: Content of: <book><part><chapter><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 "" -"Dermed: Du vandrer ned en gate og ser et hus. Du kan vite hvem som eier " -"huset ved Ã¥ slÃ¥ opp i kommunehusets register. Hvis du ser en bil, sÃ¥ er det " -"normal et bilskilt som vil knytte eieren til bilen. Hvis du ser en haug med " -"barneleker som ligger pÃ¥ plenen forran et hus, sÃ¥ er det rimelig enkelt Ã¥ " -"finne ut hvem som eier lekene. Og hvis du tilfeldigvis ser en baseball som " -"ligger i grÃ¸fta pÃ¥ siden av veien, sÃ¥ se deg rundt et Ã¸yeblikk etter unger " -"som spiller ball. Hvis du ikke ser noen barn, sÃ¥ ok: her er det en bit " -"eiedom hvis eier vi ikke enkelt kan lokalisere. Dette er unntaket som " -"bekrefter regelen: at vi normalt vet veldig godt hvem som eier hvilken " -"eiendom." - -#. type: Content of: <book><part><chapter><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 "" -"Sammenlig denne historien med immateriell eiendom. Du gÃ¥r inn i et " -"bibliotek. Biblioteket eier bÃ¸kene. Men hvem eier opphavsretten? Som jeg " -"allerede har beskrevet, sÃ¥ finnes det ingen liste med opphavsrettseiere. " -"Det er navnene til forfattere, naturligvis, men deres opphavsrett kan ha " -"blitt overfÃ¸rt, eller blitt arvet til et bo lik bestemors gamle smykker. " -"For Ã¥ vite hvem som eier hva, sÃ¥ mÃ¥ du hyre en privatdetektiv. Det en " -"sitter igjen med er at eieren kan ikke enkelt finnes. Og med et regime som " -"vÃ¥rt, der det er en forbrytelse Ã¥ bruke slik eiendom uten tillatelse fra " -"eiendomseieren, sÃ¥ vil eiendommen ikke bli brukt." - -#. type: Content of: <book><part><chapter><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 "" -"Konsekvensen men gamle bÃ¸ker er at de ikke vil bli digitalisert, og dermed " -"ganske enkelt vil rotne bort pÃ¥ hyller. Men konsekvensen for andre kreative " -"arbeider er mye mer alvorlig." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Agee, Michael" -msgstr "Agee, Michael" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Hal Roach Studios" -msgstr "Hal Roach Studios" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Laurel and Hardy Films" -msgstr "Helan og Halvan-filmene" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Lucky Dog, The" -msgstr "heldig hunden, den" - -#. f11. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See David G. Savage, <quote>High Court Scene of Showdown on Copyright Law,</" -"quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David " -"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " -"Hears Arguments Today on Striking Down Copyright Extension,</quote> " -"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002." -msgstr "" -"Se David G. Savage, <quote>High Court Scene of Showdown on Copyright Law</" -"quote>, <citetitle>Los Angeles Times</citetitle>, 6. oktober 2002, David " -"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " -"Hears Arguments Today on Striking Down Copyright Extension</quote>, " -"<citetitle>Orlando Sentinel Tribune</citetitle>, 9. oktober 2002." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Consider the story of Michael Agee, chairman of Hal Roach Studios, which " -"owns the copyrights for the Laurel and Hardy films. Agee is a direct " -"beneficiary of the Bono Act. The Laurel and Hardy films were made between " -"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</" -"citetitle>, is currently out of copyright. But for the CTEA, films made " -"after 1923 would have begun entering the public domain. Because Agee " -"controls the exclusive rights for these popular films, he makes a great deal " -"of money. According to one estimate, <quote>Roach has sold about 60,000 " -"videocassettes and 50,000 DVDs of the duo's silent films.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Se pÃ¥ historien til Michael Agee, styreleder ved Hal Roach Studios, som eier " -"opphavsrettene for Helan og Halvan-filmene. Agee har dermed direkte fordel " -"av Bono-loven. Helan og Halvan-filmene ble laget mellom 1921 og 1951. Kun " -"en av disse filmene, <citetitle>The Lucky Dog</citetitle>, har sÃ¥ langt falt " -"i det fri. Men hadde det ikke vÃ¦rt for CTEA, ville filmer laget etter 1923 " -"begynt Ã¥ falle i det fri. Da Agee kontrollerer de eksklusive rettighetene " -"for disse populÃ¦re filmene sÃ¥ tjener an en god del penger. I fÃ¸lge et " -"estimat, <quote>har Roach solgt omtrent 60 000 videokassetter og " -"50 000 DVDer av filmene til denne stumfilmduoen.</quote><placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 "" -"Likevel gikk Agee mot CTEA. Hans begrunnelse en sjelden dyd i denne " -"kulturen: uselviskhet. Han argumenterte i sitt innlegg foran hÃ¸yesteretten " -"at Sonny Bono utvidelse av opphavsrettsvernetid-loven vil, hvis den ble " -"stÃ¥ende, Ã¸delegge en hel generasjon med amerikansk film." - -#. PAGE BREAK 231 -#. type: Content of: <book><part><chapter><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 "" -"Argumentet hans er enkelt. En liten brÃ¸kdel av disse verkene har vedvarende " -"kommersiell verdi. Resten—i den grad de overlever i det hele " -"tatt—ligger i et hvelv og samler stÃ¸v. Det kan vÃ¦re vÃ¦re at at noen " -"av disse verkene som nÃ¥ ikke er kommersielt verdifulle vil bli vurdert Ã¥ " -"vÃ¦re verdifulle av eierne av hvelvene. For at det skal skje, mÃ¥ den " -"kommersielle gevinsten fra verkene overstige kostnaden med Ã¥ gjÃ¸re verket " -"tilgjengelig for distribusjon." - -#. f12. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " -"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</" -"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus " -"Curiae filed on behalf of Petitioners by the Internet Archive, " -"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>." -msgstr "" - -#. type: Content of: <book><part><chapter><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 8 mm film.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Vi kan ikke vite gevinsten, men vi vet mye om konstnadene. For det meste av " -"filmhistorien har kostnaden med Ã¥ restaurere film vÃ¦rt veldig hÃ¸y. Digital " -"teknologi har redusert disse konstnadene betydelig. Mens det i 1993 kostet " -"mer enn $10 000 for Ã¥ restaurere en nittiminutters sort-hvit-film, sÃ¥ " -"kan det nÃ¥ koste sÃ¥ lite som $100 a digitalisere en times 8-millimeterfilm." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 "" -"Restaureringsteknologien er ikke den eneste kostnaden, og heller ikke den " -"viktigste. Advokater er ogsÃ¥ en kostnad, og i stadig stÃ¸rre grad, en veldig " -"viktig del. I tillegg til Ã¥ preservere filmen, sÃ¥ mÃ¥ en distributÃ¸r sikre " -"seg rettighetene. Og for Ã¥ sikre seg rettighetene til en film som er vernet " -"av opphavsretten, sÃ¥ mÃ¥ du finne opphavsrettseieren." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't " -"only a single copyright associated with a film; there are many. There isn't " -"a single person whom you can contact about those copyrights; there are as " -"many as can hold the rights, which turns out to be an extremely large " -"number. Thus the costs of clearing the rights to these films is " -"exceptionally high." -msgstr "" -"Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, <emphasis>eiere</emphasis>. Som vi har sett " -"er det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. " -"Det er ikke en enkelt person som du kan kontakte om disse opphavsrettene. " -"Det er like mange som det er opphavsretter knyttet til den, hvilket viser " -"seg kan vÃ¦re et ekstremt hÃ¸yt tall. Dermed blir kostnaden med Ã¥ klarere " -"rettighetene for disse filmene eksepsjonelt hÃ¸y." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>But can't you just restore the film, distribute it, and then pay the " -"copyright owner when she shows up?</quote> Sure, if you want to commit a " -"felony. And even if you're not worried about committing a felony, when she " -"does show up, she'll have the right to sue you for all the profits you have " -"made. So, if you're successful, you can be fairly confident you'll be " -"getting a call from someone's lawyer. And if you're not successful, you " -"won't make enough to cover the costs of your own lawyer. Either way, you " -"have to talk to a lawyer. And as is too often the case, saying you have to " -"talk to a lawyer is the same as saying you won't make any money." -msgstr "" -"<quote>Men kan du ikke bare restaurere filmen, distribuere den, og sÃ¥ betale " -"opphavsrettseieren nÃ¥r hun dukker opp?</quote> Jovisst, hvis du Ã¸nsker Ã¥ " -"gjÃ¸re deg selv til kriminiell. Og selv om du ikke er bekymret over Ã¥ begÃ¥ " -"en forbrytelse, sÃ¥ vil hun nÃ¥r hun dukker opp ha rett til Ã¥ saksÃ¸ke deg for " -"all fortjeneste du har hatt. SÃ¥ hvis du lykkes, sÃ¥ kan du vÃ¦re rimelig " -"sikker pÃ¥ at du fÃ¥r besÃ¸k fra noens advokat. Og hvis du ikke lykkess, sÃ¥ " -"vil du ikke ha tjent nok til Ã¥ dekke konstnaden for din egen advokat. " -"Uansett vil du vÃ¦re nÃ¸dt til Ã¥ snakke med en advokat. Og det Ã¥ si at du mÃ¥ " -"snakke med en advokat er ofte det samme som Ã¥ si at du ikke vil tjene noen " -"penger." - -#. PAGE BREAK 232 -#. type: Content of: <book><part><chapter><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 det hende gevinsten fra Ã¥ gi ut filmen vil overskride " -"disse kostnadene. Men for de aller fleste av dem er det ingen mulighet for " -"at gevinsten vil oppveie de juridiske kostnadene. Dermed vil de aller fleste " -"gamle filmer, argumenterte AGee, ikke bli restaurert og distribuert fÃ¸r " -"opphavsretten lÃ¸per ut." - -#. type: Content of: <book><part><chapter><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 innen opphavsretten for disse filmene er utlÃ¸pt, vil filmen ha gÃ¥tt " -"tapt. Disse filmene ble produsert pÃ¥ nitrat-baserte filmruller, og " -"nitratfilm gÃ¥r i opplÃ¸sning over tid. De vil vÃ¦re borte, og metalleskene " -"der de nÃ¥ blir lagret vil kun inneholde stÃ¸v." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Of all the</emphasis> creative work produced by " -"humans anywhere, a tiny fraction has continuing commercial value. For that " -"tiny fraction, the copyright is a crucially important legal device. For that " -"tiny fraction, the copyright creates incentives to produce and distribute " -"the creative work. For that tiny fraction, the copyright acts as an " -"<quote>engine of free expression.</quote>" -msgstr "" -"<emphasis role='strong'>Av alle de</emphasis> kreative verk produsert av " -"mennesker i verden, sÃ¥ er det kun en liten brÃ¸kdel som fortsetter Ã¥ ha " -"kommersiell verdi. For en liten brÃ¸kdel er opphavsretten en kritisk viktig " -"juridisk mekanisme. For den lille brÃ¸kdelen skaper opphavsretten insentiver " -"til Ã¥ produsere og distribuere kreative verker. For den lille brÃ¸kdelen " -"fungerer opphavsrett som en <quote>motor for uttrykksfrihet</quote>." - -#. type: Content of: <book><part><chapter><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 denne lille brÃ¸kdelen, sÃ¥ er den faktiske tiden som det " -"kreative arbeidet har kommersiellt liv ekstremt kort. Som jeg indikerte " -"tidligere blir de fleste bÃ¸ker utsolgt fra forlaget innen et Ã¥r. Det samme " -"er sant for musikk og film. Kommersiell kultur er som et rovdyr. Den mÃ¥ " -"fortsette Ã¥ bevege seg. Og nÃ¥r et kreativt arbeid ikke lenger fÃ¥r godviljen " -"fra en kommersell distributÃ¸r, sÃ¥ tar det kommersielle livet slutt." - -#. type: Content of: <book><part><chapter><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 "" -"Likevel betyr ikke dette at livet til det kreative arbeidet tar slutt. Vi " -"har ikke biblioteker for Ã¥ konkurrere med Barnes & Noble og vi har ikke " -"filmarkiver fordi vi forventer at folk skal velge mellom Ã¥ tilbringe " -"fredagskvelden med Ã¥ se nye filme eller tilbringe fredagskvelden med Ã¥ se en " -"nyhetsdokumentar fra 1930. Det ikke-kommersielle livet til kulturen er " -"viktig og verdifullt—for underholdning men ogsÃ¥, og viktigere, for " -"kunnskap. For Ã¥ forstÃ¥ hvem vi er, hvor vi kom fra og hvordan vi gjorde de " -"feil vi har gjort, sÃ¥ mÃ¥ vi ha tilgang til denne historien." - -#. PAGE BREAK 233 -#. type: Content of: <book><part><chapter><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 "" -"Opphavsretten i denne sammenhengen utgjÃ¸r ikke en motor for uttrykksfrihet. " -"I denne sammenhengen er det ikke behov for en eksklusiv rettighet. " -"Opphavsretten i denne sammenhengen bidrar ikke positivt." - -#. type: Content of: <book><part><chapter><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 " -"<emphasis>copyright-related use</emphasis> that would be inhibited by an " -"exclusive right. When a book went out of print, you could not buy it from a " -"publisher. But you could still buy it from a used book store, and when a " -"used book store sells it, in America, at least, there is no need to pay the " -"copyright owner anything. Thus, the ordinary use of a book after its " -"commercial life ended was a use that was independent of copyright law." -msgstr "" -"Men for det meste av vÃ¥r historie gjorde den liten skade. For det meste av " -"vÃ¥r historie, nÃ¥r det kommersielle livet til et verk tok slutt, sÃ¥ var det " -"ikke noe <emphasis>opphavsrettsrelatert bruk</emphasis> som ville bli " -"blokkert av en eksklusiv rett. NÃ¥r en bok ble utsolgt fra forlaget, sÃ¥ " -"kunne du ikke kjÃ¸pe det fra et forlag. Men du kunne fortsatt kjÃ¸pe den fra " -"en brukbokhandel. Og nÃ¥r en bruktbokhandel selger den, i hvert fall i " -"Amerika, sÃ¥ er det ikke nÃ¸dvendig Ã¥ betale noe til opphavsrettseieren. " -"Dermed var den vanlige bruken av en bok etter at det kommersielle livet tok " -"slutt en bruk som var uavhengig av opphavsrettslov." - -#. type: Content of: <book><part><chapter><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 praktisk sett sant ogsÃ¥ for film. PÃ¥ grunn av kostnadene med " -"Ã¥ restaurere en film—de egentlige Ã¸konomiske kostnadene, ikke " -"advokatkoastnadene—var sÃ¥ hÃ¸ye, sÃ¥ var det aldri praktisk mulig Ã¥ ta " -"vare pÃ¥ eller restaurere film. Omtrent som med restene etter en flott " -"middag, nÃ¥r den er over sÃ¥ er den over. NÃ¥r det kommersielle livet til en " -"film var over, sÃ¥ kan den ha blitt arkivert en stund, men det var slutten pÃ¥ " -"filmens liv sÃ¥ lenge markedet ikke hadde noe mer Ã¥ tilby." - -#. type: Content of: <book><part><chapter><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, selv om opphavsrettsbeskyttelsen har vÃ¦rt relativt kort for " -"det meste av vÃ¥r historie, sa ville ikke lang opphavsrettsbeskyttelse gjort " -"noe forskjell for arbeider som har mistet sin kommersielle verdi. Lang " -"opphavsrettsbeskyttelse for disse verkene ville ikke forstyrret noe." - -#. type: Content of: <book><part><chapter><para> -msgid "But this situation has now changed." -msgstr "Men denne situasjonen er nÃ¥ endret." - -#. type: Content of: <book><part><chapter><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 veldig viktig konsekvens av fremveksten av digitale teknologier er Ã¥ " -"muliggjÃ¸re arkivet som Brewster Kahle drÃ¸mmer om. Digitale teknologier gjÃ¸r " -"det nÃ¥ mulig Ã¥ ta vare pÃ¥ og gi tilgnag til alle typer kunnskap. NÃ¥r en bok " -"er utsolgt fra forlaget, sÃ¥ kan vi forestille oss Ã¥ digitalisere den og " -"gjÃ¸re den tilgjengelig for alle, til evig tid. NÃ¥r en film ikke lenger er " -"tilgjengelig fra distributÃ¸r kan vi digitalisere den og gjÃ¸re den " -"tilgjengleig for alle, til evig tid. Digitale teknologier gir nytt til vil " -"opphavsrettsbeskyttet materiale etter at det trer ut av sitt kommersielle " -"liv. Det er nÃ¥ mulig Ã¥ ta vare pÃ¥ og sikre universell tilgang til denne " -"kunskapen og kulturen, mens det tidligere ikke var mulig." - -#. PAGE BREAK 234 -#. type: Content of: <book><part><chapter><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 nÃ¥ kommer opphavsrettsloven i veien. Hvert steg som trengs for Ã¥ " -"produsere dette digitale arkivet over vÃ¥r kultur krenker den eksklusive " -"retten i opphavsretten. Ã digitalisere en bok er Ã¥ kopiere den. For Ã¥ " -"gjÃ¸re det mÃ¥ en ha tillatelse fra opphavsrettseieren. Det samme gjelder " -"musikk, film og ethvert annet aspekt av vÃ¥r kultur som er beskyttet av " -"opphavsretten. Innsatsen som trengs for Ã¥ gjÃ¸re disse tingene tilgjengelig " -"for fremtiden, eller til forskere, eler for de som bare Ã¸nsker Ã¥ utforske " -"den, er nÃ¥ hindret av det sett med regler som ble skrevet for en radikalt " -"forskjellig omgivelse." - -#. type: Content of: <book><part><chapter><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 <emphasis>copyright</" -"emphasis> purpose, for the purpose of copyright is to enable the commercial " -"market that spreads culture. No, we are talking about culture after it has " -"lived its commercial life. In this context, copyright is serving no purpose " -"<emphasis>at all</emphasis> related to the spread of knowledge. In this " -"context, copyright is not an engine of free expression. Copyright is a brake." -msgstr "" -"Her er kjernen av skaden som kommer fra Ã¥ utvide verneperiodene: NÃ¥ som " -"teknolgi gjÃ¸r det mulig for oss Ã¥ gjenoppbygge biblioteket i Alexandria, " -"kommer loven i veien. Og den kommer ikke i veien pÃ¥ grunn av et nyttig " -"<emphasis>opphavsretts</emphasis>-formÃ¥l,, som jo er Ã¥ gjÃ¸re det mulig for " -"det kommersielle markedet Ã¥ spre kultur. Nei, vi snakker om kultur etter at " -"den levd sitt kommersielle liv. I denne sammenhengen tjener opphavsretten " -"ikke noe formÃ¥l <emphasis>i det hele tatt</emphasis>, relatert til spredning " -"av kunskap. I denne sammenhengen er ikke opphavsrett en motor for " -"uttrykksfrihet. Opphavsrett er en bremse." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"You may well ask, <quote>But if digital technologies lower the costs for " -"Brewster Kahle, then they will lower the costs for Random House, too. So " -"won't Random House do as well as Brewster Kahle in spreading culture widely?" -"</quote>" -msgstr "" -"Du kan godt spÃ¸rre, <quote>Men hvis digitale teknologier reduserer kostnaden " -"for Brewster Kahle, sÃ¥ reduserer de ogsÃ¥ kostnadene for Random House. Vil " -"da ikke Random House spre kultur like vidt som Brewster Kahle?</quote>" - -#. type: Content of: <book><part><chapter><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 <quote>the market</quote> 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 "" -"Mulig det. En eller annen dag. Men det finnes ingen indisier som tyder pÃ¥ " -"at utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble " -"tilbÃ¸d utlÃ¥n av bÃ¸ker fra sine lager til en lavere pris, ville det eliminere " -"behovet for biblioteker? Kun hvis du mener at den eneste rollen et " -"bibliotek skal tjene er den <quote>markedet</quote> etterspÃ¸r. Men hvis du " -"mener rollen til et bibliotek er stÃ¸rre en dette—hvis du mener dets " -"rolle er Ã¥ arkivere kultur, uavhengig av om det er en etterspÃ¸rsel etter en " -"bestemt bit av den kulturen eller ikke—da kan vi ikke basere oss pÃ¥ at " -"det kommersielle markedet vil gjÃ¸re biblioteksjobben for oss." - -#. f13. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> " -"20 December 2002, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #54</ulink>." -msgstr "" -"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory</quote>, " -"20 December 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #54</ulink>." - -#. type: Content of: <book><part><chapter><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 1923 and 1946 is not commercially " -"available. However much you love the commercial market, if access is a " -"value, then 6 percent is a failure to provide that value.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Jeg er blant de fÃ¸rste til Ã¥ vÃ¦re enig i at det skal gjÃ¸re sÃ¥ mye som det " -"kan: Vi bÃ¸r basere oss pÃ¥ markedet sÃ¥ mye som mulig for Ã¥ spre og muliggjÃ¸re " -"kultur. Mitt budskap er absolutt ikke imot markedet. Men der vi ser at " -"markedet ikek gjÃ¸r jobben, da bÃ¸r vi tillate krefter utenfor markedet " -"friheten til Ã¥ fylle hullene. En forsker beregnet for amerikansk kultur at " -"94 prosent av filmer, bÃ¸ker og musikk produsert mellom 1923 og 1946 er ikke " -"kommersielt tilgjengelig. Uansett hvor mye du elsker markedet, sÃ¥ er 6 " -"prosent en svikt hvis tilgang er et mÃ¥leparameter.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In January 1999</emphasis>, we filed a lawsuit on " -"Eric Eldred's behalf in federal district court in Washington, D.C., asking " -"the court to declare the Sonny Bono Copyright Term Extension Act " -"unconstitutional. The two central claims that we made were (1) that " -"extending existing terms violated the Constitution's <quote>limited Times</" -"quote> requirement, and (2) that extending terms by another twenty years " -"violated the First Amendment." -msgstr "" -"<emphasis role='strong'>I januar 1999</emphasis> anla vi sak pÃ¥ vegne av " -"Eric Eldred ved den fÃ¸derale distriktsretten i Washington, D.C., og ba " -"retten om Ã¥ erklÃ¦re at Sonny Bono utvidelse av opphavsrettsvernetid-loven " -"var i strid med grunnloven. De to sentrale pÃ¥standene vi kom med var (1) at " -"Ã¥ utvide eksisterende vernetid var i strid med grunnlovens krav om <quote>et " -"begrenset tidsrom</quote>, og (2) at Ã¥ utvide vernetiden med tjue nye Ã¥r var " -"i strid med fÃ¸rste grunnlovstillegg." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The district court dismissed our claims without even hearing an argument. A " -"panel of the Court of Appeals for the D.C. Circuit also dismissed our " -"claims, though after hearing an extensive argument. But that decision at " -"least had a dissent, by one of the most conservative judges on that court. " -"That dissent gave our claims life." -msgstr "" -"district court avvist pÃ¥stander om vÃ¥re uten Ã¥ selv hÃ¸re et argument. et " -"panel av court of appeals for DC-kretsen ogsÃ¥ oppsagt vÃ¥re krav, men etter " -"hÃ¸re et omfattende argument. men at beslutningen hadde minst en dissens, av " -"en av de mest konservative dommerne pÃ¥ at domstolen. at ga dissens livet " -"vÃ¥rt krav." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Judge David Sentelle said the CTEA violated the requirement that copyrights " -"be for <quote>limited Times</quote> only. His argument was as elegant as it " -"was simple: If Congress can extend existing terms, then there is no " -"<quote>stopping point</quote> to Congress's power under the Copyright " -"Clause. The power to extend existing terms means Congress is not required to " -"grant terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, " -"the court had to interpret the term <quote>limited Times</quote> to give it " -"meaning. And the best interpretation, Judge Sentelle argued, would be to " -"deny Congress the power to extend existing terms." -msgstr "" -"Dommer David Sentelle sa at CTEA kun brÃ¸t med krav om at opphavsrett skal " -"gis for <quote>et begrenset tidsrom</quote>. Hans argument var like elegant " -"som det var enkelt. Hvis kongressen kan utvide eksisterende vernetid, sÃ¥ " -"finnes det ikke noe <quote>endepunkt</quote> til kongressens myndighet i " -"fÃ¸lge opphavsrettsbestemmelsen. Myndigheten til Ã¥ utvide vernetiden betyr at " -"kongressen ikke er nÃ¸dt til Ã¥ dele ut vernetider som er <quote>begrenset</" -"quote>. Dermed argumenterte dommer Sentelle at retten mÃ¥tte tolke begrepet " -"<quote>begrenset tidsrom</quote> for at det skulle ha mening. Og dommer " -"Sentelle argumenterte at den beste tolkningen ville vÃ¦re Ã¥ nekte kongressen " -"myndighet til Ã¥ utvide eksisterende vernetid." - -#. type: Content of: <book><part><chapter><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 <quote>en banc</quote> to hear the case." -msgstr "" -"Vi spurte hele ankedomstolen for D.C. ankekretsen om Ã¥ ta opp saken. Saker " -"tas normalt opp i et panel med tre deltagere, med unntak av viktige saker " -"eller saker som tar opp tema som er spesifikk for kretsen som helhet, der " -"domstolen vil samles <quote>en banc</quote> for Ã¥ ta opp saken." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Tatel, David" -msgstr "Tatel, David" - -#. PAGE BREAK 236 -#. type: Content of: <book><part><chapter><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 "" -"Ankedomstolen avviste vÃ¥r anmodning om Ã¥ ta opp saken en banc. Denne gangen " -"fikk dommer Sentelle fÃ¸lge av det mest liberale medlemmet av ankekretsen i D." -"C., dommer David Tatel. BÃ¥de de mest konservative og den mest liberale " -"dommerne i ankekretsen i D.C. mente kongressen hadde gÃ¥tt over side grenser." - -#. type: Content of: <book><part><chapter><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 de fleste forventet at Eldred mot Ashcroft ville dÃ¸, for " -"hÃ¸yesterett tar sjelden opp en avgjÃ¸relse gjort av en ankedomstol. (Den tar " -"opp omtrent hundre saker i Ã¥ret, ut av mer enn fem tusen anker.) Og den " -"revurderer praktiskt talt aldri en avgjÃ¸relse som opprettholder en regel nÃ¥r " -"ingen annen domstol sÃ¥ langt har revurdert regelen." - -#. type: Content of: <book><part><chapter><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 overrasket hÃ¸yesterett verden ved Ã¥ innvilge vÃ¥r " -"forespÃ¸rsel om Ã¥ ta opp avgjÃ¸relsen fra D.C.-kretsen. Argumentasjonen ble " -"fastsat til oktober 2002. Sommeren ble tilbrakt med Ã¥ skrive innlegg og " -"forberede oss for argumentasjonen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>It is over</emphasis> a year later as I write these " -"words. It is still astonishingly hard. If you know anything at all about " -"this story, you know that we lost the appeal. And if you know something more " -"than just the minimum, you probably think there was no way this case could " -"have been won. After our defeat, I received literally thousands of missives " -"by well-wishers and supporters, thanking me for my work on behalf of this " -"noble but doomed cause. And none from this pile was more significant to me " -"than the e-mail from my client, Eric Eldred." -msgstr "" -"<emphasis role='strong'>Det er mer</emphasis> enn et Ã¥r senere nÃ¥r jeg " -"skriver disse ordene. Det er fortsatt utrolig vanskelig. Hvis du vet noe " -"om denne historien, sÃ¥ vet du at vi tapte anken. Og hvis du vet noe mer enn " -"bare litt, sÃ¥ tror du antagelig at det var ingen mÃ¥te denne saken kunne " -"blitt vunnet. Etter vÃ¥rt nederlag fikk jeg jeg bokstavlig talt tusenvis av " -"meldinger fra stÃ¸ttespillere og folk som ville Ã¸nske meg lykke til, som " -"takket meg for min innsats pÃ¥ vegne av denne noble men fortapte sak. Og " -"ingen fra denne haugen var viktigere for meg enn eposten fra min klient, " -"Eric Eldred." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But my client and these friends were wrong. This case could have been won. " -"It should have been won. And no matter how hard I try to retell this story " -"to myself, I can never escape believing that my own mistake lost it." -msgstr "" -"Men min klient og disse vennene tok feil. Denne saken kunne vÃ¦rt vunnet. Det " -"burde ha vÃ¦rt vunnet. Og uansett hvor hardt jeg prÃ¸ver Ã¥ fortelle den " -"historien til meg selv, kan jeg aldri unnslippe troen pÃ¥ at det er min feil " -"at vi ikke vant." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Steward, Geoffrey" -msgstr "Steward, Geoffrey" - -#. PAGE BREAK 237 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The mistake</emphasis> was made early, though it " -"became obvious only at the very end. Our case had been supported from the " -"very beginning by an extraordinary lawyer, Geoffrey Stewart, and by the law " -"firm he had moved to, Jones, Day, Reavis and Pogue. Jones Day took a great " -"deal of heat from its copyright-protectionist clients for supporting us. " -"They ignored this pressure (something that few law firms today would ever " -"do), and throughout the case, they gave it everything they could." -msgstr "" -"<emphasis role='strong'>Feilen</emphasis> ble gjort tidlig, skjÃ¸nt det ble " -"fÃ¸rst Ã¥penbart pÃ¥ slutten. VÃ¥r sak hadde hatt stÃ¸tte hos en ekstraordinÃ¦r " -"advokat, Geoffrey Stewart, helt fra starten, og hos advokatfirmaet hadde han " -"flyttet til, Jones, Day, Reavis og Pogue. Jones Day mottok mye press fra " -"sine opphavsrettsbeskyttende klienter pÃ¥ grunn av sin stÃ¸tte til oss. De " -"ignorert dette presset (noe veldig fÃ¥ advokatfirmaer noen sinne ville " -"gjÃ¸re), og ga alt de hadde gjennom hele saken." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Ayer, Don" -msgstr "Ayer, Don" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Bromberg, Dan" -msgstr "Bromberg, Dan" - -#. type: Content of: <book><part><chapter><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 <quote>important</quote> to the Supreme Court. It had to seem as " -"if dramatic harm were being done to free speech and free culture; otherwise, " -"they would never vote against <quote>the most powerful media companies in " -"the world.</quote>" -msgstr "" -"Det var tre viktige advokater pÃ¥ saken fra Jones DaY. Geoff Stewart var den " -"fÃ¸rst, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og " -"Ayer spesielt hadde en felles oppfatning om hvordan denne saken ville bli " -"vunnet: vi ville bare vinne, fortalte de gjentatte ganger til meg, hvis vi " -"fÃ¥ problemet til Ã¥ virke <quote>viktig</quote> for HÃ¸yesterett. Det mÃ¥tte " -"synes som om dramatisk skade ble gjort til ytringsfriheten og fri kultur, " -"ellers ville de aldri stemt mot <quote>de mektigste mediaselskapene i " -"verden</quote>." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"I hate this view of the law. Of course I thought the Sonny Bono Act was a " -"dramatic harm to free speech and free culture. Of course I still think it " -"is. But the idea that the Supreme Court decides the law based on how " -"important they believe the issues are is just wrong. It might be " -"<quote>right</quote> as in <quote>true,</quote> I thought, but it is " -"<quote>wrong</quote> as in <quote>it just shouldn't be that way.</quote> As " -"I believed that any faithful interpretation of what the framers of our " -"Constitution did would yield the conclusion that the CTEA was " -"unconstitutional, and as I believed that any faithful interpretation of what " -"the First Amendment means would yield the conclusion that the power to " -"extend existing copyright terms is unconstitutional, I was not persuaded " -"that we had to sell our case like soap. Just as a law that bans the " -"swastika is unconstitutional not because the Court likes Nazis but because " -"such a law would violate the Constitution, so too, in my view, would the " -"Court decide whether Congress's law was constitutional based on the " -"Constitution, not based on whether they liked the values that the framers " -"put in the Constitution." -msgstr "" -"Jeg hater dette synet pÃ¥ loven. SelvfÃ¸lgelig trodde jeg Sonny Bono-loven var " -"en dramatisk skade pÃ¥ ytringsfriheten og fri kultur. SelvfÃ¸lgelig tror jeg " -"fortsatt dette. Men idÃ©en om at HÃ¸yesterett bestemmer loven basert pÃ¥ hvor " -"viktig de tror problemene er er bare galt. Det kan vÃ¦re \"riktig\" som i " -"\"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bÃ¸r ikke vÃ¦re den " -"mÃ¥ten.\" som jeg mente at alle trofaste tolkning av forfatterne av vÃ¥r " -"grunnlov gjorde gi konklusjonen at ctea var forfatningsstridig, og som jeg " -"mente at alle trofaste tolkning av hva den fÃ¸rste endring betyr ville gi " -"konklusjonen som strÃ¸m for Ã¥ forlenge eksisterende opphavsrett vilkÃ¥rene er " -"unconstitutionalJeg var ikke overbevist om at vi mÃ¥tte selge vÃ¥rt tilfelle " -"som sÃ¥pe. akkurat som en lov som forbud swastika er unconstitutional ikke " -"fordi retten liker nazistene, men fordi slik lov ville bryte Grunnloven, sÃ¥ " -"ogsÃ¥, i min mening, ville domstol bestemmer om congress's lov var " -"konstitusjonelle basert pÃ¥ Grunnloven, ikke basert pÃ¥ om de likte verdiene " -"som underskrev de innlegge Grunnloven." - -#. type: Content of: <book><part><chapter><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 "" -"Jeg tenkte uansett at domstolen allerede mÃ¥ se faren og skaden forÃ¥rsaket av " -"dette type lov. Hvorfor skulle de ellers gÃ¥ med pÃ¥ Ã¥ ta opp saken? Det var " -"ingen grunn til Ã¥ ta opp saken i hÃ¸yesterett hvis de ikke var overbevist om " -"at dette lovverket var skadelig. Dermed var det etter mitt syn ikke " -"nÃ¸dvendig Ã¥ overbevise den om at denne loven var ille. Vi trengte Ã¥ vise " -"den hvorfor den var i strid med grunnloven." - -#. PAGE BREAK 238 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"There was one way, however, in which I felt politics would matter and in " -"which I thought a response was appropriate. I was convinced that the Court " -"would not hear our arguments if it thought these were just the arguments of " -"a group of lefty loons. This Supreme Court was not about to launch into a " -"new field of judicial review if it seemed that this field of review was " -"simply the preference of a small political minority. Although my focus in " -"the case was not to demonstrate how bad the Sonny Bono Act was but to " -"demonstrate that it was unconstitutional, my hope was to make this argument " -"against a background of briefs that covered the full range of political " -"views. To show that this claim against the CTEA was grounded in " -"<emphasis>law</emphasis> and not politics, then, we tried to gather the " -"widest range of credible critics—credible not because they were rich " -"and famous, but because they, in the aggregate, demonstrated that this law " -"was unconstitutional regardless of one's politics." -msgstr "" -"Det var en mÃ¥te, men i som jeg fÃ¸lte politikk ville saken og som jeg trodde " -"et svar var riktig. Jeg var overbevist om at domstolen ikke ville hÃ¸re vÃ¥re " -"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty " -"loons. Denne HÃ¸yesterett var ikke om Ã¥ 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 Ã¥ " -"demonstrere hvor ille sonny bono handle var, men for Ã¥ demonstrere at det " -"var forfatningsstridig, mitt hÃ¥p var Ã¥ gjÃ¸re dette argumentet mot et " -"bakteppe av truser som dekket hele spekteret av politiske synspunkter. Ã¥ " -"vise at denne pÃ¥standen mot ctea ble jordet i loven og ikke politikk, sÃ¥ vi " -"prÃ¸vde Ã¥ samle sÃ¥ mange sÃ¸keordresultater troverdig kritikere—" -"troverdig ikke fordi de var rike og berÃ¸mte, men fordi de, i samlet, vist at " -"denne loven var forfatningsstridig uavhengig av ens politikk." - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Eagle Forum" -msgstr "Eagle forum" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Schlafly, Phyllis" -msgstr "Schlafly, Phyllis" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The first step happened all by itself. Phyllis Schlafly's organization, " -"Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. " -"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she " -"wrote a stinging editorial attacking the Republican Congress for allowing " -"the law to pass. As she wrote, <quote>Do you sometimes wonder why bills that " -"create a financial windfall to narrow special interests slide easily through " -"the intricate legislative process, while bills that benefit the general " -"public seem to get bogged down?</quote> The answer, as the editorial " -"documented, was the power of money. Schlafly enumerated Disney's " -"contributions to the key players on the committees. It was money, not " -"justice, that gave Mickey Mouse twenty more years in Disney's control, " -"Schlafly argued." -msgstr "" -"det fÃ¸rste trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, " -"eagle forum, hadde vÃ¦rt 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 Ã¥ la loven " -"skjedde. som hun skrev, \"noen ganger lurer du hvorfor regninger som " -"oppretter en finansiell nedfallsfrukt for Ã¥ begrense spesielle interesser " -"skyv lett gjennom den intrikate lovgivende prosessen, mens regninger at " -"fordelen allmennheten synes Ã¥ komme bogged ned?\", som de redaksjonelle " -"dokumentert, var svaret strÃ¸mmen av penger. schlafly nummerert disney's " -"bidrag til sentrale aktÃ¸rer pÃ¥ komiteene. Det var penger, ikke " -"rettferdighet, som ga Mikke Mus tjue Ã¥r i disney's kontroll, schlafly hevdet." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"In the Court of Appeals, Eagle Forum was eager to file a brief supporting " -"our position. Their brief made the argument that became the core claim in " -"the Supreme Court: If Congress can extend the term of existing copyrights, " -"there is no limit to Congress's power to set terms. That strong " -"conservative argument persuaded a strong conservative judge, Judge Sentelle." -msgstr "" -"i lagmannsrett var eagle forum ivrig etter Ã¥ inngi en kort som stÃ¸tter vÃ¥r " -"posisjon. sine kort gjort argumentet om at ble kjernen kravet i HÃ¸yesterett: " -"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen " -"grense for Kongressens makt til Ã¥ angi vilkÃ¥r. som sterkt konservativ " -"argumentet overtalt en sterk konservative dommer, dommer sentelle." - -#. PAGE BREAK 239 -#. type: Content of: <book><part><chapter><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><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "American Association of Law Libraries" -msgstr "American association of lov biblioteker" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "National Writers Union" -msgstr "nasjonale forfattere union" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Those briefs framed a legal argument. Then to support the legal argument, " -"there were a number of powerful briefs by libraries and archives, including " -"the Internet Archive, the American Association of Law Libraries, and the " -"National Writers Union." -msgstr "" -"disse truser innrammet et juridisk argument. deretter for Ã¥ stÃ¸tte " -"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><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"But two briefs captured the policy argument best. One made the argument I've " -"already described: A brief by Hal Roach Studios argued that unless the law " -"was struck, a whole generation of American film would disappear. The other " -"made the economic argument absolutely clear." -msgstr "" -"men to truser fanget argumentet policyen best. en gjort argumentet jeg har " -"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven " -"ble truffet, en hel generasjon av american film ville forsvinne. den andre " -"gjort argumentet Ã¸konomiske helt klart." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Akerlof, George" -msgstr "Akerlof, George" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Arrow, Kenneth" -msgstr "Arrow, Kenneth" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Buchanan, James" -msgstr "Buchanan, James" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Coase, Ronald" -msgstr "Coase, Ronald" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Friedman, Milton" -msgstr "Friedman, Milton" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This economists' brief was signed by seventeen economists, including five " -"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton " -"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of " -"Nobel winners demonstrates, spanned the political spectrum. Their " -"conclusions were powerful: There was no plausible claim that extending the " -"terms of existing copyrights would do anything to increase incentives to " -"create. Such extensions were nothing more than <quote>rent-seeking</" -"quote>—the fancy term economists use to describe special-interest " -"legislation gone wild." -msgstr "" -"Denne Ã¸konomer kort ble signert av sytten Ã¸konomer, inkludert fem " -"Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton " -"friedman, kenneth pilen og george akerlof. Ã¸konomer, spredte som viser " -"listen over nobel vinnere, det politiske spektret. deres konklusjoner var " -"kraftig: det var ingen sannsynlig hevder at utvide vilkÃ¥rene i eksisterende " -"opphavsrettigheter ville gjÃ¸re noe for Ã¥ Ã¸ke insentiver til Ã¥ opprette. " -"slike utvidelser var ingenting mer enn \"leie-sÃ¸ker\"—fancy sikt " -"Ã¸konomer bruk Ã¥ beskrive spesielle interesser lovgivning gone wild." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Fried, Charles" -msgstr "Fried, Charles" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Morrison, Alan" -msgstr "Morrison, Alan" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Public Citizen" -msgstr "offentlige borger" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Reagan, Ronald" -msgstr "Reagan, Ronald" - -#. PAGE BREAK 240 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The same effort at balance was reflected in the legal team we gathered to " -"write our briefs in the case. The Jones Day lawyers had been with us from " -"the start. But when the case got to the Supreme Court, we added three " -"lawyers to help us frame this argument to this Court: Alan Morrison, a " -"lawyer from Public Citizen, a Washington group that had made constitutional " -"history with a series of seminal victories in the Supreme Court defending " -"individual rights; my colleague and dean, Kathleen Sullivan, who had argued " -"many cases in the Court, and who had advised us early on about a First " -"Amendment strategy; and finally, former solicitor general Charles Fried." -msgstr "" -"samme innsats pÃ¥ balanse ble reflektert i det juridiske teamet vi samles for " -"Ã¥ skrive vÃ¥re truser i tilfelle. jones dag advokater hadde blitt med oss fra " -"starten. men da saken kom til HÃ¸yesterett, vi har lagt tre advokater for Ã¥ " -"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 HÃ¸yesterett " -"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde " -"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en " -"fÃ¸rste endring strategi; og endelig, tidligere advokat general charles stekt." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "Commerce Clause of" -msgstr "handel-setningsdelen i" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Fried was a special victory for our side. Every other former solicitor " -"general was hired by the other side to defend Congress's power to give media " -"companies the special favor of extended copyright terms. Fried was the only " -"one who turned down that lucrative assignment to stand up for something he " -"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. " -"He had helped craft the line of cases that limited Congress's power in the " -"context of the Commerce Clause. And while he had argued many positions in " -"the Supreme Court that I personally disagreed with, his joining the cause " -"was a vote of confidence in our argument." -msgstr "" -"stekt var en spesiell seier for vÃ¥r side. hver andre tidligere advokat " -"generelt ble ansatt av den andre siden, Ã¥ forsvare congress's kraft til Ã¥ gi " -"medieselskaper spesiell gunst utvidet opphavsrett vilkÃ¥rene. stekt var den " -"eneste som slÃ¥tt ned lukrative tildelingen til Ã¥ stÃ¥ opp for noe han mente " -"i. han hadde vÃ¦rt ronald reagan's sjef advokat i HÃ¸yesterett. Han hadde " -"bidratt til Ã¥ skape linjen i tilfeller som begrenset Kongressens makt i " -"forbindelse med handel-setningsdel. og mens han hadde hevdet mange " -"posisjoner i HÃ¸yesterett som jeg personlig uenige med, hans begynte Ã¥rsaken " -"var en stemme av tilliten i vÃ¥r argumentet." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The government, in defending the statute, had its collection of friends, as " -"well. Significantly, however, none of these <quote>friends</quote> included " -"historians or economists. The briefs on the other side of the case were " -"written exclusively by major media companies, congressmen, and copyright " -"holders." -msgstr "" -"regjeringen, i Ã¥ forsvare statutten, hadde sin samling av venner, ogsÃ¥. " -"betydelig, men ingen av disse \"vennene\" inkludert historikere eller " -"Ã¸konomer. truser pÃ¥ den andre siden av saken ble skrevet utelukkende av " -"store medieselskaper, congressmen og innehaver av opphavsrett." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The media companies were not surprising. They had the most to gain from the " -"law. The congressmen were not surprising either—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 Ã¥ tjene pÃ¥ loven. " -"congressmen var ikke overraskende enten—de var Ã¥ forsvare sin makt, og " -"indirekte, KjÃ¸ttsaft tog av bidrag slik makt indusert. og selvfÃ¸lgelig var " -"det ikke overraskende at rettighetshavere ville forsvare idÃ©en om at de bÃ¸r " -"fortsette Ã¥ ha rett til Ã¥ kontrollere hvem som gjorde hva med innhold de " -"Ã¸nsket Ã¥ kontroll." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Gershwin, George" -msgstr "Gershwin, George" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Porgy and Bess" -msgstr "Porgy and Bess" - -#. f14. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. " -"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19." -msgstr "" -"Orientering fra Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</" -"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. " -"01-618), 19." - -#. f15. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " -"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March " -"1998, B7." -msgstr "" -"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " -"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28. mars " -"1998, B7." - -#. PAGE BREAK 241 -#. type: Content of: <book><part><chapter><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 " -"<quote>glorify drugs or to create pornography.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> That was also the motive of the Gershwin estate, " -"which defended its <quote>protection</quote> of the work of George Gershwin. " -"They refuse, for example, to license <citetitle>Porgy and Bess</citetitle> " -"to anyone who refuses to use African Americans in the cast.<placeholder type=" -"\"footnote\" id=\"1\"/> That's their view of how this part of American " -"culture should be controlled, and they wanted this law to help them effect " -"that control." -msgstr "" -"Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre " -"at boet etter Dr. Seuss kontrollerte hva som skjedde med verkene til Dr. " -"Seuss—bedre enn Ã¥ la det falle i det fri—pÃ¥ grunn av at hvis " -"denne kreativiteten var allemannseie sÃ¥ ville folk bruke dem til Ã¥ " -"<quote>forherlige narkotika og skape pornografi</quote>.<placeholder type=" -"\"footnote\" id=\"0\"/> Dette var ogsÃ¥ motivet til boet etter Gershwin, som " -"forsvarte sin <quote>beskyttelse</quote> av verkene til George Gershwin. De " -"avviste for eksempel Ã¥ lisensiere ut <citetitle>Progy and Bess</citetitle> " -"til enhver som nektet Ã¥ bruke Afrikans-amerikanere i rollelista.<placeholder " -"type=\"footnote\" id=\"1\"/> Det er deres syn pÃ¥ hovrdan denne delen av " -"amerikansk kultur bÃ¸r kontrolleres, og de Ã¸nsket hjelp fra denne lovel til Ã¥ " -"effektuere denne kontrollen." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This argument made clear a theme that is rarely noticed in this debate. " -"When Congress decides to extend the term of existing copyrights, Congress is " -"making a choice about which speakers it will favor. Famous and beloved " -"copyright owners, such as the Gershwin estate and Dr. Seuss, come to " -"Congress and say, <quote>Give us twenty years to control the speech about " -"these icons of American culture. We'll do better with them than anyone else." -"</quote> Congress of course likes to reward the popular and famous by giving " -"them what they want. But when Congress gives people an exclusive right to " -"speak in a certain way, that's just what the First Amendment is " -"traditionally meant to block." -msgstr "" -"Dette argumentet gjort klart et tema som er sjelden merke i denne debatten. " -"NÃ¥r Kongressen beslutter Ã¥ forlenge eksisterende opphavsrettigheter, gjÃ¸r " -"Kongressen et valg om hvilke hÃ¸yttalere det prioriteres. berÃ¸mte og elskede " -"opphavsrett eiere, for eksempel gershwin eiendom og dr. seuss, komme til " -"Kongressen og si, \"gi oss tjue Ã¥r Ã¥ kontrollere tale om disse ikonene av " -"den amerikanske kulturen. Vi vil gjÃ¸re bedre med dem enn noen andre." -"\"Kongressen liker selvfÃ¸lgelig Ã¥ belÃ¸nne de populÃ¦re og berÃ¸mte ved Ã¥ gi " -"dem det de Ã¸nsker. men nÃ¥r Kongressen gir folk en eksklusiv rett til Ã¥ " -"snakke pÃ¥ en bestemt mÃ¥te, det er akkurat hva den fÃ¸rste endringen er " -"tradisjonelt ment Ã¥ blokkere." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"We argued as much in a final brief. Not only would upholding the CTEA mean " -"that there was no limit to the power of Congress to extend copyrights—" -"extensions that would further concentrate the market; it would also mean " -"that there was no limit to Congress's power to play favorites, through " -"copyright, with who has the right to speak." -msgstr "" -"Vi hevdet sÃ¥ mye i en endelige kort. ikke bare vil opprettholde ctea bety at " -"det var ingen grense for strÃ¸m av Kongressen for Ã¥ forlenge " -"opphavsrett—utvidelser som ytterligere konsentrere seg markedet; det " -"vil ogsÃ¥ bety at det var ingen grense congress's kraft til Ã¥ spille " -"favoritter, gjennom opphavsrett, med som har rett til Ã¥ 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><part><chapter><para> -msgid "" -"<emphasis role='strong'>Between February</emphasis> and October, there was " -"little I did beyond preparing for this case. Early on, as I said, I set the " -"strategy." -msgstr "" -"<emphasis role='strong'>Mellom februar</emphasis> og kotober gjorde jeg lite " -"ut over Ã¥ forberede meg for denne saken. Som jeg nevnte tidligere, satte " -"jeg strategien tidlig." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "O'Connor, Sandra Day" -msgstr "O'Connor, Sandra Day" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Supreme Court was divided into two important camps. One camp we called " -"<quote>the Conservatives.</quote> The other we called <quote>the Rest.</" -"quote> The Conservatives included Chief Justice Rehnquist, Justice O'Connor, " -"Justice Scalia, Justice Kennedy, and Justice Thomas. These five had been the " -"most consistent in limiting Congress's power. They were the five who had " -"supported the <citetitle>Lopez/Morrison</citetitle> line of cases that said " -"that an enumerated power had to be interpreted to assure that Congress's " -"powers had limits." -msgstr "" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Breyer, Stephen" -msgstr "Breyer, Stephen" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Ginsburg, Ruth Bader" -msgstr "Ginsburg, Ruth Bader" - -#. PAGE BREAK 242 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -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 pÃ¥ " -"Kongressens makt. disse fire—rettferdighet stevens, rettferdighet " -"souter, rettferdighet ginsburg og rettferdighet breyer—hadde gjentatte " -"ganger hevdet at grunnloven gir Kongressen bred skjÃ¸nn Ã¥ bestemme hvordan du " -"best Ã¥ implementere sin myndighet. i sak etter sak, hadde disse to andre " -"justiariusene hevdet at retten rolle bÃ¸r vÃ¦re en av deference. om stemmene " -"til disse fire justiariusene var stemmene som jeg personlig hadde mest " -"konsekvent avtalt med, var de ogsÃ¥ stemmene som vi var minst sannsynlig Ã¥ fÃ¥." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"In particular, the least likely was Justice Ginsburg's. In addition to her " -"general view about deference to Congress (except where issues of gender are " -"involved), she had been particularly deferential in the context of " -"intellectual property protections. She and her daughter (an excellent and " -"well-known intellectual property scholar) were cut from the same " -"intellectual property cloth. We expected she would agree with the writings " -"of her daughter: that Congress had the power in this context to do as it " -"wished, even if what Congress wished made little sense." -msgstr "" -"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes " -"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjÃ¸nn er " -"involvert), hadde hun vÃ¦rt 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 vÃ¦re enig med skriftene til datteren: at Kongressen hadde " -"makt i denne sammenheng Ã¥ gjÃ¸re som det Ã¸nsket, selv om hva Kongressen " -"Ã¸nsket gjort lite fornuftig." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Close behind Justice Ginsburg were two justices whom we also viewed as " -"unlikely allies, though possible surprises. Justice Souter strongly favored " -"deference to Congress, as did Justice Breyer. But both were also very " -"sensitive to free speech concerns. And as we strongly believed, there was a " -"very important free speech argument against these retrospective extensions." -msgstr "" -"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi ogsÃ¥ sett pÃ¥ " -"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter " -"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. " -"men begge var ogsÃ¥ svÃ¦rt sensitive til ytringsfriheten bekymringer. og som " -"vi sterkt mente, det var en svÃ¦rt viktig ytringsfriheten argument mot disse " -"retrospektiv utvidelser." - -#. type: Content of: <book><part><chapter><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 stemmen vi kunne vÃ¦re trygg pÃ¥ hvar den til dommer Stevens. " -"Historien viser at dommer Stevens er en av de stÃ¸rste dommerne i denne " -"domstolen. Han stemmer har vÃ¦rt konsistent selektiv, hvilket bare betyr at " -"ikke noen enkel ideologi forklarer hvordan vil stille seg. Men han hadde " -"konsistent argumentert for begresninger i sammenheng med immaterielle eiedom " -"generelt. Vi var rimelig sikre pÃ¥ at han ville kjenne igjen begresningene " -"her." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This analysis of <quote>the Rest</quote> showed most clearly where our focus " -"had to be: on the Conservatives. To win this case, we had to crack open " -"these five and get at least a majority to go our way. Thus, the single " -"overriding argument that animated our claim rested on the Conservatives' " -"most important jurisprudential innovation—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 vÃ¥rt fokus mÃ¥tte vÃ¦re: " -"pÃ¥ hÃ¸yre. for Ã¥ vinne dette tilfellet, vi hadde Ã¥ sprekk Ã¥pne disse fem og " -"fÃ¥ minst et flertall Ã¥ gÃ¥ pÃ¥ vÃ¥r mÃ¥te. dermed enkelt overstyrende argument " -"som animert vÃ¥re krav hvilte pÃ¥ HÃ¸yres viktigste jurisprudential innovasjon " -"- argumentet at dommer sentelle hadde grunnlag i lagmannsrett, at " -"Kongressens makt mÃ¥ tolkes slik at dens nummerert kreftene har begrensninger." - -#. PAGE BREAK 243 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This then was the core of our strategy—a strategy for which I am " -"responsible. We would get the Court to see that just as with the " -"<citetitle>Lopez</citetitle> case, under the government's argument here, " -"Congress would always have unlimited power to extend existing terms. If " -"anything was plain about Congress's power under the Progress Clause, it was " -"that this power was supposed to be <quote>limited.</quote> Our aim would be " -"to get the Court to reconcile <citetitle>Eldred</citetitle> with " -"<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce was " -"limited, then so, too, must Congress's power to regulate copyright be " -"limited." -msgstr "" -"Dette var deretter kjernen i vÃ¥r strategi—en strategi som jeg er " -"ansvarlig. Vi ville fÃ¥ retten Ã¥ se at akkurat som du er med under " -"regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha " -"ubegrenset makt til Ã¥ utvide eksisterende vilkÃ¥r. Hvis noe var vanlig om " -"Kongressens makt under setningsdelen fremdrift, det var at dette makt var " -"ment for Ã¥ vÃ¦re \"begrenset.\" vÃ¥rt mÃ¥l vil vÃ¦re Ã¥ fÃ¥ retten Ã¥ avstemme " -"eldred med lopez: Hvis Kongressens makt til Ã¥ regulere handel var begrenset, " -"deretter sÃ¥, ogsÃ¥, congress's makt til Ã¥ regulere copyright skal begrenses." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The argument</emphasis> on the government's side " -"came down to this: Congress has done it before. It should be allowed to do " -"it again. The government claimed that from the very beginning, Congress has " -"been extending the term of existing copyrights. So, the government argued, " -"the Court should not now say that practice is unconstitutional." -msgstr "" -"<emphasis role='strong'>Argumentet</emphasis> pÃ¥ regjerningens side kokte " -"ned til dette: Kongressen har gjort det fÃ¸r, og bÃ¸r fÃ¥ lov til Ã¥ gjÃ¸re det " -"igjen. Regjeringen hevdet at helt fra starten har kongressen utvidet " -"vernetiden til eksisterende opphavsrett. Derfor, argumenterte regjeringen, " -"burde ikke retten nÃ¥ si at praksisen var i strid med grunnloven." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"There was some truth to the government's claim, but not much. We certainly " -"agreed that Congress had extended existing terms in 1831 and in 1909. And of " -"course, in 1962, Congress began extending existing terms regularly—" -"eleven times in forty years." -msgstr "" -"Det var noe sant i regjeringens pÃ¥stand, men ikke mye. Vi var helt klart " -"enig i at kongressen hadde utvidet verntiden i 1831 og i 1909. Og i 1962, " -"selvfÃ¸lgelig, begynte kongressen regelmessig Ã¥ utvide eksisterende " -"vernetid—elleve ganger pÃ¥ fÃ¸rti Ã¥r." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"But this <quote>consistency</quote> should be kept in perspective. Congress " -"extended existing terms once in the first hundred years of the Republic. It " -"then extended existing terms once again in the next fifty. Those rare " -"extensions are in contrast to the now regular practice of extending existing " -"terms. Whatever restraint Congress had had in the past, that restraint was " -"now gone. Congress was now in a cycle of extensions; there was no reason to " -"expect that cycle would end. This Court had not hesitated to intervene where " -"Congress was in a similar cycle of extension. There was no reason it " -"couldn't intervene here." -msgstr "" -"men dette \"konsistens\" bÃ¸r holdes i perspektiv. Kongressen utvidet " -"eksisterende vilkÃ¥rene en gang i fÃ¸rste hundre Ã¥r av Republikken. det " -"deretter utvidet eksisterende vilkÃ¥rene igjen i de neste femti. disse " -"sjeldne utvidelser er i motsetning til nÃ¥ vanlig praksis for Ã¥ utvide " -"eksisterende vilkÃ¥r. Uansett selvbeherskelse Kongressen hadde hatt i siste, " -"at selvbeherskelse nÃ¥ var borte. Kongressen var nÃ¥ i en syklus av " -"utvidelser; Det var ingen grunn til Ã¥ forvente at syklus ville end. denne " -"domstolen hadde ikke vil nÃ¸le med Ã¥ 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 fÃ¸rste uken i oktober. Jeg " -"ankom i DC to uker fÃ¸r argumentet. i lÃ¸pet av de to ukene, ble jeg gjentatte " -"ganger \"mooted\" av advokater som hadde frivillig til Ã¥ hjelpe i tilfelle. " -"slike \"moots\" er i utgangspunktet praksis runder, der wannabe " -"justiariusene brann spÃ¸rsmÃ¥l pÃ¥ wannabe vinnere." - -#. PAGE BREAK 244 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Oral argument</emphasis> was scheduled for the first " -"week in October. I arrived in D.C. two weeks before the argument. During " -"those two weeks, I was repeatedly <quote>mooted</quote> by lawyers who had " -"volunteered to help in the case. Such <quote>moots</quote> are basically " -"practice rounds, where wannabe justices fire questions at wannabe winners." -msgstr "" -"<emphasis role='strong'>Muntlig argumentasjon</emphasis> var fastsatt til " -"fÃ¸rste uke i oktober. Jeg ankom D.C. to uker fÃ¸r dette. I lÃ¸pet av disse " -"to ukene ble jeg gang pÃ¥ gang <quote>opponert</quote> av advokater som hadde " -"meldt seg frivillig til Ã¥ hjelpe til i saken. Slike <quote>opponeringsÃ¸kter</" -"quote> er i grunnen Ã¸velsesrunder hvor de som vil vÃ¦re dommere fyrer av " -"spÃ¸rsmÃ¥l mot de som vil vinne." - -#. type: Content of: <book><part><chapter><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 Ã¥ vinne, mÃ¥tte jeg holde retten fokusert pÃ¥ et " -"enkelt poeng: hvis denne utvidelsen ble akseptert sÃ¥ ville det ikke vÃ¦re " -"noen grenser for myndigheten til Ã¥ vedta vernetid. Ã vÃ¦re enig med " -"regjeringen ville bety at vernetiden effektivt sett ville vÃ¦re uten " -"begrensing. Ã vÃ¦re enig med oss ville gi kongressen en klar linje Ã¥ fÃ¸lge: " -"Ikke utvid den eksisterende vernetiden. Opponeringsrundene var effektiv " -"trening. Jeg fant mÃ¥ter Ã¥ bringe hvert eneste spÃ¸rsmÃ¥l tilbake til den " -"sentrale idÃ©en." - -#. type: Content of: <book><part><chapter><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 opponeringsrunde var foran advokatene hos Jones Day. Don Ayer var " -"skeptikeren. Han hadde tjenestegjort i justisdepartementet under Reagen med " -"riksadvokat Charles Fried. Han hadde presentert mange saker foran " -"hÃ¸yesterett. Og i sin oppsummering av opponeringsrunden kom han med sin " -"bekymring:" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>I'm just afraid that unless they really see the harm, they won't be " -"willing to upset this practice that the government says has been a " -"consistent practice for two hundred years. You have to make them see the " -"harm—passionately get them to see the harm. For if they don't see " -"that, then we haven't any chance of winning.</quote>" -msgstr "" -"<quote>Jeg er bare redd for at med mindre de virkelig ser skaden, sÃ¥ vil de " -"ikke vÃ¦re villige til Ã¥ bryte denne praksisen som regjeringen sier har vÃ¦rt " -"konsistent praksis for to hundre Ã¥r. Du mÃ¥ fÃ¥ dem til Ã¥ se skaden—med " -"ettertrykk fÃ¥ dem til Ã¥ se skaden. Hvis de ikke ser den, sÃ¥ har vi ingen " -"sjanse til Ã¥ vinne.</quote>" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"He may have argued many cases before this Court, I thought, but he didn't " -"understand its soul. As a clerk, I had seen the Justices do the right " -"thing—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." -msgstr "" -"han kanskje har hevdet mange tilfeller fÃ¸r denne retten, jeg tenkte, men han " -"forstod ikke sin sjel. Jeg hadde sett justiariusene gjÃ¸re rette—ikke " -"pÃ¥ grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde " -"tilbrakt livet undervise elevene mine at denne retten gjÃ¸r rette—ikke " -"pÃ¥ grunn av politikk som en lov professor, men fordi det er riktig. da jeg " -"lyttet til ayer's pÃ¥stand om lidenskap i presserende politikk, jeg forsto " -"hans punkt, og jeg avviste den. VÃ¥rt argument var rett. Det var nok. La " -"politikerne lÃ¦re Ã¥ se at det var ogsÃ¥ god. natten fÃ¸r argumentet, en linje " -"av mennesker begynte Ã¥ form foran HÃ¸yesterett. saken hadde blitt et fokus av " -"pressen og bevegelse for fri kultur. hundrevis sto i kÃ¸ for sjansen til Ã¥ se " -"proceedings. score tilbragte natten pÃ¥ HÃ¸yesterett trinnene slik at de ville " -"vÃ¦re trygg pÃ¥ et sete." - -#. PAGE BREAK 245 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The night before</emphasis> the argument, a line of " -"people began to form in front of the Supreme Court. The case had become a " -"focus of the press and of the movement to free culture. Hundreds stood in " -"line for the chance to see the proceedings. Scores spent the night on the " -"Supreme Court steps so that they would be assured a seat." -msgstr "" -"<emphasis role='strong'>Natten fÃ¸r</emphasis> argumentasjonen begynte en kÃ¸ " -"av folk Ã¥ dukke opp foran hÃ¸yesterett. Saken hadde fÃ¥tt oppmerksomhet fra " -"pressen og fri kultur-bevegelsen. Hundrevis sto pÃ¥ rekke for Ã¥ fÃ¥ en sjanse " -"til Ã¥ se forhandlingen. Flokkevis tilbrakte natten pÃ¥ trappen til " -"hÃ¸yesterett for Ã¥ sikre seg et sete." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Not everyone has to wait in line. People who know the Justices can ask for " -"seats they control. (I asked Justice Scalia's chambers for seats for my " -"parents, for example.) Members of the Supreme Court bar can get a seat in a " -"special section reserved for them. And senators and congressmen have a " -"special place where they get to sit, too. And finally, of course, the press " -"has a gallery, as do clerks working for the Justices on the Court. As we " -"entered that morning, there was no place that was not taken. This was an " -"argument about intellectual property law, yet the halls were filled. As I " -"walked in to take my seat at the front of the Court, I saw my parents " -"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting " -"in the special section ordinarily reserved for family of the Justices." -msgstr "" -"ikke alle har til Ã¥ vente pÃ¥ 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 HÃ¸yesterett baren kan " -"fÃ¥ et sete i en spesiell del reservert for dem. og senators og congressmen " -"har et spesielt sted hvor de fÃ¥r Ã¥ sitte, ogsÃ¥. og til slutt, selvfÃ¸lgelig, " -"pressen har et galleri som gjÃ¸r clerks som jobber for de to andre " -"justiariusene pÃ¥ 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. sÃ¥ jeg gikk i Ã¥ ta min plass pÃ¥ forsiden " -"av retten, sÃ¥ jeg mine foreldre som sitter til venstre. som jeg satte meg " -"ned ved bordet, sÃ¥ jeg jack valenti sitter i delen spesielle vanligvis " -"forbeholdt familie av de to andre justiariusene." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"When the Chief Justice called me to begin my argument, I began where I " -"intended to stay: on the question of the limits on Congress's power. This " -"was a case about enumerated powers, I said, and whether those enumerated " -"powers had any limit." -msgstr "" -"NÃ¥r justisministeren ringte meg Ã¥ starte mitt argument, jeg begynte hvor jeg " -"skal bo: pÃ¥ spÃ¸rsmÃ¥let om begrensninger pÃ¥ Kongressens makt. Dette var en " -"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen " -"grense." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Justice O'Connor stopped me within one minute of my opening. The history " -"was bothering her." -msgstr "" -"Dommer O'Connor stoppet meg fÃ¸r det jeg var kommet et minutt inn i " -"Ã¥pningsforedraget mitt. Historien plaget henne." - -#. type: Content of: <book><part><chapter><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 "" -"Dommer O'Connor: Kongressen har utvidet vernetiden sÃ¥ mange ganger etter " -"hvert. Hvis du har rett, risikerer vi ikke Ã¥ forstyrre tidligere utvidelser " -"av vernetiden? Jeg mener, dette virker Ã¥ vÃ¦re en praksis som startet med " -"den aller fÃ¸rste lovendringen?" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"She was quite willing to concede <quote>that this flies directly in the face " -"of what the framers had in mind.</quote> But my response again and again was " -"to emphasize limits on Congress's power." -msgstr "" -"Hun var ganske villig til Ã¥ innrÃ¸mme \"at dette flyr direkte i mÃ¸te med hva " -"underskrev hadde i tankene.\", men mitt svar var igjen og igjen Ã¥ " -"understreke begrensninger pÃ¥ Kongressens makt." - -#. PAGE BREAK 246 -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"mr. lessig: Well, if it flies in the face of what the framers had in mind, " -"then the question is, is there a way of interpreting their words that gives " -"effect to what they had in mind, and the answer is yes." -msgstr "" -"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, " -"sÃ¥ spÃ¸rsmÃ¥let er, er det en mÃ¥te Ã¥ tolke sine ord som gir kraft til hva de " -"hadde i tankene, og svaret er Ja." - -#. type: Content of: <book><part><chapter><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 poenger i dette argumentet der jeg burde ha sett hvor retten var " -"pÃ¥ vei. Det fÃ¸rste var et spÃ¸rsmÃ¥l fra dommer Kennedy, som observerte," - -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"justice kennedy: Well, I suppose implicit in the argument that the '76 act, " -"too, should have been declared void, and that we might leave it alone " -"because of the disruption, is that for all these years the act has impeded " -"progress in science and the useful arts. I just don't see any empirical " -"evidence for that." -msgstr "" -"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, " -"ogsÃ¥, bÃ¸r har blitt gjort ugyldige, og at vi kan la det vÃ¦re pÃ¥ grunn av " -"avbrudd, er som for alle disse Ã¥rene loven har hindret fremgang i vitenskap " -"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Here follows my clear mistake. Like a professor correcting a student, I " -"answered," -msgstr "" -"Her fÃ¸lger min Ã¥penbare feil. Som en professor som korrigerer en student, " -"svarte jeg," - -#. type: Content of: <book><part><chapter><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: Dommer, det er ikke en empirisk pÃ¥stand i det hele tatt. " -"Ingenting i pÃ¥standen om vÃ¥r opphavsrettsbestemmelse baserer seg pÃ¥ den " -"empiriske antagelsen om Ã¥ hindre fremgang. VÃ¥rt eneste argument er at dette " -"er en strukturell begrensning som er nÃ¸dvendig for Ã¥ sikre at det som ellers " -"ville vÃ¦re en evigvarende vernetid ikke blir tillatt i opphavsrettsloven." - -#. type: Content of: <book><part><chapter><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 et riktig svar, men det var ikke det riktige svaret. Det riktige " -"svaret var i stedet at det var Ã¥penbar og dyptgripende skade. En rekke " -"orienteringer hadde blitt skrevet om den. Han Ã¸nsket Ã¥ hÃ¸re det. Og det " -"var her rÃ¥det fra Don Ayer burde ha hatt betydning. Dette var en lett " -"pasning, og mitt svar bommet fullstendig." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The second came from the Chief, for whom the whole case had been crafted. " -"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, " -"and we hoped that he would see this case as its second cousin." -msgstr "" -"andre kom fra sjefen, som hele saken hadde blitt utformet. for " -"justisministeren hadde utformet lopez avgjÃ¸relse, og vi hÃ¥pet at ville han " -"se denne saken som sin andre fetter." - -#. PAGE BREAK 247 -#. type: Content of: <book><part><chapter><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 ett sekund inn i hans spÃ¸rsmÃ¥l at han overhode ikke hadde " -"sympati med oss. For ham var vi en gjeng med anarkister. Han spurte sÃ¥," - -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"chief justice: Well, but you want more than that. You want the right to copy " -"verbatim other people's books, don't you?" -msgstr "" -"Chief justice: godt, men du Ã¸nsker mer enn som. du vil ha rett til Ã¥ kopiere " -"ordrett andres bÃ¸ker, ikke du?" - -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"mr. lessig: We want the right to copy verbatim works that should be in the " -"public domain and would be in the public domain but for a statute that " -"cannot be justified under ordinary First Amendment analysis or under a " -"proper reading of the limits built into the Copyright Clause." -msgstr "" -"Mr. lessig: vi vil ha rett til Ã¥ kopiere ordrett verk som bÃ¸r vÃ¦re i den " -"offentlige sfÃ¦ren, og ville vÃ¦re allemannseie, men for en vedtekter som ikke " -"kan begrunnes under vanlige fÃ¸rste endring analyse eller under en riktig " -"lesing av grensene som er innebygd i setningsdelen opphavsrett." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Olson, Theodore B." -msgstr "Olson, Theodore B." - -#. type: Content of: <book><part><chapter><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 nÃ¥r regjerningen presenterte sitt " -"Ã¥pniningsforedrag. For nÃ¥ tok retten tak i kjernen i vÃ¥re pÃ¥stander. Dommer " -"Scalia spurte regjeringsadvokat Olson," - -#. type: Content of: <book><part><chapter><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 "" -"Dommer Scalia: Du sier at den funksjonelle ekvivalenten til en ubegrenset " -"vernetid ville vÃ¦re i strid [med grunnloven], men det er jo nÃ¸yaktig det " -"argumentet som fremmes av *petitioners* her, at en begrenset vernetid som er " -"utvidbar er den funksjonelle ekvivalenten til en ubegrenset vernetid." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"When Olson was finished, it was my turn to give a closing rebuttal. Olson's " -"flailing had revived my anger. But my anger still was directed to the " -"academic, not the practical. The government was arguing as if this were the " -"first case ever to consider limits on Congress's Copyright and Patent Clause " -"power. Ever the professor and not the advocate, I closed by pointing out the " -"long history of the Court imposing limits on Congress's power in the name of " -"the Copyright and Patent Clause— 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 "" -"NÃ¥r olson var ferdig, var det min tur til Ã¥ 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 fÃ¸rste tilfellet noensinne Ã¥ vurdere begrensninger pÃ¥ congress's " -"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg " -"lukket noensinne ved Ã¥ peke pÃ¥ den lange historien av domstolen innfÃ¸re " -"begrensninger pÃ¥ Kongressens makt i navnet pÃ¥ opphavsrett og patent-" -"setningsdel—faktisk, det aller fÃ¸rste tilfellet stÃ¸tning en lov av " -"Kongressen som overskrider en bestemt, nummerert makt var basert pÃ¥ " -"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til Ã¥ flytte " -"retten til min side." - -#. PAGE BREAK 248 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>As I left</emphasis> the court that day, I knew " -"there were a hundred points I wished I could remake. There were a hundred " -"questions I wished I had answered differently. But one way of thinking about " -"this case left me optimistic." -msgstr "" -"<emphasis role='strong'>Da jeg dro</emphasis>fra retten den dagen visste jeg " -"det var hundrevis av ting jeg skulle Ã¸nske jeg hadde gjort pÃ¥ nytt. Det var " -"hundrevis av spÃ¸rsmÃ¥l jeg skulle Ã¸nske jeg hadde svart annerledes. Men en " -"mÃ¥te Ã¥ tenke pÃ¥ denne saken gjorde jeg optimistisk." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The government had been asked over and over again, what is the limit? Over " -"and over again, it had answered there is no limit. This was precisely the " -"answer I wanted the Court to hear. For I could not imagine how the Court " -"could understand that the government believed Congress's power was unlimited " -"under the terms of the Copyright Clause, and sustain the government's " -"argument. The solicitor general had made my argument for me. No matter how " -"often I tried, I could not understand how the Court could find that " -"Congress's power under the Commerce Clause was limited, but under the " -"Copyright Clause, unlimited. In those rare moments when I let myself believe " -"that we may have prevailed, it was because I felt this Court—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 Ã¥ hÃ¸re. for jeg ikke kan forestille meg hvordan domstol " -"kunne forstÃ¥ 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 forsÃ¸kt, kunne jeg ikke forstÃ¥ hvordan domstol finner at " -"Kongressens makt under handel-setningsdel var begrenset, men under den " -"opphavsrett setningen, ubegrenset. i de sjeldne Ã¸yeblikkene nÃ¥r jeg la meg " -"tro at vi kan ha kommet, det var fordi jeg fÃ¸lte denne retten—spesielt " -"ville konservative—fÃ¸le seg begrenset av rettssikkerhet at det hadde " -"etablert andre steder." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>The morning</emphasis> of January 15, 2003, I was " -"five minutes late to the office and missed the 7:00 A.M. call from the " -"Supreme Court clerk. Listening to the message, I could tell in an instant " -"that she had bad news to report.The Supreme Court had affirmed the decision " -"of the Court of Appeals. Seven justices had voted in the majority. There " -"were two dissents." -msgstr "" -"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og " -"ubesvarte anropet 7: 00 am fra HÃ¸yesterett kontorist. lytte til meldingen, " -"jeg kunne fortelle pÃ¥ et Ã¸yeblikk at hun hadde dÃ¥rlige nyheter til report." -"the hadde HÃ¸yesterett bekreftet avgjÃ¸relsen til court of appeals. syv " -"justiariusene hadde stemt i fleste. Det var to Dissensene." - -#. type: Content of: <book><part><chapter><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 fÃ¥ sekunder senere ankom domsavsigelsen via epost. Jeg tok " -"telefonrÃ¸ret av krogen, la ut en kunngjÃ¸ring pÃ¥ bloggen vÃ¥r, og satte meg sÃ¥ " -"ned for Ã¥ se hvor jeg hadde tatt feil i min argumentasjon." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money " -"in the world against <emphasis>reasoning</emphasis>. And here was the last " -"naÃ¯ve law professor, scouring the pages, looking for reasoning." -msgstr "" -"Min <emphasis>argumentasjon</emphasis>. Her var et tilfelle der alle alle " -"pengene i verden var satset mot <emphasis>argumentasjon</emphasis>. Og her " -"satt den siste naive juss-professor og trÃ¥let igjennom sidene pÃ¥ jakt etter " -"argumentasjon." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"I first scoured the opinion, looking for how the Court would distinguish the " -"principle in this case from the principle in <citetitle>Lopez</citetitle>. " -"The argument was nowhere to be found. The case was not even cited. The " -"argument that was the core argument of our case did not even appear in the " -"Court's opinion." -msgstr "" -"FÃ¸rst trÃ¥let jeg domsavsigelsen for Ã¥ finne hvordan domstolen ville skille " -"prinsippet i denne saken fra prinsippet i <citetitle>Lopez</citetitle>. Jeg " -"fant ikke argumentet noe sted. Saken var ikke en gang sitert. Argumentet " -"som var kjerneargumenet i vÃ¥r sak var ikke en gang tilstede i domstolens " -"domsavsigelse." - -#. PAGE BREAK 249 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Justice Ginsburg simply ignored the enumerated powers argument. Consistent " -"with her view that Congress's power was not limited generally, she had found " -"Congress's power not limited here." -msgstr "" -"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. " -"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, " -"hun hadde funnet Kongressens makt ikke begrenset her." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Her opinion was perfectly reasonable—for her, and for Justice Souter. " -"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to " -"expect them to write an opinion that recognized, much less explained, the " -"doctrine they had worked so hard to defeat." -msgstr "" -"Hennes mening var helt rimelig—for henne og for dommer Souter. Ingen " -"av dem tror pÃ¥ <citetitle>Lopez</citetitle>. Det ville vÃ¦re for mye Ã¥ " -"forvente at de skulle skrive en domsavsigelse som annerkjente, langt mindre " -"forklarte, den doktrinen som de hadde jobbet sÃ¥ hardt for Ã¥ bekjempe." - -#. type: Content of: <book><part><chapter><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 <emphasis>by not addressing the argument</emphasis>. There was no " -"inconsistency because they would not talk about the two together. There was " -"therefore no principle that followed from the <citetitle>Lopez</citetitle> " -"case: In that context, Congress's power would be limited, but in this " -"context it would not." -msgstr "" -"Men etter hvert som jeg innsÃ¥ hva som hadde skjedd, sÃ¥ kunne jeg ikke helt " -"tro det jeg leste. Jeg hadde sagt at det ikke var mulig for domstolen Ã¥ " -"*reconcile* begrenset myndighet for handels-bestemmelsen og ubegrenset " -"myndighet for fremgangs-bestemmelsen. Det hadde aldri slÃ¥tt meg at de kunne " -"*reconcile* de to ved Ã¥ ganske enkelt <emphasis>ikke bry seg om argumentet</" -"emphasis>. Det var ingen manglende konsistens ganske enkelt fordi de lot " -"vÃ¦re Ã¥ omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte fra " -"<citetitle>Lopez</citetitle>-saken: I den sammenhengen var kongressens " -"myndighet begrenset, men i denne sammenhengen var den ikke begrenset." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Yet by what right did they get to choose which of the framers' values they " -"would respect? By what right did they—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 "" -"ennÃ¥ ved hvilken rett de fikk til Ã¥ velge hvilke av de underskrev verdiene " -"de ville respekt? ved hvilken rett gjorde de—de stille fem—fÃ¥r Ã¥ " -"velge delen av Grunnloven de ville hÃ¥ndheve basert pÃ¥ verdiene de trodde " -"viktig? Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg " -"hadde mislyktes med Ã¥ overbevise dem om at problemet her var viktig, og jeg " -"hadde unnlot Ã¥ innse at det er systemet vi har, men mye jeg kan hater et " -"system der domstolen fÃ¥r velge konstitusjonelle verdiene som det vil " -"respektere,." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion " -"was crafted internal to the law: He argued that the tradition of " -"intellectual property law should not support this unjustified extension of " -"terms. He based his argument on a parallel analysis that had governed in the " -"context of patents (so had we). But the rest of the Court discounted the " -"parallel—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 bÃ¸r stÃ¸tter dette uberettiget forlengelse " -"av vilkÃ¥rene. han basert hans argument pÃ¥ en parallell analyse som hadde " -"styrt i sammenheng med patenter (sÃ¥ hadde vi). men resten av domstolen " -"nedsatte parallelt—uten Ã¥ forklare hvordan de samme ord i fremgang-" -"setningsdelen kan komme til Ã¥ bety helt forskjellige ting som er avhengig av " -"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens " -"kostnad gÃ¥ ubesvart." - -#. PAGE BREAK 250 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Justice Breyer's opinion, perhaps the best opinion he has ever written, was " -"external to the Constitution. He argued that the term of copyrights has " -"become so long as to be effectively unlimited. We had said that under the " -"current term, a copyright gave an author 99.8 percent of the value of a " -"perpetual term. Breyer said we were wrong, that the actual number was " -"99.9997 percent of a perpetual term. Either way, the point was clear: If the " -"Constitution said a term had to be <quote>limited,</quote> 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 sÃ¥ lenge som Ã¥ vÃ¦re 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 mÃ¥tte vÃ¦re \"begrenset\", og eksisterende " -"begrepet var sÃ¥ langt som Ã¥ vÃ¦re effektivt ubegrenset, sÃ¥ det var " -"forfatningsstridig." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"These two justices understood all the arguments we had made. But because " -"neither believed in the <citetitle>Lopez</citetitle> case, neither was " -"willing to push it as a reason to reject this extension. The case was " -"decided without anyone having addressed the argument that we had carried " -"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince." -msgstr "" -"disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " -"ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " -"grunn til Ã¥ 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><part><chapter><para> -msgid "" -"<emphasis role='strong'>Defeat brings depression</emphasis>. They say it is " -"a sign of health when depression gives way to anger. My anger came quickly, " -"but it didn't cure the depression. This anger was of two sorts." -msgstr "" -"<emphasis role='strong'>Tap gir depresjon</emphasis>. De sier det er et " -"sunnhetstegn nÃ¥r depresjon mÃ¥ vike for sinne. Mitt sinne kom raskt, men det " -"kurerte ikke depresjonen. Sinnet gikk i to retninger." - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "originalism" -msgstr "originalism" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"It was first anger with the five <quote>Conservatives.</quote> It would have " -"been one thing for them to have explained why the principle of " -"<citetitle>Lopez</citetitle> didn't apply in this case. That wouldn't have " -"been a very convincing argument, I don't believe, having read it made by " -"others, and having tried to make it myself. But it at least would have been " -"an act of integrity. These justices in particular have repeatedly said that " -"the proper mode of interpreting the Constitution is <quote>originalism</" -"quote>—to first understand the framers' text, interpreted in their " -"context, in light of the structure of the Constitution. That method had " -"produced <citetitle>Lopez</citetitle> and many other <quote>originalist</" -"quote> rulings. Where was their <quote>originalism</quote> now?" -msgstr "" -"Det var fÃ¸rste sinne pÃ¥ fem \"konservative.\" det ville ha vÃ¦rt en ting for " -"dem Ã¥ har forklart hvorfor prinsippet om lopez ikke bruk i dette tilfellet. " -"ikke som ville vÃ¦rt et veldig overbevisende argument, jeg ikke tror, etter Ã¥ " -"ha lest det gjort av andre, og at de hadde prÃ¸vd Ã¥ gjÃ¸re det selv. men i " -"alle fall ville det ha vÃ¦rt en handling av integritet. disse to andre " -"justiariusene spesielt har gjentatte ganger sagt at riktig tolke Grunnloven " -"er \"originalism\"—Ã¥ fÃ¸rst forstÃ¥ 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\" " -"nÃ¥?" - -#. PAGE BREAK 251 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Here, they had joined an opinion that never once tried to explain what the " -"framers had meant by crafting the Progress Clause as they did; they joined " -"an opinion that never once tried to explain how the structure of that clause " -"would affect the interpretation of Congress's power. And they joined an " -"opinion that didn't even try to explain why this grant of power could be " -"unlimited, whereas the Commerce Clause would be limited. In short, they had " -"joined an opinion that did not apply to, and was inconsistent with, their " -"own method for interpreting the Constitution. This opinion may well have " -"yielded a result that they liked. It did not produce a reason that was " -"consistent with their own principles." -msgstr "" -"her, de hadde med seg en oppfatning at aldri en gang prÃ¸vde Ã¥ forklare hva " -"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de " -"sluttet seg en oppfatning at aldri en gang forsÃ¸kt Ã¥ forklare hvordan " -"strukturen i som ledd vil pÃ¥virke tolkningen av Kongressens makt. og de med " -"seg en mening som ikke engang forsÃ¸ke Ã¥ forklare hvorfor dette stipendet av " -"makt kan vÃ¦re ubegrenset, mens handel-setningsdel ville vÃ¦re 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 ogsÃ¥ har gitt et " -"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin " -"egen prinsipper." - -#. type: Content of: <book><part><chapter><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 mot de konservative ga raskt etter for sinnet mot meg selv. For " -"jeg hadde latt en holdning til loven som jeg likte forstyrre en holdning til " -"loven slik den er." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Most lawyers, and most law professors, have little patience for idealism " -"about courts in general and this Supreme Court in particular. Most have a " -"much more pragmatic view. When Don Ayer said that this case would be won " -"based on whether I could convince the Justices that the framers' values were " -"important, I fought the idea, because I didn't want to believe that that is " -"how this Court decides. I insisted on arguing this case as if it were a " -"simple application of a set of principles. I had an argument that followed " -"in logic. I didn't need to waste my time showing it should also follow in " -"popularity." -msgstr "" -"de fleste jurister og de fleste lov professorer, har liten tÃ¥lmodighet for " -"idealismen om domstoler Generelt og denne HÃ¸yesterett spesielt. de fleste " -"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet " -"basert pÃ¥ om jeg kunne overbevise de to andre justiariusene at verdiene for " -"de underskrev var viktig, jeg kjempet idÃ©en, fordi jeg ikke Ã¸nsker Ã¥ tro at " -"det er hvordan denne retten bestemmer. jeg insisterte pÃ¥ kranglet denne " -"saken som om den var en enkel PÃ¥fÃ¸ring av et sett prinsipper. Jeg hadde et " -"argument som fulgte i logikken. Jeg trengte ikke Ã¥ kaste bort min tid viser " -"det bÃ¸r ogsÃ¥ fÃ¸lge i popularitet." - -#. PAGE BREAK 252 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"As I read back over the transcript from that argument in October, I can see " -"a hundred places where the answers could have taken the conversation in " -"different directions, where the truth about the harm that this unchecked " -"power will cause could have been made clear to this Court. Justice Kennedy " -"in good faith wanted to be shown. I, idiotically, corrected his question. " -"Justice Souter in good faith wanted to be shown the First Amendment harms. " -"I, like a math teacher, reframed the question to make the logical point. I " -"had shown them how they could strike this law of Congress if they wanted to. " -"There were a hundred places where I could have helped them want to, yet my " -"stubbornness, my refusal to give in, stopped me. I have stood before " -"hundreds of audiences trying to persuade; I have used passion in that effort " -"to persuade; but I refused to stand before this audience and try to persuade " -"with the passion I had used elsewhere. It was not the basis on which a court " -"should decide the issue." -msgstr "" -"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg " -"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, " -"der sannheten om skade som denne ukontrollert makt vil forÃ¥rsake kunne vÃ¦rt " -"gjort klart til denne retten. rettferdighet kennedy i god tro ville vÃ¦re " -"vist. Jeg, idiotically, rettet opp sine spÃ¸rsmÃ¥l. rettferdighet souter i god " -"tro ville vÃ¦re vist den fÃ¸rste endringen skader. Jeg, reframed som en " -"matematikk-lÃ¦rer spÃ¸rsmÃ¥l for Ã¥ gjÃ¸re 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 Ã¥ gi i, stoppet meg. Jeg har stÃ¥tt fÃ¸r hundrevis av mÃ¥lgrupper prÃ¸ver " -"Ã¥ overtale; Jeg har brukt lidenskap i at forsÃ¸k pÃ¥ Ã¥ overtale; men jeg " -"nektet Ã¥ stÃ¥ denne mÃ¥lgruppen og prÃ¸ver Ã¥ overtale med lidenskap jeg hadde " -"brukt et annet sted. Det var ikke grunnlag som en domstol bÃ¸r avgjÃ¸re " -"problemet." - -#. type: Content of: <book><part><chapter><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 gÃ¥tt annerledes hvis jeg hadde argumentert litt forskjellig? " -"Ville det ha gÃ¥tt annerledes hvis Don Ayer hadde argumentert? Eller Charles " -"Fried? Eller Kathleen Sullivan?" - -#. type: Content of: <book><part><chapter><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 samlet seg rundt meg for Ã¥ insistere pÃ¥ at det ville det ikke. " -"Domstolen var ikke klar, insisterte mine venner. Det var et tap bestemt av " -"skjebnen. Det ville kreve mye mer for Ã¥ vise samfunnet vÃ¥rt hvorfor " -"grunnlovsforsamlingen hadde rett. Og nÃ¥r vi gjÃ¸r det, sÃ¥ vil vi vÃ¦rÃ¦ i " -"stand til Ã¥ vise det til domstolen." - -#. type: Content of: <book><part><chapter><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 "" -"Mulig det, men jeg tviler. Disse dommerne hadde ingen Ã¸konomiske " -"interesser i Ã¥ gjÃ¸re noe annet en det som var riktig. De blir ikke " -"lobbiert. De har liten interesse i for Ã¥ ikke gjÃ¸re det som er " -"riktig. Jeg klarer ikke la vÃ¦re Ã¥ tenke at om jeg hadde gitt slipp pÃ¥ " -"min pene bilde av justis uten fÃ¸lelser, sÃ¥ hadde jeg overbevist dem." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"And even if I couldn't, then that doesn't excuse what happened in January. " -"For at the start of this case, one of America's leading intellectual " -"property professors stated publicly that my bringing this case was a " -"mistake. <quote>The Court is not ready,</quote> 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 Ã¥ bringe denne saken var en feil. " -"-domstolen ikke er klar,\"sagt peter jaszi, Dette problemet bÃ¸r ikke heves " -"fÃ¸r det er." - -#. type: Content of: <book><part><chapter><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." -msgstr "" -"Etter argumentasjonen og etter avgjÃ¸relsen sa Peter til meg, og offentlig, " -"at han tok feil. Men hvis domstolen faktisk ikke kunne bli overbevist, sÃ¥ " -"er det igjen alt bevis som trengs for Ã¥ vite at her hadde Peter nok en gang " -"rett. Enten var ikke jeg klar til Ã¥ argumentere for denne saken pÃ¥ en mÃ¥te " -"som ville bidra positivt, eller sÃ¥ var de ikke klare for Ã¥ ta opp denne " -"saken pÃ¥ en mÃ¥te som ville bidra positivt. Uansett var avgjÃ¸relsen om Ã¥ " -"fremme denne saken feil—en avgjÃ¸relse jeg hadde tatt fire Ã¥r tidligere." - -#. PAGE BREAK 253 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>While the reaction</emphasis> to the Sonny Bono Act " -"itself was almost unanimously negative, the reaction to the Court's decision " -"was mixed. No one, at least in the press, tried to say that extending the " -"term of copyright was a good idea. We had won that battle over ideas. Where " -"the decision was praised, it was praised by papers that had been skeptical " -"of the Court's activism in other cases. Deference was a good thing, even if " -"it left standing a silly law. But where the decision was attacked, it was " -"attacked because it left standing a silly and harmful law. <citetitle>The " -"New York Times</citetitle> wrote in its editorial," -msgstr "" -"<emphasis role='strong'>Mens reaksjonen</emphasis>pÃ¥ Sonny Bono-loven selv " -"var nesten enstemming negativ, sÃ¥ var reaksjonen pÃ¥ domstolens avgjÃ¸relse " -"blandet. Ikke en eneste, i hvert fall i pressen, forsÃ¸kte Ã¥ si at det var " -"en god idÃ© Ã¥ utvide vernetiden i opphavsretten. Vi hadde vunnet kampen om " -"idÃ©en. AvgjÃ¸relsen fikk stÃ¸tte fra aviser som hadde vÃ¦rt skeptisk til " -"domstolens aktivisme i andre saker. Ã holde hendene unna var en god ting, " -"selv om den lot en dum lov bli stÃ¥ende. Men der avgjÃ¸relsen ble angrepet sÃ¥ " -"ble den angrepet pÃ¥ grunn av at den lot en dum og skadelig bli stÃ¥ende. " -"<citetitle>The New York Times</citetitle> skrev i sin leder," - -#. type: Content of: <book><part><chapter><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 "" -"Effekten er at beslutningen i HÃ¸yesterett gjÃ¸r det sannsynlig at vi ser " -"starten pÃ¥ slutten til allemannseie, og fÃ¸dselen til evig opphavsrett. " -"Allemannseie har vÃ¦rt et storslÃ¥tt eksperiment, som ikke bÃ¸r fÃ¥ lov til Ã¥ " -"dÃ¸. Evnen til Ã¥ trekke uten begresning pÃ¥ hele den kreative produksjonen " -"til menneskeheten er en av grunnene til at vi lever i en tid med sÃ¥ " -"fruktbart kreativt vekstmiljÃ¸." - -#. type: Content of: <book><part><chapter><figure><indexterm><primary> -msgid "Bolling, Ruben" -msgstr "Bolling, Ruben" - -#. type: Content of: <book><part><chapter><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 (<xref linkend=" -"\"fig-18\"/>). The <quote>powerful and wealthy</quote> line is a bit unfair. " -"But the punch in the face felt exactly like that. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"De beste responsene dukket opp i tegneseriene. Det var en haug veldig " -"morsome tegninger—av Mikke i fengsel og dets like. Det beste fra mitt " -"stÃ¥sted i saken, var fra Ruben Bolling, og er gjengitt pÃ¥ den neste siden " -"(<xref linkend=\"fig-18\"/>). Tekstlinjen om <quote>mektig og rik</quote> " -"er litt urettferdig. Men slaget i ansiktet fÃ¸ltes akkurat slik ut." -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><figure><title> -msgid "Tom the Dancing Bug cartoon" -msgstr "Tom the Dancing Bug-tegneserie" - -#. type: Content of: <book><part><chapter><figure> -msgid "" -"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" -"\" id=\"0\"/>" -msgstr "" -"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" -"\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The image that will always stick in my head is that evoked by the quote from " -"<citetitle>The New York Times</citetitle>. That <quote>grand experiment</" -"quote> we call the <quote>public domain</quote> is over? When I can make " -"light of it, I think, <quote>Honey, I shrunk the Constitution.</quote> But I " -"can rarely make light of it. We had in our Constitution a commitment to free " -"culture. In the case that I fathered, the Supreme Court effectively " -"renounced that commitment. A better lawyer would have made them see " -"differently." -msgstr "" -"Bildet som for alltid stÃ¥r inne i hodet mitt er det som ble utlÃ¸st av et " -"sitat fra <citetitle>New York Times</citetitle>. At <quote>det store " -"eksperimentet</quote> vi kaller <quote>allemannseie</quote> er over? NÃ¥r " -"jeg kan ta lett pÃ¥ det, sÃ¥ tenker jeg <quote>KjÃ¦re, jeg krympet grunnloven</" -"quote>. Men jeg klarer sjelden Ã¥ ta lett pÃ¥ det. Vi hadde i grunnloven vÃ¥r " -"en forpliktelse til Ã¥ frigjÃ¸re kultur. I den saken som jeg hadde ansvar " -"for, ga hÃ¸yesterett effektivt avkall pÃ¥ den forpliktelsen. En bedre advokat " -"ville fÃ¥tt dem til Ã¥ annerledes pÃ¥ det." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER FOURTEEN: Eldred II" -msgstr "Kapittel fjorten: Eldred II" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The day</emphasis> <citetitle>Eldred</citetitle> was " -"decided, fate would have it that I was to travel to Washington, D.C. (The " -"day the rehearing petition in <citetitle>Eldred</citetitle> was denied—" -"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 "" -"<emphasis role='strong'>Dagen</emphasis> <citetitle>Eldred</citetitle> ble " -"avgjort, ville skjebnen det at jeg skulle reise til Washington, D.C. (Dagen " -"da en forespÃ¸rsel ny hÃ¸ring for <citetitle>Eldred</citetitle> ble " -"avslÃ¥tt—som betÃ¸d at saken endelig var avsluttet—skjebnen gjorde " -"at jeg holdt en tale til teknologer ved Disney World.) Dette var en " -"spesielt lang flytur til byen jeg setter minst pris pÃ¥. KjÃ¸returen inn til " -"byen fra Dulles flyplass var forsinket pÃ¥ grunn av trafikken, sa jeg Ã¥pnet " -"opp datamaskinen og skrev en kronikk." - -#. type: Content of: <book><part><chapter><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: " -"<quote>For all these years the act has impeded progress in science and the " -"useful arts. I just don't see any empirical evidence for that.</quote> And " -"so, having failed in the argument of constitutional principle, finally, I " -"turned to an argument of politics." -msgstr "" -"Det var en botsÃ¸velse. Gjennom hele flyturen fra San Francisco til " -"Washington hadde jeg i mitt indre Ã¸re hÃ¸rt om og om igjen det samme rÃ¥det " -"fra Don Ayer: Du mÃ¥ fÃ¥ dem til Ã¥ forstÃ¥ hvorfor det er viktig. Og innimellom " -"dette rÃ¥det var spÃ¸rsmÃ¥let fra dommer Kennedy: <quote>I alle disse Ã¥rene som " -"loven har hemmet fremgang i vitenskap og nyttige kunstarter, sÃ¥ ser jeg " -"intet empirisk bevis for dette.</quote> Og dermed, etter Ã¥ ha feilet i Ã¥ " -"argumentere med konstituelle prinsipper, forsÃ¸kte jeg til slutt meg med Ã¥ " -"argumentere politisk." - -#. PAGE BREAK 256 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<citetitle>The New York Times</citetitle> published the piece. In it, I " -"proposed a simple fix: Fifty years after a work has been published, the " -"copyright owner would be required to register the work and pay a small fee. " -"If he paid the fee, he got the benefit of the full term of copyright. If he " -"did not, the work passed into the public domain." -msgstr "" -"<citetitle>New York Times</citetitle> publiserte stykket. I det foreslo jeg " -"en enkel fiks: Femti Ã¥r etter at et verk har blitt publisert, bÃ¸r " -"opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ registrere verket og betale en liten " -"avgift. Hvis han betalte avgiften fikk han fordelene av hele vernetiden for " -"opphavstiden. Hvis han ikke gjorde det, falt verket i det fri." - -#. type: Content of: <book><part><chapter><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 dette Eldred-loven, men det var kun for Ã¥ gi det et navn. Eric " -"Eldred var snill nok til Ã¥ la sitt navn brukes nok en gang, men han sa tidig " -"at den ikke ville bli vedtatt med mindre den fikk et annet navn." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Or another two names. For depending upon your perspective, this is either " -"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright " -"Term Deregulation Act.</quote> Either way, the essence of the idea is clear " -"and obvious: Remove copyright where it is doing nothing except blocking " -"access and the spread of knowledge. Leave it for as long as Congress allows " -"for those works where its worth is at least $1. But for everything else, let " -"the content go." -msgstr "" -"Eller to andre navn. For avhengig av synsvinkel, sÃ¥ er dette enten " -"<quote>Forbedring av allemannseie-loven</quote> eller <quote>Avregulering av " -"opphavsrettsvernetids-loven</quote>. Uansett er essensen i idÃ©en klar og " -"tydelig: Fjern opphavsretten der den ikke gjÃ¸r noe annet enn Ã¥ blokkere for " -"tilgang og spredning av kunnskap. La den eksistere sÃ¥ lenge som kongressen " -"tillater det for de verk der verdien er minst en dollar. For alt annet, " -"slipp innholdet fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Forbes, Steve" -msgstr "Forbes, Steve" - -#. type: Content of: <book><part><chapter><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 "" -"Reaksjonen pÃ¥ denne idÃ©en var utrolig sterk. Steve Forbes gikk god for den " -"i en leder, og jeg mottok et skred av epost og brev med stÃ¸tte. NÃ¥r du " -"fokuserer temaet pÃ¥ tapt kreativitet, sÃ¥ ser folk at opphavsrettssystemet " -"ikke gir mening. En god republikaner kunne si at her kommer ganske enkelt " -"myndigentsregulering i veien for nyskapning og kreativitet. Og en god " -"demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang og " -"spredning av kunnskap. Det er faktisk ingen reell forskjell mellom " -"demokrater og republikanere rundt dette temaet. Enhver kan gjenkjenne de " -"idiotiske skadene som dagens ordning gir." - -#. type: Content of: <book><part><chapter><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 ser mange de Ã¥penbare fordelene med registreringskravet. For en av " -"de vanskeligste tingene med dagens system for folk som Ã¸nsker Ã¥ lisensiere " -"innhold er at det ikke er noen Ã¥penbar plass Ã¥ se etter gjeldende " -"opphavsrettseiere. Siden registrering ikke er pÃ¥krevd, sÃ¥ er det ofte " -"blokkerende vanskelig Ã¥ spore opp opphavsrettseiere for Ã¥ spÃ¸rre om " -"tillatelse til Ã¥ bruke eller lisensiere deres verk. Dette systemet ville " -"redusere disse kostnadene ved Ã¥ etablere i hvert fall et register hvor " -"opphavsrettseierene kan identifiseres." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Berlin Act (1908)" -msgstr "Berlinvedtaket (1908)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Berne Convention (1908)" -msgstr "Bern-konvensjonen (1908)" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "German copyright law" -msgstr "Tysk Ã¥ndsverkslov" - -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Until the 1908 Berlin Act of the " -"Berne Convention, national copyright legislation sometimes made protection " -"depend upon compliance with formalities such as registration, deposit, and " -"affixation of notice of the author's claim of copyright. However, starting " -"with the 1908 act, every text of the Convention has provided that <quote>the " -"enjoyment and the exercise</quote> of rights guaranteed by the Convention " -"<quote>shall not be subject to any formality.</quote> The prohibition " -"against formalities is presently embodied in Article 5(2) of the Paris Text " -"of the Berne Convention. Many countries continue to impose some form of " -"deposit or registration requirement, albeit not as a condition of copyright. " -"French law, for example, requires the deposit of copies of works in national " -"repositories, principally the National Museum. Copies of books published in " -"the United Kingdom must be deposited in the British Library. The German " -"Copyright Act provides for a Registrar of Authors where the author's true " -"name can be filed in the case of anonymous or pseudonymous works. Paul " -"Goldstein, <citetitle>International Intellectual Property Law, Cases and " -"Materials</citetitle> (New York: Foundation Press, 2001), 153–54." -msgstr "" -"fÃ¸r 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 \"fÃ¥ glede og Ã¸velsen\" av rettigheter garanteres ved " -"konvensjonen \"skal ikke vÃ¦re gjenstand for alle formalitet.\" forbud mot " -"formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten i berne " -"konvensjonen. mange land fortsatt Ã¥ innfÃ¸re noen form for innskudd eller " -"registrering kravet, om enn ikke som en betingelse for opphavsrett. Fransk " -"lov, krever for eksempel innskudd pÃ¥ kopier av works i nasjonale, for, " -"hovedsakelig nasjonalmuseet. Kopier av bÃ¸ker som er utgitt i Storbritannia " -"mÃ¥ settes i british library. tysk opphavsrett lov gir en registrar av " -"forfattere der forfatterens sanne navn kan vÃ¦re arkivert i tilfelle av " -"anonym eller pseudonymous fungerer. Paul goldstein, lovgivning for " -"immaterielle, saker og materialer (new york: foundation press, 2001), 153Â54." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, formalities in copyright law were removed in 1976, when " -"Congress followed the Europeans by abandoning any formal requirement before " -"a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The " -"Europeans are said to view copyright as a <quote>natural right.</quote> " -"Natural rights don't need forms to exist. Traditions, like the Anglo-" -"American tradition that required copyright owners to follow form if their " -"rights were to be protected, did not, the Europeans thought, properly " -"respect the dignity of the author. My right as a creator turns on my " -"creativity, not upon the special favor of the government." -msgstr "" -"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/> ble formaliteter fjernet fra opphavsrettsloven i 1976, da " -"kongressen fulgte etter europeerne i Ã¥ avskaffe alle formelle krav fÃ¸r " -"opphavsretten ble innvilget.<placeholder type=\"footnote\" id=\"0\"/> " -"Europeerne sies Ã¥ anse opphavsrett som en <quote>naturlig rettighet</" -"quote>. Naturlige rettigheter trenger ingen formaliterer for Ã¥ eksistere. " -"Tradisjoner lik den anglo-amerikanske som har krevd at opphavsrettseiere mÃ¥ " -"fÃ¸lge visse formaliteter hvis deres rettigheter skal bli beskyttet, mente " -"europeerne at ikke respekterte forfatterens verdighet skikkelig. Mine " -"skaper-rettigheter stammer fra min kreativitet, ikke noe som deles ut av " -"myndighetene." - -#. type: Content of: <book><part><chapter><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 <quote>Walt " -"Disney creativity</quote> is destroyed when there is no simple way to know " -"what's protected and what's not." -msgstr "" -"Det er flott retorikk, og det hÃ¸res vidunderlig romatisk ut. Men det er " -"absurd opphavsrettspolitikk. Det er absurd spesielt for forfattere, fordi " -"en verden uten formaliterer skader den som skaper. Muligheten til Ã¥ spre " -"<quote>Walt Disney-kreativtet</quote> er fjernet nÃ¥r det ikke er noen enkel " -"mÃ¥te Ã¥ vite hva som er beskyttet og hva som ikke er det." - -#. type: Content of: <book><part><chapter><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 " -"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the " -"loss of widows' only income." -msgstr "" -"Kampen mot formaliteter oppnÃ¥dde sin fÃ¸rste virkelige seier i Berlig i " -"1908. Internasjonale opphavsrettsadvokater fikk pÃ¥ plass et tillegg i Bern-" -"konvensjonen i 1909 som krevde opphavsrettslig verneperiode som rakk hele " -"livet pluss femti Ã¥r, i tillegg til Ã¥ avskaffe opphavsrettsformaliteter. " -"Formalitetene var hatet pÃ¥ grunn av historiene om utilsiktet tap ble mer og " -"mer vanlige. Det var som om en karakter fra Charles Dickets drev alle " -"opphavsrettskontorene, og Ã¥ glemme Ã¥ sette prikken over en <citetitle>i</" -"citetitle> eller glemme Ã¥ streke igjennom en <citetitle>t</citetitle> fÃ¸rte " -"til at en enke mistet sin eneste inntekt." - -#. type: Content of: <book><part><chapter><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 klagene var reelle og fornuftige. Og hvor strengt formalitetene ble " -"hÃ¥ndhevd, spesielt i USA, var absurd. Loven bÃ¸r alltid ha mÃ¥ter Ã¥ tilgi " -"uskyldige feil. Det er ingen grunn til at ikke ogsÃ¥ Ã¥ndsverksloven skulle " -"kunne det. I stedet for Ã¥ droppen formaliteter helt, sÃ¥ burde responsen i " -"Berlin vÃ¦rt Ã¥ omfavne et mer rettverdig registreringssystem." - -#. type: Content of: <book><part><chapter><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 det ville dog fÃ¥tt motstand, pÃ¥ grunn av at registrering fortsatt var " -"kostbart i det nittende og tjuende Ã¥rhundret. Det var ogsÃ¥ en plage. " -"Avviklingen av formaliteter ga ikke bare lovnad om Ã¥ redde sultende enker, " -"men ogsÃ¥ Ã¥ redusere en unÃ¸dvendig regulatorisk belastning som var pÃ¥tvunget " -"skapere." - -#. PAGE BREAK 258 -#. type: Content of: <book><part><chapter><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 <quote>naturally,</quote> and he can assert " -"that right against anyone who would steal the table, whether or not he has " -"informed the government of his ownership of the table." -msgstr "" -"I tillegg til de praktiske klagene fra forfatterne i 1908, sÃ¥ var det ogsÃ¥ " -"moralske innsigelser. Det var ingen grunn til at kreative " -"eiendomsrettigheter skulle vÃ¦re en annenrangs type eiendom. Hvis en snekker " -"lager et bord, sÃ¥ er ikke hans rettigheter over dette bordet avhengig av av " -"han sender inn et skjema til myndighetene. Han har en <quote>naturgitt</" -"quote> eiendomsrett til bordet og kan hevde denne retten mot enhver som " -"forsÃ¸ker Ã¥ stjele bordet, uansett om han har informert myndighetene om sitt " -"eierskap til bordet." - -#. type: Content of: <book><part><chapter><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 dets implikasjoner er misvisende. For " -"argumenter i favÃ¸r av formaliteter er ikke avhengig av at kreative eiendom " -"er annerangs eiendom. Argumentet i favÃ¸r av formaliteter kretser rundt de " -"spesielle problemene som kreativ eiendom gir oss. Loven om formaliteter er " -"et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for a " -"sikre at den kan spres effektivt og rettferdig." - -#. type: Content of: <book><part><chapter><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 "" -"For eksempel er det ingen som mener at landomrÃ¥der er annenklasses eiendom " -"kun fordi du mÃ¥ tinglyse et skjÃ¸te hvis ditt salg av land skal ta effekt. " -"Og fÃ¥ mener at en bil er annenklasses eiendom bare pÃ¥ grunn av at du mÃ¥ " -"registrere bilen hos biltilsynet og merke den med et bilskilt. I begge " -"disse tilfellene ser alle at det er viktige grunner til Ã¥ kreve " -"registrering—bÃ¥de pÃ¥ grunn av at det gjÃ¸r markedet mer effektivt, og " -"pÃ¥ grunn av at det bedre sikrer rettighetene til eieren. Uten et " -"registreringssystem for landomrÃ¥der mÃ¥tte landeiere hele tiden vokte sin " -"eiendom. Met registrering kan de ganske enkelt vise politiet et skjÃ¸te. " -"Uten et registreringssystem for biler ville biltyveri vÃ¦re mye enklere. Med " -"et registreringssystem blir det mye vanskeligere for tyven Ã¥ fÃ¥ solgt den " -"stjÃ¥lne bilen. En liten byrde blir lagt pÃ¥ eiendomseieren, men disse " -"byrdene gir et generelt settq mye bedre system for Ã¥ beskytte eiendom." - -#. type: Content of: <book><part><chapter><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, <emphasis>lawyer</emphasis> transactions " -"take their place. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Det er lignende spesielle fysiske egenskaper som gjÃ¸r formaliteter viktig i " -"opphavsrettslovgiving. I motsetning til en snekkers bord, er det ingenting " -"i naturen som gjÃ¸r det relativt Ã¥penbart hvem som kan eie en bestemt bit av " -"kreativ eiendom. Et opptak av Lyle Lovetts siste album kan eksistere en " -"milliard steder uten at noe nÃ¸dvendigvis peker tilbake til en bestemt eier. " -"Og pÃ¥ samme mÃ¥te som en bil, er det ingen mÃ¥te Ã¥ vÃ¦re trygg ved kjÃ¸p og salg " -"av kreativ eiendom med mindre det finnes en enkel mÃ¥te Ã¥ bekrefte hvem som " -"er forfatteren og hvilke rettigheter han har. Enkle transaksjoner blir " -"umulige i en verden uten formaliteter. Kompliserte, dyre, " -"<emphasis>advokat</emphasis>-transaksjoner trer inn i stedet. <placeholder " -"type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>get.</" -"quote> Because we live in a system without formalities, there is no way " -"easily to build upon or use culture from our past. If copyright terms were, " -"as Justice Story said they would be, <quote>short,</quote> then this " -"wouldn't matter much. For fourteen years, under the framers' system, a work " -"would be presumptively controlled. After fourteen years, it would be " -"presumptively uncontrolled." -msgstr "" -"Dette var forstÃ¥elsen av problemet med Sonny Bono-loven som vi forsÃ¸kte Ã¥ " -"demonstrere for retten. Dette var den delen som den ikke <quote>tok</" -"quote>. Fordi vi lever i et system uten formaliteter, sÃ¥ er det ikke noen " -"enkel mÃ¥te Ã¥ bygge pÃ¥ eller bruke kulturen fra vÃ¥r fortid. Hvis vernetiden " -"i opphavsretten var, slik dommer Story sa den ville vÃ¦re, <quote>kort</" -"quote>, da ville ikke dette bety stort. I fjorten Ã¥r, i fÃ¸lge systemet til " -"de som skrev grunnloven, ville et verk kunne antas Ã¥ vÃ¦re kontrollert. " -"Etter fjorten Ã¥r kunne en anta at det ikke var kontrollert." - -#. type: Content of: <book><part><chapter><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 <emphasis>because there are no " -"formalities</emphasis>." -msgstr "" -"Men nÃ¥ nÃ¥r opphavsretten kan vare omtrent et Ã¥rhundre, sÃ¥ er den manglende " -"evnen til Ã¥ vite hva som er beskyttet og hva som ikke er beskyttet blitt en " -"stor og Ã¥penbar byrde pÃ¥ den kreative prosessen. Hvis den eneste mÃ¥ten et " -"bibliotek kan legge frem en internet-utstilling om New Deal er ved Ã¥ hyre " -"inn en advokat til Ã¥ klarere rettighetene til hvert eneste bilde og hver " -"eneste lydinnspilling, sÃ¥ belaster opphavsrettssystemet kreativiteten pÃ¥ en " -"mÃ¥te som aldri fÃ¸r er observert, <emphasis>fordi det ikke er noen " -"formaliteter</emphasis>." - -#. type: Content of: <book><part><chapter><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-loven var utformet for Ã¥ svare pÃ¥ akkurat dette problemet. Hvis det " -"er verdt en dollar for deg, sÃ¥ registrer verket ditt og du kan fÃ¥ lengre " -"vernetid. Andre vil vite hvordan de skal kontakte deg og dermed hvordan de " -"kan fÃ¥ din tillatelse hvis de Ã¸nsker Ã¥ bruke ditt verk. Og du vil fÃ¥ " -"fordelen av en utvidet opphavsrettslig vernetid." - -#. type: Content of: <book><part><chapter><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 Ã¥ registrere verket for Ã¥ fÃ¥ fordelene av " -"en utvidet vernetid, sÃ¥ bÃ¸r det heller ikke vÃ¦re verdt det for myndighetene " -"Ã¥ forsvare ditt monopol over det samme verket. Verket bÃ¸r falle i det fri " -"hvor enhver kan kopiere det, eller lage arkiver med det, eller lage en film " -"basert pÃ¥ det. Det bÃ¸r bli fritt tilgjengelig hvis det ikke er verdt en " -"dollar for deg." - -#. type: Content of: <book><part><chapter><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 bekymrer seg over byrden pÃ¥ forfattere. GjÃ¸r ikke byrden med Ã¥ " -"registrere verket at belÃ¸pet $1 egentlig er misvisende? Er ikke " -"ekstraarbeidet verdt mer enn $1? Er ikke dette det virkelige problemet med " -"registrering?" - -#. PAGE BREAK 260 -#. type: Content of: <book><part><chapter><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 <emphasis>governments</emphasis> standing at the core of " -"any system of formalities. In this book, I offer such a solution. That " -"solution essentially remakes the Copyright Office. For now, assume it was " -"Amazon that ran the registration system. Assume it was one-click " -"registration. The Eldred Act would propose a simple, one-click registration " -"fifty years after a work was published. Based upon historical data, that " -"system would move up to 98 percent of commercial work, commercial work that " -"no longer had a commercial life, into the public domain within fifty years. " -"What do you think?" -msgstr "" -"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nÃ¥ er " -"grufult. Jeg er helt enig i at opphavsrettskontoret har gjort en " -"forferdelig jobb (uten tvil pÃ¥ grunn av at de har forferdelig dÃ¥rlig " -"finansiering) i Ã¥ gjÃ¸re registrering enkelt og billig. En skikkelig lÃ¸sning " -"pÃ¥ problemet med formaliteter mÃ¥ adressere det egentlige problemet med " -"<emphasis>myndigheter</emphasis> som befinner seg i kjernen av ethvert " -"system med formaliteter. I denne boken legger jeg frem en slik lÃ¸sning. " -"LÃ¸sningen gjÃ¸r i essensen om pÃ¥ opphavsrettskontoret. Forestill deg at " -"registrering kun krever ett klikk. Eldred-loven foreslo en enkel, ett-" -"klikks registrering, femti Ã¥r etter at et verk var publisert. Basert pÃ¥ " -"historiske data ville dette systemet fÃ¥ opp mot 98 prosent av kommersielle " -"verk, kommersielle verk som ikke lenger har et kommersielt liv, til Ã¥ falle " -"i det fri etter femti Ã¥r. Hva tror du?" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>When Steve Forbes</emphasis> endorsed the idea, some " -"in Washington began to pay attention. Many people contacted me pointing to " -"representatives who might be willing to introduce the Eldred Act. And I had " -"a few who directly suggested that they might be willing to take the first " -"step." -msgstr "" -"<emphasis role='strong'>Da Steve Forbes</emphasis> stÃ¸ttet idÃ©en, begynte " -"enkelte i Washington Ã¥ fÃ¸lge med. Mange kontaktet meg med tips til " -"representanter som kan vÃ¦re villig til Ã¥ introdusere en Eldred-lov. og jeg " -"hadde noen fÃ¥ som foreslo direkte at de kan vÃ¦re villige til Ã¥ ta det fÃ¸rste " -"skrittet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Lofgren, Zoe" -msgstr "Lofgren, Zoe" - -#. type: Content of: <book><part><chapter><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, <quote>we are close.</quote> There was a general " -"reaction in the blog community that something good might happen here." -msgstr "" -"En representant, Zoe Lofgren fra California, gikk sÃ¥ langt som Ã¥ fÃ¥ " -"lovforslaget utarbeidet. Utkastet lÃ¸ste noen problemer med internasjonal " -"lov. Det pÃ¥la de enklest mulige forutsetninger pÃ¥ innehaverne av " -"opphavsretter. I mai 2003 sÃ¥ det ut som om loven skulle vÃ¦re introdusert. " -"16. mai, postet jeg pÃ¥ Eldred Act-bloggen, <quote>vi er nÃ¦re</quote>. Det " -"oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje her." - -#. type: Content of: <book><part><chapter><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 pÃ¥ dette stadiet begynte lobbyister Ã¥ bryte inn. Jack Valento og MPAAs " -"sjefsjurist kom til kongressrepresentantens kontor for Ã¥ gi MPAAS syn pÃ¥ " -"saken. Veiledet av sin advokat, fortalte Valenti meg, informerte Valenti " -"kongressrepresentanten om at MPAA ville motsette seg Eldred-loven. Arsakene " -"var pinlig tynne. Enda viktigere er det at deres spinkelhet viser noe klart " -"om hva denne debatten egentlig handler om." - -#. PAGE BREAK 261 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The MPAA argued first that Congress had <quote>firmly rejected the central " -"concept in the proposed bill</quote>—that copyrights be renewed. That " -"was true, but irrelevant, as Congress's <quote>firm rejection</quote> had " -"occurred long before the Internet made subsequent uses much more likely. " -"Second, they argued that the proposal would harm poor copyright owners—" -"apparently those who could not afford the $1 fee. Third, they argued that " -"Congress had determined that extending a copyright term would encourage " -"restoration work. Maybe in the case of the small percentage of work covered " -"by copyright law that is still commercially valuable, but again this was " -"irrelevant, as the proposal would not cut off the extended term unless the " -"$1 fee was not paid. Fourth, the MPAA argued that the bill would impose " -"<quote>enormous</quote> costs, since a registration system is not free. True " -"enough, but those costs are certainly less than the costs of clearing the " -"rights for a copyright whose owner is not known. Fifth, they worried about " -"the risks if the copyright to a story underlying a film were to pass into " -"the public domain. But what risk is that? If it is in the public domain, " -"then the film is a valid derivative use." -msgstr "" -"MPAAs fÃ¸rste argument var at kongressen <quote>bestemt hadde avvist det " -"sentrale konseptet i lovforslaget</quote>—at opphavsretter skal " -"fornyes. Det er riktig, men irrelevant, etter som kongressen " -"<quote>bestemte hadde avvist</quote> dette lenge fÃ¸r Internettet gjorde " -"pÃ¥fÃ¸lgende bruk mye mer sannsynlig. Det andre argumentet var at at " -"forslaget ville skade fattige opphavsrettseiere—tilsynelatende de som " -"ikke har rÃ¥d til en avgift pÃ¥ en dollar. Det tredje argumentet var at " -"kongressen hadde konkludert med at Ã¥ utvide vernetiden i opphavsretten ville " -"oppmuntre til Ã¥ restaurere verk. Det kan stemme for den lille " -"prosentandelen verk vernet av Ã¥ndsverksloven og som fortsatt er kommersielt " -"verdifulle. Men dette er ogsÃ¥ irrelevant, etter som forslaget ikke ville " -"fjerne den utvidede vernetiden med mindre avgiften pÃ¥ en dollar ikke ble " -"betalt. Det fjerde argumenet fra MPAA var at forslaget ville pÃ¥fÃ¸re " -"<quote>enorme</quote> kostnader, etter som et registrerings-system ikke er " -"gratis. Sant nok, men disse konstnadene er helt klart lavere enn kostnadene " -"med Ã¥ klarere rettigheter for en opphavsrett der eieren er ukjent. Det " -"femte argumentet var at de var bekymret over risikoen hvis opphavsretten til " -"en historie som lÃ¥ til grunn for en film skulle falle i det fri. Men hva " -"slags risiko er dette? Hvis den er falt i det fri, sÃ¥ er filmen gyldig " -"avleded bruk." - -#. type: Content of: <book><part><chapter><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 "" -"Til slutt hevdet MPAA at eksisterende lovgiving gjorde det mulig for " -"opphavsrettseierer Ã¥ gjÃ¸rÃ¦ dette hvis de Ã¸nsket det. Men hele poenget er at " -"det er tusenvis av opphavsrettseiere som ikke engang vet at de har en " -"opphavsrett Ã¥ gi bort. Hvorvidt de stÃ¥r fritt til Ã¥ gi bort opphavsretten " -"eller ikke—uansett en kontroversiell pÃ¥stand—sÃ¥ med mindre de " -"vet opp en opphavsrett sÃ¥ er det lite sannsynlig at de vil gjÃ¸re det." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>At the beginning</emphasis> of this book, I told two " -"stories about the law reacting to changes in technology. In the one, common " -"sense prevailed. In the other, common sense was delayed. The difference " -"between the two stories was the power of the opposition—the power of " -"the side that fought to defend the status quo. In both cases, a new " -"technology threatened old interests. But in only one case did those " -"interest's have the power to protect themselves against this new competitive " -"threat." -msgstr "" -"<emphasis role='strong'>I begynnelsen</emphasis> av denne boken fortalte jeg " -"to historier om hvordan loven reagerte mÃ¥ endringer i teknologien. I den " -"ene vant sunn fornuft frem. I den andre ble sunn fornuft forsinket. " -"Forskjellen mellom de to historiene var hvor mektig opposisjonen var—" -"hvor mektig siden som sloss for Ã¥ forsvare status quo. I begge tilfellene " -"truet ny teknologi gamle interesser. Men i kun en av tilfellene hadde disse " -"interessene nok makt til Ã¥ beskytte seg mot denne nye konkurransemessige " -"trusselen." - -#. type: Content of: <book><part><chapter><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 mÃ¥te Ã¥ ramme inn krigen som denne " -"boken har handlet om. For her er det ogsÃ¥ en ny teknologi som tvinger loven " -"til Ã¥ reagere. Og her bÃ¸r vi ogsÃ¥ spÃ¸rre, er loven i trÃ¥d med eller i strid " -"med sunn fornuft. Hvis sunn fornuft stÃ¸tter loven, hva forklarer denne " -"sunne fornuften?" - -#. PAGE BREAK 262 -#. type: Content of: <book><part><chapter><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 "" -"NÃ¥r problemet er piratvirksomhet, sÃ¥ er det riktig at loven stÃ¸tter " -"opphavsrettseierne. Den kommersielle piratvirksomheten som jeg har " -"beskrevet er galt og skadelig, og loven bÃ¸r jobbe for Ã¥ eliminere den. NÃ¥r " -"problemet er p2p-deling, sÃ¥ er det enkelt Ã¥ forstÃ¥ hvorfor loven fortsatt " -"stÃ¸tter eierne. Mye av denne delingen er galt, selv om mye er harmlÃ¸st. NÃ¥r " -"problemet er opphavsrettsvernetiden for Mikke Mus-ene i verden, sÃ¥ er det " -"forsatt mulig Ã¥ forstÃ¥ hvorfor loven favoriserer Hollywood: De fleste " -"kjenner ikke igjen grunner til Ã¥ begrense vernetiden for opphavsretten. Det " -"er dermed forsatt mulig Ã¥ se god tro hos motstanden." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Kelly, Kevin" -msgstr "Kelly, Kevin" - -#. type: Content of: <book><part><chapter><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 <quote>Dark Content</quote> that fills archives " -"around the world. So when the warriors oppose a change like this, we should " -"ask one simple question:" -msgstr "" -"Men nÃ¥r opphavsrettseiere motsetter seg et forslag som Eldred-loven, sÃ¥ er " -"det endelig et eksempel som eksponerer den nakne egeninteressen som holder " -"denne krigen i gang. Dette lovforslaget ville frigjÃ¸re en ekstraordinÃ¦r " -"rekke av innhold som ellers ville forbli ubrukt. Det ville ikke forstyrre " -"noen opphavsrettseiers trang til Ã¥ utÃ¸ve fortsatt kontroll over sitt " -"innhold. Det ville ganske enkelt frigjÃ¸re det som Kevin Kelly kaller det " -"<quote>mÃ¸rke innhold</quote> som fyller arkivene rundt om i verden. SÃ¥ nÃ¥r " -"krigerne motsetter seg en slik endring, sÃ¥ bÃ¸r vi stille et enkelt spÃ¸rsmÃ¥l:" - -#. type: Content of: <book><part><chapter><para> -msgid "What does this industry really want?" -msgstr "Hva Ã¸nsker denne industrien egentlig?" - -#. type: Content of: <book><part><chapter><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 " -"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an " -"effort to assure that nothing more passes into the public domain. It is " -"another step to assure that the public domain will never compete, that there " -"will be no use of content that is not commercially controlled, and that " -"there will be no commercial use of content that doesn't require " -"<emphasis>their</emphasis> permission first." -msgstr "" -"Med svÃ¦rt liten innsats kunne krigerne beskytte sitt innhold. SÃ¥ innsatsen " -"for Ã¥ blokkere noe ala Eldred-loven er ikke egentlig om Ã¥ beskytte " -"<emphasis>deres</emphasis> innhold. Innsatsen for Ã¥ blokkere Eldred-loven " -"er en innsats for Ã¥ sikre at ingenting mer faller i det fri. Det er et nytt " -"steg for Ã¥ sikre at allemannseiet aldri vil konkurrere, at det ikke vil vÃ¦re " -"noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke vil " -"vÃ¦re noe kommersiell bruk av innhold som ikke fÃ¸rst krever <emphasis>deres</" -"emphasis> tillatelse." - -#. type: Content of: <book><part><chapter><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 <quote>property</quote> but the rejection of a tradition. " -"Their aim is not simply to protect what is theirs. <emphasis>Their aim is to " -"assure that all there is is what is theirs</emphasis>." -msgstr "" -"Motstanden mot Eldred-loven avslÃ¸rer hvor ekstrem den andre siden er. Den " -"mektigste, sexy og hÃ¸yt elskede av lobbyorganisasjoner har som mÃ¥l ikke Ã¥ " -"beskytte <quote>eiendom</quote> men Ã¥ bli kvitt en tradisjon. Deres mÃ¥l er " -"ikke bare Ã¥ beskytte det som er deres. <emphasis>Deres mÃ¥l er Ã¥ sikre at " -"alt som finnes er det som er deres.</emphasis>" - -#. PAGE BREAK 263 -#. type: Content of: <book><part><chapter><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 Ã¥ forstÃ¥ hvorfor krigerne har dette synet. Det er " -"ikke vanskelig Ã¥ se hvordan det vil gi dem fordeler hvis konkurransen fra " -"allemannseiet knyttet til Internettet pÃ¥ en eller mannen mÃ¥te kunne knuses. " -"PÃ¥ samme mÃ¥te som RCA fryktet konkurransen fra FM, frykter de konkurransen " -"fra allemannseiet knyttet til en befolkning som nÃ¥ har mulighet til Ã¥ skape " -"med den og dele sine egne kreasjoner." - -#. type: Content of: <book><part><chapter><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 "" -"Det som er vanskelig Ã¥ forstÃ¥ er hvorfor folket innehar dette synet. Det er " -"som om loven gjorde at flymaskiner tok seg inn pÃ¥ annen manns eiendom. MPAA " -"stÃ¥r side om side med Causbyene og krever at deres fjerne og ubrukelige " -"eierrettigheter blir respektert, slik at disse fjerne og glemte " -"opphavsrettsinnehaverne kan blokkere fremgangen til andre." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"All this seems to follow easily from this untroubled acceptance of the " -"<quote>property</quote> in intellectual property. Common sense supports it, " -"and so long as it does, the assaults will rain down upon the technologies of " -"the Internet. The consequence will be an increasing <quote>permission " -"society.</quote> The past can be cultivated only if you can identify the " -"owner and gain permission to build upon his work. The future will be " -"controlled by this dead (and often unfindable) hand of the past." -msgstr "" -"Alt dette ser ut til Ã¥ lett fÃ¸lge fra Ã¥ ukritisk akseptere <quote>eiendom</" -"quote>-biten av immateriell eiendom. Sunn fornuft stÃ¸tter det, og sÃ¥ lenge " -"den gjÃ¸r det vil overfallene regne ned over teknologiene pÃ¥ Internettet. " -"Konsekvensene vil vÃ¦re mer og mer et <quote>tillatelses-samfunn</quote>. " -"Fortiden kan kun kultiveres hvis du kan finne eieren og be om tillatelse til " -"Ã¥ bygge pÃ¥ hans verk. Fremtiden vil bli kontrollert av denne dÃ¸de (og ofte " -"forsvunnede) hÃ¥nd fra fortiden." - -#. type: Content of: <book><chapter><title> -msgid "CONCLUSION" -msgstr "Konklusjon" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Africa, medications for HIV patients in" -msgstr "Afrika, medisinering for HIV-pasienter i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "AIDS medications" -msgstr "AIDS-medisiner" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "antiretroviral drugs" -msgstr "antiretroviral medisin" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "developing countries, foreign patent costs in" -msgstr "utviklingsland, utenlandske patentkostnader i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "drugs" -msgstr "medisiner" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "pharmaceutical" -msgstr "farmasÃ¸ytisk" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "HIV/AIDS therapies" -msgstr "HIV/AIDS-behandlinger" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>There are more</emphasis> than 35 million people " -"with the AIDS virus worldwide. Twenty-five million of them live in sub-" -"Saharan Africa. Seventeen million have already died. Seventeen million " -"Africans is proportional percentage-wise to seven million Americans. More " -"importantly, it is seventeen million Africans." -msgstr "" -"<emphasis role='strong'>Det er mer</emphasis> enn trettifem millioner " -"mennesker over hele verden med AIDS-viruset. Tjuefem millioner av dem bor i " -"Afrika sÃ¸r for Sahara. Sytten millioner har allerede dÃ¸dd. Sytten " -"millioner afrikanere er prosentvis proporsjonalt med syv millioner " -"amerikanere. Viktigere er det at dette er 17 millioner afrikanere." - -#. type: Content of: <book><chapter><para> -msgid "" -"There is no cure for AIDS, but there are drugs to slow its progression. " -"These antiretroviral therapies are still experimental, but they have already " -"had a dramatic effect. In the United States, AIDS patients who regularly " -"take a cocktail of these drugs increase their life expectancy by ten to " -"twenty years. For some, the drugs make the disease almost invisible." -msgstr "" -"Det finnes ingen kur for AIDS, men det finnes medisiner som kan hemme " -"sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt " -"eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA Ã¸ker " -"AIDS-pasienter som regelmessig tar en cocktail av disse medisinene sin " -"levealder med ti til tjue Ã¥r. For noen gjÃ¸re medisinene sykdommen nesten " -"usynlig." - -#. f1. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " -"Intellectual Property Rights and Development Policy</quote> (London, 2002), " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. " -"According to a World Health Organization press release issued 9 July 2002, " -"only 230,000 of the 6 million who need drugs in the developing world receive " -"them—and half of them are in Brazil." -msgstr "" -"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " -"Intellectual Property Rights and Development Policy</quote> (London, 2002), " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</" -"ulink>. I fÃ¸lge en pressemelding fra verdens helseorganisasjon sendt ut 9. " -"juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i " -"utviklingsland dem de trenger—og halvparten av dem er i Brasil." - -#. type: Content of: <book><chapter><para> -msgid "" -"These drugs are expensive. When they were first introduced in the United " -"States, they cost between $10,000 and $15,000 per person per year. Today, " -"some cost $25,000 per year. At these prices, of course, no African nation " -"can afford the drugs for the vast majority of its population: $15,000 is " -"thirty times the per capita gross national product of Zimbabwe. At these " -"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Disse medisinene er dyre. Da de ble fÃ¸rst introdusert i USA, kostet de " -"mellom $10 000 og $15 000 pr. person hvert Ã¥r. I dag koster noen " -"av dem $25 000 pr. Ã¥r. Med disse prisene har, selvfÃ¸lgelig, ingen " -"afrikansk stat rÃ¥d til medisinen for det store flertall av sine innbyggere: " -"$15 000 er tredve ganger brutto nasjonalprodukt pr. innbygger i " -"Zimbabwe. Med slike priser er disse medisinene fullstendig utilgjengelig." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on pharmaceuticals" -msgstr "om legemidler" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "pharmaceutical patents" -msgstr "farmasÃ¸ytiske patenter" - -#. 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 hÃ¸ye fordi ingrediensene til medisinene er dyre. " -"Disse prisene er hÃ¸ye fordi medisinene er beskyttet av patenter. " -"Farmasiselskapene som produserer disse livreddende blandingene nyter minst " -"tjue Ã¥rs monopol pÃ¥ sine oppfinnelser. De bruker denne monopolmakten til Ã¥ " -"hente ut sÃ¥ mye de kan fra markedet. Ved hjelp av denne makten holder de " -"prisene hÃ¸ye." - -#. 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 patenter pÃ¥ medisiner. " -"Det er ikke jeg. Faktisk av alle forskningsomrÃ¥der som kan vÃ¦re stÃ¸ttet av " -"patenter, er forskning pÃ¥ medisiner, etter min mening, det klareste tilfelle " -"der patenter er nÃ¸dvendig. Patenter gir et farmasÃ¸ytiske firma en viss " -"forsikring om at hvis det lykkes i Ã¥ finne opp et nytt medikament som kan " -"behandle en sykdom, vil det kunne tjene tilbake investeringen og mer til. " -"Dette ber sosialt et ekstremt verdifullt insentiv. Jeg er den siste personen " -"som vil argumentere for at loven skal avskaffe dette, 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 Ã©n ting Ã¥ stÃ¸tte patenter, selv patenter pÃ¥ medisiner. Det er en " -"annen ting Ã¥ avgjÃ¸re hvordan en best skal hÃ¥ndtere en krise. Og i det " -"afrikanske ledere begynte Ã¥ erkjenne Ã¸deleggelsen AIDS brakte, begynte de Ã¥ " -"se etter mÃ¥ter Ã¥ importere HIV-medisiner til kostnader betydelig under " -"markedspris." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "international law" -msgstr "internasjonal lov" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "parallel importation" -msgstr "parallellimport" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "South Africa, Republic of, pharmaceutical imports by" -msgstr "SÃ¸r-Afrika, Republikken, farmasÃ¸ytiske import til" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Braithwaite, John" -msgstr "Braithwaite, John" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: " -"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " -"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" -"\" id=\"1\"/>" -msgstr "" -"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " -"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " -"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" -"\" id=\"1\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"In 1997, South Africa tried one tack. It passed a law to allow the " -"importation of patented medicines that had been produced or sold in another " -"nation's market with the consent of the patent owner. For example, if the " -"drug was sold in India, it could be imported into Africa from India. This is " -"called <quote>parallel importation,</quote> and it is generally permitted " -"under international trade law and is specifically permitted within the " -"European Union.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I 1997 forsÃ¸kte SÃ¸r-Afrika seg pÃ¥ en tilnÃ¦rming. Landet vedtok en lov som " -"tillot import av patenterte medisiner som hadde blitt produsert og solgt i " -"en annen nasjons marked med godkjenning fra patenteieren. For eksempel, " -"hvis medisinen var solgt i India, sÃ¥ kunne den bli importert inn til Afrika " -"fra India. Dette kalles <quote>parallellimport</quote> og er generelt " -"tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den " -"europeiske union.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "United States Trade Representative (USTR)" -msgstr "USAs handelrepresentant (USTR)" - -#. f3. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"International Intellectual Property Institute (IIPI), <citetitle>Patent " -"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " -"Report Prepared for the World Intellectual Property Organization</citetitle> " -"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over " -"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug " -"Policy, and Human Resources, House Committee on Government Reform, H. Rep., " -"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James " -"Love)." -msgstr "" - -#. f4. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"International Intellectual Property Institute (IIPI), <citetitle>Patent " -"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " -"Report Prepared for the World Intellectual Property Organization</citetitle> " -"(Washington, D.C., 2000), 15." -msgstr "" -"International Intellectual Property Institute (IIPI), <citetitle>Patent " -"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en " -"rapport forberedt for the World Intellectual Property Organization</" -"citetitle> (Washington, D.C., 2000), 15." - -#. type: Content of: <book><chapter><para> -msgid "" -"However, the United States government opposed the bill. Indeed, more than " -"opposed. As the International Intellectual Property Association " -"characterized it, <quote>The U.S. government pressured South Africa … " -"not to permit compulsory licensing or parallel imports.</quote><placeholder " -"type=\"footnote\" id=\"0\"/> Through the Office of the United States Trade " -"Representative, the government asked South Africa to change the law—" -"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 "" -"Men USA var imot lovendringen. Og de nÃ¸yde seg ikke med Ã¥ vÃ¦re imot. Som " -"International Intellectual Property Association karakteriserte det, " -"<quote>Myndighetene i USA presset SÃ¸r-Afrika … til Ã¥ ikke tillate " -"tvungen lisensiering eller parallellimport</quote><placeholder type=" -"\"footnote\" id=\"0\"/> Gjennom kontoret til USAs handelsrepresentant " -"(USTR), ba myndighetene SÃ¸r-Afrika om Ã¥ endre loven—og for Ã¥ legge " -"press bak den forespÃ¸rselen, listet USTR i 1998 opp SÃ¸r-Afrika som et land " -"som burde vurderes for handelsrestriksjoner. Samme Ã¥r gikk mer enn fÃ¸rti " -"farmasiselskaper til retten for Ã¥ utfordre myndighetenes handlinger. USA " -"fikk selskap av andre myndigheter fra EU. Deres pÃ¥stand, og pÃ¥standen til " -"farmasiselskapene, var at SÃ¸r-Afrika brÃ¸t sine internasjonale forpliktelser " -"ved Ã¥ diskriminere mot en bestemt type patenter—farmasÃ¸ytiske " -"patenter. Kravet fra disse myndighetene, med USA i spissen, var at SÃ¸r-" -"Afrika skulle respektere disse patentene pÃ¥ samme mÃ¥te som alle andre " -"patenter, uavhengig av eventuell effekt pÃ¥ behandlingen av AIDS i SÃ¸r-Afrika." -"<placeholder type=\"footnote\" id=\"1\"/>" - -#. 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 bÃ¸r sette intervensjonen til USA i sammenheng. Det er ingen tvil om at " -"patenter ikke er den viktigste Ã¥rsaken til at Afrikanere ikke har tilgang " -"til medisiner. Fattigdom og den totale mangel pÃ¥ effektivt helsevesen betyr " -"mer. Men uansett om patenter er en viktigste grunnen eller ikke, sÃ¥ har " -"prisen pÃ¥ medisiner en effekt pÃ¥ etterspÃ¸rselen, og patenter pÃ¥virker " -"prisen. SÃ¥ uansett, massiv eller marginal, sÃ¥ var det en effekt av vÃ¥re " -"myndigheters intervensjon for Ã¥ stoppe flyten av medisiner inn til Afrika." - -#. type: Content of: <book><chapter><para> -msgid "" -"By stopping the flow of HIV treatment into Africa, the United States " -"government was not saving drugs for United States citizens. This is not " -"like wheat (if they eat it, we can't); instead, the flow that the United " -"States intervened to stop was, in effect, a flow of knowledge: information " -"about how to take chemicals that exist within Africa, and turn those " -"chemicals into drugs that would save 15 to 30 million lives." -msgstr "" -"Ved Ã¥ stoppe flyten av HIV-behandling til Afrika, sikret ikke myndighetene i " -"USA medisiner til USA borgere. Dette er ikke som hvete (hvis de spise det sÃ¥ " -"kan ikke vi spise det). Det som USA i effekt intervenerte for Ã¥ stoppe, var " -"flyten av kunnskap: Informasjon om hvordan en kan ta kjemikalier som finnes " -"i Afrika og gjÃ¸re disse kjemikaliene om til medisiner som kan redde 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 "" -"Intervensjonen fra USA ville heller ikke beskytte fortjenesten til " -"medisinselskapene i USA— i hvert fall ikke betydelig. Det var jo ikke " -"slik at disse landene hadde mulighet til Ã¥ kjÃ¸pe medisinene til de prisene " -"som medisinselskapene forlangte. Igjen var afrikanerne for fattige til Ã¥ ha " -"rÃ¥d til disse medisinene til de tilbudte prisene. Ã blokkere for " -"parallellimport av disse medisinene ville ikke Ã¸ke salget til de amerikanske " -"selskapene betydelig." - -#. f5. -#. PAGE BREAK 333 -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's " -"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco " -"Chronicle</citetitle>, 24 May 1999, A1, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #57</ulink> (<quote>compulsory licenses and " -"gray markets pose a threat to the entire system of intellectual property " -"protection</quote>); Robert Weissman, <quote>AIDS and Developing Countries: " -"Democratizing Access to Essential Medicines,</quote> <citetitle>Foreign " -"Policy in Focus</citetitle> 4:23 (August 1999), available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #58</ulink> (describing U.S. policy); " -"John A. Harrelson, <quote>TRIPS, Pharmaceutical Patents, and the HIV/AIDS " -"Crisis: Finding the Proper Balance Between Intellectual Property Rights and " -"Compassion, a Synopsis,</quote> <citetitle>Widener Law Symposium Journal</" -"citetitle> (Spring 2001): 175." -msgstr "" - -#. 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 <quote>intellectual property</quote> would be violated that these " -"drugs should not flow into Africa. It was a principle about the importance " -"of <quote>intellectual property</quote> that led these government actors to " -"intervene against the South African response to AIDS." -msgstr "" -"I stedet var argumentet til fordel for restriksjoner pÃ¥ denne flyten av " -"informasjon, som var nÃ¸dvendig for Ã¥ redde millioner av liv, et argument om " -"eiendoms ukrenkelighet.<placeholder type=\"footnote\" id=\"0\"/> Det var pÃ¥ " -"grunn av at <quote>intellektuell eiendom</quote> ville bli krenket at disse " -"medisinene ikke skulle flomme inn til Afrika. Det var prinsippet om " -"viktigheten av <quote>intellektuell eiendom</quote> som fikk disse " -"myndighetsaktÃ¸rene til Ã¥ intervenere mot SÃ¸r-Afrikas mottiltak mot AIDS." - -#. 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 <quote>sanctity</quote> of an idea? What possible " -"justification could there ever be for a policy that results in so many " -"deaths? What exactly is the insanity that would allow so many to die for " -"such an abstraction?" -msgstr "" -"La oss ta et skritt tilbake for et Ã¸yeblikk. En gang om tredve Ã¥r vil vÃ¥re " -"barn se tilbake pÃ¥ oss og spÃ¸rre, hvordan kunne vi la dette skje? Hvordan " -"kunne vi tillate Ã¥ gjennomfÃ¸re en politikk hvis direkte kostnad var fÃ¥ 15 " -"til 30 millioner afrikanere til Ã¥ dÃ¸ raskere, og hvis eneste virkelige " -"fordel var Ã¥ opprettholde <quote>ukrenkeligheten</quote> til en idÃ©? Hva " -"slags berettigelse kan noen sinne eksistere for en politikk som resulterer i " -"sÃ¥ mange dÃ¸de? Hva slags galskap er det egentlig som tillater at sÃ¥ mange " -"dÃ¸r for slik en abstraksjon?" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "in pharmaceutical industry" -msgstr "i farmasÃ¸ytisk industri" - -#. 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 skylder pÃ¥ farmasiselskapene. Det gjÃ¸r ikke jeg. De er selskaper, og " -"deres ledere er lovpÃ¥lagt Ã¥ tjene penger for selskapene. De presser pÃ¥ for " -"en bestemt patentpolitikk, ikke pÃ¥ grunn av idealer, men fordi det er dette " -"som gjÃ¸r at de tjener mest penger. Og dette gjÃ¸r kun at de tjener mest " -"penger pÃ¥ grunn av en slags korrupsjon i vÃ¥rt politiske system— en " -"korrupsjon som farmasiselskapene helt klart ikke er 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 "" -"Denne korrupsjonen er vÃ¥re egne politikeres manglende integritet. For " -"medisinprodusentene ville elske—sier de selv, og jeg tror dem — " -"Ã¥ selge sine medisiner sÃ¥ billig som de kan til land i Afrika og andre " -"steder. Det er utfordringer de mÃ¥ lÃ¸se Ã¥ sikre at medisinene ikke kommer " -"tilbake til USA, men dette er bare teknologiske utfordring. De kan bli " -"overvunnet." - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "of drug patents" -msgstr "av legemiddelpatenter" - -#. 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, <quote>How is it you can sell " -"this HIV drug in Africa for only $1 a pill, but the same drug would cost an " -"American $1,500?</quote> Because there is no <quote>sound bite</quote> " -"answer to that question, its effect would be to induce regulation of prices " -"in America. The drug companies thus avoid this spiral by avoiding the first " -"step. They reinforce the idea that property should be sacred. They adopt a " -"rational strategy in an irrational context, with the unintended consequence " -"that perhaps millions die. And that rational strategy thus becomes framed in " -"terms of this ideal—the sanctity of an idea called <quote>intellectual " -"property.</quote>" -msgstr "" -"Et annet problem kan derimot ikke lÃ¸ses. Det er frykten for at en politiker " -"som skal vise seg og kaller inn lederne hos medisinprodusentene til hÃ¸ring i " -"senatet eller representantenes hus og spÃ¸r, <quote>hvordan har det seg at du " -"kan selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille " -"koster en amerikansker $1 500?</quote> Da det ikke finnes et " -"<quote>kjapt svar</quote> pÃ¥ det spÃ¸rsmÃ¥let, ville effekten bli regulering " -"av priser i Amerika. Medisinprodusentene unngÃ¥r dermed denne spiralen ved Ã¥ " -"sikre at det fÃ¸rste steget ikke tas. De forsterker idÃ©en om at " -"eierrettigheter skal vÃ¦re ukrenkelige. De legger seg pÃ¥ en rasjonell " -"strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at " -"kanskje millioner dÃ¸r. Og den rasjonelle strategien rammes dermed inn ved " -"hjel av dette ideal—ukrenkeligheten til en idÃ© som kalles " -"<quote>immaterielle rettigheter</quote>." - -#. 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 "" -"SÃ¥ nÃ¥r du konfronteres av ditt barns sunne fornuft, hva vil du si? NÃ¥r den " -"sunne fornuften hos en generasjon endelig gjÃ¸r opprÃ¸r mot hva vi har gjort, " -"hvordan vil vi rettferdiggjÃ¸re det? 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 patentpolitikk kunne gÃ¥ god for og gi sterk stÃ¸tte til " -"patentsystemet uten Ã¥ mÃ¥tte nÃ¥ alle overalt pÃ¥ nÃ¸yaktig samme mÃ¥te. PÃ¥ samme " -"mÃ¥te som en fornuftig opphavsrettspolitikk kunne gÃ¥ god for og gi sterk " -"stÃ¸tte til et opphavsretts-system uten Ã¥ mÃ¥tte regulere spredningen av " -"kultur perfekt og for alltid. En fornuftig patentpolitikk kunne gÃ¥ god for " -"og gi sterk stÃ¸tte til et patentsystem uten Ã¥ mÃ¥tte blokkere spredning av " -"medisiner til et land som uansett ikke er rikt nok til Ã¥ ha rÃ¥d til " -"markedsprisen. En fornuftig politikk kan en dermed si kunne vÃ¦re en " -"balansert politikk. For det meste av vÃ¥r historie har bÃ¥de opphavsrett- og " -"patentpolitikken i denne forstand vÃ¦rt balansert." - -#. 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." -msgstr "" -"Men vi som kultur har mistet denne fÃ¸lelsen for balanse. Vi har mistet det " -"kritiske blikket som hjelper oss til Ã¥ se forskjellen mellom sannhet og " -"ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vÃ¥r " -"tradisjon, hersker nÃ¥ i vÃ¥r kultur—sÃ¦rt, og med konsekvenser mer " -"alvorlig for spredningen av idÃ©er og kultur enn nesten enhver annen politisk " -"enkeltavgjÃ¸relse vi som demokrati kan fatte." - -#. PAGE BREAK 269 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>A simple idea</emphasis> blinds us, and under the " -"cover of darkness, much happens that most of us would reject if any of us " -"looked. So uncritically do we accept the idea of property in ideas that we " -"don't even notice how monstrous it is to deny ideas to a people who are " -"dying without them. So uncritically do we accept the idea of property in " -"culture that we don't even question when the control of that property " -"removes our ability, as a people, to develop our culture democratically. " -"Blindness becomes our common sense. And the challenge for anyone who would " -"reclaim the right to cultivate our culture is to find a way to make this " -"common sense open its eyes." -msgstr "" -"<emphasis role='strong'>En enkel idÃ©</emphasis> blender oss, og under dekke " -"av mÃ¸rket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt " -"med. SÃ¥ ukritisk aksepterer vi idÃ©en om eierskap til idÃ©er at vi ikke " -"engang legger merke til hvor uhyrlig det er Ã¥ nekte tilgang til idÃ©er for et " -"folk som dÃ¸r uten dem. SÃ¥ ukritisk aksepterer vi idÃ©en om eiendom til " -"kulturen at vi ikke engang stiller spÃ¸rsmÃ¥l ved nÃ¥r kontrollen over denne " -"eiendommen fjerner vÃ¥r evne, som folk, til Ã¥ utvikle vÃ¥r kultur " -"demokratisk. Blindhet blir vÃ¥r sunne fornuft, og utfordringen for enhver " -"som vil gjenvinne retten til Ã¥ dyrke vÃ¥r kultur er Ã¥ finne en mÃ¥te Ã¥ fÃ¥ " -"denne sunne fornuften til Ã¥ Ã¥pne sine Ã¸yne." - -#. 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 <quote>piracy,</quote> " -"and devastate a culture for creativity. They defend the idea of " -"<quote>creative property,</quote> while transforming real creators into " -"modern-day sharecroppers. They are insulted by the idea that rights should " -"be balanced, even though each of the major players in this content war was " -"itself a beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a " -"city like Washington, hypocrisy is not even noticed. Powerful lobbies, " -"complex issues, and MTV attention spans produce the <quote>perfect storm</" -"quote> for free culture." -msgstr "" -"SÃ¥ langt sover sunn fornuft. Det er intet opprÃ¸r. Sunn fornuft ser ennÃ¥ " -"ikke hva det er Ã¥ gjÃ¸re opprÃ¸r mot. Ekstremismen som nÃ¥ dominerer denne " -"debatten resonerer med idÃ©er som virker naturlige, og resonansen er " -"forsterket av vÃ¥re moderne RCA-ene. De fÃ¸rer en frenetisk krig for Ã¥ " -"bekjempe <quote>piratvirksomhet</quote> og knuser kreativitetskultur. De " -"forsvarer idÃ©en om <quote>kreativt eierskap</quote>, mens de endrer ekte " -"skapere til moderne leilendinger. De blir fornÃ¦rmet av idÃ©en om at " -"rettigheter skulle vÃ¦re balanserte, selv om hver av hovedaktÃ¸rene i denne " -"innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet " -"rÃ¥r. Men i en by som Washington blir ikke hykleriet en gang lagt merke " -"til. Mektige lobbyister, kompliserte problemer og MTV-oppmerksomhetsspenn " -"gir en <quote>perfekt storm</quote> for fri kultur." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "academic journals" -msgstr "akademiske tidsskrifter" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "biomedical research" -msgstr "biomedisinsk forskning" - -#. type: Content of: <book><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "international organization on issues of" -msgstr "internasjonal organisasjon om saker av" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "IBM" -msgstr "IBM" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "PLoS (Public Library of Science)" -msgstr "PLoS (Offentlige Vitenskapsbiblioteket, det)" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Public Library of Science (PLoS)" -msgstr "Offentlige Vitenskapsbiblioteket, det (PLoS)" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "public projects in" -msgstr "offentlige prosjekter i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "single nucleotied polymorphisms (SNPs)" -msgstr "enkeltnukleotidforskjeller (SNPs)" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Wellcome Trust" -msgstr "Wellcome Trust" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "World Intellectual Property Organization (WIPO)" -msgstr "World intellectual property organization (WIPO)" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "World Wide Web" -msgstr "World Wide Web" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Global Positioning System" -msgstr "Globalt posisjoneringssystem" - -#. f6. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> " -"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " -"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> " -"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; " -"William New, <quote>U.S. Official Opposes `Open Source' Talks at WIPO,</" -"quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 August " -"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #61</" -"ulink>." -msgstr "" -"Jonathan Krim, <quote>The Quiet War over Open-Source</quote>, " -"<citetitle>Washington Post</citetitle>, august 2003, E1, tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " -"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir</quote>, " -"<citetitle>National Journal's Technology Daily</citetitle>, 19. august 2003, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #60</" -"ulink>; William New, <quote>U.S. Official Opposes `Open Source' Talks at " -"WIPO</quote>, <citetitle>National Journal's Technology Daily</citetitle>, " -"19. august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #61</ulink>." - -#. PAGE BREAK 270 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>In August 2003</emphasis>, a fight broke out in the " -"United States about a decision by the World Intellectual Property " -"Organization to cancel a meeting.<placeholder type=\"footnote\" id=\"0\"/> " -"At the request of a wide range of interests, WIPO had decided to hold a " -"meeting to discuss <quote>open and collaborative projects to create public " -"goods.</quote> These are projects that have been successful in producing " -"public goods without relying exclusively upon a proprietary use of " -"intellectual property. Examples include the Internet and the World Wide Web, " -"both of which were developed on the basis of protocols in the public domain. " -"It included an emerging trend to support open academic journals, including " -"the Public Library of Science project that I describe in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>. It included a " -"project to develop single nucleotide polymorphisms (SNPs), which are thought " -"to have great significance in biomedical research. (That nonprofit project " -"comprised a consortium of the Wellcome Trust and pharmaceutical and " -"technological companies, including Amersham Biosciences, AstraZeneca, " -"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " -"IBM, Motorola, Novartis, Pfizer, and Searle.) It included the Global " -"Positioning System, which Ronald Reagan set free in the early 1980s. And it " -"included <quote>open source and free software.</quote>" -msgstr "" -"<emphasis role='strong'>I august 2003</emphasis> brÃ¸t en kamp ut i USA om en " -"avgjÃ¸relse fra World Intellectual Property Organiation om Ã¥ avlyse et mÃ¸te." -"<placeholder type=\"footnote\" id=\"0\"/> PÃ¥ forespÃ¸rsel fra en lang rekke " -"med interessenter hadde WIPO bestemt Ã¥ avholde et mÃ¸te for Ã¥ diskutere " -"<quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape goder for felleskapet</" -"quote>. Disse prosjektene som hadde lyktes i Ã¥ produsere goder for " -"fellesskapet uten Ã¥ basere seg eksklusivt pÃ¥ bruken av proprietÃ¦re " -"immaterielle rettigheter. Eksempler inkluderer Internettet og verdensveven, " -"begge som ble utviklet pÃ¥ grunnlag av protokoller i allemannseie. Det hadde " -"med en begynnende trend for Ã¥ stÃ¸tte Ã¥pne akademiske tidsskrifter, og " -"inkluderte Public Library of Science-prosjektet som jeg beskriver i kapittel " -"<xref xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Det " -"inkluderte et prosjekt for a utvikle enkeltnukleotidforskjeller (SNPs), som " -"er antatt Ã¥ fÃ¥ stor betydning i biomedisinsk forskning. (Dette ideelle " -"prosjektet besto av et konsortium av Wellcome Trust og farmasÃ¸ytiske og " -"teknologiske selskaper, inkludert Amersham Biosciences, AstraZeneca, " -"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " -"IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt " -"posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig pÃ¥ 1980-tallet. Og " -"det inkluderte <quote>Ã¥pen kildekode og fri programvare</quote>." - -#. 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 "" -"FormÃ¥let med mÃ¸tet var Ã¥ vurdere denne rekken av prosjekter fra et felles " -"perspektiv: at ingen av disse prosjektene hadde som grunnlag immateriell " -"ekstremisme. I stedet, hos alle disse, ble immaterielle rettigheter " -"balansert med avtaler om Ã¥ holde tilgang Ã¥pen, eller for Ã¥ legge " -"begrensninger pÃ¥ hvordan proprietÃ¦re krav kan bli brukt." - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "in international debate on intellectual property" -msgstr "i internasjonal debatt om immateriell eiendom" - -#. 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 bÃ¸r nevne at jeg var en av folkene som ba WIPO om dette mÃ¸tet." - -#. 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 "" -"Dermed var, fra perspektivet i denne boken, denne konferansen ideell." -"<placeholder type=\"footnote\" id=\"0\"/> Prosjektene innenfor temaet var " -"bÃ¥de kommersielle og ikkekommersielle verker. De involverte i hovedsak " -"vitenskapen, men fra mange perspektiver. Og WIPO var et ideelt sted for " -"denne diskusjonen, siden WIPO var den fremstÃ¥ende internasjonale aktÃ¸r som " -"drev med immaterielle rettighetsspÃ¸rsmÃ¥l." - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "World Summit on the Information Society (WSIS)" -msgstr "World summit pÃ¥ informasjonssamfunnet (wsis)" - -#. 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 <quote>Information Society</quote> unless one also " -"talked about the range of information and culture that would be free. My " -"talk did not make my immoderate moderator very happy. And she was no doubt " -"correct that the scope of intellectual property protections was ordinarily " -"the stuff of WIPO. But in my view, there couldn't be too much of a " -"conversation about how much intellectual property is needed, since in my " -"view, the very idea of balance in intellectual property had been lost." -msgstr "" -"Faktisk fikk jeg en gang offentlig kjeft for Ã¥ ikke anerkjenne dette faktum " -"om WIPO. I februar 2003 leverte jeg et nÃ¸kkelforedrag pÃ¥ en forberedende " -"konferanse for World Summit on the Information Society (WSIS). PÃ¥ en " -"pressekonferanse fÃ¸r innlegget, ble jeg spurt hva jeg skulle snakke om. Jeg " -"svarte at jeg skulle snakke litt om viktigheten av balanse rundt " -"immaterielle verdier for utviklingen av informasjonssamfunnet. Ordstyreren " -"pÃ¥ arrangementet avbrÃ¸t meg da brÃ¥tt for Ã¥ informere meg og journalistene " -"tilstede at ingen spÃ¸rsmÃ¥l rundt immaterielle verdier ville bli diskutert av " -"WSIS, da slike spÃ¸rsmÃ¥l kun skulle diskuteres i WIPO. I innlegget jeg hadde " -"forberedt var temaet om immaterielle verdier en forholdvis liten del av det " -"hele. Men etter denne forblÃ¸ffende uttalelsen, gjorde jeg immaterielle " -"verdier til hovedfokus for mitt innlegg. Det var ikke mulig Ã¥ snakke om et " -"<quote>informasjonssamfunn</quote> uten at en ogsÃ¥ snakket om andelen av " -"informasjon og kultur som ikke er vernet av opphavsretten. Mitt innlegg " -"gjorde ikke min overivrige moderator veldig glad. Og hun hadde uten tvil " -"rett i at omfanget til vern av immaterielle rettigheter normalt hÃ¸rte inn " -"under WIPO. Men etter mitt syn, kunne det ikke bli for mye diskusjon om " -"hvor mye immaterielle rettigheter som trengs, siden etter mitt syn, hadde " -"selve idÃ©en om en balanse rundt immaterielle rettigheter hadde gÃ¥tt tapt." - -#. 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 <quote>open and collaborative projects to create public goods</" -"quote> seemed perfectly appropriate within the WIPO agenda." -msgstr "" -"SÃ¥ uansett om WSIS kan diskutere balanse i intellektuell eiendom eller ikke, " -"sÃ¥ hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed " -"mÃ¸tet om <quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape fellesgoder</" -"quote> virker Ã¥ passe perfekt for WIPOs agenda." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Apple Corporation" -msgstr "Apple Corporation" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on free software" -msgstr "om fri programvare" - -#. 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 <quote>open source and free software." -"</quote> Microsoft in particular is wary of discussion of the subject. From " -"its perspective, a conference to discuss open source and free software would " -"be like a conference to discuss Apple's operating system. Both open source " -"and free software compete with Microsoft's software. And internationally, " -"many governments have begun to explore requirements that they use open " -"source or free software, rather than <quote>proprietary software,</quote> " -"for their own internal uses." -msgstr "" -"Men det er ett prosjekt i listen som er svÃ¦rt kontroversielt, i hvert fall " -"blant lobbyister. Dette prosjektet er <quote>Ã¥pen kildekode og fri " -"programvare</quote>. Microsoft spesielt er skeptisk til diskusjon om emnet. " -"Fra deres perspektiv, ville en konferanse for Ã¥ diskutere Ã¥pen kildekode og " -"fri programvare vÃ¦re som en konferanse for Ã¥ diskutere Apples " -"operativsystem. BÃ¥de Ã¥pen kildekode og fri programvare konkurrerer med " -"Microsofts programvare. Og internasjonalt har mange myndigheter begynt Ã¥ " -"utforske krav om at de skal bruke Ã¥pen kildekode eller fri programvare, i " -"stedet for <quote>proprietÃ¦r programvare</quote>, til sine egne interne " -"behov." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "<quote>copyleft</quote> licenses" -msgstr "<quote>copyleft</quote>-lisenser" - -#. 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 " -"<quote>open source</quote> software or software in the public domain. " -"Microsoft's principal opposition is to <quote>free software</quote> licensed " -"under a <quote>copyleft</quote> license, meaning a license that requires the " -"licensee to adopt the same terms on any derivative work. See Bradford L. " -"Smith, <quote>The Future of Software: Enabling the Marketplace to Decide,</" -"quote> <citetitle>Government Policy Toward Open Source Software</citetitle> " -"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " -"American Enterprise Institute for Public Policy Research, 2002), 69, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " -"See also Craig Mundie, Microsoft senior vice president, <citetitle>The " -"Commercial Software Model</citetitle>, discussion at New York University " -"Stern School of Business (3 May 2001), available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #63</ulink>." -msgstr "" -"Microsofts posisjon om Ã¥pen kildekode og fri programvare er mer " -"sofistikert. De har flere ganger forklart at de har ikke noe problem med " -"programvare som er <quote>Ã¥pen kildekode</quote> eller programvare som er " -"allemannseie. Microsofts prinsipielle motstand er mot <quote>fri " -"programvare</quote> lisensiert med en <quote>copyleft</quote>-lisens, som " -"betyr at lisensen krever at de som lisensierer skal adoptere same vilkÃ¥r for " -"ethvert avledet verk. Se Bradford L. Smith, <quote>The Future of Software: " -"Enabling the Marketplace to Decide</quote>, <citetitle>Government Policy " -"Toward Open Source Software</citetitle> (Washington, D.C.: AEI-Brookings " -"Joint Center for Regulatory Studies, American Enterprise Institute for " -"Public Policy Research, 2002), 69, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #62</ulink>. Se ogsÃ¥ Craig Mundie, Microsoft senior " -"vice president, <citetitle>The Commercial Software Model</citetitle>, " -"diskusjon ved New York University Stern School of Business (3. mai 2001), " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #63</" -"ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"I don't mean to enter that debate here. It is important only to make clear " -"that the distinction is not between commercial and noncommercial software. " -"There are many important companies that depend fundamentally upon open " -"source and free software, IBM being the most prominent. IBM is increasingly " -"shifting its focus to the GNU/Linux operating system, the most famous bit of " -"<quote>free software</quote>—and IBM is emphatically a commercial " -"entity. Thus, to support <quote>open source and free software</quote> is not " -"to oppose commercial entities. It is, instead, to support a mode of software " -"development that is different from Microsoft's.<placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"Jeg mener ikke Ã¥ gÃ¥ inn i den debatten her. Det er viktig kun for Ã¥ gjÃ¸re " -"det klart at skillet ikke er mellom kommersiell og ikke-kommersiell " -"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av " -"fri programvare, der IBM er den mest fremtredende. IBM har i stadig stÃ¸rre " -"grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berÃ¸mte " -"biten av <quote>fri programvare</quote>—og IBM er helt klart en " -"kommersiell aktÃ¸r. Dermed er det Ã¥ stÃ¸tte <quote>fri programvare</quote> " -"ikke Ã¥ motsette seg kommersielle aktÃ¸rer. Det er i stedet Ã¥ stÃ¸tte en mÃ¥te " -"Ã¥ drive programvareutvikling som er forskjellig fra Microsofts.<placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "General Public License (GPL)" -msgstr "general public license (gpl)" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "GPL (General Public License)" -msgstr "GPL (general public license)" - -#. PAGE BREAK 272 -#. type: Content of: <book><chapter><para> -msgid "" -"More important for our purposes, to support <quote>open source and free " -"software</quote> is not to oppose copyright. <quote>Open source and free " -"software</quote> is not software in the public domain. Instead, like " -"Microsoft's software, the copyright owners of free and open source software " -"insist quite strongly that the terms of their software license be respected " -"by adopters of free and open source software. The terms of that license are " -"no doubt different from the terms of a proprietary software license. Free " -"software licensed under the General Public License (GPL), for example, " -"requires that the source code for the software be made available by anyone " -"who modifies and redistributes the software. But that requirement is " -"effective only if copyright governs software. If copyright did not govern " -"software, then free software could not impose the same kind of requirements " -"on its adopters. It thus depends upon copyright law just as Microsoft does." -msgstr "" -"Mer viktig for vÃ¥re formÃ¥l, er at Ã¥ stÃ¸tte <quote>Ã¥pen kildekode og fri " -"programvare</quote> ikke er Ã¥ motsette seg opphavsrett. <quote>Ãpen " -"kildekode og fri programvare</quote> er ikke programvare uten " -"opphavsrettslig vern. Istedet, pÃ¥ samme mÃ¥te som programvare fra Microsoft, " -"insisterer opphavsrettsinnehaverne av fri programvare ganske sterkt at " -"vilkÃ¥rene i deres programvarelisens blir respektert av de som tar i bruk fri " -"programvare. VilkÃ¥rene i den lisensen er uten tvil forskjellig fra " -"vilkÃ¥rene i en proprietÃ¦r programvarelisens. For eksempel krever fri " -"programvare lisensiert med den generelle offentlige lisensen (GPL), at " -"kildekoden for programvare gjÃ¸res tilgjengelig for alle som endrer og " -"videredistribuerer programvaren. Men dette kravet er kun effektivt hvis " -"opphavsrett rÃ¥der over programvare. Hvis opphavsretten ikke rÃ¥der over " -"programvare, sÃ¥ kunne ikke fri programvare pÃ¥legge slike krav pÃ¥ de som tar " -"i bruk programvaren. Den er dermed like avhengig av Ã¥ndsverksloven som " -"Microsoft." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Krim, Jonathan" -msgstr "Krim, Jonathan" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "WIPO meeting opposed by" -msgstr "WIPO-mÃ¸te motarbeidet av" - -#. f9. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Krim, <quote>The Quiet War over Open-Source,</quote> available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #64</ulink>." -msgstr "" -"Krim, <quote>The Quiet War over Open-Source</quote>, tilgjengelig fra <ulink " -"url=\"http://free-culture.cc/notes/\">link #64</ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"It is therefore understandable that as a proprietary software developer, " -"Microsoft would oppose this WIPO meeting, and understandable that it would " -"use its lobbyists to get the United States government to oppose it, as well. " -"And indeed, that is just what was reported to have happened. According to " -"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's " -"lobbyists succeeded in getting the United States government to veto the " -"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, " -"the meeting was canceled." -msgstr "" -"Det er dermed forstÃ¥elig at Microsoft, som utviklere av proprietÃ¦r " -"programvare, gikk imot et slikt WIPO-mÃ¸te, og like fullt forstÃ¥elig at de " -"bruker sine lobbyister til Ã¥ fÃ¥ USAs myndigheter til Ã¥ gÃ¥ imot mÃ¸tet. Og " -"ganske riktig, det er akkurat dette som i fÃ¸lge rapporter hadde skjedd. I " -"fÃ¸lge Jonathan Krim i <citetitle>Washington Post</citetitle>, lyktes " -"Microsofts lobbyister i Ã¥ fÃ¥ USAs myndigheter til Ã¥ legge ned veto mot et " -"slikt mÃ¸te.<placeholder type=\"footnote\" id=\"0\"/> Og uten stÃ¸tte fra USA " -"ble mÃ¸tet avlyst." - -#. type: Content of: <book><chapter><para> -msgid "" -"I don't blame Microsoft for doing what it can to advance its own interests, " -"consistent with the law. And lobbying governments is plainly consistent with " -"the law. There was nothing surprising about its lobbying here, and nothing " -"terribly surprising about the most powerful software producer in the United " -"States having succeeded in its lobbying efforts." -msgstr "" -"Jeg klandrer ikke Microsoft for Ã¥ gjÃ¸re det de kan for Ã¥ fremme sine egne " -"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er " -"Ã¥penbart i samsvar med loven. Det er ikke noe overraskende her med deres " -"lobbyvirksomhet, og ikke veldig overraskende at den mektigste " -"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Boland, Lois" -msgstr "Boland, Lois" - -#. 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 <quote>open-source software runs counter to the mission of WIPO, which " -"is to promote intellectual-property rights.</quote> She is quoted as saying, " -"<quote>To hold a meeting which has as its purpose to disclaim or waive such " -"rights seems to us to be contrary to the goals of WIPO.</quote>" -msgstr "" -"Det som var overraskende var USAs regjerings begrunnelse for Ã¥ vÃ¦re imot " -"mÃ¸tet. Igjen, sitert av Krim, forklarte Lois Boland, direktÃ¸r for " -"internasjonale forbindelser ved USAs patent og varemerkekontor, at " -"<quote>programvare med Ã¥pen kildekode gÃ¥r imot til formÃ¥let til WIPO, som er " -"Ã¥ fremme immaterielle rettigheter.</quote>. Hun skal i fÃ¸lge sitatet ha " -"sagt, <quote>Ã holde et mÃ¸te som har som formÃ¥l Ã¥ fraskrive seg eller " -"frafalle slike rettigheter synes for oss Ã¥ vÃ¦re i strid med formÃ¥lene til " -"WIPO.</quote>" - -#. type: Content of: <book><chapter><para> -msgid "These statements are astonishing on a number of levels." -msgstr "Disse utsagnene er forblÃ¸ffende pÃ¥ flere nivÃ¥er." - -#. 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 " -"<quote>copyright</quote>. Without it, restrictions imposed by those " -"licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the " -"mission of promoting intellectual property rights reveals an extraordinary " -"gap in understanding—the sort of mistake that is excusable in a first-" -"year law student, but an embarrassment from a high government official " -"dealing with intellectual property issues." -msgstr "" -"For det fÃ¸rste er de ganske enkelt ikke riktige. Som jeg beskrev, er det " -"meste av Ã¥pen kildekode og fri programvare fundamentalt avhengig av den " -"immaterielle retten kalt <quote>opphavsrett</quote>. Uten den vil " -"begrensningene definert av disse lisensene ikke fungere. Dermed er det Ã¥ si " -"at de <quote>gÃ¥r imot</quote> formÃ¥let om Ã¥ fremme immaterielle rettigheter " -"Ã¥ avslÃ¸re en ekstraordinÃ¦r mangel pÃ¥ forstÃ¥else—den type feil som er " -"tilgivelig hos en fÃ¸rsteÃ¥rs jusstudent, men pinlig fra en hÃ¸yt plassert " -"statstjenestemann som hÃ¥ndterer utfordringer rundt immaterielle rettigheter." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "generic drugs" -msgstr "generiske medisiner" - -#. type: Content of: <book><chapter><para> -msgid "" -"Second, who ever said that WIPO's exclusive aim was to <quote>promote</" -"quote> intellectual property maximally? As I had been scolded at the " -"preparatory conference of WSIS, WIPO is to consider not only how best to " -"protect intellectual property, but also what the best balance of " -"intellectual property is. As every economist and lawyer knows, the hard " -"question in intellectual property law is to find that balance. But that " -"there should be limits is, I had thought, uncontested. One wants to ask Ms. " -"Boland, are generic drugs (drugs based on drugs whose patent has expired) " -"contrary to the WIPO mission? Does the public domain weaken intellectual " -"property? Would it have been better if the protocols of the Internet had " -"been patented?" -msgstr "" -"For det andre, hvem har noen gang hevdet at WIPOs eksklusive mÃ¥l var Ã¥ " -"<quote>fremme</quote> immaterielle rettigheter maksimalt? Som jeg fikk " -"kjeft om pÃ¥ den forberedende konferansen til WSIS, skal WIPO vurdere ikke " -"bare hvordan best beskytte immaterielle rettigheter, men ogsÃ¥ hva som er den " -"beste balansen rundt immaterielle rettigheter. Som enhver Ã¸konom og advokat " -"vet, er det vanskelige spÃ¸rsmÃ¥let i immaterielle rettighetsjuss Ã¥ finne den " -"balansen. Men at det skulle vÃ¦re en grense, trodde jeg, var ubestridt. Man " -"Ã¸nsker Ã¥ spÃ¸rre Ms. Boland om generelle medisiner (medisiner basert pÃ¥ " -"medisiner med patenter som er utlÃ¸pt) i strid med WIPOs oppdrag? Svekker " -"allemannseie immaterielle rettigheter? Ville det vÃ¦rt bedre om Internettets " -"protokoller hadde vÃ¦rt patentert?" - -#. 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 <emphasis>their</emphasis> rights. If " -"they want to <quote>waive</quote> or <quote>disclaim</quote> their rights, " -"that is, within our tradition, totally appropriate. When Bill Gates gives " -"away more than $20 billion to do good in the world, that is not inconsistent " -"with the objectives of the property system. That is, on the contrary, just " -"what a property system is supposed to be about: giving individuals the right " -"to decide what to do with <emphasis>their</emphasis> property." -msgstr "" -"For det tredje, selv om en tror at formÃ¥let med WIPO var Ã¥ maksimere " -"immaterielle rettigheter, sÃ¥ innehas immaterielle rettigheter, i vÃ¥r " -"tradisjon, av individer og selskaper. De fÃ¥r bestemme hva som skal gjÃ¸res " -"med disse rettighetene, igjen fordi det er <emphasis>de</emphasis> som eier " -"rettighetene. Hvis de Ã¸nsker Ã¥ <quote>frafalle</quote> eller <quote>frasi</" -"quote> seg sine rettigheter, sÃ¥ er det helt etter boka i vÃ¥r tradisjon. NÃ¥r " -"Bill Gates gir bort mer enn $20 milliarder til gode formÃ¥l, sÃ¥ er ikke det " -"uforenelig med mÃ¥lene til eiendomssystemet. Det er heller tvert i mot, " -"akkurat hva eiendomssysstemet er ment Ã¥ oppnÃ¥, at individer har retten til Ã¥ " -"bestemme hva de vil gjÃ¸re med <emphasis>sin</emphasis> eiendom." - -#. PAGE BREAK 274 -#. type: Content of: <book><chapter><para> -msgid "" -"When Ms. Boland says that there is something wrong with a meeting " -"<quote>which has as its purpose to disclaim or waive such rights,</quote> " -"she's saying that WIPO has an interest in interfering with the choices of " -"the individuals who own intellectual property rights. That somehow, WIPO's " -"objective should be to stop an individual from <quote>waiving</quote> or " -"<quote>disclaiming</quote> an intellectual property right. That the interest " -"of WIPO is not just that intellectual property rights be maximized, but that " -"they also should be exercised in the most extreme and restrictive way " -"possible." -msgstr "" -"NÃ¥r Ms. Boland sier at det er noe galt med et mÃ¸te <quote>som har som sitt " -"formÃ¥l Ã¥ fraskrive eller frafalle slike rettigheter</quote>, sÃ¥ sier hun at " -"WIPO har en interesse i Ã¥ pÃ¥virke valgene til enkeltpersoner som eier " -"immaterielle rettigheter. At pÃ¥ en eller annen WIPOs oppdrag bÃ¸r vÃ¦re Ã¥ " -"stoppe individer fra Ã¥ <quote>fraskrive</quote> eller <quote>frafalle</" -"quote> seg sine immaterielle rettigheter. At interessen til WIPO ikke bare " -"er maksimale immaterielle rettigheter, men ogsÃ¥ at de skal utÃ¸ves pÃ¥ den " -"mest ekstreme og restriktive mulig mÃ¥ten." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "feudal system" -msgstr "fÃ¸ydalsystem" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "feudal system of" -msgstr "fÃ¸ydalsystem for" - -#. 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 <quote>feudalism.</quote> Under " -"feudalism, not only was property held by a relatively small number of " -"individuals and entities. And not only were the rights that ran with that " -"property powerful and extensive. But the feudal system had a strong interest " -"in assuring that property holders within that system not weaken feudalism by " -"liberating people or property within their control to the free market. " -"Feudalism depended upon maximum control and concentration. It fought any " -"freedom that might interfere with that control." -msgstr "" -"Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den " -"anglo-amerikansk tradisjon. Det kalles <quote>fÃ¸ydalisme</quote>. Under " -"fÃ¸ydalismen var eiendommer ikke bare kontrollert av et relativt lite antall " -"individer og aktÃ¸rer. Men det fÃ¸ydale systemet hadde en sterk interesse i Ã¥ " -"sikre at landeier i systemet ikke svekke fÃ¸ydalismen ved Ã¥ frigjÃ¸re folkene " -"og eiendomene som de kontrollerte til det frie markedet. FÃ¸ydalismen var " -"avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet " -"som kunne forstyrre denne kontrollen." - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " -"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " -"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. 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 <emphasis>free</" -"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal." -msgstr "" -"Som Peter Drahos og John Braithwaite beskriver, dette er nÃ¸yaktig det valget " -"vi nÃ¥ gjÃ¸r om immaterielle rettigheter.<placeholder type=\"footnote\" id=" -"\"0\"/> Vi kommer til Ã¥ fÃ¥ et informasjonssamfunn. SÃ¥ mye er sikkert. VÃ¥rt " -"eneste valg nÃ¥ er hvorvidt dette informasjonssamfunnet skal vÃ¦re " -"<emphasis>fritt</emphasis> eller <emphasis>fÃ¸ydalt</emphasis>. Trenden er " -"mot det fÃ¸ydale." - -#. 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 "" -"Da denne bataljen brÃ¸t ut, blogget jeg om dette. En heftig debatt brÃ¸t ut i " -"kommentarfeltet. Ms. Boland hadde en rekke stÃ¸ttespillere som forsÃ¸kte Ã¥ " -"vise hvorfor hennes kommentarer ga mening. Men det var spesielt en " -"kommentar som gjorde meg trist. En anonym kommentator skrev," - -#. 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 (<quote>the goal of WIPO, and the goal of any government, should " -"be to promote the right balance of intellectual property rights, not simply " -"to promote intellectual property rights</quote>), not as it is. If we were " -"talking about the world as it is, then of course Boland didn't say anything " -"wrong. But in the world as Lessig would have it, then of course she did. " -"Always pay attention to the distinction between Lessig's world and ours." -msgstr "" -"George, du misforstÃ¥r Lessig: Han snakker bare om verden slik den burde vÃ¦re " -"(<quote>mÃ¥let til WIPO, og mÃ¥let til enhver regjering, bÃ¸r vÃ¦re Ã¥ fremme den " -"riktige balansen for immaterielle rettigheter, ikke bare Ã¥ fremme " -"immaterielle rettigheter</quote>), ikke som den er. Hvis vi snakket om " -"verden slik den er, sÃ¥ har naturligvis Boland ikke sagt noe galt. Men i " -"verden slik Lessig vil at den skal vÃ¦re, er det Ã¥penbart at hun har sagt noe " -"galt. En mÃ¥ alltid vÃ¦re oppmerksom pÃ¥ forskjellen mellom Lessigs og vÃ¥r " -"verden." - -#. 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 gikk glipp av ironien fÃ¸rst gangen jeg leste den. Jeg lese den raskt og " -"trodde forfatteren stÃ¸ttet idÃ©en om at det vÃ¥re myndigheter burde gjÃ¸re var " -"Ã¥ sÃ¸ke balanse. (Min kritikk av Ms Boland, selvfÃ¸lgelig, var ikke om " -"hvorvidt hun sÃ¸kte balanse eller ikke; min kritikk var at hennes kommentarer " -"avslÃ¸rte en feil kun en fÃ¸rsteÃ¥rs jusstudent burde kunne gjÃ¸re. Jeg har noen " -"illusjon om ekstremismen hos vÃ¥re myndigheter, uansett om de er " -"republikanere eller demokrater. Min eneste tilsynelatende illusjon er " -"hvorvidt vÃ¥re myndigheter bÃ¸r snakke sant 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 <quote>goal</" -"quote> of a government should be <quote>to promote the right balance</quote> " -"of intellectual property. That was obviously silly to him. And it obviously " -"betrayed, he believed, my own silly utopianism. <quote>Typical for an " -"academic,</quote> the poster might well have continued." -msgstr "" -"Det var derimot Ã¥penbart at den som postet meldingen ikke stÃ¸ttet idÃ©en. I " -"stedet latterliggjorde forfatteren selve idÃ©en om at i den virkelig verden " -"skulle <quote>mÃ¥let</quote> til myndighetene vÃ¦re <quote>Ã¥ fremme den " -"riktige balanse</quote> for immaterielle rettigheter. Det var Ã¥penbart " -"tÃ¥pelig for ham. Og det avslÃ¸rte Ã¥penbart, trodde han, min egen tÃ¥pelige " -"utopisme. <quote>Typisk for en akademiker</quote>, kunne forfatteren like " -"gjerne ha fortsatt." - -#. 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 forstÃ¥r kritikken av akademisk utopisme. Jeg mener ogsÃ¥ at utopisme er " -"tÃ¥pelig, og jeg vil vÃ¦re blant de fÃ¸rste til Ã¥ gjÃ¸re narr av de absurde " -"urealistiske idealer til akademikere gjennom historien (og ikke bare i vÃ¥rt " -"eget lands historie)." - -#. type: Content of: <book><chapter><para> -msgid "" -"But when it has become silly to suppose that the role of our government " -"should be to <quote>seek balance,</quote> then count me with the silly, for " -"that means that this has become quite serious indeed. If it should be " -"obvious to everyone that the government does not seek balance, that the " -"government is simply the tool of the most powerful lobbyists, that the idea " -"of holding the government to a different standard is absurd, that the idea " -"of demanding of the government that it speak truth and not lies is just " -"naïve, then who have we, the most powerful democracy in the world, " -"become?" -msgstr "" -"Men nÃ¥r det har blitt dumt Ã¥ anta at rollen til vÃ¥re myndigheter bÃ¸r vÃ¦re Ã¥ " -"<quote>oppnÃ¥ balanse</quote>, da kan du regne meg blant de dumme, for det " -"betyr at dette faktisk har blitt ganske seriÃ¸st. Hvis det bÃ¸r vÃ¦re Ã¥penbart " -"for alle at myndighetene ikke sÃ¸ker Ã¥ oppnÃ¥ balanse, at myndighetene ganske " -"enkelt et verktÃ¸y for de mektigste lobbyistene, at idÃ©en om Ã¥ forvente bedre " -"av myndighetene er absurd, at idÃ©en om Ã¥ kreve at myndighetene snakker sant " -"og ikke lyver bare er naiv, hva har da vi, det mektigste demokratiet i " -"verden, blitt?" - -#. PAGE BREAK 276 -#. type: Content of: <book><chapter><para> -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 vÃ¦re galskap Ã¥ forvente at en mektig myndigshetsperson skal si " -"sannheten. Det kan vÃ¦re galskap Ã¥ tro at myndighetenes politikk skal gjÃ¸re " -"mer enn Ã¥ tjene de mektigste interesser. Det kan vÃ¦re galskap Ã¥ argumentere " -"for Ã¥ bevare en tradisjon som har vÃ¦rt en del av vÃ¥r tradisjon for " -"mesteparten av vÃ¥r historie—fri kultur." - -#. type: Content of: <book><chapter><para> -msgid "If this is crazy, then let there be more crazies. Soon." -msgstr "Hvis dette er galskap, sÃ¥ la det vÃ¦re mer gÃ¦rninger. Snart." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Turner, Ted" -msgstr "Turner, Ted" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>There are moments</emphasis> of hope in this " -"struggle. And moments that surprise. When the FCC was considering relaxing " -"ownership rules, which would thereby further increase the concentration in " -"media ownership, an extraordinary bipartisan coalition formed to fight this " -"change. For perhaps the first time in history, interests as diverse as the " -"NRA, the ACLU, Moveon.org, William Safire, Ted Turner, and CodePink Women " -"for Peace organized to oppose this change in FCC policy. An astonishing " -"700,000 letters were sent to the FCC, demanding more hearings and a " -"different result." -msgstr "" -"<emphasis role='strong'>Det finnes Ã¸yeblikk</emphasis> av hÃ¥p i denne " -"kampen. Og Ã¸yeblikk som overrasker. Da FCC vurderte mindre strenge " -"eierskapsregler, som ville ytterligere konsentrere medieeierskap, dannet det " -"seg en en ekstraordinÃ¦r koalisjon pÃ¥ tvers av partiene for Ã¥ bekjempe " -"endringen. For kanskje fÃ¸rste gang i historien organiserte interesser sÃ¥ " -"forskjellige som NRA, ACLU, moveon.org, William Safire, Ted Turner og " -"Codepink Women for Piece seg for Ã¥ protestere pÃ¥ denne endringen i FCC-" -"reglene. SÃ¥ mange som 700 000 brev ble sendt til FCC med krav om flere " -"hÃ¸ringer 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 "" -"Disse protestene stoppet ikke FCC, men like etter stemte en bred koalisjon i " -"senatet for Ã¥ reversere avgjÃ¸relsen i FCC. De fiendtlige hÃ¸ringene som ledet " -"til avstemmingen avslÃ¸rte hvor mektig denne bevegelsen hadde blitt. Det var " -"ingen betydningsfull stÃ¸tte for FCCs avgjÃ¸relse, mens det var bred og " -"vedvarende stÃ¸tte for Ã¥ 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 gÃ¥r glipp av en viktig brikke i puslespillet. Ã " -"vÃ¦re stor er ikke ille i seg selv. Frihet er ikke truet bare pÃ¥ grunn av at " -"noen blir veldig rik, eller pÃ¥ grunn av at det bare er en hÃ¥ndfull store " -"aktÃ¸rer. Den dÃ¥rlige kvaliteten til Big Macs eller Quartar Punders betyr " -"ikke at du ikke kan fÃ¥ en god hamburger andre steder." - -#. 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 med mediekonsentrasjon kommer ikke fra selve konsentrasjonen, men " -"kommer fra fÃ¸ydalismen som denne konsentrasjonen fÃ¸rer til nÃ¥r den kobles " -"til endringer i opphavsretten. Det er ikke kun at det er noen mektige " -"selskaper som styrer en stadig voksende andel av mediene. Det er at denne " -"konsentrasjonen kan pÃ¥kalle en like oppsvulmet rekke rettigheter—" -"eiendomsrettigheter i en historisk ekstrem form—som gjÃ¸r stÃ¸rrelsen " -"ille." - -#. 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 <quote>big,</quote> wisely or not. That we could be " -"motivated to fight <quote>big</quote> again is not something new." -msgstr "" -"Det er derfor betydningsfullt at sÃ¥ mange vil kjempe for Ã¥ kreve konkurranse " -"og Ã¸kt mangfold. Likevel, hvis kampanjen blir forstÃ¥tt til Ã¥ kun gjelde " -"stÃ¸rrelse, sÃ¥ er ikke det veldig overraskende. Vi amerikanere har en lang " -"historie med Ã¥ slÃ¥ss mot <quote>stort</quote>, klokt eller ikke. At vi kan " -"vÃ¦re motivert til Ã¥ slÃ¥ss mot <quote>store</quote> igjen ikke noe nytt." - -#. 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 " -"<quote>intellectual property.</quote> Not because balance is alien to our " -"tradition; indeed, as I've argued, balance is our tradition. But because the " -"muscle to think critically about the scope of anything called " -"<quote>property</quote> is not well exercised within this tradition anymore." -msgstr "" -"Det ville vÃ¦rt noe nytt, og noe veldig viktig, hvis like mange kan vÃ¦re med " -"pÃ¥ en kampanje for Ã¥ bekjempe Ã¸kende ekstremisme bygget inn i idÃ©en om " -"<quote>intellektuell eiendom</quote>. Ikke fordi balanse er fremmed for vÃ¥r " -"tradisjon. Jeg argumenterer for at balanse er vÃ¥r tradisjon. Men fordi " -"evnen til Ã¥ tenke kritisk pÃ¥ omfanget av alt som kalles <quote>eiendom</" -"quote> ikke er lenger er godt trent i denne tradisjonen." - -#. 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 Akilles, sÃ¥ ville dette vÃ¦re vÃ¥r hÃ¦l. Dette ville vÃ¦re stedet " -"for vÃ¥re tragedie." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Dylan, Bob" -msgstr "Dylan, Bob" - -#. f11. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, " -"September 2003, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers," -"</quote> CNN/Money, 8 September 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #66</ulink>; Soni Sangha and Phyllis Furman with " -"Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as " -"Sharers,</quote> <citetitle>New York Daily News</citetitle>, 9 September " -"2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " -"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " -"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean, " -"<quote>Schoolgirl Settles with RIAA,</quote> <citetitle>Wired News</" -"citetitle>, 10 September 2003, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #67</ulink>." -msgstr "" -"John Borland, <quote>RIAA Sues 261 File Swappers</quote>, CNET News.com, " -"september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers</" -"quote>, CNN/Money, 8 september 2003, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #66</ulink>; Soni Sangha og Phyllis Furman " -"sammen med Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 " -"Cited as Sharers</quote>, <citetitle>New York Daily News</citetitle>, 9. " -"september 2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised " -"Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants</" -"quote>, <citetitle>Washington Post</citetitle>, 10. september 2003, E1; " -"Katie Dean, <quote>Schoolgirl Settles with RIAA</quote>, <citetitle>Wired " -"News</citetitle>, 10. september 2003, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #67</ulink>." - -#. f12. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady,</" -"quote> mtv.com, 17 September 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #68</ulink>." -msgstr "" -"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady</" -"quote>, mtv.com, 17. september 2003, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #68</ulink>." - -#. f13. -#. PAGE BREAK 334 -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " -"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #69</ulink>." -msgstr "" -"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " -"Dylan Songs</quote>, Kansascity.com, 9. juli 2003, tilgjengelig fra <ulink " -"url=\"http://free-culture.cc/notes/\">link #69</ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>As I write</emphasis> these final words, the news is " -"filled with stories about the RIAA lawsuits against almost three hundred " -"individuals.<placeholder type=\"footnote\" id=\"0\"/> Eminem has just been " -"sued for <quote>sampling</quote> someone else's music.<placeholder type=" -"\"footnote\" id=\"1\"/> The story about Bob Dylan <quote>stealing</quote> " -"from a Japanese author has just finished making the rounds.<placeholder type=" -"\"footnote\" id=\"2\"/> An insider from Hollywood—who insists he must " -"remain anonymous—reports <quote>an amazing conversation with these " -"studio guys. They've got extraordinary [old] content that they'd love to use " -"but can't because they can't begin to clear the rights. They've got scores " -"of kids who could do amazing things with the content, but it would take " -"scores of lawyers to clean it first.</quote> Congressmen are talking about " -"deputizing computer viruses to bring down computers thought to violate the " -"law. Universities are threatening expulsion for kids who use a computer to " -"share content." -msgstr "" -"<emphasis role='strong'>Mens jeg skriver</emphasis> disse avsluttende " -"ordene, er nyhetene fylt med historier om at RIAA saksÃ¸ker nesten tre hundre " -"individer.<placeholder type=\"footnote\" id=\"0\"/> Eminem har nettopp " -"blitt saksÃ¸kt for Ã¥ ha <quote>samplet</quote> noen andres musikk." -"<placeholder type=\"footnote\" id=\"1\"/> Historien om hvordan Bob Dylan " -"har <quote>stjÃ¥let</quote> fra en japansk forfatter har nettopp gÃ¥tt verden " -"over.<placeholder type=\"footnote\" id=\"2\"/> En pÃ¥ innsiden i " -"Hollywood—som insisterer pÃ¥ at han mÃ¥ forbli anonym—rapporterer " -"<quote>en utrolig samtale med disse studiofolkene. De har fantastisk " -"[gammelt] innhold som de ville elske Ã¥ bruke, men det kan de ikke pÃ¥ grunn " -"av at de fÃ¸rst mÃ¥ klarere rettighetene. De har hauger med ungdommer som " -"kunne gjÃ¸re fantastiske ting med innholdet, men det vil fÃ¸rst kreve hauger " -"med advokater for Ã¥ klarere det fÃ¸rst</quote>. Kongressrepresentanter " -"snakker om Ã¥ gi datavirus politimyndighet for Ã¥ ta ned datamaskiner som " -"antas Ã¥ bryte loven. Universiteter truer med Ã¥ utvise ungdommer som bruker " -"en datamaskin for Ã¥ dele innhold." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "BBC" -msgstr "BBC" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Brazil, free culture in" -msgstr "Brasil, fri kultur i" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Creative Commons" -msgstr "Creative Commons" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Gil, Gilberto" -msgstr "Gil, Gilberto" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "public creative archive in" -msgstr "offentlig kreativt arkiv i" - -#. f14. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press " -"release, 24 August 2003, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #70</ulink>." -msgstr "" -"<quote>BBC Plans to Open Up Its Archive to the Public</quote>, pressemelding " -"fra BBC, 24. august 2003, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #70</ulink>." - -#. f15. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 " -"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#71</ulink>." -msgstr "" -"<quote>Creative Commons and Brazil</quote>, Creative Commons Weblog, 6. " -"august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #71</ulink>." - -#. 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 <quote>Creative Archive,</quote> from which British citizens " -"can download BBC content, and rip, mix, and burn it.<placeholder type=" -"\"footnote\" id=\"0\"/> And in Brazil, the culture minister, Gilberto Gil, " -"himself a folk hero of Brazilian music, has joined with Creative Commons to " -"release content and free licenses in that Latin American country." -"<placeholder type=\"footnote\" id=\"1\"/> I've told a dark story. The truth " -"is more mixed. A technology has given us a new freedom. Slowly, some begin " -"to understand that this freedom need not mean anarchy. We can carry a free " -"culture into the twenty-first century, without artists losing and without " -"the potential of digital technology being destroyed. It will take some " -"thought, and more importantly, it will take some will to transform the RCAs " -"of our day into the Causbys." -msgstr "" -"I mens pÃ¥ andre siden av Atlanteren har BBC nettopp annonsert at de vil " -"bygge opp et <quote>kreativt arkiv</quote> som britiske borgere kan laste " -"ned BBC-innhold fra, og rippe, mikse og brenne det ut.<placeholder type=" -"\"footnote\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i " -"seg selv en folkehelt i brasiliansk musikk, slÃ¥tt seg sammen med Creative " -"Commons for Ã¥ gi ut innhold og frie lisenser i dette latinamerikanske landet." -"<placeholder type=\"footnote\" id=\"1\"/> Jeg har fortalt en mÃ¸rk " -"historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet. " -"Sakte begynner noen Ã¥ forstÃ¥ at denne friheten trenger ikke Ã¥ bety anarki. " -"Vi kan fÃ¥ med oss fri kultur inn i det tjuefÃ¸rste Ã¥rhundre, uten at artister " -"taper og uten at potensialet for digital teknologi blir knust. Det vil " -"kreve omtanke, og viktigere, det vil kreve at noen omformer RCA-ene av i dag " -"til Causbyere." - -#. 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 mÃ¥ gjÃ¸re opprÃ¸r. Den mÃ¥ handle for Ã¥ frigjÃ¸re kulturen. Og " -"snart, hvis dette potensialet skal noen gang bli realisert." - -#. type: Content of: <book><chapter><title> -msgid "AFTERWORD" -msgstr "Etterord" - -#. PAGE BREAK 280 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>At least some</emphasis> who have read this far will " -"agree with me that something must be done to change where we are heading. " -"The balance of this book maps what might be done." -msgstr "" -"<emphasis role='strong'>I hvert fall</emphasis> noen av de som har lest helt " -"hit vil vÃ¦re enig med meg om at noe mÃ¥ gjÃ¸res for Ã¥ endre retningen vi " -"holder. Balansen i denne boken kartlegger hva som kan gjÃ¸res." - -#. 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 deler dette kartet i to deler: det som enhver kan gjÃ¸re nÃ¥, og det som " -"krever hjelp fra lovgiverne. Hvis det er en lÃ¦rdom vi kan trekke fra " -"historien om Ã¥ endre pÃ¥ sunn fornuft, sÃ¥ er det at det krever Ã¥ endre " -"hvordan mange mennesker tenker pÃ¥ den aktuelle saken. " - -#. 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 mÃ¥ starte i gatene. Det mÃ¥ rekrutteres et " -"signifikant antall foreldre, lÃ¦rere, bibliotekarer, skapere, forfattere, " -"musikere, filmskapere, forskere—som alle mÃ¥ fortelle denne historien " -"med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er " -"sÃ¥ 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 "" -"NÃ¥r denne bevegelsen har hatt sin effekt i gatene, sÃ¥ er det et visst hÃ¥p om " -"at det kan ha effekt i Washington. Vi er fortsatt et demokrati. Hva folk " -"mener betyr noe. Ikke sÃ¥ mye som det burde, i hvert fall nÃ¥r en RCA stÃ¥r " -"imot, men likevel, det betyr noe. Og dermed vil jeg skissere, i den andre " -"delen som fÃ¸lger, endringer som kongressen kunne gjÃ¸re for Ã¥ bedre sikre en " -"fri kultur." - -#. type: Content of: <book><chapter><section><title> -msgid "US, NOW" -msgstr "Oss, nÃ¥" - -#. type: Content of: <book><chapter><section><para> -msgid "" -"<emphasis role='strong'>Common sense</emphasis> 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 "" -"<emphasis role='strong'>Sunn fornuft</emphasis> er pÃ¥ same side som " -"opphavsrettskrigerne pÃ¥ grunn av at debatten sÃ¥ langt har vÃ¦rt rammet inn " -"rundt ytterpunktene—som en stor entel/eller: enten eiendom eller " -"anarki, enten total kontroll eller sÃ¥ fÃ¥r ikke kunstnerne betalt. Hvis " -"dette virkelig var valget sÃ¥ burde krigerne vinne." - -#. type: Content of: <book><chapter><section><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—<quote>All Rights Reserved</quote>— " -"and those who reject copyright—<quote>No Rights Reserved.</quote> The " -"<quote>All Rights Reserved</quote> sorts believe that you should ask " -"permission before you <quote>use</quote> a copyrighted work in any way. The " -"<quote>No Rights Reserved</quote> sorts believe you should be able to do " -"with content as you wish, regardless of whether you have permission or not." -msgstr "" -"Tabben her er feilen med Ã¥ utelukke den gyldne middelvei. Det er " -"ytterpunkter i denne debatten, men ytterpunktene er ikke det hele. Det er " -"de som tror pÃ¥ maksimal opphavsrett—<quote>Alle rettigheter reservert</" -"quote>—og de som avviser opphavsrett—<quote>Ingen rettigheter " -"reservert</quote>. <quote>Alle rettigheter reservert</quote>-typen mener du " -"bÃ¸r spÃ¸rre om tillatelse fÃ¸r du <quote>bruker</quote> et " -"opphavsrettsbeskyttet verk pÃ¥ noe vis. <quote>Ingen rettigheter reservert</" -"quote>-typen mener du bÃ¸r kunne gjÃ¸re med innhold som du selv Ã¸nsker " -"uavhengig av om du har tillatelse eller ikke." - -#. type: Content of: <book><chapter><section><indexterm><secondary> -msgid "initial free character of" -msgstr "opprinnelige frie egenskaper ved" - -#. PAGE BREAK 282 -#. type: Content of: <book><chapter><section><para> -msgid "" -"When the Internet was first born, its initial architecture effectively " -"tilted in the <quote>no rights reserved</quote> direction. Content could be " -"copied perfectly and cheaply; rights could not easily be controlled. Thus, " -"regardless of anyone's desire, the effective regime of copyright under the " -"original design of the Internet was <quote>no rights reserved.</quote> " -"Content was <quote>taken</quote> regardless of the rights. Any rights were " -"effectively unprotected." -msgstr "" -"Da Internettet ble skapt, ga dets arkitektur i effekt en helning mot " -"<quote>ingen rettigheter reservert</quote>. Innhold kunne kopieres billig " -"og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed " -"var, uavhengig av hva noen Ã¸nsket, det effektive regimet for opphavsrett " -"under den originale utformingen av Internettet <quote>ingen rettigheter " -"reservert</quote>. Innhold ble <quote>tatt</quote> uavhengig av " -"rettighetene. Alle rettigheter var effektivt ubeskyttet." - -#. type: Content of: <book><chapter><section><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 <quote>no rights reserved,</quote> the future architecture will make " -"the effective default <quote>all rights reserved.</quote> The architecture " -"and law that surround the Internet's design will increasingly produce an " -"environment where all use of content requires permission. The <quote>cut " -"and paste</quote> world that defines the Internet today will become a " -"<quote>get permission to cut and paste</quote> world that is a creator's " -"nightmare." -msgstr "" -"Denne opprinnelige egenskapen ga en reaksjon (med motsatt fortegn, men ikke " -"helt likt) fra opphavsrettseierne. Den reaksjonen har vÃ¦rt tema for denne " -"boken. Gjennom lovgiving, sÃ¸ksmÃ¥l og endringer i nettverkets utforming har " -"opphavsrettsinnehaverne vÃ¦rt i stand ti lÃ¥ endre den grunnlegende egenskapen " -"til omgivelsen for det originale Internett. Hvis den opprinnelige " -"arkitekturen gir et effektivt utgangspunkt med <quote>ingen rettigheter " -"reserver</quote>, sÃ¥ vil fremtidens arkitektur gjÃ¸re det effektive " -"utgangspunktet til <quote>alle rettigheter reservert</quote>. Arkitekturen " -"og loven som omgir Internettets utforming vil i stadig stÃ¸rre grad gi en " -"omgivelse hvor all bruk av innhold krever tillatelse. <quote>Klipp og lim</" -"quote>-verden som definerer Internettet i dag vil bli en <quote>skaff " -"tillatelse til Ã¥ klippe og lime</quote>-verden som er en skapers mareritt." - -#. type: Content of: <book><chapter><section><para> -msgid "" -"What's needed is a way to say something in the middle—neither " -"<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but " -"<quote>some rights reserved</quote>— and thus a way to respect " -"copyrights but enable creators to free content as they see fit. In other " -"words, we need a way to restore a set of freedoms that we could just take " -"for granted before." -msgstr "" -"Det som trengs er en mÃ¥te Ã¥ si noe i midten—hverken <quote>alle " -"rettigheter reservert</quote> eller <quote>ingen rettigheter reservert</" -"quote> men <quote>noen rettigheter reservert</quote>—og dermed en mÃ¥te " -"Ã¥ respektere opphavsretter mens en gjÃ¸r det mulig for skaperne Ã¥ frigjÃ¸re " -"innhold nÃ¥r de Ã¸nsker det. Med andre ord, vi trenger en mÃ¥te Ã¥ gjeninnfÃ¸re " -"settet med friheter som vi kunne ta for gitt tidligere." - -#. type: Content of: <book><chapter><section><section><title> -msgid "Rebuilding Freedoms Previously Presumed: Examples" -msgstr "Gjenoppbygging av friheter som tidligere var antatt: Eksempler" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "restoration efforts on previous aspects of" -msgstr "restaurering innsats pÃ¥ forrige aspekter av" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "privacy rights" -msgstr "personvernrettigheter" - -#. type: Content of: <book><chapter><section><section><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 " -"<quote>privacy</quote> of your browsing habits was assured." -msgstr "" -"Hvis du trer tilbake fra slaget jeg har beskrevet her, sÃ¥ vil du kjenne " -"igjen dette problemet fra andre omgivelser. Tenk pÃ¥ personvern. FÃ¸r " -"Internettet trengte ikke de fleste av oss Ã¥ bekymre oss over hvor mye data " -"om vÃ¥re liv som vi kringkastet til verden. Hvis du gikk inn i en bokhandler " -"og tittet pÃ¥ verkene til Karl Marx, sÃ¥ trengte du ikke bekymre deg for Ã¥ " -"mÃ¥tte forklare hva du tittet pÃ¥ for dine naboer eller din sjef. " -"<quote>Personvernet</quote> rundt hva du tittet pÃ¥ var sikret." - -#. type: Content of: <book><chapter><section><section><para> -msgid "What made it assured?" -msgstr "Hva gjorde at det var sikret?" - -#. type: Content of: <book><chapter><section><section><para> -#, mtrans, fuzzy -msgid "" -"Well, if we think in terms of the modalities I described in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was " -"assured because of an inefficient architecture for gathering data and hence " -"a market constraint (cost) on anyone who wanted to gather that data. If you " -"were a suspected spy for North Korea, working for the CIA, no doubt your " -"privacy would not be assured. But that's because the CIA would (we hope) " -"find it valuable enough to spend the thousands required to track you. But " -"for most of us (again, we can hope), spying doesn't pay. The highly " -"inefficient architecture of real space means we all enjoy a fairly robust " -"amount of privacy. That privacy is guaranteed to us by friction. Not by law " -"(there is no law protecting <quote>privacy</quote> in public places), and in " -"many places, not by norms (snooping and gossip are just fun), but instead, " -"by the costs that friction imposes on anyone who would want to spy." -msgstr "" -"Vel, hvis vi tror nÃ¥r det gjelder metoder jeg beskrevet i kapittel 10, " -"personvernet var forsikret pÃ¥ grunn av en ineffektiv arkitektur for Ã¥ samle " -"data og dermed betingelsen markedet (kostnader) pÃ¥ alle som Ã¸nsket Ã¥ samle " -"inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, ville " -"arbeider for cia, ingen tvil om personvernet ikke vÃ¦re trygg. men det er " -"fordi vil cia (hÃ¥per vi) finne det verdifullt nok til Ã¥ bruke tusenvis som " -"er nÃ¸dvendig for Ã¥ spore deg. men for de fleste av oss (igjen, vi kan " -"hÃ¥per), spionere ikke betaler. svÃ¦rt 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 pÃ¥legger pÃ¥ alle som Ã¸nsker Ã¥ spy." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Amazon" -msgstr "Amazon" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cookies, Internet" -msgstr "informasjonskapsler, Internett" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "privacy protection on" -msgstr "personvernbeskyttelse pÃ¥" - -#. type: Content of: <book><chapter><section><section><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 <quote>recently viewed</" -"quote> pages. Now, because of the architecture of the Net and the function " -"of cookies on the Net, it is easier to collect the data than not. The " -"friction has disappeared, and hence any <quote>privacy</quote> protected by " -"the friction disappears, too." -msgstr "" -"Inn kommer Internettet, hvor kostnaden med Ã¥ spore spesielt det blir bladd i " -"har blitt svÃ¦rt liten. Hvis du er en kunde av Amazon, sÃ¥ vil Amazon samle " -"informasjon om hva du har sett pÃ¥ mens du tittet pÃ¥ sidene der. Du vet " -"dette pÃ¥ grunn av at det i en spalte pÃ¥ siden vises en liste med " -"<quote>nylig sette</quote> sider. PÃ¥ grunn av arkitekturen til nettet og " -"hvordan informasjonskapsler fungerer pÃ¥ nettet, sÃ¥ er det enklere Ã¥ samle " -"inn disse dataene enn Ã¥ la vÃ¦re. Friksjonen har forsvunnet, og dermed " -"forsvinner ogsÃ¥ ethvert <quote>personvern</quote> som var beskyttet av denne " -"friksjonen." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "privacy rights in use of" -msgstr "personvernrettigheter i bruk av" - -#. type: Content of: <book><chapter><section><section><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 <quote>right</quote> to browse in a library without the " -"government knowing which books you look at (I'm one of those lefties, too), " -"then this change in the technology of monitoring might concern you. If it " -"becomes simple to gather and sort who does what in electronic spaces, then " -"the friction-induced privacy of yesterday disappears." -msgstr "" -"Amazon er naturligvis ikke problemet. Men vi kan begynne Ã¥ bekymre oss for " -"biblioteker. Hvis du er en av disse sprÃ¸ venstrevridde som mener at folk " -"bÃ¸r ha <quote>retten</quote> til Ã¥ bla igjennom et bibliotek uten at " -"myndighetene fÃ¥r vite hvilke bÃ¸ker du ser pÃ¥ (jeg er ogsÃ¥ en av disse " -"venstrevridde), da kan det hende denne endringen i teknologien for " -"overvÃ¥kning angÃ¥r deg. Hvis det blir enkelt Ã¥ samle inn og sortere hvem som " -"gjÃ¸r hva i det elektroniske rom, sÃ¥ forsvinner det friksjons-induserte " -"personvernet fra tidligere tider." - -#. f1. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the " -"Architecture of Privacy (What Larry Doesn't Get),</quote> " -"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " -"6–18, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#72</ulink> (describing examples in which technology defines privacy " -"policy). See also Jeffrey Rosen, <citetitle>The Naked Crowd: Reclaiming " -"Security and Freedom in an Anxious Age</citetitle> (New York: Random House, " -"2004) (mapping tradeoffs between technology and privacy)." -msgstr "" -"Se for eksempel Marc Rotenberg, <quote>Fair Information Practices and the " -"Architecture of Privacy (What Larry Doesn't Get)</quote>, " -"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " -"6–18, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #72</ulink> (beskriver eksempler der teknologi definerer " -"personvernregler). Se ogsÃ¥ Jeffrey Rosen, <citetitle>The Naked Crowd: " -"Reclaiming Security and Freedom in an Anxious Age</citetitle> (New York: " -"Random House, 2004) (kartlegger avveininger mellom teknologi og personvern)." - -#. PAGE BREAK 284 -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"It is this reality that explains the push of many to define <quote>privacy</" -"quote> on the Internet. It is the recognition that technology can remove " -"what friction before gave us that leads many to push for laws to do what " -"friction did.<placeholder type=\"footnote\" id=\"0\"/> And whether you're in " -"favor of those laws or not, it is the pattern that is important here. We " -"must take affirmative steps to secure a kind of freedom that was passively " -"provided before. A change in technology now forces those who believe in " -"privacy to affirmatively act where, before, privacy was given by default." -msgstr "" -"Det er denne virkeligheten som forklarer at mange gjÃ¸r en innsats for Ã¥ " -"definere <quote>personvern</quote> pÃ¥ Internettet. Det er erkjennelsen om " -"at teknologi kan fjerne det friksjon fÃ¸r ga oss som fÃ¥r mange til Ã¥ be om " -"lover som gjÃ¸r det friksjonen gjorde.<placeholder type=\"footnote\" id=\"0\"/" -"> Og uansett om du er for eller imot disse lovene, sÃ¥ er det mÃ¸nsteret som " -"er det viktige her. Vi mÃ¥ ta aktive steg for Ã¥ sikre en slags frihet som " -"var passivt sikret tidligere. En endring i teknologi tvinger nÃ¥ de som tror " -"pÃ¥ personvern til Ã¥ gjÃ¸re aktive handlinger der hvor personvern tidligere " -"var gitt som utgangspunkt." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Data General" -msgstr "Data General" - -#. type: Content of: <book><chapter><section><section><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 lignende historie kan fortelles om stiftelsen av fri programvare-" -"bevegelsen. Da datamaskiner med programvare fÃ¸rst ble gjort kommersielt " -"tilgjengelig var programvaren—bÃ¥de kildekoden og binÃ¦rene—fritt " -"tilgjengelig. Du kunne ikke kjÃ¸re et program skrevet for en Data General-" -"maskin pÃ¥ en IBM-maskin, sÃ¥ Data General og IBM brydde seg ikke mye om Ã¥ " -"kontrollere programvaren sin." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Stallman, Richard" -msgstr "Stallman, Richard" - -#. type: Content of: <book><chapter><section><section><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 "" -"Dette var verden Richard Stallman ble fÃ¸dt inn i og som forsker ved MIT " -"lÃ¦rte han Ã¥ elske samfunnet som utviklet seg nÃ¥r en var fri til Ã¥ utforske " -"og fikle med programvaren som kjÃ¸rte pÃ¥ datamaskiner. Som en av de smarte " -"typene, i tillegg til Ã¥ vÃ¦re en flink programmerer, begynte Stallman Ã¥ " -"basere seg pÃ¥ friheten han hadde til bygge pÃ¥ eller endre pÃ¥ andre personers " -"verker." - -#. type: Content of: <book><chapter><section><section><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 hvert fall i akademia er ikke dette en veldig radikal idÃ©. Ved et " -"matematisk institutt ville enhver ha friheten til Ã¥ fikle med et bevis som " -"noen andre la frem. Hvis du trodde du hadde en bedre mÃ¥te Ã¥ bevise et " -"teorem, sÃ¥ kunne du ta det noen andre hadde gjort og endre det. Ved et " -"institutt for klassisk historie, hvis du mente en kollegas oversettelse av " -"en nylig oppdaget tekst hadde feil, sÃ¥ hadde du friheten til Ã¥ forbedre " -"den. Dermed, for Stallman, virket det Ã¥penbart at du burde stÃ¥ fritt til Ã¥ " -"fikle med og forbedre koden som kjÃ¸rte pÃ¥ en maskin. Dette var ogsÃ¥ " -"kunnskap. Hvorfor skulle det ikke vÃ¦re Ã¥pent for kritikk pÃ¥ samme mÃ¥te som " -"alt annet?" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "proprietary code" -msgstr "proprietÃ¦r kode" - -#. type: Content of: <book><chapter><section><section><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 svarte pÃ¥ det spÃ¸rsmÃ¥let. Istedet endret arkitekturen for inntekter i " -"dataverden seg. Etter hvert som det ble mulig Ã¥ importere programmer fra et " -"system til et annet, det ble Ã¸konomisk attraktivt (i hvert fall etter noens " -"syn) Ã¥ skjule koden til programmet som man laget. I tillegg begynte " -"selskaper Ã¥ selge ekstrautstyr til stormaskiner. Hvis jeg bare kunne ta din " -"printerdriver og kopiere den, sÃ¥ ville det gjÃ¸re det enklere for meg enn det " -"var for deg Ã¥ selge en printer i markedet." - -#. PAGE BREAK 285 -#. type: Content of: <book><chapter><section><section><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 begynte praksisen med proprietÃ¦r kode Ã¥ spre seg, og tidlig pÃ¥ 1980-" -"tallet fant Stallman at han var omringet av proprietÃ¦r kode. Verden av fri " -"programvare hadde blitt fjernet av en endring i Ã¸konomien rundt " -"databehandling. Og han trodde at hvis han ikke gjorde noe med dette, sÃ¥ " -"ville friheten til Ã¥ endre og dele programvare bli fundamentalt svekket." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Torvalds, Linus" -msgstr "Torvalds, Linus" - -#. type: Content of: <book><chapter><section><section><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 <quote>Linux</" -"quote> kernel was added to produce the GNU/Linux operating system. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" -msgstr "" -"Derfor, i 1984, startet Stallmann pÃ¥ et prosjekt for Ã¥ bygge et fritt " -"operativsystem, slik i hvert fall en flik av fri programvare skulle " -"overleve. Dette var starten pÃ¥ GNU-prosjektet, som <quote>Linux</quote>-" -"kjernen til Linus Torvalds senere ble lagt til i for Ã¥ produsere GNU/Linux-" -"operativsystemet. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " -"type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><chapter><section><section><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 teknikk var Ã¥ bruke Ã¥ndsverksloven til Ã¥ bygge en verden av " -"programvare som mÃ¥ forbli fri. Programvare lisensiert med GPL fra Free " -"Software Foundation kan ikke endres og distribueres uten at kildekoden for " -"den programvaren ogsÃ¥ blir gjort tilgjengelig. Dermed mÃ¥ enhver som bygger " -"pÃ¥ GPL-et programvare ogsÃ¥ frigjÃ¸re sitt byggverk. Dette trodde Stallman " -"ville sikre, at en Ã¸kologi av kode ville utvikle seg som forble fri for " -"andre Ã¥ bygge pÃ¥. Hans fundamentale mÃ¥l var frihet. Nyskapende kreativ " -"kode var et biprodukt." - -#. type: Content of: <book><chapter><section><section><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 gjorde dermed for programvare det personvernforkjempere nÃ¥ gjÃ¸r for " -"personvern. Han sÃ¸kte etter en mÃ¥te Ã¥ gjenoppbygge den type frihet som fÃ¸r " -"var tatt for gitt. Gjennom aktiv bruk av lisenser som gjelder for " -"opphavsrettsbeskyttet kildekode, gjenerobret Stallman aktivt en arena der " -"fri programvare ville overleve. Han beskyttet aktivt det som fÃ¸r hadde vÃ¦rt " -"passivt garantert." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "scientific journals" -msgstr "vitenskapelige tidsskrifter" - -#. type: Content of: <book><chapter><section><section><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, la oss se pÃ¥ et veldig nytt eksempel som resonerer mer direkte " -"med historien i denne boken. Dette er overgangen for hvordan akademiske og " -"vitenskapelige tidsskrifter blir produsert." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Lexis and Westlaw" -msgstr "Lexis and Westlaw" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "journals in" -msgstr "tidsskrifter i" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "access to opinions of" -msgstr "tilgang til vurderinger fra" - -#. PAGE BREAK 286 -#. type: Content of: <book><chapter><section><section><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 "" -"Etter hvert som teknologien utviklet seg, blir det Ã¥penbart for mange at Ã¥ " -"skrive ut tusenvis av kopier av tidsskrifter hver mÃ¥ned og sende dem til " -"biblioteker kanskje ikke er den mest effektive mÃ¥ten Ã¥ spre kunnskap. I " -"stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres " -"brukere gis tilgang til disse elektroniske tidsskriftene gjennom passord-" -"beskyttede nettsteder. Noe lignende har skjedd innen justissektoren i " -"nesten tredve Ã¥r: Lexis og Westlaw har hatt elektroniske versjoner av " -"domstolavgjÃ¸relser tilgjengelig for sine tjeneste-abonnenter. Selv om en " -"hÃ¸yesterettsdom ikke er opphavsrettsbeskyttet, og enhver stÃ¥r fritt til Ã¥ gÃ¥ " -"til et bibliotek og lese den, sÃ¥ stÃ¥r Lexis og Westlaw ogsÃ¥ fritt til Ã¥ " -"kreve betaling fra sine brukerne for Ã¥ gi tilgang til den samme " -"hÃ¸yesterettsdommen gjennom deres respektive tjenester." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "access fees for material in" -msgstr "tilgangsavgifter for materiale i" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "license system for rebuilding of" -msgstr "lisens-systemet for Ã¥ gjenoppbygging av" - -#. type: Content of: <book><chapter><section><section><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 generelt ingenting galt med dette, og muligheten til Ã¥ ta betalt for " -"tilgang selv for allemannseid materiale er helt klart et godt insentiv for " -"folk til Ã¥ utvikle nye og nyskapende mÃ¥ter Ã¥ spre kunnskap. Loven har vÃ¦rt " -"enig, hvilket er det som gjÃ¸r at Lexis og Westlaw har fÃ¥tt lov til Ã¥ " -"blomstre. Og hvis det ikke er noe galt med Ã¥ selge det som er allemannseie, " -"sÃ¥ bÃ¸r det i prinspippet ikke vÃ¦re noe galt i Ã¥ selge tilgang til materiale " -"som ikke er allemannseie." - -#. type: Content of: <book><chapter><section><section><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 hvis den eneste mÃ¥ten Ã¥ fÃ¥ tilgang til sosiale og vitenskapelige " -"data var gjennom proprietÃ¦re tjenester? Hva hvis ingen hadde muligheten til " -"Ã¥ bla igjennom disse datasettene uten Ã¥ betale for et abonnement?" - -#. type: Content of: <book><chapter><section><section><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 flere begynner Ã¥ oppdage, er dette stadig oftere virkeligheten med " -"vitenskapelige tidsskrifter. Da disse tidsskriftene ble distribuert i " -"papirutgaven, kunne bibliotekene gjÃ¸re tidsskriftene tilgjengelig for enhver " -"som hadde tilgang til biblioteket. Dermed kunne pasienter med kreft bli " -"kreft-eksperter pÃ¥ grunn av at biblioteket ga dem tilgang. Eller pasienter " -"som forsÃ¸kte Ã¥ forstÃ¥ risikoen med en bestemt behandling kunne forske pÃ¥ " -"disse risikoene ved Ã¥ lese alle tilgjengelige artikler om den behandlingen. " -"Denne friheten var dermed et resultat av hvordan biblioteker fungerte " -"(normer) og teknologien til papirtidsskrifter (arkitektur)—nemlig at " -"det var veldig vanskelig a kontrollere tilgang til et papirtidsskrift." - -#. type: Content of: <book><chapter><section><section><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 "" -"Etter hvert som tidsskrift blir elektroniske krever derimot utgiverne at " -"bibliotekene ikke gir alle tilgang til tidsskriftene. Dette betyr at " -"frihetene som papirtidsskrifter ga i offentlige biblioteker begynner Ã¥ " -"forsvinne. Dermed, pÃ¥ samme mÃ¥te som med personvern og programvare, " -"endringer i teknologien og markedet krymper en frihet som vi tok for gitt " -"tidligere." - -#. PAGE BREAK 287 -#. type: Content of: <book><chapter><section><section><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 reduserte friheten har fÃ¥tt mange til Ã¥ ta aktive steg for Ã¥ " -"gjenopprette friheten som har gÃ¥tt tapt. Et eksempel er Det Offentlige " -"Vitenskapsbiblioteket (PLoS), som er et ikkekommersielt selskap dedikert til " -"Ã¥ gjÃ¸re vitenskapeling forskning tilgjengelig til alle som har en " -"nettforbindelse. Forfattere av vitenskapelige verk laster sitt verk opp til " -"Det Offentlige Vitenskapsbiblioteket. Dette verket gÃ¥r sÃ¥ igjennom " -"fagfellevurdering. Hvis det blir akseptert, sÃ¥ blir verket sÃ¥ lagret i et " -"offentlig, elektronisk arkiv og gjort gratis og permanent tilgjengelig. " -"PLoS selger ogsÃ¥ trykte utgaver av verkene, men opphavsretten til " -"papirtidsskriftene fratar ingen retten til Ã¥ fritt videredistribuere verket." - -#. type: Content of: <book><chapter><section><section><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 en av mange slike anstrengelser for Ã¥ gjenopprette en frihet som " -"tidligere ble tatt for gitt, men som nÃ¥ er truet av endringer i teknologi og " -"marked. Det er ingen tvil om at dette alternativet konkurrerer med de " -"tradisjonelle forlagene og deres innsats for Ã¥ tjene penger fra den " -"eksklusive distribusjonen av innhold. Men konkurranse antas i vÃ¥r tradisjon " -"for Ã¥ vÃ¦re bra—spesielt nÃ¥r det bidrar til Ã¥ spre kunnskap og " -"vitenskap." - -#. type: Content of: <book><chapter><section><section><title> -msgid "Rebuilding Free Culture: One Idea" -msgstr "Gjenoppbygging av fri kultur: En idÃ©" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The same strategy could be applied to culture, as a response to the " -"increasing control effected through law and technology." -msgstr "" -"Den samme strategien kan brukes pÃ¥ kultur, som et svar pÃ¥ den Ã¸kende " -"kontrollen som gjennomfÃ¸res gjennom lov og teknologi." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Stanford University" -msgstr "Stanford University" - -#. type: Content of: <book><chapter><section><section><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 <emphasis>reasonable</emphasis> copyright on top " -"of the extremes that now reign. It does this by making it easy for people to " -"build upon other people's work, by making it simple for creators to express " -"the freedom for others to take and build upon their work. Simple tags, tied " -"to human-readable descriptions, tied to bulletproof licenses, make this " -"possible." -msgstr "" -"Inn kommer Creative Commons. Creative Commons er et ikke-kommersielt " -"selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford " -"University. Selskapets mÃ¥l er Ã¥ bygge et lag av <emphasis>rimelig</" -"emphasis> opphavsrett pÃ¥ toppen av ekstremene som nÃ¥ regjerer. Det gjÃ¸r " -"dette ved Ã¥ gjÃ¸re det enkelt for folk Ã¥ bygge pÃ¥ andre folks verk, ved Ã¥ " -"gjÃ¸re det enkelt for skapere Ã¥ uttrykke friheten for andre til Ã¥ ta og bygge " -"pÃ¥ deres verk. Dette gjÃ¸res mulig med enkle merker, knyttet til " -"menneskelesbare beskrivelser, som igjen er knyttet til vanntette lisenser." - -#. PAGE BREAK 288 -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"<emphasis>Simple</emphasis>—which means without a middleman, or " -"without a lawyer. By developing a free set of licenses that people can " -"attach to their content, Creative Commons aims to mark a range of content " -"that can easily, and reliably, be built upon. These tags are then linked to " -"machine-readable versions of the license that enable computers automatically " -"to identify content that can easily be shared. These three expressions " -"together—a legal license, a human-readable description, and machine-" -"readable tags—constitute a Creative Commons license. A Creative " -"Commons license constitutes a grant of freedom to anyone who accesses the " -"license, and more importantly, an expression of the ideal that the person " -"associated with the license believes in something different than the " -"<quote>All</quote> or <quote>No</quote> extremes. Content is marked with the " -"CC mark, which does not mean that copyright is waived, but that certain " -"freedoms are given." -msgstr "" -"<emphasis>Enkelt</emphasis>—som betyr uten en mellommann eller uten en " -"advokat. Ved Ã¥ utvikle et fritt sett med lisenser som folk kan knytte til " -"sitt innhold, sikter Creative Commons Ã¥ merke en rekke innhold som enkelt og " -"pÃ¥litelig kan bygges pÃ¥. Disse merkene er sÃ¥ lenket til maskinlesbare " -"versjoner av lisensen som gjÃ¸r det mulig for datamaskiner Ã¥ automatisk " -"identifisere innhold som enkelt kan deles. Denne samlingen av tre " -"uttrykk—en juridisk lisens, en menneske-lesbar beskrivelse og et " -"maskinlesbart merke—utgjÃ¸r en Creative Commons-lisens. En Creative " -"Commons-lisens utgjÃ¸r en tildeling av frihet til enhver som har tilgang til " -"lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror " -"pÃ¥ noe annet enn <quote>Alle</quote>- eller <quote>Ingen</quote>-" -"ytterkantene. Innhold merket med CC-merket betyr ikke at en har sagt fra " -"seg opphavsretten, men derimot at enkelte friheter er gitt bort." - -#. type: Content of: <book><chapter><section><section><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 (<quote>share and share alike</quote>). Or any use so long as no " -"derivative use is made. Or any use at all within developing nations. Or any " -"sampling use, so long as full copies are not made. Or lastly, any " -"educational use." -msgstr "" -"Disse frihetene gÃ¥r ut over friheten som loves av rimelig bruk. Frihetenes " -"presise omriss er avhenging av valgene som skaperen gjÃ¸r. Skaperen kan velge " -"en lisens som tillater enhver bruk, sÃ¥ lenge opphavspersonen navngis. Hun " -"kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge " -"en lisens som tillater enhver bruk sÃ¥ lenge de samme friheter gis videre til " -"andre brukere (<quote>del pÃ¥ like vilkÃ¥r</quote>). Eller enhver bruk sÃ¥ " -"lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland. " -"Eller enhver bruk som <quote>smakebit</quote>, sÃ¥ lenge det ikke lages " -"komplette kopier. Og til slutt, enhver bruk til opplÃ¦ring." - -#. type: Content of: <book><chapter><section><section><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 etablerer dermed en rekke friheter som gÃ¥r ut over " -"utgangspunktet i Ã¥ndsverksloven. De muliggjÃ¸r ogsÃ¥ friheter som gÃ¥r ut over " -"tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse " -"frihetene pÃ¥ en mÃ¥te som de pÃ¥fÃ¸lgende brukerne kan bruke og basere seg pÃ¥ " -"uten Ã¥ hyre inn en advokat. Creative Commons sikter dermed mot Ã¥ bygge et " -"lag av innhold, styrt av et lag av fornuftig Ã¥ndsverkslov, som andre kan " -"bygge pÃ¥. Frivillig valg fra individer og skapere vil gjÃ¸re dette innholdet " -"tilgjengelig. Og dette innholdet vi sÃ¥ gjÃ¸re det mulig for oss Ã¥ " -"gjenopprette allemannseiet." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Garlick, Mia" -msgstr "Garlick, Mia" - -#. PAGE BREAK 289 -#. type: Content of: <book><chapter><section><section><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 (<quote>content conducers,</" -"quote> as attorney Mia Garlick calls them) who help build the public domain " -"and, by their work, demonstrate the importance of the public domain to other " -"creativity." -msgstr "" -"Dette er bare et av mange prosjekter innen Creative Commons. Og Creative " -"Commons er naturligvis ikke den eneste organisasjonen som bidrar til slike " -"friheter. Men det som skiller Creative Commons fra mange andre er at vi er " -"ikke bare interessert i Ã¥ snakke om et allemannseie eller i Ã¥ fÃ¥ lovgiverne " -"til Ã¥ bidra til Ã¥ bygge et allemannseie. VÃ¥rt mÃ¥l er Ã¥ bygge en bevegelse " -"av konsumenter og produsenter av innhold (<quote>innholds-kondusenter</" -"quote>, som advokat Mia Garlick kaller dem) som hjelper til Ã¥ bygge " -"allemannseie og demonstrerer med deres egne verker hvor viktig allemannseiet " -"er for annen kreativitet." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The " -"aim is to complement them. The problems that the law creates for us as a " -"culture are produced by insane and unintended consequences of laws written " -"centuries ago, applied to a technology that only Jefferson could have " -"imagined. The rules may well have made sense against a background of " -"technologies from centuries ago, but they do not make sense against the " -"background of digital technologies. New rules—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 "" -"MÃ¥let er ikke Ã¥ sloss mot <quote>alle rettigheter reservert</quote>-" -"folkene. MÃ¥let er Ã¥ utfylle dem. Problemene som loven skaper for oss som " -"kultur er skapt av sinnsyke og utilsiktede konsekvenser av lover skrevet for " -"Ã¥rhundrer siden, anvendt pÃ¥ en teknologi som kun Jefferson kunne ha " -"forestilt seg. Reglene kan godt Ã¥ gitt mening da bakgrunnen var " -"teknologiene tilgjengelig for hundrevis av Ã¥r siden, men de gir ikke mening " -"nÃ¥r bakgrunnen er digitale teknologier. Nye regler—med andre " -"friheter, uttrykket slik at mennesker uten advokater kan bruke dem—" -"trengs. Creative Commons gir folk en effektiv mÃ¥te Ã¥ begynne Ã¥ lage disse " -"reglene." - -#. type: Content of: <book><chapter><section><section><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, <citetitle>Down and Out in the Magic " -"Kingdom</citetitle>, was released on-line and for free, under a Creative " -"Commons license, on the same day that it went on sale in bookstores." -msgstr "" -"Hvorfor ville skapere delta i Ã¥ gi slipp pÃ¥ total kontroll? Noen deltar for " -"Ã¥ Ã¸ke spredningen av deres innhold. Et eksempel er Cory Doctorow som er en " -"science fiction-forfatter. Hans fÃ¸rste roman, <citetitle>Down and Out in " -"the Magic Kingdom</citetitle>, ble sluppet gratis pÃ¥ nettet med en Creative " -"Commons-lisens, samme dag som den ble lagt ut for salg i bokhandler." - -#. type: Content of: <book><chapter><section><section><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 " -"<emphasis>increase</emphasis> sales of Cory's book." -msgstr "" -"Hvorfor ville en utgiver noen sinne gÃ¥ med pÃ¥ dette? Jeg mistenker hans " -"utgiver tenkte som dette: Det er to grupper av mennesker der ute: (1) de som " -"vil kjÃ¸pe Corys bok uansett om den er pÃ¥ Internettet eller ikke og (2)de som " -"kanskje aldri hÃ¸rer om Corys bok hvis den ikke blir gjort tilgjengelig " -"gratis pÃ¥ Internettet. En del av (1) vil laste ned Corys bok i stedet for Ã¥ " -"kjÃ¸pe den. Vi kan kalle dem slemme-(1). En del av (2) vil laste ned Corys " -"bok, like den, og deretter bestemme seg for Ã¥ kjÃ¸pe den. Vi kan kalle dem " -"gode-(2). Hvis det er flere gode-(2-) enn det er slemme-(1), sÃ¥ vil " -"strategien med Ã¥ gi ut Corys bok gratis pÃ¥ nettet antagelig <emphasis>Ã¸ke</" -"emphasis> salget av Corys bok." - -#. type: Content of: <book><chapter><section><section><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 "" -"Faktisk stÃ¸tter erfaringene fra hans utgiver helt klart denne konklusjonen. " -"FÃ¸rsteutgaven av boken var utsolgt flere mÃ¥neder tidligere enn utgiveren " -"hadde forventet. Denne fÃ¸rste romanen til en science fiction-formfatter var " -"en total suksess." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Free for All (Wayner)" -msgstr "Free for All (Wayner)" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Wayner, Peter" -msgstr "Wayner, Peter" - -#. PAGE BREAK 290 -#. type: Content of: <book><chapter><section><section><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 <citetitle>Free for All</" -"citetitle>, made an electronic version of his book free on-line under a " -"Creative Commons license after the book went out of print. He then monitored " -"used book store prices for the book. As predicted, as the number of " -"downloads increased, the used book price for his book increased, as well." -msgstr "" -"IdÃ©en om at gratis innhold kan Ã¸ke verdien for ikke-gratis innhold var " -"bekreftet av et eksperiment gjennomfÃ¸rt av en annen forfatter. Peter Wayner, " -"som skrev en bok om fri programvarebevegelsen med tittelen <citetitle>Free " -"For All</citetitle>, gjorde en elektronisk utgave av boken gratis til " -"gjengelig pÃ¥ nettet med en Creative Commons-lisens etter at boken var " -"utsolgt fra forlaget. Han fulgte deretter med pÃ¥ prisen for boken i " -"bruktbokhandler. Som forutsett, etter hvert som antall nedlastinger steg, " -"steg ogsÃ¥ bruktprisen pÃ¥ boken." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Public Enemy" -msgstr "Public Enemy" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "rap music" -msgstr "rap-musikk" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Leaphart, Walter" -msgstr "Leaphart, Walter" - -#. f2. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " -"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg " -"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #72</ulink>." -msgstr "" -"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " -"Culture Wars</citetitle> (2003), produsert av Jed Horovitz, regissert av " -"Greg Hittelman, en produksjon av Fiat Lucre, tilgjengelig fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #72</ulink>." - -#. type: Content of: <book><chapter><section><section><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 <quote>sampling license</quote> do so because anything else would be " -"hypocritical. The sampling license says that others are free, for commercial " -"or noncommercial purposes, to sample content from the licensed work; they " -"are just not free to make full copies of the licensed work available to " -"others. This is consistent with their own art—they, too, sample from " -"others. Because the <emphasis>legal</emphasis> costs of sampling are so high " -"(Walter Leaphart, manager of the rap group Public Enemy, which was born " -"sampling the music of others, has stated that he does not <quote>allow</" -"quote> Public Enemy to sample anymore, because the legal costs are so " -"high<placeholder type=\"footnote\" id=\"0\"/>), these artists release into " -"the creative environment content that others can build upon, so that their " -"form of creativity might grow." -msgstr "" -"Dette er eksempler pÃ¥ bruk av Creative Commons for Ã¥ bedre spre proprietÃ¦rt " -"innhold. Jeg mener at dette er en nydelig og vanlig bruk av Creative " -"Commons. Det er andre som bruker Creative Commons-lisenser av andre " -"grunner. Mange som bruker <quote>sampling-lisensen</quote> gjÃ¸r det pÃ¥ " -"grunn av at det ville vÃ¦re hyklerisk. Samling-lisensen sier at andre stÃ¥r " -"fritt til, for kommersielle eller ikke-kommersielle formÃ¥l, Ã¥ bruke biter av " -"innhold fra det lisensierte verket. De har bare ikke friheten til Ã¥ gjÃ¸re " -"hele innholdet tilgjengelig for andre. PÃ¥ grunn av at den " -"<emphasis>juridiske</emphasis> kostnaden med samling er sÃ¥ hÃ¸y (Walter " -"Leaphart, manager for rap-gruppen Public Enemy, som ble skapt ved Ã¥ sample " -"musikken til andre, har uttalt at han ikke <quote>tillater</quote> Public " -"Enemy Ã¥ sample mer, pÃ¥ grunn av at den juridiske kostnaden er sÃ¥ " -"hÃ¸y<placeholder type=\"footnote\" id=\"0\"/>), slipper disse artistene " -"innhold ut i det kreative miljÃ¸et som andre kan bygge videre pÃ¥, slik at " -"deres form for kreativitet kan vokse." - -#. type: Content of: <book><chapter><section><section><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 <quote>All Rights Reserved</quote> " -"model. Good for you, but many do not. Many believe that however appropriate " -"that rule is for Hollywood and freaks, it is not an appropriate description " -"of how most creators view the rights associated with their content. The " -"Creative Commons license expresses this notion of <quote>Some Rights " -"Reserved,</quote> and gives many the chance to say it to others." -msgstr "" -"Til slutt er det mange som merker sitt innhold med en Creative Commons-" -"lisens kun fordi de Ã¸nsker Ã¥ uttrykke til andre hvor viktig de synes balanse " -"er i denne debatten. Hvis du bare aksepterer systemet slik det er, sÃ¥ sier " -"du i effekt at du tror pÃ¥ <quote>alle rettigheter reservert</quote>-" -"modellen. Fint for deg, men mange gjÃ¸r ikke det. Mange tror at uansett hvor " -"riktig den regelen er for Hollywood og gÃ¦rninger, sÃ¥ er den ikke en riktig " -"beskrivelse av hvordan de fleste skaperne ser pÃ¥ rettighetene knyttet til " -"sitt innhold. Creative Commons-lisensen uttrykker begrepet <quote>noen " -"rettigheter reservert</quote>, og gir mange muligheten til Ã¥ si det til " -"andre." - -#. PAGE BREAK 291 -#. type: Content of: <book><chapter><section><section><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 fÃ¸rste seks mÃ¥nedene av Creative Commons-eksperimentet, ble over en " -"million objekter lisensiert med disse fri kultur-lisensene. Neste steg er " -"partnerskap med mellomvare-tilbyderne av innhold for Ã¥ hjelpe dem Ã¥ bygge " -"enkle mÃ¥ter for brukerne Ã¥ merke innholdet med friheten gitt med Creative " -"Commons inn i teknologiene de lager." - -#. type: Content of: <book><chapter><section><section><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 de fÃ¸rste stegene for Ã¥ gjenoppbygge et allemannseie. De er ikke " -"kun argumentasjon, de er handlinger. A bygge allemannseiet er fÃ¸rste steg " -"for Ã¥ vise folk hvor viktig dette er for kreativitet og nyskapning. " -"Creative Commons baserer seg pÃ¥ frivillige steg for Ã¥ fÃ¥ til denne " -"gjenoppbyggingen. De vil fÃ¸re til en verden hvor mer enn frivillige steg er " -"mulig." - -#. type: Content of: <book><chapter><section><section><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 pÃ¥ frivillig innsats fra " -"enkeltpersoner og skapere for Ã¥ endre blandingen av rettigheter som nÃ¥ " -"styrer det kreative omrÃ¥det. Prosjektet konkurrerer ikke med " -"opphavsretten. Den utfyller den. Dets mÃ¥l er ikke Ã¥ bekjempe rettighetene " -"til forfatterne, men a gjÃ¸re det enklere for forfattere og skapere Ã¥ utÃ¸ve " -"sine rettigheter mer fleksibelt og billigere. Den forskjellen, tror vi, vil " -"gjÃ¸re det mulig for kreativiteten a spre seg lettere." - -#. type: Content of: <book><chapter><section><title> -msgid "THEM, SOON" -msgstr "Dem, snart" - -#. type: Content of: <book><chapter><section><para> -msgid "" -"<emphasis role='strong'>We will</emphasis> not reclaim a free culture by " -"individual action alone. It will also take important reforms of laws. We " -"have a long way to go before the politicians will listen to these ideas and " -"implement these reforms. But that also means that we have time to build " -"awareness around the changes that we need." -msgstr "" -"<emphasis role='strong'>Vi vil</emphasis> ikke vinne tilbake en fri kultur " -"kun ved individuelle handlinger. Det trengs ogsÃ¥ viktige lovreformer. Vi " -"har en lang vei a gÃ¥ fÃ¸r politikerne vil lytte til disse idÃ©ene og " -"implementere disse reformene. Men det betyr ogsÃ¥ at vi har tid til Ã¥ bygge " -"opp bevisstheten rundt endringene som trengs." - -#. type: Content of: <book><chapter><section><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 kapittelet skisserer jeg fem typer endringer: fire som er generelle " -"og en som er spesifikk for den mest opphetede kampen for tiden, musikk. " -"Hver av dem er et steg, ikke et mÃ¥l. Men hver av disse stegene vil fÃ¸re oss " -"et godt stykke mot vÃ¥rt mÃ¥l." - -#. type: Content of: <book><chapter><section><section><title> -msgid "1. More Formalities" -msgstr "1. Flere formaliteter" - -#. type: Content of: <book><chapter><section><section><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 kjÃ¸per et hus, sÃ¥ mÃ¥ du registrere salget i et skjÃ¸te. Hvis du " -"kjÃ¸per eiendom for Ã¥ bygge et hus, sÃ¥ mÃ¥ du registrere kjÃ¸pet i et skjÃ¸te. " -"Hvis du kjÃ¸per en bil sÃ¥ fÃ¥r du en eierskiftemelding og registrerer bilen. " -"Hvis du kjÃ¸per en flybillett sÃ¥ har den navnet ditt pÃ¥ den." - -#. PAGE BREAK 293 -#. type: Content of: <book><chapter><section><section><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 eiendom. De er krav som vi alle mÃ¥ " -"forholde oss til hvis vi Ã¸nsker at vÃ¥r eiendom skal bli beskyttet." - -#. type: Content of: <book><chapter><section><section><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 <quote>formalities</quote> are banished." -msgstr "" -"Dette stÃ¥r i kontrast til gjeldende Ã¥ndsverkslov, der du automatisk fÃ¥r " -"opphavsrett uavhengig av om du overholder noen formaliteter eller ikke. Du " -"trenger ikke Ã¥ registrere den. Du trenger ikke en gang merke innholdet " -"ditt. Utgangspunktet er kontroll, og <quote>formaliteter</quote> er " -"bannlyst." - -#. type: Content of: <book><chapter><section><section><para> -msgid "Why?" -msgstr "Hvorfor?" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, the motivation to abolish formalities was a good one. In " -"the world before digital technologies, formalities imposed a burden on " -"copyright holders without much benefit. Thus, it was progress when the law " -"relaxed the formal requirements that a copyright owner must bear to protect " -"and secure his work. Those formalities were getting in the way." -msgstr "" -"Som jeg foreslo i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, var motivasjonen for Ã¥ avskaffe formalitetene god. I " -"verden fÃ¸r digitale teknologier, la formalitetene en byrde pÃ¥ " -"opphavsrettsinnehaverne uten at det ga nevneverdige fordeler. Dermed var " -"det en fremgang da loven slakket opp pÃ¥ de formelle kravene som " -"opphavsrettseieren mÃ¥tte oppfylle for Ã¥ beskytte og sikre sitt verk. Disse " -"formalitetene kom i veien." - -#. type: Content of: <book><chapter><section><section><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 <emphasis>lack</emphasis> of formalities " -"forces many into silence where they otherwise could speak." -msgstr "" -"Men Internettet endrer alt dette. Formaliteter trenger i dag ikke vÃ¦re en " -"byrde. I stedet er det slik at en verden uten formaliteter er en verden som " -"hemmer kreativiteten. I dag er det ingen enkel mÃ¥te Ã¥ vite hvem som eier " -"hva, og hvem en mÃ¥ gjÃ¸re avtale med for Ã¥ kunne bruke eller bygge pÃ¥ det " -"kreative verket til andre. Det er intet register og det er intet system for " -"Ã¥ spore—det er ingen enkel mÃ¥te Ã¥ vite hvordan en fÃ¥r tillatelse. Og " -"likevel er det, gitt den massive Ã¸kningen i omfanget for opphavsrettens " -"regler, et nÃ¸dvendig steg Ã¥ fÃ¥ tillatelse for ethvert verk som baserer seg " -"pÃ¥ vÃ¥r fortid. Og dermed tvinger <emphasis>fravÃ¦ret</emphasis> av " -"formaliteter mange til Ã¥ vÃ¦re stille der de ellers ville talt." - -#. f1. -#. type: Content of: <book><chapter><section><section><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 fremmmer her ville kun gjelde for amerikanske verk. Jeg tror " -"naturligvis at det ville vÃ¦re en fordel om samme ide ble adoptert ogsÃ¥ av " -"andre land." - -#. type: Content of: <book><chapter><section><section><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 "" -"Loven burde derfor endre dette kravet<placeholder type=\"footnote\" id=\"0\"/" -">—men den bÃ¸r ikke endres ved Ã¥ gÃ¥ tilbake til det gamle Ã¸delagte " -"systemet. Vi bÃ¸r kreve formaliteter, men vi bÃ¸r etablere et system som vil " -"skape insentivene for Ã¥ minimere byrden disse formalitetene pÃ¥fÃ¸rer." - -#. type: Content of: <book><chapter><section><section><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 "" -"Det er tre viktige formaliteter: merke opphavsrettsbeskyttede verk, " -"registrere opphavsrett og fornÃ¸ye krav om opphavsrett. Tradisjonelt var den " -"fÃ¸rste av disse tre noe opphavsrettsinnehaveren gjorde og de andre to var " -"noe myndighetene gjorde. Men et revidert system med formaliteter bÃ¸r fjerne " -"myndighetene fra prosessen, med unntak fra det ene formÃ¥let med Ã¥ godkjenne " -"standarder utviklet av andre." - -#. type: Content of: <book><chapter><section><section><section><title> -msgid "REGISTRATION AND RENEWAL" -msgstr "Registrering og fornying" - -#. type: Content of: <book><chapter><section><section><section><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 "" -"I det gamle systemet mÃ¥tte en opphavsrettseier sende inn en registrering til " -"opphavsrettskontoret for Ã¥ registrere eller fornye opphavsretten. NÃ¥r en " -"sendte inn registreringen mÃ¥tte opphavsrettseieren betale en avgift. Som " -"med de fleste offentlige kontorer hadde opphavsrettskontoret lite insentiv " -"til Ã¥ minimere belastningen som registreringen ga. Det hadde ogsÃ¥ lite " -"insentiv til Ã¥ minimere avgiften. Og etter som opphavsrettskontoret ikke " -"var et hovedmÃ¥l for regjeringens politikk, har kontoret historisk vÃ¦rt " -"veldig underfinansiert. Dermed, nÃ¥r folks om kjenner til prosessen hÃ¸rer " -"denne idÃ©en om formaliteter sÃ¥ er deres fÃ¸rste reaksjon panikk—" -"ingenting kan vÃ¦re verre enn Ã¥ tvinge folk Ã¥ forholde seg til rotet som " -"heter opphavsrettskontoret." - -#. type: Content of: <book><chapter><section><section><section><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 har det alltid overrasket meg at vi, som kommer fra en tradisjon med " -"ekstraordinÃ¦r nyskapning innen myndighetsutforming, ikke lenger kan vÃ¦re " -"nyskapende om hvordan myndighetsfunksjoner kan utformes. Det at det er et " -"offentlig formÃ¥l i en styringsrolle, betyr ikke at myndighetene er de eneste " -"som kan administrere rollen. I stedet burde vi skape insentiver for at " -"private aktÃ¸rer tilbyr tjenesten til offentligheten, i fÃ¸lge standarder som " -"myndighetene definerer." - -#. type: Content of: <book><chapter><section><section><section><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 en registrerings-sammenheng er Internettet en opplagt modell. Det finnes " -"minst 32 millioner nettsteder registrert rundt om i verden. Eiere av " -"domenenavnene til disse nettstedene mÃ¥ betale en avgift for Ã¥ beholde sin " -"registrering. For de viktigste toppnivÃ¥-domenene (.com, .org, .net) er det " -"et sentralt register. enkelte registreringene er derimot gjennomfÃ¸rt av " -"mange konkurrerende registrarer. Denne konkurransen presser ned " -"registreringskostnadene, og enda viktigere sÃ¥ bidrar dette til Ã¥ gjÃ¸re hver " -"enkelt registrering enklere." - -#. PAGE BREAK 295 -#. type: Content of: <book><chapter><section><section><section><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 burde ta i bruk en lignende modell for registrering og fornying av " -"opphavsretter. Opphavsrettskontoret kan godt fungere som det sentrale " -"registeret, men de burde ikke drive registrarvirksomhet. I stedet burde det " -"etablere en database, og et sett med stadarder for registrarer. Det bÃ¸r " -"godkjenne registrarer som fÃ¸lger disse standardene. Disse registrarene " -"ville dermed konkurrere med hverandre om Ã¥ levere den billigste og enkleste " -"systemet for Ã¥ registrere og fornye opphavsretter. Denne konkurransen ville " -"redusere betydelig belastningen som denne formaliteten gir—mens det " -"gir en database over registreringer som kan forenkle lisensiering av innhold." - -#. type: Content of: <book><chapter><section><section><section><title> -msgid "MARKING" -msgstr "Merking" - -#. type: Content of: <book><chapter><section><section><section><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 Ã¥ ikke merke kreative verker med opphavsrettsinformasjon fÃ¸rte tidligere " -"til at en mistet opphavsretten. Det var en veldig streng straff for Ã¥ ikke " -"overholde en regulatorisk regel—omtrent som Ã¥ dÃ¸mme noen til " -"dÃ¸dsstraff for Ã¥ fÃ¥ ha parkert ulovlig i kreativ rettighets-verden. Her er " -"det heller ikke noen grunn til at markeringskravene trenger Ã¥ bli hÃ¥ndhevd " -"pÃ¥ denne mÃ¥ten. Og viktigere er at det ikke er noen grunn til at " -"merkingskravene trenger Ã¥ hÃ¥ndheves likt pÃ¥ tvers av alle medier." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"MÃ¥let med merkingen er Ã¥ signalisere til offentligheten at dette verket er " -"opphavsrettsbeskyttet og at forfatteren Ã¸nsker a hÃ¥ndheve sine rettigheter. " -"Merket gjÃ¸r det ogsÃ¥ enkelt Ã¥ spore opp en opphavsrettseier for Ã¥ skaffe " -"tillatelse til Ã¥ bruke verket." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"Et av problemene som opphavsrettssystemet konfronterte tidlig var at ulike " -"opphavsrettsbeskyttede verker mÃ¥tte markeres forskjellig. Det var ikke " -"klart hvordan og hvor en statue skulle merkes, eller en plate, eller en " -"film. Et nytt merkingskrav kan lÃ¸se disse problemene ved Ã¥ anerkjenne " -"forskjellene i mediene, og ved Ã¥ tillate merkings-systemet til Ã¥ utvikle seg " -"etter hvert som teknologien muliggjÃ¸r det. Systemet kan muliggjÃ¸re et " -"spesielt signal nÃ¥r en ikke merker—ikke miste opphavsretten, men miste " -"retten til Ã¥ straffe noen for Ã¥ ikke ha skaffet seg tillatelse fÃ¸rst." - -#. f2. -#. type: Content of: <book><chapter><section><section><section><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 "" -"En kompliserende faktor er avledede verker, og den har jeg ikke lÃ¸st her. " -"Etter mitt syn skaper loven rundt avledede verker et mer komplisert system " -"enn det som kan rettferdiggjÃ¸res ut fra de marginale insentivene dette gir." - -#. PAGE BREAK 296 -#. type: Content of: <book><chapter><section><section><section><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 <quote>use unless someone complains.</quote> If someone " -"does complain, then the obligation would be to stop using the work in any " -"new work from then on though no penalty would attach for existing uses. " -"This would create a strong incentive for copyright owners to mark their work." -msgstr "" -"La oss starte med det siste poenget. Hvis en opphavsrettsinnehaver tillater " -"at hans verk blir publisert uten opphavsrettsmerking, sÃ¥ trenger ikke " -"konsekvensen vÃ¦re at opphavsretten er tapt. Konsekvensen kan i stedet vÃ¦re " -"at enhver da har rett til Ã¥ bruke dette verket inntil " -"opphavsrettsinnehaveren klager og demonstrerer at det er hans verk og at han " -"ikke gir tillatelse.<placeholder type=\"footnote\" id=\"0\"/> Meningen til " -"et umerket verk ville dermed vÃ¦re <quote>bruk med mindre noen klager</" -"quote>. Hvis noen klager, sÃ¥ er forpliktelsen at en mÃ¥ slutte Ã¥ bruke " -"verket i ethvert nytt verk fra da av, selv om det ikke er noen " -"straffereaksjon knyttet til eksisterende bruk. Dette vil skape et sterkt " -"insentiv for opphavsrettseiere til Ã¥ merke sine verk." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"Dette i sin tur reiser spÃ¸rsmÃ¥let om hvordan et verk best bÃ¸r merkes. Her mÃ¥ " -"systemet igjen justere seg etter hvert som teknologiene utvikler seg. Den " -"beste mÃ¥ten Ã¥ sikre at systemet utvikler seg er Ã¥ begrense " -"opphavsrettskontorets rolle til Ã¥ godkjenne standarder for Ã¥ merke innhold " -"som har vÃ¦rt utviklet av andre." - -#. type: Content of: <book><chapter><section><section><section><indexterm><secondary> -msgid "copyright marking of" -msgstr "opphavsrettsmerking av" - -#. type: Content of: <book><chapter><section><section><section><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 <emphasis>solely</emphasis> upon the " -"consideration of which method could best be integrated into the registration " -"and renewal system. We would not count on the government to innovate; but we " -"would count on the government to keep the product of innovation in line with " -"its other important functions." -msgstr "" -"For eksempel, hvis en plateindustriforening kommer opp med en metode for Ã¥ " -"merke CDer, sÃ¥ ville den foreslÃ¥ dette til opphavsrettskontoret. " -"Opphavsrettskontoret ville sÃ¥ holde en hÃ¸ring, hvor andre forslag kunne " -"legges frem. Opphavsrettskontoret ville sÃ¥ velge det forslaget som det " -"vurderte som det beste, og det ville basere valget <emphasis>utelukkende</" -"emphasis> pÃ¥ vurderingen om hvilken metode som best kunne integreres inn i " -"registrering- og fornyings-systemet. Vi ville ikke basere oss pÃ¥ at " -"myndighetene laget noe nytt, men vi ville basere oss pÃ¥ at myndighetene " -"sikret at de nye produktene pÃ¥ linje med dets andre viktige funksjoner." - -#. type: Content of: <book><chapter><section><section><section><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 vil klart markert innhold gjÃ¸re registreringskravene enklere. " -"Hvis fotografier var merket med forfatter og Ã¥r, sÃ¥ ville det vÃ¦re liten " -"grunn til Ã¥ ikke tillate en fotograf til Ã¥ fornye for eksempel alle " -"fotografier tatt i et bestemt Ã¥r i et raskt steg. MÃ¥let med formaliteten er " -"ikke Ã¥ belaste skaperne. Systemet selv bÃ¸r holdes sÃ¥ enkelt som mulig." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"FormÃ¥let med formaliteter er Ã¥ gjÃ¸re ting mer klart. Det eksisterende " -"systemet gjÃ¸r ingenting for Ã¥ gjÃ¸re ting mer klart. Det virker heller som " -"om det er utformet for Ã¥ gjÃ¸re ting mindre klart." - -#. type: Content of: <book><chapter><section><section><section><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 slik som registrering ble gjeninnfÃ¸rt, sÃ¥ ville et av de " -"mest vanskelige sidene med Ã¥ stole pÃ¥ allemannseie bli fjernet. Det ville " -"bli enkelt Ã¥ identifisere hvilket innhold som kan antas Ã¥ vÃ¦re fritt " -"tilgjengelig. Det ville vÃ¦re enkelt Ã¥ identifisere hvem som kontrollerer " -"rettighetene for et bestemt type innhold. Det ville vÃ¦re enkelt Ã¥ hevde " -"disse rettighetene, og Ã¥ fornye denne hevden pÃ¥ riktig tidspunkt." - -#. type: Content of: <book><chapter><section><section><title> -msgid "2. Shorter Terms" -msgstr "2. Kortere vernetid" - -#. type: Content of: <book><chapter><section><section><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 "" -"Vernetiden i opphavsretten har gÃ¥tt fra fjorten Ã¥r til nittifem Ã¥r der " -"selskap har forfatterskapet, og livstiden til forfatteren pluss sytti Ã¥r for " -"individuelle forfattere." - -#. f3. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 " -"(25 January 2003): 15, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #74</ulink>." -msgstr "" -"<quote>A Radical Rethink</quote>, <citetitle>Economist</citetitle>, 366:8308 " -"(25. januar 2003): 15, tilgjengelig fra <ulink url=\"http://free-culture.cc/" -"notes/\">link #74</ulink>." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-" -"year term, granted in five-year increments with a requirement of renewal " -"every five years. That seemed radical enough at the time. But after we lost " -"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the " -"proposals became even more radical. <citetitle>The Economist</citetitle> " -"endorsed a proposal for a fourteen-year copyright term.<placeholder type=" -"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for " -"patents." -msgstr "" -"I <citetitle>The Future of Ideas</citetitle> foreslo jeg syttifemÃ¥rs " -"vernetid, tildelt i femÃ¥rsbolker med et krav om Ã¥ fornye hvert femte Ã¥r. " -"Dette virket radikalt nok pÃ¥ den tiden. Men etter at vi tapte " -"<citetitle>Eldred</citetitle> mot <citetitle>Ashcroft</citetitle> ble " -"forslaget enda mer radikalt. <citetitle>The Economist</citetitle> anbefalte " -"et forslag om fjorten Ã¥rs vernetid.<placeholder type=\"footnote\" id=\"0\"/> " -"Andre har foreslÃ¥tt Ã¥ knytte vernetiden til vernetiden for patenter." - -#. type: Content of: <book><chapter><section><section><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 vi trenger en radikal endring i opphavsretten " -"levetid. Men hvorvidt den er fjorten Ã¥r eller syttifem, sÃ¥ er det fire " -"prinsipper som det er viktig Ã¥ tenke pÃ¥ nÃ¥r det gjelder varighetenen til " -"opphavsretten." - -#. (1) -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it short:</emphasis> The term should be as long as necessary " -"to give incentives to create, but no longer. If it were tied to very strong " -"protections for authors (so authors were able to reclaim rights from " -"publishers), rights to the same work (not derivative works) might be " -"extended further. The key is not to tie the work up with legal regulations " -"when it no longer benefits an author." -msgstr "" -"<emphasis>Hold den kort:</emphasis> Lengden bÃ¸r vÃ¦re sÃ¥ lang at den gir " -"nÃ¸dvendig insentiv til Ã¥ skape, men ikke lenger. Hvis den er knyttet opp " -"til svÃ¦rt sterk beskyttelse for forfattere (slik at forfattere er i stand " -"til Ã¥ fÃ¥ tilbake rettigheter fra utgiverne), sÃ¥ kan rettigheter til samme " -"verk (ikke avledede verk) bli ytterligere utvidet. NÃ¸kkelen er Ã¥ ikke binde " -"verk opp med juridiske reguleringer nÃ¥r det ikke lenger gir fordeler til en " -"forfatter." - -#. (2) -#. PAGE BREAK 298 -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it simple:</emphasis> The line between the public domain and " -"protected content must be kept clear. Lawyers like the fuzziness of " -"<quote>fair use,</quote> and the distinction between <quote>ideas</quote> " -"and <quote>expression.</quote> That kind of law gives them lots of work. But " -"our framers had a simpler idea in mind: protected versus unprotected. The " -"value of short terms is that there is little need to build exceptions into " -"copyright when the term itself is kept short. A clear and active " -"<quote>lawyer-free zone</quote> makes the complexities of <quote>fair use</" -"quote> and <quote>idea/expression</quote> less necessary to navigate." -msgstr "" -"<emphasis>GjÃ¸r det enkelt:</emphasis> Skillelinjen mellom verker uten " -"opphavsrettslig vern og innhold som er beskyttet mÃ¥ forbli klart. Advokater " -"liker uklarheten som <quote>rimelig bruk</quote> og forskjellen mellom " -"<quote>idÃ©er</quote> og <quote>uttrykk</quote> har. Denne type lovverk gir " -"dem en masse arbeid. Men de som skrev grunnloven hadde en enklere idÃ©: " -"vernet versus ikke vernet. Verdien av korte vernetider er at det er lite " -"behov for Ã¥ bygge inn unntak i opphavsretten nÃ¥r vernetiden holdes kort. En " -"klar og aktiv <quote>advokat-fri sone</quote> gjÃ¸r kompleksiteten av " -"<quote>rimelig bruk</quote> og <quote>idÃ©/uttrykk</quote> mindre nÃ¸dvendig Ã¥ " -"hÃ¥ndtere." - -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary> -msgid "veterans' pensions" -msgstr "veteranpensjoner" - -#. f4. -#. type: Content of: <book><chapter><section><section><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 "" -"Department of Veterans Affairs, Veteran's Application for Compensation and/" -"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>." - -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. " -"Especially if the maximum term is long, the copyright owner should be " -"required to signal periodically that he wants the protection continued. This " -"need not be an onerous burden, but there is no reason this monopoly " -"protection has to be granted for free. On average, it takes ninety minutes " -"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/" -"> If we make veterans suffer that burden, I don't see why we couldn't " -"require authors to spend ten minutes every fifty years to file a single form." -msgstr "" -"<emphasis>Hold det i live:</emphasis> En bÃ¸r vÃ¦re nÃ¸dt til Ã¥ fornye " -"opphavsrettsbeskyttelsen. Spesielt hvis den maksimale varigheten er lang, " -"sÃ¥ bÃ¸r opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ signalisere regelmessig at han " -"Ã¸nsker at beskyttelsen fortsetter. Dette trenger ikke vÃ¦re en enorm " -"belastning, men det er ingen grunn til at denne monopolbeskyttelsen mÃ¥ deles " -"ut gratis. I snitt tar det nitti minutter for en veteran Ã¥ sÃ¸ke om pensjon." -"<placeholder type=\"footnote\" id=\"0\"/> Hvis vi belaster veteraner med sÃ¥ " -"mye, sÃ¥ ser jeg ikke hvorfor vi ikke kan kreve at forfattere bruker ti " -"minutter hvert femtiende Ã¥r for Ã¥ fylle ut et enkelt skjema." - -#. (4) -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright " -"should be, the clearest lesson that economists teach is that a term once " -"given should not be extended. It might have been a mistake in 1923 for the " -"law to offer authors only a fifty-six-year term. I don't think so, but it's " -"possible. If it was a mistake, then the consequence was that we got fewer " -"authors to create in 1923 than we otherwise would have. But we can't correct " -"that mistake today by increasing the term. No matter what we do today, we " -"will not increase the number of authors who wrote in 1923. Of course, we can " -"increase the reward that those who write now get (or alternatively, increase " -"the copyright burden that smothers many works that are today invisible). But " -"increasing their reward will not increase their creativity in 1923. What's " -"not done is not done, and there's nothing we can do about that now." -msgstr "" -"<emphasis>Hold det potensielt:</emphasis> Uansett hva lengden pÃ¥ vernetiden " -"i opphavsretten bÃ¸r vÃ¦re, sÃ¥ er den klareste lÃ¦rdommen Ã¸konomiene kan lÃ¦re " -"oss er at en levetid nÃ¥r den er gitt aldri bÃ¸r bli utvidet. Det kan ha vÃ¦rt " -"en tabbe i 1923 at loven kun tilbÃ¸d forfattere en varighet pÃ¥ femtisyv Ã¥r. " -"Jeg tror ikke det, men det er mulig. Hvis det var en tabbe, sÃ¥ var " -"konsekvensen at vi fikk fÃ¦rre forfattere som skrev i 1923 enn vi ellers " -"ville hatt. Men vi kan ikke korrigere den feilen i dag ved Ã¥ utvide " -"vernetiden. Uansett hva vi gjÃ¸r i dag, sÃ¥ kan vi ikke Ã¸ke antallet " -"forfattere som skrev i 1923. Vi kan naturligvis Ã¸ke belÃ¸nningen for de som " -"skriver nÃ¥ (eller alternativt, Ã¸ke opphavsrettsbyrden som kveler mange " -"verker som i dag er usynlige. Men Ã¥ Ã¸ke deres belÃ¸nning vil ikke Ã¸ke deres " -"kreativitet i 1923. Det som ikke ble gjort ble ikke gjort, og det er " -"ingenting vi kan gjÃ¸re med det nÃ¥." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"These changes together should produce an <emphasis>average</emphasis> " -"copyright term that is much shorter than the current term. Until 1976, the " -"average term was just 32.2 years. We should be aiming for the same." -msgstr "" -"Disse endringene vil sammen gi en <emphasis>gjennomsnittlig</emphasis> " -"opphavsrettslig vernetid som er mye kortere enn den gjeldende vernetiden. " -"Frem til 1976 var gjennomsnittlig vernetid kun 32.2 Ã¥r. VÃ¥rt mÃ¥l bÃ¸r vÃ¦re " -"det samme." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"No doubt the extremists will call these ideas <quote>radical.</quote> (After " -"all, I call them <quote>extremists.</quote>) But again, the term I " -"recommended was longer than the term under Richard Nixon. How " -"<quote>radical</quote> can it be to ask for a more generous copyright law " -"than Richard Nixon presided over?" -msgstr "" -"Uten tvil vil ekstremistene kalle disse idÃ©ene <quote>radikale</quote>. " -"(Tross alt, sÃ¥ kaller jeg dem <quote>ekstremister</quote>.) Men igjen, " -"vernetiden jeg anbefalte var lengre enn vernetiden under Richard Nixon. hvor " -"<quote>radikalt</quote> kan det vÃ¦re Ã¥ be om en mer sjenerÃ¸s " -"opphavsrettighet enn da Richard Nixon var president?" - -#. type: Content of: <book><chapter><section><section><title> -msgid "3. Free Use Vs. Fair Use" -msgstr "3. Fri Bruk vs. rimelig bruk" - -#. type: Content of: <book><chapter><section><section><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 observerte i starten av denne boken, ga originalt eiendomsretten " -"landeiere retten til Ã¥ kontrollere sin eiendom fra joda og helt opp til " -"himmelen. SÃ¥ kom flymaskiner, og omfanget av eiendomsretter ble raskt " -"endret. Det var intet oppstyr, ingen konstituell utfordring. Det ga ikke " -"mening lenger Ã¥ gi bort sÃ¥ mye kontroll, gitt fremveksten av denne nye " -"teknologien." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Our Constitution gives Congress the power to give authors <quote>exclusive " -"right</quote> to <quote>their writings.</quote> Congress has given authors " -"an exclusive right to <quote>their writings</quote> plus any derivative " -"writings (made by others) that are sufficiently close to the author's " -"original work. Thus, if I write a book, and you base a movie on that book, I " -"have the power to deny you the right to release that movie, even though that " -"movie is not <quote>my writing.</quote>" -msgstr "" -"VÃ¥r grunnlov gir kongressen myndighet til Ã¥ tildele forfattere " -"<quote>eksklusive rett</quote> til <quote>deres skrifter</quote>. Kongressen " -"har gitt forfattere en eksklusiv rett til <quote>deres skrifter</quote> " -"pluss alle avledede skrifter (laget av andre) som er tilstrekkelig nÃ¦r " -"forfatterens opprinnelige verk. Dermed, hvis jeg skriver en bok, og du " -"baserer en film pÃ¥ den boken, sÃ¥ har jeg myndighet til Ã¥ nekte deg Ã¥ gi ut " -"den filmen, selv om den filmen ikke er <quote>min skrift</quote>." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Kaplan, Benjamin" -msgstr "Kaplan, Benjamin" - -#. f5. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " -"York: Columbia University Press, 1967), 32." -msgstr "" -"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " -"York: Columbia University Press, 1967), 32." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Congress granted the beginnings of this right in 1870, when it expanded the " -"exclusive right of copyright to include a right to control translations and " -"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The " -"courts have expanded it slowly through judicial interpretation ever since. " -"This expansion has been commented upon by one of the law's greatest judges, " -"Judge Benjamin Kaplan." -msgstr "" -"Kongressen innvilget opphavet til denne retten i 1870, da den utvidet den " -"eksklusive retten i opphavsretten til Ã¥ inneholde retten til Ã¥ kontrollere " -"oversettelser og dramatiseringer av et verk.<placeholder type=\"footnote\" " -"id=\"0\"/> Domstolene har utvidet det sakte gjennom lovfortolkninger siden " -"da. Denne utvidelsen har vÃ¦rt kommentert av en av jussverdens beste " -"dommere, dommer Benjamin Kaplan." - -#. f6. -#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para> -msgid "Ibid., 56." -msgstr "Ibid., 56." - -#. type: Content of: <book><chapter><section><section><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 "" -"Vi har blitt sÃ¥ tilvendt til utvidelsen av monopolet til en lang rekke med " -"sÃ¥kalte avledede verker at vi ikke lenger ser hvor rart det er Ã¥ akseptere " -"en slik utvidelse av opphavsretten mens vi nynner pÃ¥ abrakadabraen rundt " -"idÃ©er og uttrykk.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 pÃ¥ tide Ã¥ anerkjenne at det er flymaskiner pÃ¥ dette omrÃ¥det, " -"og at utvidelser av rettigheter for avledede verker ikke lenger gir mening. " -"Mer presist gir de ikke mening for hele verneperioden til opphavsretten. Og " -"de gir ikke mening som ubegrenset tildeling. La oss vurdere hver " -"begrensning for seg." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, " -"then that right should be for a much shorter term. It makes sense to protect " -"John Grisham's right to sell the movie rights to his latest novel (or at " -"least I'm willing to assume it does); but it does not make sense for that " -"right to run for the same term as the underlying copyright. The derivative " -"right could be important in inducing creativity; it is not important long " -"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"<emphasis>Vernetid:</emphasis> Hvis kongressen Ã¸nsker Ã¥ tildele avledede " -"rettigheter, da bÃ¸r den rettigheten ha mye kortere vernetid.. Det gir mening " -"Ã¥ beskytte John Grishams rett til Ã¥ selge filmrettighetene til hans siste " -"roman (eller i det minste er jeg villig til Ã¥ anta at det gir mening), men " -"det gir ikke mening at denne rettigheten skal vare like lenge som vernetiden " -"til den underliggende opphavsretten. Den avledede rettigheten kan vÃ¦re " -"viktig for Ã¥ bidra til kreativitet, men den er ikke viktig lenge etter at " -"det kreative arbeidet er ferdig. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights " -"be narrowed. Again, there are some cases in which derivative rights are " -"important. Those should be specified. But the law should draw clear lines " -"around regulated and unregulated uses of copyrighted material. When all " -"<quote>reuse</quote> of creative material was within the control of " -"businesses, perhaps it made sense to require lawyers to negotiate the lines. " -"It no longer makes sense for lawyers to negotiate the lines. Think about all " -"the creative possibilities that digital technologies enable; now imagine " -"pouring molasses into the machines. That's what this general requirement of " -"permission does to the creative process. Smothers it." -msgstr "" -"<emphasis>Omfang:</emphasis> PÃ¥ samme mÃ¥te bÃ¸r omfanget for avledede verker " -"snevres inn. Her igjen er det noen tilfeller der avledede rettigheter er " -"viktige. Disse bÃ¸r spesifiseres. Men loven bÃ¸r skille klart mellom " -"regulert og uregulert bruk av opphavsrettsbeskyttet materiale. Da all " -"<quote>gjenbruk</quote> av kreativt materiale var under kontroll av " -"bedrifter, sÃ¥ gjorde det kanskje mening Ã¥ kreve advokater for Ã¥ forhandle om " -"hvor grensen gikk. Det gir ikke lenger mening Ã¥ la advokater forhandle om " -"hvor grensene gÃ¥r. Tenk pÃ¥ alle de kreative mulighetene som digitale " -"teknologier muliggjÃ¸r. Forestill deg sÃ¥ Ã¥ helle sirup inn i maskinene. Det " -"er hva dette generelle kravet om tillatelse gjÃ¸r med den kreative " -"prosessen. Den kveler den." - -#. type: Content of: <book><chapter><section><section><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 kom med da han beskrev hvordan han laget Clint " -"Eastwood-CDen. Mens det gir mening Ã¥ kreve forhandlinger for overskuelige " -"avledede rettigheter—Ã¥ lage en film av en bok, eller et noteark av et " -"dikt—sÃ¥ gir det ikke mening Ã¥ kreve forhandlinger for det " -"uoverskuelige. Her gir en lovfestet rett mer mening." - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Goldstein, Paul" -msgstr "Goldstein, Paul" - -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " -"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " -"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " -"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " -"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 "" -"I hver av disse tilfellene burde loven markere hvilke bruksomrÃ¥der som er " -"beskyttet og en bÃ¸r sÃ¥ kunne anta at andre bruksomrÃ¥der ikke er beskyttet. " -"Dette er det motsatte av anbefalingen fra min kollega Paul Goldstein." -"<placeholder type=\"footnote\" id=\"0\"/> Hans syn er at loven bÃ¸r skrives " -"slik at beskyttelsen utvides nÃ¥r bruksomrÃ¥dene utvides." - -#. type: Content of: <book><chapter><section><section><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 "" -"Analysen til GoldStein gir absolutt mening hvis kostnadene ved det " -"rettssystemet var lave. Men som vi nÃ¥ ser i sammenheng med Internettet, gir " -"usikkerhet rundt omfanget av beskyttelse, og insentivet til Ã¥ beskytte den " -"eksisterende arkitektur for inntekter kombinert med en sterk opphavsrett, en " -"svekket nyskapningsprosess." - -#. PAGE BREAK 301 -#. type: Content of: <book><chapter><section><section><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 motvirke dette problemet enten ved Ã¥ fjerne beskyttelsen ut over " -"de delene som er eksplisitt nevnt, eller ved Ã¥ tillate gjenbruksretter pÃ¥ " -"visse lovbestemte betingelser. Fro hver av disse alternativene ville " -"effekten vÃ¦re Ã¥ frigjÃ¸re en stor del av kulturen slik at andre kan fÃ¥ den " -"til Ã¥ vokse. Og under et lovbestemt rettighetsregime, sÃ¥ ville slik " -"gjenbruk gi kunstnerne flere inntekter." - -#. type: Content of: <book><chapter><section><section><title> -msgid "4. Liberate the Music—Again" -msgstr "4. FrigjÃ¸r musikken—igjen" - -#. type: Content of: <book><chapter><section><section><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 startet hele denne krigen var om musikk, sÃ¥ det ville ikke vÃ¦re " -"rimelig Ã¥ avslutte denne boken uten Ã¥ ta opp problemet som er mest " -"presserende for de fleste—musikk. Det er ingen andre policy-tema som " -"bedre forklarer hva en kan lÃ¦re i denne boken enn slagene om deling av " -"musikk." - -#. type: Content of: <book><chapter><section><section><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 "" -"Appellen til fildeling var dopet for veksten til Internettet. Det drev " -"behovet for tilgang til Internettet kraftigere enn noe annet " -"enkeltbruksomrÃ¥de. Det var Internettets <quote>*killer app*</quote>—" -"kanskje i to betydninger av ordet. Det var uten tvil det bruksomrÃ¥det som " -"drev etterspÃ¸rselen etter bÃ¥ndbredde. Det kan godt endte opp med Ã¥ vÃ¦re " -"bruksomrÃ¥det som driver igjennom krav om reguleringer som til slutt dreper " -"nyskapning pa nettet." - -#. type: Content of: <book><chapter><section><section><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 "" -"MÃ¥let med opphavsrett, bÃ¥de generelt og for musikk spesielt, er Ã¥ skape " -"insentiver for Ã¥ komponere, fremfÃ¸re og aller viktigst, spre, musikk. Loven " -"gjÃ¸r dette ved Ã¥ gi en eksklusiv rett til en komponist til Ã¥ kontrollere " -"offentlige fremfÃ¸ringer av sitt verk, og til en utÃ¸vende artist til Ã¥ " -"kontrollere kopier av sine fremfÃ¸ringer." - -#. type: Content of: <book><chapter><section><section><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 <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"piracy\"/>, they enable four different " -"kinds of sharing:" -msgstr "" -"Fildelingsnettverk kompliserer denne modellen ved Ã¥ gjÃ¸re det mulig a spre " -"innhold uten at utÃ¸veren har fÃ¥tt betalt. Men dette er naturligvis ikke alt " -"et fildelingsnettverk gjÃ¸r. Som jeg beskrev i kapittel <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"piracy\"/>, sÃ¥ muliggjÃ¸r de fire ulike " -"former for deling:" - -#. A. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"There are some who are using sharing networks as substitutes for purchasing " -"CDs." -msgstr "" -"Det er noen som bruker delingsnettverk som erstatninger for Ã¥ kjÃ¸pe CDer." - -#. B. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"There are also some who are using sharing networks to sample, on the way to " -"purchasing CDs." -msgstr "" -"Det er ogsÃ¥ noen som bruker delingsnettverk for Ã¥ prÃ¸velytte, mens de " -"vurderer hva slags CDer de vil kjÃ¸pe." - -#. PAGE BREAK 302 -#. C. -#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk til Ã¥ fÃ¥ tilgang til innhold som " -"ikke lenger er i salg, men fortsatt er vernet av opphavsrett eller som ville " -"ha vÃ¦rt altfor vanskelig Ã¥ fÃ¥ kjÃ¸pt via nettet." - -#. D. -#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk for Ã¥ fÃ¥ tilgang til innhold som " -"ikke er opphavsrettsbeskyttet, eller for Ã¥ fÃ¥ tilgang som " -"opphavsrettsinnehaveren Ã¥penbart gÃ¥r god for." - -#. type: Content of: <book><chapter><section><section><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 "" -"Enhver reform av loven mÃ¥ ha disse ulike bruksomrÃ¥dene i fokus. Den mÃ¥ " -"unngÃ¥ Ã¥ belaste type-D-deling selv om den tar sikte pÃ¥ Ã¥ fjerne type A. " -"Hvor ivrig loven sÃ¸ker Ã¥ fjerne type-A-deling bÃ¸r videre vÃ¦re avhengig av " -"stÃ¸rrelsen pÃ¥ type-B-deling. Som med videospillere, hvis nettoeffekten av " -"deling ikke er spesielt skadelig, sÃ¥ er behovet for regulering betydelig " -"svekket.noen reform av loven behov for Ã¥ holde disse ulike bruksomrÃ¥der i " -"fokus. den mÃ¥ unngÃ¥ bebyrde type d selv om formÃ¥let er Ã¥ eliminere type a. " -"den iver etter med som loven sikte pÃ¥ Ã¥ eliminere type a, videre bÃ¸r " -"avhenger omfanget av typen b. som med videospillere, hvis netto effekt av en " -"deling er faktisk ikke svÃ¦rt skadelige, behovet for regulering er betydelig " -"svekket." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"As I said in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"piracy" -"\"/>, the actual harm caused by sharing is controversial. For the purposes " -"of this chapter, however, I assume the harm is real. I assume, in other " -"words, that type A sharing is significantly greater than type B, and is the " -"dominant use of sharing networks." -msgstr "" -"Som jeg sa i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"piracy\"/>, er det kontroversielt om delingen forÃ¥rsaker skade. Men i " -"dette kapittelet vil jeg anta at skaden er reell. Jeg antar, med andre ord, " -"at type-A-deling er betydelig stÃ¸rre enn type-B, og er den dominerende " -"bruken av delingsnettverk." - -#. type: Content of: <book><chapter><section><section><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 "" -"Uansett, det er et avgjÃ¸rende faktum om den gjeldende teknologiske " -"omgivelsen som vi mÃ¥ huske pÃ¥ hvis vi skal forstÃ¥ hvordan loven bÃ¸r reagere." - -#. type: Content of: <book><chapter><section><section><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 blir er fildeling avhengighetsskapende. Om ti Ã¥r vil det vÃ¦re det. " -"Det er avhengighetsskapende i dag pÃ¥ grunn av at det er den enkleste mÃ¥ten Ã¥ " -"fÃ¥ tilgang til et bredt spekter av innhold. Det vil ikke vÃ¦re den enkleste " -"mÃ¥ten Ã¥ fÃ¥ tilgang til et bredt spekter av innhold om ti Ã¥r. I dag er " -"tilgang til Internettet knotete og tregt—vi i USA er heldige hvis vi " -"har en bredbÃ¥ndstjeneste med 1,5 MB/s, og svÃ¦rt sjelden fÃ¥r vi tjenesten med " -"den hastigheten bÃ¥de opp og ned. Selv om trÃ¥dlÃ¸s tilgang vokser, mÃ¥ de " -"fleste av oss fÃ¥ tilgang via kabler. De fleste fÃ¥r kun tilgang via en " -"maskin med et tastatur. IdÃ©en om Ã¥ alltid vÃ¦re tilkoblet Internett er i " -"hovedsak bare en idÃ©." - -#. PAGE BREAK 303 -#. type: Content of: <book><chapter><section><section><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 mÃ¥ten vi fÃ¥r tilgang til " -"Internettet pÃ¥ i dag er en teknologi i endring. Beslutningstakere bÃ¸r ikke " -"lage regler basert pÃ¥ teknologi i endring. De bÃ¸r lage regler basert pÃ¥ " -"hvor teknologien er pÃ¥ vei. SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re om hvordan loven skal " -"regulere delingen slik verden er nÃ¥. SpÃ¸rsmÃ¥let bÃ¸r vÃ¦re, hva slags lov vil " -"vi trenge nÃ¥r nettverket blir det nettverket helt klart er pÃ¥ vei mot. Det " -"nettverket er et hvor enhver maskin som bruker strÃ¸m i essensen er pÃ¥ " -"nettet. Uansett hvor du er—muligens med unntak av i Ã¸rkenen og " -"fjerntliggende fjellpartier—kan du umiddelbart bli koblet til " -"Internettet. Forestill deg internettet sÃ¥ allstedsnÃ¦rvÃ¦rende som den beste " -"mobiltelefontjenesten, hvor du er tilkoblet med et enkelt trykk pÃ¥ en bryter." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cell phones, music streamed over" -msgstr "mobiltelefoner, musikk streamet via" - -#. f8. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"See, for example, <quote>Music Media Watch,</quote> The J@pan Inc. " -"Newsletter, 3 April 2002, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #76</ulink>." -msgstr "" -"For eksempel, se, <quote>Music Media Watch</quote>, The J@pan Inc. " -"Newsletter, 3 April 2002, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #76</ulink>." - -#. type: Content of: <book><chapter><section><section><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 <emphasis>extremely</emphasis> easy to connect to services " -"that give access to content, it will be <emphasis>easier</emphasis> to " -"connect to services that give you access to content than it will be to " -"download and store content <emphasis>on the many devices you will have for " -"playing content</emphasis>. It will be easier, in other words, to subscribe " -"than it will be to be a database manager, as everyone in the download-" -"sharing world of Napster-like technologies essentially is. Content services " -"will compete with content sharing, even if the services charge money for the " -"content they give access to. Already cell-phone services in Japan offer " -"music (for a fee) streamed over cell phones (enhanced with plugs for " -"headphones). The Japanese are paying for this content even though " -"<quote>free</quote> content is available in the form of MP3s across the Web." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I den verden vil det vÃ¦re ekstremt enkelt Ã¥ koble seg til en tjeneste som " -"gir deg direkte tilgang til innhold—slik som Internett-radio, innhold " -"som strÃ¸mmes til brukeren nÃ¥r brukeren Ã¸nsker det. Her er dermed det " -"kritiske poenget: NÃ¥r det er <emphasis>ekstremt</emphasis> enkelt Ã¥ koble " -"seg til tjenester som gir tilgang til innhold, sa vil det vÃ¦re " -"<emphasis>enklere</emphasis> Ã¥ koble seg til tjenester som gir deg tilgang " -"til innhold enn det vil vÃ¦re Ã¥ laste ned og lagre innhold <emphasis>pÃ¥ de " -"mange enhetene som du vil ha for Ã¥ vise frem innhold</emphasis>. Det vil " -"med andre ord vÃ¦re enklere Ã¥ abonnere enn det vil vÃ¦re Ã¥ vÃ¦re " -"databaseadministrator, hvilket enhver er i en <quote>last ned og del</quote>-" -"verden som Napster-lignende teknologier i essensen er. Innholdstjenester " -"vil konkurrere med innholdsdeling, selv om tjenestene krever penger for " -"innholdet de gir tilgang til. Allerede tilbyr mobiltelefontjenester i Japan " -"musikk (mot et gebyr) strÃ¸mmet via mobiltelefoner (forbedret med plugger for " -"Ã¸retelefoner). Japanerne betaler for dette innholdet selv om <quote>gratis</" -"quote> innhold er tilgjengelig i form av MP3er via nettet.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. PAGE BREAK 304 -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"This point about the future is meant to suggest a perspective on the " -"present: It is emphatically temporary. The <quote>problem</quote> with file " -"sharing—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 <quote>solving</quote> this problem in light of a technology that will " -"be gone tomorrow. The question should not be how to regulate the Internet " -"to eliminate file sharing (the Net will evolve that problem away). The " -"question instead should be how to assure that artists get paid, during this " -"transition between twentieth-century models for doing business and twenty-" -"first-century technologies." -msgstr "" -"Dette poenget om fremtiden er med Ã¥ foreslÃ¥ et perspektiv om nÃ¥tiden: Det er " -"ettertrykkelig midlertidig. <quote>Problemet</quote> med fildeling—i " -"den grad det er et reelt problem—er et problem som mer og mer vil " -"forsvinne etter hvert som det blir enklere Ã¥ koble seg pÃ¥ Internettet. Og " -"dermed er det en stor feil for beslutningstakere i dag Ã¥ <quote>lÃ¸se</quote> " -"dette problem basert pÃ¥ en teknologi som vil vÃ¦re borte i morgen. " -"SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re hvordan regulere Internettet for Ã¥ fjerne fildeling " -"(nettet vil utvikle seg slik at det problemet blir borte). SpÃ¸rsmÃ¥let bÃ¸r i " -"stedet vÃ¦re hvordan en sikrer at kunstnere fÃ¥r betalt, gjennom denne " -"overgangen fra forretningsmodellene i det tjuende Ã¥rhundre og til " -"teknologiene i det tjuefÃ¸rste Ã¥rhundre." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The answer begins with recognizing that there are different <quote>problems</" -"quote> here to solve. Let's start with type D content—uncopyrighted " -"content or copyrighted content that the artist wants shared. The " -"<quote>problem</quote> with this content is to make sure that the technology " -"that would enable this kind of sharing is not rendered illegal. You can " -"think of it this way: Pay phones are used to deliver ransom demands, no " -"doubt. But there are many who need to use pay phones who have nothing to do " -"with ransoms. It would be wrong to ban pay phones in order to eliminate " -"kidnapping." -msgstr "" -"Svaret begynner med Ã¥ erkjenne at det er ulike <quote>problemer</quote> Ã¥ " -"lÃ¸se her. La oss starte med type-D-innhold—ikke opphavsrettsbeskyttet " -"innhold eller opphavsrettsbeskyttet innhold som kunstneren Ã¸nsker Ã¥ fÃ¥ delt. " -"<quote>Problemet</quote> med dette innholdet er Ã¥ sikre at teknologien som " -"muliggjÃ¸r denne type deling ikke blir gjort ulovlig. Tenk pÃ¥ det slik: " -"telefonbokser kan uten tvil brukes til Ã¥ levere krav om lÃ¸sepenger. Men det " -"er mange som trenger Ã¥ bruke telefonbokser som ikke har noe med lÃ¸sepenger Ã¥ " -"gjÃ¸re. Det ville vÃ¦re galt Ã¥ forby telefonbokser for Ã¥ eliminere kidnapping." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Type C content raises a different <quote>problem.</quote> This is content " -"that was, at one time, published and is no longer available. It may be " -"unavailable because the artist is no longer valuable enough for the record " -"label he signed with to carry his work. Or it may be unavailable because the " -"work is forgotten. Either way, the aim of the law should be to facilitate " -"the access to this content, ideally in a way that returns something to the " -"artist." -msgstr "" -"Type-C-innhold reiser et annet <quote>problem</quote>. Dette er innhold som " -"var publisert, en gang i tiden, og ikke lenger er tilgjengelig. Det kan " -"vÃ¦re utilgjengelig fordi kunstneren ikke lenger er verdifull nok for " -"plateselskapet han har signert med til at de vil formidle hans verker. " -"Eller det kan vÃ¦re utilgjengelig fordi verket er glemt. Uansett bÃ¸r mÃ¥let " -"til loven vÃ¦re Ã¥ muliggjÃ¸re tilgang til dette innholdet, ideelt sett pÃ¥ en " -"mÃ¥te som gir noe tilbake til kunstneren." - -#. type: Content of: <book><chapter><section><section><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 " -"<quote>sharing</quote> of his content without his being compensated is less " -"than ideal." -msgstr "" -"Igjen, her er modellen bruktbokhandelen. Etter at en bok er utsolgt fra " -"forlaget, sÃ¥ kan den fortsatt vÃ¦re tilgjengelig fra biblioteker og " -"bruktbokhandler. Men biblioteker og bruktbokhandler betaler ikke " -"opphavsrettseieren nÃ¥r noen leser eller kjÃ¸per en bok som er utsolgt fra " -"forlaget. Dette gir absolutt mening, selvfÃ¸lgelig, siden ethvert annet " -"system ville vÃ¦re sÃ¥ tungvindt at det ville gjÃ¸re det umulig for " -"bruktbokhandler Ã¥ eksistere. Men fra forfatterens synsvinkel er denne " -"<quote>delingen</quote> av hans innhold uten at han fÃ¥r kompensasjon ikke " -"helt ideell." - -#. type: Content of: <book><chapter><section><section><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 <quote>share</quote> that content, even though the " -"sharing involved making a copy. The copy here would be incidental to the " -"trade; in a context where commercial publishing has ended, trading music " -"should be as free as trading books." -msgstr "" -"Modellen for bruktbokhandler antyder at loven ganske enkelt kan anse utsolgt-" -"fra-forlaget-musikk for fritt vilt. Hvis utgiveren ikke gjÃ¸r utgaver av " -"musikken tilgjengelig for salg, sÃ¥ ville kommersielle og ikke-kommersielle " -"tilbydere stÃ¥ fritt, under denne regelen, til Ã¥ <quote>dele</quote> det " -"innholdet, selv om delingen involverte Ã¥ lage en kopi. Kopien her ville " -"vÃ¦re teknisk detalj for Ã¥ for gjennomfÃ¸re handelen. I en sammenheng der " -"kommersiell publisering er avsluttet, sÃ¥ burde friheten til Ã¥ handle med " -"musikk vÃ¦re lik den som gjelder for bÃ¸ker." - -#. PAGE BREAK 305 -#. type: Content of: <book><chapter><section><section><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 "" -"Alternativt kan loven opprette en lovbestemt lisens som ville sÃ¸rge for at " -"kunstnere fÃ¥r noe fra handelen med deres verk. For eksempel, hvis loven " -"satte en lav lovbestemt sats for kommersiell deling av innhold som ikke ble " -"tilbudt for salg fra en kommersiell utgiver, og hvis denne raten automatisk " -"ble overfÃ¸rt til en tiltrodd tredjepart til fordel for kunstneren, sÃ¥ kunne " -"selskaper utvikle seg rundt idÃ©en om handel med dette innholdet mens " -"kunstneren ville ha fordel av denne handelen." - -#. type: Content of: <book><chapter><section><section><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 ville ogsÃ¥ skape et insentiv for utgivere Ã¥ la verk forbli " -"kommersielt tilgjengelig. Verk som er kommersielt tilgjengelig ville ikke " -"bli underlagt denne lisensen. Dermed kan utgiverne beskytte retten til Ã¥ ta " -"betalt hvilket som helst belÃ¸p for innhold hvis de holdt det kommersielt " -"tilgjengelig. Men hvis de ikke holdt det tilgjengelig, og i stedet var det " -"harddiskene til tilhengere rundt om kring i verden som holdt det i live, da " -"burde enhver lisensbetaling for slik kopiering vÃ¦re mye mindre enn det en " -"vanligvis ville skylle en kommersiell utgiver." - -#. type: Content of: <book><chapter><section><section><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 "" -"De vanskelige tilfellene er innhold av type A og B. Og igjen, disse " -"tilfellene er kun vanskelig fordi utstrekningen av problemet vil endre seg " -"over tid, etter hvert som teknologier for Ã¥ fÃ¥ tilgang til innhold endrer " -"seg. Lovens lÃ¸sning bÃ¸r derfor vÃ¦re like fleksibelt som problemet er, og " -"forstÃ¥ at vi er midt i en radikal endring i teknologi for levering og " -"tilgang til innhold." - -#. type: Content of: <book><chapter><section><section><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 "" -"SÃ¥ her er en lÃ¸sning som i fÃ¸rste omgang kan virke veldig underlig for begge " -"sider i denne krigen, men som jeg tror vil gi mer mening nÃ¥r en fÃ¥r tenkt " -"seg om." - -#. type: Content of: <book><chapter><section><section><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 "" -"NÃ¥r retorikken om ukrenkeligheten til eiendom er fjernet, er de " -"grunnleggende pÃ¥standen til innholdsindustrien denne: En ny teknologi " -"(Internettet) har skadet et sett med rettigheter som sikrer opphavsretten. " -"Hvis disse rettighetene skal bli beskyttet, sÃ¥ bÃ¸r innholdsindustrien " -"kompenseres for denne skaden. PÃ¥ samme mÃ¥te som tobakksteknologien skadet " -"helsen til millioner av amerikanere, eller aspestteknologien forÃ¥rsaket " -"alvorlig sykdom hos tusenvis av gruvearbeidere, sÃ¥ har den digitale " -"nettverksteknologien skadet interessene til innholdsindustrien." - -#. PAGE BREAK 306 -#. type: Content of: <book><chapter><section><section><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, sÃ¥ jeg liker ikke Ã¥ sammenligne det med tobakk eller " -"asbest. Men analogien er rimelig nÃ¥r en ser det fra lovens perspektiv. Og " -"det foreslÃ¥r en rimelig respons: I stedet for Ã¥ forsÃ¸ke Ã¥ Ã¸delegge Internett " -"eller p2p-teknologien som i dag skader innholdsleverandÃ¸rer pÃ¥ Internett, sÃ¥ " -"bÃ¸r vi finne en relativt enkel mÃ¥te Ã¥ kompensere de som blir skadelidende." - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Promises to Keep (Fisher)" -msgstr "Promises to Keep (Fisher)" - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Fisher, William" -msgstr "Fisher, William" - -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " -"<citetitle>Digital Music: Problems and Possibilities</citetitle> (last " -"revised: 10 October 2000), available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to Keep: " -"Technology, Law, and the Future of Entertainment</citetitle> (forthcoming) " -"(Stanford: Stanford University Press, 2004), ch. 6, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel has " -"proposed a related idea that would exempt noncommercial sharing from the " -"reach of copyright and would establish compensation to artists to balance " -"any loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy " -"to Allow Free P2P File Sharing,</quote> available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #79</ulink>. For other proposals, see Lawrence " -"Lessig, <quote>Who's Holding Back Broadband?</quote> <citetitle>Washington " -"Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " -"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " -"Foreign Relations Committee, 26 February 2002, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, " -"<citetitle>A Quick Case for Intellectual Property Use Fee (IPUF)</" -"citetitle>, 3 March 2002, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #81</ulink>; Jefferson Graham, <quote>Kazaa, Verizon Propose " -"to Pay Artists Directly,</quote> <citetitle>USA Today</citetitle>, 13 May " -"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</" -"ulink>; Steven M. Cherry, <quote>Getting Copyright Right,</quote> IEEE " -"Spectrum Online, 1 July 2002, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #83</ulink>; Declan McCullagh, <quote>Verizon's Copyright " -"Campaign,</quote> CNET News.com, 27 August 2002, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #84</ulink>. Fisher's proposal is " -"very similar to Richard Stallman's proposal for DAT. Unlike Fisher's, " -"Stallman's proposal would not pay artists directly proportionally, though " -"more popular artists would get more than the less popular. As is typical " -"with Stallman, his proposal predates the current debate by about a decade. " -"See <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " -"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " -"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " -"<citetitle>Digital Music: Problems and Possibilities</citetitle> (sist " -"revidert: 10. oktober 2000), tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to " -"Keep: Technology, Law, and the Future of Entertainment</citetitle> (kommer) " -"(Stanford: Stanford University Press, 2004), kap. 6, tilgjengelig fra <ulink " -"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel " -"har foreslÃ¥tt en relatert idÃ© som ville gjÃ¸re at opphavsretten ikke gjelder " -"ikke-kommersiell deling fra og ville etablere kompensasjon til kunstnere for " -"Ã¥ balansere eventuelle tap. Se Neil Weinstock Netanel, <quote>Impose a " -"Noncommercial Use Levy to Allow Free P2P File Sharing</quote>, tilgjengelig " -"fra <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. For andre " -"forslag, se Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> " -"<citetitle>Washington Post</citetitle>, 8. january 2002, A17; Philip S. " -"Corwin pÃ¥ vegne av Sharman Networks, Et brev til Senator Joseph R. Biden, " -"Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #80</" -"ulink>; Serguei Osokine, <citetitle>A Quick Case for Intellectual Property " -"Use Fee (IPUF)</citetitle>, 3. mars 2002, tilgjengelig fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson Graham, " -"<quote>Kazaa, Verizon Propose to Pay Artists Directly</quote>, " -"<citetitle>USA Today</citetitle>, 13. mai 2002, tilgjengelig fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, " -"<quote>Getting Copyright Right</quote>, IEEE Spectrum Online, 1. juli 2002, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #83</" -"ulink>; Declan McCullagh, <quote>Verizon's Copyright Campaign</quote>, CNET " -"News.com, 27. august 2002, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #84</ulink>. Forslaget fra Fisher er ganske likt forslaget " -"til Richard Stallman nÃ¥r det gjelder DAT. I motsetning til Fishers forslag, " -"ville Stallmanns forslag ikke betale kunstnere proposjonalt, selv om mer " -"populÃ¦re artister ville fÃ¥ mer betalt enn mindre populÃ¦re. Slik det er " -"typisk med Stallman, la han fram sitt forslag omtrent ti Ã¥r fÃ¸r dagens " -"debatt. Se <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " -"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " -"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" - -#. type: Content of: <book><chapter><section><section><para> -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 "" -"IdÃ©en er basert pÃ¥ et forslag lansert av jusprofessor William Fisher ved " -"Harvard.<placeholder type=\"footnote\" id=\"0\"/> Fisher foreslÃ¥r en veldig " -"lur mÃ¥te rundt den pÃ¥gÃ¥ende stillingskrigen pÃ¥ Internettet. I fÃ¸lge hans " -"plan ville alt innhold som kan sendes digitalt (1) vÃ¦re markert med et " -"digitalt vannmerke (ikke bekymre deg over hvor enkelt det ville vÃ¦re Ã¥ unngÃ¥ " -"disse merkene, som du vil se er det ikke noe insentiv for Ã¥ unngÃ¥ dem). NÃ¥r " -"innholdet er merket, sÃ¥ ville entreprenÃ¸rer utvikle (2) systemer for Ã¥ " -"registrere hvor mange enheter av hvert innhold som ble distribuert. PÃ¥ " -"grunnlag av disse tallene ville sÃ¥ (3) kunstnerne bli kompensert. " -"Kompensasjonen kunne bli finansiert med (4) en passende skatt." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Fisher's proposal is careful and comprehensive. It raises a million " -"questions, most of which he answers well in his upcoming book, " -"<citetitle>Promises to Keep</citetitle>. The modification that I would make " -"is relatively simple: Fisher imagines his proposal replacing the existing " -"copyright system. I imagine it complementing the existing system. The aim " -"of the proposal would be to facilitate compensation to the extent that harm " -"could be shown. This compensation would be temporary, aimed at facilitating " -"a transition between regimes. And it would require renewal after a period of " -"years. If it continues to make sense to facilitate free exchange of content, " -"supported through a taxation system, then it can be continued. If this form " -"of protection is no longer necessary, then the system could lapse into the " -"old system of controlling access." -msgstr "" -"Forslaget til Fisher er grundig og omfattende. Det reiser en million " -"spÃ¸rsmÃ¥l, de fleste av dem godt besvart i hans kommende bok, " -"<citetitle>Promises to Keep</citetitle>. Endringene jeg vil gjÃ¸re er " -"relativt enkle: Fisher ser for seg at hans forslag erstatter det " -"eksisterende opphavsrettssystemet. Jeg ser for meg at det vil utfylle det " -"eksisterende systemet. MÃ¥let med forslaget vil vÃ¦re Ã¥ gjÃ¸re det enklere Ã¥ " -"gi kompensasjon i den grad skade kan pÃ¥vises. Denne kompensasjonen ville " -"vÃ¦re midlertidig, med mÃ¥lsetning om Ã¥ gjÃ¸re overgangen lettere mellom to " -"regimer. Og det ville kreve fornying etter en periode pa noen Ã¥r. Hvis det " -"fortsatt gir mening Ã¥ forenkle gratis utveksling av innhold gjennom et " -"skattesystem, sÃ¥ kan det viderefÃ¸res. Hvis denne form for beskyttelse ikke " -"lenger er nÃ¸dvendig, sÃ¥ kan systemet foldes inn i det gamle systemet for Ã¥ " -"kontrollere tilgang." - -#. PAGE BREAK 307 -#. type: Content of: <book><chapter><section><section><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 <quote>semiotic democracy</quote> 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 ville steile over idÃ©en om Ã¥ tillate systemet til Ã¥ foldes vekk. " -"Hans mÃ¥l er ikke bare Ã¥ sikre at kunstnerne blir betalt, men ogsÃ¥ Ã¥ sikre at " -"systemet stÃ¸tter den videste rekken av <quote>*semiotic democracy*</quote> " -"som mulig. Men mÃ¥let om *semiotic democracy* kan oppfylles hvis de andre " -"endringer jeg beskriver kommer pÃ¥ plass—spesielt begrensninger pÃ¥ " -"avledet bruk. Et system som ganske enkelt tar imot betaling for tilgang vil " -"ikke belaste *semiotic democracy* veldig hvis det var fÃ¥ begrensninger pÃ¥ " -"hva en fÃ¥r lov til Ã¥ gjÃ¸re med selve innholdet." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "MusicStore" -msgstr "MusicStore" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "prices of" -msgstr "priser pÃ¥" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"No doubt it would be difficult to calculate the proper measure of " -"<quote>harm</quote> to an industry. But the difficulty of making that " -"calculation would be outweighed by the benefit of facilitating innovation. " -"This background system to compensate would also not need to interfere with " -"innovative proposals such as Apple's MusicStore. As experts predicted when " -"Apple launched the MusicStore, it could beat <quote>free</quote> by being " -"easier than free is. This has proven correct: Apple has sold millions of " -"songs at even the very high price of 99 cents a song. (At 99 cents, the cost " -"is the equivalent of a per-song CD price, though the labels have none of the " -"costs of a CD to pay.) Apple's move was countered by Real Networks, offering " -"music at just 79 cents a song. And no doubt there will be a great deal of " -"competition to offer and sell music on-line." -msgstr "" -"Uten tvil vil det vÃ¦re vanskelig Ã¥ mÃ¥le nÃ¸yaktig <quote>skaden</quote> pÃ¥ en " -"industri. Men vanskeligheten i Ã¥ beregne dette vil veies opp av fordelen " -"ved Ã¥ tilrettelegge for nyskapning. Dette bakgrunnssystemet for Ã¥ kompensere " -"ville heller ikke trenge Ã¥ forstyrre nyskapende forslag som Apples " -"MusicStore. Som eksperter forutsÃ¥ da Apple lanserte sin MusicStore, sÃ¥ kan " -"den slÃ¥ <quote>gratis</quote> ved Ã¥ vÃ¦re enklere enn det gratis er. Dette " -"har vist seg Ã¥ vÃ¦re riktig: Apple har solgt millioner av sanger til selv den " -"veldig hÃ¸ye prisen 99 cent pr. sang (til 99 cent er kostnaden tilsvarende " -"prisen pr. sang pÃ¥ CD, selv om plateselskapene ikke mÃ¥ betale noen av " -"kostnadene knyttet til Cd-produksjon). Apples lansering ble mÃ¸tt av Real " -"Networks, som tilbÃ¸d musikk til kun 79 cent pr. sang. Og uten tvil vil det " -"bli mye konkurranse rundt Ã¥ tilby og Ã¥ selge musikk pÃ¥ nettet." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "cable vs. broadcast" -msgstr "kabel-TV mot kringkasting" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "luxury theatres vs. video piracy in" -msgstr "luksuskinoer mot video-piratvirksomhet i" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"This competition has already occurred against the background of <quote>free</" -"quote> music from p2p systems. As the sellers of cable television have known " -"for thirty years, and the sellers of bottled water for much more than that, " -"there is nothing impossible at all about <quote>competing with free.</quote> " -"Indeed, if anything, the competition spurs the competitors to offer new and " -"better products. This is precisely what the competitive market was to be " -"about. Thus in Singapore, though piracy is rampant, movie theaters are often " -"luxurious—with <quote>first class</quote> seats, and meals served " -"while you watch a movie—as they struggle and succeed in finding ways " -"to compete with <quote>free.</quote>" -msgstr "" -"Denne konkurransen er allerede pÃ¥ plass mot bakgrunnen med <quote>gratis</" -"quote> musikk fra p2p-systemer. Slik selgerne av kabel-TV har visst i " -"tredve Ã¥r, og de som selger vann pÃ¥ plaske enda lengre, sÃ¥ er det slett ikke " -"umulig over det Ã¥ <quote>konkurrere med gratis</quote>. Faktisk til " -"konkurransen om ikke annet inspirere til Ã¥ tilby nye og bedre produkter. " -"Det er nÃ¸yaktig det et konkurransedyktig marked skulle handle om. Dermed " -"har en i Singapore, hvor piratkopiering er utbredt, ofte luksuriÃ¸se " -"kinosaler—med <quote>fÃ¸rsteklasses</quote> seter, og mÃ¥ltider servert " -"mens du ser pÃ¥ en film—mens de kjemper og lykkes i Ã¥ finne en mÃ¥te a " -"konkurrere med <quote>gratis</quote>." - -#. type: Content of: <book><chapter><section><section><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 konkurranseregimet, med en sikringsmekanisme for Ã¥ sikre at kunstnere " -"ikke taper, ville bidra mye til nyskapning innen levering av innhold. " -"Konkurransen ville fortsette Ã¥ redusere type-A-deling. Det ville inspirere " -"en ekstraordinÃ¦r rekke av nye innovatÃ¸rer—som ville ha retten til a " -"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer " -"fra loven." - -#. type: Content of: <book><chapter><section><section><para> -msgid "In summary, then, my proposal is this:" -msgstr "Oppsummert, sÃ¥ er dette mitt forslag:" - -#. PAGE BREAK 308 -#. type: Content of: <book><chapter><section><section><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 endring. Vi bÃ¸r ikke regulere en teknologi i endring. Vi bÃ¸r " -"i stedet regulere for Ã¥ minimere skaden pÃ¥fÃ¸rt interesser som er berÃ¸rt av " -"denne teknologiske endringen, samtidig vi muliggjÃ¸r, og oppmuntrer, den mest " -"effektive teknologien vi kan lage." - -#. type: Content of: <book><chapter><section><section><para> -msgid "We can minimize that harm while maximizing the benefit to innovation by" -msgstr "" -"Vi kan minimere skaden og samtidig maksimere fordelen med innovasjon ved Ã¥" - -#. 1. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "guaranteeing the right to engage in type D sharing;" -msgstr "garantere retten til Ã¥ engasjere seg i type-D-deling;" - -#. 2. -#. type: Content of: <book><chapter><section><section><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 "" -"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og " -"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov." - -#. 3. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"while in this transition, taxing and compensating for type A sharing, to the " -"extent actual harm is demonstrated." -msgstr "" -"mens denne overgangen pÃ¥gÃ¥r, skattlegge og kompensere for type-A-deling, i " -"den grad faktiske skade kan pÃ¥vises." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"But what if <quote>piracy</quote> doesn't disappear? What if there is a " -"competitive market providing content at a low cost, but a significant number " -"of consumers continue to <quote>take</quote> content for nothing? Should the " -"law do something then?" -msgstr "" -"Men hva om <quote>piratvirksomheten</quote> ikke forsvinner? Hva om det " -"finnes et konkurranseutsatt marked som tilbyr innhold til en lav kostnad, " -"men et signifikant antall av forbrukere fortsetter Ã¥ <quote>ta</quote> " -"innhold uten Ã¥ betale? Burde loven gjÃ¸re noe da?" - -#. type: Content of: <book><chapter><section><section><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 <citetitle>x</citetitle>, or " -"(b) to have a technology that is 50 percent secure but produces a market of " -"five times <citetitle>x</citetitle>? Less secure might produce more " -"unauthorized sharing, but it is likely to also produce a much bigger market " -"in authorized sharing. The most important thing is to assure artists' " -"compensation without breaking the Internet. Once that's assured, then it may " -"well be appropriate to find ways to track down the petty pirates." -msgstr "" -"Ja, det bÃ¸r den. Men, nok en gang, hva den bÃ¸r gjÃ¸re avhenger hvordan " -"realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-" -"deling. Men det virkelige spÃ¸rmÃ¥let er ikke om de eliminerer deling i " -"abstrakt betydning. Det virkelige spÃ¸rsmÃ¥let er hvilken effekt det har pÃ¥ " -"markedet. Er det bedre (a) Ã¥ ha en teknologi som er 95 prosent sikker og " -"gir et marked av stÃ¸rrelse <citetitle>x</citetitle>, eller (b) Ã¥ ha en " -"teknologi som er 50 prosent sikker, og som gir et marked som er fem ganger " -"stÃ¸rre enn <citetitle>x</citetitle>? Mindre sikker kan gi mer uautorisert " -"deling, men det vil sannsynligvis ogsÃ¥ gi et mye stÃ¸rre marked for " -"autorisert deling. Det viktigste er Ã¥ sikre kunstneres kompensasjon uten Ã¥ " -"Ã¸delegge Internettet. NÃ¥r det er pÃ¥ plass, kan det hende det er riktig Ã¥ " -"finne mÃ¥ter Ã¥ spore opp de smÃ¥lige piratene." - -#. PAGE BREAK 309 -#. type: Content of: <book><chapter><section><section><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 Ã¥ spikke problemet ned til dette delsettet av type-A-" -"delere. Og vÃ¥rt fokus inntil er der bÃ¸r ikke vÃ¦re Ã¥ finne mÃ¥ter Ã¥ Ã¸delegge " -"Internettet. Var fokus inntil vi er der bÃ¸r vÃ¦re hvordan sikre at artister " -"fÃ¥r betalt, mens vi beskytter rommet for nyskapning og kreativitet som " -"Internettet er." - -#. type: Content of: <book><chapter><section><section><title> -msgid "5. Fire Lots of Lawyers" -msgstr "5. Spark en masse advokater" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe " -"in the law of copyright. Indeed, I have devoted my life to working in law, " -"not because there are big bucks at the end but because there are ideals at " -"the end that I would love to live." -msgstr "" -"Jeg er en advokat. Jeg lever av Ã¥ utdanne advokater. Jeg tror pÃ¥ loven. Jeg " -"tror pÃ¥ Ã¥ndsverksloven. Jeg har faktisk viet livet til Ã¥ jobbe med loven, " -"ikke fordi det er mye penger Ã¥ tjene, men fordi det innebÃ¦rer idealer som " -"jeg elsker Ã¥ leve opp til." - -#. type: Content of: <book><chapter><section><section><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 har mye av denne boken vÃ¦rt kritikk av advokater, eller rollen " -"advokater har spilt i denne debatten. Loven taler om idealer, mens det er " -"min oppfatning av vÃ¥r yrkesgruppe er blitt for knyttet til klienten. Og i " -"en verden der rike klienter har sterke synspunkter vil uviljen hos vÃ¥r " -"yrkesgruppe til Ã¥ stille spÃ¸rsmÃ¥l med eller protestere mot dette sterke " -"synet Ã¸delegge loven." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Nimmer, Melville" -msgstr "Nimmer, Melville" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "Supreme Court challenge of" -msgstr "HÃ¸yesteretts utfordring av" - -#. f10. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " -"Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): " -"1057, 1069–70." -msgstr "" -"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " -"Nimmer Memorial Lecture), <citetitle>UCLA law Review</citetitle> 48 (2001): " -"1057, 1069–70." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The evidence of this bending is compelling. I'm attacked as a " -"<quote>radical</quote> by many within the profession, yet the positions that " -"I am advocating are precisely the positions of some of the most moderate and " -"significant figures in the history of this branch of the law. Many, for " -"example, thought crazy the challenge that we brought to the Copyright Term " -"Extension Act. Yet just thirty years ago, the dominant scholar and " -"practitioner in the field of copyright, Melville Nimmer, thought it obvious." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Indisiene for slik bÃ¸yning er overbevisene. Jeg er angrepet som en " -"<quote>radikal</quote> av mange innenfor yrket, og likevel er meningene jeg " -"argumenterer for nÃ¸yaktig de meningene til mange av de mest moderate og " -"betydningsfulle personene i historien til denne delen av loven. Mange trodde " -"for eksempel at vÃ¥r utfordring til lovforslaget om Ã¥ utvide opphavsrettens " -"vernetid var galskap. Mens bare tredve Ã¥r siden mente den dominerende " -"foreleser og utÃ¸ver i opphavsrettsfeltet, Melville Nimmer, at den var " -"Ã¥penbar.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 handler " -"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere " -"om vÃ¥r manglende evne til Ã¥ faktisk ta inn over oss hva loven koster." - -#. type: Content of: <book><chapter><section><section><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, <citetitle>Rethinking the Network " -"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " -"York: Amacom, 2002), (reviewing his original view but expressing skepticism) " -"with Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" -"quote> working paper, June 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis is " -"extremely valuable in estimating the effect of file-sharing technology. In " -"my view, however, he underestimates the costs of the legal system. See, for " -"example, <citetitle>Rethinking</citetitle>, 174–76. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bÃ¸r fÃ¥ " -"ros for sin nÃ¸ye gjennomgang av data om opphavsrettsbrudd, som fikk ham til " -"Ã¥ stille spÃ¸rsmÃ¥l med sin egen uttalte posisjon—to ganger. I starten " -"forutsa han at nedlasting ville pÃ¥fÃ¸re industrien vesentlig skade. Han " -"endret sÃ¥ sitt syn etter i lys av dataene, og han har siden endret sitt syn " -"pÃ¥ nytt. Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the Network " -"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " -"York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) " -"med Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" -"quote> artikkelutkast, juni 2003, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #86</ulink>. Den nÃ¸ye analysen til Liebowitz er " -"ekstremt verdifull i sin estimering av effekten av fildelingsteknologi. " -"Etter mitt syn underestimerer han forÃ¸vrig kostnaden til det juridiske " -"system. Se, for eksempel, <citetitle>Rethinking</citetitle>, 174–76. " -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 "" -"Ãkonomer er forventet Ã¥ vÃ¦re gode til Ã¥ forstÃ¥ utgifter og inntekter. Men " -"som oftest antar Ã¸konomene uten peiling pÃ¥ hvordan det juridiske systemet " -"egentlig fungerer, at transaksjonskostnaden i det juridiske systemet er lav." -"<placeholder type=\"footnote\" id=\"0\"/> De ser et system som har " -"eksistert i hundrevis av Ã¥r, og de antar at det fungerer slik grunnskolens " -"samfunnsfagsundervisning lÃ¦rte dem at det fungerer." - -#. PAGE BREAK 310 -#. type: Content of: <book><chapter><section><section><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 det juridiske systemet fungerer ikke. Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, det " -"fungerer kun for de med mest ressurser. Det er ikke fordi systemet er " -"korrupt. Jeg tror overhodet ikke vÃ¥rt juridisk system (pÃ¥ fÃ¸deralt nivÃ¥, i " -"hvert fall) er korrupt. Jeg mener ganske enkelt at pÃ¥ grunn av at kostnadene " -"med vÃ¥rt juridiske systemet er sÃ¥ hÃ¥rreisende hÃ¸yt vil en praktisk talt " -"aldri oppnÃ¥ rettferdighet." - -#. type: Content of: <book><chapter><section><section><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 forstyrrer fri kultur pÃ¥ mange vis. En advokats tid " -"faktureres hos de stÃ¸rste firmaene for mer enn $400 pr. time. Hvor mye tid " -"bÃ¸r en slik advokat bruke pÃ¥ Ã¥ lese sakene nÃ¸ye, eller undersÃ¸ke obskure " -"rettskilder. Svaret er i Ã¸kende grad: svÃ¦rt lite. Jussen er avhengig av " -"nÃ¸ye formulering og utvikling av doktrine, men nÃ¸ye formulering og utvikling " -"av doktrine er avhengig av nÃ¸yaktig arbeid. Men nÃ¸yaktig arbeid koster for " -"mye, bortsett fra i de mest hÃ¸yprofilerte og kostbare sakene." - -#. type: Content of: <book><chapter><section><section><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 "" -"Kostbarheten, klomsetheten og tilfeldigheten til dette systemet hÃ¥ner vÃ¥r " -"tradisjon. Og advokater, sÃ¥vel som akademikere, bÃ¸r se det som sin plikt Ã¥ " -"endre hvordan loven praktiseres— eller bedre, endre loven slik at den " -"fungerer. Det er galt at systemet fungerer godt bare for den Ã¸verste 1-" -"prosenten av klientene. Det kan gjÃ¸res radikalt mer effektivt, og billig, " -"og dermed radikalt mer rettferdig." - -#. type: Content of: <book><chapter><section><section><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 inntil en slik reform er gjennomfÃ¸rt, bÃ¸r vi som samfunn holde lover " -"unna omrÃ¥der der vi vet den bare vil skade. Og det er nettopp det loven " -"altfor ofte vil gjÃ¸re hvis for mye av vÃ¥r kultur er lovregulert." - -#. type: Content of: <book><chapter><section><section><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 pÃ¥ de fantastiske tingene ditt barn kan gjÃ¸re eller lage med digital " -"teknologi—filmen, musikken, web-siden, bloggen. Eller tenk pÃ¥ de " -"fantastiske tingene ditt fellesskap kunne fÃ¥ til med digital teknologi—" -"en wiki, oppsetting av lÃ¥ve, kampanje til Ã¥ endre noe. Tenk pÃ¥ alle de " -"kreative tingene, og tenk deretter pÃ¥ kald sirup helt inn i maskinene. Dette " -"er hva et hvert regime som krever tillatelser fÃ¸rer til. Dette er " -"virkeligheten slik den var i Brezhnevs Russland." - -#. PAGE BREAK 311 -#. type: Content of: <book><chapter><section><section><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: <quote>Will it do good?</quote> When challenged about the " -"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>" -msgstr "" -"Loven bÃ¸r regulere i visse omrÃ¥der av kulturen—men det bÃ¸r regulere " -"kultur bare der reguleringen bidrar positivt. Likevel tester advokater " -"sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk " -"spÃ¸rsmÃ¥let: <quote>vil det bidra positivt?</quote>. NÃ¥r de blir utfordret " -"om det utvidede rekkevidden til loven, er advokat-svaret, <quote>Hvorfor " -"ikke?</quote>" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"We should ask, <quote>Why?</quote> Show me why your regulation of culture is " -"needed. Show me how it does good. And until you can show me both, keep your " -"lawyers away." -msgstr "" -"Vi burde spÃ¸rre: <quote>Hvorfor?</quote>. Vis meg hvorfor din regulering av " -"kultur er nÃ¸dvendig og vis meg hvordan reguleringen bidrar positivt. FÃ¸r du " -"kan vise meg begge, holde advokatene din unna." - -#. type: Content of: <book><chapter><title> -msgid "NOTES" -msgstr "Notater" - -#. type: Content of: <book><chapter><para> -msgid "" -"Throughout this text, there are references to links on the World Wide Web. " -"As anyone who has tried to use the Web knows, these links can be highly " -"unstable. I have tried to remedy the instability by redirecting readers to " -"the original source through the Web site associated with this book. For each " -"link below, you can go to http://free-culture.cc/notes and locate the " -"original source by clicking on the number after the # sign. If the original " -"link remains alive, you will be redirected to that link. If the original " -"link has disappeared, you will be redirected to an appropriate reference for " -"the material." -msgstr "" -"I denne teksten er det referanser til lenker pÃ¥ verdensveven. Og som alle " -"som har forsÃ¸kt Ã¥ bruke nettet vet, sÃ¥ vil disse lenkene vÃ¦re svÃ¦rt " -"ustabile. Jeg har forsÃ¸kt Ã¥ motvirke denne ustabiliteten ved Ã¥ omdirigere " -"lesere til den originale kilden gjennom en nettside som hÃ¸rer til denne " -"boken. For hver lenke under, sÃ¥ kan du gÃ¥ til http://free-culture.cc/notes " -"og finne den originale kilden ved Ã¥ klikke pÃ¥ nummeret etter #-tegnet. Hvis " -"den originale lenken fortsatt er i live, sÃ¥ vil du bli omdirigert til den " -"lenken. Hvis den originale lenken har forsvunnet, sÃ¥ vil du bli omdirigert " -"til en passende referanse til materialet." - -#. type: Content of: <book><chapter><title> -msgid "ACKNOWLEDGMENTS" -msgstr "Takk til" - -#. type: Content of: <book><chapter><para> -msgid "" -"This book is the product of a long and as yet unsuccessful struggle that " -"began when I read of Eric Eldred's war to keep books free. Eldred's work " -"helped launch a movement, the free culture movement, and it is to him that " -"this book is dedicated." -msgstr "" -"Denne boken er produktet av en lang og sÃ¥ langt mislykket kamp som begynte " -"da jeg leste om Eric Eldreds krig for Ã¥ sÃ¸rge for at bÃ¸ker forble frie. " -"Eldreds innsats bidro til Ã¥ lansere en bevegelse, fri kultur-bevegelsen, og " -"denne boken er tilegnet ham." - -#. 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 pÃ¥ ulike steder fra venner og akademikere, inkludert " -"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose og " -"Kathleen Sullivan. Og jeg fikk korreksjoner og veiledning fra mange " -"fantastiske studenter ved Stanford Law School og Stanford University. Det " -"inkluderer Andrew B. Coan, John Eden, James P. Fellers, Christopher " -"Guzelian, Erica Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian-" -"Link, Ohad Mayblum, Alina Ng og Erica Platt. Jeg er sÃ¦rlig takknemlig " -"overfor Catherine Crump og Harry Surden, som hjalp til med Ã¥ styre deres " -"forskning og til Laura Lynch, som briljant hÃ¥ndterte hÃ¦ren de samlet, samt " -"bidro med sitt egen kritisk blikk pÃ¥ 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 Ã¥ forstÃ¥ lovene i Japan, sÃ¥ vel som Japans kultur. " -"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med " -"forundersÃ¸kelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto " -"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro " -"Yonezawa. Jeg er ogsÃ¥ takknemlig til professor Nobuhiro Nakayama og Tokyo " -"University Business Law Center, som ga meg muligheten til Ã¥ bruke tid i " -"Japan, og Tadashi Shiraishi og Kiyokazu Yamagami for deres generÃ¸se 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, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> " -"and Richard Yanco. (I apologize if I have missed anyone; with computers come " -"glitches, and a crash of my e-mail system meant I lost a bunch of great " -"replies.)" -msgstr "" -"Dette er de tradisjonelle former for hjelp som akademikere regelmessig " -"trekker pÃ¥. Men i tillegg til dem, har Internett gjort det mulig Ã¥ motta rÃ¥d " -"og korrigering fra mange som jeg har aldri mÃ¸tt. Blant de som har svart med " -"svÃ¦rt nyttig rÃ¥d etter forespÃ¸rsler om boken pÃ¥ bloggen min er Dr. Muhammed " -"Al-Ubaydli, David Gerstein og Peter Dimauro, I tillegg en lang liste med de " -"som hadde spesifikke idÃ©er om mÃ¥ter Ã¥ utvikle mine argumenter pÃ¥. De " -"inkluderte Richard Bondi, Steven Cherry, David Coe, Nik Cubrilovic, Bob " -"Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, Jeremy Hunsinger, " -"Vaughn Iverson, John Karabaic, Jeff Keltner, James Lindenschmidt, K. L. " -"Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred " -"Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, " -"Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, " -"Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, " -"<quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> og Richard " -"Yanco. (jeg beklager hvis jeg gikk glipp av noen, med datamaskiner kommer " -"feil og en krasj i e-postsystemet mitt gjorde at jeg mistet en haug med " -"flotte svar.)" - -#. 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 har begge lest hele boken i utkast, og " -"hver av dem har bidratt med svÃ¦rt nyttige korreksjoner og rÃ¥d. Michael hjalp " -"meg Ã¥ se mer tydelig betydningen av regulering for avledede verker . Og " -"Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er " -"delvis inspirert av Stallmans, er han ikke enig med meg pÃ¥ vesentlige steder " -"i denne boken." - -#. type: Content of: <book><chapter><para> -msgid "" -"Finally, and forever, I am thankful to Bettina, who has always insisted that " -"there would be unending happiness away from these battles, and who has " -"always been right. This slow learner is, as ever, grateful for her perpetual " -"patience and love." -msgstr "" -"Til slutt, og for evig, er jeg Bettina takknemlig, som alltid har insistert " -"pÃ¥ at det ville vÃ¦re endelÃ¸s lykke utenfor disse kampene, og som alltid har " -"hatt rett. Denne trege eleven er som alltid takknemlig for hennes " -"evigvarende tÃ¥lmodighet og kjÃ¦rlighet." +# Copyright (C) 2012 Free Software Foundation, Inc. +# This file is distributed under the same license as the PACKAGE package. +# +# Translators: +# Petter Reinholdtsen <pere@hungry.com>, 2012. +# Anders Hagen Jarmund <ajarmund@gmail.com>, 2012. +# Kirill Miazine <km@krot.org>, 2012. +msgid "" +msgstr "" +"Project-Id-Version: Free Culture by Lawrence Lessig\n" +"POT-Creation-Date: 2012-12-01 10:48+0100\n" +"PO-Revision-Date: 2012-08-29 11:14+0200\n" +"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n" +"Language-Team: Norwegian BokmÃ¥l <i18n-nb@lister.ping.uio.no>\n" +"Language: nb\n" +"MIME-Version: 1.0\n" +"Content-Type: text/plain; charset=UTF-8\n" +"Content-Transfer-Encoding: 8bit\n" +"X-Generator: Lokalize 1.0\n" +"Plural-Forms: nplurals=2; plural=n != 1;\n" + +#. type: Content of the copy entity +msgid "Â©" +msgstr "Â©" + +#. type: Attribute 'lang' of: <book> +msgid "en" +msgstr "nb" + +#. type: Content of: <book><bookinfo><title> +msgid "Free Culture" +msgstr "Fri kultur" + +#. type: Content of: <book><bookinfo> +msgid "<abbrev>\"freeculture\"</abbrev>" +msgstr "<abbrev>\"frikultur\"</abbrev>" + +#. type: Content of: <book><bookinfo><subtitle> +msgid "" +"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL " +"CREATIVITY" +msgstr "" +"Hvordan store medieaktÃ¸rer bruker teknologi og jussen til Ã¥ begrense " +"kulturen og kontrollere kreativiteten" + +#. type: Content of: <book><bookinfo> +msgid "<pubdate>2004-03-25</pubdate>" +msgstr "<pubdate>2004-03-25</pubdate>" + +#. type: Content of: <book><bookinfo><releaseinfo> +msgid "Version 2004-02-10" +msgstr "Versjon 2004-02-10" + +#. type: Content of: <book><bookinfo><authorgroup><author><firstname> +msgid "Lawrence" +msgstr "Lawrence" + +#. type: Content of: <book><bookinfo><authorgroup><author><surname> +msgid "Lessig" +msgstr "Lessig" + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Intellectual property—United States." +msgstr "Immaterielle rettigheter—USA." + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Mass media—United States." +msgstr "Massemedia—USA." + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Technological innovations—United States." +msgstr "Teknologiske nyvinninger—USA." + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Art—United States." +msgstr "Kunst—USA." + +#. type: Content of: <book><bookinfo><publisher><address> +#, no-wrap +msgid "<city>New York</city>" +msgstr "<city>New York</city>" + +#. type: Content of: <book><bookinfo> +msgid "" +"<publisher> <publishername>The Penguin Press</publishername> <placeholder " +"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> " +"<holder>Lawrence Lessig</holder> </copyright>" +msgstr "" + +#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject> +msgid "" +"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " +"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " +"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" +"\"/> </imageobject>" +msgstr "" +"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " +"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " +"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" +"\"/> </imageobject>" + +#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase> +msgid "Creative Commons, Some rights reserved" +msgstr "Creative Commons, noen rettigheter forbeholdt" + +#. type: Content of: <book><bookinfo><legalnotice><para> +msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" +msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" + +#. type: Content of: <book><bookinfo><legalnotice><para> +msgid "" +"This version of <citetitle>Free Culture</citetitle> is licensed under a " +"Creative Commons license. This license permits non-commercial use of this " +"work, so long as attribution is given. For more information about the " +"license, click the icon above, or visit <ulink url=\"http://creativecommons." +"org/licenses/by-nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</" +"ulink>" +msgstr "" +"Denne versjonen av <citetitle>Fri kultur</citetitle> er lisensiert under en " +"Creative Commons-lisens. Denne lisensen tillater ikke-kommersiell " +"utnyttelse av verket dersom opphavsmannen er navngitt. For mer informasjon " +"om lisensen, klikk pÃ¥ ikonet over eller besÃ¸k <ulink url=\"http://" +"creativecommons.org/licenses/by-nc/1.0/\">http://creativecommons.org/" +"licenses/by-nc/1.0/</ulink>" + +#. type: Content of: <book><bookinfo><abstract><title> +msgid "ABOUT THE AUTHOR" +msgstr "Om forfatteren" + +#. type: Content of: <book><bookinfo><abstract><para> +msgid "" +"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" +"ulink>), professor of law and a John A. Wilson Distinguished Faculty Scholar " +"at Stanford Law School, is founder of the Stanford Center for Internet and " +"Society and is chairman of the Creative Commons (<ulink url=\"http://" +"creativecommons.org\">http://creativecommons.org</ulink>). The author of " +"The Future of Ideas (Random House, 2001) and Code: And Other Laws of " +"Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the " +"Public Library of Science, the Electronic Frontier Foundation, and Public " +"Knowledge. He was the winner of the Free Software Foundation's Award for the " +"Advancement of Free Software, twice listed in BusinessWeek's <quote>e.biz 25," +"</quote> and named one of Scientific American's <quote>50 visionaries.</" +"quote> A graduate of the University of Pennsylvania, Cambridge University, " +"and Yale Law School, Lessig clerked for Judge Richard Posner of the U.S. " +"Seventh Circuit Court of Appeals." +msgstr "" +"Lawrense Lessig (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" +"ulink>) er professor i rettsvitenskep og er John A. Wilson Distinguished " +"Faculty Scholar ved Stanford Law School. Han er stifteren av Stanford Center " +"for Internet and Society og styreleder i Creative Commons (<ulink url=" +"\"http://creativecommons.org\">http://creativecommons.org</ulink>). " +"Forfatteren har gitt ut The Future of Ideas (Random House, 2001) og Code: " +"And other Laws of Cyberspace (Basic Books, 1999), og er medlem av styrene i " +"Public Library of Science, the Electronic Frontier Foundation, og Public " +"Knowledge. Han har vunnet Free Software Foundation's Award for the " +"Advancement of Free Software, to ganger vÃ¦rt oppfÃ¸rt i BusinessWeeks " +"<quote>e.biz 25,</quote> og omtalt som en av Scientific Americans <quote>50 " +"visjonÃ¦rer</quote>. Etter utdanning ved University of Pennsylvania, " +"Cambridge University, og Yale Law School, assisterte Lessig dommer Richard " +"Posner ved U.S. Seventh Circuit Court of Appeals." + +# +# +# +#. testing different ways to tag the cover page +#. <imageobject remap="s" role="front"> +#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> +#. </imageobject> +#. <imageobject remap="xs" role="front-small"> +#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> +#. </imageobject> +#. <imageobject remap="cs" role="thumbnail"> +#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> +#. </imageobject> +#. type: Content of: <book><bookinfo><mediaobject> +msgid "" +"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/" +"cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>" +msgstr "" + +#. LCCN from +#. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page +#. +#. type: Content of: <book><bookinfo> +msgid "" +" <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn" +"\">1-59420-006-8</biblioid> <biblioid class=\"libraryofcongress" +"\">2003063276</biblioid>" +msgstr "" + +#. type: Content of: <book><dedication><para> +msgid "You can buy a copy of this book by clicking on one of the links below:" +msgstr "" +"Du kan kjÃ¸pe et eksemplar av denne boken ved Ã¥ klikke pÃ¥ en av lenkene " +"nedenfor:" + +#. type: Content of: <book><dedication><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" +msgstr "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" + +#. type: Content of: <book><dedication><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" +msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" + +#. type: Content of: <book><dedication><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" +msgstr "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" + +#. type: Content of: <book><dedication><para> +msgid "ALSO BY LAWRENCE LESSIG" +msgstr "Andre bÃ¸ker av Lawrence Lessig" + +#. type: Content of: <book><dedication><para> +msgid "The Future of Ideas: The Fate of the Commons in a Connected World" +msgstr "The Future of Ideas: The Fate of the Commons in a Connected World" + +#. type: Content of: <book><dedication><para> +msgid "Code: And Other Laws of Cyberspace" +msgstr "Code: And Other Laws of Cyberspace" + +#. type: Content of: <book><colophon><para> +msgid "" +"THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " +"New York, New York" +msgstr "" +"The Penguin Press, medlem av Penguin Group (USA) Inc. 375 Hudson Street " +"New York, Yew Uork, USA" + +#. type: Content of: <book><colophon><para> +msgid "Copyright © Lawrence Lessig. All rights reserved." +msgstr "" +"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter forbeholdt." + +#. type: Content of: <book><colophon><para> +msgid "" +"Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</" +"quote> <citetitle>The New York Times</citetitle>, January 16, 2003. " +"Copyright © 2003 by The New York Times Co. Reprinted with permission." +msgstr "" +"Utdrag fra redaktÃ¸rartikkel <quote>The Coming of Copyright Perpetuity,</" +"quote> <citetitle>The New York Times</citetitle>, 16. januar 2003. " +"Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med tillatelse." + +#. type: Content of: <book><colophon><para> +msgid "" +"Cartoon in <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> by Paul " +"Conrad, copyright Tribune Media Services, Inc. All rights reserved. " +"Reprinted with permission." +msgstr "" +"Humortegningen i <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> er " +"laget av Paul Conrad. Opphavsretten tilhÃ¸rer Tribune Media Services, " +"Inc. Alle rettigheter forbeholdt. Gjengitt med tillatelse." + +#. type: Content of: <book><colophon><para> +msgid "" +"Diagram in <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " +"courtesy of the office of FCC Commissioner, Michael J. Copps." +msgstr "" +"Diagrammet i <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " +"kommer fra kontoret til FCC-kommisjonÃ¦ren, Michael J. Copps." + +#. type: Content of: <book><colophon><para> - #, mtrans, fuzzy +msgid "Library of Congress Cataloging-in-Publication Data" - msgstr "Library of congress cataloging i publikasjonen data" ++msgstr "Cataloging-in-Publication-data til Library of Congress" + +#. type: Content of: <book><colophon><para> +msgid "" +"Lessig, Lawrence. Free culture : how big media uses technology and the law " +"to lock down culture and control creativity / Lawrence Lessig." +msgstr "" + +#. type: Content of: <book><colophon><para> +#, mtrans, fuzzy +msgid "p. cm." +msgstr "s. cm." + +#. type: Content of: <book><colophon><para> +msgid "Includes index." +msgstr "Inkluderer register." + +#. type: Content of: <book><colophon><para> +msgid "ISBN 1-59420-006-8 (hardcover)" +msgstr "ISBN 1-59420-006-8 (Innbundet bok)" + +#. type: Content of: <book><colophon><para> +msgid "" +"1. Intellectual property—United States. 2. Mass media—United " +"States." +msgstr "1. Immaterielle rettigheter—USA. 2. Massemedia—SA." + +#. type: Content of: <book><colophon><para> +msgid "" +"3. Technological innovations—United States. 4. Art—United " +"States. I. Title." +msgstr "" +"3. Teknologiske nyvinninger—USA. 4. Kunst—USA. I. Tittel." + +#. type: Content of: <book><colophon><para> +msgid "KF2979.L47" +msgstr "KF2979.l47" + +#. type: Content of: <book><colophon><para> +msgid "343.7309'9—dc22" +msgstr "343.7309'9—dc22" + +#. type: Content of: <book><colophon><para> +msgid "This book is printed on acid-free paper." +msgstr "Denne boken er trykt pÃ¥ syrefritt papir." + +#. type: Content of: <book><colophon><para> +msgid "Printed in the United States of America" +msgstr "Trykt i USA" + +#. type: Content of: <book><colophon><para> +msgid "1 3 5 7 9 10 8 6 4" +msgstr "1 3 5 7 9 10 8 6 4" + +#. type: Content of: <book><colophon><para> +msgid "Designed by Marysarah Quinn" +msgstr "Utformet av Marysarah Quinn" + +#. type: Content of: <book><colophon><para> +msgid "&translationblock;" +msgstr "" +"Oversatt til bokmÃ¥l av Petter Reinholdtsen, Anders Hagen Jarmund og Kirill " +"Miazine. Takk til Ralph Amissah for hjelp med registeroppfÃ¸ringene. " +"Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" +"petterreinholdtsen/free-culture-lessig\">tilgjengelig fra GitHub</ulink>. " +"Rapporter feil med oversettelsen via GitHub." + +#. type: Content of: <book><colophon><para> +#, mtrans, fuzzy +msgid "" +"Without limiting the rights under copyright reserved above, no part of this " +"publication may be reproduced, stored in or introduced into a retrieval " +"system, or transmitted, in any form or by any means (electronic, mechanical, " +"photocopying, recording or otherwise), without the prior written permission " +"of both the copyright owner and the above publisher of this book." +msgstr "" +"Ingen " +"del av denne publikasjonen kan bli gjengitt, lagret i eller innfÃ¸rt i et " +"gjenfinningssystem, eller i noen form eller pÃ¥ noen mÃ¥te overfÃ¸rt " +"(bl.a. elektronisk, mekanisk, fotokopiering, innspilling), uten " +"skriftlig tillatelse fra bÃ¥de innehaveren av opphavsretten og utgiveren " +"av denne boken." + +#. type: Content of: <book><colophon><para> +#, mtrans, fuzzy +msgid "" +"The scanning, uploading, and distribution of this book via the Internet or " +"via any other means without the permission of the publisher is illegal and " +"punishable by law. Please purchase only authorized electronic editions and " +"do not participate in or encourage electronic piracy of copyrighted " +"materials. Your support of the author's rights is appreciated." +msgstr "" +"den skanning, laste opp og distribusjon av denne boken via Internett eller " +"via andre midler uten tillatelse fra utgiveren er ulovlig og straffbart ved " +"lov. kjÃ¸pe bare godkjente elektroniske versjoner og ikke delta i eller " +"oppmuntre elektronisk sjÃ¸rÃ¸ver av opphavsrettsbeskyttet materiale. din " +"stÃ¸tte av forfatterens rettigheter er verdsatt." + +#. type: Content of: <book><dedication><para> +msgid "" +"To Eric Eldred—whose work first drew me to this cause, and for whom it " +"continues still." +msgstr "" +"Til Eric Eldred — hvis arbeid fÃ¸rst trakk meg til denne saken, og for " +"hvem saken fortsetter." + +#. type: Content of: <book><lot><title> +msgid "List of figures" +msgstr "Figuroversikt" + +#. type: Content of: <book><preface><title> +msgid "PREFACE" +msgstr "Forord" + +#. type: Content of: <book><preface><indexterm><primary> +msgid "Pogue, David" +msgstr "Pogue, David" + +#. type: Content of: <book><preface><para> +msgid "" +"<emphasis role=\"bold\">At the end</emphasis> of his review of my first " +"book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David " +"Pogue, a brilliant writer and author of countless technical and computer-" +"related texts, wrote this:" +msgstr "" +"<emphasis role=\"bold\">I slutten av</emphasis> sin gjennomgang av min " +"fÃ¸rste bok <citetitle>Code: And Other Laws of Cyberspace</citetitle>, skrev " +"David Pogue, en glimrende skribent og forfatter av utallige tekniske og " +"datarelaterte tekster, dette:" + +#. type: Content of: <book><preface><blockquote><para><footnote><para> +msgid "" +"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " +"York Times</citetitle>, 30 January 2000." +msgstr "" +"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " +"York Times</citetitle>, 30. januar 2000." + +#. type: Content of: <book><preface><blockquote><para> +msgid "" +"Unlike actual law, Internet software has no capacity to punish. It doesn't " +"affect people who aren't online (and only a tiny minority of the world " +"population is). And if you don't like the Internet's system, you can always " +"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I motsetning til rettslige lover, har ikke Internett-programvare " +"evnen til Ã¥ straffe. Den pÃ¥virker ikke folk som ikke er online (og " +"bare en svÃ¦rt liten minoritet av verdens befolkning er online). Og hvis du " +"ikke liker systemet med Internett, kan du alltid skru av modemet." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><preface><para> +msgid "" +"Pogue was skeptical of the core argument of the book—that software, or " +"<quote>code,</quote> functioned as a kind of law—and his review " +"suggested the happy thought that if life in cyberspace got bad, we could " +"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a " +"switch and be back home. Turn off the modem, unplug the computer, and any " +"troubles that exist in <emphasis>that</emphasis> space wouldn't " +"<quote>affect</quote> us anymore." +msgstr "" +"Pogue var skeptisk til bokens hovedpoeng — at " +"programvare, eller <quote>kode</quote>, fungerte som en slags lov — " +"og foreslo i sin anmeldelse den lykkelige tanken at hvis tilvÃ¦relsen i cyberspace " +"ble slett, kan vi alltid, liksom pÃ¥ magisk vis, slÃ¥ over en bryter og " +"vÃ¦re hjemme igjen. Skru av modemet, koble fra datamaskinen, og eventuelle " +"problemer som finnes <emphasis>den</emphasis> virkeligheten ville ikke " +"<quote>pÃ¥virke</quote> oss mer." + +#. PAGE BREAK 12 +#. type: Content of: <book><preface><para> +msgid "" +"Pogue might have been right in 1999—I'm skeptical, but maybe. But " +"even if he was right then, the point is not right now: <citetitle>Free " +"Culture</citetitle> is about the troubles the Internet causes even after the " +"modem is turned off. It is an argument about how the battles that now rage " +"regarding life on-line have fundamentally affected <quote>people who aren't " +"online.</quote> There is no switch that will insulate us from the Internet's " +"effect." +msgstr "" +"Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " +"Men selv om han hadde rett da, er ikke argumentet gyldig lenger. " +"<citetitle>Fri kultur</citetitle> er om problemene Internett forÃ¥rsaker selv " +"etter at modemet er slÃ¥tt av. Den er et argument om hvordan slagene som nÃ¥ " +"ukjempes om livet online fundamentalt pÃ¥virker <quote>folk som ikke er " +"pÃ¥logget.</quote> Det finnes ingen bryter som kan isolere oss fra " +"Internettets pÃ¥virkning." + +#. type: Content of: <book><preface><para> +msgid "" +"But unlike <citetitle>Code</citetitle>, the argument here is not much about " +"the Internet itself. It is instead about the consequence of the Internet to " +"a part of our tradition that is much more fundamental, and, as hard as this " +"is for a geek-wanna-be to admit, much more important." +msgstr "" +"Men i motsetning til boken <citetitle>Code</citetitle>, er tema her " +"ikke sÃ¥ mye Internett i seg selv. Istedet er boken om konsekvensen av " +"Internett for en del av vÃ¥r tradisjon som er mye mer grunnleggende, og " +"uansett hvor hardt dette er for en geek-wanna-be Ã¥ innrÃ¸mme, mye viktigere." + +#. type: Content of: <book><preface><para><footnote><para> +msgid "" +"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " +"(Joshua Gay, ed. 2002)." +msgstr "" +"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " +"(Joshua Gay, red. 2002)." + +#. type: Content of: <book><preface><para> +msgid "" +"That tradition is the way our culture gets made. As I explain in the pages " +"that follow, we come from a tradition of <quote>free culture</quote>—" +"not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase " +"from the founder of the free software movement<placeholder type=\"footnote\" " +"id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> " +"<quote>free markets,</quote> <quote>free trade,</quote> <quote>free " +"enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</" +"quote> A free culture supports and protects creators and innovators. It does " +"this directly by granting intellectual property rights. But it does so " +"indirectly by limiting the reach of those rights, to guarantee that follow-" +"on creators and innovators remain <emphasis>as free as possible</emphasis> " +"from the control of the past. A free culture is not a culture without " +"property, just as a free market is not a market in which everything is free. " +"The opposite of a free culture is a <quote>permission culture</quote>—" +"a culture in which creators get to create only with the permission of the " +"powerful, or of creators from the past." +msgstr "" +"Den tradisjonen er mÃ¥ten vÃ¥r kultur blir laget pÃ¥. Som jeg vil forklare i " +"sidene som fÃ¸lger, kommer vi fra en tradisjon av <quote>fri kultur</" +"quote>—ikke <quote>fri</quote> som i <quote>fri bar</quote> (for Ã¥ " +"lÃ¥ne et uttrykk fra stifteren av fri programvarebevegelsen<placeholder type=" +"\"footnote\" id=\"0\"/>), men <quote>fri</quote> som i <quote>talefrihet</" +"quote>, <quote>fritt marked</quote>, <quote>frihandel</quote>, <quote>fri " +"konkurranse</quote>, <quote>fri vilje</quote> og <quote>frie valg</quote>. " +"En fri kultur stÃ¸tter og beskytter skapere og oppfinnere. Dette gjÃ¸r den " +"direkte ved Ã¥ tildele immaterielle rettigheter. Men det gjÃ¸r den indirekte " +"ved Ã¥ begrense rekkevidden for disse rettighetene, for Ã¥ garantere at neste " +"generasjon skapere og oppfinnere forblir <emphasis>sÃ¥ fri som mulig</" +"emphasis> fra kontroll fra fortiden. En fri kultur er ikke en kultur uten " +"eierskap, like lite som et fritt marked er et marked der alt er gratis. Det " +"motsatte av fri kultur er <quote>tillatelseskultur</quote>—en kultur " +"der skapere kun kan skape med tillatelse fra de mektige, eller fra skaperne " +"fra fortiden." + +#. type: Content of: <book><preface><para> +msgid "" +"If we understood this change, I believe we would resist it. Not <quote>we</" +"quote> on the Left or <quote>you</quote> on the Right, but we who have no " +"stake in the particular industries of culture that defined the twentieth " +"century. Whether you are on the Left or the Right, if you are in this sense " +"disinterested, then the story I tell here will trouble you. For the changes " +"I describe affect values that both sides of our political culture deem " +"fundamental." +msgstr "" +"Hvis vi forsto denne endringen, sÃ¥ tror jeg vi ville stÃ¥ imot den. Ikke " +"<quote>vi</quote> pÃ¥ venstresiden eller <quote>dere</quote> pÃ¥ hÃ¸yresiden, " +"men vi som ikke har investert i den spesifikke kulturindustrien som har " +"definert det tjuende Ã¥rhundre. Enten du er pÃ¥ venstre eller hÃ¸yresiden, hvis " +"du i denne forstand ikke har interesser, vil historien jeg forteller her gi " +"deg problemer. For endringene jeg beskriver pÃ¥virker verdier som begge sider " +"av vÃ¥r politiske kultur anser som grunnleggende." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "power, concentration of" +msgstr "makt, konsentrasjon av" + +#. type: Content of: <book><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "CodePink Women in Peace" - msgstr "codepink kvinner i fred" ++msgstr "codePink-kvinner i fred" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Safire, William" +msgstr "Safire, William" + +#. type: Content of: <book><preface><indexterm><primary> +msgid "Stevens, Ted" +msgstr "Stevens, Ted" + +#. type: Content of: <book><preface><para> +msgid "" +"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " +"the FCC considered changes in media ownership rules that would relax limits " +"on media concentration, an extraordinary coalition generated more than " +"700,000 letters to the FCC opposing the change. As William Safire described " +"marching <quote>uncomfortably alongside CodePink Women for Peace and the " +"National Rifle Association, between liberal Olympia Snowe and conservative " +"Ted Stevens,</quote> he formulated perhaps most simply just what was at " +"stake: the concentration of power. And as he asked," +msgstr "" +"Vi sÃ¥ et glimt av dette tverrpolitiske raseri pÃ¥ forsommeren i 2003. Da FCC " +"vurderte endringer i reglene for medieeierskap som ville slakke pÃ¥ " +"begrensningene rundt mediekonsentrasjon, sendte en ekstraordinÃ¦r koalisjon " +"mer enn 700 000 brev til FCC for Ã¥ motsette seg endringen. Mens William " +"Safire beskrev Ã¥ marsjere <quote>ubehagelig sammen med CodePink Women for " +"Peace and the National Rifle Association, mellom liberale Olympia Snowe og " +"konservative Ted Stevens</quote>, formulerte han kanskje det enkleste " +"uttrykket for hva som var pÃ¥ spill: konsentrasjonen av makt. SÃ¥ spurte han:" + +#. type: Content of: <book><preface><blockquote><para><footnote><para> +msgid "" +"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " +"Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " +"Times</citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><preface><blockquote><para> +msgid "" +"Does that sound unconservative? Not to me. The concentration of power—" +"political, corporate, media, cultural—should be anathema to " +"conservatives. The diffusion of power through local control, thereby " +"encouraging individual participation, is the essence of federalism and the " +"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"HÃ¸res dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av " +"makt—politisk, selskapsmessig, pressemessig, kulturelt—bÃ¸r vÃ¦re " +"bannlyst av konservative. Spredningen av makt gjennom lokal kontroll, og " +"derigjennom oppmuntre til individuell deltagelse, er essensen i fÃ¸deralismen " +"og det stÃ¸rste uttrykk for demokrati.<placeholder type=\"footnote\" id=\"0\"/" +">" + +#. type: Content of: <book><preface><para> +msgid "" +"This idea is an element of the argument of <citetitle>Free Culture</" +"citetitle>, though my focus is not just on the concentration of power " +"produced by concentrations in ownership, but more importantly, if because " +"less visibly, on the concentration of power produced by a radical change in " +"the effective scope of the law. The law is changing; that change is altering " +"the way our culture gets made; that change should worry you—whether or " +"not you care about the Internet, and whether you're on Safire's left or on " +"his right." +msgstr "" +"Denne idÃ©en er et element i argumentet til <citetitle>Fri kultur</" +"citetitle>, selv om min fokus ikke bare er pÃ¥ konsentrasjonen av makt som " +"fÃ¸lger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " +"synlig, pÃ¥ konsentrasjonen av makt som er resultat av en radikal endring i " +"det effektive virkeomrÃ¥det til loven. Loven er i endring, og endringen " +"forandrer pÃ¥ hvordan vÃ¥r kultur blir skapt. Den endringen bÃ¸r bekymre " +"deg—Uansett om du bryr deg om Internett eller ikke, og uansett om du " +"er til venstre for Safires eller til hÃ¸yre." + +#. type: Content of: <book><preface><para> +msgid "" +"<emphasis role=\"strong\">The inspiration</emphasis> for the title and for " +"much of the argument of this book comes from the work of Richard Stallman " +"and the Free Software Foundation. Indeed, as I reread Stallman's own work, " +"especially the essays in <citetitle>Free Software, Free Society</citetitle>, " +"I realize that all of the theoretical insights I develop here are insights " +"Stallman described decades ago. One could thus well argue that this work is " +"<quote>merely</quote> derivative." +msgstr "" +"<emphasis role=\"strong\">Inspirasjonen</emphasis> til tittelen og mye av " +"argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free " +"Software Foundation. Faktisk, da jeg leste Stallmans egne tekster pÃ¥ nytt, " +"spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " +"innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " +"som Stallman beskrev for tiÃ¥r siden. Man kan dermed godt argumentere for at " +"dette verket <quote>kun</quote> er et avledet verk." + +#. PAGE BREAK 14 +#. type: Content of: <book><preface><para> +msgid "" +"I accept that criticism, if indeed it is a criticism. The work of a lawyer " +"is always derivative, and I mean to do nothing more in this book than to " +"remind a culture about a tradition that has always been its own. Like " +"Stallman, I defend that tradition on the basis of values. Like Stallman, I " +"believe those are the values of freedom. And like Stallman, I believe those " +"are values of our past that will need to be defended in our future. A free " +"culture has been our past, but it will only be our future if we change the " +"path we are on right now. Like Stallman's arguments for free software, an " +"argument for free culture stumbles on a confusion that is hard to avoid, and " +"even harder to understand. A free culture is not a culture without property; " +"it is not a culture in which artists don't get paid. A culture without " +"property, or in which creators can't get paid, is anarchy, not freedom. " +"Anarchy is not what I advance here." +msgstr "" +"Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat " +"er alltid avledede verker, og jeg mener ikke Ã¥ gjÃ¸re noe mer i denne boken " +"enn Ã¥ minne en kultur om en tradisjon som alltid har vÃ¦rt deres egen. Som " +"Stallman forsvarer jeg denne tradisjonen pÃ¥ grunnlag av verdier. Som " +"Stallman tror jeg dette er verdiene til frihet. Og som Stallman, tror jeg " +"dette er verdier fra vÃ¥r fortid som mÃ¥ forsvares i vÃ¥r fremtid. En fri " +"kultur har vÃ¦rt vÃ¥r fortid, men vil bare vÃ¦re vÃ¥r fremtid hvis vi endrer " +"retningen vi fÃ¸lger akkurat nÃ¥. PÃ¥ samme mÃ¥te som Stallmans argumenter for " +"fri programvare, treffer argumenter for en fri kultur pÃ¥ forvirring som er " +"vanskelig Ã¥ unngÃ¥, og enda vanskeligere Ã¥ forstÃ¥. En fri kultur er ikke en " +"kultur uten eierskap. Det er ikke en kultur der kunstnere ikke fÃ¥r betalt. " +"En kultur uten eierskap eller en der skaperne ikke kan fÃ¥ betalt, er anarki, " +"ikke frihet. Anarki er ikke hva jeg fremmer her." + +#. type: Content of: <book><preface><para> +msgid "" +"Instead, the free culture that I defend in this book is a balance between " +"anarchy and control. A free culture, like a free market, is filled with " +"property. It is filled with rules of property and contract that get enforced " +"by the state. But just as a free market is perverted if its property becomes " +"feudal, so too can a free culture be queered by extremism in the property " +"rights that define it. That is what I fear about our culture today. It is " +"against that extremism that this book is written." +msgstr "" +"I stedet er den frie kulturen som jeg forsvarer i denne boken en balanse " +"mellom anarki og kontroll. En fri kultur, i likhet med et fritt marked, er " +"fylt med eierskap. Den er fylt med regler for eierskap og kontrakter som " +"blir hÃ¥ndhevet av staten. Men pÃ¥ samme mÃ¥te som det frie markedet blir " +"pervertert hvis dets eierskap blir fÃ¸ydalt, sÃ¥ kan en fri kultur bli Ã¸delagt " +"av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg " +"frykter om vÃ¥r kultur i dag. Det er som motpol til denne ekstremismen at " +"denne boken er skrevet." + +#. type: Content of: <book><chapter><title> +msgid "INTRODUCTION" +msgstr "Introduksjon" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Wright brothers" +msgstr "Wright-brÃ¸drene" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">On December 17</emphasis>, 1903, on a windy North " +"Carolina beach for just shy of one hundred seconds, the Wright brothers " +"demonstrated that a heavier-than-air, self-propelled vehicle could fly. The " +"moment was electric and its importance widely understood. Almost " +"immediately, there was an explosion of interest in this newfound technology " +"of manned flight, and a gaggle of innovators began to build upon it." +msgstr "" +"<emphasis role=\"strong\">Den 17. desember</emphasis> 1903, pÃ¥ en vindfylt " +"strand i Nord-Carolina i sÃ¥vidt under hundre sekunder, demonstrerte Wright-" +"brÃ¸drene at et selvdrevet fartÃ¸y tyngre enn luft kunne fly. Ãyeblikket var " +"elektrisk, og dets betydning ble alment forstÃ¥tt. Interessen for denne nye " +"teknologien som muliggjorde bemannet luftfart eksploderte nesten " +"umiddelbart, og en hÃ¦rskare av oppfinnere begynte Ã¥ bygge videre pÃ¥ den." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "air traffic, land ownership vs." +msgstr "lufttrafikk, landeierskap mot" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "land ownership, air traffic and" +msgstr "landeierskap, lufttrafikk og" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "property rights" +msgstr "eiendomsrettigheter" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "air traffic vs." +msgstr "lufttrafikk mot" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." +msgstr "" +"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." + +#. type: Content of: <book><chapter><para> +msgid "" +"At the time the Wright brothers invented the airplane, American law held " +"that a property owner presumptively owned not just the surface of his land, " +"but all the land below, down to the center of the earth, and all the space " +"above, to <quote>an indefinite extent, upwards.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how best " +"to interpret the idea that rights in land ran to the heavens. Did that mean " +"that you owned the stars? Could you prosecute geese for their willful and " +"regular trespass?" +msgstr "" +"Da Wright-brÃ¸drene fant opp flymaskinen, hevdet loven i USA at en grunneier " +"ble antatt Ã¥ eie ikke bare overflaten pÃ¥ omrÃ¥det sitt, men ogsÃ¥ alt landet " +"under bakken, helt ned til senterpunktet i jorda, og alt volumet over " +"bakken, <quote>i ubestemt grad, oppover</quote>.<placeholder type=\"footnote" +"\" id=\"0\"/> I mange Ã¥r undret lÃ¦rde over hvordan en best skulle tolke " +"idÃ©en om at eiendomsretten gikk helt til himmelen. BetÃ¸d dette at du eide " +"stjernene? Kunne en dÃ¸mme gjess for at de regelmessig og med vilje tok seg " +"inn pÃ¥ annen manns eiendom?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Then came airplanes, and for the first time, this principle of American " +"law—deep within the foundations of our tradition, and acknowledged by " +"the most important legal thinkers of our past—mattered. If my land " +"reaches to the heavens, what happens when United flies over my field? Do I " +"have the right to banish it from my property? Am I allowed to enter into an " +"exclusive license with Delta Airlines? Could we set up an auction to decide " +"how much these rights are worth?" +msgstr "" +"SÃ¥ kom flymaskiner, og for fÃ¸rste gang hadde dette prinsippet i lovverket i " +"USA—dypt nede i grunnlaget for vÃ¥r tradisjon og akseptert av de " +"viktigste juridiske tenkerne i vÃ¥r fortid—en betydning. Hvis min " +"eiendom rekker til himmelen, hva skjer nÃ¥r United flyr over mitt omrÃ¥de? " +"Har jeg rett til Ã¥ nekte dem Ã¥ bruke min eiendom? Har jeg mulighet til Ã¥ " +"inngÃ¥ en eksklusiv avtale med Delta Airlines? Kan vi gjennomfÃ¸re en auksjon " +"for Ã¥ finne ut hvor mye disse rettighetene er verdt?" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Causby, Thomas Lee" +msgstr "Causby, Thomas Lee" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Causby, Tinie" +msgstr "Causby, Tinie" + +#. type: Content of: <book><chapter><para> +msgid "" +"In 1945, these questions became a federal case. When North Carolina farmers " +"Thomas Lee and Tinie Causby started losing chickens because of low-flying " +"military aircraft (the terrified chickens apparently flew into the barn " +"walls and died), the Causbys filed a lawsuit saying that the government was " +"trespassing on their land. The airplanes, of course, never touched the " +"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " +"said, their land reached to <quote>an indefinite extent, upwards,</quote> " +"then the government was trespassing on their property, and the Causbys " +"wanted it to stop." +msgstr "" +"I 1945 ble disse spÃ¸rsmÃ¥lene en fÃ¸deral sak. Da bÃ¸ndene Thomas Lee og Tinie " +"Causby i Nord Carolina begynte Ã¥ miste kyllinger pÃ¥ grunn av lavtflygende " +"militÃ¦re fly (vettskremte kyllinger flÃ¸y tilsynelatende i lÃ¥veveggene og " +"dÃ¸de), saksÃ¸kte Causbyene regjeringen for Ã¥ trenge seg inn pÃ¥ deres eiendom. " +"Flyene rÃ¸rte selvfÃ¸lgelig aldri overflaten pÃ¥ Causbys' eiendom. Men hvis det " +"stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg " +"<quote>i ubestemt grad, oppover,</quote> sÃ¥ hadde regjeringen trengt seg inn " +"pÃ¥ deres eiendom, og Causbys Ã¸nsket Ã¥ sette en stopper for dette." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Douglas, William O." +msgstr "Douglas, William O." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Supreme Court, U.S." +msgstr "HÃ¸yesterett, USA" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on airspace vs. land rights" +msgstr "om luftrom mot landrettigheter" + +#. 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 " +"<quote>taking</quote> of property without compensation. The Court " +"acknowledged that <quote>it is ancient doctrine that common law ownership of " +"the land extended to the periphery of the universe.</quote> But Justice " +"Douglas had no patience for ancient doctrine. In a single paragraph, " +"hundreds of years of property law were erased. As he wrote for the Court," +msgstr "" +"HÃ¸yesterett gikk med pÃ¥ Ã¥ ta opp Causbys sak. Kongressen hadde vedtatt at " +"luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig " +"rakk til himmelen, da kunne muligens kongressens vedtak ha vÃ¦rt i strid med " +"grunnlovens forbud mot Ã¥ <quote>ta</quote> eiendom uten kompensasjon. " +"Retten erkjente at <quote>det er gammel doktrine etter sedvane at en eiendom " +"rakk til utkanten av universet.</quote>, men dommer Douglas hadde ikke " +"tÃ¥lmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble hundrevis " +"av Ã¥r med eiendomslovgivningen strÃ¸ket. Som han skrev pÃ¥ vegne av retten," + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " +"there could be a <quote>taking</quote> if the government's use of its land " +"effectively destroyed the value of the Causbys' land. This example was " +"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) " +"Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</" +"quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " +"also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " +"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" +"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne vÃ¦re " +"Ã¥ <quote>ta</quote> hvis regjeringens bruk av sitt land reelt sett hadde " +"Ã¸delagt verdien av eiendomen til Causby. Dette eksemplet ble foreslÃ¥tt for " +"meg i Keith Aokis flotte stykke, <quote>(intellectual) Property and " +"Sovereignty: Notes Toward a cultural Geography of Authorship</quote>, " +"<citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. Se ogsÃ¥ " +"Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " +"Foundation Press (1984)), 1112–13. <placeholder type=\"indexterm\" id=" +"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"[The] doctrine has no place in the modern world. The air is a public " +"highway, as Congress has declared. Were that not true, every " +"transcontinental flight would subject the operator to countless trespass " +"suits. Common sense revolts at the idea. To recognize such private claims to " +"the airspace would clog these highways, seriously interfere with their " +"control and development in the public interest, and transfer into private " +"ownership that to which only the public has a just claim.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"[Denne] doktrinen har ingen plass i den moderne verden. Luften er en " +"offentlig motorvei, slik kongressen har erklÃ¦rt. Hvis det ikke var " +"tilfelle, ville hver eneste transkontinentale flyrute utsette operatÃ¸rene " +"for utallige sÃ¸ksmÃ¥l om inntrenging pÃ¥ annen manns eiendom. IdÃ©en er i " +"strid med sunn fornuft. Ã anerkjenne slike private krav til luftrommet " +"ville blokkere disse motorveiene, seriÃ¸st forstyrre muligheten til kontroll " +"og utvikling av dem i fellesskapets interesse og overfÃ¸re til privat " +"eierskap det som kun fellesskapet har et rimelig krav til.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "<quote>Common sense revolts at the idea.</quote>" +msgstr "<quote>IdÃ©en er i strid med sunn fornuft.</quote>" + +#. 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: <quote>Common sense revolts at the idea." +"</quote> But whether it takes pages or a few words, it is the special genius " +"of a common law system, as ours is, that the law adjusts to the technologies " +"of the time. And as it adjusts, it changes. Ideas that were as solid as rock " +"in one age crumble in another." +msgstr "" +"Det er hvordan loven vanligvis fungerer. Ikke ofte like brÃ¥tt eller " +"utÃ¥lmodig, men til slutt er dette hvordan loven fungerer. Det var ikke " +"stilen til Douglas Ã¥ utbrodere. Andre dommere ville ha skrevet mange flere " +"sider fÃ¸r de nÃ¥dde sin konklusjon, men for Douglas holdt det med en enkel " +"linje: <quote>IdÃ©en er i strid med sunn fornuft.</quote>. Men uansett om " +"det tar flere sider eller kun noen fÃ¥ ord, sÃ¥ er det en genial egenskap med " +"et rettspraksis-system, slik som vÃ¥rt er, at loven tilpasser seg til " +"aktuelle teknologiene. Og mens den tilpasser seg, sÃ¥ endres den. IdÃ©er som " +"var solide som fjell i en tidsalder knuses i en annen." + +#. 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 <quote>what seemed reasonable</quote> given the technology " +"that the Wrights had produced. They could stand on their farms, dead " +"chickens in hand, and shake their fists at these newfangled technologies all " +"they wanted. They could call their representatives or even file a lawsuit. " +"But in the end, the force of what seems <quote>obvious</quote> to everyone " +"else—the power of <quote>common sense</quote>—would prevail. " +"Their <quote>private interest</quote> would not be allowed to defeat an " +"obvious public gain." +msgstr "" +"Eller, det er hvordan ting skjer nÃ¥r det ikke er noen mektige pÃ¥ andre siden " +"av endringen. Causbyene var bare bÃ¸nder. Og selv om det uten tvil var " +"mange som dem som var lei av den Ã¸kende trafikken i luften (og en hÃ¥per ikke " +"for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden " +"finne det svÃ¦rt hardt Ã¥ samles for Ã¥ stoppe idÃ©en, og teknologien, som " +"Wright-brÃ¸drene hadde fÃ¸rt til verden. Wright-brÃ¸drene spyttet flymaskiner " +"inn i den teknologiske meme-dammen. IdÃ©en spredte seg deretter som et virus " +"i en kyllingfarm. Causbyene i verden fant seg selv omringet av <quote>det " +"synes rimelig</quote> gitt teknologien som Wright-brÃ¸drene hadde produsert. " +"De kunne stÃ¥ pÃ¥ sine gÃ¥rder, med dÃ¸de kyllinger i hendene, og heve " +"knyttneven mot disse nye teknologiene sÃ¥ mye de ville. De kunne ringe sine " +"representanter eller til og med saksÃ¸ke. Men nÃ¥r alt kom til alt, ville " +"kraften i det som virket <quote>Ã¥penbart</quote> for alle andre—makten " +"til <quote>sunn fornuft</quote>—ville vinne frem. Deres " +"<quote>personlige interesser</quote> ville ikke fÃ¥ lov til Ã¥ nedkjempe en " +"Ã¥penbar fordel for fellesskapet." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Armstrong, Edwin Howard" +msgstr "Armstrong, Edwin Howard" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Bell, Alexander Graham" +msgstr "Bell, Alexander Graham" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Edison, Thomas" +msgstr "Edison, Thomas" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Faraday, Michael" +msgstr "Faraday, Michael" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "radio" +msgstr "radio" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "FM spectrum of" +msgstr "FM-spektrum for" + +#. PAGE BREAK 19 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> is one of " +"America's forgotten inventor geniuses. He came to the great American " +"inventor scene just after the titans Thomas Edison and Alexander Graham " +"Bell. But his work in the area of radio technology was perhaps the most " +"important of any single inventor in the first fifty years of radio. He was " +"better educated than Michael Faraday, who as a bookbinder's apprentice had " +"discovered electric induction in 1831. But he had the same intuition about " +"how the world of radio worked, and on at least three occasions, Armstrong " +"invented profoundly important technologies that advanced our understanding " +"of radio." +msgstr "" +"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> er en av USAs " +"glemte oppfinnergenier. Han dukket opp pÃ¥ oppfinnerscenen etter titaner som " +"Thomas Edison og Alexander Graham Bell. Alle hans bidrag pÃ¥ omrÃ¥det " +"radioteknologi gjÃ¸r han til kanskje den viktigste av alle enkeltoppfinnere i " +"de fÃ¸rste femti Ã¥rene av radio. Han var bedre utdannet enn Michael Faraday, " +"som var bokbinderlÃ¦rling da han oppdaget elektrisk induksjon i 1831. Men " +"han hadde like god intuisjon om hvordan radioverden virket, og ved minst tre " +"anledninger, fant Armstrong opp svÃ¦rt viktig teknologier som brakte vÃ¥r " +"forstÃ¥else av radio et hopp videre." + +#. type: Content of: <book><chapter><para> +msgid "" +"On the day after Christmas, 1933, four patents were issued to Armstrong for " +"his most significant invention—FM radio. Until then, consumer radio " +"had been amplitude-modulated (AM) radio. The theorists of the day had said " +"that frequency-modulated (FM) radio could never work. They were right about " +"FM radio in a narrow band of spectrum. But Armstrong discovered that " +"frequency-modulated radio in a wide band of spectrum would deliver an " +"astonishing fidelity of sound, with much less transmitter power and static." +msgstr "" +"Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for " +"hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde " +"forbrukerradioer vÃ¦rt amplitude-modulert (AM) radio. Tidens teoretikere " +"hadde sagt at frekvens-modulert (FM) radio. De hadde rett nÃ¥r det gjelder " +"et smalt bÃ¥nd av spektrumet. Men Armstrong oppdaget at frekvens-modulert " +"radio i et vidt bÃ¥nd i spektrumet leverte en forblÃ¸ffende gjengivelse av " +"lyd, med mye mindre senderstyrke og stÃ¸y." + +#. 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: <quote>This is amateur station W2AG at Yonkers, New " +"York, operating on frequency modulation at two and a half meters.</quote>" +msgstr "" +"Den 5. november 1935 demonstrerte han teknologien pÃ¥ et mÃ¸te hos institutt " +"for radioingeniÃ¸rer ved Empire State-bygningen i New York City. Han vred " +"radiosÃ¸keren over en rekke AM-stasjoner, inntil radioen lÃ¥ste seg mot en " +"kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt " +"stille, som om den var dÃ¸d, og sÃ¥, med en klarhet ingen andre i rommet noen " +"gang hadde hÃ¸rt fra et elektrisk apparat, produserte det lyden av en " +"opplesers stemme: <quote>Dette er amatÃ¸rstasjon W2AG ved Yonkers, New York, " +"som opererer pÃ¥ frekvensmodulering ved to og en halv meter.</quote>" + +#. type: Content of: <book><chapter><para> +msgid "The audience was hearing something no one had thought possible:" +msgstr "Publikum hÃ¸rte noe ingen hadde trodd var mulig:" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" +"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." +msgstr "" +"Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" +"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"A glass of water was poured before the microphone in Yonkers; it sounded " +"like a glass of water being poured. … A paper was crumpled and torn; " +"it sounded like paper and not like a crackling forest fire. … Sousa " +"marches were played from records and a piano solo and guitar number were " +"performed. … The music was projected with a live-ness rarely if ever " +"heard before from a radio <quote>music box.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hÃ¸rtes ut som " +"et glass som ble fylt opp. … Et papir ble krÃ¸llet og revet opp, og " +"det hÃ¸rtes ut som papir og ikke som en sprakende skogbrann. … Sousa-" +"marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble " +"utfÃ¸rt. … Musikken ble presentert med en livaktighet som sjeldent om " +"noen gang fÃ¸r hadde vÃ¦rt hÃ¸rt fra en radio-<quote>musikk-boks</quote>." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "RCA" +msgstr "RCA" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "media" +msgstr "media" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "ownership concentration in" +msgstr "eierskapskonsentrasjon i" + +#. 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 vÃ¥r egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye " +"bedre radioteknologi. Men pÃ¥ tidspunktet for hans oppfinnelse, jobbet " +"Armstrong for RCA. RCA var den dominerende aktÃ¸ren i det da dominerende AM-" +"radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men " +"stasjonene i de store byene var alle eid av en liten hÃ¥ndfull selskaper." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Sarnoff, David" +msgstr "Sarnoff, David" + +#. type: Content of: <book><chapter><para> +msgid "" +"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " +"Armstrong discover a way to remove static from AM radio. So Sarnoff was " +"quite excited when Armstrong told him he had a device that removed static " +"from <quote>radio.</quote> But when Armstrong demonstrated his invention, " +"Sarnoff was not pleased." +msgstr "" +"Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter Ã¥ fÃ¥ " +"Armstrong til Ã¥ oppdage en mÃ¥te Ã¥ fjerne stÃ¸yen fra AM-radio. SÃ¥ Sarnoff var " +"ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet " +"stÃ¸y fra <quote>radio.</quote>. Men da Armstrong demonstrerte sin " +"oppfinnelse, var ikke Sarnoff fornÃ¸yd." + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " +"First Electronic Church of America, at www.webstationone.com/fecha, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." +msgstr "" +"Se <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " +"fÃ¸rste elektroniske kirke i USA, hos www.webstationone.com/fecha, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #1</" +"ulink>." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"I thought Armstrong would invent some kind of a filter to remove static from " +"our AM radio. I didn't think he'd start a revolution— start up a whole " +"damn new industry to compete with RCA.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Jeg trodde Armstrong ville finne opp et slags filter for Ã¥ fjerne skurring " +"fra AM-radioen vÃ¥r. Jeg trodde ikke han skulle starte en revolusjon — " +"starte en hel forbannet ny industri i konkurranse med RCA.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "FM radio" +msgstr "FM-radio" + +#. 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 RCAs AM-herredÃ¸mme, sÃ¥ selskapet lanserte en " +"kampanje for Ã¥ kvele FM-radio. Mens FM kan ha vÃ¦rt en overlegen teknologi, " +"var Sarnoff en overlegen taktiker. En forfatter beskrev det slik," + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Lessing, Lawrence" +msgstr "Lessing, Lawrence" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Lessing, 226." +msgstr "Lessing, 226." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"The forces for FM, largely engineering, could not overcome the weight of " +"strategy devised by the sales, patent, and legal offices to subdue this " +"threat to corporate position. For FM, if allowed to develop unrestrained, " +"posed … a complete reordering of radio power … and the " +"eventual overthrow of the carefully restricted AM system on which RCA had " +"grown to power.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Kreftene til fordel for FM, i hovedsak ingeniÃ¸rfaglige, kunne ikke overvinne " +"tyngden til strategien utviklet av avdelingene for salg, patenter og juss " +"for Ã¥ undertrykke denne trusselen til selskapets posisjon. For FM utgjorde, " +"hvis det fikk utvikle seg uten begrensninger … en komplett endring i " +"maktforholdene rundt radio … og muligens fjerningen av det nÃ¸ye " +"begrensede AM-systemet som var grunnlaget for RCA stigning til makt." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "FCC" +msgstr "FCC" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on FM radio" +msgstr "om FM-radio" + +#. type: Content of: <book><chapter><para> +msgid "" +"RCA at first kept the technology in house, insisting that further tests were " +"needed. When, after two years of testing, Armstrong grew impatient, RCA " +"began to use its power with the government to stall FM radio's deployment " +"generally. In 1936, RCA hired the former head of the FCC and assigned him " +"the task of assuring that the FCC assign spectrum in a way that would " +"castrate FM—principally by moving FM radio to a different band of " +"spectrum. At first, these efforts failed. But when Armstrong and the nation " +"were distracted by World War II, RCA's work began to be more successful. " +"Soon after the war ended, the FCC announced a set of policies that would " +"have one clear effect: FM radio would be crippled. As Lawrence Lessing " +"described it," +msgstr "" +"RCA holdt fÃ¸rst teknologien innomhus, og insistere pÃ¥ at det var nÃ¸dvendig " +"med ytterligere tester. Da Armstrong, etter to Ã¥r med testing, ble " +"utÃ¥lmodig, begynte RCA Ã¥ bruke sin makt hos myndighetene til holde tilbake " +"den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere " +"lederen av FCC og ga ham oppgaven med Ã¥ sikre at FCC tilordnet " +"radiospekteret pÃ¥ en mÃ¥te som ville kastrere FM—hovedsakelig ved Ã¥ " +"flytte FM-radio til et annet band i spekteret. I fÃ¸rste omgang lyktes ikke " +"disse forsÃ¸kene. Men mens Armstrong og nasjonen var distrahert av andre " +"verdenskrig, begynte RCAs arbeid Ã¥ bÃ¦re frukter. Like etter at krigen var " +"over, annonserte FCC et sett med avgjÃ¸relser som ville ha en klar effekt: FM-" +"radio ville bli forkrÃ¸plet.Lawrence lessing beskrevet det slik," + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Lessing, 256." +msgstr "Lessing, 256." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"The series of body blows that FM radio received right after the war, in a " +"series of rulings manipulated through the FCC by the big radio interests, " +"were almost incredible in their force and deviousness.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en " +"serie med avgjÃ¸relser manipulert gjennom FCC av de store radiointeressene, " +"var nesten utrolige i deres kraft og underfundighet.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "AT&T" +msgstr "AT&T" + +#. type: Content of: <book><chapter><para> +msgid "" +"To make room in the spectrum for RCA's latest gamble, television, FM radio " +"users were to be moved to a totally new spectrum band. The power of FM radio " +"stations was also cut, meaning FM could no longer be used to beam programs " +"from one part of the country to another. (This change was strongly " +"supported by AT&T, because the loss of FM relaying stations would mean " +"radio stations would have to buy wired links from AT&T.) The spread of " +"FM radio was thus choked, at least temporarily." +msgstr "" +"For Ã¥ gjÃ¸re plass i spektrumet for RCAs nyeste satsingsomrÃ¥de, televisjon, " +"skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet. " +"Sendestyrken til FM-radioene ble ogsÃ¥ redusert, og gjorde at FM ikke lenger " +"kunne brukes for Ã¥ sende programmer fra en del av landet til en annen. " +"(Denne endringen ble sterkt stÃ¸ttet av AT&T, pÃ¥ grunn av at fjerningen " +"av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nÃ¸dt " +"til Ã¥ kjÃ¸pe kablede linker fra AT&T.) Spredningen av FM-radio var " +"dermed kvalt, i hvert fall midlertidig." + +#. type: Content of: <book><chapter><para> +msgid "" +"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " +"patents. After incorporating FM technology into the emerging standard for " +"television, RCA declared the patents invalid—baselessly, and almost " +"fifteen years after they were issued. It thus refused to pay him royalties. " +"For six years, Armstrong fought an expensive war of litigation to defend the " +"patents. Finally, just as the patents expired, RCA offered a settlement so " +"low that it would not even cover Armstrong's lawyers' fees. Defeated, " +"broken, and now broke, in 1954 Armstrong wrote a short note to his wife and " +"then stepped out of a thirteenth-story window to his death." +msgstr "" +"Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. " +"Etter Ã¥ ha bakt FM-teknologi inn i den nye standarden for TV, erklÃ¦rte RCS " +"patentene ugyldige—uten grunn og nesten femten Ã¥r etter at de ble " +"utstedet. De nektet dermed Ã¥ betale ham for bruken av patentene. I seks Ã¥r " +"kjempet Armstrong en dyr sÃ¸ksmÃ¥lskrig for Ã¥ forsvare patentene sine. Til " +"slutt, samtidig som patentene utlÃ¸p, tilbÃ¸d RCA et forlik sÃ¥ lavt at det " +"ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nÃ¥ blakk, " +"skrev Armstrong i 1954 en kort beskjed til sin kone, fÃ¸r han gikk ut av et " +"vindu i trettende etasje og falt i dÃ¸den." + +#. PAGE BREAK 22 +#. type: Content of: <book><chapter><para> +msgid "" +"This is how the law sometimes works. Not often this tragically, and rarely " +"with heroic drama, but sometimes, this is how it works. From the beginning, " +"government and government agencies have been subject to capture. They are " +"more likely captured when a powerful interest is threatened by either a " +"legal or technical change. That powerful interest too often exerts its " +"influence within the government to get the government to protect it. The " +"rhetoric of this protection is of course always public spirited; the reality " +"is something different. Ideas that were as solid as rock in one age, but " +"that, left to themselves, would crumble in another, are sustained through " +"this subtle corruption of our political process. RCA had what the Causbys " +"did not: the power to stifle the effect of technological change." +msgstr "" +"Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden " +"med heltemodig drama, men noen ganger er det slik det virker. Fra starten " +"har myndigheter og myndighetsorganer blitt tatt til fange. Det er mer " +"sannsynlig at de blir fanget nÃ¥r en mektig interesse er truet av enten en " +"juridisk eller teknologisk endring. Denne mektige interessen utÃ¸ver for " +"ofte sin innflytelse hos myndighetene til Ã¥ fÃ¥ myndighetene til Ã¥ beskytte " +"den. Retorikken for denne beskyttelsen er naturligvis alltid med fokus pÃ¥ " +"fellesskapets beste. Realiteten er noe annet. IdÃ©er som kan vÃ¦re solide " +"som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i " +"en annen, er viderefÃ¸rt gjennom denne subtile korrupsjonen i vÃ¥r politiske " +"prosess. RCA hadde hva Causby-ene ikke hadde: Makten til Ã¥ undertrykke " +"effekten av en teknologisk endring." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Internet" +msgstr "internet" + +#. type: Content of: <book><chapter><section><indexterm><secondary> +msgid "development of" +msgstr "utviklingen av" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " +"Internet Access and the Digital Divide,</quote> Pew Internet and American " +"Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #2</ulink>." +msgstr "" +"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " +"Internet Access and the Digital Divide,</quote> Pew Internet and American " +"Life Project, 15. april 2003: 6, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #2</ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">There's no</emphasis> single inventor of the " +"Internet. Nor is there any good date upon which to mark its birth. Yet in a " +"very short time, the Internet has become part of ordinary American life. " +"According to the Pew Internet and American Life Project, 58 percent of " +"Americans had access to the Internet in 2002, up from 49 percent two years " +"before.<placeholder type=\"footnote\" id=\"0\"/> That number could well " +"exceed two thirds of the nation by the end of 2004." +msgstr "" +"<emphasis role=\"strong\">Det er ingen</emphasis> enkeltoppfinner av " +"Internet. Ei heller er det en god dato som kan brukes til Ã¥ markere nÃ¥r det " +"ble fÃ¸dt. Likevel har Internettet i lÃ¸pet av svÃ¦rt kort tid blitt en del av " +"vanlige amerikaneres liv. I fÃ¸lge the Pew Internet and American Life-" +"prosjektet, har 58 prosent av amerikanerne hatt tilgang til Internettet i " +"2002, opp fra 49 prosent to Ã¥r tidligere.<placeholder type=\"footnote\" id=" +"\"0\"/> Det tallet kan uten problemer passere to tredjedeler av nasjonen ved " +"utgangen av 2004." + +#. type: Content of: <book><chapter><para> +msgid "" +"As the Internet has been integrated into ordinary life, it has changed " +"things. Some of these changes are technical—the Internet has made " +"communication faster, it has lowered the cost of gathering data, and so on. " +"These technical changes are not the focus of this book. They are important. " +"They are not well understood. But they are the sort of thing that would " +"simply go away if we all just switched the Internet off. They don't affect " +"people who don't use the Internet, or at least they don't affect them " +"directly. They are the proper subject of a book about the Internet. But this " +"is not a book about the Internet." +msgstr "" +"Etter hvert som Internett er blitt integrert inn i det vanlige liv har ting " +"blitt endret. Noen av disse endringene er teknisk—Internettet har " +"gjort kommunikasjon raskere, det har redusert kostnaden med Ã¥ samle inn " +"data, og sÃ¥ videre. Disse tekniske endringene er ikke fokus for denne " +"boken. De er viktige. De er ikke godt forstÃ¥tt. Men de er den type ting " +"som ganske enkelt ville blir borte hvis vi alle bare slo av Internettet. De " +"pÃ¥virker ikke folk som ikke bruker Internettet, eller i det miste pÃ¥virker " +"det ikke dem direkte. De er et godt tema for en bok om Internettet. Men " +"dette er ikke en bok om Internettet." + +#. type: Content of: <book><chapter><para> +msgid "" +"Instead, this book is about an effect of the Internet beyond the Internet " +"itself: an effect upon how culture is made. My claim is that the Internet " +"has induced an important and unrecognized change in that process. That " +"change will radically transform a tradition that is as old as the Republic " +"itself. Most, if they recognized this change, would reject it. Yet most " +"don't even see the change that the Internet has introduced." +msgstr "" +"I stedet er denne boken om effekten av Internettet ut over internettet i seg " +"selv. En effekt pÃ¥ hvordan kultur blir skapt. Min pÃ¥stand er at " +"Internettet har fÃ¸rt til en viktig og ukjent endring i denne prosessen. " +"Denne endringen vil forandre en tradisjon som er like gammel som republikken " +"selv. De fleste, hvis de la merke til denne endringen, ville avvise den. " +"Men de fleste legger ikke engang merke til denne endringen som Internettet " +"har introdusert." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Barlow, Joel" +msgstr "Barlow, Joel" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "culture" +msgstr "kultur" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "commercial vs. noncommercial" +msgstr "kommersiell vs. ikke-kommersiell" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Webster, Noah" +msgstr "Webster, Noah" + +#. 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 " +"<quote>commercial culture</quote> I mean that part of our culture that is " +"produced and sold or produced to be sold. By <quote>noncommercial culture</" +"quote> I mean all the rest. When old men sat around parks or on street " +"corners telling stories that kids and others consumed, that was " +"noncommercial culture. When Noah Webster published his <quote>Reader,</" +"quote> or Joel Barlow his poetry, that was commercial culture." +msgstr "" +"Vi kan fÃ¥ en fÃ¸lelse av denne endringen ved Ã¥ skille mellom kommersiell og " +"ikke-kommersiell kultur, ved Ã¥ knytte lovens reguleringer til hver av dem. " +"Med <quote>kommersiell kultur</quote> mener jeg den delen av vÃ¥r kultur som " +"er produsert og solgt eller produsert for Ã¥ bli solgt. Med <quote>ikke-" +"kommersiell kultur</quote> mener jeg alt det andre. Da gamle menn satt rundt " +"i parker eller pÃ¥ gatehjÃ¸rner og fortalte historier som unger og andre " +"lyttet til, sÃ¥ var det ikke-kommersiell kultur. Da Noah Webster publiserte " +"sin <quote>Reader</quote>, eller Joel Barlow sin poesi, sÃ¥ var det " +"kommersiell kultur." + +#. 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 <quote>free.</" +"quote> The ordinary ways in which ordinary individuals shared and " +"transformed their culture—telling stories, reenacting scenes from " +"plays or TV, participating in fan clubs, sharing music, making tapes—" +"were left alone by the law." +msgstr "" +"Fra historisk tid, og for omtrent hele vÃ¥r tradisjon, har ikke-kommersiell " +"kultur i hovedsak ikke vÃ¦rt regulert. SelvfÃ¸lgelig, hvis din historie var " +"utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. " +"Men loven var aldri direkte interessert i skapingen eller spredningen av " +"denne form for kultur, og lot denne kulturen vÃ¦re <quote>fri</quote>. Den " +"vanlige mÃ¥ten som vanlige individer delte og formet deres kultur—" +"historiefortelling, formidling av scener fra teater eller TV, delta i fan-" +"klubber, deling av musikk, laging av kassetter—ble ikke styrt av " +"lovverket." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "copyright infringement lawsuits" +msgstr "sÃ¸ksmÃ¥l om krenkelse av opphavsrett" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "commercial creativity as primary purpose of" +msgstr "kommersiell kreativitet som hovedformÃ¥l for" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Brandeis, Louis D." +msgstr "Brandeis, Louis D." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"This is not the only purpose of copyright, though it is the overwhelmingly " +"primary purpose of the copyright established in the federal constitution. " +"State copyright law historically protected not just the commercial interest " +"in publication, but also a privacy interest. By granting authors the " +"exclusive right to first publication, state copyright law gave authors the " +"power to control the spread of facts about them. See Samuel D. Warren and " +"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 " +"(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Dette er ikke det eneste formÃ¥let med opphavsrett, men det er helt klart " +"hovedformÃ¥let med opphavsretten slik den er etablert i fÃ¸deral grunnlov. " +"Ãndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle " +"interesse nÃ¥r det gjaldt publikasjoner, men ogsÃ¥ personverninteresser. Ved " +"Ã¥ gi forfattere eneretten til Ã¥ publisere fÃ¸rst, ga delstatenes " +"Ã¥ndsverkslovene forfatterne makt til Ã¥ kontrollere spredningen av fakta om " +"seg selv. Se Samuel D. Warren og Louis Brandeis, <quote>The Right to " +"Privacy</quote>, Harvard Law Review 4 (1890): 193, 198–200. " +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"The focus of the law was on commercial creativity. At first slightly, then " +"quite extensively, the law protected the incentives of creators by granting " +"them exclusive rights to their creative work, so that they could sell those " +"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " +"id=\"0\"/> This is also, of course, an important part of creativity and " +"culture, and it has become an increasingly important part in America. But in " +"no sense was it dominant within our tradition. It was instead just one part, " +"a controlled part, balanced with the free." +msgstr "" +"Fokuset pÃ¥ loven var kommersiell kreativitet. I starten forsiktig, etter " +"hvert betraktelig, beskytter loven insentivet til skaperne ved Ã¥ tildele dem " +"en eksklusiv rett til deres kreative verker, slik at de kan selge disse " +"eksklusive rettighetene pÃ¥ en kommersiell markedsplass.<placeholder type=" +"\"footnote\" id=\"0\"/> Dette er ogsÃ¥, naturligvis, en viktig del av " +"kreativitet og kultur, og det har blitt en viktigere og viktigere del i " +"USA. Men det var pÃ¥ ingen mÃ¥te dominerende i vÃ¥r tradisjon. Det var i " +"stedet bare en del, en kontrollert del, balansert mot det frie." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "free culture" +msgstr "fri kultur" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "permission culture vs." +msgstr "tillatelseskultur mot" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "permission culture" +msgstr "tillatelseskultur" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "free culture vs." +msgstr "fri kultur mot" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Litman, Jessica" +msgstr "Litman, Jessica" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " +"Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " +"Prometheus bÃ¸ker, 2001), kap. 13. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"This rough divide between the free and the controlled has now been erased." +"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " +"this erasure and, pushed by big media, the law has now affected it. For the " +"first time in our tradition, the ordinary ways in which individuals create " +"and share culture fall within the reach of the regulation of the law, which " +"has expanded to draw within its control a vast amount of culture and " +"creativity that it never reached before. The technology that preserved the " +"balance of our history—between uses of our culture that were free and " +"uses of our culture that were only upon permission—has been undone. " +"The consequence is that we are less and less a free culture, more and more a " +"permission culture." +msgstr "" +"Denne grove inndelingen mellom den frie og den kontrollerte har nÃ¥ blitt " +"fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internettet har satt " +"scenen for denne fjerningen, og pressen frem av store medieaktÃ¸rer har loven " +"nÃ¥ pÃ¥virket det. For fÃ¸rste gang i vÃ¥r tradisjon, har de vanlige mÃ¥tene som " +"individer skaper og deler kultur havnet innen rekekvidde for reguleringene " +"til loven, som har blitt utvidet til Ã¥ dra inn i sitt kontrollomrÃ¥de den " +"enorme mengden kultur og kreativitet som den aldri tidligere har nÃ¥dd over. " +"Teknologien som tok vare pÃ¥ den historiske balansen—mellom bruken av " +"den delen av kulturen vÃ¥r som var fri og bruken av vÃ¥r kultur som krevde " +"tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre " +"en fri kultur, og mer og mer en tillatelseskultur." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "protection of artists vs. business interests" +msgstr "beskyttelse av kunstnere vs. forretningsinteresser" + +#. type: Content of: <book><chapter><para> +msgid "" +"This change gets justified as necessary to protect commercial creativity. " +"And indeed, protectionism is precisely its motivation. But the protectionism " +"that justifies the changes that I will describe below is not the limited and " +"balanced sort that has defined the law in the past. This is not a " +"protectionism to protect artists. It is instead a protectionism to protect " +"certain forms of business. Corporations threatened by the potential of the " +"Internet to change the way both commercial and noncommercial culture are " +"made and shared have united to induce lawmakers to use the law to protect " +"them. It is the story of RCA and Armstrong; it is the dream of the Causbys." +msgstr "" +"Denne endringen blir rettferdiggjort som nÃ¸dvendig for Ã¥ beskytte " +"kommersiell kreativitet. Og ganske riktig, proteksjonisme er nÃ¸yaktig det " +"som motiverer endringen. Men proteksjonismen som rettferdiggjÃ¸r endringene " +"som jeg skal beskrive lenger ned er ikke den begrensede og balanserte typen " +"som har definert loven tidligere. Dette er ikke en proteksjonisme for Ã¥ " +"beskytte artister. Det er i stedet en proteksjonisme for Ã¥ beskytte " +"bestemte forretningsformer. Selskaper som er truet av potensialet til " +"Internettet for Ã¥ endre mÃ¥ten bÃ¥de kommersiell og ikke-kommersiell kultur " +"blir skapt og delt, har samlet seg for Ã¥ fÃ¥ lovgiverne til Ã¥ bruke loven for " +"Ã¥ beskytte selskapene. Dette er historien om RCA og Armstrong, og det er " +"drÃ¸mmen til Causbyene." + +#. type: Content of: <book><chapter><para> +msgid "" +"For the Internet has unleashed an extraordinary possibility for many to " +"participate in the process of building and cultivating a culture that " +"reaches far beyond local boundaries. That power has changed the marketplace " +"for making and cultivating culture generally, and that change in turn " +"threatens established content industries. The Internet is thus to the " +"industries that built and distributed content in the twentieth century what " +"FM radio was to AM radio, or what the truck was to the railroad industry of " +"the nineteenth century: the beginning of the end, or at least a substantial " +"transformation. Digital technologies, tied to the Internet, could produce a " +"vastly more competitive and vibrant market for building and cultivating " +"culture; that market could include a much wider and more diverse range of " +"creators; those creators could produce and distribute a much more vibrant " +"range of creativity; and depending upon a few important factors, those " +"creators could earn more on average from this system than creators do " +"today—all so long as the RCAs of our day don't use the law to protect " +"themselves against this competition." +msgstr "" +"For Internettet har sluppet lÃ¸s en ekstraordinÃ¦r mulighet for mange til Ã¥ " +"delta i prosessen med Ã¥ bygge og kultivere en kultur som rekker lagt utenfor " +"lokale grenselinjer. Den makten har endret markedsplassen for Ã¥ lage og " +"kultivere kultur generelt, og den endringen truer i neste omgang etablerte " +"innholdsindustrier. Internettet er dermed for industriene som bygget og " +"distribuerte innhold i det tjuende Ã¥rhundret hva FM-radio var for AM-radio, " +"eller hva traileren var for jernbaneindustrien i det nittende Ã¥rhundret: " +"begynnelsen pÃ¥ slutten, eller i hvert fall en markant endring. Digitale " +"teknologier, knyttet til Internettet, kunne produsere et mye mer " +"konkurransedyktig og levende marked for Ã¥ bygge og kultivere kultur. Dette " +"markedet kunne inneholde en mye videre og mer variert utvalg av skapere. " +"Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av " +"kreativitet. Og avhengig av noen fÃ¥ viktige faktorer, sÃ¥ kunne disse " +"skaperne tjenere mer i snitt fra dette systemet enn skaperne gjÃ¸r i " +"dag—sÃ¥ lenge RCA-ene av i dag ikke bruker loven til Ã¥ beskytte dem " +"selv mot denne konkurransen." + +#. type: Content of: <book><chapter><para> +msgid "" +"Yet, as I argue in the pages that follow, that is precisely what is " +"happening in our culture today. These modern-day equivalents of the early " +"twentieth-century radio or nineteenth-century railroads are using their " +"power to get the law to protect them against this new, more efficient, more " +"vibrant technology for building culture. They are succeeding in their plan " +"to remake the Internet before the Internet remakes them." +msgstr "" +"Likevel, som jeg argumenterer for i sidene som fÃ¸lger, er dette nÃ¸yaktig det " +"som skjer i vÃ¥r kultur i dag. Dette som er dagens ekvivalenter til tidlig " +"tjuende Ã¥rhundres radio og nittende Ã¥rhundres jernbaner bruker deres makt " +"til Ã¥ fÃ¥ loven til Ã¥ beskytte dem mot dette nye, mer effektive, mer levende " +"teknologi for Ã¥ bygge kultur. De lykkes i deres plan om Ã¥ gjÃ¸re om " +"Internettet fÃ¸r internettet gjÃ¸r om pÃ¥ dem." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Valenti, Jack" +msgstr "Valenti, Jack" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on creative property rights" +msgstr "om kreative eiendomsrettigheter" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " +"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " +"York Times</citetitle>, 17 January 2002." +msgstr "" +"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " +"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " +"York Times</citetitle>, 17. januar 2002." + +#. type: Content of: <book><chapter><para> +msgid "" +"It doesn't seem this way to many. The battles over copyright and the " +"Internet seem remote to most. To the few who follow them, they seem mainly " +"about a much simpler brace of questions—whether <quote>piracy</quote> " +"will be permitted, and whether <quote>property</quote> will be protected. " +"The <quote>war</quote> that has been waged against the technologies of the " +"Internet—what Motion Picture Association of America (MPAA) president " +"Jack Valenti calls his <quote>own terrorist war</quote><placeholder type=" +"\"footnote\" id=\"0\"/>—has been framed as a battle about the rule of " +"law and respect for property. To know which side to take in this war, most " +"think that we need only decide whether we're for property or against it." +msgstr "" +"Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og " +"Internettet er fjernt for de fleste. For de fÃ¥ som fÃ¸lger dem, virker de i " +"hovedsak Ã¥ handle om et enklere sett med spÃ¸rsmÃ¥l—hvorvidt " +"<quote>piratvirksomhet</quote> vil bli akseptert, og hvorvidt " +"<quote>eiendomsretten</quote> vil bli beskyttet. <quote>Krigen</quote> som " +"har blitt erklÃ¦rt mot teknologiene til Internettet—det presidenten for " +"Motion Picture Association of America (MPAA) Jack Valenti kaller sin " +"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/" +">—har blitt rammet inn som en kamp om Ã¥ fÃ¸lge loven og respektere " +"eiendomsretten. For Ã¥ vite hvilken side vi bÃ¸r ta i denne krigen, de fleste " +"tenker at vi kun trenger Ã¥ bestemme om hvorvidt vi er for eiendomsrett eller " +"mot den." + +#. 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 <quote>creative property.</" +"quote> I believe that <quote>piracy</quote> is wrong, and that the law, " +"properly tuned, should punish <quote>piracy,</quote> whether on or off the " +"Internet." +msgstr "" +"Hvis dette virkelig var alternativene, sÃ¥ ville jeg vÃ¦re enig med Jack " +"Valenti og innholdsindustrien. Jeg tror ogsÃ¥ pÃ¥ eiendomsretten, og spesielt " +"pÃ¥ viktigheten av hva Mr. Valenti sÃ¥ pent kaller <quote>kreativ " +"eiendomsrett</quote>. Jeg tror at <quote>piratvirksomhet</quote> er galt, " +"og at loven, riktig innstilt, bÃ¸r straffe <quote>piratvirksomhet</quote>, " +"bÃ¥de pÃ¥ og utenfor Internettet." + +#. 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 <quote>pirates</quote> will also rid our " +"culture of values that have been integral to our tradition from the start." +msgstr "" +"Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spÃ¸rsmÃ¥l " +"og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner Ã¥ " +"legge merke til denne endringen, sÃ¥ vil krigen for Ã¥ befri verden fra " +"Internettets <quote>pirater</quote> ogsÃ¥ fjerne verdier fra vÃ¥r kultur som " +"har vÃ¦rt integrert til vÃ¥r tradisjon helt fra starten." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Constitution, U.S." +msgstr "Grunnloven i USA" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "First Amendment to" +msgstr "FÃ¸rste tillegg til" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "copyright law" +msgstr "Ã¥ndsverkslov" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "as protection of creators" +msgstr "som beskyttelse for skapere" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "First Amendment" +msgstr "FÃ¸rste grunnlovstillegg" + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Netanel, Neil Weinstock" +msgstr "Netanel, Neil Weinstock" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " +"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " +"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" +"\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"These values built a tradition that, for at least the first 180 years of our " +"Republic, guaranteed creators the right to build freely upon their past, and " +"protected creators and innovators from either state or private control. The " +"First Amendment protected creators against state control. And as Professor " +"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " +"copyright law, properly balanced, protected creators against private " +"control. Our tradition was thus neither Soviet nor the tradition of patrons. " +"It instead carved out a wide berth within which creators could cultivate and " +"extend our culture." +msgstr "" +"Disse verdiene bygget en tradisjon som, for i hvert fall de fÃ¸rste 180 Ã¥rene " +"av vÃ¥r republikk, garanterte skaperne rettigheten til Ã¥ bygge fritt pÃ¥ deres " +"fortid, og beskyttet skaperne og innovatÃ¸rene fra bÃ¥de statlig og privat " +"kontroll. Det fÃ¸rste grunnlovstillegget beskyttet skaperne fra statlig " +"kontroll. Og som professor Neil Netanel kraftfylt argumenterer,<placeholder " +"type=\"footnote\" id=\"0\"/> Ã¥ndsverkslov, skikkelig balansert, beskyttet " +"skaperne mot privat kontroll. VÃ¥r tradisjon var dermed hverken Sovjet eller " +"tradisjonen til velgjÃ¸rere. I stedet skar det ut en bred manÃ¸vreringsrom " +"hvor skapere kunne kultivere og utvide vÃ¥r kultur." + +#. type: Content of: <book><chapter><para> +msgid "" +"Yet the law's response to the Internet, when tied to changes in the " +"technology of the Internet itself, has massively increased the effective " +"regulation of creativity in America. To build upon or critique the culture " +"around us one must ask, Oliver Twist–like, for permission first. " +"Permission is, of course, often granted—but it is not often granted to " +"the critical or the independent. We have built a kind of cultural nobility; " +"those within the noble class live easily; those outside it don't. But it is " +"nobility of any form that is alien to our tradition." +msgstr "" +"Likevel har lovens respons til Internettet, nÃ¥r det knyttes sammen til " +"endringer i teknologien i Internettet selv, fÃ¸rt til massiv Ã¸kting av den " +"effektive reguleringen av kreativitet i USA. For Ã¥ bygge pÃ¥ eller kritisere " +"kulturen rundt oss mÃ¥ en spÃ¸rre, som Oliver Twist, om tillatelse fÃ¸rst. " +"Tillatelse er, naturligvis, ofte innvilget—men det er ikke ofte " +"innvilget til den kritiske eller den uavhengige. Vi har bygget en slags " +"kulturell adel. De innen dette adelskapet har et enkelt liv, mens de pÃ¥ " +"utsiden har det ikke. Men det er adelskap i alle former som er fremmed for " +"vÃ¥r tradisjon." + +#. type: Content of: <book><chapter><para> +msgid "" +"The story that follows is about this war. Is it not about the " +"<quote>centrality of technology</quote> to ordinary life. I don't believe in " +"gods, digital or otherwise. Nor is it an effort to demonize any individual " +"or group, for neither do I believe in a devil, corporate or otherwise. It is " +"not a morality tale. Nor is it a call to jihad against an industry." +msgstr "" +"Historien som fÃ¸lger er om denne krigen. Er det ikke om <quote>betydningen " +"av teknologi</quote> i vanlig liv. Jeg tror ikke pÃ¥ guder, hverken digitale " +"eller andre typer. Det er heller ikke et forsÃ¸k pÃ¥ Ã¥ demonisere noen " +"individer eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig " +"eller pÃ¥ annen mÃ¥te. Det er ikke en moralsk historie. Ei heller er det et " +"rop om hellig krig mot en industri." + +#. type: Content of: <book><chapter><para> +msgid "" +"It is instead an effort to understand a hopelessly destructive war inspired " +"by the technologies of the Internet but reaching far beyond its code. And by " +"understanding this battle, it is an effort to map peace. There is no good " +"reason for the current struggle around Internet technologies to continue. " +"There will be great harm to our tradition and culture if it is allowed to " +"continue unchecked. We must come to understand the source of this war. We " +"must resolve it soon." +msgstr "" +"Det er i stedet et forsÃ¸k pÃ¥ Ã¥ forstÃ¥ en hÃ¥plÃ¸st Ã¸deleggende krig som er " +"inspirert av teknologiene til Internettet, men som rekker lang utenfor dens " +"kode. Og ved Ã¥ forstÃ¥ denne kampen er den en innsats for Ã¥ finne veien til " +"fred. Det er ingen god grunn for Ã¥ fortsette dagens batalje rundt Internett-" +"teknologiene. Det vil vÃ¦re til stor skade for vÃ¥r tradisjon og kultur hvis " +"den fÃ¥r lov til Ã¥ fortsette ukontrollert. Vi mÃ¥ forstÃ¥ kilden til denne " +"krigen. Vi mÃ¥ finne en lÃ¸sning snart." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "intellectual property rights" +msgstr "immaterielle rettigheter" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">Like the Causbys'</emphasis> battle, this war is, " +"in part, about <quote>property.</quote> The property of this war is not as " +"tangible as the Causbys', and no innocent chicken has yet to lose its life. " +"Yet the ideas surrounding this <quote>property</quote> are as obvious to " +"most as the Causbys' claim about the sacredness of their farm was to them. " +"We are the Causbys. Most of us take for granted the extraordinarily powerful " +"claims that the owners of <quote>intellectual property</quote> now assert. " +"Most of us, like the Causbys, treat these claims as obvious. And hence we, " +"like the Causbys, object when a new technology interferes with this " +"property. It is as plain to us as it was to them that the new technologies " +"of the Internet are <quote>trespassing</quote> upon legitimate claims of " +"<quote>property.</quote> It is as plain to us as it was to them that the law " +"should intervene to stop this trespass." +msgstr "" +"<emphasis role=\"strong\">Lik Causbyenes</emphasis> kamp er denne krigen, " +"delvis, om <quote>eiendomsrett</quote>. Eiendommen i denne krigen er ikke " +"like hÃ¥ndfast som den til Causbyene, og ingen uskyldige kyllinger har sÃ¥ " +"langt mistet livet. Likevel er idÃ©ene rundt denne <quote>eiendomsretten</" +"quote> like Ã¥penbare for de fleste som Causbyenes krav om ukrenkeligheten " +"til deres bondegÃ¥rd var for dem. De fleste av oss tar for gitt de uvanlig " +"mektige krav som eierne av <quote>immaterielle rettigheter</quote> nÃ¥ " +"hevder. De fleste av oss, som Causbyene, behandler disse kravene som " +"Ã¥penbare. Og dermed protesterer vi, som Causbyene,, nÃ¥r ny teknologi griper " +"inn i denne eiendomsretten. Det er sÃ¥ klart for oss som det var fro dem at " +"de nye teknologiene til Internettet <quote>tar seg til rette</quote> mot " +"legitime krav til <quote>eiendomsrett</quote>. Det er like klart for oss " +"som det var for dem at loven skulle ta affÃ¦re for Ã¥ stoppe denne " +"inntrengingen i annen manns eiendom." + +#. PAGE BREAK 27 +#. type: Content of: <book><chapter><para> +msgid "" +"And thus, when geeks and technologists defend their Armstrong or Wright " +"brothers technology, most of us are simply unsympathetic. Common sense does " +"not revolt. Unlike in the case of the unlucky Causbys, common sense is on " +"the side of the property owners in this war. Unlike the lucky Wright " +"brothers, the Internet has not inspired a revolution on its side." +msgstr "" +"Og dermed, nÃ¥r nerder og teknologer forsvarer sin tids Armstrong og Wright-" +"brÃ¸denes teknologi, fÃ¥r de lite sympati fra de fleste av oss. Sunn fornuft " +"gjÃ¸r ikke opprÃ¸r. I motsetning til saken til de uheldige Causbyene, er sunn " +"fornuft pÃ¥ samme side som eiendomseierne i denne krigen. I motsetning til " +"hos de heldige Wright-brÃ¸drene, har Internettet ikke inspirert en revolusjon " +"til fordel for seg." + +#. 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 " +"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet " +"there has never been a time when the concentration of power to control the " +"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as " +"it is now." +msgstr "" +"Mitt hÃ¥p er Ã¥ skyve denne sunne fornuften videre. Jeg har blitt stadig mer " +"overrasket over kraften til denne idÃ©en om immaterielle rettigheter og, mer " +"viktig, dets evne til Ã¥ slÃ¥ av kritisk tanke hos lovmakere og innbyggere. " +"Det har aldri fÃ¸r i vÃ¥r historie vÃ¦rt sÃ¥ mye av vÃ¥r <quote>kultur</quote> " +"som har vÃ¦rt <quote>eid</quote> enn det er nÃ¥. Og likevel har aldri fÃ¸r " +"konsentrasjonen av makt til Ã¥ kontrollere <emphasis>bruken</emphasis> av " +"kulturen vÃ¦rt mer akseptert uten spÃ¸rsmÃ¥l enn det er nÃ¥." + +#. 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 "" +"GÃ¥ten er, hvorfor det? Er det fordi vi fÃ¥tt en innsikt i sannheten om " +"verdien og betydningen av absolutt eierskap over idÃ©er og kultur? Er det " +"fordi vi har oppdaget at vÃ¥r tradisjon med Ã¥ avvise slike absolutte krav var " +"feil?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Or is it because the idea of absolute property over ideas and culture " +"benefits the RCAs of our time and fits our own unreflective intuitions?" +msgstr "" +"Eller er det pÃ¥ grunn av at idÃ©er om absolutt eierskap over idÃ©er og kultur " +"gir fordeler til RCA-ene i vÃ¥r tid, og passer med vÃ¥r ureflekterte intuisjon?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Is the radical shift away from our tradition of free culture an instance of " +"America correcting a mistake from its past, as we did after a bloody war " +"with slavery, and as we are slowly doing with inequality? Or is the radical " +"shift away from our tradition of free culture yet another example of a " +"political system captured by a few powerful special interests?" +msgstr "" +"Er denne radikale endringen vekk fra vÃ¥r tradisjon om fri kultur en " +"forekomst av USA som korrigerer en feil fra sin fortid, slik vi gjorde det " +"etter en blodig krig mot slaveri, og slik vi sakte gjÃ¸r det mot " +"forskjellsbehandling? Eller er denne radikale endringen vekk fra vÃ¥r " +"tradisjon med fri kultur nok et eksempel pÃ¥ at vÃ¥rt politiske system er " +"fanget av noen fÃ¥ mektige sÃ¦rinteresser?" + +#. 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 "" +"FÃ¸rer sunn fornuft til det ekstreme i dette spÃ¸rsmÃ¥let pÃ¥ grunn av at sunn " +"fornuft faktisk tror pÃ¥ dette ekstreme? Eller stÃ¥r sunn fornuft i stillhet " +"i mÃ¸tet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer " +"mektige siden har sikret seg at det har et mye mer mektig synspunkt?" + +#. PAGE BREAK 28 +#. type: Content of: <book><chapter><para> +msgid "" +"I don't mean to be mysterious. My own views are resolved. I believe it was " +"right for common sense to revolt against the extremism of the Causbys. I " +"believe it would be right for common sense to revolt against the extreme " +"claims made today on behalf of <quote>intellectual property.</quote> What " +"the law demands today is increasingly as silly as a sheriff arresting an " +"airplane for trespass. But the consequences of this silliness will be much " +"more profound." +msgstr "" +"Jeg forsÃ¸ker ikke Ã¥ vÃ¦re mystisk. Mine egne synspunkter er klare. Jeg mener " +"det var riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r mot ekstremismen til " +"Causbyene. Jeg mener det ville vÃ¦re riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r " +"mot de ekstreme krav som gjÃ¸res i dag pÃ¥ vegne av <quote>immaterielle " +"rettigheter</quote>. Det som loven krever i dag er mer Ã¥ mer like dumt som " +"om lensmannen skulle arrestere en flymaskin for Ã¥ trenge inn pÃ¥ annen manns " +"eiendom. Men konsekvensene av den nye dumskapen vil bli mye mer " +"dyptgripende." + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">The struggle</emphasis> that rages just now " +"centers on two ideas: <quote>piracy</quote> and <quote>property.</quote> My " +"aim in this book's next two parts is to explore these two ideas." +msgstr "" +"<emphasis role=\"strong\">Basketaket</emphasis> som pÃ¥gÃ¥r akkurat nÃ¥ " +"senterer seg rundt to idÃ©er: <quote>piratvirksomhet</quote> og " +"<quote>eiendom</quote>. Mitt mÃ¥l med denne bokens neste to deler er Ã¥ " +"utforske disse to idÃ©ene." + +#. type: Content of: <book><chapter><para> +msgid "" +"My method is not the usual method of an academic. I don't want to plunge you " +"into a complex argument, buttressed with references to obscure French " +"theorists—however natural that is for the weird sort we academics have " +"become. Instead I begin in each part with a collection of stories that set a " +"context within which these apparently simple ideas can be more fully " +"understood." +msgstr "" +"Metoden min er ikke den vanlige metoden for en akademiker. Jeg Ã¸nsker ikke " +"Ã¥ plÃ¸ye deg inn i et komplisert argument, steinsatt med referanser til " +"obskure franske teoretikere—uansett hvor naturlig det har blitt for " +"den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del " +"med en samling historier som etablerer en sammenheng der disse " +"tilsynelatende enkle idÃ©ene kan bli fullt ut forstÃ¥tt." + +#. 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 <quote>something new,</quote> is destroying " +"something very old. Rather than understanding the changes the Internet might " +"permit, and rather than taking time to let <quote>common sense</quote> " +"resolve how best to respond, we are allowing those most threatened by the " +"changes to use their power to change the law—and more importantly, to " +"use their power to change something fundamental about who we have always " +"been." +msgstr "" +"De to delene setter opp kjernen i pÃ¥standen til denne boken: at mens " +"Internettet faktisk har produsert noe fantastisk og nytt, bidrar vÃ¥re " +"myndigheter, presset av store medieaktÃ¸rer for Ã¥ mÃ¸te dette <quote>noe nytt</" +"quote> til Ã¥ Ã¸delegge noe som er svÃ¦rt gammelt. I stedet for Ã¥ forstÃ¥ " +"endringene som Internettet kan gjÃ¸re mulig, og i stedet for Ã¥ ta den tiden " +"som trengs for Ã¥ la <quote>sunn fornuft</quote> finne ut hvordan best svare " +"pÃ¥ utfordringen, sÃ¥ lar vi de som er mest truet av endringene bruke sin makt " +"til Ã¥ endre loven—og viktigere, Ã¥ bruke sin makt til Ã¥ endre noe " +"fundamentalt om hvordan vi alltid har fungert." + +#. type: Content of: <book><chapter><para> +msgid "" +"We allow this, I believe, not because it is right, and not because most of " +"us really believe in these changes. We allow it because the interests most " +"threatened are among the most powerful players in our depressingly " +"compromised process of making law. This book is the story of one more " +"consequence of this form of corruption—a consequence to which most of " +"us remain oblivious." +msgstr "" +"Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi " +"de fleste av oss tror pÃ¥ disse endringene. Vi tillater det pÃ¥ grunn av at " +"de interessene som er mest truet er blant de mest mektige aktÃ¸rene i vÃ¥r " +"deprimerende kompromitterte prosess for Ã¥ utforme lover. Denne boken er " +"historien om nok en konsekvens for denne type korrupsjon—en konsekvens " +"for de fleste av oss forblir ukjent med." + +#. type: Content of: <book><part><title> +msgid "<quote>PIRACY</quote>" +msgstr "<quote>Piratvirksomhet</quote>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "English" +msgstr "Engelsk" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Mansfield, William Murray, Lord" +msgstr "Mansfield, William Murray, Lord" + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "music publishing" +msgstr "musikkpublisering" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "sheet music" +msgstr "noteark" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role=\"strong\">Since the inception</emphasis> of the law " +"regulating creative property, there has been a war against <quote>piracy.</" +"quote> The precise contours of this concept, <quote>piracy,</quote> are hard " +"to sketch, but the animating injustice is easy to capture. As Lord " +"Mansfield wrote in a case that extended the reach of English copyright law " +"to include sheet music," +msgstr "" +"<emphasis role=\"strong\">Helt siden</emphasis> loven begynte Ã¥ regulere " +"kreative eierrettigheter, har det vÃ¦rt en krig mot <quote>piratvirksomhet</" +"quote>. De presise konturene av dette konseptet, <quote>piratvirksomhet</" +"quote>, har vÃ¦rt vanskelig Ã¥ tegne opp, men bildet av urettferdighet er " +"enkelt Ã¥ beskrive. Som Lord Mansfield skrev i en sak som utvidet " +"rekkevidden for engelsk Ã¥ndsverkslov til Ã¥ inkludere noteark," + +#. f1 +#. type: Content of: <book><part><partintro><blockquote><para><footnote><para> +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." +msgstr "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." + +#. type: Content of: <book><part><partintro><blockquote><para> +msgid "" +"A person may use the copy by playing it, but he has no right to rob the " +"author of the profit, by multiplying copies and disposing of them for his " +"own use.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"En person kan bruke kopien til Ã¥ spille den, men han har ingen rett til Ã¥ " +"robbe forfatteren for profitten, ved Ã¥ lage flere kopier og distribuere " +"etter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "efficient content distribution on" +msgstr "effektiv innholdsdistribusjon pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "peer-to-peer (p2p) file sharing" +msgstr "peer-to-peer(p2p)-fildeling" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "efficiency of" +msgstr "effektiviteten til" + +#. PAGE BREAK 31 +#. type: Content of: <book><part><partintro><para> +msgid "" +"Today we are in the middle of another <quote>war</quote> against " +"<quote>piracy.</quote> The Internet has provoked this war. The Internet " +"makes possible the efficient spread of content. Peer-to-peer (p2p) file " +"sharing is among the most efficient of the efficient technologies the " +"Internet enables. Using distributed intelligence, p2p systems facilitate the " +"easy spread of content in a way unimagined a generation ago." +msgstr "" +"I dag er vi midt inne i en annen <quote>krig</quote> mot " +"<quote>piratvirksomhet</quote>. Internettet har fremprovosert denne krigen. " +"Internettet gjÃ¸r det mulig Ã¥ effektivt spre innhold. Peer-to-peer (p2p) " +"fildeling er blant det mest effektive av de effektive teknologier " +"Internettet muliggjÃ¸r. Ved Ã¥ bruke distribuert intelligens, kan p2p-systemer " +"muliggjÃ¸re enkel spredning av innhold pÃ¥ en mÃ¥te som ingen forestilte seg " +"for en generasjon siden." + +#. type: Content of: <book><part><partintro><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 <quote>rob the author of the profit.</quote>" +msgstr "" +"Denne effektiviteten respekterer ikke de tradisjonelle skillene i " +"opphavsretten. Nettverket skiller ikke mellom deling av " +"opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det " +"vÃ¦rt deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne " +"delingen har i sin tur ansporet til krigen, pÃ¥ grunn av at eiere av " +"opphavsretter frykter delingen vil <quote>frata forfatteren overskuddet.</" +"quote>" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The warriors have turned to the courts, to the legislatures, and " +"increasingly to technology to defend their <quote>property</quote> against " +"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is " +"being raised to believe that <quote>property</quote> should be <quote>free.</" +"quote> Forget tattoos, never mind body piercing—our kids are becoming " +"<emphasis>thieves</emphasis>!" +msgstr "" +"Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig stÃ¸rre " +"grad til teknologi for Ã¥ forsvare sin <quote>eiendom</quote> mot denne " +"<quote>piratvirksomheten</quote>. En generasjon amerikanere, advarer " +"krigerne, blir oppdratt til Ã¥ tro at <quote>eiendom</quote> skal vÃ¦re " +"<quote>gratis</quote>. Glem tatoveringer, ikke tenk pÃ¥ kroppspiercing—" +"vÃ¥re barn blir <emphasis>tyver</emphasis>!" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"There's no doubt that <quote>piracy</quote> is wrong, and that pirates " +"should be punished. But before we summon the executioners, we should put " +"this notion of <quote>piracy</quote> in some context. For as the concept is " +"increasingly used, at its core is an extraordinary idea that is almost " +"certainly wrong." +msgstr "" +"Det er ingen tvil om at <quote>piratvirksomhet</quote> er galt, og at " +"pirater bÃ¸r straffes. Men fÃ¸r vi roper pÃ¥ bÃ¸dlene, bÃ¸r vi sette dette " +"<quote>piratvirksomhets</quote>-begrepet i en sammenheng. For mens begrepet " +"blir mer og mer brukt, har det i sin kjerne en ekstraordinÃ¦r idÃ© som nesten " +"helt sikkert er feil." + +#. type: Content of: <book><part><partintro><para> +msgid "The idea goes something like this:" +msgstr "IdÃ©en hÃ¸res omtrent slik ut:" + +#. type: Content of: <book><part><partintro><blockquote><para> +msgid "" +"Creative work has value; whenever I use, or take, or build upon the creative " +"work of others, I am taking from them something of value. Whenever I take " +"something of value from someone else, I should have their permission. The " +"taking of something of value from someone else without permission is wrong. " +"It is a form of piracy." +msgstr "" +"Kreativt arbeid har verdi. NÃ¥r jeg bruker, eller tar, eller bygger pÃ¥ det " +"kreative arbeidet til andre, sÃ¥ tar jeg noe fra dem som har verdi. NÃ¥r jeg " +"tar noe av verdi fra noen andre, bÃ¸r jeg fÃ¥ tillatelse fra dem. Ã ta noe " +"som har verdi fra andre uten tillatelse er galt. Det er en form for " +"piratvirksomhet." + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "ASCAP" +msgstr "ASCAP" + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "Dreyfuss, Rochelle" +msgstr "Dreyfuss, Rochelle" + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "Girl Scouts" +msgstr "Jentespeidere" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "creative property" +msgstr "kreativ eiendel" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "<quote>if value, then right</quote> theory of" +msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien om" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "<quote>if value, then right</quote> theory" +msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien" + +#. f2 +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " +"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" +"citetitle> 65 (1990): 397." +msgstr "" +"Se Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " +"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" +"citetitle> 65 (1990): 397." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Zittrain, Jonathan" +msgstr "Zittrain, Jonathan" + +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," +"</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; " +"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of " +"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" +"citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," +"</quote> <citetitle>Wall Street Journal</citetitle>, 21. august 1996, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #3</" +"ulink>; Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle " +"of Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" +"citetitle>, 24. november 2002. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"This view runs deep within the current debates. It is what NYU law professor " +"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> " +"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —" +"if there is value, then someone must have a right to that value. It is the " +"perspective that led a composers' rights organization, ASCAP, to sue the " +"Girl Scouts for failing to pay for the songs that girls sang around Girl " +"Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was " +"<quote>value</quote> (the songs) so there must have been a <quote>right</" +"quote>—even against the Girl Scouts." +msgstr "" +"Dette synet gÃ¥r dypt i de pÃ¥gÃ¥ende debattene. Det er hva jussprofessor " +"Rochelle Dreyfuss ved NYU kritiserer som <quote>hvis verdi, sÃ¥ rettighet</" +"quote>-teorien for kreative eierrettigheter <placeholder type=\"footnote\" " +"id=\"0\"/>—hvis det finnes verdi, sÃ¥ mÃ¥ noen ha rettigheten til denne " +"verdien. Det er perspektivet som fikk komponistenes rettighetsorganisasjon, " +"ASCAP, til Ã¥ saksÃ¸ke jentespeiderne for Ã¥ ikke betale for sangene som " +"jentene sagt rundt jentespeidernes leirbÃ¥l.<placeholder type=\"footnote\" id=" +"\"1\"/> Det fantes <quote>verdi</quote> (sangene), sÃ¥ det mÃ¥tte ha vÃ¦rt en " +"<quote>rettighet</quote>—til og med mot jentespeiderne." + +#. PAGE BREAK 32 +#. type: Content of: <book><part><partintro><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 <quote>if value, then right</quote> " +"theory of creative property has never been America's theory of creative " +"property. It has never taken hold within our law." +msgstr "" +"Denne idÃ©en er helt klart en mulig forstÃ¥else om hvordan kreative " +"eierrettigheter bÃ¸r virke. Det er helt klart et mulig design for et " +"lovsystem som beskytter kreative eierrettigheter. Men teorien om " +"<quote>hvis verdi, sÃ¥ rettighet</quote> for kreative eierrettigheter har " +"aldri vÃ¦rt USAs teori for kreative eierrettigheter. It har aldri stÃ¥tt rot " +"i vÃ¥rt lovverk." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on republishing vs. transformation of original work" +msgstr "pÃ¥ gjenpublisering vs. endring av opprinnelig verk" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "creativity" +msgstr "kreativitet" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "legal restrictions on" +msgstr "juridiske begrensninger pÃ¥" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"Instead, in our tradition, intellectual property is an instrument. It sets " +"the groundwork for a richly creative society but remains subservient to the " +"value of creativity. The current debate has this turned around. We have " +"become so concerned with protecting the instrument that we are losing sight " +"of the value." +msgstr "" +"I vÃ¥r tradisjon har immaterielle rettigheter i stedet vÃ¦rt et instrument. " +"Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt " +"til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi " +"har blitt sÃ¥ opptatt av Ã¥ beskytte instrumentet at vi mister verdien av syne." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The source of this confusion is a distinction that the law no longer takes " +"care to draw—the distinction between republishing someone's work on " +"the one hand and building upon or transforming that work on the other. " +"Copyright law at its birth had only publishing as its concern; copyright law " +"today regulates both." +msgstr "" +"Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om " +"Ã¥ markere—skillet mellom Ã¥ gjenpublisere noens verk pÃ¥ den ene siden, " +"og bygge pÃ¥ og gjÃ¸re om verket pÃ¥ den andre. Da opphavsretten kom var det " +"kun publisering som ble berÃ¸rt. Opphavsretten i dag regulerer begge." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"Before the technologies of the Internet, this conflation didn't matter all " +"that much. The technologies of publishing were expensive; that meant the " +"vast majority of publishing was commercial. Commercial entities could bear " +"the burden of the law—even the burden of the Byzantine complexity that " +"copyright law has become. It was just one more expense of doing business." +msgstr "" +"FÃ¸r teknologiene til Internettet dukket opp, betÃ¸d ikke denne begrepsmessige " +"sammenblandingen mye. Teknologiene for Ã¥ publisere var kostbare, som betÃ¸d " +"at det meste av publisering var kommersiell. Kommersielle aktÃ¸rer kunne " +"hÃ¥ndtere byrden pÃ¥lagt av loven—til og med byrden som den bysantiske " +"kompleksiteten som Ã¥ndsverksloven har blitt. Det var bare nok en kostnad " +"ved Ã¥ drive forretning." + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "creativity impeded by" +msgstr "kreativitet hindret av" + +#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> +msgid "Florida, Richard" +msgstr "Florida, Richard" + +#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> +msgid "Rise of the Creative Class, The (Florida)" +msgstr "Rise of the Creative Class, The (Florida)" + +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " +"Books, 2002), Richard Florida documents a shift in the nature of labor " +"toward a labor of creativity. His work, however, doesn't directly address " +"the legal conditions under which that creativity is enabled or stifled. I " +"certainly agree with him about the importance and significance of this " +"change, but I also believe the conditions under which it will be enabled are " +"much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" +msgstr "" +"I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " +"Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " +"kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " +"vilkÃ¥r som kreativiteten blir muliggjort eller hindret under. Jeg er helt " +"klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " +"tror ogsÃ¥ at vilkÃ¥rene som disse endringene blir aktivert under er mye " +"vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"But with the birth of the Internet, this natural limit to the reach of the " +"law has disappeared. The law controls not just the creativity of commercial " +"creators but effectively that of anyone. Although that expansion would not " +"matter much if copyright law regulated only <quote>copying,</quote> when the " +"law regulates as broadly and obscurely as it does, the extension matters a " +"lot. The burden of this law now vastly outweighs any original benefit—" +"certainly as it affects noncommercial creativity, and increasingly as it " +"affects commercial creativity as well. Thus, as we'll see more clearly in " +"the chapters below, the law's role is less and less to support creativity, " +"and more and more to protect certain industries against competition. Just at " +"the time digital technology could unleash an extraordinary range of " +"commercial and noncommercial creativity, the law burdens this creativity " +"with insanely complex and vague rules and with the threat of obscenely " +"severe penalties. We may be seeing, as Richard Florida writes, the " +"<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id=" +"\"0\"/> Unfortunately, we are also seeing an extraordinary rise of " +"regulation of this creative class." +msgstr "" +"Men da Internettet dukket opp, forsvant denne naturlige begrensningen til " +"lovens virkeomrÃ¥de. Loven kontrollerer ikke bare kreativiteten til " +"kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om " +"utvidelsen ikke ville bety stort hvis Ã¥ndsverksloven kun regulerte " +"<quote>kopiering</quote>, sÃ¥ betyr utvidelsen mye nÃ¥r loven regulerer sÃ¥ " +"bredt og obskurt som den gjÃ¸r. Byrden denne loven gir oppveier nÃ¥ langt " +"fordelene den ga da den ble vedtatt—helt klart slik den pÃ¥virker ikke-" +"kommersiell kreativitet, og i stadig stÃ¸rre grad slik den pÃ¥virker " +"kommersiell kreativitet. Dermed, slik vi ser klarere i kapitlene som " +"fÃ¸lger, er lovens rolle mindre og mindre Ã¥ stÃ¸tte kreativitet, og mer og mer " +"Ã¥ beskytte enkelte industrier mot konkurranse. Akkurat pÃ¥ tidspunktet da " +"digital teknologi kunne sluppet lÃ¸s en ekstraordinÃ¦r mengde med kommersiell " +"og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med " +"sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde " +"straffer. Vi ser kanskje, som Richard Florida skriver, <quote>Fremveksten " +"av den kreative klasse</quote><placeholder type=\"footnote\" id=\"0\"/> " +"Dessverre ser vi ogsÃ¥ en ekstraordinÃ¦r fremvekst av reguleringer av denne " +"kreative klassen." + +#. type: Content of: <book><part><partintro><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 <quote>piracy.</quote>" +msgstr "" +"Disse byrdene gir ingen mening i vÃ¥r tradisjon. Vi bÃ¸r begynne med Ã¥ forstÃ¥ " +"den tradisjonen litt mer, og ved Ã¥ plassere dagens slag om oppfÃ¸rsel med " +"merkelappen <quote>piratvirksomhet</quote> i sin rette sammenheng." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER ONE: Creators" +msgstr "Kapittel en: Skaperne" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "animated cartoons" +msgstr "animasjonsfilmer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "cartoon films" +msgstr "tegnefilmer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "films" +msgstr "filmer" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "animated" +msgstr "animerte" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Steamboat Willie" +msgstr "Steamboat Willie" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Mickey Mouse" +msgstr "Mikke Mus" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role=\"strong\">In 1928</emphasis>, a cartoon character was born. " +"An early Mickey Mouse made his debut in May of that year, in a silent flop " +"called <citetitle>Plane Crazy</citetitle>. In November, in New York City's " +"Colony Theater, in the first widely distributed cartoon synchronized with " +"sound, <citetitle>Steamboat Willie</citetitle> brought to life the character " +"that would become Mickey Mouse." +msgstr "" +"<emphasis role=\"strong\">I 1928</emphasis> ble en tegnefilmfigur fÃ¸dt. En " +"tidlig Mikke Mus debuterte i mai dette Ã¥ret, i en stille flopp ved navn " +"<citetitle>Plane Crazy</citetitle>. I november, i Colony teateret i New " +"York City, ble den fÃ¸rste vidt distribuerte tegnefilmen med synkronisert " +"lyd, <citetitle>Steamboat Willy</citetitle>, vist frem med figuren som " +"skulle bli til Mikke Mus." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Disney, Walt" +msgstr "Disney, Walt" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Synchronized sound had been introduced to film a year earlier in the movie " +"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " +"the technique and mix sound with cartoons. No one knew whether it would work " +"or, if it did work, whether it would win an audience. But when Disney ran a " +"test in the summer of 1928, the results were unambiguous. As Disney " +"describes that first experiment," +msgstr "" +"Film med synkronisert lyd hadde blitt introdusert et Ã¥r tidligere i filmen " +"<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til Ã¥ " +"kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " +"ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " +"for det. Men da Disney gjorde en test sommeren 1928, var resultatet " +"entydig. Som Disney beskriver dette fÃ¸rste eksperimentet," + +#. PAGE BREAK 35 +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"A couple of my boys could read music, and one of them could play a mouth " +"organ. We put them in a room where they could not see the screen and " +"arranged to pipe their sound into the room where our wives and friends were " +"going to see the picture." +msgstr "" +"Et par av guttene mine kunne lese noteark, og en av dem kunne spille " +"munnspill. Vi stappet dem inn i et rom hvor de ikke kunne se skjermen, og " +"gjorde det slik at lyden de spilte ble sendt videre til et rom hvor vÃ¥re " +"koner og venner var plassert for Ã¥ se pÃ¥ bildet." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The boys worked from a music and sound-effects score. After several false " +"starts, sound and action got off with the gun. The mouth organist played the " +"tune, the rest of us in the sound department bammed tin pans and blew slide " +"whistles on the beat. The synchronization was pretty close." +msgstr "" +"Guttene brukte et note- og lydeffekt-ark. Etter noen dÃ¥rlige oppstarter, " +"kom endelig lyd og handling i gang med et smell. Munnspilleren spilte " +"melodien, og resten av oss i lydavdelingen slamret pÃ¥ tinnkasseroller og " +"blÃ¥ste pÃ¥ slide-flÃ¸yte til rytmen. Synkroniseringen var nesten helt riktig." + +#. f1 +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +msgid "" +"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " +"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." +msgstr "" +"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " +"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The effect on our little audience was nothing less than electric. They " +"responded almost instinctively to this union of sound and motion. I thought " +"they were kidding me. So they put me in the audience and ran the action " +"again. It was terrible, but it was wonderful! And it was something new!" +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Effekten pÃ¥ vÃ¥rt lille publikum var intet mindre enn elektrisk. De reagerte " +"nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de " +"tullet med meg. SÃ¥ de puttet meg i publikum og satte igang pÃ¥ nytt. Det " +"var grufullt, men det var fantastisk. Og det var noe nytt!<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Iwerks, Ub" +msgstr "Iwerks, Ub" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Disney's then partner, and one of animation's most extraordinary talents, Ub " +"Iwerks, put it more strongly: <quote>I have never been so thrilled in my " +"life. Nothing since has ever equaled it.</quote>" +msgstr "" +"Disneys davÃ¦rende partner, og en av animasjonsverdenens mest ekstraordinÃ¦re " +"talenter, Ub Iwerks, uttalte det sterkere: <quote>Jeg har aldri vÃ¦rt sÃ¥ " +"begeistret i hele mitt liv. Ingenting annet har noen sinne vÃ¦rt like bra.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Disney had created something very new, based upon something relatively new. " +"Synchronized sound brought life to a form of creativity that had " +"rarely—except in Disney's hands—been anything more than filler " +"for other films. Throughout animation's early history, it was Disney's " +"invention that set the standard that others struggled to match. And quite " +"often, Disney's great genius, his spark of creativity, was built upon the " +"work of others." +msgstr "" +"Disney hadde laget noe helt nyt, basert pÃ¥ noe relativt nytt. Synkronisert " +"lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " +"Disneys hender—vÃ¦rt noe annet en fyllstoff for andre filmer. Gjennom " +"animasjonens tidligere historie var det Disneys oppfinnelse som satte " +"standarden som andre mÃ¥tte sloss for Ã¥ oppfylle. Og ganske ofte var Disneys " +"store geni, hans gnist av kreativitet, bygget pÃ¥ arbeidet til andre." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Keaton, Buster" +msgstr "Keaton, Buster" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Steamboat Bill, Jr." +msgstr "Steamboat Bill, Jr." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This much is familiar. What you might not know is that 1928 also marks " +"another important transition. In that year, a comic (as opposed to cartoon) " +"genius created his last independently produced silent film. That genius was " +"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." +msgstr "" +"Dette er kjent stoff. Det du kanskje ikke vet er at 1928 ogsÃ¥ markerer en " +"annen viktig overgang. I samme Ã¥r laget et komedie-geni (i motsetning til " +"tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " +"Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Keaton was born into a vaudeville family in 1895. In the era of silent film, " +"he had mastered using broad physical comedy as a way to spark uncontrollable " +"laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " +"classic of this form, famous among film buffs for its incredible stunts. " +"The film was classic Keaton—wildly popular and among the best of its " +"genre." +msgstr "" +"Keaton ble fÃ¸dt inn i en vauderville-familie i 1895. I stumfilm-Ã¦raen hadde " +"han mestret bruken av bredpenslet fysisk komedie pÃ¥ en mÃ¥te som tente " +"ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" +"citetitle>. var en klassiker av denne typen, berÃ¸mt blant film-elskere for " +"sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " +"populÃ¦r og blant de beste i sin sjanger." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "derivative works" +msgstr "avledede verker" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "piracy vs." +msgstr "piratvirksomhet vs." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "piracy" +msgstr "piratvirksomhet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "derivative work vs." +msgstr "avledede verk vas." + +#. f2 +#. type: Content of: <book><part><chapter><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 <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill," +"</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</" +"quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and " +"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the " +"Straw,</quote> was already in the public domain. Letter from David Smith to " +"Harry Surden, 10 July 2003, on file with author." +msgstr "" +"Jeg er takknemlig overfor David Gerstein og hans nÃ¸yaktige historie, " +"beskrevet pÃ¥ <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " +"I fÃ¸lge Dave Smith ved the Disney Archives, betalte Disney for Ã¥ bruke " +"musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " +"<quote>Steamboat Bill,</quote> <quote>The Simpleton</quote> (Delille), " +"<quote>Mischief Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</" +"quote> (Baron), og <quote>Gawky Rube</quote> (Lakay). En sjette sang, " +"<quote>The Turkey in the Straw,</quote> var allerede allemannseie. Brev fra " +"David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til " +"forfatteren." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " +"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " +"Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" +"\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " +"It is not just from the invention of synchronized sound in <citetitle>The " +"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " +"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " +"inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat " +"Willie, and then from Steamboat Willie, Mickey Mouse." +msgstr "" +"<citetitle>Steamboat Bill, Jr</citetitle>. kom fÃ¸r Disneys tegnefilm " +"Steamboat Willie. Det er ingen tilfeldighet at titlene er sÃ¥ like. " +"Steamboat Willie er en direkte tegneserieparodi av Steamboat Bill," +"<placeholder type=\"footnote\" id=\"0\"/> og begge bygger pÃ¥ en felles sang " +"som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i " +"<citetitle>The Jazz Singer</citetitle> at vi fÃ¥r <citetitle>Steamboat " +"Willie</citetitle>. Det er ogsÃ¥ fra Buster Keatons nyskapning Steamboat " +"Bill, Jr., som igjen var inspirert av sangen <quote>Steamboat Bill</quote>, " +"at vi fÃ¥r Steamboat Willie. Og fra Steamboat Willie fÃ¥r vi sÃ¥ Mikke Mus." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "by transforming previous works" +msgstr "ved Ã¥ endre tidligere verker" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Disney, Inc." +msgstr "Disney, Inc." + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse " +"that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink url=" +"\"http://free-culture.cc/notes/\">link #5</ulink>." +msgstr "" +"Han var ogsÃ¥ tilhenger av allmannseiet. Se Chris Sprigman, <quote>The Mouse " +"that Ate the Public Domain,</quote> Findlaw, 5. mars 2002, fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #5</ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This <quote>borrowing</quote> was nothing unique, either for Disney or for " +"the industry. Disney was always parroting the feature-length mainstream " +"films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many " +"others. Early cartoons are filled with knockoffs—slight variations on " +"winning themes; retellings of ancient stories. The key to success was the " +"brilliance of the differences. With Disney, it was sound that gave his " +"animation its spark. Later, it was the quality of his work relative to the " +"production-line cartoons with which he competed. Yet these additions were " +"built upon a base that was borrowed. Disney added to the work of others " +"before him, creating something new out of something just barely old." +msgstr "" +"Denne <quote>lÃ¥ningen</quote> var ikke unik, hverken for Disney eller for " +"industrien. Disney apet alltid etter full-lengde massemarkedsfilmene rundt " +"ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " +"Tidlige tegnefilmer er stappfulle av etterapninger—smÃ¥ variasjoner " +"over suksessfulle temaer, gamle historier fortalt pÃ¥ nytt. NÃ¸kkelen til " +"suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " +"gnisten til hans animasjoner. Senere var det kvaliteten pÃ¥ hans arbeide " +"relativt til de masseproduserte tegnefilmene som han konkurrerte med. " +"Likevel var disse bidragene bygget pÃ¥ toppen av fundamentet som var lÃ¥nt. " +"Disney bygget pÃ¥ arbeidet til andre som kom fÃ¸r han, og skapte noe nytt ut " +"av noe som bare var litt gammelt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Grimm fairy tales" +msgstr "Grimm-eventyr" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Sometimes this borrowing was slight. Sometimes it was significant. Think " +"about the fairy tales of the Brothers Grimm. If you're as oblivious as I " +"was, you're likely to think that these tales are happy, sweet stories, " +"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " +"well, for us, grim. It is a rare and perhaps overly ambitious parent who " +"would dare to read these bloody, moralistic stories to his or her child, at " +"bedtime or anytime." +msgstr "" +"Noen ganger var lÃ¥ningen begrenset, og noen ganger var den betydelig. Tenkt " +"pÃ¥ eventyrene til brÃ¸drene Grimm. Hvis du er like ubevisst som jeg var, sÃ¥ " +"tror du sannsynlighvis at disse fortellingene er glade, sÃ¸te historier som " +"passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " +"for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiÃ¸se " +"foreldre som ville vÃ¥ge Ã¥ lese disse blodige moralistiske historiene til " +"sine barn, ved leggetid eller hvilken som helst annet tidspunkt." + +#. PAGE BREAK 37 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Disney took these stories and retold them in a way that carried them into a " +"new age. He animated the stories, with both characters and light. Without " +"removing the elements of fear and danger altogether, he made funny what was " +"dark and injected a genuine emotion of compassion where before there was " +"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " +"of Disney work drawing upon the work of others is astonishing when set " +"together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" +"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " +"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " +"<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" +"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " +"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " +"(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" +"citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " +"<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " +"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" +"—not to mention a recent example that we should perhaps quickly " +"forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " +"cases, Disney (or Disney, Inc.) ripped creativity from the culture around " +"him, mixed that creativity with his own extraordinary talent, and then " +"burned that mix into the soul of his culture. Rip, mix, and burn." +msgstr "" +"Disney tok disse historiene og fortalte dem pÃ¥ nytt pÃ¥ en mÃ¥te som fÃ¸rte dem " +"inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. " +"Uten Ã¥ fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " +"mÃ¸rkt og satte inn en ekte fÃ¸lelse av medfÃ¸lelse der det fÃ¸r var frykt. Og " +"ikke bare med verkene av brÃ¸drene Grimm. Faktisk er katalogen over Disney-" +"arbeid som baserer seg pÃ¥ arbeidet til andre ganske forblÃ¸ffende nÃ¥r den " +"blir samlet: <citetitle>SnÃ¸hvit</citetitle> (1937), <citetitle>Fantasia</" +"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " +"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " +"<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" +"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " +"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " +"(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " +"<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " +"(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " +"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" +"—for ikke Ã¥ nevne et nylig eksempel som vi bÃ¸r kanskje glemme raskt, " +"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " +"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " +"med kreativiteten fra sitt eget ekstraordinÃ¦re talent, og deretter brent " +"denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." + +#. type: Content of: <book><part><chapter><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 <quote>Disney creativity,</quote> though that would be a bit " +"misleading. It is, more precisely, <quote>Walt Disney creativity</" +"quote>—a form of expression and genius that builds upon the culture " +"around us and makes it something different." +msgstr "" +"Dette er en type kreativitet. Det er en kreativitet som vi bÃ¸r huske pÃ¥ og " +"feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " +"denne typen. Vi trenger ikke gÃ¥ sÃ¥ langt for Ã¥ anerkjenne dens betydning. " +"Vi kan kalle dette <quote>Disney-kreativitet</quote>, selv om det vil vÃ¦re " +"litt misvisende. Det er mer presist <quote>Walt Disney-kreativitet</" +"quote>—en uttrykksform og genialitet som bygger pÃ¥ kulturen rundt oss " +"og omformer den til noe annet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "copyright" +msgstr "opphavsrett" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "duration of" +msgstr "varighet til" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "public domain" +msgstr "allemannseie (public domain)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "defined" +msgstr "definert" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "traditional term for conversion to" +msgstr "tradisjonell frist for konvertering til" + +#. f4 +#. type: Content of: <book><part><chapter><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 <quote>average</" +"quote> term by determining the weighted average of total registrations for " +"any particular year, and the proportion renewing. Thus, if 100 copyrights " +"are registered in year 1, and only 15 are renewed, and the renewal term is " +"28 years, then the average term is 32.2 years. For the renewal data and " +"other relevant data, see the Web site associated with this book, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>." +msgstr "" +"Inntil 1976 ga Ã¥ndsverksloven en forfatter to mulige verneperioder: en " +"initiell periode, og en fornyingsperiode. Jeg har beregnet " +"<quote>gjennomsnittlig</quote> vernetid ved Ã¥ finne vektet gjennomsnitt av " +"de totale registreringer for et gitt Ã¥r, og andelen fornyinger. Hvis 100 " +"opphavsretter ble registrert i Ã¥r 1, bare 15 av dem ble fornyet, og " +"fornyingsvernetiden er 28 Ã¥r, sÃ¥ er gjennomsnittlig vernetid 32,2 Ã¥r. " +"Fornyingsdata og andre relevante data ligger pÃ¥ nettsidene tilknyttet denne " +"boka, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #6</" +"ulink>." + +#. type: Content of: <book><part><chapter><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 <quote>exclusive " +"right</quote> to control certain uses of the work. To use this copyrighted " +"work in limited ways required the permission of the copyright owner." +msgstr "" +"I 1928 var kulturen som Disney fritt kunne trekke veksler pÃ¥ relativt " +"fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske " +"levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve " +"Ã¥r—for den lille delen av kreative verk som faktisk var " +"opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at " +"i tredve Ã¥r, i gjennomsnitt, hadde forfattere eller kreative verks " +"opphavsrettighetsinnehaver en <quote>eksklusiv rett</quote> til a " +"kontrollere bestemte typer bruk av verket. For Ã¥ bruke disse " +"opphavsrettsbeskyttede verkene pÃ¥ de begrensede mÃ¥tene krevde tillatelse fra " +"opphavsrettsinnehaveren." + +#. type: Content of: <book><part><chapter><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 <quote>lawyer-free zone.</quote> " +"Thus, most of the content from the nineteenth century was free for Disney to " +"use and build upon in 1928. It was free for anyone— whether connected " +"or not, whether rich or not, whether approved or not—to use and build " +"upon." +msgstr "" +"NÃ¥r opphavsrettens vernetid er over, faller et verk i det fri og blir " +"allemannseie. Ingen tillatelse trengs da for Ã¥ bygge pÃ¥ eller bruke dette " +"verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en " +"<quote>advokat-fri sone</quote>. Det meste av innhold fra det nittende " +"Ã¥rhundre var dermed fritt tilgjengelig for Disney Ã¥ bruke eller bygge pÃ¥ i " +"1928. Det var tilgjengelig for enhver—uansett om de hadde " +"forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller " +"ikke—til Ã¥ bruke og bygge videre pÃ¥." + +#. PAGE BREAK 38 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is the ways things always were—until quite recently. For most of " +"our history, the public domain was just over the horizon. From until 1978, " +"the average copyright term was never more than thirty-two years, meaning " +"that most culture just a generation and a half old was free for anyone to " +"build upon without the permission of anyone else. Today's equivalent would " +"be for creative work from the 1960s and 1970s to now be free for the next " +"Walt Disney to build upon without permission. Yet today, the public domain " +"is presumptive only for content from before the Great Depression." +msgstr "" +"Dette er slik det alltid har vÃ¦rt—inntil ganske nylig. For " +"mesteparten av vÃ¥r historie, har allemannseiet vÃ¦rt like over horisonten. " +"Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer " +"enn trettito Ã¥r, som gjorde at det meste av kultur fra en og en halv " +"generasjon tidligere var tilgjengelig for enhver Ã¥ bygge pÃ¥ uten tillatelse " +"fra noen. Tilsvarende for i dag ville vÃ¦re at kreative verker fra 1960- og " +"1970-tallet nÃ¥ ville vÃ¦re fritt tilgjengelig for de neste Walt Disney Ã¥ " +"bygge pÃ¥ uten tillatelse. Men i dag er allemannseie presumtivt kun for " +"innhold fra fÃ¸r mellomkrigstiden." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role=\"strong\">Of course</emphasis>, Walt Disney had no monopoly " +"on <quote>Walt Disney creativity.</quote> Nor does America. The norm of free " +"culture has, until recently, and except within totalitarian nations, been " +"broadly exploited and quite universal." +msgstr "" +"<emphasis role=\"strong\">Walt Disney</emphasis> hadde selvfÃ¸lgelig ikke " +"monopol pÃ¥ <quote>Walt Disney-kreativitet</quote>. Det har heller ikke " +"USA. Normen med fri kultur har, inntil nylig, og unntatt i totalitÃ¦re " +"nasjoner, vÃ¦rt bredt utnyttet og svÃ¦rt universell." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "comics, Japanese" +msgstr "tegneserier, japanske" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Japanese comics" +msgstr "Japanske tegneserier" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "manga" +msgstr "manga" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Consider, for example, a form of creativity that seems strange to many " +"Americans but that is inescapable within Japanese culture: <citetitle>manga</" +"citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " +"percent of publications are comics, and 30 percent of publication revenue " +"derives from comics. They are everywhere in Japanese society, at every " +"magazine stand, carried by a large proportion of commuters on Japan's " +"extraordinary system of public transportation." +msgstr "" +"Vurder for eksempel en form for kreativitet som synes underlig for mange " +"amerikanere, men som er overalt i japansk kultur: <citetitle>manga</" +"citetitle>, eller tegneserier. Japanerne er fanatiske nÃ¥r det gjelder " +"tegneserier. Over 40 prosent av publikasjoner er tegneserier, og 30 prosent " +"av publikasjonsomsetningen stammer fra tegneserier. De er over alt i det " +"japanske samfunnet, tilgjengelig fra ethvert tidsskriftsutsalg, og i hendene " +"pÃ¥ en stor andel av pendlere pÃ¥ Japans ekstraordinÃ¦re system for offentlig " +"transport." + +#. type: Content of: <book><part><chapter><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 <quote>graphic novels</quote> tell. For the Japanese, manga cover " +"every aspect of social life. For us, comics are <quote>men in tights.</" +"quote> And anyway, it's not as if the New York subways are filled with " +"readers of Joyce or even Hemingway. People of different cultures distract " +"themselves in different ways, the Japanese in this interestingly different " +"way." +msgstr "" +"Amerikanere har en tendens til Ã¥ se ned pÃ¥ denne formen for kultur. Det er " +"et lite attraktivt kjennetegn hos oss. Vi misforstÃ¥r sannsynligvis mye " +"rundt manga, pÃ¥ grunn av at fÃ¥ av oss noen gang har lest noe som ligner pÃ¥ " +"historiene i disse <quote>grafiske historiene</quote> forteller. For en " +"japaner dekker manga ethvert aspekt ved det sosiale liv. For oss er " +"tegneserier <quote>menn i strÃ¸mpebukser</quote>. Og uansett er det ikke " +"slik at T-banen i New York er full av folk som leser Joyse eller Hemingway " +"for den saks skyld. Folk i ulike kulturer skiller seg ut pÃ¥ forskjellig " +"mÃ¥ter, og japanerne pÃ¥ dette interessante viset." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But my purpose here is not to understand manga. It is to describe a variant " +"on manga that from a lawyer's perspective is quite odd, but from a Disney " +"perspective is quite familiar." +msgstr "" +"Men mitt formÃ¥l her er ikke Ã¥ forstÃ¥ manga. Det er Ã¥ beskrive en variant av " +"manga som fra en advokats perspektiv er ganske merkelig, men som fra en " +"Disneys perspektiv er ganske godt kjent." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "doujinshi comics" +msgstr "doujinshi-tegneserier" + +#. PAGE BREAK 39 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " +"also comics, but they are a kind of copycat comic. A rich ethic governs the " +"creation of doujinshi. It is not doujinshi if it is <emphasis>just</" +"emphasis> a copy; the artist must make a contribution to the art he copies, " +"by transforming it either subtly or significantly. A doujinshi comic can " +"thus take a mainstream comic and develop it differently—with a " +"different story line. Or the comic can keep the character in character but " +"change its look slightly. There is no formula for what makes the doujinshi " +"sufficiently <quote>different.</quote> But they must be different if they " +"are to be considered true doujinshi. Indeed, there are committees that " +"review doujinshi for inclusion within shows and reject any copycat comic " +"that is merely a copy." +msgstr "" +"Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er ogsÃ¥ " +"tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer " +"de som skaper doujinshi. Det er ikke doujinshi hvis det <emphasis>bare</" +"emphasis> er en kopi. Kunstneren mÃ¥ gjÃ¸re et bidrag til kunsten han " +"kopierer ved Ã¥ omforme det enten subtilt eller betydelig. En doujinshi-" +"tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en " +"annen retning—med en annen historie-linje. Eller tegneserien kan " +"beholde figuren som seg selv men endre litt pÃ¥ utseendet. Det er ingen " +"bestemt formel for hva som gjÃ¸r en doujinshi tilstrekkelig " +"<quote>forskjellig</quote>. Men de mÃ¥ vÃ¦re forskjellige hvis de skal anses " +"som ekte doujinshi. Det er faktisk komiteer som gÃ¥r igjennom doujinshi for " +"Ã¥ bli med pÃ¥ messer, og avviser etterapninger som bare er en kopi." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These copycat comics are not a tiny part of the manga market. They are huge. " +"More than 33,000 <quote>circles</quote> of creators from across Japan " +"produce these bits of Walt Disney creativity. More than 450,000 Japanese " +"come together twice a year, in the largest public gathering in the country, " +"to exchange and sell them. This market exists in parallel to the mainstream " +"commercial manga market. In some ways, it obviously competes with that " +"market, but there is no sustained effort by those who control the commercial " +"manga market to shut the doujinshi market down. It flourishes, despite the " +"competition and despite the law." +msgstr "" +"Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det " +"er enorme. Mer en 33 000 <quote>sirkler</quote> av skapere over hele Japan " +"som produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 " +"japanere samles to ganger i Ã¥ret, i den stÃ¸rste offentlige samlingen i " +"langet, for Ã¥ bytte og selge dem. Dette markedet er parallelt med det " +"kommersielle massemarkeds-manga-markedet. PÃ¥ noen mÃ¥ter konkurrerer det " +"Ã¥penbart med det markedet, men det er ingen vedvarende innsats fra de som " +"kontrollerer det kommersielle manga-markedet for Ã¥ stenge doujinshi-" +"markedet. Det blomstrer, pÃ¥ tross av konkurransen og til tross for loven." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "Japanese" +msgstr "Japansk" + +#. type: Content of: <book><part><chapter><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 " +"<quote>derivative works.</quote> There is no general practice by doujinshi " +"artists of securing the permission of the manga creators. Instead, the " +"practice is simply to take and modify the creations of others, as Walt " +"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both " +"Japanese and American law, that <quote>taking</quote> without the permission " +"of the original copyright owner is illegal. It is an infringement of the " +"original copyright to make a copy or a derivative work without the original " +"copyright owner's permission." +msgstr "" +"Den mest gÃ¥tefulle egenskapen med doujinshi-markedet, for de som har " +"juridisk trening i hvert fall, er at det overhodet tillates Ã¥ eksistere. " +"Under japansk Ã¥ndsverkslov, som i hvert fall pÃ¥ dette omrÃ¥det (pÃ¥ papiret) " +"speiler USAs Ã¥ndsverkslov, er doujinshi-markedet ulovlig. Doujinshi er helt " +"klart <quote>avledede verk</quote>. Det er ingen generell praksis hos " +"doujinshi-kunstnere for Ã¥ sikre seg tillatelse hos manga-skaperne. I stedet " +"er praksisen ganske enkelt Ã¥ ta og endre det andre har laget, slik Walt " +"Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>. For bÃ¥de " +"japansk og USAs lov, er Ã¥ <quote>ta</quote> uten tillatelse fra den " +"opprinnelige opphavsrettsinnehaver ulovlig. Det er et brudd pÃ¥ " +"opphavsretten til det opprinnelige verket Ã¥ lage en kopi eller et avledet " +"verk uten tillatelse fra den opprinnelige rettighetsinnehaveren." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Winick, Judd" +msgstr "Winick, Judd" + +#. f5 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" +"citetitle> (New York: Perennial, 2000)." +msgstr "" +"For en utmerket historie, se Scott McCloud, <citetitle>Reinventing Comics</" +"citetitle> (New York: Perennial, 2000)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet this illegal market exists and indeed flourishes in Japan, and in the " +"view of many, it is precisely because it exists that Japanese manga " +"flourish. As American graphic novelist Judd Winick said to me, <quote>The " +"early days of comics in America are very much like what's going on in Japan " +"now. … American comics were born out of copying each other. … " +"That's how [the artists] learn to draw—by going into comic books and " +"not tracing them, but looking at them and copying them</quote> and building " +"from them.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og " +"etter manges syn er det nettopp fordi det eksisterer at japansk manga " +"blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, <quote>I " +"amerikansk tegneseriers fÃ¸rste dager var det ganske likt det som foregÃ¥r i " +"Japan i dag. … Amerikanske tegneserier kom til verden ved Ã¥ kopiere " +"hverandre. … Det er slik [kunstnerne] lÃ¦rer Ã¥ tegne—ved Ã¥ se i " +"tegneseriebÃ¸ker og ikke fÃ¸lge streken, men ved Ã¥ se pÃ¥ dem og kopiere dem</" +"quote> og bygge basert pÃ¥ dem.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Superman comics" +msgstr "Supermann-tegneserier" + +#. type: Content of: <book><part><chapter><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, <quote>there are these rules and you " +"have to stick to them.</quote> There are things Superman <quote>cannot</" +"quote> do. <quote>As a creator, it's frustrating having to stick to some " +"parameters which are fifty years old.</quote>" +msgstr "" +"Amerikanske tegneserier nÃ¥ er ganske annerledes, forklarer Winick, delvis pÃ¥ " +"grunn av de juridiske problemene med Ã¥ tilpasse tegneserier slik doujinshi " +"fÃ¥r lov til. Med for eksempel Supermann, fortalte Winick meg, <quote>er det " +"en rekke regler, og du mÃ¥ fÃ¸lge dem</quote>. Det er ting som Supermann " +"<quote>ikke kan</quote> gjÃ¸re. <quote>For en som lager tegneserier er det " +"frustrerende Ã¥ mÃ¥tte begrense seg til noen parameter som er femti Ã¥r gamle.</" +"quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Mehra, Salil" +msgstr "Mehra, Salil" + +#. f6 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " +"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " +"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]" +"here might be a collective economic rationality that would lead manga and " +"anime artists to forgo bringing legal actions for infringement. One " +"hypothesis is that all manga artists may be better off collectively if they " +"set aside their individual self-interest and decide not to press their legal " +"rights. This is essentially a prisoner's dilemma solved.</quote>" +msgstr "" +"Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " +"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " +"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>det " +"kan vÃ¦re en kollektiv Ã¸konomisk rasjonalitet som fÃ¥r manga- og anime-" +"kunstnere til ikke Ã¥ saksÃ¸ke for opphavsrettsbrudd. Ãn hypotese er at alle " +"manga-kunstnere kan vÃ¦re bedre stilt hvis de setter sin individuelle " +"egeninteresse til side og bestemmer seg for ikke Ã¥ forfÃ¸lge sine juridiske " +"rettigheter. Dette er essensielt en lÃ¸sning pÃ¥ fangens dilemma.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The norm in Japan mitigates this legal difficulty. Some say it is precisely " +"the benefit accruing to the Japanese manga market that explains the " +"mitigation. Temple University law professor Salil Mehra, for example, " +"hypothesizes that the manga market accepts these technical violations " +"because they spur the manga market to be more wealthy and productive. " +"Everyone would be worse off if doujinshi were banned, so the law does not " +"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det " +"nettopp er den oppsamlede fordelen i det japanske mangamarkedet som " +"forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple " +"University hypnotiserer for eksempel med at manga-markedet aksepterer disse " +"teoretiske bruddene fordi de fÃ¥r mangamarkedet til Ã¥ bli rikere og mer " +"produktivt. Alle ville fÃ¥ det verre hvis doujinshi ble bannlyst, sÃ¥ loven " +"bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 " +"<quote>free taking</quote> by the doujinshi culture?" +msgstr "" +"Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, " +"er at mekanismen som produserer denne <quote>hold hendene borte</quote>-" +"responsen ikke er forstÃ¥tt. Det kan godt vÃ¦re at markedet som helhet gjÃ¸r " +"det bedre hvis doujinshi tillates i stedet for Ã¥ bannlyse den, men det " +"forklarer likevel ikke hvorfor individuelle opphavsrettsinnehavere ikke " +"saksÃ¸ker. Hvis loven ikke har et generelt unntak for doujinshi, og det " +"finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksÃ¸kt " +"doujinshi-kunstnere, hvorfor er det ikke et mer generelt mÃ¸nster for Ã¥ " +"blokkere denne <quote>frie takingen</quote> hos doujinshi-kulturen?" + +#. type: Content of: <book><part><chapter><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. <quote>We don't have enough lawyers,</quote> he " +"told me one afternoon. There <quote>just aren't enough resources to " +"prosecute cases like this.</quote>" +msgstr "" +"Jeg var fire nydelige mÃ¥neder i Japan, og jeg stilte dette spÃ¸rsmÃ¥l sÃ¥ ofte " +"som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et " +"stÃ¸rre japansk advokatfirma. <quote>Vi har ikke nok advokater</quote>, " +"fortalte han meg en ettermiddag. Det er <quote>bare ikke nok ressurser til " +"Ã¥ tiltale tilfeller som dette</quote>." + +#. PAGE BREAK 41 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is a theme to which we will return: that regulation by law is a " +"function of both the words on the books and the costs of making those words " +"have effect. For now, focus on the obvious question that is begged: Would " +"Japan be better off with more lawyers? Would manga be richer if doujinshi " +"artists were regularly prosecuted? Would the Japanese gain something " +"important if they could end this practice of uncompensated sharing? Does " +"piracy here hurt the victims of the piracy, or does it help them? Would " +"lawyers fighting this piracy help their clients or hurt them?" +msgstr "" +"Dette er et tema vi kommer tilbake til: at lovens regulering bÃ¥de er en " +"funksjon av ordene i bÃ¸kene, og kostnadene med Ã¥ fÃ¥ disse ordene til Ã¥ ha " +"effekt. Akkurat nÃ¥ er det endel Ã¥penbare spÃ¸rsmÃ¥l som presser seg frem: " +"Ville Japan gjÃ¸re det bedre med flere advokater? Ville manga vÃ¦re rikere " +"hvis doujinshi-kunstnere ble regelmessig rettsforfulgt? Ville Japan vinne " +"noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? " +"Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? " +"Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, " +"eller skade dem?" + +#. type: Content of: <book><part><chapter><para> +msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment." +msgstr "<emphasis role='strong'>La oss ta</emphasis> et Ã¸yeblikks pause." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"If you're like I was a decade ago, or like most people are when they first " +"start thinking about these issues, then just about now you should be puzzled " +"about something you hadn't thought through before." +msgstr "" +"Hvis du er som meg et tiÃ¥r tilbake, eller som folk flest nÃ¥r de fÃ¸rst " +"begynner Ã¥ tenke pÃ¥ disse temaene, da bÃ¸r du omtrent nÃ¥ vÃ¦re rÃ¥dvill om noe " +"du ikke hadde tenkt igjennom fÃ¸r." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Vaidhyanathan, Siva" +msgstr "Vaidhyanathan, Siva" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> The term <citetitle>intellectual " +"property</citetitle> is of relatively recent origin. See Siva Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " +"University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of " +"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. The term " +"accurately describes a set of <quote>property</quote> rights—" +"copyright, patents, trademark, and trade-secret—but the nature of " +"those rights is very different." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Begrepet <citetitle>immateriell " +"eiendom</citetitle> er av relativ ny opprinnelse. Se See Siva Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " +"University Press, 2001). Se ogsÃ¥ Lawrence Lessig, <citetitle>The Future of " +"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. Begrepet " +"presist beskriver et sett med <quote>eiendoms</quote>-rettigheter—" +"opphavsretter, patenter, varemerker og forretningshemmeligheter—men " +"egenskapene til disse rettighetene er svÃ¦rt forskjellige." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"We live in a world that celebrates <quote>property.</quote> I am one of " +"those celebrants. I believe in the value of property in general, and I also " +"believe in the value of that weird form of property that lawyers call " +"<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/" +"> A large, diverse society cannot survive without property; a large, " +"diverse, and modern society cannot flourish without intellectual property." +msgstr "" +"Vi lever i en verden som feirer <quote>eiendom</quote>. Jeg er en av de som " +"feierer. Jeg tror pÃ¥ verdien av eiendom generelt, og jeg tror ogsÃ¥ pÃ¥ " +"verdien av den sÃ¦re formen for eiendom som advokater kaller " +"<quote>immateriell eiendom</quote>.<placeholder type=\"footnote\" id=\"0\"/> " +"Et stort og variert samfunn kan ikke overleve uten eiendom, og et moderne " +"samfunn kan ikke blomstre uten immaterielle eierrettigheter." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But it takes just a second's reflection to realize that there is plenty of " +"value out there that <quote>property</quote> doesn't capture. I don't mean " +"<quote>money can't buy you love,</quote> but rather, value that is plainly " +"part of a process of production, including commercial as well as " +"noncommercial production. If Disney animators had stolen a set of pencils " +"to draw Steamboat Willie, we'd have no hesitation in condemning that taking " +"as wrong— even though trivial, even if unnoticed. Yet there was " +"nothing wrong, at least under the law of the day, with Disney's taking from " +"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the " +"taking from Keaton because Disney's use would have been considered " +"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms " +"because the Grimms' work was in the public domain." +msgstr "" +"Men det tar bare noen sekunders refleksjon for Ã¥ innse at det er masse av " +"verdi der ute som <quote>eiendom</quote> ikke dekker. Jeg mener ikke " +"<quote>kjÃ¦rlighet kan ikke kjÃ¸pes med penger</quote> men heller, at en verdi " +"som ganske enkelt er del av produksjonsprosessen, bÃ¥de for kommersiell og " +"ikke-kommersiell produksjon. Hvis Disneys animatÃ¸rer hadde stjÃ¥let et sett " +"med blyanter for Ã¥ tegne Steamboat Willie, vi ville ikke nÃ¸lt med Ã¥ dÃ¸mme " +"det som galt—selv om det er trivielt og selv om det ikke blir " +"oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at " +"Disney tok fra Buster Keaton eller fra Grimm-brÃ¸drene. Det var intet galt " +"med Ã¥ ta fra Keaton, fordi Disneys bruk ville blitt ansett som " +"<quote>rimelig</quote>. Det var intet galt med Ã¥ ta fra brÃ¸drene Grimm " +"fordi deres verker var allemannseie." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "derivative works based on" +msgstr "avledede verker basert pÃ¥" + +#. PAGE BREAK 42 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Thus, even though the things that Disney took—or more generally, the " +"things taken by anyone exercising Walt Disney creativity—are valuable, " +"our tradition does not treat those takings as wrong. Some things remain free " +"for the taking within a free culture, and that freedom is good." +msgstr "" +"Dermed, selv om de tingene som Disney tok—eller mer generelt, tingene " +"som blir tatt av enhver som utÃ¸ver Walt Disney-kreativitet—er " +"verdifulle, sÃ¥ anser ikke vÃ¥r tradisjon det som galt Ã¥ ta disse tingene. " +"Noen ting forblir frie til Ã¥ bli tatt i en fri kultur og denne friheten er " +"bra." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The same with the doujinshi culture. If a doujinshi artist broke into a " +"publisher's office and ran off with a thousand copies of his latest " +"work—or even one copy—without paying, we'd have no hesitation in " +"saying the artist was wrong. In addition to having trespassed, he would have " +"stolen something of value. The law bans that stealing in whatever form, " +"whether large or small." +msgstr "" +"Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brÃ¸t " +"seg inn pÃ¥ kontoret til en forlegger, og stakk av med tusen kopier av hans " +"siste verk—eller bare en kopi—uten Ã¥ betale, sÃ¥ ville vi uten Ã¥ " +"nÃ¸le si at kunstneren har gjort noe galt. I tillegg til Ã¥ ha trengt seg inn " +"pÃ¥ andres eiendom, ville han ha stjÃ¥let noe av verdi. Loven forbyr stjeling " +"i enhver form, uansett hvor stort eller lite som blir tatt." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet there is an obvious reluctance, even among Japanese lawyers, to say that " +"the copycat comic artists are <quote>stealing.</quote> This form of Walt " +"Disney creativity is seen as fair and right, even if lawyers in particular " +"find it hard to say why." +msgstr "" +"Likevel er det en Ã¥penbar motvilje, selv blant japanske advokater, for Ã¥ si " +"at etterapende tegneseriekunstnere <quote>stjeler</quote>. Denne formen for " +"Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt " +"advokater synes det er vanskelig Ã¥ forklare hvorfor." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Shakespeare, William" +msgstr "Shakespeare, William" + +#. type: Content of: <book><part><chapter><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. (<quote>Excuse me, Professor Einstein, but may " +"I have permission to use your theory of relativity to show that you were " +"wrong about quantum physics?</quote>) Acting companies perform adaptations " +"of the works of Shakespeare without securing permission from anyone. (Does " +"<emphasis>anyone</emphasis> believe Shakespeare would be better spread " +"within our culture if there were a central Shakespeare rights clearinghouse " +"that all productions of Shakespeare must appeal to first?) And Hollywood " +"goes through cycles with a certain kind of movie: five asteroid films in the " +"late 1990s; two volcano disaster films in 1997." +msgstr "" +"Det er det same med tusen eksempler som dukker opp over alt med en gang en " +"begynner Ã¥ se etter dem. Forskerne bygger pÃ¥ arbeidet til andre forskere " +"uten Ã¥ spÃ¸rre eller betale for privilegiet. (<quote>Unnskyld meg, professor " +"Einstein, men kan jeg fÃ¥ tillatelse til Ã¥ bruke din relativitetsteori til Ã¥ " +"vise at du tok feil om kvantefysikk?</quote>) Teatertropper viser frem " +"bearbeidelser av verkene til Shakespeare uten Ã¥ sikre seg noen tillatelser. " +"(Er det <emphasis>noen</emphasis> som tror at Shakespeare ville vÃ¦rt mer " +"spredt i vÃ¥r kultur om det var et sentralt rettighetsklareringskontor for " +"Shakespeare som alle som laget Shakespeare-produksjoner mÃ¥tte appellere til " +"fÃ¸rst?) Og Hollywood gÃ¥r igjennom sykluser med en bestemt type filmer: fem " +"astroidefilmer i slutten av 1990-tallet, to vulkankatastrofefilmer i 1997." + +#. PAGE BREAK 43 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Creators here and everywhere are always and at all times building upon the " +"creativity that went before and that surrounds them now. That building is " +"always and everywhere at least partially done without permission and without " +"compensating the original creator. No society, free or controlled, has ever " +"demanded that every use be paid for or that permission for Walt Disney " +"creativity must always be sought. Instead, every society has left a certain " +"bit of its culture free for the taking—free societies more fully than " +"unfree, perhaps, but all societies to some degree." +msgstr "" +"Skapere her og overalt har alltid og til alle tider bygd pÃ¥ kreativiteten " +"som eksisterte fÃ¸r og som omringer dem nÃ¥. Denne byggingen er alltid og " +"overalt i det minste delvis gjort uten tillatelse og uten Ã¥ kompensere den " +"opprinnelige skaperen. Intet samfunn, fritt eller kontrollert, har noen " +"gang krevd at enhver bruk skulle bli betalt for eller at tillatelse for Walt " +"Disney-kreativitet alltid mÃ¥tte skaffes. Istedet har ethvert samfunn latt " +"en bestemt bit av sin kultur vÃ¦re fritt tilgjengelig for alle Ã¥ ta—" +"frie samfunn muligens i stÃ¸rre grad enn ufrie, men en viss grad i alle " +"samfunn." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The hard question is therefore not <emphasis>whether</emphasis> a culture is " +"free. All cultures are free to some degree. The hard question instead is " +"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and " +"how broadly, is the culture free for others to take and build upon? Is that " +"freedom limited to party members? To members of the royal family? To the top " +"ten corporations on the New York Stock Exchange? Or is that freedom spread " +"broadly? To artists generally, whether affiliated with the Met or not? To " +"musicians generally, whether white or not? To filmmakers generally, whether " +"affiliated with a studio or not?" +msgstr "" +"Det vanskelige spÃ¸rsmÃ¥let er derfor ikke <emphasis>om</emphasis> en kultur " +"er fri. Alle kulturer er frie til en viss grad. Det vanskelige spÃ¸rsmÃ¥let " +"er i stedet <quote><emphasis>hvor</emphasis> fri er denne kulturen er?</" +"quote> Hvor mye og hvor bredt, er kulturen fritt tilgjengelig for andre Ã¥ " +"ta, og bygge pÃ¥? Er den friheten begrenset til partimedlemmer? Til " +"medlemmer av kongefamilien? Til de ti stÃ¸rste selskapene pÃ¥ New York-" +"bÃ¸rsen? Eller er at frihet bredt tilgjengelig? Til kunstnere generelt, " +"uansett om de er tilknyttet til nasjonalmuseet eller ikke? Til musikere " +"generelt, uansett om de er hvite eller ikke? Til filmskapere generelt, " +"uansett om de er tilknyttet et studio eller ikke?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Free cultures are cultures that leave a great deal open for others to build " +"upon; unfree, or permission, cultures leave much less. Ours was a free " +"culture. It is becoming much less so." +msgstr "" +"Frie kulturer er kulturer som etterlater mye Ã¥pent for andre Ã¥ bygge pÃ¥. " +"Ufrie, eller tillatelse-kulturer etterlater mye mindre. VÃ¥r var en fri " +"kultur. Den er pÃ¥ tur til Ã¥ bli mindre fri." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER TWO: <quote>Mere Copyists</quote>" +msgstr "Kapittel to: <quote>Kun etter-apere</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Daguerre, Louis" +msgstr "Daguerre, Louis" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "camera technology" +msgstr "kamerateknologi" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "photography" +msgstr "fotografering" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented the " +"first practical technology for producing what we would call " +"<quote>photographs.</quote> Appropriately enough, they were called " +"<quote>daguerreotypes.</quote> The process was complicated and expensive, " +"and the field was thus limited to professionals and a few zealous and " +"wealthy amateurs. (There was even an American Daguerre Association that " +"helped regulate the industry, as do all such associations, by keeping " +"competition down so as to keep prices up.)" +msgstr "" +"<emphasis role='strong'>I 1839</emphasis> fant Louis Daguerre opp den fÃ¸rste " +"praktiske teknologien for Ã¥ produsere det vi ville kalle <quote>fotografier</" +"quote>. Rimelig nok ble de kalt <quote>daguerreotyper</quote>. Prosessen " +"var komplisert og kostbar, og feltet var dermed begrenset til profesjonelle " +"og noen fÃ¥ ivrige og velstÃ¥ende amatÃ¸rer. (Det var til og med en amerikansk " +"Daguerre-forening som hjalp til med Ã¥ regulere industrien, slik alle slike " +"foreninger gjÃ¸r, ved Ã¥ holde konkurransen ned slik at prisene var hÃ¸ye.)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Talbot, William" +msgstr "Talbot, William" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet despite high prices, the demand for daguerreotypes was strong. This " +"pushed inventors to find simpler and cheaper ways to make <quote>automatic " +"pictures.</quote> William Talbot soon discovered a process for making " +"<quote>negatives.</quote> But because the negatives were glass, and had to " +"be kept wet, the process still remained expensive and cumbersome. In the " +"1870s, dry plates were developed, making it easier to separate the taking of " +"a picture from its developing. These were still plates of glass, and thus it " +"was still not a process within reach of most amateurs." +msgstr "" +"Men til tross for hÃ¸ye priser var etterspÃ¸rselen etter daguerreotyper " +"sterk. Dette inspirerte oppfinnere til Ã¥ finne enklere og billigere mÃ¥ter Ã¥ " +"lage <quote>automatiske bilder</quote>. William Talbot oppdaget snart en " +"prosess for Ã¥ lage <quote>negativer</quote>. Men da negativene var av " +"glass, og mÃ¥tte holdes fuktige, forble prosessen kostbar og tung. PÃ¥ 1870-" +"tallet ble tÃ¸rrplater utviklet, noe som gjorde det enklere Ã¥ skille det Ã¥ ta " +"et bilde fra Ã¥ fremkalle det. Det var fortsatt plater av glass, og dermed " +"var det fortsatt ikke en prosess som var innenfor rekkevidden til de fleste " +"amatÃ¸rer." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Eastman, George" +msgstr "Eastman, George" + +#. PAGE BREAK 45 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The technological change that made mass photography possible didn't happen " +"until 1888, and was the creation of a single man. George Eastman, himself an " +"amateur photographer, was frustrated by the technology of photographs made " +"with plates. In a flash of insight (so to speak), Eastman saw that if the " +"film could be made to be flexible, it could be held on a single spindle. " +"That roll could then be sent to a developer, driving the costs of " +"photography down substantially. By lowering the costs, Eastman expected he " +"could dramatically broaden the population of photographers." +msgstr "" +"Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke " +"fÃ¸r i 1888, og det var takket vÃ¦re en eneste mann. George Eastman, selv en " +"amatÃ¸rfotograf, var frustrert over den plate-baserte fotografi-teknologien. " +"I et lysglimt av innsikt (for Ã¥ si det slik), forsto Eastman at hvis filmen " +"kunne gjÃ¸res bÃ¸yelig, sÃ¥ kunne den holdes pÃ¥ en enkel rull. Denne rullen " +"kunne sÃ¥ sendes til en fremkaller, og senke kostnadene til fotografering " +"vesentlig. Ved Ã¥ redusere kostnadene, forventet Eastman at han dramatisk " +"kunne utvide andelen fotografer." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Kodak cameras" +msgstr "Kodak-kamera" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Kodak Primer, The (Eastman)" +msgstr "Kodak Primer, The (Eastman)" + +#. f1 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " +"Johns Hopkins University Press, 1975), 112." +msgstr "" +"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " +"Johns Hopkins University Press, 1975), 112." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Eastman developed flexible, emulsion-coated paper film and placed rolls of " +"it in small, simple cameras: the Kodak. The device was marketed on the basis " +"of its simplicity. <quote>You press the button and we do the rest.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> As he described in " +"<citetitle>The Kodak Primer</citetitle>:" +msgstr "" +"Eastman utviklet bÃ¸yelig, emulsjons-belagt papirfilm og plasserte ruller med " +"dette i smÃ¥, enkle kameraer: Kodaken. Enheten ble markedsfÃ¸r med grunnlag " +"dens enkelhet. <quote>Du trykker pÃ¥ knappen og vi fikser resten.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> Som han beskrev det i " +"<citetitle>The Kodak Primer</citetitle>:" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Coe, Brian" +msgstr "Coe, Brian" + +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " +"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " +"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The principle of the Kodak system is the separation of the work that any " +"person whomsoever can do in making a photograph, from the work that only an " +"expert can do. … We furnish anybody, man, woman or child, who has " +"sufficient intelligence to point a box straight and press a button, with an " +"instrument which altogether removes from the practice of photography the " +"necessity for exceptional facilities or, in fact, any special knowledge of " +"the art. It can be employed without preliminary study, without a darkroom " +"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan " +"utfÃ¸re nÃ¥r en tar fotografier, fra arbeidet som kun en ekspert kan gjÃ¸re. " +"… Vi utstyrte alle, menn, kvinner og barn, som hadde tilstrekkelig " +"intelligens til Ã¥ peke en boks i riktig retning og trykke pÃ¥ en knapp, med " +"et instrument som helt fjernet fra praksisen med Ã¥ fotografere " +"nÃ¸dvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell " +"kunnskap om kunstarten. Det kan tas i bruk uten forutgÃ¥ende studier, uten " +"et mÃ¸rkerom og uten kjemikalier.<placeholder type=\"footnote\" id=\"0\"/>" + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Jenkins, 177." +msgstr "Jenkins, 177." + +#. f4 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Based on a chart in Jenkins, p. 178." +msgstr "Basert pÃ¥ et diagram i Jenkins, s. 178." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For $25, anyone could make pictures. The camera came preloaded with film, " +"and when it had been used, the camera was returned to an Eastman factory, " +"where the film was developed. Over time, of course, the cost of the camera " +"and the ease with which it could be used both improved. Roll film thus " +"became the basis for the explosive growth of popular photography. Eastman's " +"camera first went on sale in 1888; one year later, Kodak was printing more " +"than six thousand negatives a day. From 1888 through 1909, while industrial " +"production was rising by 4.7 percent, photographic equipment and material " +"sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> " +"Eastman Kodak's sales during the same period experienced an average annual " +"increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"For $25 kunne alle ta bilder. Det var allerede film i kameraet, og nÃ¥r det " +"var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble " +"fremkalt. Etter hvert, naturligvis, ble bÃ¥de kostnaden til kameraet og hvor " +"enkelt et var Ã¥ bruke forbedret. Film pÃ¥ rull ble dermed grunnlaget for en " +"eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut " +"for salg i 1888, og et Ã¥r senere trykket Kodak mer enn seks tusen negativer " +"om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 " +"prosent, Ã¸kte salget av fotografisk utstyr og materiale med 11 prosent." +"<placeholder type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak i samme " +"periode opplevde en Ã¥rlig vekst pÃ¥ over 17 prosent.<placeholder type=" +"\"footnote\" id=\"1\"/>" + +#. f5 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Coe, 58." +msgstr "Coe, 58." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The real significance of Eastman's invention, however, was not economic. It " +"was social. Professional photography gave individuals a glimpse of places " +"they would never otherwise see. Amateur photography gave them the ability to " +"record their own lives in a way they had never been able to do before. As " +"author Brian Coe notes, <quote>For the first time the snapshot album " +"provided the man on the street with a permanent record of his family and its " +"activities. … For the first time in history there exists an authentic " +"visual record of the appearance and activities of the common man made " +"without [literary] interpretation or bias.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke " +"Ã¸konomisk. Den var sosial. Profesjonell fotografering ga individer et " +"glimt av steder de ellers aldri ville se. AmatÃ¸rfotografering ga dem " +"muligheten til Ã¥ arkivere deres liv pÃ¥ en mÃ¥te som de aldri hadde vÃ¦rt i " +"stand til tidligere. Som forfatter Brian Coe skriver, <quote>For fÃ¸rste " +"gang tilbÃ¸d fotoalbumet mannen i gata et permanent arkiv over hans familie " +"og dens aktiviteter. … For fÃ¸rste gang i historien fantes det en " +"autentisk visuell oppfÃ¸ring av utseende og aktivitet til vanlige mennesker " +"laget uten [skrivefÃ¸r] tolkning eller forutinntatthet.</quote><placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "democracy" +msgstr "demokrati" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in technologies of expression" +msgstr "i teknologier for Ã¥ uttrykke seg" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "expression, technologies of" +msgstr "uttrykke seg, teknologier for Ã¥" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "democratic" +msgstr "demokratisk" + +#. type: Content of: <book><part><chapter><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 <quote>quality</quote>; professionals would discount it as irrelevant. " +"But watch a child study how best to frame a picture and you get a sense of " +"the experience of creativity that the Kodak enabled. Democratic tools gave " +"ordinary people a way to express themselves more easily than any tools could " +"have before." +msgstr "" +"PÃ¥ denne mÃ¥ten var Kodak-kameraet og film uttrykksteknologier. Blyanten og " +"malepenselen var selvfÃ¸lgelig ogsÃ¥ en uttrykksteknologi. Men det tok Ã¥revis " +"med trening fÃ¸r de kunne bli brukt nyttig og effektiv av amatÃ¸rer. Med " +"Kodaken var uttrykk mulig mye raskere og enklere. BarriÃ¨ren for Ã¥ uttrykke " +"seg var senket. Snobber ville fnyse over <quote>kvaliteten</quote>, " +"profesjonelle ville avvise den som irrelevant. Men se et barn studere " +"hvordan best velge bildemotiv og du fÃ¥r fÃ¸lelsen av hva slags " +"kreativitetserfaring som Kodaken muliggjorde. Demokratiske verktÃ¸y ga " +"vanlige folk en mÃ¥te Ã¥ uttrykke dem selv pÃ¥ enklere enn noe annet verktÃ¸y " +"kunne ha gjort fÃ¸r." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "permissions" +msgstr "tillatelser" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "photography exempted from" +msgstr "fotografering som ikke trenger" + +#. f6 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " +"<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " +"<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " +"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " +"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." +msgstr "" +"For illustrerende saker, se for eksempel, <citetitle>Pavesich</citetitle> " +"mot <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " +"<citetitle>Foster-Milburn Co</citetitle>. mot <citetitle>Chinn</citetitle>, " +"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mot " +"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"What was required for this technology to flourish? Obviously, Eastman's " +"genius was an important part. But also important was the legal environment " +"within which Eastman's invention grew. For early in the history of " +"photography, there was a series of judicial decisions that could well have " +"changed the course of photography substantially. Courts were asked whether " +"the photographer, amateur or professional, required permission before he " +"could capture and print whatever image he wanted. Their answer was no." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet " +"var Ã¥penbart en viktig del. Men den juridiske miljÃ¸et som Eastmans " +"oppfinnelse vokste i var ogsÃ¥ viktig. For tidlig i historien til " +"fotografering, var det en rekke av rettsavgjÃ¸relser som godt kunne ha endret " +"kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, " +"amatÃ¸r eller profesjonell, mÃ¥tte ha tillatelse fÃ¸r han kunne fange og trykke " +"hvilket som helst bilde han Ã¸nsket. Svaret var nei.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "images, ownership of" +msgstr "bilder, eierskap til" + +#. PAGE BREAK 47 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The arguments in favor of requiring permission will sound surprisingly " +"familiar. The photographer was <quote>taking</quote> something from the " +"person or building whose photograph he shot—pirating something of " +"value. Some even thought he was taking the target's soul. Just as Disney was " +"not free to take the pencils that his animators used to draw Mickey, so, " +"too, should these photographers not be free to take images that they thought " +"valuable." +msgstr "" +"Argumentene til fordel for Ã¥ kreve tillatelser vil hÃ¸res overraskende kjent " +"ut. Fotografen <quote>tok</quote> noe fra personen eller bygningen som ble " +"fotografert—rÃ¸vet til seg noe av verdi. Noen trodde til og med at han " +"tok mÃ¥lets sjel. PÃ¥ samme mÃ¥te som Disney ikke var fri til Ã¥ ta blyantene " +"som hans animatÃ¸rer brukte til Ã¥ tegne Mikke, sÃ¥ skulle heller ikke disse " +"fotografene vÃ¦re fri til Ã¥ ta bilder som de fant verdi i." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Warren, Samuel D." +msgstr "Warren, Samuel D." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> " +"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Samuel D. Warren og Louis D. Brandeis, <quote>The Right to Privacy</quote>, " +"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"On the other side was an argument that should be familiar, as well. Sure, " +"there may be something of value being used. But citizens should have the " +"right to capture at least those images that stand in public view. (Louis " +"Brandeis, who would become a Supreme Court Justice, thought the rule should " +"be different for images from private spaces.<placeholder type=\"footnote\" " +"id=\"0\"/>) It may be that this means that the photographer gets something " +"for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " +"Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " +"to capture an image without compensating the source." +msgstr "" +"PÃ¥ den andre siden var et argument som ogsÃ¥ bÃ¸r bÃ¸r vÃ¦re kjent. Joda, det " +"var kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til Ã¥ " +"fange i hvert fall de bildene som var tatt av offentlig omrÃ¥de. (Louis " +"Brandeis, som senere ble hÃ¸yesterettsjustitiarus, mente regelen skulle vÃ¦re " +"annerledes for bilder tatt av private omrÃ¥der.<placeholder type=\"footnote\" " +"id=\"0\"/>) Det kan vÃ¦re at dette betyr at fotografen fÃ¥r noe for " +"ingenting. PÃ¥ samme mÃ¥te som Disney kunne hente inspirasjon fra " +"<citetitle>Steamboat Bill, Jr</citetitle>. eller Grimm-brÃ¸drene, sÃ¥ burde " +"fotografene stÃ¥ fritt til Ã¥ fange et bilde uten Ã¥ kompensere kilden." + +#. f8 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> " +"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William " +"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</" +"citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. " +"<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 " +"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." +msgstr "" +"Se Melville B. Nimmer, <quote>The Right of Publicity</quote>, <citetitle>Law " +"and Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " +"<quote>Privacy</quote>, <citetitle>California Law Review</citetitle> 48 " +"(1960) 398–407; <citetitle>White</citetitle> mot <citetitle>Samsung " +"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " +"sert. nektet, 508 U.S. 951 (1993)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Fortunately for Mr. Eastman, and for photography in general, these early " +"decisions went in favor of the pirates. In general, no permission would be " +"required before an image could be captured and shared with others. Instead, " +"permission was presumed. Freedom was the default. (The law would eventually " +"craft an exception for famous people: commercial photographers who snap " +"pictures of famous people for commercial purposes have more restrictions " +"than the rest of us. But in the ordinary case, the image can be captured " +"without clearing the rights to do the capturing.<placeholder type=\"footnote" +"\" id=\"0\"/>)" +msgstr "" +"Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse " +"tidligere avgjÃ¸relsene i favÃ¸r av piratene. Generelt ble det ikke nÃ¸dvendig " +"Ã¥ sikre seg tillatelse fÃ¸r et bilde kunne tas og deles med andre. I stedet " +"var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven " +"ga etter en stund et unntak for berÃ¸mte personer: kommersielle fotografer " +"som tok bilder av berÃ¸mte personer for kommersielle formÃ¥l har flere " +"begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet " +"fanges uten Ã¥ klarere rettighetene for a fange det.<placeholder type=" +"\"footnote\" id=\"0\"/>)" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Napster" +msgstr "Napster" + +#. type: Content of: <book><part><chapter><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 " +"<quote>theft</quote> committed by the photographer. Just as Napster " +"benefited from the copyright infringements committed by Napster users, Kodak " +"would be benefiting from the <quote>image-right</quote> infringement of its " +"photographers. We could imagine the law then requiring that some form of " +"permission be demonstrated before a company developed pictures. We could " +"imagine a system developing to demonstrate that permission." +msgstr "" +"Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven " +"hadde slÃ¥tt ut den andre veien. Hvis den hadde vÃ¦rt mot fotografen, da " +"ville fotografen mÃ¥ttet dokumentere at tillatelse var pÃ¥ plass. Kanskje " +"Eastman Kodak ogsÃ¥ mÃ¥tte ha dokumentert at tillatelse var gitt, fÃ¸r de " +"utviklet filmen som bildene ble fanget pÃ¥. Tross alt, hvis tillatelse ikke " +"var gitt, da ville Eastman Kodak ha nytt fordeler fra <quote>tyveriet</" +"quote> begÃ¥tt av fotografer. PÃ¥ samme mÃ¥te som Napster nÃ¸t fordeler fra " +"opphavsrettsbrudd utfÃ¸rt av Napster-brukere, sÃ¥ ville Kodak nytt fordeler " +"fra <quote>bilde-rettighets</quote>-brudd til deres fotografer. Vi kan " +"forestille oss at loven da krevede at en form for tillatelse ble vist frem " +"fÃ¸r et selskap fremkalte bildene. Vi kan forestille oss et system bli " +"utviklet for Ã¥ legge frem slike tillatelser." + +#. PAGE BREAK 48 +#. type: Content of: <book><part><chapter><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." +msgstr "" +"Men selv om vi kan tenke oss dette godkjenningssystemet, sÃ¥ vil det vÃ¦re " +"svÃ¦rt vanskelig Ã¥ se hvordan fotografering skulle ha blomstret slik det " +"gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. " +"Fotografering ville eksistert. Det ville ha Ã¸kt sin betydning over tid. " +"Profesjonelle ville ha fortsatt Ã¥ bruke teknologien slik de gjorde—" +"siden profesjonelle enklere kunne hÃ¥ndtert byrdene pÃ¥lagt dem av " +"godkjenningssystemet. Men spredningen av fotografering til vanlige folk " +"villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det " +"ville uten tvil aldri vÃ¦rt realisert en slik vekst i demokratisk " +"uttrykksteknologi." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "digital cameras" +msgstr "digitale kamera" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Just Think!" +msgstr "" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>If you drive</emphasis> through San Francisco's " +"Presidio, you might see two gaudy yellow school buses painted over with " +"colorful and striking images, and the logo <quote>Just Think!</quote> in " +"place of the name of a school. But there's little that's <quote>just</quote> " +"cerebral in the projects that these busses enable. These buses are filled " +"with technologies that teach kids to tinker with film. Not the film of " +"Eastman. Not even the film of your VCR. Rather the <quote>film</quote> of " +"digital cameras. Just Think! is a project that enables kids to make films, " +"as a way to understand and critique the filmed culture that they find all " +"around them. Each year, these busses travel to more than thirty schools and " +"enable three hundred to five hundred children to learn something about media " +"by doing something with media. By doing, they think. By tinkering, they " +"learn." +msgstr "" +"<emphasis role='strong'>Hvis du kjÃ¸rer</emphasis> gjennom omrÃ¥det Presidio i " +"San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med " +"fargefulle og iÃ¸ynefallende bilder, og logoen <quote>Just Think!</quote> i " +"stedet for navnet pÃ¥ en skole. Men det er lite som er <quote>bare</quote> " +"mentalt i prosjektene som disse bussene muliggjÃ¸r. Disse bussene er fylt " +"med teknologi som lÃ¦rer unger Ã¥ fikle med film. Ikke filmen til Eastman. " +"Ikke en gang filmen i din videospiller. I stedet er det snakk om " +"<quote>filmen</quote> til digitale kamera. Just Think! er et prosjekt som " +"gjÃ¸r det mulig for unger Ã¥ lage filmer, som en mÃ¥te Ã¥ forstÃ¥ og kritisere " +"den filmede kulturen som de finner over alt rundt seg. Hvert Ã¥r besÃ¸ker " +"disse bussene mer enn tredve skoler og gir mellom tre hundre og fire hundre " +"barn muligheten til Ã¥ lÃ¦re noe om media ved Ã¥ gjÃ¸re noe med media. Ved Ã¥ " +"gjÃ¸re, sÃ¥ tenker de. Ved Ã¥ fikle, sÃ¥ lÃ¦rer de." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "education" +msgstr "utdanning" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in media literacy" +msgstr "i mediekompetanse" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "media literacy" +msgstr "mediekompetanse" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "media literacy and" +msgstr "mediekompetanse og" + +#. f9 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " +"Software You Need to Create Digital Multimedia Presentations,</quote> " +"cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #7</ulink>." +msgstr "" +"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " +"Software You Need to Create Digital Multimedia Presentations,</quote> " +"cadalyst, februar 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/" +"notes/\">link #7</ulink>." + +#. type: Content of: <book><part><chapter><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, <quote>Five years ago, a good real-time digital video " +"editing system cost $25,000. Today you can get professional quality for $595." +"</quote><placeholder type=\"footnote\" id=\"0\"/> These buses are filled " +"with technology that would have cost hundreds of thousands just ten years " +"ago. And it is now feasible to imagine not just buses like this, but " +"classrooms across the country where kids are learning more and more of " +"something teachers call <quote>media literacy.</quote>" +msgstr "" +"Disse bussene er ikke billige, men teknologien de har med seg blir billigere " +"og billigere. Kostnaden til et hÃ¸ykvalitets digitalt videosystem har falt " +"dramatisk. Som en analytiker omtalte det, <quote>for fem Ã¥r siden kostet et " +"godt sanntids redigerinssystem for digital video $25 000. I dag kan du " +"fÃ¥ profesjonell kvalitet for $595.</quote><placeholder type=\"footnote\" id=" +"\"0\"/> Disse bussene er fylt med teknologi som ville kostet hundre-tusenvis " +"av dollar for bare ti Ã¥r siden. Og det er nÃ¥ mulig Ã¥ forestille seg ikke " +"bare slike busser, men klasserom rundt om i landet hvor unger kan lÃ¦re mer " +"og mer av det lÃ¦rerne kaller <quote>medie-skrivefÃ¸re</quote> eller " +"<quote>mediekompetanse</quote>." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Yanofsky, Dave" +msgstr "Yanofsky, Dave" + +#. PAGE BREAK 49 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of " +"Just Think!, puts it, <quote>is the ability … to understand, analyze, " +"and deconstruct media images. Its aim is to make [kids] literate about the " +"way media works, the way it's constructed, the way it's delivered, and the " +"way people access it.</quote>" +msgstr "" +"<quote>Media-skrivefÃ¸re,</quote> eller <quote>mediekompetanse</quote> som " +"administrerende direktÃ¸r Dave Yanofsky i Just Think!, sier det, <quote>er " +"evnen til … Ã¥ forstÃ¥, analysere og dekonstruere mediebilder. Dets mÃ¥l " +"er Ã¥ gjÃ¸re [unger] i stand til Ã¥ forstÃ¥ hvordan mediene fungerer, hvordan de " +"er konstruert, hvordan de blir levert, og hvordan folk bruker dem</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This may seem like an odd way to think about <quote>literacy.</quote> For " +"most people, literacy is about reading and writing. Faulkner and Hemingway " +"and noticing split infinitives are the things that <quote>literate</quote> " +"people know about." +msgstr "" +"Dette kan virke som en litt rar mÃ¥te Ã¥ tenke pÃ¥ <quote>skrivefÃ¸r</quote>. " +"For de fleste handler skrivefÃ¸r Ã¥ kunne lese og skrive. <quote>SkrivefÃ¸re</" +"quote> folk kjenner ting som Faulkner, Hemingway og Ã¥ kjenne igjen delte " +"infinitiver." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "advertising" +msgstr "markedsfÃ¸ring" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "commercials" +msgstr "reklameinnslag" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "television" +msgstr "televisjon" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "advertising on" +msgstr "markedsfÃ¸ring pÃ¥" + +#. f10 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " +"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " +"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May " +"1997, B6." +msgstr "" +"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " +"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " +"Family and TV Study</quote>, <citetitle>Denver Post</citetitle>, 25. mai " +"1997, B6." + +#. type: Content of: <book><part><chapter><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 <quote>grammar</quote> of media. For just as there is a " +"grammar for the written word, so, too, is there one for media. And just as " +"kids learn how to write by writing lots of terrible prose, kids learn how to " +"write media by constructing lots of (at least at first) terrible media." +msgstr "" +"Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-" +"reklamer i Ã¥ret, eller generelt mellom 20 000 og 45 000 reklameinnslag," +"<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ er det mer og mer viktig Ã¥ " +"forstÃ¥ <quote>grammatikken</quote> til media. For pÃ¥ samme mÃ¥te som det er " +"en grammatikk for det skrevne ord, sÃ¥ er det ogsÃ¥ en for media. Og akkurat " +"slik som unger lÃ¦rer Ã¥ skrive ved Ã¥ skrive masse grusom prosa, sÃ¥ lÃ¦rer " +"unger Ã¥ skrive media ved Ã¥ konstruere masse (i hvert fall i begynnelsen) " +"grusom media." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"A growing field of academics and activists sees this form of literacy as " +"crucial to the next generation of culture. For though anyone who has written " +"understands how difficult writing is—how difficult it is to sequence " +"the story, to keep a reader's attention, to craft language to be " +"understandable—few of us have any real sense of how difficult media " +"is. Or more fundamentally, few of us have a sense of how media works, how it " +"holds an audience or leads it through a story, how it triggers emotion or " +"builds suspense." +msgstr "" +"Et voksende felt av akademikere og aktivister ser denne formen for " +"skrivefÃ¸re som avgjÃ¸rende for den neste generasjonen av kultur. For selv om " +"de som har skrevet forstÃ¥r hvor vanskelig det er Ã¥ skrive—hvor " +"vanskelig det er Ã¥ bestemme rekkefÃ¸lge i historien, Ã¥ holde pÃ¥ " +"oppmerksomheten hos leseren, Ã¥ forme sprÃ¥ket slik at det er forstÃ¥elig—" +"sÃ¥ har fÃ¥ av oss en reell fÃ¸lelse av hvor vanskelig medier er. Eller mer " +"fundamentalt, de fÃ¦rreste av oss har en fÃ¸lelse for hvordan media fungerer, " +"hvordan det holder et publikum eller leder leseren gjennom historien, " +"hvordan det utlÃ¸ser fÃ¸lelser eller bygger opp spenningen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"It took filmmaking a generation before it could do these things well. But " +"even then, the knowledge was in the filming, not in writing about the film. " +"The skill came from experiencing the making of a film, not from reading a " +"book about it. One learns to write by writing and then reflecting upon what " +"one has written. One learns to write with images by making them and then " +"reflecting upon what one has created." +msgstr "" +"Det tok filmkusten en generasjon fÃ¸r den kunne gjÃ¸re disse tingene bra. Men " +"selv da, sÃ¥ var kunnskapen i filmingen, ikke i Ã¥ skrive om filmen. " +"Ferdigheten kom fra erfaring med Ã¥ lage en film, ikke fra Ã¥ lese en bok om " +"den. En lÃ¦rer Ã¥ skrive ved Ã¥ skrive, og deretter reflektere over det en har " +"skrevet. En lÃ¦rer Ã¥ skrive med bilder ved Ã¥ lage dem, og deretter " +"reflektere over det en har laget." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Daley, Elizabeth" +msgstr "Daley, Elizabeth" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Crichton, Michael" +msgstr "Crichton, Michael" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Barish, Stephanie" +msgstr "Barish, Stephanie" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" +msgstr "" +"Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" + +#. f12 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, " +"4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." +msgstr "" +"Se Scott Steinberg, <quote>Crichton Gets Medieval on PCs</quote>, E!online, " +"4. november 2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #8</ulink>; <quote>Timeline</quote>, 22. november 2000, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." + +#. type: Content of: <book><part><chapter><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 <quote>the " +"placement of objects, color, … rhythm, pacing, and texture.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an " +"interactive space where a story is <quote>played</quote> as well as " +"experienced, that grammar changes. The simple control of narrative is lost, " +"and so other techniques are necessary. Author Michael Crichton had mastered " +"the narrative of science fiction. But when he tried to design a computer " +"game based on one of his works, it was a new craft he had to learn. How to " +"lead people through a game without their feeling they have been led was not " +"obvious, even to a wildly successful author.<placeholder type=\"footnote\" " +"id=\"1\"/>" +msgstr "" +"Denne gramatikken har endret seg etter hvert som media har endret seg. Da " +"det kun var film, som Elizabeth Daley, administrerende direktÃ¸r ved " +"Universitetet i SÃ¸r-Califorias Anneberg-senter for kommunkasjon og rektor " +"ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om " +"<quote>plasseringen av objekter, farger, … rytme, skritt og tekstur</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som " +"datamaskiner Ã¥pner opp et interaktivt rom hvor en historie blir " +"<quote>spillt</quote> i tillegg til opplevd, endrer gramatikken seg. Den " +"enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre " +"teknikker nÃ¸dvendig. Forfatter Michael Crichton hadde mestret " +"fortellerstemmen til science fiction. Men da han forsÃ¸kte Ã¥ lage et " +"dataspill basert pÃ¥ et av sine verk, sÃ¥ var det et nytt hÃ¥ndverk han mÃ¥tte " +"lÃ¦re. Det var ikke Ã¥penbart hvordan en leder folk gjennom et spill uten at " +"de far fÃ¸lelsen av Ã¥ ha blitt ledet, selv for en enormt vellykket forfatter." +"<placeholder type=\"footnote\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "computer games" +msgstr "dataspill" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This skill is precisely the craft a filmmaker learns. As Daley describes, " +"<quote>people are very surprised about how they are led through a film. [I]t " +"is perfectly constructed to keep you from seeing it, so you have no idea. If " +"a filmmaker succeeds you do not know how you were led.</quote> If you know " +"you were led through a film, the film has failed." +msgstr "" +"Akkurat denne ferdigheten er hÃ¥ndverket en lÃ¦rer til de som lager filmer. " +"Som Daley skriver, <quote>folk er svÃ¦rt overrasket over hvordan de blir " +"ledet gjennom en film. Den er perfekt konstruert for Ã¥ hindre deg fra Ã¥ se " +"det, sÃ¥ du aner det ikke. Hvis en som lager filmer lykkes sÃ¥ vet du ikke at " +"du har vÃ¦rt ledet.</quote> Hvis du vet at du ble ledet igjennom en film, sÃ¥ " +"har filmen feilet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet the push for an expanded literacy—one that goes beyond text to " +"include audio and visual elements—is not about making better film " +"directors. The aim is not to improve the profession of filmmaking at all. " +"Instead, as Daley explained," +msgstr "" +"Likevel er innsatsen for Ã¥ utvide skrivefÃ¸ren—til en som gÃ¥r ut over " +"tekst til Ã¥ ta med lyd og visuelle elementer—handler ikke om Ã¥ lage " +"bedre filmregissÃ¸rer. MÃ¥let er ikke Ã¥ forbedre filmyrket i det hele tatt. " +"I stedet, som Daley forklarer," + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"From my perspective, probably the most important digital divide is not " +"access to a box. It's the ability to be empowered with the language that " +"that box works in. Otherwise only a very few people can write with this " +"language, and all the rest of us are reduced to being read-only." +msgstr "" +"Fra mitt perspektiv er antagelig det viktigste digitale skillet ikke om en " +"har tilgang til en boks eller ikke. Det er evnen til Ã¥ ha kontroll over " +"sprÃ¥ket som boksen bruker. I motsatt fall er det bare noen fÃ¥ som kan " +"skrive i dette sprÃ¥ket, og alle oss andre er redusert til Ã¥ ikke kunne " +"skrive." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. " +"Couch potatoes. Consumers. This is the world of media from the twentieth " +"century." +msgstr "" +"<quote>ikke kunne skrive.</quote> Passive mottakerne av kultur produsert " +"andre steder. Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende " +"Ã¥rhundre." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Intervju med Daley og Barish. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. f31 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "Ibid." +msgstr "ibid." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The twenty-first century could be different. This is the crucial point: It " +"could be both read and write. Or at least reading and better understanding " +"the craft of writing. Or best, reading and understanding the tools that " +"enable the writing to lead or mislead. The aim of any literacy, and this " +"literacy in particular, is to <quote>empower people to choose the " +"appropriate language for what they need to create or express.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students " +"<quote>to communicate in the language of the twenty-first century.</" +"quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Det tjuefÃ¸rste Ã¥rhundret kan bli annerledes. Dette er et kritisk punkt: Det " +"kan bli bÃ¥de lesing og skriving. Eller i det minste lesing og bedre " +"forstÃ¥else for hÃ¥ndverket Ã¥ skrive. Eller det beste, lesing og forstÃ¥ " +"verktÃ¸yene som gir skriving mulighet til Ã¥ veilede eller villede. MÃ¥let med " +"enhver skrivefÃ¸rhet, og denne skrivefÃ¸rheten spesielt, er Ã¥ <quote>gi folket " +"myndighet til Ã¥ velge det sprÃ¥ket som passer for det de trenger Ã¥ lage eller " +"uttrykke</quote>.<placeholder type=\"footnote\" id=\"0\"/> Det gir studenter " +"mulighet <quote>til Ã¥ kommunisere i sprÃ¥ket til det tjuefÃ¸rste Ã¥rhundret</" +"quote>.<placeholder type=\"footnote\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As with any language, this language comes more easily to some than to " +"others. It doesn't necessarily come more easily to those who excel in " +"written language. Daley and Stephanie Barish, director of the Institute for " +"Multimedia Literacy at the Annenberg Center, describe one particularly " +"poignant example of a project they ran in a high school. The high school " +"was a very poor inner-city Los Angeles school. In all the traditional " +"measures of success, this school was a failure. But Daley and Barish ran a " +"program that gave kids an opportunity to use film to express meaning about " +"something the students know something about—gun violence." +msgstr "" +"Som det alle andre sprÃ¥k, lÃ¦res dette sprÃ¥ket lettere for noen enn for " +"andre. Det kommer ikke nÃ¸dvendigvis lettere for de som gjÃ¸r det godt " +"skriftlig. Daley og Stephanie Barish, direktÃ¸r for Institutt for Multimedia-" +"skrivefÃ¸re ved Annenberg-senteret, beskriver et spesielt sterkt eksempel fra " +"et prosjekt de gjennomfÃ¸rte i en videregÃ¥ende skole. Den videregÃ¥ende " +"skolen var en veldig fattig skole i den indre byen i Los Angeles. Etter " +"alle tradisjonelle mÃ¥leenheter for suksess var denne skolen en fiasko. Men " +"Daley og Barish gjennomfÃ¸rte et program som ga ungene en mulighet til Ã¥ " +"bruke film til Ã¥ uttrykke sine meninger om noe som studentene visste noe " +"om—vÃ¥pen-relatert vold." + +#. type: Content of: <book><part><chapter><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 " +"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> " +"said Barish. They were working harder than in any other class to do what " +"education should be about—learning how to express themselves." +msgstr "" +"Klassen mÃ¸ttes fredag ettermiddag, og skapte et relativt nytt problem for " +"skolen. Mens utfordringen i de fleste klasser var Ã¥ fÃ¥ ungene til Ã¥ dukke " +"opp, var utfordringen for denne klassen Ã¥ holde dem unna. <quote>Ungene " +"dukket opp 06:00, og dro igjen 05:00 pÃ¥ natta</quote>, sa Barish. De jobbet " +"hardere enn i noen annen klasse for Ã¥ gjÃ¸re det utdanning burde handle " +"om—Ã¥ lÃ¦re hvordan de skulle uttrykke seg." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Using whatever <quote>free web stuff they could find,</quote> and relatively " +"simple tools to enable the kids to mix <quote>image, sound, and text,</" +"quote> Barish said this class produced a series of projects that showed " +"something about gun violence that few would otherwise understand. This was " +"an issue close to the lives of these students. The project <quote>gave them " +"a tool and empowered them to be able to both understand it and talk about it," +"</quote> Barish explained. That tool succeeded in creating expression—" +"far more successfully and powerfully than could have been created using only " +"text. <quote>If you had said to these students, `you have to do it in text,' " +"they would've just thrown their hands up and gone and done something else,</" +"quote> Barish described, in part, no doubt, because expressing themselves in " +"text is not something these students can do well. Yet neither is text a form " +"in which <emphasis>these</emphasis> ideas can be expressed well. The power " +"of this message depended upon its connection to this form of expression." +msgstr "" +"Ved Ã¥ bruke hva som helst av <quote>fritt tilgjengelig web-stoff de kunne " +"finne</quote>, og relativt enkle verktÃ¸y som gjorde det mulig for ungene Ã¥ " +"blande <quote>bilde, lyd og tekst</quote>, sa Barish at denne klassen " +"produserte en serie av prosjekter som viste noe om vÃ¥pen-basert vold som fÃ¥ " +"ellers ville forstÃ¥. Dette var et tema veldig nÃ¦rt livene til disse " +"studentene. Prosjektet <quote>ga dem et verktÃ¸y og bemyndiget dem slik at " +"de bÃ¥de ble i stand til Ã¥ forstÃ¥ det og snakke om det</quote>, forklarer " +"Barish. Dette verktÃ¸yet lyktes med Ã¥ skape uttrykk—mye mer vellykket " +"og kraffylt enn noe som hadde blitt laget ved Ã¥ kun bruke tekst. " +"<quote>Hvis du hadde sagt til disse studentene at 'du mÃ¥ gjÃ¸re dette i " +"tekstform', sÃ¥ hadde de bare kastet hendene i vÃ¦ret og gÃ¥tt og gjort noe " +"annet</quote>, forklarer Barish. Delvis, uten tvil, fordi Ã¥ uttrykke seg " +"selv i tekstform ikke er noe disse studentene gjÃ¸r godt. Heller ikke er " +"tekstform en form som kan uttrykke <emphasis>disse</emphasis> idÃ©ene godt. " +"Kraften i denne meldingen avhenger av dens forbindelse med denne for for " +"uttrykk." + +#. PAGE BREAK 52 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>But isn't education about teaching kids to write?</quote> I asked. In " +"part, of course, it is. But why are we teaching kids to write? Education, " +"Daley explained, is about giving students a way of <quote>constructing " +"meaning.</quote> To say that that means just writing is like saying teaching " +"writing is only about teaching kids how to spell. Text is one part—and " +"increasingly, not the most powerful part—of constructing meaning. As " +"Daley explained in the most moving part of our interview," +msgstr "" +"<quote>Men handler ikke utdanning om Ã¥ lÃ¦re unger Ã¥ skrive?</quote> spurte " +"jeg. Jo delvis, naturligvis. Men hvorfor lÃ¦rer vi unger Ã¥ skrive? " +"Utdanning, forklarer Daley, handler om Ã¥ gi studentene en mÃ¥te Ã¥ " +"<quote>konstruere mening</quote>. Ã si at det kun betyr skriving er som Ã¥ " +"si at Ã¥ lÃ¦re bort skriving kun handler om Ã¥ lÃ¦re ungene Ã¥ stave. " +"Tekstforming er bare en del—og i stÃ¸rre grad ikke den kraftigste " +"delen—for Ã¥ konstruere mening. Som Daley forklarte i den mest rÃ¸rende " +"delen av vÃ¥rt intervju," + +#. type: Content of: <book><part><chapter><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, <quote>Johnny, you're illiterate. Nothing you " +"can do matters.</quote> Well, Johnny then has two choices: He can dismiss " +"you or he [can] dismiss himself. If his ego is healthy at all, he's going to " +"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things " +"that you can do, let's talk about this issue. Play for me music that you " +"think reflects that, or show me images that you think reflect that, or draw " +"for me something that reflects that.</quote> Not by giving a kid a video " +"camera and … saying, <quote>Let's go have fun with the video camera " +"and make a little movie.</quote> But instead, really help you take these " +"elements that you understand, that are your language, and construct meaning " +"about the topic.…" +msgstr "" +"Det du Ã¸nsker er Ã¥ gi disse studentene en mÃ¥te Ã¥ konstruere mening. Hvis alt " +"du gir dem er tekst, sÃ¥ kommer de ikke til Ã¥ gjÃ¸re det. Fordi de kan ikke. " +"Du vet, du har Johnny som kan se pÃ¥ en video, han kan spille pÃ¥ et TV-spill, " +"han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen " +"din, og han kan gjÃ¸re alle mulige andre ting. Men han kan ikke lese teksten " +"din. SÃ¥ Jonny kommer pÃ¥ skolen og du sier <quote>Johnny, du er analfabet. " +"Ingenting du gjÃ¸r betyr noe</quote>. Vel, da har Johnny to valg: Han kan " +"avvise deg eller han kan avvise seg selv. Hvis han har et sunt ego sÃ¥ vil " +"han avvise deg. Men hvis du i stedet sier, <quote>Vel, med alle disse " +"tingene som du kan gjÃ¸re, la oss snakke om dette temaet. Spill musikk til " +"meg som du mener reflekterer over temaet, eller vis meg bilder som du mener " +"reflekterer over temaet, eller tegn noe til meg som reflektere temaet</" +"quote>. Ikke ved Ã¥ gi en unge et videokamera og … si <quote>La oss " +"dra Ã¥ ha det morsomt med videokameraet og lage en liten film</quote>. Men " +"istedet, virkelig hjelpe deg Ã¥ ta disse elementene som du forstÃ¥r, som er " +"ditt sprÃ¥k, og konstruer mening om temaet.…" + +#. type: Content of: <book><part><chapter><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, " +"<quote>I need to explain this and I really need to write something.</quote> " +"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, " +"6, 7, 8 times, till they got it right." +msgstr "" +"Dette bemyndiger enormt. Og det som skjer til slutt, selvfÃ¸lgelig, som det " +"har skjedd i alle disse klassene, er at de stopper opp nÃ¥r de treffer " +"faktumet <quote>jeg trenger Ã¥ forklare dette, og da trenger jeg virkelig Ã¥ " +"skrive noe</quote>. Og som en av lÃ¦rerne fortalte Stephanie, de vil skrive " +"om avsnittet 5, 6, 7, 8 ganger, helt til det blir riktig." + +#. PAGE BREAK 53 +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"Because they needed to. There was a reason for doing it. They needed to say " +"something, as opposed to just jumping through your hoops. They actually " +"needed to use a language that they didn't speak very well. But they had come " +"to understand that they had a lot of power with this language." +msgstr "" +"Fordi de trengte det. Det var en grunn til Ã¥ gjÃ¸re det. De trengte Ã¥ si " +"noe, i motsetning til Ã¥ kun danse etter din pipe. De trengte faktisk Ã¥ " +"bruke det sprÃ¥ket de ikke hÃ¥ndterte veldig bra. Men de hadde begynt Ã¥ " +"forstÃ¥ at de hadde mye gjennomslagskraft med dette sprÃ¥ket." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "September 11, 2001, terrorist attacks of" +msgstr "11. september 2001, terrorangrep den" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "World Trade Center" +msgstr "World Trade Center" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "news coverage" +msgstr "nyhetsdekning" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>When two planes</emphasis> crashed into the World " +"Trade Center, another into the Pentagon, and a fourth into a Pennsylvania " +"field, all media around the world shifted to this news. Every moment of just " +"about every day for that week, and for weeks after, television in " +"particular, and media generally, retold the story of the events we had just " +"witnessed. The telling was a retelling, because we had seen the events that " +"were described. The genius of this awful act of terrorism was that the " +"delayed second attack was perfectly timed to assure that the whole world " +"would be watching." +msgstr "" +"<emphasis role='strong'>Da to fly</emphasis> krasjet inn i World Trade " +"Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i " +"Pennsylvania, snudde alle medier verden rundt seg til denne nyheten. " +"Ethvert moment for omtreng hver eneste dag den uka, og ukene som fulgte " +"gjenfortalte TV spesielt, men media generelt, historien om disse hendelsene " +"som vi nettopp hadde vÃ¦rt vitne til. Genialiteten i denne forferdelige " +"terrorhandlingen var at det forsinkede andre-angrepet var perfekt tidsatt " +"for Ã¥ sikre at hele verden ville vÃ¦re der for Ã¥ se pÃ¥." + +#. type: Content of: <book><part><chapter><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 <quote>balance,</quote> and " +"seriousness. This was news choreographed in the way we have increasingly " +"come to expect it, <quote>news as entertainment,</quote> even if the " +"entertainment is tragedy." +msgstr "" +"Disse gjenfortellingene ga en Ã¸kende familiÃ¦r fÃ¸lelse. Det var musikk " +"spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers " +"over skjermen. Det var en formel for intervjuer. Det var <quote>balanse</" +"quote> og seriÃ¸sitet. Dette var nyheter koreaografert slik vi i stadig " +"stÃ¸rre grad forventer det, <quote>nyheter som underholdning</quote>, selv om " +"underholdningen er en tragedie." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "ABC" +msgstr "ABC" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "CBS" +msgstr "CBS" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But in addition to this produced news about the <quote>tragedy of September " +"11,</quote> those of us tied to the Internet came to see a very different " +"production as well. The Internet was filled with accounts of the same " +"events. Yet these Internet accounts had a very different flavor. Some people " +"constructed photo pages that captured images from around the world and " +"presented them as slide shows with text. Some offered open letters. There " +"were sound recordings. There was anger and frustration. There were attempts " +"to provide context. There was, in short, an extraordinary worldwide barn " +"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber " +"Rights</citetitle>, around a news event that had captured the attention of " +"the world. There was ABC and CBS, but there was also the Internet." +msgstr "" +"Men i tillegg til disse produserte nyhetene om <quote>tragedien 11. " +"september</quote>, kunne de av oss som er knyttet til Internettet i tillegg " +"se en svÃ¦rt annerledes produksjon. Internettet er fullt av fortellinger om " +"de samme hendelsene. Men disse internet-fortellingene hadde en veldig " +"annerledes smak. Noen folk konstruerte foto-sider som fanget bilder fra " +"hele verden og presenterte dem som lysbildepresentasjoner med tekst. Noen " +"tilbÃ¸d Ã¥pne brev. Det var lydopptak. Det var sinne og frustrasjon. Det " +"var forsÃ¸k pÃ¥ Ã¥ tilby en sammenheng. Det var, kort og godt, en " +"ekstraordinÃ¦r verdensomspennende lÃ¥vebygging, slik Mike Godwin bruker " +"begrepet i hans bok <citetitle>Cyber Rights</citetitle>, rundt en " +"nyhetshendelse som hadde fanget oppmerksomheten til hele verden. Det var " +"ABC og CBS, men det var ogsÃ¥ Internettet." + +#. PAGE BREAK 54 +#. type: Content of: <book><part><chapter><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 <quote>Just Think!</quote> bus, the visual images could be mixed with " +"sound or text." +msgstr "" +"Det er ikke sÃ¥ enkelt som at jeg Ã¸nsker Ã¥ lovprise Internettet—selv om " +"jeg mener at folkene som stÃ¸tter denne formen for tale bÃ¸r lovprises. Jeg " +"Ã¸nsker i stedet Ã¥ peke pÃ¥ viktigheten av denne formen for tale. For pÃ¥ " +"samme mÃ¥te som en Kodak, gjÃ¸r Internettet folk i stand til Ã¥ fange bilder. " +"Og pÃ¥ samme mÃ¥te som med en film laget av en av studentene pÃ¥ <quote>Just " +"Think!</quote>-bussen, kan visuelle bilder bli blandet med lyd og tekst." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But unlike any technology for simply capturing images, the Internet allows " +"these creations to be shared with an extraordinary number of people, " +"practically instantaneously. This is something new in our tradition—" +"not just that culture can be captured mechanically, and obviously not just " +"that events are commented upon critically, but that this mix of captured " +"images, sound, and commentary can be widely spread practically " +"instantaneously." +msgstr "" +"Men i motsetning til en hvilken som helst teknologi for Ã¥ enkelt fange " +"bilder, tillater Internettet at en nesten umiddelbart deler disse " +"kreasjonene med et ekstraordinÃ¦rt antall menesker. Dette er noe nytt i vÃ¥r " +"tradisjon—ikke bare kan kultur fanges inn mekanisk, og Ã¥penbart heller " +"ikke at hendelser blir kommentert kritisk, men at denne blandingen av " +"bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "blogs (Web-logs)" +msgstr "blogger (Web-logger)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "blogs on" +msgstr "blogger om" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Web-logs (blogs)" +msgstr "Web-logger (blogger)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"September 11 was not an aberration. It was a beginning. Around the same " +"time, a form of communication that has grown dramatically was just beginning " +"to come into public consciousness: the Web-log, or blog. The blog is a kind " +"of public diary, and within some cultures, such as in Japan, it functions " +"very much like a diary. In those cultures, it records private facts in a " +"public way—it's a kind of electronic <citetitle>Jerry Springer</" +"citetitle>, available anywhere in the world." +msgstr "" +"11. september var ikke et avvik. Det var en start. Omtrent pÃ¥ samme tid, " +"begynte en form for kommunkasjon som hadde vokst dramatisk Ã¥ komme inn i " +"offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig " +"dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en " +"dagbok. I disse kulturene registrerer den private fakta pÃ¥ en offentlig " +"mÃ¥te—det er en slags elektronisk <citetitle>Jerry Springer</" +"citetitle>, tilgjengelig overalt i verden." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "political discourse" +msgstr "politisk diskusjon" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "public discourse conducted on" +msgstr "offentlig diskusjon gjennomfÃ¸rt pÃ¥" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But in the United States, blogs have taken on a very different character. " +"There are some who use the space simply to talk about their private life. " +"But there are many who use the space to engage in public discourse. " +"Discussing matters of public import, criticizing others who are mistaken in " +"their views, criticizing politicians about the decisions they make, offering " +"solutions to problems we all see: blogs create the sense of a virtual public " +"meeting, but one in which we don't all hope to be there at the same time and " +"in which conversations are not necessarily linked. The best of the blog " +"entries are relatively short; they point directly to words used by others, " +"criticizing with or adding to them. They are arguably the most important " +"form of unchoreographed public discourse that we have." +msgstr "" +"Men i USA har blogger inntatt en svÃ¦rt annerledes karakter. Det er noen som " +"bruker denne plassen til Ã¥ snakke om sitt private liv. Men det er mange som " +"bruker denne plassen til Ã¥ delta i offentlig debatt. Diskuterer saker med " +"offentlig interesse, kritiserer andre som har feil synspunkt, kritisere " +"politigere for avgjÃ¸relser de tar, tilbyr lÃ¸sninger pÃ¥ problemer vi alle " +"ser. Blogger skaper en fÃ¸lelse av et virtuelt offentlig mÃ¸te, men et hvor " +"vi ikke alle hÃ¥per Ã¥ vÃ¦re tilstede pÃ¥ samme tid og hvor konversasjonene ikke " +"nÃ¸dvendigvis er koblet sammen. De beste av bloggoppfÃ¸ringene er relativt " +"korte. De peker direkte til ord bruk av andre, kritiserer dem eller bidrar " +"til dem. Det kan argumenteres for at de er den viktigste form for " +"ukoreografert offentlig debatt som vi har." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "elections" +msgstr "valg" + +#. PAGE BREAK 55 +#. type: Content of: <book><part><chapter><para> +msgid "" +"That's a strong statement. Yet it says as much about our democracy as it " +"does about blogs. This is the part of America that is most difficult for " +"those of us who love America to accept: Our democracy has atrophied. Of " +"course we have elections, and most of the time the courts allow those " +"elections to count. A relatively small number of people vote in those " +"elections. The cycle of these elections has become totally professionalized " +"and routinized. Most of us think this is democracy." +msgstr "" +"Dette er en sterk uttalelse. Likevel sier den like mye om vÃ¥rt demokrati " +"som den sier om blogger. Dette er delen av USA som det er mest vanskelig " +"for oss som elsker USA Ã¥ akseptere: vÃ¥rt demokrati har svunnet hen. Vi har " +"naturligvis valg, og mesteparten av tiden tillater domstolene at disse " +"valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. " +"Syklusen med disse valgene har blitt totalt profesjonalisert og " +"rutinepreget. De fleste av oss tenker pÃ¥ dette som demokrati." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Tocqueville, Alexis de" +msgstr "Tocqueville, Alexis de" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "public discourse in" +msgstr "offentlig diskusjon i" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "jury system" +msgstr "jurysystem" + +#. f15 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" +"citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " +"16." +msgstr "" +"Se for eksempel Alexis de Tocqueville, <citetitle>Democracy in America</" +"citetitle>, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. " +"16." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But democracy has never just been about elections. Democracy means rule by " +"the people, but rule means something more than mere elections. In our " +"tradition, it also means control through reasoned discourse. This was the " +"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" +"century French lawyer who wrote the most important account of early " +"<quote>Democracy in America.</quote> It wasn't popular elections that " +"fascinated him—it was the jury, an institution that gave ordinary " +"people the right to choose life or death for other citizens. And most " +"fascinating for him was that the jury didn't just vote about the outcome " +"they would impose. They deliberated. Members argued about the <quote>right</" +"quote> result; they tried to persuade each other of the <quote>right</quote> " +"result, and in criminal cases at least, they had to agree upon a unanimous " +"result for the process to come to an end.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket " +"styrer, og Ã¥ styre betyr noe mer enn kun valg. I vÃ¥r tradisjon betyr det " +"ogsÃ¥ kontroll gjennom gjennomtenkt meningsbrytning. Dette var idÃ©en som " +"fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-" +"advokaten som skrev den viktigste historien om det tidlige " +"<quote>demokratiet i Amerika</quote>. Det var ikke allmenn stemmerett som " +"fascinerte han—det var juryen, en institusjon som ga vanlige folk " +"retten til Ã¥ velge liv eller dÃ¸d fÃ¸r andre borgere. Og det som fascinerte " +"han mest var at juryen ikke bare stemte over hvilket resultat de ville legge " +"frem. De diskuterte. Medlemmene argumenterte om hva som var <quote>riktig</" +"quote> resultat, de forsÃ¸kte Ã¥ overbevise hverandre om <quote>riktig</" +"quote>resultat, og i hvert fall i kriminalsaker mÃ¥tte de bli enige om et " +"enstemmig resultat for at prosessen skulle avsluttes.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. f16 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> " +"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." +msgstr "" +"Bruce Ackerman og James Fishkin, <quote>Deliberation Day</quote>, " +"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet even this institution flags in American life today. And in its place, " +"there is no systematic effort to enable citizen deliberation. Some are " +"pushing to create just such an institution.<placeholder type=\"footnote\" id=" +"\"0\"/> And in some towns in New England, something close to deliberation " +"remains. But for most of us for most of the time, there is no time or place " +"for <quote>democratic deliberation</quote> to occur." +msgstr "" +"Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det " +"ingen systematisk innsats for Ã¥ muliggjÃ¸re borger-diskusjon. Noen gjÃ¸r en " +"innsats for Ã¥ lage en slik institusjon.<placeholder type=\"footnote\" id=" +"\"0\"/> Og i noen landsbyer i New England er det noe i nÃ¦rheten av diskusjon " +"igjen. Men for de fleste av oss mesteparten av tiden, er det ingen tid og " +"sted for Ã¥ gjennomfÃ¸re <quote>demokratisk diskusjon</quote>." + +#. f17 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " +"University Press, 2001), 65–80, 175, 182, 183, 192." +msgstr "" +"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " +"University Press, 2001), 65–80, 175, 182, 183, 192." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"More bizarrely, there is generally not even permission for it to occur. We, " +"the most powerful democracy in the world, have developed a strong norm " +"against talking about politics. It's fine to talk about politics with people " +"you agree with. But it is rude to argue about politics with people you " +"disagree with. Political discourse becomes isolated, and isolated discourse " +"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " +"our friends want to hear, and hear very little beyond what our friends say." +msgstr "" +"Mer merkelig er at en generelt sett ikke engang har aksept for at det skal " +"skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm " +"mot Ã¥ diskutere politikk. Det er greit Ã¥ diskutere politikk med folk du er " +"enig med, men det er uhÃ¸flig Ã¥ diskutere politikk med folk du er uenig med. " +"Politisk debatt blir isolert, og isolert diskusjon blir mer ekstrem." +"<placeholder type=\"footnote\" id=\"0\"/> Vi sier det vÃ¥re venner vil hÃ¸re, " +"og hÃ¸rer veldig lite utenom hva vÃ¥re venner sier." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "e-mail" +msgstr "epost" + +#. PAGE BREAK 56 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Enter the blog. The blog's very architecture solves one part of this " +"problem. People post when they want to post, and people read when they want " +"to read. The most difficult time is synchronous time. Technologies that " +"enable asynchronous communication, such as e-mail, increase the opportunity " +"for communication. Blogs allow for public discourse without the public ever " +"needing to gather in a single public place." +msgstr "" +"SÃ¥ kommer bloggen. Selve bloggens arkitektur lÃ¸ser en del av dette " +"problemet. Folk publiserer det de Ã¸nsker Ã¥ publisere, og folk leser det de " +"Ã¸nsker Ã¥ lese. Det vanskeligste tiden er synkron tid. Teknologier som " +"muliggjÃ¸r asynkron kommunasjons, slik som epost, Ã¸ker muligheten for " +"kommunikasjon. Blogger gjÃ¸r det mulig med offentlig debatt uten at folket " +"noen gang trenger Ã¥ samle seg pÃ¥ et enkelt offentlig sted." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But beyond architecture, blogs also have solved the problem of norms. " +"There's no norm (yet) in blog space not to talk about politics. Indeed, the " +"space is filled with political speech, on both the right and the left. Some " +"of the most popular sites are conservative or libertarian, but there are " +"many of all political stripes. And even blogs that are not political cover " +"political issues when the occasion merits." +msgstr "" +"Men i tillegg til arkitektur, har blogger ogsÃ¥ lÃ¸st problemet med normer. " +"Det er (ennÃ¥) ingen norm i blogg-sfÃ¦ren om Ã¥ ikke snakke om politikk. " +"SfÃ¦ren er faktisk fylt med politiske innlegg, bÃ¥de pÃ¥ hÃ¸yre- og " +"venstresiden. Noen av de mest populÃ¦re stedene er konservative eller " +"libertarianske, men det er mange av alle politiske farger. Til og med " +"blogger som ikke er politiske dekker politiske temaer nÃ¥r anledningen krever " +"det." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Dean, Howard" +msgstr "Dean, Howard" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The significance of these blogs is tiny now, though not so tiny. The name " +"Howard Dean may well have faded from the 2004 presidential race but for " +"blogs. Yet even if the number of readers is small, the reading is having an " +"effect." +msgstr "" +"Betydningene av disse bloggene er liten nÃ¥, men ikke ubetydelig. Navnet " +"Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett " +"fra hos noen fÃ¥ blogger. Men selv om antallet lesere er lavt, sÃ¥ har det Ã¥ " +"lese dem en effekt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Lott, Trent" +msgstr "Lott, Trent" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Thurmond, Strom" +msgstr "Thurmond, Strom" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "blog pressure on" +msgstr "blogg-press pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "news events on" +msgstr "nyhetsinnslag pÃ¥" + +#. f18 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</" +"quote> New York Times, 16 January 2003, G5." +msgstr "" +"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot</" +"quote>, New York Times, 16. januar 2003, G5." + +#. type: Content of: <book><part><chapter><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 " +"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially " +"praising Thurmond's segregationist policies, he calculated correctly that " +"this story would disappear from the mainstream press within forty-eight " +"hours. It did. But he didn't calculate its life cycle in blog space. The " +"bloggers kept researching the story. Over time, more and more instances of " +"the same <quote>misspeaking</quote> emerged. Finally, the story broke back " +"into the mainstream press. In the end, Lott was forced to resign as senate " +"majority leader.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"En direkte effekt er pÃ¥ historier som hadde en annerledes livssyklus i de " +"store mediene. Trend Lott-affÃ¦ren er et eksempel. Da Logg <quote>sa feil</" +"quote> pÃ¥ en fest for senator Storm Thurmond, og essensielt lovpriste " +"segregeringspolitikken til Thurmond, regnet han ganske riktig med at " +"historien ville forsvinne fra de store mediene i lÃ¸pet av fÃ¸rtiÃ¥tte timer. " +"Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfÃ¦ren. " +"Bloggerne fortsatte Ã¥ undersÃ¸ke historien. Etter hvert dukket flere og " +"flere tilfeller av tilsvarende <quote>feiluttalelser</quote> opp. SÃ¥ dukket " +"historien opp igjen hos de store mediene. Lott ble til slutt tvunget til Ã¥ " +"trekke seg som leder for senatets flertall.<placeholder type=\"footnote\" id=" +"\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "commercial imperatives of" +msgstr "kommersielle imperativer av" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This different cycle is possible because the same commercial pressures don't " +"exist with blogs as with other ventures. Television and newspapers are " +"commercial entities. They must work to keep attention. If they lose " +"readers, they lose revenue. Like sharks, they must move on." +msgstr "" +"Denne annerledes syklusen er mulig pÃ¥ grunn av at et tilsvarende kommersielt " +"press ikke eksisterer hos blogger slik det gjÃ¸r hos andre kanaler. " +"Televisjon og aviser er kommersielle aktÃ¸rer. De mÃ¥ arbeide for Ã¥ holde pÃ¥ " +"oppmerksomheten. Hvis de mister lesere, sÃ¥ mister de inntekter. Som haier, " +"mÃ¥ de bevege seg videre." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "peer-generated rankings on" +msgstr "node-generert rangeringer av" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But bloggers don't have a similar constraint. They can obsess, they can " +"focus, they can get serious. If a particular blogger writes a particularly " +"interesting story, more and more people link to that story. And as the " +"number of links to a particular story increases, it rises in the ranks of " +"stories. People read what is popular; what is popular has been selected by a " +"very democratic process of peer-generated rankings." +msgstr "" +"Men bloggere har ikke tilsvarende begrensninger. De kan bli opphengt, de " +"kan fokusere, de kan bli seriÃ¸se. Hvis en bestemt blogger skriver en " +"spesielt interessant historie, sÃ¥ vil flere og flere folk lenke til den " +"historien. Og etter hvert som antallet lenker til en bestemt historie Ã¸ker, " +"sÃ¥ stiger den i rangeringen for historier. Folk leser det som er populÃ¦rt, " +"og hva som er populÃ¦rt har blitt valgt gjennom en svÃ¦rt demokratisk prosess " +"av likemanns-generert rangering. " + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "journalism" +msgstr "journalistikk" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Winer, Dave" +msgstr "Winer, Dave" + +#. PAGE BREAK 57 +#. type: Content of: <book><part><chapter><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 <quote>conflict of interest.</quote> <quote>I think " +"you have to take the conflict of interest</quote> out of journalism, Winer " +"told me. <quote>An amateur journalist simply doesn't have a conflict of " +"interest, or the conflict of interest is so easily disclosed that you know " +"you can sort of get it out of the way.</quote>" +msgstr "" +"Det er ogsÃ¥ en annen mÃ¥te, hvor blogger har en annen syklus enn de store " +"mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en " +"programvareutvikler i mange tiÃ¥r fortalte meg, er en annen forskjell " +"fravÃ¦ret av finansiell <quote>interessekonflikt</quote>. <quote>Jeg tror du " +"mÃ¥ ta interessekonflikten</quote> ut av journalismen, fortalte Winer meg. " +"<quote>En amatÃ¸rjournalist har ganske enkelt ikke interessekonflikt, eller " +"interessekonflikten er sÃ¥ enkelt Ã¥ avslÃ¸re at du liksom vet du kan rydde den " +"av veien.</quote>" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "CNN" +msgstr "CNN" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Iraq war" +msgstr "Irak-krigen" + +#. f19 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Telephone interview with David Winer, 16 April 2003." +msgstr "Telefonintervju med David Winer, 16. april 2003." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These conflicts become more important as media becomes more concentrated " +"(more on this below). A concentrated media can hide more from the public " +"than an unconcentrated media can—as CNN admitted it did after the Iraq " +"war because it was afraid of the consequences to its own employees." +"<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " +"coherent account. (In the middle of the Iraq war, I read a post on the " +"Internet from someone who was at that time listening to a satellite uplink " +"with a reporter in Iraq. The New York headquarters was telling the reporter " +"over and over that her account of the war was too bleak: She needed to offer " +"a more optimistic story. When she told New York that wasn't warranted, they " +"told her that <emphasis>they</emphasis> were writing <quote>the story.</" +"quote>)" +msgstr "" +"Disse konfliktene blir mer viktig etter hvert som mediene blir mer " +"konsentrert (mer om dette under). Konsentrerte medier kan skjule mer fra " +"offentligheten enn ikke-konsentrerte medier kan—slik CNN innrÃ¸mte at " +"de gjorde etter Irak-krigen fordi de var rett for konsekvensene for sine " +"egne ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger ogsÃ¥ Ã¥ " +"opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste " +"jeg en melding pÃ¥ Internet fra noen som pÃ¥ det tidspunktet lyttet pÃ¥ " +"satellitt-forbindelsen til en reporter i Irak. New York-hovedkvarteret ba " +"reporteren gang pÃ¥ gang at hennes rapport om krigen var for trist: Hun mÃ¥tte " +"tilby en mer optimistisk historie. NÃ¥r hun fortalte New York at det ikke var " +"grunnlag for det, fortalte de henne at det var <emphasis>dem</emphasis> som " +"skrev <quote>historien</quote>.)" + +#. f20 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " +"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 " +"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, " +"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>." +msgstr "" +"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " +"Information Online</quote>, <citetitle>New York Times</citetitle>, 2 februar " +"2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but " +"Strong Overall</quote>, Online Journalism Review, 2. februar 2003, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #10</" +"ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Blog space gives amateurs a way to enter the debate—<quote>amateur</" +"quote> not in the sense of inexperienced, but in the sense of an Olympic " +"athlete, meaning not paid by anyone to give their reports. It allows for a " +"much broader range of input into a story, as reporting on the Columbia " +"disaster revealed, when hundreds from across the southwest United States " +"turned to the Internet to retell what they had seen.<placeholder type=" +"\"footnote\" id=\"0\"/> And it drives readers to read across the range of " +"accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, " +"Winer says, are <quote>communicating directly with our constituency, and the " +"middle man is out of it</quote>—with all the benefits, and costs, that " +"might entail." +msgstr "" +"Blogg-sfÃ¦ren gir amatÃ¸rer en mÃ¥te Ã¥ bli med i debatten—<quote>amatÃ¸r</" +"quote> ikke i betydningen uerfaren, men i betydningen til en Olympisk atlet, " +"det vil si ikke betalt av noen for Ã¥ komme med deres rapport. Det tillater " +"en mye bredere rekke av innspill til en historie, slik rapporteringen " +"Columbia-katastrofen avdekket, nÃ¥r hundrevis fra hele sÃ¸rvest-USA vendte seg " +"til Internettet for Ã¥ gjenfortelle hva de hadde sett.<placeholder type=" +"\"footnote\" id=\"0\"/> Og det fÃ¥r lesere til Ã¥ lese pÃ¥ tvers av en rekke " +"fortellinger og <quote>triangulere</quote>, som Winer formulerer det, " +"sannheten. Blogger, sier Winer, <quote>kommunserer direkte med vÃ¥r " +"velgermasse, og mellommannen er fjernet</quote>— med alle de fordeler " +"og ulemper det kan fÃ¸re med seg." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Olafson, Steve" +msgstr "Olafson, Steve" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" +"\"indexterm\" id=\"3\"/> See Michael Falcone, <quote>Does an Editor's Pencil " +"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29 September " +"2003, C4. (<quote>Not all news organizations have been as accepting of " +"employees who blog. Kevin Sites, a CNN correspondent in Iraq who started a " +"blog about his reporting of the war on March 9, stopped posting 12 days " +"later at his bosses' request. Last year Steve Olafson, a <citetitle>Houston " +"Chronicle</citetitle> reporter, was fired for keeping a personal Web log, " +"published under a pseudonym, that dealt with some of the issues and people " +"he was covering.</quote>)" +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" +"\"indexterm\" id=\"3\"/> Se Michael Falcone, <quote>Does an Editor's Pencil " +"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29. september " +"2003, C4. (<quote>Ikke alle nyhetsorganisasjoner har hatt like stor aksept " +"for ansatte som blogger. Kevin Sites, en CNN-korrespondent i Irak som " +"startet en blogg om sin rapportering av krigen 9. mars, stoppet Ã¥ publisere " +"12 dager senere pÃ¥ forespÃ¸rsel fra sine sjefer. I fjor fikk Steve Olafson, " +"en <citetitle>Houston Chronicle</citetitle>-reporter, sparken for Ã¥ ha hatt " +"en personlig web-logg, publisert under pseudonym, som handlet om noen av " +"temaene og folkene som han dekket.</quote>)" + +#. PAGE BREAK 58 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Winer is optimistic about the future of journalism infected with blogs. " +"<quote>It's going to become an essential skill,</quote> Winer predicts, for " +"public figures and increasingly for private figures as well. It's not clear " +"that <quote>journalism</quote> is happy about this—some journalists " +"have been told to curtail their blogging.<placeholder type=\"footnote\" id=" +"\"0\"/> But it is clear that we are still in transition. <quote>A lot of " +"what we are doing now is warm-up exercises,</quote> Winer told me. There is " +"a lot that must mature before this space has its mature effect. And as the " +"inclusion of content in this space is the least infringing use of the " +"Internet (meaning infringing on copyright), Winer said, <quote>we will be " +"the last thing that gets shut down.</quote>" +msgstr "" +"Winer er optimistisk nÃ¥r det gjelder en journalistfremtid infisert av " +"blogger. <quote>Det kommer til Ã¥ bli en nÃ¸dvendig ferdighet</quote>, spÃ¥r " +"Winer, for offentlige aktÃ¸rer og ogsÃ¥ i stÃ¸rre grad for private aktÃ¸rer. " +"Det er ikke klart at <quote>journalismen</quote> er glad for dette—" +"noen journalister har blitt bedt om Ã¥ kutte ut sin blogging.<placeholder " +"type=\"footnote\" id=\"0\"/> Men det er klart at vi fortsatt er i en " +"overgangsfase. <quote>Mye av det vi gjÃ¸r nÃ¥ er oppvarmingsÃ¸velser</quote>, " +"fortalte Winer meg. Det er mye som mÃ¥ modne fÃ¸r dette omrÃ¥det har sin modne " +"effekt. Og etter som inkludering av innhold i dette omrÃ¥det er det omrÃ¥det " +"med minst opphavsrettsbrudd pÃ¥ Internettet, sa Wiener at <quote>vi vil vÃ¦re " +"den siste tingen som blir skutt ned</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This speech affects democracy. Winer thinks that happens because <quote>you " +"don't have to work for somebody who controls, [for] a gatekeeper.</quote> " +"That is true. But it affects democracy in another way as well. As more and " +"more citizens express what they think, and defend it in writing, that will " +"change the way people understand public issues. It is easy to be wrong and " +"misguided in your head. It is harder when the product of your mind can be " +"criticized by others. Of course, it is a rare human who admits that he has " +"been persuaded that he is wrong. But it is even rarer for a human to ignore " +"when he has been proven wrong. The writing of ideas, arguments, and " +"criticism improves democracy. Today there are probably a couple of million " +"blogs where such writing happens. When there are ten million, there will be " +"something extraordinary to report." +msgstr "" +"Slik tale pÃ¥virker demokratiet. Winer mener dette skjer fordi <quote>du " +"trenger ikke jobber for noen som kontrollerer, [for] en portvokter</quote>. " +"Det er sant. Men det pÃ¥virker demokratiet ogsÃ¥ pÃ¥ en annen mÃ¥te. Etter " +"hvert som flere og flere borgere uttrykker hva de mener, og forsvarer det " +"skriftlig, sÃ¥ vil det endre hvordan folk forstÃ¥r offentlige temaer. Det er " +"enkelt Ã¥ ha feil og vÃ¦re pÃ¥ villspor i hodet ditt. Det er vanskeligere nÃ¥r " +"resultatet fra dine tanker kan bli kritisert av andre. Det er selvfÃ¸lgelig " +"et sjeldent menneske som innrÃ¸mmer at han ble overtalt til Ã¥ innse at han " +"tok feil. Men det er mer sjeldent for et menneske Ã¥ ignorere at noen har " +"bevist at han tok feil. Ã skrive ned idÃ©er, argumenter og kritikk forbedrer " +"demokratiet. I dag er det antagelig et par millioner blogger der det " +"skrives pÃ¥ denne mÃ¥ten. NÃ¥r det er ti millioner, sÃ¥ vil det vÃ¦re noe " +"ekstraordinÃ¦rt Ã¥ rapportere." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Brown, John Seely" +msgstr "Brown, John Seely" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>John Seely Brown</emphasis> is the chief scientist " +"of the Xerox Corporation. His work, as his Web site describes it, is " +"<quote>human learning and … the creation of knowledge ecologies for " +"creating … innovation.</quote>" +msgstr "" +"<emphasis role='strong'>John Seely Brown</emphasis> er sjefsforsker ved " +"Xerox Corporation. Hans arbeid, i fÃ¸lge hans eget nettsted, er " +"<quote>menneskelig lÃ¦ring og … Ã¥ skape kunnskapsÃ¸kologier for Ã¥ skape " +"… innovasjon</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Brown thus looks at these technologies of digital creativity a bit " +"differently from the perspectives I've sketched so far. I'm sure he would be " +"excited about any technology that might improve democracy. But his real " +"excitement comes from how these technologies affect learning." +msgstr "" +"Brown ser dermed pÃ¥ disse teknologiene for digital kreativitet litt " +"annerledes enn fra perspektivene jeg har skissert opp sÃ¥ langt. Jeg er " +"sikker pÃ¥ at han blir begeistret for enhver teknologi som kan forbedre " +"demokratiet. Men det han virkelig blir begeistret over er hvordan disse " +"teknologiene pÃ¥virker lÃ¦ring." + +#. PAGE BREAK 59 +#. type: Content of: <book><part><chapter><para> +msgid "" +"As Brown believes, we learn by tinkering. When <quote>a lot of us grew up,</" +"quote> he explains, that tinkering was done <quote>on motorcycle engines, " +"lawnmower engines, automobiles, radios, and so on.</quote> But digital " +"technologies enable a different kind of tinkering—with abstract ideas " +"though in concrete form. The kids at Just Think! not only think about how a " +"commercial portrays a politician; using digital technology, they can take " +"the commercial apart and manipulate it, tinker with it to see how it does " +"what it does. Digital technologies launch a kind of bricolage, or " +"<quote>free collage,</quote> as Brown calls it. Many get to add to or " +"transform the tinkering of many others." +msgstr "" +"Brown tror vi lÃ¦rer med Ã¥ fikle. Da <quote>mange av oss vokste opp</quote>, " +"forklarer han, ble fiklingen gjort <quote>pa motorsykkelmotorer, " +"gressklippermotorer, biler, radioer og sÃ¥ videre</quote>. Men digitale " +"teknologier muliggjÃ¸r en annen type fikling—med abstrakte idÃ©er i sin " +"konkrete form. Ungene i Just Think! tenker ikke bare pÃ¥ hvordan et " +"reklameinnslag fremstiller en politiker. Ved Ã¥ bruke digital teknologi kan " +"de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og " +"se hvordan det blir gjort. Digitale teknologier setter igang en slags " +"*bricolage* eller <quote>fritt tilgjengelig sammenstilling</quote>, som " +"Brown kaller det. Mange fÃ¥r mulighet til Ã¥ legge til pÃ¥ eller endre pÃ¥ " +"fiklingen til mange andre." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The best large-scale example of this kind of tinkering so far is free " +"software or open-source software (FS/OSS). FS/OSS is software whose source " +"code is shared. Anyone can download the technology that makes a FS/OSS " +"program run. And anyone eager to learn how a particular bit of FS/OSS " +"technology works can tinker with the code." +msgstr "" +"Det beste eksemplet i stÃ¸rre skala sÃ¥ langt pÃ¥ denne typen fikling er fri " +"programvare og Ã¥pen kildekode (FS/OSS). FS/OSS er programvare der " +"kildekoden deles ut. Alle kan laste ned teknologien som fÃ¥r et FS/OSS-" +"program til Ã¥ fungere. Og enhver som har lyst til Ã¥ lÃ¦re hvordan en bestemt " +"bit av FS/OSS-teknologi fungerer kan fikle med koden." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This opportunity creates a <quote>completely new kind of learning platform,</" +"quote> as Brown describes. <quote>As soon as you start doing that, you " +"… unleash a free collage on the community, so that other people can " +"start looking at your code, tinkering with it, trying it out, seeing if they " +"can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open " +"source becomes a major apprenticeship platform.</quote>" +msgstr "" +"Denne muligheten gir en <quote>helt ny type lÃ¦ringsplattform</quote>, i " +"fÃ¸lge Brown. <quote>SÃ¥ snart du begynner Ã¥ gjÃ¸re dette, sÃ¥ … slipper " +"du lÃ¸s en fritt tilgjengelig sammenstilling til fellesskapet, slik at andre " +"folk kan begynne Ã¥ se pÃ¥ koden din, fikle med den, teste den, se om de kan " +"forbedre den</quote>. Og hver innsats er et slags lÃ¦retid. <quote>Ãpen " +"kildekode blir en stor lÃ¦rlingsplatform.</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In this process, <quote>the concrete things you tinker with are abstract. " +"They are code.</quote> Kids are <quote>shifting to the ability to tinker in " +"the abstract, and this tinkering is no longer an isolated activity that " +"you're doing in your garage. You are tinkering with a community platform. " +"… You are tinkering with other people's stuff. The more you tinker " +"the more you improve.</quote> The more you improve, the more you learn." +msgstr "" +"I denne prosessen, <quote>er de konkrete tingene du fikler med abstrakte. De " +"er kildekode</quote>. Unger <quote>endres til Ã¥ fÃ¥ evnen til Ã¥ fikle med " +"det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du " +"gjÃ¸r i garasjen din. Du fikler med en fellesskapsplatform. … Du " +"fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer du.</" +"quote> Jo mer du forbedrer, jo mer lÃ¦rer du." + +#. type: Content of: <book><part><chapter><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, " +"<quote>the Web [is] the first medium that truly honors multiple forms of " +"intelligence.</quote> Earlier technologies, such as the typewriter or word " +"processors, helped amplify text. But the Web amplifies much more than text. " +"<quote>The Web … says if you are musical, if you are artistic, if you " +"are visual, if you are interested in film … [then] there is a lot you " +"can start to do on this medium. [It] can now amplify and honor these " +"multiple forms of intelligence.</quote>" +msgstr "" +"Denne sammen tingen skjer ogsÃ¥ med innhold. Og det skjer pÃ¥ samme " +"samarbeidende mÃ¥te nÃ¥r dette innholdet er del av nettet. Som Brown " +"formulerer det, <quote>nettet er det fÃ¸rste medium som virkelig tar hensyn " +"til flere former for intelligens</quote>. Tidligere teknologier, slik som " +"skrivemaskin eller tekstbehandling, hjelper med Ã¥ fremme tekst. Men nettet " +"fremmer mye mer enn tekst. <quote>Nettet … si hvis du er musikalsk, " +"hvis du er kunstnerisk, hvis du er visuell, hvis du er interessert i film " +"…da er det en masse du kan gÃ¥ igang med pÃ¥ dette mediet. Det kan " +"fremme og ta hensyn til alle disse formene for intelligens.</quote>" + +#. PAGE BREAK 60 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " +"Think! teach: that this tinkering with culture teaches as well as creates. " +"It develops talents differently, and it builds a different kind of " +"recognition." +msgstr "" +"Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lÃ¦rer " +"bort: at denne fiklingen med kultur lÃ¦rer sÃ¥vel som den skaper. Den utvikler " +"talenter litt anderledes, og den bygger en annen type gjenkjenning." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " +"we'll see through the course of this book, that freedom is increasingly " +"highly contested. While there's no doubt that your father had the right to " +"tinker with the car engine, there's great doubt that your child will have " +"the right to tinker with the images she finds all around. The law and, " +"increasingly, technology interfere with a freedom that technology, and " +"curiosity, would otherwise ensure." +msgstr "" +"Likevel er friheten til Ã¥ fikle med disse objektene ikke garantert. Faktisk, " +"som vi vil se i lÃ¸pet av denne boken, er den friheten i stadig stÃ¸rre grad " +"omstridt. Mens det ikke er noe tvil om at din far hadde rett til Ã¥ fikle " +"med bilmotoren, sÃ¥ er det stor tvil om dine barn vil ha retten til Ã¥ fikle " +"med bilder som hun finner over alt. Loven, og teknologi i stadig stÃ¸rre " +"grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre." + +#. f22 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See, for example, Edward Felten and Andrew Appel, <quote>Technological " +"Access Control Interferes with Noninfringing Scholarship,</quote> " +"<citetitle>Communications of the Association for Computer Machinery</" +"citetitle> 43 (2000): 9." +msgstr "" +"Se for eksempel, Edward Felten og Andrew Appel, <quote>Technological Access " +"Control Interferes with Noninfringing Scholarship,</quote> " +"<citetitle>Communications of the Association for Computer Machinery</" +"citetitle> 43 (2000): 9." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These restrictions have become the focus of researchers and scholars. " +"Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a " +"powerful argument in favor of the <quote>right to tinker</quote> as it " +"applies to computer science and to knowledge in general.<placeholder type=" +"\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " +"fundamental. It is about the learning that kids can do, or can't do, because " +"of the law." +msgstr "" +"Disse begresningene har blitt fokusen for forskere og akademikere. Professor " +"Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"property-i\"/>) har utviklet et kraftfylt " +"argument til fordel for <quote>retten til Ã¥ fikle</quote> slik det gjÃ¸res i " +"informatikk og til kunnskap generelt.<placeholder type=\"footnote\" id=\"0\"/" +"> Men bekymringen til Brown er tidligere, og mer fundamentalt. Det handler " +"om hva slags lÃ¦ring unger kan fÃ¥, eller ikke kan fÃ¥, pÃ¥ grunn av loven." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>This is where education in the twenty-first century is going,</quote> " +"Brown explains. We need to <quote>understand how kids who grow up digital " +"think and want to learn.</quote>" +msgstr "" +"<quote>Dette er dit utviklingen av utdanning i det tjuefÃ¸rste Ã¥rhundret er " +"pÃ¥ vei</quote>, forklarer Brown. Vi mÃ¥ <quote>forstÃ¥ hvordan unger som " +"vokser opp digitalt tenker og Ã¸nsker Ã¥ lÃ¦re</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Yet,</quote> as Brown continued, and as the balance of this book will " +"evince, <quote>we are building a legal system that completely suppresses the " +"natural tendencies of today's digital kids. … We're building an " +"architecture that unleashes 60 percent of the brain [and] a legal system " +"that closes down that part of the brain.</quote>" +msgstr "" +"<quote>Likevel</quote>, fortsatte Brown, og som balansen i denne boken vil " +"fÃ¸re bevis for, <quote>bygger vi et juridisk system som fullstendig " +"undertrykker den naturlige tendensen i dagens digitale unger. … We " +"bygger en arkitektur som frigjÃ¸r 60 prosent av hjernen [og] et juridisk " +"system som stenger ned den delen av hjernen</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"We're building a technology that takes the magic of Kodak, mixes moving " +"images and sound, and adds a space for commentary and an opportunity to " +"spread that creativity everywhere. But we're building the law to close down " +"that technology." +msgstr "" +"Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige " +"bilder og lyd, og legger inn plass for kommentarer og en mulighet til Ã¥ spre " +"denne kreativiteten over alt. Men vi bygger loven for Ã¥ stenge ned denne " +"teknologien." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet " +"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " +"quipped to me in a rare moment of despondence." +msgstr "" +"<quote>Ikke mÃ¥ten Ã¥ drive en kultur pÃ¥</quote>, sa Brewster Kahle, som vi " +"mÃ¸tte i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors" +"\"/>, kommenterte til meg i et sjeldent Ã¸yeblikk av nedstemthet." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER THREE: Catalogs" +msgstr "Kapittel tre: Kataloger" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Jordan, Jesse" +msgstr "Jordan, Jesse" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "RPI" +msgstr "RPI" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Rensselaer Polytechnic Institute (RPI)" +msgstr "Rensselaer Polytechnic Institute (RPI)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "computer network search engine of" +msgstr "datanettverksÃ¸kemotor ved" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "search engines" +msgstr "sÃ¸kemotorer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "university computer networks, p2p sharing on" +msgstr "universitetdatanettverk, p2p-fildeling pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "search engines used on" +msgstr "sÃ¸kemotorer brukt pÃ¥" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan of " +"Oceanside, New York, enrolled as a freshman at Rensselaer Polytechnic " +"Institute, in Troy, New York. His major at RPI was information technology. " +"Though he is not a programmer, in October Jesse decided to begin to tinker " +"with search engine technology that was available on the RPI network." +msgstr "" +"<emphasis role='strong'>HÃ¸sten 2001</emphasis>, ble Jesse Jordan fra " +"Oceanside, New York, innrullert som fÃ¸rsteÃ¥rsstudent ved Rensselaer " +"Polytechnic Institute, i Troy, New York. Hans studieprogram ved RPI var " +"informasjonsteknologi. Selv om han ikke var en programmerer, bestemte Jesse " +"seg i oktober Ã¥ begynne Ã¥ fikle med en sÃ¸kemotorteknologi som var " +"tilgjengelig pÃ¥ RPI-nettverket." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"RPI is one of America's foremost technological research institutions. It " +"offers degrees in fields ranging from architecture and engineering to " +"information sciences. More than 65 percent of its five thousand " +"undergraduates finished in the top 10 percent of their high school class. " +"The school is thus a perfect mix of talent and experience to imagine and " +"then build, a generation for the network age." +msgstr "" +"RPI er en av Amerikas fremste teknologiske forskningsinstitusjoner. De " +"tilbyr grader innen omrÃ¥der som gÃ¥r fra arkitektur og ingeniÃ¸rfag til " +"informasjonsvitenskap. Mer enn 65 prosent av de fem tusen " +"laveregradsstudentene fullfÃ¸rte blant de 10 prosent beste i deres klasse pÃ¥ " +"videregÃ¥ende. Skolen er dermed en perfekt blanding av talent og erfaring " +"for Ã¥ se for seg og deretter bygge, en generasjon tilpasset nettverksalderen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"RPI's computer network links students, faculty, and administration to one " +"another. It also links RPI to the Internet. Not everything available on the " +"RPI network is available on the Internet. But the network is designed to " +"enable students to get access to the Internet, as well as more intimate " +"access to other members of the RPI community." +msgstr "" +"RPIs data-nettverk kobler studenter, forelesere og administrasjon sammen. " +"Det kobler ogsÃ¥ RPI til Internettet. Ikke alt som er tilgjengelig pÃ¥ RPI-" +"nettet er tilgjengelig pÃ¥ Internettet. Men nettverket er utformet for Ã¥ gi " +"alle studentene mulighet til Ã¥ bruke Internettet, i tillegg til mer direkte " +"tilgang til andre medlemmer i RPI-fellesskapet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Google" +msgstr "Google" + +#. PAGE BREAK 62 +#. type: Content of: <book><part><chapter><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 <quote>intranet</quote> search engines, search engines that search " +"within the network of a particular institution, is to provide users of that " +"institution with better access to material from that institution. " +"Businesses do this all the time, enabling employees to have access to " +"material that people outside the business can't get. Universities do it as " +"well." +msgstr "" +"SÃ¸kemotorer er et mÃ¥l pa hvor nÃ¦rt et nettverk oppleves Ã¥ vÃ¦re. Google " +"brakte Internettet mye nÃ¦rmere oss alle ved en utrolig forbedring av " +"kvaliteten pÃ¥ sÃ¸k i nettverket. Spesialiserte sÃ¸kemotorer kan gjÃ¸re dette " +"enda bedre. IdÃ©en med <quote>intranett</quote>-sÃ¸kemotorer, sÃ¸kemotorer som " +"kun sÃ¸ker internt i nettverket til en bestemt institusjon, er Ã¥ tilby " +"brukerne i denne institusjonen bedre tilgang til materiale fra denne " +"institusjonen. Bedrifter gjÃ¸r dette hele tiden, ved Ã¥ gi ansatte mulighet " +"til Ã¥ fÃ¥ tak i materiale som folk pÃ¥ utsiden av bedriften ikke kan fÃ¥ tak i. " +"Universitetet gjÃ¸r ogsÃ¥ dette." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Microsoft" +msgstr "Microsoft" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "network file system of" +msgstr "nettverksfilsystemet til" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These engines are enabled by the network technology itself. Microsoft, for " +"example, has a network file system that makes it very easy for search " +"engines tuned to that network to query the system for information about the " +"publicly (within that network) available content. Jesse's search engine was " +"built to take advantage of this technology. It used Microsoft's network file " +"system to build an index of all the files available within the RPI network." +msgstr "" +"Disse motorene blir muliggjort av nettverksteknologien selv. For eksempel " +"har Microsoft et nettverksfilsystem som gjÃ¸r det veldig enkelt for " +"sÃ¸kemotorer tilpasset det nettverket Ã¥ spÃ¸rre systemet etter informasjon om " +"det offentlig (innen nettverket) tilgjengelige innholdet. SÃ¸kemotoren til " +"Jesse var bygget for Ã¥ dra nytte av denne teknologien. Den brukte " +"Microsofts nettverksfilsystem for Ã¥ bygge en indeks over alle filene " +"tilgjengelig inne i RPI-nettverket." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's wasn't the first search engine built for the RPI network. Indeed, " +"his engine was a simple modification of engines that others had built. His " +"single most important improvement over those engines was to fix a bug within " +"the Microsoft file-sharing system that could cause a user's computer to " +"crash. With the engines that existed before, if you tried to access a file " +"through a Windows browser that was on a computer that was off-line, your " +"computer could crash. Jesse modified the system a bit to fix that problem, " +"by adding a button that a user could click to see if the machine holding the " +"file was still on-line." +msgstr "" +"Jesse sin var ikke den fÃ¸rste sÃ¸kemotoren bygget for RPI-nettverket. Hans " +"motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans " +"viktigste enkeltforbedring i forhold til disse motorene var Ã¥ fikse en feil " +"i Microsofts fildelings-system som fikk en brukers datamaskin til Ã¥ krasje. " +"Med motorene som hadde eksistert tidligere, hvis du forsÃ¸kte Ã¥ koble deg ved " +"hjelp av Windows-utforskeren til en fil som var pÃ¥ en datamaskin som ikke " +"var pÃ¥ nett, sÃ¥ ville din datamaskin krasje. Jesse endret systemet litt for " +"Ã¥ fikse det problemet, ved Ã¥ legge til en knapp som en bruker kunne klikke " +"pÃ¥ for Ã¥ se om maskinen som hadde filen fortsatt var pÃ¥ nett." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's engine went on-line in late October. Over the following six months, " +"he continued to tweak it to improve its functionality. By March, the system " +"was functioning quite well. Jesse had more than one million files in his " +"directory, including every type of content that might be on users' computers." +msgstr "" +"Motoren til Jesse kom pa nett i slutten av oktober. I lÃ¸pet av de fÃ¸lgende " +"seks mÃ¥nedene fortsatte han Ã¥ justere den for Ã¥ forbedre dens " +"funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn " +"en million filer i sin katalog, inkludert alle mulige typer innhold som " +"fantes pÃ¥ brukernes datamaskiner." + +#. PAGE BREAK 63 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Thus the index his search engine produced included pictures, which students " +"could use to put on their own Web sites; copies of notes or research; copies " +"of information pamphlets; movie clips that students might have created; " +"university brochures—basically anything that users of the RPI network " +"made available in a public folder of their computer." +msgstr "" +"Dermed inneholdt indeksen som hans sÃ¸kemotor produserte bilder, som " +"studentene kunne bruke til Ã¥ legge inn pÃ¥ sine egne nettsider, kopier av " +"notater og forskning, kopier av informasjonshefter, filmklipp som studentene " +"kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som " +"brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe pÃ¥ sine " +"datamaskiner." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "tinkering as means of" +msgstr "fikling som metode for" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But the index also included music files. In fact, one quarter of the files " +"that Jesse's search engine listed were music files. But that means, of " +"course, that three quarters were not, and—so that this point is " +"absolutely clear—Jesse did nothing to induce people to put music files " +"in their public folders. He did nothing to target the search engine to these " +"files. He was a kid tinkering with a Google-like technology at a university " +"where he was studying information science, and hence, tinkering was the aim. " +"Unlike Google, or Microsoft, for that matter, he made no money from this " +"tinkering; he was not connected to any business that would make any money " +"from this experiment. He was a kid tinkering with technology in an " +"environment where tinkering with technology was precisely what he was " +"supposed to do." +msgstr "" +"Men indeksen inneholdt ogsÃ¥ musikkfiler. Faktisk var en fjerdedel av filene " +"som Jesses sÃ¸kemotor inneholdt musikkfiler. Men det betyr, naturligvis, at " +"tre fjerdedeler ikke var det, og—slik at dette poenget er helt " +"klart—Jesse gjorde ingenting for Ã¥ fÃ¥ folk til Ã¥ plassere musikkfiler " +"i deres fellesmapper. Han gjorde ingenting for Ã¥ sikte sÃ¸kemotoren mot " +"disse filene. Han var en ungdom som fiklet med Google-lignende teknologi " +"ved et universitet der han studerte informasjonsvitenskap, og dermed var " +"fiklingen mÃ¥let. I motsetning til Google, eller Microsoft for den saks " +"skyld, tjente han ingen penger pÃ¥ denne fiklingen. Han var ikke knyttet til " +"noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en " +"ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi " +"var nÃ¸yaktig hva han var ment Ã¥ gjÃ¸re." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "in recording industry" +msgstr "i plateindustri" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "against student file sharing" +msgstr "mot student-fildeling" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "recording industry" +msgstr "plateindustrien" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "copyright infringement lawsuits of" +msgstr "sÃ¸ksmÃ¥l om opphavsrettbrudd fra" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Recording Industry Association of America (RIAA)" +msgstr "Recording Industry Association of America (RIAA)" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "copyright infringement lawsuits filed by" - msgstr "krenkelse av opphavsrett sÃ¸ksmÃ¥l" ++msgstr "stevning i sak om om krenkelse av opphavsrett tatt ut av" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " +"dean informed Jesse that the Recording Industry Association of America, the " +"RIAA, would be filing a lawsuit against him and three other students whom he " +"didn't even know, two of them at other universities. A few hours later, " +"Jesse was served with papers from the suit. As he read these papers and " +"watched the news reports about them, he was increasingly astonished." +msgstr "" +"Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved " +"RPI. Lederen fortalte Jesse at Foreningen for musikkindustri i USA, RIAA, " +"ville levere inn et sÃ¸ksmÃ¥l mot han og tre andre studenter som han ikke en " +"gang kjente, to av dem pÃ¥ andre universiteter. Noen fÃ¥ timer senere ble " +"Jesse forkynt sÃ¸ksmÃ¥let og fikk overlevert dokumentene. Mens han leste " +"disse dokumentene og sÃ¥ pÃ¥ nyhetsrapportene om den, ble han stadig mer " +"forbauset." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>It was absurd,</quote> he told me. <quote>I don't think I did " +"anything wrong. … I don't think there's anything wrong with the " +"search engine that I ran or … what I had done to it. I mean, I hadn't " +"modified it in any way that promoted or enhanced the work of pirates. I just " +"modified the search engine in a way that would make it easier to use</" +"quote>—again, a <emphasis>search engine</emphasis>, which Jesse had " +"not himself built, using the Windows filesharing system, which Jesse had not " +"himself built, to enable members of the RPI community to get access to " +"content, which Jesse had not himself created or posted, and the vast " +"majority of which had nothing to do with music." +msgstr "" +"<quote>Det var absurd</quote>, fortalte han meg. <quote>Jeg mener at jeg " +"ikke gjorde noe galt. … Jeg mener det ikke er noe galt med " +"sÃ¸kemotoren som jeg kjÃ¸rte eller … hva jeg hadde gjort med den. Jeg " +"mener, jeg hadde ikke endret den pÃ¥ noen mÃ¥te som fremmet eller forbedret " +"arbeidet til pirater. Jeg endret kun sÃ¸kemotoren slik at den ble enklere Ã¥ " +"bruke</quote>—igjen, en <emphasis>sÃ¸kemotor</emphasis>, som Jesse ikke " +"hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse ikke " +"hadde bygd selv, for Ã¥ gjÃ¸re det mulig for medlemmer av RPI-fellesskapet Ã¥ " +"fÃ¥ tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig, " +"og der det store flertall av dette ikke hadde noe Ã¥ gjÃ¸re med musikk." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "exaggerated claims of" +msgstr "overdrevne pÃ¥stander om" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "statutory damages of" +msgstr "lovbestemte skader for" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "individual defendants intimidated by" - msgstr "individuelle saksÃ¸kte skremt av" ++msgstr "de enkelte saksÃ¸kte skremt av" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "statutory damages" +msgstr "lovbestemte skader" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "intimidation tactics of" +msgstr "skremselstaktikker til" + +#. PAGE BREAK 64 +#. type: Content of: <book><part><chapter><para> +msgid "" +"But the RIAA branded Jesse a pirate. They claimed he operated a network and " +"had therefore <quote>willfully</quote> violated copyright laws. They " +"demanded that he pay them the damages for his wrong. For cases of " +"<quote>willful infringement,</quote> the Copyright Act specifies something " +"lawyers call <quote>statutory damages.</quote> These damages permit a " +"copyright owner to claim $150,000 per infringement. As the RIAA alleged more " +"than one hundred specific copyright infringements, they therefore demanded " +"that Jesse pay them at least $15,000,000." +msgstr "" +"Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og " +"dermed <quote>med vilje</quote> hadde brutt Ã¥ndsverkslovene. De krevde at " +"han betalte dem skadeerstatning for det han hadde gjort galt. I saker med " +"<quote>krenkelser med vilje</quote>, spesifiserer Ã¥ndsverksloven noe som " +"advokater kaller <quote>lovbestemte skader</quote>. Disse skadene tillater " +"en opphavsrettighetseier Ã¥ kreve $150 000 per krenkelse. Etter som " +"RIAA pÃ¥sto det var mer enn et hundre spesifikke opphavsrettskrenkelser, " +"krevde de dermed at Jesse betalte dem minst $15 000 000." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Michigan Technical University" +msgstr "Michigan Technical University" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Princeton University" +msgstr "Princeton University" + +#. f1 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " +"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media " +"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." +msgstr "" +"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " +"Alleges $97.8 Billion in Damages</quote>, <citetitle>Professional Media " +"Group LCC</citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443." + +#. type: Content of: <book><part><chapter><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 " +"<quote>damages</quote> that the RIAA claimed it was entitled to. If you " +"added up the claims, these four lawsuits were asking courts in the United " +"States to award the plaintiffs close to $100 <emphasis>billion</" +"emphasis>—six times the <emphasis>total</emphasis> profit of the film " +"industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Lignende sÃ¸ksmÃ¥l ble gjort mot tre andre studenter: en annen student ved " +"RPI, en ved Michegan Technical University og en ved Princeton. Deres " +"situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige " +"detaljer, var hovedpoenget nÃ¸yaktig det samme: store krav om " +"<quote>erstatning</quote> som RIAA pÃ¥sto de hadde rett pÃ¥. Hvis du summerte " +"opp disse kravene, ba disse fire sÃ¸ksmÃ¥lene domstolene i USA Ã¥ tildele " +"saksÃ¸kerne nesten $100 <emphasis>milliarder</emphasis>—seks ganger det " +"<emphasis>totale</emphasis> overskuddet til filmindustrien i 2001." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse called his parents. They were supportive but a bit frightened. An " +"uncle was a lawyer. He began negotiations with the RIAA. They demanded to " +"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " +"other employment. They demanded $12,000 to dismiss the case." +msgstr "" +"Jesse kontaktet sine foreldre. De stÃ¸ttet ham, men var litt skremt. En " +"onkel var advokat. Han startet forhandlinger med RIAA. De krevde Ã¥ fÃ¥ vite " +"hvor mye penger Jesse hadde. Jesse hadde spart opp $12 000 fra " +"sommerjobber og annet arbeid. De krevde 12 000 for Ã¥ trekke saken." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Oppenheimer, Matt" +msgstr "Oppenheimer, Matt" + +#. type: Content of: <book><part><chapter><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, <quote>You don't want to " +"pay another visit to a dentist like me.</quote>) And throughout, the RIAA " +"insisted it would not settle the case until it took every penny Jesse had " +"saved." +msgstr "" +"RIAA ville at Jesse skulle innrÃ¸mme at han hadde gjort noe galt. Han " +"nektet. De ville ha han til Ã¥ godta en kjennelse som i praksis ville gjÃ¸re " +"det umulig for han Ã¥ arbeide i mange omrÃ¥der innen teknologi for resten av " +"hans liv. Han nektet. De fikk han til Ã¥ forstÃ¥ at denne prosessen med Ã¥ " +"bli saksÃ¸kt ikke kom til Ã¥ bli hyggelig. (Som faren til Jesse refererte til " +"meg, fortalte sjefsadvokaten pÃ¥ saken, Matt Oppenheimer, <quote>Du Ã¸nsker " +"ikke et tannlegebesÃ¸k hos meg flere ganger</quote>) Og gjennom det hele " +"insisterte RIAA at de ikke ville inngÃ¥ forlik fÃ¸r de hadde tatt hver eneste " +"Ã¸re som Jesse hadde spart opp." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "legal system, attorney costs in" +msgstr "juridisk system, advokatkostnader i" + +#. PAGE BREAK 65 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's family was outraged at these claims. They wanted to fight. But " +"Jesse's uncle worked to educate the family about the nature of the American " +"legal system. Jesse could fight the RIAA. He might even win. But the cost of " +"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " +"he won, he would not recover that money. If he won, he would have a piece of " +"paper saying he had won, and a piece of paper saying he and his family were " +"bankrupt." +msgstr "" +"Familien til Jessie ble opprÃ¸rt over disse pÃ¥standene. De Ã¸nsket Ã¥ kjempe. " +"Men onkelen til Jessie gjorde en innsats for Ã¥ lÃ¦re familien om hvordan det " +"amerikanske juridiske systemet fungerte. Jesse kunne sloss mot RIAA. Han " +"kunne til og med vinne. Men kostnaden med Ã¥ loss mot et sÃ¸ksmÃ¥l som dette, " +"ble Jesse fortalt, ville vÃ¦re minst $250 000. Hvis han vant ville han " +"ikke fÃ¥ tilbake noen av de pengene. Hvis han vant, sÃ¥ ville han ha en bit " +"papir som sa at han vant, og en bit papir som sa at han og hans familie var " +"konkurs." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " +"$12,000 and a settlement." +msgstr "" +"SÃ¥ Jesse hadde et mafia-lignende valg: $250 000 og en sjanse til Ã¥ " +"vinne, eller $12 000 og et forlik." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "artists" +msgstr "artister" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "recording industry payments to" +msgstr "musikkindustriens betaling til" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "artist remuneration in" - msgstr "artist godtgjÃ¸relse i" ++msgstr "artisthonorar i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "lobbying power of" - msgstr "lobbyvirksomhet makt" ++msgstr "lobbymakten til" + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Occupational Employment Survey, U.S. Dept. of Labor (2001) " +"(27–2042—Musicians and Singers). See also National Endowment for " +"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." +msgstr "" +"Occupational Employment Survey, U.S. Dept. of Labor (2001) " +"(27–2042—Musikere og Sangere). Se ogsÃ¥ National Endowment for " +"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</" +"quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." +msgstr "" +"Douglas Lichtman kommer med et relatert poeng i <quote>KaZaA and Punishment," +"</quote> <citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The recording industry insists this is a matter of law and morality. Let's " +"put the law aside for a moment and think about the morality. Where is the " +"morality in a lawsuit like this? What is the virtue in scapegoatism? The " +"RIAA is an extraordinarily powerful lobby. The president of the RIAA is " +"reported to make more than $1 million a year. Artists, on the other hand, " +"are not well paid. The average recording artist makes $45,900.<placeholder " +"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " +"and direct policy. So where is the morality in taking money from a student " +"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Musikkindustrien insisterer at dette er et spÃ¸rsmÃ¥l om lov og moral. La oss " +"legge loven til side for et Ã¸yeblikk og tenke pÃ¥ moralen. Hvor er moralen i " +"et sÃ¸ksmÃ¥l som dette? Hva er dyden i Ã¥ skape offerlam. RIAA er en spesielt " +"mektig lobby. Presidenten i RIAA tjener i fÃ¸lge rapporter mer enn $1 " +"million i Ã¥ret. Artister, pÃ¥ den andre siden, fÃ¥r ikke godt betalt. Den " +"gjennomsnittlige innspillingsartist tjener $45 900.<placeholder type=" +"\"footnote\" id=\"0\"/> Det er utallige mÃ¥ter som RIAA kan bruke for Ã¥ " +"pÃ¥virke og styre politikken. SÃ¥ hva er det moralske i Ã¥ ta penger fra en " +"student for Ã¥ drive en sÃ¸kemotor?<placeholder type=\"footnote\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " +"case against him was then dismissed. And with this, this kid who had " +"tinkered a computer into a $15 million lawsuit became an activist:" +msgstr "" +"23. juni overfÃ¸rte Jesse alle sine oppsparte midler til advokaten som jobbet " +"for RIAA. Saken mot ham ble trukket. Og med dette, ble unggutten som hadde " +"fiklet med en datamaskin og blitt saksÃ¸kt for 15 millioner dollar en " +"aktivist:" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"I was definitely not an activist [before]. I never really meant to be an " +"activist. … [But] I've been pushed into this. In no way did I ever " +"foresee anything like this, but I think it's just completely absurd what the " +"RIAA has done." +msgstr "" +"Jeg var definitivt ikke en aktivist [tidligere]. Jeg mente egentlig aldri Ã¥ " +"vÃ¦re en aktivist. … [men] jeg har blitt skjÃ¸vet inn i dette. Jeg " +"forutsÃ¥ over hodet ikke noe slik som dette, men jeg tror det er bare helt " +"absurd det RIAA har gjort." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's parents betray a certain pride in their reluctant activist. As his " +"father told me, Jesse <quote>considers himself very conservative, and so do " +"I. … He's not a tree hugger. … I think it's bizarre that they " +"would pick on him. But he wants to let people know that they're sending the " +"wrong message. And he wants to correct the record.</quote>" +msgstr "" +"Foreldrene til Jesse avslÃ¸rer en viss stolthet over deres motvillige " +"aktivist. Som hans far fortalte meg, Jesse <quote>anser seg selv for Ã¥ vÃ¦re " +"konservativ, og det samme gjÃ¸r jeg. … Han er ingen treklemmer. " +"… Jeg synes det er sÃ¦rt at de ville lage brÃ¥k med ham. Men han " +"Ã¸nsker Ã¥ la folk vite at de sender feil budskap. Og han Ã¸nsker Ã¥ korrigere " +"rullebladet.</quote>" + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER FOUR: <quote>Pirates</quote>" +msgstr "Kapittel fire: <quote>Pirater</quote>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "in development of content industry" - msgstr "i utviklingen av innhold industri" ++msgstr "i utviklingen av innholdsindustri" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>If <quote>piracy</quote> means</emphasis> using the " +"creative property of others without their permission—if <quote>if " +"value, then right</quote> is true—then the history of the content " +"industry is a history of piracy. Every important sector of <quote>big media</" +"quote> today—film, records, radio, and cable TV—was born of a " +"kind of piracy so defined. The consistent story is how last generation's " +"pirates join this generation's country club—until now." +msgstr "" +"<emphasis role='strong'>Hvis <quote>piratvirksomhet</quote> betyr</emphasis> " +"Ã¥ bruke den kreative eiendommen til andre uten deres tillatelse—hvis " +"<quote>hvis verdi, sÃ¥ rettighet</quote> er sant—da er historien om " +"innholdsindustrien en historie om piratvirksomhet. Hver eneste viktige " +"sektor av <quote>store medier</quote> i dag—film, plater, radio og " +"kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den " +"konsekvente fortellingen er at forrige generasjon pirater blir del av denne " +"generasjonens borgerskap—inntil nÃ¥." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Film" +msgstr "Film" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro " +"for pointing me to this extraordinary history. See also Siva Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 87–93, which details " +"Edison's <quote>adventures</quote> with copyright and patent." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Jeg er takknemlig til Peter " +"DiMauro for Ã¥ ha pekt meg i retning av denne ekstraordinÃ¦re historien. Se " +"ogsÃ¥ Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " +"87–93, som forteller detaljer om Edisons <quote>eventyr</quote> med " +"opphavsrett og patent." + +#. PAGE BREAK 67 +#. type: Content of: <book><part><chapter><section><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 <quote>trust,</quote> the " +"Motion Pictures Patents Company, and were based on Thomas Edison's creative " +"property—patents. Edison formed the MPPC to exercise the rights this " +"creative property gave him, and the MPPC was serious about the control it " +"demanded." +msgstr "" +"Filmindustrien i Hollywood var bygget av flyktende pirater.<placeholder type=" +"\"footnote\" id=\"0\"/> Skapere og regissÃ¸rer migrerte fra Ã¸stkysten til " +"California tidlig i det tjuende Ã¥rhundret delvis for Ã¥ slippe unna " +"kontrollene som patenter ga oppfinneren av det Ã¥ lage filmer, Thomas " +"Edison. Disse kontrollene be utÃ¸vet gjennom et monopol-<quote>kartell</" +"quote>, The Motion Pictures Patents company, og var basert pÃ¥ Thomas Edisons " +"kreative eierrettigheter—patenter. Edison stiftet MPPC for Ã¥ utÃ¸ve " +"rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriÃ¸st " +"med kontrollen de krevde." + +#. type: Content of: <book><part><chapter><section><para> +msgid "As one commentator tells one part of the story," +msgstr "Som en kommentator forteller en del av historien," + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"A January 1909 deadline was set for all companies to comply with the " +"license. By February, unlicensed outlaws, who referred to themselves as " +"independents protested the trust and carried on business without submitting " +"to the Edison monopoly. In the summer of 1909 the independent movement was " +"in full-swing, with producers and theater owners using illegal equipment and " +"imported film stock to create their own underground market." +msgstr "" +"En tidsfrist ble satt til januar 1909 for alle selskaper Ã¥ komme i samsvar " +"med lisensen. NÃ¥r februar kom, protesterte de ulisensierte fredlÃ¸se, som " +"refererte til seg selv som uavhengige, mot kartellet og fortsatte sin " +"forretningsvirksomhet uten Ã¥ bÃ¸ye seg for Edisons monopol. Sommeren 1909 " +"var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som " +"brukte ulovlig utstyr og importerte filmlager for Ã¥ opprette sitt eget " +"undergrunnsmarked." + +#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> +msgid "Fox, William" +msgstr "Fox, William" + +#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> +msgid "General Film Company" +msgstr "General Film Company" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Picker, Randal C." +msgstr "Picker, Randal C." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "broadcast flag" +msgstr "kringkastingsflagg" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " +"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " +"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion " +"Picture Patents Company vs. the Independent Outlaws,</quote> available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a " +"discussion of the economic motive behind both these limits and the limits " +"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison " +"to the Broadcast Flag: Mechanisms of Consent and Refusal and the " +"Propertization of Copyright</quote> (September 2002), University of Chicago " +"Law School, James M. Olin Program in Law and Economics, Working Paper No. " +"159. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " +"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) og " +"utvidede tekster lagt ut pÃ¥ <quote>The Edison Movie Monopoly: The Motion " +"Picture Patents Company vs. the Independent Outlaws</quote>, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For en " +"diskusjon om det Ã¸konomiske motivet bak begge disse begresningene, og " +"begresningene pÃ¥lagt av Victor pÃ¥ fonografer, se Randal C. Picker, " +"<quote>From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal " +"and the Propertization of Copyright</quote> (september 2002), University of " +"Chicago Law School, James M. Olin Program in Law and Economics, Working " +"Paper No. 159. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"With the country experiencing a tremendous expansion in the number of " +"nickelodeons, the Patents Company reacted to the independent movement by " +"forming a strong-arm subsidiary known as the General Film Company to block " +"the entry of non-licensed independents. With coercive tactics that have " +"become legendary, General Film confiscated unlicensed equipment, " +"discontinued product supply to theaters which showed unlicensed films, and " +"effectively monopolized distribution with the acquisition of all U.S. film " +"exchanges, except for the one owned by the independent William Fox who " +"defied the Trust even after his license was revoked.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Med et land som sÃ¥ en kolossal Ã¸kning i antall billige kinoer, sÃ¥kalte " +"nickelodeons, reagerte patentselskapet pÃ¥ bevegelsen av uavhengige med Ã¥ " +"stifte et hardhendt datterselskap ved navn General Film Company for Ã¥ " +"blokkere innfÃ¸ringen av ulisensierte uavhengige. Med tvangstaktikker som " +"har blitt legendariske, konfiskerte General Film ulisensiert utstyr, stoppet " +"varelevering til kinoer som viste ulisensiert fil, og effektivt " +"monopoliserte distribusjon ved Ã¥ kjÃ¸pe opp alle USAs filmsentraler, med " +"unntak av den ene som var eid av den uavhengige William Fox som motsto " +"kartellet selv etter at hans lisens var trukket tilbake.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. f3 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents " +"Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/" +"\">link #12</ulink>." +msgstr "" +"Marc Wanamaker, <quote>The First Studios</quote>, <citetitle>The Silents " +"Majority</citetitle>, arkivert pÃ¥ <ulink url=\"http://free-culture.cc/notes/" +"\">link #12</ulink>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The Napsters of those days, the <quote>independents,</quote> were companies " +"like Fox. And no less than today, these independents were vigorously " +"resisted. <quote>Shooting was disrupted by machinery stolen, and " +"`accidents' resulting in loss of negatives, equipment, buildings and " +"sometimes life and limb frequently occurred.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. " +"California was remote enough from Edison's reach that filmmakers there could " +"pirate his inventions without fear of the law. And the leaders of Hollywood " +"filmmaking, Fox most prominently, did just that." +msgstr "" +"Napsterne i de dager, de <quote>uavhengige</quote>, var selskaper som Fox. " +"Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet. " +"<quote>Opptak ble avbrutt av stjÃ¥let maskineri, og 'uhell' som fÃ¸rte til " +"tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde ofte." +"</quote><placeholder type=\"footnote\" id=\"0\"/> Dette fikk de uavhengige " +"til Ã¥ flykte til Ã¸stkysten. California var fjernt nok fra Edisons " +"innflytelse til at filmskaperne der kunne rÃ¸ve hans nyvinninger uten Ã¥ " +"frykte loven. Og lederne blant Hollywoods filmskapere, Fox mest " +"fremtredende, gjorde akkurat dette." + +#. PAGE BREAK 68 +#. type: Content of: <book><part><chapter><section><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 <quote>limited</quote> monopoly (just seventeen years at that time), " +"by the time enough federal marshals appeared, the patents had expired. A new " +"industry had been born, in part from the piracy of Edison's creative " +"property." +msgstr "" +"California vokste naturligvis raskt, og effektiv hÃ¥ndhevelse av fÃ¸derale " +"lover spredte seg til slutt vestover. Men fordi patenter tildeler " +"patentinnehaveren et i sannhet <quote>begrenset</quote> monopol (kun sytten " +"Ã¥r pÃ¥ den tiden), sÃ¥ patentene var utgÃ¥tt fÃ¸r nok fÃ¸derale lovmenn dukket " +"opp. En ny industri var fÃ¸dt, delvis fra piratvirksomhet mot Edison's " +"kreative rettigheter." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Recorded Music" +msgstr "Innspilt musikk" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on music recordings" +msgstr "om musikkinnspillinger" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The record industry was born of another kind of piracy, though to see how " +"requires a bit of detail about the way the law regulates music." +msgstr "" +"Musikkindustrien ble fÃ¸dt av en annen type piratvirksomhet, dog for Ã¥ forstÃ¥ " +"hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer " +"musikk." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Fourneaux, Henri" +msgstr "Fourneaux, Henri" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Russel, Phil" +msgstr "Russel, Phil" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"At the time that Edison and Henri Fourneaux invented machines for " +"reproducing music (Edison the phonograph, Fourneaux the player piano), the " +"law gave composers the exclusive right to control copies of their music and " +"the exclusive right to control public performances of their music. In other " +"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy " +"Mose,</quote> the law said I would have to pay for the right to get a copy " +"of the musical score, and I would also have to pay for the right to perform " +"it publicly." +msgstr "" +"PÃ¥ den tiden da Edison og Henri Fourneaux fant opp maskiner for Ã¥ " +"reprodusere musikk (Edison fonografen, Fourneaux det automatiske pianoet), " +"gav loven komponister eksklusive rettigheter til Ã¥ kontrollere kopier av " +"deres musikk og eksklusive rettigheter til Ã¥ kontrollere fremfÃ¸ringer av " +"deres musikk. Med andre ord, i 1900, hvis jeg Ã¸nsket et kopi av Phil " +"Russels populÃ¦re lÃ¥t <quote>Happy Mose</quote>, sa loven at jeg mÃ¥tte betale " +"for rettigheten til Ã¥ fÃ¥ en kopi av notearkene, og jeg mÃ¥tte ogsÃ¥ betale for " +"Ã¥ ha rett til Ã¥ fremfÃ¸re det offentlig." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Beatles" +msgstr "Beatles" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But what if I wanted to record <quote>Happy Mose,</quote> using Edison's " +"phonograph or Fourneaux's player piano? Here the law stumbled. It was clear " +"enough that I would have to buy any copy of the musical score that I " +"performed in making this recording. And it was clear enough that I would " +"have to pay for any public performance of the work I was recording. But it " +"wasn't totally clear that I would have to pay for a <quote>public " +"performance</quote> if I recorded the song in my own house (even today, you " +"don't owe the Beatles anything if you sing their songs in the shower), or if " +"I recorded the song from memory (copies in your brain are not—" +"yet— regulated by copyright law). So if I simply sang the song into a " +"recording device in the privacy of my own home, it wasn't clear that I owed " +"the composer anything. And more importantly, it wasn't clear whether I owed " +"the composer anything if I then made copies of those recordings. Because of " +"this gap in the law, then, I could effectively pirate someone else's song " +"without paying its composer anything." +msgstr "" +"Men hva hvis jeg Ã¸nsket Ã¥ spille inn <quote>Happy Mose</quote> ved hjelp av " +"Edisons fonograf eller Fourneaux automatiske piano? Her snublet loven. Det " +"var klart nok at jeg mÃ¥tte kjÃ¸pe en kopi av notene som jeg fremfÃ¸rte nÃ¥r jeg " +"gjorde innspillingen. Og det var klart nok at jeg mÃ¥tte betale for enhver " +"offentlig fremfÃ¸relse av verket jeg spilte inn. Men det var ikke helt klart " +"at jeg mÃ¥tte betale for en <quote>offentlig fremfÃ¸ring</quote> hvis jeg " +"spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til " +"Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte " +"inn sangen fra hukommelsen (kopier i din hjerne er ikke—ennÃ¥—" +"regulert av Ã¥ndsverksloven). SÃ¥ hvis jeg ganske enkelt sang sangen inn i et " +"innspillingsapparat i mitt eget hjem, sÃ¥ var det ikke klart at jeg skyldte " +"komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte " +"komponisten noe hvis jeg sÃ¥ laget kopier av disse innspillingene. PÃ¥ grunn " +"av dette hullet i loven, sa kunne jeg i effekt rÃ¸ve noen andres sang uten Ã¥ " +"betale dets komponist noe." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Kittredge, Alfred" +msgstr "Kittredge, Alfred" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The composers (and publishers) were none too happy about this capacity to " +"pirate. As South Dakota senator Alfred Kittredge put it, <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til " +"Ã¥ rÃ¸ve. Som Senator Alfred Kittredge fra SÃ¸r-Dakota formulerte det," +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 <citetitle>Legislative History of the Copyright Act</" +"citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." +"J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Endre og slÃ¥ sammen lovforslag om Ã¥ respektere opphavsretten: HÃ¸ring om S. " +"6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59, 1. " +"sess. (1906) (uttalelse til senator Alfred B. Kittredge fra SÃ¸r-Dakota, " +"formann), gjengitt i <citetitle>Legislative History of the 1909 Copyright " +"Act</citetitle>, E. Fulton Brylawski og Abe Goldman, red. (South " +"Hackensack, N.J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Imagine the injustice of the thing. A composer writes a song or an opera. A " +"publisher buys at great expense the rights to the same and copyrights it. " +"Along come the phonographic companies and companies who cut music rolls and " +"deliberately steal the work of the brain of the composer and publisher " +"without any regard for [their] rights.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Forestill dere denne urettferdigheten. En komponist skriver en sang eller " +"en opera. En utgiver kjÃ¸per til et hÃ¸y sum rettighetene til denne, og " +"registrerer opphavsretten til den. SÃ¥ kommer de fonografiske selskapene og " +"selskapene som skjÃ¦rer musikk-ruller og med vitende og vilje stjeler " +"arbeidet som kommer fra hjernen til komponisten og utgiveren uten Ã¥ bry seg " +"om [deres] rettigheter.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Sousa, John Philip" +msgstr "Sousa, John Philip" + +#. f5 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " +"Nathan Burkan, attorney for the Music Publishers Association)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra " +"Nathan Burkan, advokat for the Music Publishers Association)." + +#. f6 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " +"Nathan Burkan, attorney for the Music Publishers Association)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra " +"Nathan Burkan, advokat for the Music Publishers Association)." + +#. f7 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " +"John Philip Sousa, composer)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra " +"John Philip Sousa, komponist)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The innovators who developed the technology to record other people's works " +"were <quote>sponging upon the toil, the work, the talent, and genius of " +"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the " +"<quote>music publishing industry</quote> was thereby <quote>at the complete " +"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> " +"As John Philip Sousa put it, in as direct a way as possible, <quote>When " +"they make money out of my pieces, I want a share of it.</quote><placeholder " +"type=\"footnote\" id=\"2\"/>" +msgstr "" +"InnovatÃ¸rene som utviklet teknologien for Ã¥ spille inn andres arbeide " +"<quote>snyltet pÃ¥ innsatsen, arbeidet, talentet og geniet til amerikanske " +"komponister</quote>,<placeholder type=\"footnote\" id=\"0\"/> og " +"<quote>musikkpubliseringsindistrien</quote> var dermed <quote>fullstendig i " +"denne piratens vold</quote>.<placeholder type=\"footnote\" id=\"1\"/> Som " +"John Philip Sousa formulerte det, sÃ¥ direkte som det kan sies, <quote>nÃ¥r de " +"tjener penger pÃ¥ mine stykker, sÃ¥ vil jeg ha en andel</quote>.<placeholder " +"type=\"footnote\" id=\"2\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "American Graphophone Company" +msgstr "American Graphophone Company" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "player pianos" +msgstr "automatiske piano" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Congress, U.S." +msgstr "Kongressen i USA" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on copyright laws" +msgstr "om Ã¥ndsverkslover" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on recording industry" +msgstr "om innspillingenindustri" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "statutory licenses in" +msgstr "lovbestemte lisenser i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "statutory license system in" +msgstr "lovbestemte lisenssystemer i" + +#. f8 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " +"(statement of Albert Walker, representative of the Auto-Music Perforating " +"Company of New York)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " +"(uttalelse fra Albert Walker, representant for the Auto-Music Perforating " +"Company of New York)." + +#. f9 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared " +"memorandum of Philip Mauro, general patent counsel of the American " +"Graphophone Company Association)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt " +"innlegg fra Philip Mauro, sjefspatentrÃ¥dgiver for the American Graphophone " +"Company Association)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"These arguments have familiar echoes in the wars of our day. So, too, do the " +"arguments on the other side. The innovators who developed the player piano " +"argued that <quote>it is perfectly demonstrable that the introduction of " +"automatic music players has not deprived any composer of anything he had " +"before their introduction.</quote> Rather, the machines increased the sales " +"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " +"innovators argued, the job of Congress was <quote>to consider first the " +"interest of [the public], whom they represent, and whose servants they are.</" +"quote> <quote>All talk about `theft,'</quote> the general counsel of the " +"American Graphophone Company wrote, <quote>is the merest claptrap, for there " +"exists no property in ideas musical, literary or artistic, except as defined " +"by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Disse argumentene hÃ¸res omtrent ut som argumentene fra vÃ¥re dager. Det samme " +"gjÃ¸r argumentene fra den andre siden. Oppfinnerne som utviklet det " +"automatiske pianoet argumenterte med at <quote>det er fullt mulig Ã¥ vise at " +"introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist " +"noe han hadde fÃ¸r det ble introdusert.</quote> I stedet Ã¸kte maskinene " +"salget av noteark.<placeholder type=\"footnote\" id=\"0\"/> Uansett, " +"argumenterte oppfinnerne, jobben til kongressen var <quote>Ã¥ fÃ¸rst vurdere " +"interessen til [folket], som de representerte, og som de skal tjene.</" +"quote>. <quote>Alt snakk om <quote>tyveri</quote></quote>, skrev " +"sjefsjuristen til American Graphophone Company, <quote>er kun nonsens, for " +"det finnes ingen eiendom i musikalske idÃ©er, skriftlig eller kunstnerisk, " +"unntatt det som er definert i loven.</quote><placeholder type=\"footnote\" " +"id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "cover songs" +msgstr "coverlÃ¥ter" + +#. PAGE BREAK 70 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The law soon resolved this battle in favor of the composer <emphasis>and</" +"emphasis> the recording artist. Congress amended the law to make sure that " +"composers would be paid for the <quote>mechanical reproductions</quote> of " +"their music. But rather than simply granting the composer complete control " +"over the right to make mechanical reproductions, Congress gave recording " +"artists a right to record the music, at a price set by Congress, once the " +"composer allowed it to be recorded once. This is the part of copyright law " +"that makes cover songs possible. Once a composer authorizes a recording of " +"his song, others are free to record the same song, so long as they pay the " +"original composer a fee set by the law." +msgstr "" +"Loven lÃ¸ste snart denne kampen i favÃ¸r av <emphasis>bÃ¥de</emphasis> " +"komponisten og innspillingsartisten. Kongressen endret loven slik at " +"komponisten fikk betalt for den <quote>mekaniske reproduksjonen</quote> av " +"deres musikk. Men i stedet for Ã¥ ganske enkelt gi komponisten full kontroll " +"over rettigheten til Ã¥ lage mekaniske reproduksjoner, ga kongressen " +"innspillingsartister rett en til Ã¥ spille inn musikk, til en pris satt av " +"kongressen, sÃ¥ snart komponisten har tillatt at den ble spilt inn en gang. " +"Det er denne delen av Ã¥ndsverksloven som gjÃ¸r cover-lÃ¥ter mulig. SÃ¥ snart " +"en komponist tillater en innspilling av hans sang, har andre mulighet til Ã¥ " +"spille inn samme sang, sÃ¥ lenge de betaler den originale komponisten et " +"gebyr fastsatt av loven." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "compulsory license" +msgstr "tvangslisens" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "statutory licenses" +msgstr "lovbestemte lisenser" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"American law ordinarily calls this a <quote>compulsory license,</quote> but " +"I will refer to it as a <quote>statutory license.</quote> A statutory " +"license is a license whose key terms are set by law. After Congress's " +"amendment of the Copyright Act in 1909, record companies were free to " +"distribute copies of recordings so long as they paid the composer (or " +"copyright holder) the fee set by the statute." +msgstr "" +"Amerikansk lov kaller dette vanligvis en <quote>tvangslisens</quote>, men " +"jeg vil referere til dette som en <quote>lovbestemt lisens</quote>. En " +"lovbestemt lisens er en lisens hvis nÃ¸kkelvilkÃ¥r er bestemt i lovverket. " +"Etter kongressens endring av Ã¥ndsverksloven i 1909, sto plateselskapene " +"fritt til Ã¥ distribuere kopier av innspillinger sÃ¥ lenge som de betalte " +"komponisten (eller opphavsrettsinnehaveren) gebyret spesifisert i lovverket." + +#. type: Content of: <book><chapter><section><section><para><indexterm><primary> +msgid "Grisham, John" +msgstr "Grisham, John" + +#. type: Content of: <book><part><chapter><section><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 Ã¥ndsverksloven. NÃ¥r John Grisham skriver en roman sÃ¥ " +"kan en utgiver kun utgi denne romanen hvis Grisham gir utgiveren tillatelse " +"til det. Grisham stÃ¥r fritt til Ã¥ kreve hvilken som helst betaling for den " +"tillatelsen. Prisen for Ã¥ publisere Grisham er dermed bestemt av Grisham og " +"Ã¥ndsverksloven sier at du ikke har tillatelse til Ã¥ bruke Grishams verker " +"med mindre du har tillatelse fra Grisham." + +#. f10 +#. type: Content of: <book><part><chapter><section><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 " +"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " +"Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " +"Reprints, 1976)." +msgstr "" +"Endring i Ã¥ndsverksloven: HÃ¸ring om S. 2499, S.2900, H.R. 243, og H.R. 11794 " +"foran (felles)-komiteen om patenter, 60. kongr., 1. sess., 217 (1908) " +"(uttalelse fra senator Reed Smooth, formann), gjengitt i " +"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " +"Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman " +"Reprints, 1976)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But the law governing recordings gives recording artists less. And thus, in " +"effect, the law <emphasis>subsidizes</emphasis> the recording industry " +"through a kind of piracy—by giving recording artists a weaker right " +"than it otherwise gives creative authors. The Beatles have less control over " +"their creative work than Grisham does. And the beneficiaries of this less " +"control are the recording industry and the public. The recording industry " +"gets something of value for less than it otherwise would pay; the public " +"gets access to a much wider range of musical creativity. Indeed, Congress " +"was quite explicit about its reasons for granting this right. Its fear was " +"the monopoly power of rights holders, and that that power would stifle " +"follow-on creativity.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Men loven som styrer innspillinger gir innspillingsartisten mindre. Og " +"dermed er effekten at loven <emphasis>subsidierer</emphasis> " +"musikkindustrien med et slags piratvirksomhet—ved Ã¥ gi " +"innspillingsartister en svakere rettighet enn de gir kreative forfattere. " +"The Beatles har mindre kontroll over deres kreative verker enn Grisham har. " +"Og de som nyter godt av at de har mindre kontroll er musikkindustrien og " +"folket. Musikkindustrien fÃ¥r noe av verdi for mindre enn de ellers mÃ¥tte " +"betalt, og folket fÃ¥r tilgang til en stÃ¸rre mengde musikalsk kreativitet. " +"Kongressen var faktisk svÃ¦rt eksplisitt i sine grunner for Ã¥ dele ut denne " +"rettigheten. Den fryktet monopolmakten til rettighetsinnehaverne, og at " +"denne makten skulle kvele pÃ¥fÃ¸lgende kreativitet.<placeholder type=\"footnote" +"\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 vÃ¦rt ganske stille om dette i det siste, har de " +"historisk vÃ¦rt hÃ¸ylytte tilhengere av den lovbestemte lisensen for " +"innspillinger. Som det sto i en rapport fra 1967 utgitt av House Committee " +"on the Judiciary:" + +#. f11 +#. type: Content of: <book><part><chapter><section><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 "" +"Endring av Ã¥ndsverksloven: Rapport som fÃ¸lger H.R. 2512, House Committee on " +"the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967). " +"Jeg er takknemlig til Glenn Brown for Ã¥ ha gjort meg oppmerksom pÃ¥ denne " +"rapporten." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"the record producers argued vigorously that the compulsory license system " +"must be retained. They asserted that the record industry is a half-billion-" +"dollar business of great economic importance in the United States and " +"throughout the world; records today are the principal means of disseminating " +"music, and this creates special problems, since performers need unhampered " +"access to musical material on nondiscriminatory terms. Historically, the " +"record producers pointed out, there were no recording rights before 1909 and " +"the 1909 statute adopted the compulsory license as a deliberate anti-" +"monopoly condition on the grant of these rights. They argue that the result " +"has been an outpouring of recorded music, with the public being given lower " +"prices, improved quality, and a greater choice.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"plateprodusentene argumenterte energisk for at tvangslisens-systemet mÃ¥tte " +"bevares. De tok utgangspunkt i at musikkindustrien er et forretningsomrÃ¥de " +"pÃ¥ en halv milliard dollar som er veldig viktig for Ã¸konomien i USA og " +"resten av verden. Plater er i dag den viktigste mÃ¥ten Ã¥ spre musikk, og " +"dette fÃ¸rer til spesielle problemer, siden utÃ¸vere trenger uhindret tilgang " +"til musikalsk materiale pÃ¥ ikke-diskriminerende vilkÃ¥r. Plateprodusentene " +"pekte pÃ¥ at historisk var det ingen innspillingsrettigheter fÃ¸r 1909 og 1909-" +"endringen i lovverket vedtok tvangslisensen som en gjennomtenkt mekanisme " +"for Ã¥ unngÃ¥ monopol da de tildelte disse rettighetene. De argumenterer med " +"at resultatet har vÃ¦rt at det har strÃ¸mmet pÃ¥ med innspilt musikk, at folket " +"har fÃ¥tt lavere priser, bedre kvalitet og flere valg.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"By limiting the rights musicians have, by partially pirating their creative " +"work, the record producers, and the public, benefit." +msgstr "" +"Ved Ã¥ begrense rettighetene musikere hadde, ved Ã¥ delvis rÃ¸ve deres kreative " +"verk, fikk innspillingsprodusentene, og folket, fordeler." + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Radio" +msgstr "Radio" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "radio broadcast and" +msgstr "radiokringkasting og" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Radio was also born of piracy." +msgstr "Radio kom ogsÃ¥ fra piratvirksomhet." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Hand, Learned" +msgstr "Hand, Learned" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " +"the beginning, record companies printed <quote>Not Licensed for Radio " +"Broadcast</quote> and other messages purporting to restrict the ability to " +"play a record on a radio station. Judge Learned Hand rejected the argument " +"that a warning attached to a record might restrict the rights of the radio " +"station. See <citetitle>RCA Manufacturing Co</citetitle>. v. " +"<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also " +"Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of " +"Consent and Refusal and the Propertization of Copyright,</quote> " +"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" +msgstr "" +"Se 17 <citetitle>United States Code</citetitle>, seksjon 106 og 110. I " +"begynnelsen skrev noen plateselskaper <quote>Ikke lisensiert for " +"radiokringkasting</quote> og andre meldinger som ga inntrykk av Ã¥ begrense " +"muligheten til Ã¥ spille en plate pÃ¥ en radiostasjon. Dommer Learned Hand " +"avviste argumentet om at en advarsel klistret pÃ¥ en plate kunne begrense " +"rettighetene til radiostasjonen. Se <citetitle>RCA Manufacturing Co</" +"citetitle>. mot <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. " +"1940). Se ogsÃ¥ Randal C. Picker, <quote>From Edison to the Broadcast Flag: " +"Mechanisms of Consent and Refusal and the Propertization of Copyright</" +"quote>, <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " +"281. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"When a radio station plays a record on the air, that constitutes a " +"<quote>public performance</quote> of the composer's work.<placeholder type=" +"\"footnote\" id=\"0\"/> As I described above, the law gives the composer (or " +"copyright holder) an exclusive right to public performances of his work. " +"The radio station thus owes the composer money for that performance." +msgstr "" +"NÃ¥r en radiostasjon spiller en plate pÃ¥ luften, sÃ¥ utgjÃ¸r dette en " +"<quote>offentlig fremfÃ¸ring</quote> av komponistens verk.<placeholder type=" +"\"footnote\" id=\"0\"/> Som jeg beskrev over, gir loven komponisten (eller " +"opphavsrettsinnehaveren) en eksklusiv rett til offentlige fremfÃ¸ringer av " +"hans verk. Radiostasjonen skylder dermed komponisten penger for denne " +"fremfÃ¸ringen." + +#. type: Content of: <book><part><chapter><para><indexterm><primary> +msgid "Lovett, Lyle" +msgstr "Lovett, Lyle" + +#. PAGE BREAK 72 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But when the radio station plays a record, it is not only performing a copy " +"of the <emphasis>composer's</emphasis> work. The radio station is also " +"performing a copy of the <emphasis>recording artist's</emphasis> work. It's " +"one thing to have <quote>Happy Birthday</quote> sung on the radio by the " +"local children's choir; it's quite another to have it sung by the Rolling " +"Stones or Lyle Lovett. The recording artist is adding to the value of the " +"composition performed on the radio station. And if the law were perfectly " +"consistent, the radio station would have to pay the recording artist for his " +"work, just as it pays the composer of the music for his work. <placeholder " +"type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Men nÃ¥r en radiostasjon spiller en plage, sÃ¥ fremfÃ¸rer det ikke bare et " +"eksemplar av <emphasis>komponistens</emphasis> verk. Radiostasjonen " +"fremfÃ¸rer ogsÃ¥ et eksemplar av <emphasis>innspillingsartistens</emphasis> " +"verk. Det er en ting Ã¥ fÃ¥ <quote>Happy Birthday</quote> sunget pÃ¥ radio av " +"det lokale barnekoret. Det er noe ganske annet Ã¥ fÃ¥ det sunget av Rolling " +"Stones eller Lyle Lovett. Innspillingsartisten legger til verdi pÃ¥ " +"komposisjonen fremfÃ¸rt pÃ¥ radiostasjonen. Og hvis loven var fullstendig " +"konsistent, sÃ¥ burde radiostasjonen ogsÃ¥ vÃ¦rt nÃ¸dt til Ã¥ betale " +"innspillingsartisten for hans verk, pÃ¥ samme mÃ¥ten som den betaler " +"komponisten av musikken for hans verk. <placeholder type=\"indexterm\" id=" +"\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 gjÃ¸r den ikke. I fÃ¸lge loven som styrer radiofremfÃ¸ringer, trenger " +"ikke radiostasjonen Ã¥ betale noe til innspillingsartisten. Radiostasjonen " +"trenger kun Ã¥ betale komponisten. Radiostasjonen fÃ¥r dermed noe uten Ã¥ " +"betale. Den fÃ¥r fremfÃ¸re innspillingsartistens verk gratis, selv om den mÃ¥ " +"betale komponisten noe for privilegiet det er Ã¥ spille sangen." + +#. type: Content of: <book><part><chapter><para><indexterm><primary> +msgid "Madonna" +msgstr "Madonna" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This difference can be huge. Imagine you compose a piece of music. Imagine " +"it is your first. You own the exclusive right to authorize public " +"performances of that music. So if Madonna wants to sing your song in public, " +"she has to get your permission." +msgstr "" +"Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke " +"musikk. Se for deg at det er ditt fÃ¸rste stykke. Du eier de eksklusive " +"rettighetene til Ã¥ godkjenne offentlig fremfÃ¸ring av den musikken. SÃ¥ hvis " +"Madonna Ã¸nsker Ã¥ synge din sang offentlig, mÃ¥ hun fÃ¥ din tillatelse." + +#. type: Content of: <book><part><chapter><section><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 <quote>protected</quote> right. " +"The radio station thus gets to <emphasis>pirate</emphasis> the value of " +"Madonna's work without paying her anything." +msgstr "" +"Tenkt deg videre at hun synger din sang, og at hun liker den veldig godt. " +"Hun bestemmer seg deretter for Ã¥ spille inn sangen din, og den blir en " +"populÃ¦r hitlÃ¥t. Med vÃ¥r lov vil du fÃ¥ litt penger hver gang en radiostasjon " +"spiller din sang. Men Madonna fÃ¥r ingenting, fortsett fra de indirekte " +"effektene fra salg av hennes CD-er. Den offentlige fremfÃ¸ringen av hennes " +"innspilling er ikke en <quote>beskyttet</quote> rettighet. Radiostasjonen " +"fÃ¥r dermed <emphasis>rÃ¸ve</emphasis> verdien av Madonnas arbeid uten Ã¥ " +"betale henne noen ting." + +#. type: Content of: <book><part><chapter><section><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 "" +"Uten tvil kan en argumentere at, totalt sett, tjener innspillingsartistene " +"pÃ¥ dette. I snitt er reklamen de fÃ¥r verdt mer enn fremfÃ¸ringsrettighetene " +"de frasier seg. Kanskje. Men selv om det er slik, sÃ¥ gir loven vanligvis " +"skaperen retten til Ã¥ gjÃ¸re dette valget. Ved Ã¥ gjÃ¸re valget for ham eller " +"henne, gir loven radiostasjonen rett til Ã¥ ta noe uten Ã¥ betale." + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Cable TV" +msgstr "Kabel-TV" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cable television" +msgstr "kabel-TV" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Cable TV was also born of a kind of piracy." +msgstr "Kabel-TV kom ogsÃ¥ fra en form for piratvirksomhet." + +#. PAGE BREAK 73 +#. type: Content of: <book><part><chapter><section><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-TV-grÃ¼ndere fÃ¸rst begynte Ã¥ koble opp fellesskap med kabel-TV i " +"1948, nektet de fleste Ã¥ betale kringkasterne for innholdet som de sendte " +"videre til sine kunder. Selv da kabelselskapene begynte Ã¥ selge tilgang til " +"TV-kringkastinger, nektet de Ã¥ betale for det de solgte. Kabelselskapene " +"Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster " +"noen gang gjorde—Napster tok aldri betalt for innholdet som det ble " +"mulig for andre Ã¥ gi bort." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Anello, Douglas" +msgstr "Anello, Douglas" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Burdick, Quentin" +msgstr "Burdick, Quentin" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Hyde, Rosel H." +msgstr "Hyde, Rosel H." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV: Hearing on S. 1006 Before the " +"Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee " +"on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. " +"Hyde, chairman of the Federal Communications Commission). <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Endring i Ã¥ndsverksloven—Kabel-TV: HÃ¸ring om S. 1006 foran " +"underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on " +"the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde, " +"styreleder i den fÃ¸derale kommunikasjonskommisjonen.<placeholder type=" +"\"indexterm\" id=\"0\"/>" + +#. f14 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, " +"general counsel of the National Association of Broadcasters)." +msgstr "" +"Endring i Ã¥ndsverksloven—Kabel-TV, 116 (uttalelse fra Douglas A. " +"Anello, sjefsjuristen i Nasjonalforeningen for kringkastere)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Broadcasters and copyright owners were quick to attack this theft. Rosel " +"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair " +"and potentially destructive competition.</quote><placeholder type=\"footnote" +"\" id=\"0\"/> There may have been a <quote>public interest</quote> in " +"spreading the reach of cable TV, but as Douglas Anello, general counsel to " +"the National Association of Broadcasters, asked Senator Quentin Burdick " +"during testimony, <quote>Does public interest dictate that you use somebody " +"else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another " +"broadcaster put it," +msgstr "" +"Kringkastere og opphavsrettsinnehavere var raske til Ã¥ angripe dette " +"tyveriet. Rosel Hyde, styreleder i FCC, sÃ¥ praksisen som en slags " +"<quote>urettferdig og potensielt Ã¸deleggende konkurranse</quote>." +"<placeholder type=\"footnote\" id=\"0\"/> Det kan ha vÃ¦rt en " +"<quote>offentlig interesse</quote> i Ã¥ Ã¸ke spredningen til kabel-TV, men som " +"Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte " +"senator Quentin Burdick under sitt vitnemÃ¥l, <quote>Dikterer offentlig " +"interesse at du kan bruke noen andres eiendom?</quote><placeholder type=" +"\"footnote\" id=\"1\"/> Som en annen kringkaster formulerte det," + +#. f15 +#. type: Content of: <book><part><chapter><section><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 "" +"Endring i Ã¥ndsverksloven—Kabel-TV, 126 (uttalelse fra Ernest W. " +"Jennes, sjefsjurist ved Association of Maximum Service Telecasters, Inc.). " + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"The extraordinary thing about the CATV business is that it is the only " +"business I know of where the product that is being sold is not paid for." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste " +"selskapene jeg vet om hvor produktet som blir solgt ikke er betalt for." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Again, the demand of the copyright holders seemed reasonable enough:" +msgstr "Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:" + +#. f16 +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +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 "" +"Endring i Ã¥ndsverksloven—Kabel-TV, 169 (felles uttalelse fra Arthur " +"B. Krim, president i United Artists Corp. og John Sinn, president i United " +"Artists Television Inc.)." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"All we are asking for is a very simple thing, that people who now take our " +"property for nothing pay for it. We are trying to stop piracy and I don't " +"think there is any lesser word to describe it. I think there are harsher " +"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Alt vi ber om er en veldig enkel ting, at folk som tar vÃ¥r eiendom gratis " +"betaler for den. Vi forsÃ¸ker Ã¥ stoppe piratvirksomhet og jeg kan ikke tenke " +"pÃ¥ et svakere ord for Ã¥ beskrive det. Jeg tror det er sterkere ord som " +"ville passe.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Heston, Charlton" +msgstr "Heston, Charlton" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV, 209 (statement of Charlton Heston, " +"president of the Screen Actors Guild). <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Copyright Law Revision—CATV, 209 (uttalelse fra Charlton Heston, " +"president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president " +"Charlton Heston said, who were <quote>depriving actors of compensation.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Disse var <quote>gratispassasjerer</quote>, sa presidenten Charlton Heston i " +"Screen Actor's Guild, som <quote>tok lÃ¸nna fra skuespillerne</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But again, there was another side to the debate. As Assistant Attorney " +"General Edwin Zimmerman put it," +msgstr "" +"Men igjen, det er en annen side i debatten. Som assisterende justisminister " +"Edwin Zimmerman sa det," + +#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> +msgid "Zimmerman, Edwin" +msgstr "Zimmerman, Edwin" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, " +"acting assistant attorney general). <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, " +"fungerende assisterende justisministeren). <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Our point here is that unlike the problem of whether you have any copyright " +"protection at all, the problem here is whether copyright holders who are " +"already compensated, who already have a monopoly, should be permitted to " +"extend that monopoly. … The question here is how much compensation " +"they should have and how far back they should carry their right to " +"compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" +msgstr "" +"VÃ¥rt poeng her er ikke problemet med om hvorvidt du over hode har " +"opphavsrettsbeskyttelse. Problemet her er hvorvidt opphavsrettsinnehavere " +"som allerede blir kompensert, som allerede har et monopol, skal fÃ¥ lov til Ã¥ " +"utvide dette monopolet. … SpÃ¸rsmÃ¥let er hvor mye kompensasjon de bÃ¸r " +"ha, og hvor langt de kan strekke sin rett pÃ¥ kompensasjon.<placeholder type=" +"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Copyright owners took the cable companies to court. Twice the Supreme Court " +"held that the cable companies owed the copyright owners nothing." +msgstr "" +"Opphavsrettinnehaverne tok kabelselskapene til retten. HÃ¸yesterett fant to " +"ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"It took Congress almost thirty years before it resolved the question of " +"whether cable companies had to pay for the content they <quote>pirated.</" +"quote> In the end, Congress resolved this question in the same way that it " +"resolved the question about record players and player pianos. Yes, cable " +"companies would have to pay for the content that they broadcast; but the " +"price they would have to pay was not set by the copyright owner. The price " +"was set by law, so that the broadcasters couldn't exercise veto power over " +"the emerging technologies of cable. Cable companies thus built their empire " +"in part upon a <quote>piracy</quote> of the value created by broadcasters' " +"content." +msgstr "" +"Det tok kongressen nesten tredve Ã¥r fÃ¸r den fikk lÃ¸st spÃ¸rsmÃ¥let om hvorvidt " +"kabel-TV-selskapene mÃ¥tte betale for innholdet de <quote>rÃ¸vet</quote>. Til " +"slutt lÃ¸ste kongressen dette spÃ¸rsmÃ¥let pÃ¥ samme mÃ¥te som den hadde lÃ¸st " +"spÃ¸rsmÃ¥let om platespillere og automatiske pianoer. Ja, kabel-TV-selskapene " +"mÃ¥tte betale for innholdet som de kringkastet, men prisen de mÃ¥tte betale " +"ble ikke satt av opphavsrettsinnehaveren. Prisen ble fastsatt ved lov, slik " +"at kringkasterne ikke kunne utÃ¸ve vetomakt over den nye teknologien kabel-" +"TV. Kabel-TV-selskapene bygde dermed deres imperium delvis ved Ã¥ " +"<quote>rÃ¸ve</quote> verdien skapt av kringkasternes innhold." + +#. f19 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See, for example, National Music Publisher's Association, <citetitle>The " +"Engine of Free Expression: Copyright on the Internet—The Myth of Free " +"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #13</ulink>. <quote>The threat of piracy—the use of " +"someone else's creative work without permission or compensation—has " +"grown with the Internet.</quote>" +msgstr "" +"Se for eksempel National Music Publisher's Association, <citetitle>The " +"Engine of Free Expression: Copyright on the Internet—The Myth of Free " +"Information</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #13</ulink>. <quote>Trusselen fra piratvirksomhet—" +"bruken av noen andres kreative verker uten tillatelse eller " +"kompensasjons—har vokst med Internettet.</quote>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>These separate stories</emphasis> sing a common " +"theme. If <quote>piracy</quote> means using value from someone else's " +"creative property without permission from that creator—as it is " +"increasingly described today<placeholder type=\"footnote\" id=\"0\"/> " +"— then <emphasis>every</emphasis> industry affected by copyright today " +"is the product and beneficiary of a certain kind of piracy. Film, records, " +"radio, cable TV. … The list is long and could well be expanded. Every " +"generation welcomes the pirates from the last. Every generation—until " +"now." +msgstr "" +"<emphasis role='strong'>Disse separate historiene</emphasis> synger en " +"felles melodi. Hvis <quote>piratvirksomhet</quote> betyr Ã¥ bruke verdien " +"fra noen andres kreative eiendom uten tillatelse fra dets skaper—slik " +"det stadig oftere beskrives i dag<placeholder type=\"footnote\" id=\"0\"/> " +"—da er <emphasis>enhver</emphasis> industri pÃ¥virket av opphavsrett i " +"dag produktet og de som har nytt godt av ulike former for piratvirksomhet. " +"Film, plater, radio, kabel-TV. … Listen er lang og kunne vÃ¦rt " +"lengre. Hver generasjon Ã¸nsker piratene fra den forrige velkommen. Hver " +"generasjon—inntil nÃ¥." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER FIVE: <quote>Piracy</quote>" +msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>There is piracy</emphasis> of copyrighted material. " +"Lots of it. This piracy comes in many forms. The most significant is " +"commercial piracy, the unauthorized taking of other people's content within " +"a commercial context. Despite the many justifications that are offered in " +"its defense, this taking is wrong. No one should condone it, and the law " +"should stop it." +msgstr "" +"Det rÃ¸ves opphavsrettsbeskyttet materiale. Massevis. Og denne " +"piratvirksomheten antar mange former. Den mest betydningsfulle er " +"kommersiell piratvirksomhet, det Ã¥ ta andres innhold uten lov i en " +"kommersiell setting. PÃ¥ tross av de mange forklaringer om hvorfor dette er " +"greit som fremfÃ¸res i dets forsvar, sÃ¥ er dette galt. Ingen bÃ¸r gÃ¥ god for " +"det, og loven bÃ¸r stoppe det." + +#. PAGE BREAK 76 +#. type: Content of: <book><part><chapter><para> +msgid "" +"But as well as copy-shop piracy, there is another kind of <quote>taking</" +"quote> that is more directly related to the Internet. That taking, too, " +"seems wrong to many, and it is wrong much of the time. Before we paint this " +"taking <quote>piracy,</quote> however, we should understand its nature a bit " +"more. For the harm of this taking is significantly more ambiguous than " +"outright copying, and the law should account for that ambiguity, as it has " +"so often done in the past." +msgstr "" +"Men pÃ¥ samme mÃ¥te som med piratvirksomheten til kopierings-firma, sÃ¥ " +"<quote>tas</quote> det pÃ¥ en annen mÃ¥te som er mer direkte relatert til " +"Internettet. Denne mÃ¥ten Ã¥ ta pÃ¥ virker galt for mante, og det er galt mye " +"av tiden. FÃ¸r vi kaller det Ã¥ ta pÃ¥ denne mÃ¥ten for <quote>piratvirksomhet</" +"quote>, bÃ¸r vi dog forstÃ¥ dets natur litt mer. For skaden som denne formen " +"for Ã¥ ta gjÃ¸r er betydelig mer tvetydig enn direkte kopiering, og loven bÃ¸r " +"ta hensyn til denne tvetydigheten, slik den har gjort ofte tidligere. " + +#. type: Content of: <book><part><chapter><section><title> +msgid "Piracy I" +msgstr "Piratvirksomhet I" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Asia, commercial piracy in" +msgstr "Asia, kommersiell piratvirksomhet i" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "CDs" +msgstr "CDer" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "foreign piracy of" +msgstr "utenlands piratvirksomhet mot" + +#. f1 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See IFPI (International Federation of the Phonographic Industry), " +"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " +"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk," +"</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11." +msgstr "" +"Se IFPI (International Federation of the Phonographic Industry), " +"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " +"juli 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #14</ulink>. Se ogsÃ¥ Ben Hunt, <quote>Companies Warned on Music " +"Piracy Risk</quote>, <citetitle>Financial Times</citetitle>, 14. februar " +"2003, 11." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"All across the world, but especially in Asia and Eastern Europe, there are " +"businesses that do nothing but take others people's copyrighted content, " +"copy it, and sell it—all without the permission of a copyright owner. " +"The recording industry estimates that it loses about $4.6 billion every year " +"to physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out " +"to one in three CDs sold worldwide). The MPAA estimates that it loses $3 " +"billion annually worldwide to piracy." +msgstr "" +"Over hele verden, men spesielt i Asia og Ãst-Europa, er det selskaper som " +"ikke gjÃ¸r annet enn Ã¥ ta andre folks opphavsrettsbeskyttede innhold, " +"kopierer det og selger det—alt dette uten tillatelse fra " +"opphavsrettseieren. Musikkindustrien estimerer at de taper rundt $4,6 " +"milliarder hvert Ã¥r pÃ¥ fysisk piratvirksomhet <placeholder type=\"footnote\" " +"id=\"0\"/> (det blir ca. en av tre CD-er solgt pÃ¥ verdensbasis). MPAA " +"estimerer at de taper $3 milliarder pÃ¥ verdensbasis pÃ¥ piratvirksomhet." + +#. type: Content of: <book><part><chapter><section><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 enkelt og greit piratvirksomhet. Ingenting i argumentet i denne " +"boken, og heller ikke i argumentet til de fleste folkene som omtaler temaet " +"i denne boken, bÃ¸r trekke i tvil dette enkle poenget: Slik piratvirksomhet " +"er galt." + +#. type: Content of: <book><part><chapter><section><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 "" +"Hvilket ikke er Ã¥ si at unnskyldninger og begrunnelser ikke kan lages for " +"det. Vi kan, for eksempel, minne oss selv om at for de fÃ¸rste hundre Ã¥rene " +"USA har vÃ¦rt republikk, respekterte ikke USA utenlandske " +"opphavsrettigheter. Vi ble pÃ¥ en mÃ¥te skapt som en piratnasjon. Det kan " +"dermed synes hyklersk for oss Ã¥ insistere sÃ¥ sterkt at andre utviklingsland " +"skal behandle som galt det vi, for de fÃ¸rste hundre Ã¥rene vi eksisterte, " +"behandlet som riktig." + +#. type: Content of: <book><part><chapter><section><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 "" +"Denne unnskyldningen er ikke veldig vektig. Teknisk sett forbÃ¸d ikke vÃ¥rt " +"lovverk Ã¥ ta utenlandske verker. Det begrenset seg eksplisitt til " +"amerikanske verker. Dermed brÃ¸t de amerikanske forleggerne som publiserte " +"utenlandske verker uten tillatelse fra de utenlandske forfattere noen " +"regler. Kopierings-selskapene i Asia bryter derimot loven i Asia. Loven i " +"Asia beskytter utenlandsk opphavsrett, og aktiviteten til kopierings-" +"selskapene bryter den loven. SÃ¥ det at piratvirksomheten er galt er ikke " +"bare moralsk galt, men juridisk galt. Og ikke bare galt i fÃ¸lge " +"internasjonal lovgiving, men ogsÃ¥ juridisk galt etter lokal lovgiving." + +#. PAGE BREAK 77 +#. type: Content of: <book><part><chapter><section><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 "" +"Joda, disse reglene har i praksis blitt pÃ¥tvunget disse landene. Intet land " +"kan vÃ¦re del av verdensÃ¸konomien og velge Ã¥ ikke beskytte opphavsrett " +"internasjonalt. Vi ble kanskje skapt som en piratnasjon, men vi tillater " +"ingen annen nasjon Ã¥ ha en tilsvarende barndom." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "agricultural patents" +msgstr "landbrukspatenter" + +#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary> +msgid "Drahos, Peter" +msgstr "Drahos, Peter" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Peter Drahos with John Braithwaite, Information Feudalism: " +"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " +"Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " +"Property Rights (TRIPS) agreement obligates member nations to create " +"administrative and enforcement mechanisms for intellectual property rights, " +"a costly proposition for developing countries. Additionally, patent rights " +"may lead to higher prices for staple industries such as agriculture. Critics " +"of TRIPS question the disparity between burdens imposed upon developing " +"countries and benefits conferred to industrialized nations. TRIPS does " +"permit governments to use patents for public, noncommercial uses without " +"first obtaining the patent holder's permission. Developing nations may be " +"able to use this to gain the benefits of foreign patents at lower prices. " +"This is a promising strategy for developing nations within the TRIPS " +"framework. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" +msgstr "" +"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " +"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " +"10–13, 209. Avtalen om handelsrelaterte aspektene av immaterielle " +"rettigheter (TRIPS) forplikter medlemsnasjonene til Ã¥ fÃ¥ pÃ¥ plass " +"administrative og hÃ¥ndhevingsmekanismer for immaterielle rettigheter, " +"hvilket er et kostbar forslag for utviklingsland. I tillegg kan " +"patentrettigheter fÃ¸re til hÃ¸yere priser for grunnleggende industrier som " +"landbruk. Kritikerne av TRIPS stiller spÃ¸rsmÃ¥l om avviket mellom " +"belastningen den legger pÃ¥ utviklingland og fordelene den gir til " +"industrialiserte land. TRIPS tillater myndigheter Ã¥ bruke patenter til ikke-" +"kommersielle formÃ¥l som kommer folket til gode uten Ã¥ fÃ¸rst fÃ¥ tillatelse " +"fra patentinnehaveren. Utviklingsland kan vÃ¦re i stand til Ã¥ bruke dette " +"til Ã¥ fÃ¥ fordelene fra utenlandske patenter til lavere priser. Dette er en " +"lovende strategi for utviklingsland innenfor TRIPS-rammeverket. <placeholder " +"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"If a country is to be treated as a sovereign, however, then its laws are its " +"laws regardless of their source. The international law under which these " +"nations live gives them some opportunities to escape the burden of " +"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " +"view, more developing nations should take advantage of that opportunity, but " +"when they don't, then their laws should be respected. And under the laws of " +"these nations, this piracy is wrong." +msgstr "" +"Men likevel, hvis et land skal behandles som selvstendig da er landets lover " +"landets lover, uavhengig av deres kilde. De internasjonale lovene som disse " +"landene lever under gir dem noen muligheter til Ã¥ slippe unna byrden til " +"immaterielle rettighetslover.<placeholder type=\"footnote\" id=\"0\"/> Etter " +"mitt syn burde flere utviklingsland utnytte den muligheten, men nÃ¥r de ikke " +"gjÃ¸r det bÃ¸r deres lover likevel respekteres. Og i fÃ¸lge lovene i disse " +"landene, er piratvirksomhet galt." + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Liebowitz, Stan" +msgstr "Liebowitz, Stan" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"For an analysis of the economic impact of copying technology, see Stan " +"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " +"Amacom, 2002), 144–90. <quote>In some instances … the impact of " +"piracy on the copyright holder's ability to appropriate the value of the " +"work will be negligible. One obvious instance is the case where the " +"individual engaging in pirating would not have purchased an original even if " +"pirating were not an option.</quote> Ibid., 149. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"For en analyse av den Ã¸konomiske effekten av kopieringsteknologi, se Stan " +"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " +"Amacom, 2002), 144–190. <quote>I noen tilfeller … vil effekten " +"av piratvirksomhet pÃ¥ opphavsrettsinnehaverens mulighet til Ã¥ nyte godt av " +"verdien av verket vil vÃ¦re neglisjerbart. Et Ã¥penbart tilfelle er der " +"individet som tar nyter godt av piratvirksomheten ikke ville ha kjÃ¸pt " +"originalen selv om piratvirksomhet ikke var en mulighet.</quote> Ibid., " +"149. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Alternatively, we could try to excuse this piracy by noting that in any " +"case, it does no harm to the industry. The Chinese who get access to " +"American CDs at 50 cents a copy are not people who would have bought those " +"American CDs at $15 a copy. So no one really has any less money than they " +"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Alternativt, sÃ¥ kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten ved Ã¥ " +"legge merke til at det uansett ikke skader industrien. Kineserne som fÃ¥r " +"tilgang til amerikanske CDer for 50 cent pr. utgave er ikke folk som ville " +"kjÃ¸pt disse CDene for #15 per utgave. SÃ¥ ingen har egentlig noe mindre " +"penger enn de ellers ville hatt.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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, <quote>You wouldn't go into " +"Barnes & Noble and take a book off of the shelf without paying; why " +"should it be any different with on-line music?</quote> The difference is, of " +"course, that when you take a book from Barnes & Noble, it has one less " +"book to sell. By contrast, when you take an MP3 from a computer network, " +"there is not one less CD that can be sold. The physics of piracy of the " +"intangible are different from the physics of piracy of the tangible." +msgstr "" +"Dette er ofte riktig (selv om jeg har venner som har kjÃ¸pt flere tusen " +"piratkopierte DVDer og som helt klart har nok penger til Ã¥ betale for " +"innholdet de har tatt), og det begrenser til en hvis grad skaden forÃ¥rsaket " +"av Ã¥ ta pÃ¥ denne mÃ¥ten. Ekstremister i denne debatten elsker Ã¥ si, " +"<quote>Du ville ikke gÃ¥ inn pÃ¥ Barnes & Noble og ta en bok fra hyllen " +"der uten Ã¥ betale. Hvorfor skulle det vÃ¦re noe annerledes med musikk pÃ¥ " +"nettet?</quote> Forskjellen er, naturligvis, at nÃ¥r du tar en bok fra Barnes " +"& Noble sÃ¥ er det en mindre bok som kan selges. Dette er forskjellig " +"fra nÃ¥r du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD " +"som kan selges. Fysikken til rÃ¸ving av det uhÃ¥ndgripelige er forskjellig " +"fra fysikken til rÃ¸ving av det hÃ¥ndgripelige." + +#. PAGE BREAK 78 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This argument is still very weak. However, although copyright is a property " +"right of a very special sort, it <emphasis>is</emphasis> a property right. " +"Like all property rights, the copyright gives the owner the right to decide " +"the terms under which content is shared. If the copyright owner doesn't want " +"to sell, she doesn't have to. There are exceptions: important statutory " +"licenses that apply to copyrighted content regardless of the wish of the " +"copyright owner. Those licenses give people the right to <quote>take</quote> " +"copyrighted content whether or not the copyright owner wants to sell. But " +"where the law does not give people the right to take content, it is wrong to " +"take that content even if the wrong does no harm. If we have a property " +"system, and that system is properly balanced to the technology of a time, " +"then it is wrong to take property without the permission of a property " +"owner. That is exactly what <quote>property</quote> means." +msgstr "" +"Dette er likevel et veldig dÃ¥rlig argument. For selv om opphavsretten er en " +"eiendomsrett av en veldig spesiell type, sÃ¥ <emphasis>er</emphasis> det en " +"eiendomsrett. PÃ¥ samme mÃ¥te som med alle eiendomsretter gir opphavsretten " +"eieren retten til Ã¥ bestemme vilkÃ¥rene for nÃ¥r innholdet blir delt. Hvis " +"opphavsrettseieren ikke Ã¸nsker Ã¥ selge, sÃ¥ mÃ¥ hun ikke det. Det finnes " +"unntak: viktige lovbestemte lisenser som gjelder for opphavsrettsbeskyttet " +"innhold uavhengig av Ã¸nsket til opphavsrettseieren. Disse lisensene gir " +"folk retten til Ã¥ <quote>ta</quote> opphavsrettsbeskyttet innhold uavhengig " +"av om opphavsrettseieren Ã¸nsker Ã¥ selge eller ikke. Men der loven ikke gir " +"folk retten til Ã¥ ta innhold, sÃ¥ er det galt Ã¥ ta det innholdet selv om det " +"ikke gjÃ¸r noen skade Ã¥ gjÃ¸re dette gale. Hvis vi har et eiendomssystem og " +"det systemet er skikkelig balansert opp mot teknologien i tiden, sÃ¥ er det " +"galt Ã¥ ta eiendom uten tillatelse fra eiendomseieren. Det er nÃ¸yaktig hva " +"<quote>eiendom</quote> betyr." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "in Asia" +msgstr "i Asia" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "free software/open-source software (FS/OSS)" +msgstr "fri programvare/Ã¥pen kildekode-programvare (FS/OSS)" + +#. type: Content of: <book><chapter><section><section><para><indexterm><primary> +msgid "GNU/Linux operating system" +msgstr "GNU/Linux-operativsystemet" + +#. type: Content of: <book><chapter><section><section><para><indexterm><primary> +msgid "Linux operating system" +msgstr "Linux-operativsystemet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "competitive strategies of" +msgstr "konkurransemessige strategier for" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Windows" +msgstr "Windows" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "international software piracy of" +msgstr "internasjonal piratkopiering av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "Windows operating system of" +msgstr "Windows-operativsystemet til" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Finally, we could try to excuse this piracy with the argument that the " +"piracy actually helps the copyright owner. When the Chinese <quote>steal</" +"quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft " +"loses the value of the software that was taken. But it gains users who are " +"used to life in the Microsoft world. Over time, as the nation grows more " +"wealthy, more and more people will buy software rather than steal it. And " +"hence over time, because that buying will benefit Microsoft, Microsoft " +"benefits from the piracy. If instead of pirating Microsoft Windows, the " +"Chinese used the free GNU/Linux operating system, then these Chinese users " +"would not eventually be buying Microsoft. Without piracy, then, Microsoft " +"would lose." +msgstr "" +"Til slutt kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten med argumentet " +"om at piratvirksomheten faktisk hjelper opphavsrettseieren. NÃ¥r kineserne " +"<quote>stjeler</quote> Windows, sÃ¥ gjÃ¸r det kineserne avhengig av " +"Microsoft. Microsoft mister verdien til programvaren som ble tatt, men det " +"vinner brukere som er vant til livet i Microsoft-verdenen. Over tid, etter " +"hvert som nasjonen blir mer velstÃ¥ende, vil flere og flere folk kjÃ¸pe " +"programvare is stedet for Ã¥ stjele den. Og dermed vil det over tid, pÃ¥ " +"grunn av at disse kjÃ¸pene kommer Microsoft til gode, vil Microsoft tjene pÃ¥ " +"piratvirksomheten. Hvis kineserne i stedet for Ã¥ piratkopiere Windows, " +"brukte det fritt tilgjengelige operativsystemet GNU/Linux, sÃ¥ ville disse " +"kinesiske brukerne ikke til slutt kjÃ¸pe Microsoft. Uten piratvirksomheten " +"ville dermed Microsoft tape." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "law" +msgstr "loven" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "databases of case reports in" +msgstr "databaser med saksrapporter om" + +#. type: Content of: <book><part><chapter><section><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 "" +"Det er ogsÃ¥ noe sant i dette argumentet. Ã gjÃ¸re folk avhengig er en god " +"strategi. Mange selskaper praktiserer det. Noen gjÃ¸r det godt pÃ¥ grunn av " +"det. Juss-studenter, for eksempel, fÃ¥r gratis tilgang til de to stÃ¸rste " +"juridiske databasene. Begge selskapenes markedsfÃ¸rer dette i hÃ¥p om at " +"studentene vil bli sÃ¥ vant til deres tjenester at de vil Ã¸nske Ã¥ bruke deres " +"tjeneste og ikke konkurrentens nÃ¥r de blir advokater (og mÃ¥ betale hÃ¸y " +"abonnementsavgift)." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Netscape" +msgstr "Netscape" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Internet Explorer" +msgstr "Internet Exporer" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Still, the argument is not terribly persuasive. We don't give the alcoholic " +"a defense when he steals his first beer, merely because that will make it " +"more likely that he will buy the next three. Instead, we ordinarily allow " +"businesses to decide for themselves when it is best to give their product " +"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " +"give its product away, as it did, for example, with Internet Explorer to " +"fight Netscape. A property right means giving the property owner the right " +"to say who gets access to what—at least ordinarily. And if the law " +"properly balances the rights of the copyright owner with the rights of " +"access, then violating the law is still wrong." +msgstr "" +"Likevel er ikke dette argumentet spesielt overbevistende. Vi gir ikke " +"alkoholikeren et forsvar nÃ¥r han stjeler sin fÃ¸rste Ã¸l, kun pÃ¥ grunn av at " +"det vil gjÃ¸re det mer sannsynlig at han vil betale for de tre neste. I " +"stedet lar vi vanligvis bedrifter bestemme selv nÃ¥r det er best for dem Ã¥ gi " +"bort deres produkter. Hvis Microsoft frykter konkurransen fra GNU/Linux, sÃ¥ " +"kan Microsoft gi bort produktet sitt, slik de for eksempel gjorde med " +"Internet Explorer for Ã¥ bekjempe Netscape. En eiendomsrett betyr Ã¥ la " +"eiendomseieren ha retten til Ã¥ si hvem som fÃ¥r tilgang til hva—i hvert " +"fall vanligvis. Og hvis loven ordentlig balanserer rettighetene til " +"opphavsrettighetseieren med rettighetene for tilgang, sÃ¥ er det Ã¥ bryte " +"loven fortsatt galt." + +#. PAGE BREAK 79 +#. type: Content of: <book><part><chapter><section><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, selv om jeg forstÃ¥r dragningen mot disse begrunnelsene for " +"piratvirksomhet, og helt klart ser motivasjonen, sÃ¥ er konklusjonen etter " +"mitt syn til slutt, at disse forsÃ¸kene pÃ¥ Ã¥ begrunne kommersiell " +"piratvirksomhet ganske enkelt ikke holder. Denne typen piratvirksomhet er " +"krampaktig og ganske enkelt galt. Den endrer ikke innholdet den stjeler, " +"den endrer ikke markedet den konkurrerer i. Den gir kun noen tilgang til noe " +"som loven sier at han ikke skulle hatt. Ingenting har endret for Ã¥ skape " +"tvil om loven. Denne formen for piratvirksomhet er rett ut galt." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But as the examples from the four chapters that introduced this part " +"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> " +"is. Or at least, not all <quote>piracy</quote> is wrong if that term is " +"understood in the way it is increasingly used today. Many kinds of " +"<quote>piracy</quote> are useful and productive, to produce either new " +"content or new ways of doing business. Neither our tradition nor any " +"tradition has ever banned all <quote>piracy</quote> in that sense of the " +"term." +msgstr "" +"Men som eksemplene fra de fire kapitlene som introduserte denne delen " +"foreslÃ¥r, selv om noe piratvirksomhet helt klart er galt, er ikke all " +"<quote>piratvirksomhet</quote> galt. Eller i det minste er ikke all " +"<quote>piratvirksomhet</quote> galt hvis uttrykket skal forstÃ¥s slik det i " +"stadig stÃ¸rre grad blir brukt i dag. Mange typer <quote>piratvirksomhet</" +"quote> er nyttig og produktivt, enten for Ã¥ produsere nytt innhold eller nye " +"mÃ¥ter Ã¥ drive forretninger. Hverken vÃ¥r tradisjon eller noen annen " +"tradisjon har noen sinne bannlyst all <quote>piratvirksomhet</quote> i den " +"betydningen av uttrykket." + +#. type: Content of: <book><part><chapter><section><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 ikke er reist noen spÃ¸rsmÃ¥l pÃ¥ grunn av den nyeste " +"piratvirksomhetsbekymringen, peer-to-peer-fildeling. Men det betyr at vi " +"trenger Ã¥ forstÃ¥ skaden i peer-to-peer-deling litt mer fÃ¸r vi dÃ¸mmer den til " +"galgen med anklager om piratvirksomhet." + +#. type: Content of: <book><part><chapter><section><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) pÃ¥ samme mÃ¥te som det opprinnelige Hollywood, rÃ¸mmer p2p-fildeling " +"fra en altfor kontrollerende industri og (2) pÃ¥ samme mÃ¥te som den " +"opprinnelige innspillingsindustrien, ganske enkelt utnytter den nye mÃ¥ter Ã¥ " +"spre innhold pÃ¥, men (3) til forskjell fra kabel-TV er det ingen som selger " +"innholdet som blir delt med p2p-tjenester." + +#. type: Content of: <book><part><chapter><section><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 skiller p2p-deling fra virkelig piratvirksomhet. " +"Forskjellen bÃ¸r fÃ¥ oss til Ã¥ finne en mÃ¥te Ã¥ beskytte kunstnerne mens vi " +"gjÃ¸r det mulig for denne delingen Ã¥ overleve." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Piracy II" +msgstr "Piratvirksomhet II" + +#. f4 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777)." +msgstr "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777)." + +#. PAGE BREAK 80 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The key to the <quote>piracy</quote> that the law aims to quash is a use " +"that <quote>rob[s] the author of [his] profit.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> This means we must determine whether and how much " +"p2p sharing harms before we know how strongly the law should seek to either " +"prevent it or find an alternative to assure the author of his profit." +msgstr "" +"NÃ¸kkelen til <quote>piratvirksomheten</quote> som loven tar sikte pÃ¥ Ã¥ " +"skvise er den bruken som <quote>frata forfatteren overskuddet</quote>." +"<placeholder type=\"footnote\" id=\"0\"/> Dette betyr vi mÃ¥ avgjÃ¸re hvorvidt " +"og hvor mye p2p-deling skader fÃ¸r vi vet hvor sterkt loven bÃ¸r sÃ¸ke Ã¥ enten " +"hindre det eller finne et alternativ for Ã¥ sikre forfatteren hans overskudd." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "innovation" +msgstr "innovasjon" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Fanning, Shawn" +msgstr "Fanning, Shawn" + +#. type: Content of: <book><part><chapter><section><para><indexterm><primary> +msgid "Christensen, Clayton M." +msgstr "Christensen, Clayton M." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> See Clayton M. Christensen, " +"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " +"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " +"2000). Professor Christensen examines why companies that give rise to and " +"dominate a product area are frequently unable to come up with the most " +"creative, paradigm-shifting uses for their own products. This job usually " +"falls to outside innovators, who reassemble existing technology in inventive " +"ways. For a discussion of Christensen's ideas, see Lawrence Lessig, " +"<citetitle>Future</citetitle>, 89–92, 139. <placeholder type=" +"\"indexterm\" id=\"1\"/>" +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Se Clayton M. Christensen, " +"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " +"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " +"2000). Professor Christensen undersÃ¸ker hvorfor selskaper som gir opphav " +"til og dominerer et produktomrÃ¥de ofte ikke er i stand til Ã¥ komme opp med " +"de mest kreative, paradigmeskiftende mÃ¥tene Ã¥ bruke deres egne produkter " +"pÃ¥. Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter " +"sammen eksisterende teknologi pÃ¥ nyskapende mÃ¥ter. For en diskusjon om " +"Christensens idÃ©er, se Lawrence Lessig, <citetitle>Future</citetitle>, " +"89–92, 139. <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Peer-to-peer sharing was made famous by Napster. But the inventors of the " +"Napster technology had not made any major technological innovations. Like " +"every great advance in innovation on the Internet (and, arguably, off the " +"Internet as well<placeholder type=\"footnote\" id=\"0\"/>), Shawn Fanning " +"and crew had simply put together components that had been developed " +"independently." +msgstr "" +"Peer-to-peer-deling ble gjort berÃ¸mt av Napster. Men oppfinnerne av Napster-" +"teknologien hadde ikke gjort noen store teknologiske nyskapninger. Som " +"ethvert stort steg i nyskapningen pÃ¥ Internettet (og, kan det argumenteres " +"for, utenfor Internettet<placeholder type=\"footnote\" id=\"0\"/>) hadde " +"Shawn Fanning og hans bemanning ganske enkelt satt sammen deler som hadde " +"blitt utviklet uavhengig av hverandre." + +#. f6 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</" +"quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, " +"A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</" +"citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " +"Secures New Financing,</quote> <citetitle>San Francisco Chronicle</" +"citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> " +"<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, " +"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" +"citetitle>, 26 July 2002, 18." +msgstr "" +"Se Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare</" +"quote>, <citetitle>San Francisco Chronicle</citetitle>, 24. september 2002, " +"A1; <quote>Rock 'n' Roll Suicide</quote>, <citetitle>New Scientist</" +"citetitle>, 6. juli 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " +"Secures New Financing</quote>, <citetitle>San Francisco Chronicle</" +"citetitle>, 23. mai 2003, C1; <quote>Napster's Wake-Up Call,</quote> " +"<citetitle>Economist</citetitle>, 24. juni 2000, 23; John Naughton, " +"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" +"citetitle>, 26. juli 2002, 18." + +#. type: Content of: <book><part><chapter><section><para> +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 "" +"Resultatet var en eksplosjon. Etter lansering i juli 1999, samlet Napster " +"over 10 millioner brukere i lÃ¸pet av ni mÃ¥neder. Etter atten mÃ¥neder var " +"det nesten 80 millioner registrerte brukere av systemet.<placeholder type=" +"\"footnote\" id=\"0\"/> Rettsaker skjÃ¸t Napster raskt ned, men andre " +"tjenester dukket opp for Ã¥ overta plassen. (Kazaa er for tiden den mest " +"populÃ¦re p2p-tjenesten. Den skryter av over 100 millioner medlemmer.) " +"Disse tjenestene har en anderledes arkitektur selv om de ikke er veldig " +"forskjellige i funksjon: Hver av dem gjÃ¸r det mulig for brukerne Ã¥ gjÃ¸re " +"innhold tilgjengelig til et ubegrenset antall andre brukere. Med et p2p-" +"system kan du dele dine favorittsanger med dine beste venner— eller " +"dine 20 000 beste venner." + +#. f7 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " +"Distribution</citetitle> (September 2002), reporting that 28 percent of " +"Americans aged twelve and older have downloaded music off of the Internet " +"and 30 percent have listened to digital music files stored on their " +"computers." +msgstr "" +"Se Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " +"Distribution</citetitle> (september 2002), som rapporterer at 28 prosent av " +"amerikanere eldre enn tolv Ã¥r hadde lastet musikk ned fra Internettet og 30 " +"prosent hadde lyttet til digitale musikkfiler lagred pÃ¥ sine datamaskiner." + +#. f8 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " +"<citetitle>New York Times</citetitle>, 6 June 2003, A1." +msgstr "" +"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " +"<citetitle>New York Times</citetitle>, 6. juni 2003, A1." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"According to a number of estimates, a huge proportion of Americans have " +"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " +"estimated that 60 million Americans had downloaded music—28 percent of " +"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " +"by the NPD group quoted in <citetitle>The New York Times</citetitle> " +"estimated that 43 million citizens used file-sharing networks to exchange " +"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " +"majority of these are not kids. Whatever the actual figure, a massive " +"quantity of content is being <quote>taken</quote> on these networks. The " +"ease and inexpensiveness of file-sharing networks have inspired millions to " +"enjoy music in a way that they hadn't before." +msgstr "" +"I fÃ¸lge en rekke estimater har en stor andel av amerikanere testet " +"fildelings-teknologi. En studie av Ipsos-Insight i september 2002 estimerte " +"at 60 millioner amerikanere har lastet ned musikk—28 prosent av " +"amerikanerne over 12.<placeholder type=\"footnote\" id=\"0\"/> En " +"spÃ¸rreundersÃ¸kelse fra NPD-gruppen sitert i <citetitle>The New York Times</" +"citetitle> estimerte at 43 millioner innbyggere brukte fildelingsnettverk " +"for Ã¥ utveksle innhold i mai 2003.<placeholder type=\"footnote\" id=\"1\"/> " +"De aller fleste av dem er ikke unger. Uansett hva de egentlige tallene er, " +"en massiv mengde innhold blir <quote>tatt</quote> pÃ¥ disse nettverkene. " +"Enkelheten og den lave kostnaden til fildelingsnettverkene har inspirert " +"millioner til Ã¥ nyte musikk pÃ¥ mÃ¥ter de ikke fÃ¸r hadde gjort." + +#. type: Content of: <book><part><chapter><section><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 "" +"Noe av denne nytelsen involverer brudd pÃ¥ opphavsretten. Noe av den gjÃ¸r " +"det ikke. Og selv for den delen som teknisk sett er brudd pÃ¥ opphavsretten " +"er det Ã¥ beregne den faktiske skaden pÃ¥fÃ¸rt opphavsrettseierne mer " +"komplisert enn en skulle tro. Vurder—litt mer nÃ¸ye enn de polariserte " +"stemmene i denne debatten vanligvis gjÃ¸r—de ulike typer deling som " +"fildeling muliggjÃ¸r, og hva slags skader de innebÃ¦rer." + +#. PAGE BREAK 81 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"File sharers share different kinds of content. We can divide these different " +"kinds into four types." +msgstr "" +"Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i " +"fire typer." + +#. A. +#. type: Content of: <book><part><chapter><section><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 delingsnettverk som erstatninger for Ã¥ kjÃ¸pe " +"innhold. Dermed vil disse i stedet for Ã¥ kjÃ¸pe den nÃ¥r en ny Madonna-CD " +"blir gitt ut, ganske enkelt ta den. Vi kan diskutere om alle som tar den " +"ville ha kjÃ¸pt den hvis deling ikke gjorde den gratis tilgjengelig. De " +"fleste ville sannsynligvis ikke det, men det er Ã¥penbart noen som ville " +"det. Den siste gruppen er mÃ¥let for kategori A: Brukere som laster ned i " +"stedet for Ã¥ kjÃ¸pe." + +#. B. +#. type: Content of: <book><part><chapter><section><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 delingsnettverk til Ã¥ teste musikk fÃ¸r de kjÃ¸per " +"den. For eksempel kan noen sende en en MP3 til en av sine venner med en " +"artist han aldri har hÃ¸rt om. Denne vennen kjÃ¸per sÃ¥ CDer av denne " +"artisten. Dette er en slags mÃ¥lrettet reklame som har stor suksessrate. " +"Hvis en venn som anbefaler albumet ikke har noen fordeler av Ã¥ gi en dÃ¥rlig " +"anbefaling, sÃ¥ kan en forvente at anbefalingene faktisk vil vÃ¦re ganske " +"gode. Totaleffekten av denne delingen kan Ã¸ke mengden musikk som blir kjÃ¸pt." + +#. C. +#. type: Content of: <book><part><chapter><section><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 <quote>recalling</quote> old songs. She was astonished at the " +"range and mix of content that was available.) For content not sold, this is " +"still technically a violation of copyright, though because the copyright " +"owner is not selling the content anymore, the economic harm is zero—" +"the same harm that occurs when I sell my collection of 1960s 45-rpm records " +"to a local collector." +msgstr "" +"Det er mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " +"opphavsrettsbeskyttet innhold som ikke lenger er til salgs, eller som de " +"ikke ville ha kjÃ¸pt pÃ¥ grunn av at transaksjonskostnadene pÃ¥ nettet er for " +"hÃ¸ye. Denne bruken av delingsnettverk er blant det mange finner mest " +"givende. Sanger som var del av din barndom men som har forsvunnet fra " +"markedsplassen dukker magisk opp igjen pÃ¥ nettet. (En venn fortalte meg at " +"da hun oppdaget Napster, tilbrakte hun en hel helg med <quote>Ã¥ mimre</" +"quote> over gamle sanger. Hun var overrasket over omfanget og variasjonen i " +"innhold som var tilgjengelig. For innhold som ikke blir solgt, sÃ¥ er dette " +"fortsatt teknisk sett brudd pÃ¥ opphavsretten, selv om pÃ¥ grunn av at " +"opphavsrettseieren ikke selger innholdet lenger sÃ¥ er den Ã¸konomiske skaden " +"null—den samme skaden som inntreffer nÃ¥r jeg selger min samling med 45-" +"rpm grammofonplater fra 1960-tallet til en lokal samler." + +#. PAGE BREAK 82 +#. D. +#. type: Content of: <book><part><chapter><section><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 er det mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " +"innhold som ikke er opphavsrettsbeskyttet eller der opphavsrettseieren " +"Ã¸nsker Ã¥ gi det bort." + +#. type: Content of: <book><part><chapter><section><para> +msgid "How do these different types of sharing balance out?" +msgstr "Hvordan balanserer disse ulike delingstypene?" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " +"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " +"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Let's start with some simple but important points. From the perspective of " +"the law, only type D sharing is clearly legal. From the perspective of " +"economics, only type A sharing is clearly harmful.<placeholder type=" +"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " +"Type C sharing is illegal, yet good for society (since more exposure to " +"music is good) and harmless to the artist (since the work is not otherwise " +"available). So how sharing matters on balance is a hard question to " +"answer—and certainly much more difficult than the current rhetoric " +"around the issue suggests." +msgstr "" +"La oss starte med noen enkle men viktige poeng. Fra lovens perspektiv er " +"det kun type-D-deling som helt klart er lovlig. Fra et Ã¸konomisk perspektiv " +"er det kun type-A-deling som helt klart forÃ¥rsaker skade.<placeholder type=" +"\"footnote\" id=\"0\"/> Type-B-deling er ulovlig men gir klare fordeler. " +"Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til " +"musikk er bra) og skadelig for artistene (siden verket ellers ikke er " +"tilgjengelig. SÃ¥ det er vanskelig Ã¥ avgjÃ¸re hvordan deling kommer ut totalt " +"sett—og helt klart mye vanskeligere enn den gjeldende retorikken rundt " +"temaet foreslÃ¥r." + +#. type: Content of: <book><part><chapter><section><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 <quote>theft</quote> that is <quote>devastating</" +"quote> the industry." +msgstr "" +"Hvorvidt deling er skadelig totalt sett er mye avhengig av hvor skadelig " +"type-A-deling er. Slik Edison klaget over Hollywood, komponister klaget " +"over pianoruller, plateartister klaget over radio og kringkastere klaget " +"over kabel-TV, klager musikkindustrien over at type-A-deling er en slags " +"<quote>tyveri</quote> som vil <quote>Ã¸delegge</quote> industrien." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cassette recording" +msgstr "kassettopptak" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "VCRs" +msgstr "Videospillere/opptakere" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> See Cap Gemini Ernst & Young, " +"<citetitle>Technology Evolution and the Music Industry's Business Model " +"Crisis</citetitle> (2003), 3. This report describes the music industry's " +"effort to stigmatize the budding practice of cassette taping in the 1970s, " +"including an advertising campaign featuring a cassette-shape skull and the " +"caption <quote>Home taping is killing music.</quote> At the time digital " +"audio tape became a threat, the Office of Technical Assessment conducted a " +"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " +"had taped music to a cassette format. U.S. Congress, Office of Technology " +"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the " +"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing " +"Office, October 1989), 145–56." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Se Cap Gemini Ernst & Young, " +"<citetitle>Technology Evolution and the Music Industry's Business Model " +"Crisis</citetitle> (2003), 3. Denne rapporten beskriver musikkindustriens " +"innsats for Ã¥ stigmatisere den voksende praksis med Ã¥ ta opp pÃ¥ kassett pÃ¥ " +"1970-tallet, inkludert en reklamekampanje med en kasse-formet hodeskalle og " +"uttrykket <quote>Home taping is killing music</quote>. PÃ¥ det tidspunktet " +"som digitale lydkassetter ble en trussel, utfÃ¸rte the Office of Technical " +"Assessment en spÃ¸rreundersÃ¸kelse om forbrukeroppfÃ¸rsel. I 1988 hadde 40 " +"prosent av forbrukerne eldre enn ti tatt opp musikk pÃ¥ et kassettformat. U." +"S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home " +"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " +"D.C.: U.S. Government Printing Office, oktober 1989), 145–56." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"While the numbers do suggest that sharing is harmful, how harmful is harder " +"to reckon. It has long been the recording industry's practice to blame " +"technology for any drop in sales. The history of cassette recording is a " +"good example. As a study by Cap Gemini Ernst & Young put it, " +"<quote>Rather than exploiting this new, popular technology, the labels " +"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels " +"claimed that every album taped was an album unsold, and when record sales " +"fell by 11.4 percent in 1981, the industry claimed that its point was " +"proved. Technology was the problem, and banning or regulating technology was " +"the answer." +msgstr "" +"Mens disse tallene jo foreslÃ¥r at deling er skadelig, sÃ¥ er det vanskeligere " +"Ã¥ finne ut hvor skadelig det er. Det har lenge vÃ¦rt praksis for " +"platebransjen Ã¥ skylde pÃ¥ teknologi for all nedgang i salg. Historien til " +"kassettopptak er et godt eksempel. Som et studie av Cap Gemini Ernst & " +"Young formulerer det: <quote>I stedet for Ã¥ utforske denne nye populÃ¦re " +"teknologien, sloss selskapene imot den.</quote><placeholder type=\"footnote" +"\" id=\"0\"/> Selskapene pÃ¥sto at hvert album som ble tatt opp pÃ¥ kassett " +"var et album som ikke ble solgt, og da platesalget falt med 11,4 prosent i " +"1981, pÃ¥sto industrien at dets poeng var bevist. Teknologien var problemet, " +"og forbud eller regulering av teknologien var svaret." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MTV" +msgstr "MTV" + +#. f11 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." +msgstr "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Yet soon thereafter, and before Congress was given an opportunity to enact " +"regulation, MTV was launched, and the industry had a record turnaround. " +"<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' " +"… was not the fault of the tapers—who did not [stop after MTV " +"came into being]—but had to a large extent resulted from stagnation in " +"musical innovation at the major labels.</quote><placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"Ikke lenge etterpÃ¥, og fÃ¸r kongressen fikk muligheten til Ã¥ innfÃ¸re " +"reguleringer, ble MTV lansert, og industrien fikk et rekordoppsving. " +"<quote>Til slutt</quote>, konkluderte Cap Gemini, <quote>var ikke " +"<quote>krisen</quote> … forÃ¥rsaket av de som tok opp pÃ¥ kassett—" +"som ikke [sluttet etter at MTV dukket opp]—men hadde i stor grad vÃ¦rt " +"resultatet av en stagnasjon i musikknyskapningen hos de store selskapene.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 <emphasis>how</" +"emphasis> harmful type A sharing is, and how beneficial the other types of " +"sharing are." +msgstr "" +"Men det at industrien har tatt feil fÃ¸r betyr ikke at de tar feil i dag. " +"For Ã¥ evaluere den virkelige trusselen som p2p-deling representerer for " +"industrien spesielt, og samfunnet generelt—eller i hvert fall det " +"samfunnet som arvet tradisjonen som ga oss filmindustrien, plateindustrien, " +"radioindustrien, kabel-TV og videospilleren—sÃ¥ er ikke spÃ¸rsmÃ¥let kun " +"om type-A-deling er skadelig. SpÃ¸rsmÃ¥let er ogsÃ¥ <emphasis>hvor</emphasis> " +"skadelig type-A-deling er, og hvor nyttige de andre typene deling er." + +#. type: Content of: <book><part><chapter><section><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 " +"<quote>net harm</quote> to the industry as a whole is the amount by which " +"type A sharing exceeds type B. If the record companies sold more records " +"through sampling than they lost through substitution, then sharing networks " +"would actually benefit music companies on balance. They would therefore have " +"little <emphasis>static</emphasis> reason to resist them." +msgstr "" +"Vi gÃ¥r igang med Ã¥ svare pÃ¥ dette spÃ¸rsmÃ¥let ved Ã¥ fokusere pÃ¥ netto skade, " +"sett fra industrien som helhet, som delingsnettverkene forÃ¥rsaker. " +"<quote>Netto skade</quote> for industrien som helhet er verdien av type-A-" +"deling som overgÃ¥r type B. Hvis plateselskapene solgte flere plater som " +"resultat av at folk testet musikken enn de taper gjennom at en lar vÃ¦re Ã¥ " +"kjÃ¸pe, sÃ¥ har delingsnettverkene totalt sett faktisk vÃ¦rt til fordel for " +"musikkselskapene. De ville dermed ha liten <emphasis>*static*</emphasis> " +"grunn til Ã¥ motarbeide dem." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "sales levels of" +msgstr "salgsnivÃ¥ for" + +#. type: Content of: <book><part><chapter><section><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 vÃ¦re riktig? Kan industrien som helhet Ã¸ke i omfang pÃ¥ grunn av " +"fildeling? Selv om det kan hÃ¸res rart ut, sÃ¥ foreslÃ¥r faktisk salgstall for " +"CD-er at det ikke er langt unna sannheten." + +#. f12 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Recording Industry Association of America, <citetitle>2002 Yearend " +"Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #15</ulink>. A later report indicates even greater losses. See " +"Recording Industry Association of America, <citetitle>Some Facts About Music " +"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit " +"shipments of recorded music have fallen by 26 percent from 1.16 billion " +"units in to 860 million units in 2002 in the United States (based on units " +"shipped). In terms of sales, revenues are down 14 percent, from $14.6 " +"billion in to $12.6 billion last year (based on U.S. dollar value of " +"shipments). The music industry worldwide has gone from a $39 billion " +"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " +"dollar value of shipments).</quote>" +msgstr "" +"Se Recording Industry Association of America, <citetitle>2002 Yearend " +"Statistics</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/" +"notes/\">link #15</ulink>. En senere rapport indikerer enda stÃ¸rre tap. Se " +"Recording Industry Association of America, <citetitle>Some Facts About Music " +"Piracy</citetitle>, 25. juni 2003, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #16</ulink>: <quote>I de siste fire Ã¥rene har " +"antall utsendinger av enheter innspilt musikk falt med 26 prosent fra 1,16 " +"milliarder enheter til 860 millioner enheter i 2002 i USA (basert pÃ¥ antall " +"utsendt). I salg er omsetning redusert med 14 prosent, fra $14,6 milliarder " +"til $12,6 milliarder siste Ã¥r (basert pÃ¥ US dollar-verdi for utsendingene). " +"Musikkindustrien pÃ¥ verdensbasis har gÃ¥tt ned fra Ã¥ vÃ¦re en $39 milliarders " +"industri i 2000 til Ã¥ bli en $32 milliarders industri i 2002 (basert pÃ¥ US " +"dollarverdi for utsendinger.</quote>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Black, Jane" +msgstr "Black, Jane" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, " +"13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Jane Black, <quote>Big Music's Broken Record</quote>, BusinessWeek online, " +"13. februar 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " +"million to 803 million units; revenues fell 6.7 percent.<placeholder type=" +"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " +"RIAA blames Internet piracy for the trend, though there are many other " +"causes that could account for this drop. SoundScan, for example, reports a " +"more than 20 percent drop in the number of CDs released since 1999. That no " +"doubt accounts for some of the decrease in sales. Rising prices could " +"account for at least some of the loss. <quote>From 1999 to 2001, the average " +"price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder " +"type=\"footnote\" id=\"1\"/> Competition from other forms of media could " +"also account for some of the decline. As Jane Black of " +"<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film " +"<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could " +"get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote" +"\" id=\"2\"/>" +msgstr "" +"I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882 " +"millioner til 803 millioner enheter, og inntektene hadde falt 6,7 prosent." +"<placeholder type=\"footnote\" id=\"0\"/> Dette bekrefter en trend fra de " +"siste Ã¥rene. RIAA skylder pÃ¥ piratvirksomhet pÃ¥ Internett for denne " +"trenden, selv om det er mange andre Ã¥rsaker som kan forklare denne " +"reduksjonen. SoundScan rapporterte for eksempel om en reduksjon pÃ¥ over 20 " +"prosent siden 1999 nÃ¥r det gjelder antall CD-er er gitt ut Dette er uten " +"tvil Ã¥rsaken til noe av nedgangen i salget. Stigende priser kan ogsÃ¥ ha " +"bidratt til noe av tapet. <quote>Fra 1999 til 201 steg den gjennomsnittlige " +"prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.</quote><placeholder " +"type=\"footnote\" id=\"1\"/> Konkurranse fra andre typer media kan ogsÃ¥ " +"forklare noe av nedgangen. Som Jane Black i <citetitle>BusinessWeek</" +"citetitle> kommenterer, <quote>Lydsporet for filmen <citetitle>High " +"Fidelity</citetitle> har en listepris pÃ¥ $19,98. Du kan fÃ¥ hele filmen [pÃ¥ " +"DVD] for $19,99.</quote><placeholder type=\"footnote\" id=\"2\"/>" + +#. PAGE BREAK 84 +#. type: Content of: <book><part><chapter><section><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 har rett, at all nedgangen i CD-salg er forÃ¥rsaket " +"av deling pÃ¥ Internett. Her er hvor det skurrer: I samme periode som RIAA " +"estimerer at 803 milloner CDer ble solgt, estimerer RIAA at 2,1 milliarder " +"CD-er ble lastet ned gratis. Dermed selv om 2,6 ganger det totale antallet " +"CDer ble lastet ned gratis, sÃ¥ falt salgsinntektene med kun 6,7 prosent." + +#. type: Content of: <book><part><chapter><section><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, <quote>What's the difference between downloading a " +"song and stealing a CD?</quote>—but their own numbers reveal the " +"difference. If I steal a CD, then there is one less CD to sell. Every taking " +"is a lost sale. But on the basis of the numbers the RIAA provides, it is " +"absolutely clear that the same is not true of downloads. If every download " +"were a lost sale—if every use of Kazaa <quote>rob[bed] the author of " +"[his] profit</quote>—then the industry would have suffered a 100 " +"percent drop in sales last year, not a 7 percent drop. If 2.6 times the " +"number of CDs sold were downloaded for free, and yet sales revenue dropped " +"by just 6.7 percent, then there is a huge difference between " +"<quote>downloading a song and stealing a CD.</quote>" +msgstr "" +"Det er for mange ulike ting som skjer samtidig til Ã¥ forklare disse tallene " +"med sikkerhet, men en konklusjon er uunngÃ¥elig: Musikkindustrien spÃ¸r " +"stadig, <quote>Hva er forskjellen mellom Ã¥ laste ned en sang og Ã¥ stjele en " +"CD?</quote>—men deres egne tall avslÃ¸rer forskjellen. Hvis jeg " +"stjeler en CD, sÃ¥ er det en mindre CD Ã¥ selge. Hvert eneste som blir tatt " +"er et tapt salg. Men basert pÃ¥ tallene som RIAA gjÃ¸r tilgjengelig, sÃ¥ er " +"det helt klart at det samme ikke er sant for nedlastinger. Hvis hver " +"nedlasting var et tapt salg—hvis hver bruk av Kazaa <quote>fratok " +"forfatteren overskuddet</quote>—da skulle industrien vÃ¦rt pÃ¥fÃ¸rt 100 " +"prosent reduksjon i salg i fjor, ikke e 7 prosents nedgang. Hvis 2,6 ganger " +"antallet solgte CDer ble lastet ned gratis, og salgsinntektene kun ble " +"redusert med 6,7 prosent, sÃ¥ er det en stor forskjell mellom Ã¥ <quote>laste " +"ned en sang og Ã¥ stjele en CD</quote>." + +#. type: Content of: <book><part><chapter><section><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 "" +"Dette er skadene—pÃ¥stÃ¥tte og muligens overdrevende men, la oss anta at " +"de er reelle. Hva er fordelene? Fildeling pÃ¥fÃ¸rer muligens kostnader for " +"plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene?" + +#. f15 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"By one estimate, 75 percent of the music released by the major labels is no " +"longer in print. See Online Entertainment and Copyright Law—Coming " +"Soon to a Digital Device Near You: Hearing Before the Senate Committee on " +"the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of " +"the Future of Music Coalition), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #18</ulink>." +msgstr "" +"Et estimat forteller at 75 prosent av musikken gitt ut av de store " +"plateselskapene ikke lenger trykkes opp. Se Online Entertainment and " +"Copyright Law—Coming Soon to a Digital Device Near You: HÃ¸ring foran " +"the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001) " +"(forberedt innlegg av the Future of Music Coalition), tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #18</ulink>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"One benefit is type C sharing—making available content that is " +"technically still under copyright but is no longer commercially available. " +"This is not a small category of content. There are millions of tracks that " +"are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/" +"> And while it's conceivable that some of this content is not available " +"because the artist producing the content doesn't want it to be made " +"available, the vast majority of it is unavailable solely because the " +"publisher or the distributor has decided it no longer makes economic sense " +"<emphasis>to the company</emphasis> to make it available." +msgstr "" +"En fordel er type-C-deling—Ã¥ gjÃ¸re innhold tilgjengelig som teknisk " +"sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt " +"tilgjengelig. Dette er ikke en liten kategori med innhold Det er millioner " +"av spor som ikke lenger er kommersielt tilgjengelig.<placeholder type=" +"\"footnote\" id=\"0\"/> Og mens det kan tenkes at noe av dette innholdet " +"ikke er tilgjengelig fordi artisten som laget innholdet ikke Ã¸nsker at det " +"blir gjort tilgjengelig, sÃ¥ er det meste av dette utilgjengelig kun fordi " +"forlaget eller distributÃ¸ren har bestemt at det ikke lenger gir Ã¸konomisk " +"mening <emphasis>for selskapet</emphasis> Ã¥ gjÃ¸re det tilgjengelig." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "books" +msgstr "bÃ¸ker" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "resales of" +msgstr "bruktsalg av" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good " +"estimates of the number of used record stores in existence, in 2002, there " +"were 7,198 used book dealers in the United States, an increase of 20 percent " +"since 1993. See Book Hunter Press, <citetitle>The Quiet Revolution: The " +"Expansion of the Used Book Market</citetitle> (2002), available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " +"accounted for $260 million in sales in 2002. See National Association of " +"Recording Merchandisers, <quote>2002 Annual Survey Results,</quote> " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Mens det ikke finnes noen gode " +"estimater over antallet bruktplatebutikker, sÃ¥ var det i 2002 7 7198 " +"bruktbokhandler i USA, en Ã¸kning pÃ¥ 20 prosent siden 1993. Se Book Hunter " +"Press, <citetitle>The Quiet Revolution: The Expansion of the Used Book " +"Market</citetitle> (2002), tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #19</ulink>. Brukte plater utgjorde $260 millioner i salg " +"i 2002. Se National Association of Recording Merchandisers, <quote>2002 " +"Annual Survey Results</quote>, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #20</ulink>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In real space—long before the Internet—the market had a simple " +"response to this problem: used book and record stores. There are thousands " +"of used book and used record stores in America today.<placeholder type=" +"\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " +"content they buy. And under American copyright law, when they buy and sell " +"this content, <emphasis>even if the content is still under copyright</" +"emphasis>, the copyright owner doesn't get a dime. Used book and record " +"stores are commercial entities; their owners make money from the content " +"they sell; but as with cable companies before statutory licensing, they " +"don't have to pay the copyright owner for the content they sell." +msgstr "" +"I den virkelige verden—lenge fÃ¸r Internettet—hadde markedet et " +"enkelt svar pÃ¥ dette problemet: bruktbok- og bruktplate-butikker. Det er " +"tusenvis av butikker for brukte bÃ¸ker og plater i Amerika i dag.<placeholder " +"type=\"footnote\" id=\"0\"/> Disse butikkene kjÃ¸per innhold fra eierne og " +"selger sÃ¥ videre innholdet de kjÃ¸pte. Og i fÃ¸lge amerikansk Ã¥ndsverkslov, " +"nÃ¥r de kjÃ¸per og selger dette innholdet, <emphasis>selv om innholdet " +"fortsatt er vernet av Ã¥ndsverksloven</emphasis>, sÃ¥ fÃ¥r ikke " +"opphavsrettseieren et Ã¸re. Bruktbok- og bruktplatebutikkene er kommersielle " +"aktÃ¸rer. Deres eiere tjener penger pÃ¥ innholdet de selger, men pÃ¥ samme " +"mÃ¥te som med kabel-TV-selskapene fÃ¸r lovbestemt lisensiering mÃ¥ de ikke " +"betale opphavsrettseierene for innholdet de selger." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Bernstein, Leonard" +msgstr "Bernstein, Leonard" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "out of print" +msgstr "utsolgt fra forlaget" + +#. type: Content of: <book><part><chapter><section><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 <quote>Two Love Songs,</quote> I still have it. That " +"difference would matter economically if the owner of the copyright were " +"selling the record in competition to my sharing. But we're talking about the " +"class of content that is not currently commercially available. The Internet " +"is making it available, through cooperative sharing, without competing with " +"the market." +msgstr "" +"Type-C-deling har dermed veldig mye til felles med bruktbok- og " +"bruktplatebutikker. Det er naturligvis ogsÃ¥ veldig forskjellig, fordi " +"personen som gjÃ¸r innhold tilgjengelig tjener ikke penger pÃ¥ Ã¥ gjÃ¸re " +"innholdet tilgjengelig. Det er naturligvis ogsÃ¥ forskjellig fra i den " +"virkelige verden ved at nÃ¥r jeg selger en plate sÃ¥ har jeg den ikke lenger, " +"mens pÃ¥ nettet nÃ¥r jeg deler min 1949-plate av Bernsteins <quote>Two Love " +"Songs</quote> med noen, sa har jeg den fortsatt. Denne forskjellen betyr noe " +"Ã¸konomisk hvis eieren av opphavsretten selger platen i konkurranse med min " +"deling. Men vi snakker om den klassen av innhold som nÃ¥ ikke er kommersielt " +"tilgjengelig. Internettet gjÃ¸r det tilgjengelig, gjennom samarbeidende " +"deling, uten Ã¥ konkurrere med markedet." + +#. type: Content of: <book><part><chapter><section><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 vÃ¦re, nÃ¥r alle faktorer vurderes, at det ville vÃ¦rt bedre om " +"opphavsrettseieren fikk noe fra denne handelen. Men det at det kunne vÃ¦rt " +"bedre fÃ¸rer ikke til at det ville vÃ¦rt en god ide Ã¥ forby bruktbokbutikker. " +"Eller sagt pÃ¥ en annen mÃ¥te, hvis du tror type-C-deling burde vÃ¦rt stoppet, " +"mener du ogsÃ¥ at biblioteker og bruktbokhandler ogsÃ¥ burde vÃ¦rt stengt?" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "free on-line releases of" +msgstr "gratis online-utgivelser av" + +#. PAGE BREAK 86 +#. type: Content of: <book><part><chapter><section><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, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, both free on-line and in bookstores on the same day. " +"His (and his publisher's) thinking was that the on-line distribution would " +"be a great advertisement for the <quote>real</quote> book. People would read " +"part on-line, and then decide whether they liked the book or not. If they " +"liked it, they would be more likely to buy it. Doctorow's content is type D " +"content. If sharing networks enable his work to be spread, then both he and " +"society are better off. (Actually, much better off: It is a great book!)" +msgstr "" +"Til slutt, og kanskje mest viktig, muliggjÃ¸r fildelingsnettverk type-D-" +"deling—delingen av innhold som opphavsrettseierne Ã¸nsker Ã¥ fÃ¥ delt " +"eller der det ikke er vert etter Ã¥ndsverksloven. Denne delingen er klart " +"til fordel for forfattere og samfunnet. Science fiction-forfatteren Cory " +"Doctorow, for eksempel, utga sin fÃ¸rste roman, <citetitle>Down and Out in " +"the Magic Kingdom</citetitle>, bÃ¥de fritt tilgjengelig pÃ¥ nettet og i " +"bokhandler pÃ¥ samme dag. Han (og hans forlag) mente at distribusjon pÃ¥ " +"nettet ville vÃ¦re flott markedsfÃ¸ring for den <quote>ekte</quote> boken. " +"Folk ville lese deler pÃ¥ nettet, og sÃ¥ bestemme seg for om de likte boken " +"eller ikke. Hvis de likte den, sÃ¥ var det mer sannsynlig at de kjÃ¸pte den. " +"Doctorows innhold er type-D-innhold. Hvis delingsnettverkene gjÃ¸r det mulig " +"Ã¥ spre hans verk, sÃ¥ kommer bÃ¥de han og samfunnet bedre ut. (Faktisk sÃ¥ " +"kommer de mye bedre ut: det er en god bok!)" + +#. type: Content of: <book><part><chapter><section><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 for allemannseide verk: Denne delingen gagner samfunnet " +"uten noen juridisk skade mot forfattere i det hele tatt. Hvis innsats for Ã¥ " +"lÃ¸se problemet med type-A-deling Ã¸delegger muligheten for type-D-deling, sÃ¥ " +"mister vi noe viktig for Ã¥ beskytte type-A-innhold." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The point throughout is this: While the recording industry understandably " +"says, <quote>This is how much we've lost,</quote> we must also ask, " +"<quote>How much has society gained from p2p sharing? What are the " +"efficiencies? What is the content that otherwise would be unavailable?</" +"quote>" +msgstr "" +"Poenget med alt dette er: Selv om plateindustrien forstÃ¥elig nok sier, " +"<quote>Dette er hvor mye vi har tapt</quote>, sÃ¥ mÃ¥ vi ogsÃ¥ spÃ¸rre oss " +"<quote>hvor mye har samfunnet fÃ¥tt igjen fra p2p-deling? Hva gjÃ¸r oss mer " +"effektive? Hva er innholdet som ellers ville vÃ¦re utilgjengelig?</quote>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"For unlike the piracy I described in the first section of this chapter, much " +"of the <quote>piracy</quote> that file sharing enables is plainly legal and " +"good. And like the piracy I described in chapter <xref xrefstyle=\"select: " +"labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a " +"new way of spreading content caused by changes in the technology of " +"distribution. Thus, consistent with the tradition that gave us Hollywood, " +"radio, the recording industry, and cable TV, the question we should be " +"asking about file sharing is how best to preserve its benefits while " +"minimizing (to the extent possible) the wrongful harm it causes artists. The " +"question is one of balance. The law should seek that balance, and that " +"balance will be found only with time." +msgstr "" +"For til forskjell fra piratvirksomheten jeg beskrev i fÃ¸rste seksjon av " +"dette kapittelet, er mye av <quote>piratvirksomheten</quote> som fildeling " +"gjÃ¸r mulig klart lovlig og bra. Og i likhet med piratvirksomheten jeg " +"beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"pirates" +"\"/>, sÃ¥ er mye av denne piratvirksomheten motivert av de nye mÃ¥tene Ã¥ spre " +"innhold pÃ¥ som er forÃ¥rsaket av endringer i distribusjonsteknologien. " +"Dermed, konsistent med tradisjonen som ga oss Hollywood, radio, " +"plateindustrien og kabel-TV, er spÃ¸rsmÃ¥let vi bÃ¸r stille om fildeling om " +"hvordan vi best kan bevare dets fordeler mens vi minimerer (sÃ¥ langt det er " +"mulig) de uÃ¸nskede skadene de pÃ¥fÃ¸rer kunstnere. SpÃ¸rsmÃ¥let er et om " +"balanse. Loven bÃ¸r strebe etter den balansen, og den balansen blir funnet " +"kun etter en tid." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<quote>But isn't the war just a war against illegal sharing? Isn't the " +"target just what you call type A sharing?</quote>" +msgstr "" +"<quote>Men er ikke krigen bare en krig mot ulovlig deling? Er ikke " +"angrepsmÃ¥let bare det du kaller type-A-deling?</quote>" + +#. f17 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " +"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " +"account of the litigation and its toll on Napster, see Joseph Menn, " +"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" +"citetitle> (New York: Crown Business, 2003), 269–82." +msgstr "" +"Se referat fra forhandlingene, In Re: Napster Copyright Litigation ved 34-35 " +"(N.D. Cal., 11. juli 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #21</" +"ulink>. For en oppsummering av sÃ¸ksmÃ¥let og dets effekt pÃ¥ Napster, se " +"Joseph Menn, <citetitle>All the Rave: The Rise and Fall of Shawn Fanning's " +"Napster</citetitle> (New York: Crown Business, 2003), 269–82." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"You would think. And we should hope. But so far, it is not. The effect of " +"the war purportedly on type A sharing alone has been felt far beyond that " +"one class of sharing. That much is obvious from the Napster case itself. " +"When Napster told the district court that it had developed a technology to " +"block the transfer of 99.4 percent of identified infringing material, the " +"district court told counsel for Napster 99.4 percent was not good enough. " +"Napster had to push the infringements <quote>down to zero.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"En skulle tro det. Og vi bÃ¸r hÃ¥pe pÃ¥ det. Men sÃ¥ langt er det ikke " +"tilfelle. Effekten som krigen som pÃ¥stÃ¥s Ã¥ kun vÃ¦re mot type-A-deling har " +"blitt kjent langt uten den klassen med deling. Det er Ã¥penbart fra Napster-" +"saken selv. Da Napster fortalte *district*-retten at den hadde utviklet " +"teknologi som ville blokkere for 99,4 prosent av identifisert " +"opphavsrettsbrytende materiale, fortalte *district*-retten advokatene til " +"Napster at 99,4 prosent var ikke godt nok. Napster mÃ¥tte fÃ¥ " +"opphavsrettsbruddene <quote>ned til null</quote>.<placeholder type=\"footnote" +"\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 ikke er godt nok, sÃ¥ er dette en krig mot " +"fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd. Det er ikke " +"mulig Ã¥ sikre at et p2p-system brukes 100 prosent av tiden i henhold til " +"loven, like lite som det er mulig Ã¥ sikre at 100 prosent av videospillere " +"eller 100 prosent av kopimaskiner eller 100 prosent av hÃ¥ndvÃ¥pen blir brukt " +"i henhold til loven. Ingen toleranse betyr ingen p2p. Rettens avgjÃ¸relser " +"betyr at vi som samfunn mÃ¥ miste fordelene med p2p, selv for de fullstendig " +"lovlige og fordelaktige bruksomrÃ¥dene som de tjener, kun for Ã¥ sikre at de " +"ikke er brudd pÃ¥ opphavsretten forÃ¥rsaket av p2p." + +#. type: Content of: <book><part><chapter><section><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 har ikke vÃ¦rt vÃ¥r historie. Det har ikke gitt oss " +"innholdsindustrien som vi kjenner i dag. Historien til amerikansk lovgiving " +"har vÃ¦rt en prosess om balanse. Etter hvert som nye teknologier endret " +"mÃ¥ten innhold ble spredt sÃ¥ har loven justert seg, etter litt tid, til Ã¥ " +"mÃ¸te den nye teknologien. I denne justeringen har loven forsÃ¸kt Ã¥ sikre " +"legitime rettigheter til skaperne mens den beskytter nyskapning. Noen gang " +"har det gitt mer rettigheter til skaperne, og noen ganger mindre." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "composers, copyright protections of" +msgstr "komponister, opphavsrettsbeskyttelser for" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "music recordings played on" +msgstr "musikkinnspillinger spillt pÃ¥" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "copyright protections in" +msgstr "opphavsrettbeskyttelser i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> - #, mtrans, fuzzy +msgid "composer's rights vs. producers' rights in" - msgstr "composer's rettigheter vs. produsentenes rettigheter i" ++msgstr "komponistens rettigheter versus produsentenes rettigheter i" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"So, as we've seen, when <quote>mechanical reproduction</quote> threatened " +"the interests of composers, Congress balanced the rights of composers " +"against the interests of the recording industry. It granted rights to " +"composers, but also to the recording artists: Composers were to be paid, but " +"at a price set by Congress. But when radio started broadcasting the " +"recordings made by these recording artists, and they complained to Congress " +"that their <quote>creative property</quote> was not being respected (since " +"the radio station did not have to pay them for the creativity it broadcast), " +"Congress rejected their claim. An indirect benefit was enough." +msgstr "" +"Dermed, slik vi har sett, nÃ¥r <quote>mekanisk reprodusjon</quote> truet " +"interessene til komponister, balanserte kongressen rettighetene til " +"komponistene mot interessene til plateindustrien. Den ga rettigheter til " +"komponistene, men ogsÃ¥ til plateartistene: Komponistene skulle fÃ¥ betalt, " +"men til en pris satt av kongressen. Men da radio begynte kringkasting av " +"platene laget av disse plateartistene, og de klaget til kongressen om at " +"deres <quote>kreative eiendom</quote> ikke ble respektert (siden en " +"radiostasjon ikke mÃ¥tte betale dem for kreativiteten den kringkastet), da " +"avviste kongressen kravet. En indirekte fordel var nok." + +#. type: Content of: <book><part><chapter><section><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 fulgte samme mÃ¸nster som plater. Da retten avviste kravet om at " +"kabel-TV-kringkasterne mÃ¥tte betale for innholdet de videre-kringkastet, sÃ¥ " +"svarte kongressen med Ã¥ gi kringkasterne rett til betaling, men pÃ¥ et nivÃ¥ " +"fastsatt av loven. De ga pÃ¥ samme mÃ¥te kabel-TV-selskapene rett til " +"innholdet, sÃ¥ lenge de betalte den lovbestemte prisen." + +#. PAGE BREAK 88 +#. type: Content of: <book><part><chapter><section><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 <emphasis>compensation</emphasis> " +"without giving the past (broadcasters) control over the future (cable)." +msgstr "" +"Dette kompromisset, pÃ¥ samme mÃ¥te som kompromisset som pÃ¥virket plater og " +"automatiske piano, oppnÃ¥dde to mÃ¥l—faktisk de to sentrale mÃ¥lene i " +"enhver opphavsrettslovgiving. For det fÃ¸rste, sikret loven at nye " +"oppfinnere ville ha friheten til Ã¥ utvikle nye mÃ¥ter Ã¥ levere innhold pÃ¥. " +"For det andre, sikret loven at opphavsrettsinnehaverne ville fÃ¥ betalt for " +"innholdet som ble distribuert. En frykt var at hvis kongressen ganske " +"enkelt krevde at kabel-TV-selskapene mÃ¥te betale opphavsrettsinnehaverne " +"uansett hva de krevde for sitt innhold, sÃ¥ ville opphavsrettsinnehaverne " +"knyttet til kringkastere bruke sin makt til Ã¥ hemme denne nye teknologien " +"kabel-TV. Men hvis kongressen hadde tillat kabel-TV Ã¥ bruke kringkasternes " +"innhold uten Ã¥ betale, sÃ¥ ville den gitt urettferdig subsidiering til kabel-" +"TV. Dermed valgte kongressen en sti som ville sikre <emphasis>kompensasjon</" +"emphasis> uten Ã¥ gi fortiden (kringkasterne) kontroll over fremtiden (kabel-" +"TV)." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Betamax" +msgstr "Betamax" + +#. type: Content of: <book><part><chapter><section><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 <quote>record</quote> button, the device could " +"be used to record copyrighted movies and shows. Sony was therefore " +"benefiting from the copyright infringement of its customers. It should " +"therefore, Disney and Universal claimed, be partially liable for that " +"infringement." +msgstr "" +"Samme Ã¥r som kongressen valgte denne balansen, gikk to store produsenter og " +"distributÃ¸rer av filminnhold til sak mot en annen teknologi, videospiller/" +"opptakeren som Sony hadde produsert, Betamax. Disneys og Universals pÃ¥stand " +"mot Sony var relativt enkelt: Sony produserte en enhet, pÃ¥sto Disney og " +"Universal, som gjorde det mulig for forbrukere Ã¥ gjennomfÃ¸re " +"opphavsrettsbrudd. PÃ¥ grunn av at enheten Sony hadde laget hadde en " +"<quote>opptaks-knapp</quote>, kunne enheten bli brukt til Ã¥ ta opp " +"opphavsrettsbeskyttede filmer og programmer. Sony hadde derfor fordel av " +"opphavsrettsbruddene til sine kunder og skulle derfor, pÃ¥sto Disney og " +"Universal, vÃ¦re delvis ansvarlig or disse bruddene." + +#. PAGE BREAK 89 +#. type: Content of: <book><part><chapter><section><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 <quote>copy me</quote> signal on the line. It " +"was clear that there were many television shows that did not grant anyone " +"permission to copy. Indeed, if anyone had asked, no doubt the majority of " +"shows would not have authorized copying. And in the face of this obvious " +"preference, Sony could have designed its system to minimize the opportunity " +"for copyright infringement. It did not, and for that, Disney and Universal " +"wanted to hold it responsible for the architecture it chose." +msgstr "" +"Det er noe i pÃ¥standene til Disney og Universal. Sony valgte Ã¥ utforme sin " +"maskin slik at det var veldig enkelt Ã¥ ta opp TV-programmer. De kunne ha " +"bygget maskinen slik at den blokkerte eller hindret enhver direkte kopiering " +"fra en TV-kringkasting. Eller sÃ¥ kunne de muligens ha bygget maskinen slik " +"at det kun var mulig Ã¥ kopiere hvis det var et spesielt <quote>kopier meg</" +"quote>-signal pÃ¥ linjen. Det var klart at det var mange TV-programmer som " +"ikke ga noen tillatelse til Ã¥ kopiere. Faktisk ville en, hvis en spurte, " +"uten tvil fÃ¥tt beskjed fra flertallet av programmer at de ikke tillot " +"kopiering. Og i mÃ¸tet med denne Ã¥penbare Ã¸nsket, kunne Sony ha utformet " +"systemet sitt for Ã¥ minimere muligheten for opphavsrettsbrudd. Det gjorde " +"de ikke, og pÃ¥ grunn av dette ville Disney og Universal holde dem ansvarlig " +"for arkitekturen de valgte." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "on VCR technology" - msgstr "pÃ¥ vcr-teknologi" ++msgstr "pÃ¥ videospiller-teknologi" + +#. f18 +#. type: Content of: <book><part><chapter><section><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 "" +"Copyright Infringements (Audio and Video Recorders): hÃ¸ring om S. 1758 foran " +"the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459 " +"(1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association " +"of America, Inc.)." + +#. f19 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "Copyright Infringements (Audio and Video Recorders), 475." +msgstr "Copyright Infringements (Audio and Video Recorders), 475." + +#. f20 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." +msgstr "" +"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " +"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." + +#. f21 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack " +"Valenti)." +msgstr "" +"Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra " +"Jack Valenti)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"MPAA president Jack Valenti became the studios' most vocal champion. Valenti " +"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, " +"30, 40 million of these VCRs in the land, we will be invaded by millions of " +"`tapeworms,' eating away at the very heart and essence of the most precious " +"asset the copyright owner has, his copyright.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> <quote>One does not have to be trained in " +"sophisticated marketing and creative judgment,</quote> he told Congress, " +"<quote>to understand the devastation on the after-theater marketplace caused " +"by the hundreds of millions of tapings that will adversely impact on the " +"future of the creative community in this country. It is simply a question of " +"basic economics and plain common sense.</quote><placeholder type=\"footnote" +"\" id=\"1\"/> Indeed, as surveys would later show, 45 percent of VCR owners " +"had movie libraries of ten videos or more<placeholder type=\"footnote\" id=" +"\"2\"/> — a use the Court would later hold was not <quote>fair.</" +"quote> By <quote>allowing VCR owners to copy freely by the means of an " +"exemption from copyright infringement without creating a mechanism to " +"compensate copyright owners,</quote> Valenti testified, Congress would " +"<quote>take from the owners the very essence of their property: the " +"exclusive right to control who may use their work, that is, who may copy it " +"and thereby profit from its reproduction.</quote><placeholder type=\"footnote" +"\" id=\"3\"/>" +msgstr "" +"MPAA-presidenten Jack Valenti ble studioenes mest synlige forkjemper. " +"Valenti kalte videospillerne for <quote>bendelormer</quote> (engelsk: " +"tapeworm). Han advarte om at <quote>nÃ¥r det er 20, 30, 40 millioner av " +"disse videospillerne i landet, vil vi bli invadert av millioner av " +"<quote>bendelormer</quote> som spiser i vei i hjertet og essensen til den " +"mest verdifulle eiendelen som opphavsrettseieren har, hans opphavsrett</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/> <quote>En mÃ¥ ikke vÃ¦re " +"opplÃ¦rt i sofistikert markedsfÃ¸ring eller kreativ vurdering</quote>, " +"fortalte han kongressen, <quote>for Ã¥ forstÃ¥ Ã¸deleggelsen av etter-kino-" +"markedet forÃ¥rsaket av de hundrevis av millioner opptak som vil seriÃ¸st " +"pÃ¥virke fremtiden til det kreative miljÃ¸et i dette landet. Det er ganske " +"enkelt et spÃ¸rsmÃ¥l om grunnleggende Ã¸konomi og enkel sunn fornuft.</" +"quote><placeholder type=\"footnote\" id=\"1\"/> Og ganske riktig, slik " +"spÃ¸rreundersÃ¸kelser senere ville vise, 45 prosent av videospillereierne " +"hadde filmbiblioteker som inneholdt ti filmer eller mer.<placeholder type=" +"\"footnote\" id=\"2\"/> — en bruk som retten senere ville avgjÃ¸re ikke " +"var <quote>rettferdig</quote>. Ved Ã¥ <quote>tillate videospillereierne Ã¥ " +"kopiere fritt ved hjelp av et unntak fra brudd pÃ¥ opphavsrettsloven uten Ã¥ " +"lage en mekanisme for Ã¥ kompensere opphavsrettseierne</quote>, forklarte " +"Valenti, sÃ¥ ville kongressen <quote>ta fra eierne selve essensen i deres " +"eiendom: den eksklusive retten til a kontrollere hvem som kan bruke deres " +"verker, det vil si, hvem som kan kopiere det og dermed nyte godt at dets " +"reproduksjon</quote>.<placeholder type=\"footnote\" id=\"3\"/>" + +#. f22 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." +msgstr "" +"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " +"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." + +#. type: Content of: <book><part><chapter><section><para><indexterm><primary> +msgid "Kozinski, Alex" +msgstr "Kozinski, Alex" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"It took eight years for this case to be resolved by the Supreme Court. In " +"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " +"its jurisdiction—leading Judge Alex Kozinski, who sits on that court, " +"refers to it as the <quote>Hollywood Circuit</quote>—held that Sony " +"would be liable for the copyright infringement made possible by its " +"machines. Under the Ninth Circuit's rule, this totally familiar " +"technology—which Jack Valenti had called <quote>the Boston Strangler " +"of the American film industry</quote> (worse yet, it was a " +"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)" +"—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Det tok Ã¥tte Ã¥r fÃ¸r denne saken ble avgjort av hÃ¸yesterett. I mellomtiden " +"hadde den niende appellsirkel, som har Hollywood i sin jurisdiksjon—" +"den ledende dommeren Alex Kozinski, som er medlem i den domstolen, referer " +"til den som <quote>Hollywood-sirkelen</quote>—fant at Sony mÃ¥tte " +"holdes ansvarlig for de opphavsrettsbruddene som ble muliggjort med deres " +"maskiner. I fÃ¸lge niende sirkels regel var denne kjente teknologien—" +"som Jack Valenti hadde omtalt som <quote>Boston-kveleren for amerikansk " +"filmindustri</quote> (verre enn dette, det var en <emphasis>japansk</" +"emphasis> Boston-kveler for amerikansk filmindustri)— var en ulovlig " +"teknologi.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. PAGE BREAK 90 +#. type: Content of: <book><part><chapter><section><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 hÃ¸yesterett omstÃ¸tte avgjÃ¸relsen til niende appellsirkel. Og i sin " +"avgjÃ¸relse formulerte domstolen klart sin forstÃ¥else av nÃ¥r og om domstoler " +"burde intervenere i slike konflikter. Som retten skrev," + +#. f23 +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." +msgstr "" +"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Sound policy, as well as history, supports our consistent deference to " +"Congress when major technological innovations alter the market for " +"copyrighted materials. Congress has the constitutional authority and the " +"institutional ability to accommodate fully the varied permutations of " +"competing interests that are inevitably implicated by such new technology." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Fornuftig policy, og vÃ¥r historie, stÃ¸tter vÃ¥r konsistente henvisning til " +"kongressen nÃ¥r store teknologiske nyvinninger endrer markedet for " +"opphavsrettsbeskyttet materiale. Kongressen har den konstituelle " +"autoriteten og institusjonsevnen til Ã¥ ta fullt hensyn til de forskjellige " +"sammensetningene av konkurrerende interesser som uunngÃ¥elig blir involvert " +"av slik ny teknologi.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 " +"<quote>taking</quote> notwithstanding. If we put these cases together, a " +"pattern is clear:" +msgstr "" +"Kongressen ble bedt om Ã¥ svare pÃ¥ avgjÃ¸relsen fra HÃ¸yesterett. Men pÃ¥ samme " +"mÃ¥te som med appellen fra plateartistene om radiokringkastinger, ignorerte " +"kongressen denne forespÃ¸rselen. Kongressen var overbevist om at Amerikansk " +"film fikk nok, pÃ¥ tross av at det her ble <quote>tatt</quote>. Hvis vi " +"samler disse saken, trer et mÃ¸nster frem:" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "CASE" +msgstr "Tilfelle" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "WHOSE VALUE WAS <quote>PIRATED</quote>" +msgstr "Hvems verdi ble <quote>rÃ¸vet</quote>" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "RESPONSE OF THE COURTS" +msgstr "Responsen til domstolene" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "RESPONSE OF CONGRESS" +msgstr "Responsen til Kongressen" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Recordings" +msgstr "Innspillinger" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Composers" +msgstr "Komponister" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "No protection" +msgstr "Ingen beskyttelse" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Statutory license" +msgstr "Lovbestemt lisens" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Recording artists" +msgstr "Plateartister" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "N/A" +msgstr "" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Nothing" +msgstr "Ingenting" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Broadcasters" +msgstr "Kringkastere" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "VCR" +msgstr "Videospiller / opptaker" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Film creators" +msgstr "Filmskapere" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"These are the most important instances in our history, but there are other " +"cases as well. The technology of digital audio tape (DAT), for example, was " +"regulated by Congress to minimize the risk of piracy. The remedy Congress " +"imposed did burden DAT producers, by taxing tape sales and controlling the " +"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " +"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " +"4237, codified at 17 U.S.C. Â§1001. Again, however, this regulation did not " +"eliminate the opportunity for free riding in the sense I've described. See " +"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From " +"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law " +"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" " +"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Dette er de viktigste forekomstene i vÃ¥r historie, men det er ogsÃ¥ andre " +"tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT) " +"regulert av kongressen for Ã¥ minimere risikoen for piratkopiering. " +"Medisinen som kongressen valgte pÃ¥fÃ¸rte en belastning for DAT-produsenter, " +"ved Ã¥ legge en skatt pÃ¥ kassettsalg og ved Ã¥ kontrollere DAT-teknologien. Se " +"Audio Home Recording Act fra 1992 (overskrift 17 i <citetitle>United States " +"Code</citetitle>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S." +"C. Â§1001. Igjen eliminerte heller ikke denne regulereringen muligheten for " +"gratispassasjerer slik jeg har beskrevet. Se Lessig <citetitle>Future</" +"citetitle>, 71. Se ogsÃ¥ Picker, <quote>From Edison to the Broadcast Flag,</" +"quote> <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " +"293–96. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In each case throughout our history, a new technology changed the way " +"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " +"case, throughout our history, that change meant that someone got a " +"<quote>free ride</quote> on someone else's work." +msgstr "" +"I hvert tilfelle gjennom vÃ¥r historie har ny teknologi endret hvordan " +"innhold ble distribuert.<placeholder type=\"footnote\" id=\"0\"/> I hvert " +"tilfelle, gjennom hele vÃ¥r historie, har den endringen fÃ¸rt til at noen ble " +"<quote>gratispassasjer</quote> pÃ¥ noen andres verk." + +#. PAGE BREAK 91 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In <emphasis>none</emphasis> of these cases did either the courts or " +"Congress eliminate all free riding. In <emphasis>none</emphasis> of these " +"cases did the courts or Congress insist that the law should assure that the " +"copyright holder get all the value that his copyright created. In every " +"case, the copyright owners complained of <quote>piracy.</quote> In every " +"case, Congress acted to recognize some of the legitimacy in the behavior of " +"the <quote>pirates.</quote> In each case, Congress allowed some new " +"technology to benefit from content made before. It balanced the interests at " +"stake." +msgstr "" +"I <emphasis>ingen</emphasis> av disse tilfellene eliminerte domstolene og " +"kongressen alle gratispassasjerer. I <emphasis>ingen</emphasis> av disse " +"tilfellene insisterte domstolene og kongressen at loven skulle sikre at " +"opphavsrettsinnehaveren skulle fÃ¥ all verdi som hans opphavsrett hadde " +"skapt. I hvert tilfelle klaget opphavsrettseieren om " +"<quote>piratvirksomhet</quote>. I hvert tilfelle valgte kongressen Ã¥ ta " +"hensyn til noe av legitimiteten til oppfÃ¸rselen hos <quote>piratene</" +"quote>. I hvert tilfelle tillot kongressen noe ny teknologi a ha fordel av " +"innhold laget tidligere. Den balanserte interessene pÃ¥ spill." + +#. type: Content of: <book><part><chapter><section><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 "" +"NÃ¥r du tenker over disse eksemplene, og de andre eksemplene som utgjÃ¸r de " +"fÃ¸rste fire kapittelene i denne avdelingen, sÃ¥ gir denne balansen mening. " +"Var Walt Disney en pirat? Ville doujinshi vÃ¦re bedre hvis skaperne mÃ¥tte be " +"om tillatelse? BÃ¸r verktÃ¸y som gjÃ¸r det mulig for andre Ã¥ fange og spre " +"bilder som en mÃ¥te Ã¥ kultivere og kritisere vÃ¥r kultur vÃ¦re bedre hvis den " +"var regulert? Er det virkelig riktig at a bygge en sÃ¸kemotor bÃ¸r eksponere " +"deg for krav om $15 millioner i erstatning. Ville det ha vÃ¦rt bedre om " +"Edison hadde kontrollert all film? Burde et hvert cover-band mÃ¥tte hyre inn " +"en advokat for Ã¥ fÃ¥ tillatelse til Ã¥ spille inn en sang?" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "on balance of interests in copyright law" - msgstr "pÃ¥ balanse mellom interesser i lov om opphavsrett" ++msgstr "om interesseavveininger i opphavsrettslovgivning" + +#. f25 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." +msgstr "" +"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"We could answer yes to each of these questions, but our tradition has " +"answered no. In our tradition, as the Supreme Court has stated, copyright " +"<quote>has never accorded the copyright owner complete control over all " +"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> " +"Instead, the particular uses that the law regulates have been defined by " +"balancing the good that comes from granting an exclusive right against the " +"burdens such an exclusive right creates. And this balancing has historically " +"been done <emphasis>after</emphasis> a technology has matured, or settled " +"into the mix of technologies that facilitate the distribution of content." +msgstr "" +"Vi kunne svart ja pÃ¥ hvert av disse spÃ¸rsmÃ¥lene, men vÃ¥r tradisjon har svart " +"nei. I vÃ¥r tradisjon, som hÃ¸yesterett uttalte har opphavsretten " +"<quote>aldri gitt opphavsrettseieren fullstendig kontroll over all mulig " +"bruk av hans verk</quote>.<placeholder type=\"footnote\" id=\"0\"/> I stedet " +"har de spesifikke bruksomrÃ¥der som loven regulerer vÃ¦rt definert ved Ã¥ " +"balansere de goder som kommer fra Ã¥ dele ut en eksklusiv rettighet mot " +"ulempene en slik eksklusiv rettighet skaper. Og denne balanseringen har " +"historisk vÃ¦rt gjort <emphasis>etter</emphasis> at teknologien har modnet, " +"eller landet pÃ¥ en blanding av teknologier som bidrar til distribusjonen av " +"innhold." + +#. type: Content of: <book><part><chapter><section><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 <quote>stealing</quote> from artists. But neither should the law " +"become a tool to entrench one particular way in which artists (or more " +"accurately, distributors) get paid. As I describe in some detail in the last " +"chapter of this book, we should be securing income to artists while we allow " +"the market to secure the most efficient way to promote and distribute " +"content. This will require changes in the law, at least in the interim. " +"These changes should be designed to balance the protection of the law " +"against the strong public interest that innovation continue." +msgstr "" +"Vi burde gjÃ¸re det samme i dag. Teknologien pÃ¥ Internettet endrer seg " +"raskt. MÃ¥ten folk kobler seg til Internettet (trÃ¥dbasert eller trÃ¥dlÃ¸st) " +"endrer seg veldig raskt. Uten tvil bÃ¸r ikke nettverket bli et verktÃ¸y for " +"<quote>stjeling</quote> fra kunstnere. Men loven bÃ¸r heller ikke bli et " +"verktÃ¸y for Ã¥ tvinge igjennom en bestemt mÃ¥te som kunstnere (eller mer " +"korrekt, distributÃ¸rer) fÃ¥r betalt. Som jeg beskriver i litt detalj i det " +"siste kapittelet i denne boken, bÃ¸r vi sikre inntekter til kunstnere mens vi " +"tillater markedet Ã¥ fÃ¥ pÃ¥ plass den mest effektive mÃ¥ten Ã¥ fremme og " +"distribuere innhold. Dette vil kreve endringer i loven, i hvert fall i en " +"mellomperiode. Disse endringene burde utformes slik at de balanserer " +"beskyttelsen gitt i loven mot den sterke folkeinteressen for at nyskapning " +"fortsetter." + +#. f26 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " +"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 " +"September 2003, C3." +msgstr "" +"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " +"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22. " +"september 2003, C3." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This is especially true when a new technology enables a vastly superior mode " +"of distribution. And this p2p has done. P2p technologies can be ideally " +"efficient in moving content across a widely diverse network. Left to " +"develop, they could make the network vastly more efficient. Yet these " +"<quote>potential public benefits,</quote> as John Schwartz writes in " +"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the " +"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Dette er spesielt riktig nÃ¥r en ny teknologi muliggjÃ¸r en svÃ¦rt overlegen " +"mÃ¥te Ã¥ distribuere pÃ¥. Og dette har p2p gjort. P2p-teknologier kan vÃ¦re " +"ideelt effektivt for Ã¥ flytte innhold pÃ¥ tvers av et stort og variert " +"nettverk. Utviklet videre sÃ¥ kan de gjÃ¸re nettverkene mye mer effektivt. " +"Likevel kan disse <quote>potensielle fordelene for folket</quote>, som John " +"Schwartz skriver i <citetitle>The New York Times</citetitle>, <quote>bli " +"forsinket av p2p-kampen</quote>.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about " +"<quote>balance,</quote> the copyright warriors raise a different argument. " +"<quote>All this hand waving about balance and incentives,</quote> they say, " +"<quote>misses a fundamental point. Our content,</quote> the warriors insist, " +"<quote>is our <emphasis>property</emphasis>. Why should we wait for Congress " +"to `rebalance' our property rights? Do you have to wait before calling the " +"police when your car has been stolen? And why should Congress deliberate at " +"all about the merits of this theft? Do we ask whether the car thief had a " +"good use for the car before we arrest him?</quote>" +msgstr "" +"<emphasis role='strong'>Men nÃ¥r noen</emphasis> begynner Ã¥ snakke om " +"<quote>balanse</quote>, kommer opphavsrettskrigerne med et annet argument. " +"<quote>All denne varme luften om balanse og insentiver</quote>, sier de, " +"<quote>gÃ¥r glipp av det fundamentale poenget. VÃ¥rt innhold</quote>, " +"insisterer krigerne, <quote>er vÃ¥r <emphasis>eiendom</emphasis>. Hvorfor " +"burde vi vente pÃ¥ at kongressen skal finne en ny balanse for vÃ¥re " +"eiendomsretter? MÃ¥ vi vente fÃ¸r vi kontakter politiet nÃ¥r bilen vÃ¥r har " +"blitt stjÃ¥let? Og hvorfor burde kongressen i det hele tatt debattere nytten " +"av dette tyveriet? SpÃ¸r vi dem om biltyven hadde god bruk for bilen fÃ¸r vi " +"arresterer han?</quote>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. " +"<quote>And it should be protected just as any other property is protected.</" +"quote>" +msgstr "" +"<quote>Det er <emphasis>vÃ¥r eiendom</emphasis>,</quote> insisterer krigerne. " +"<quote>og den bÃ¸r vÃ¦re beskyttet pÃ¥ samme mÃ¥te som all annen eiendom er " +"beskyttet.</quote>" + +#. type: Content of: <book><part><title> +msgid "<quote>PROPERTY</quote>" +msgstr "<quote>Eiendom</quote>" + +#. PAGE BREAK 94 +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role='strong'>The copyright warriors</emphasis> are right: A " +"copyright is a kind of property. It can be owned and sold, and the law " +"protects against its theft. Ordinarily, the copyright owner gets to hold out " +"for any price he wants. Markets reckon the supply and demand that partially " +"determine the price she can get." +msgstr "" +"<emphasis role='strong'>Opphavsretts-krigerne</emphasis> har rett: " +"Opphavsretten er en type eiendom. Den kan eies og selges, og loven beskytter " +"mot at den blir stjÃ¥let. Vanligvis, kan opphavsrettseieren be om hvilken som " +"helst pris som han Ã¸nsker. Markeder bestemmer tilbud og etterspÃ¸rsel som i " +"hvert tilfelle bestemmer prisen hun kan fÃ¥." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"But in ordinary language, to call a copyright a <quote>property</quote> " +"right is a bit misleading, for the property of copyright is an odd kind of " +"property. Indeed, the very idea of property in any idea or any expression " +"is very odd. I understand what I am taking when I take the picnic table you " +"put in your backyard. I am taking a thing, the picnic table, and after I " +"take it, you don't have it. But what am I taking when I take the good " +"<emphasis>idea</emphasis> you had to put a picnic table in the " +"backyard—by, for example, going to Sears, buying a table, and putting " +"it in my backyard? What is the thing I am taking then?" +msgstr "" +"Men i vanlig sprÃ¥k er det Ã¥ kalle opphavsrett for en <quote>eiendoms</quote>-" +"rett litt misvisende, for eiendommen i opphavsretten er en merkelig type " +"eiendom. Selve idÃ©en om eierrettigheter til en idÃ© eller et uttrykk er " +"nemlig veldig merkelig. Jeg forstÃ¥r hva jeg tar nÃ¥r jeg tar en piknik-bord " +"som du plasserte i din bakhage. Jeg tar en ting, piknik-bordet, og etter at " +"jeg tar det har ikke du det. Men hva tar jeg nÃ¥r jeg tar den gode " +"<emphasis>idÃ©en</emphasis> som du hadde om Ã¥ plassere piknik-bordet i " +"bakhagen—ved Ã¥ for eksempel dra til butikken Sears, kjÃ¸pe et bord, og " +"plassere det i min egen bakhage? Hva er tingen jeg tar da?" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Jefferson, Thomas" +msgstr "Jefferson, Thomas" + +#. f1 +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " +"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " +"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." +msgstr "" +"Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i " +"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " +"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The point is not just about the thingness of picnic tables versus ideas, " +"though that's an important difference. The point instead is that in the " +"ordinary case—indeed, in practically every case except for a narrow " +"range of exceptions—ideas released to the world are free. I don't take " +"anything from you when I copy the way you dress—though I might seem " +"weird if I did it every day, and especially weird if you are a woman. " +"Instead, as Thomas Jefferson said (and as is especially true when I copy the " +"way someone else dresses), <quote>He who receives an idea from me, receives " +"instruction himself without lessening mine; as he who lights his taper at " +"mine, receives light without darkening me.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Poenget er ikke bare om hvorvidt piknik-bord og idÃ©er er ting, selv om det " +"er en viktig forskjell. Poenget er istedet at i det vanlige tilfelle—" +"faktisk i praktisk talt ethvert tilfelle unntatt en begrenset rekke med " +"unntak—er idÃ©er sluppet ut i verden frie. Jeg tar ingenting fra deg " +"nÃ¥r jeg kopierer mÃ¥ten du kler deg—selv om det ville se sÃ¦rt ut hvis " +"jeg gjorde det hver dag, og spesielt sÃ¦rt hvis du er en kvinne. Istedet, " +"som Thomas Jefferson sa (og det er spesielt sant nÃ¥r jeg kopierer hvordan " +"noen andre kler seg), <quote>Den som mottar en idÃ© fra meg, fÃ¥r selv " +"informasjon uten Ã¥ ta noe fra meg, pÃ¥ samme mÃ¥te som den som tenner sitt lys " +"fra min veike fÃ¥r lys uten Ã¥ forlate meg i mÃ¸rket</quote>.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><indexterm><secondary> - #, mtrans, fuzzy +msgid "intangibility of" - msgstr "intangibility av" ++msgstr "ubegripelighet av" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The exceptions to free use are ideas and expressions within the reach of the " +"law of patent and copyright, and a few other domains that I won't discuss " +"here. Here the law says you can't take my idea or expression without my " +"permission: The law turns the intangible into property." +msgstr "" +"Unntakene til fri bruk er idÃ©er og uttrykk innenfor dekningsomrÃ¥det til " +"loven om patent og opphavsrett, og noen fÃ¥ andre omrÃ¥der som jeg ikke vil " +"diskutere her. Her sier loven at du ikke kan ta min idÃ© eller uttrykk uten " +"min tillatelse: Loven gjÃ¸r det immaterielle til eiendom. " + +#. f2 +#. type: Content of: <book><part><partintro><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, " +"<quote>What Is Property? Putting the Pieces Back Together,</quote> " +"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241." +msgstr "" +"Slik de juridiske realistene lÃ¦rte bort amerikansk lov, var alle " +"eiendomsretter immaterielle. En eiendomsrett er ganske enkelt den retten " +"som et individ har mot verden til Ã¥ gjÃ¸re eller ikke gjÃ¸re visse ting som er " +"eller ikke er knyttet til et fysisk objekt. Retten i seg selv er " +"immateriell, selv om objektet som det er (metafysisk) knyttet til er " +"materielt. Se Adam Mossoff, <quote>What Is Property? Putting the Pieces " +"Back Together,</quote> <citetitle>Arizona Law Review</citetitle> 45 (2003): " +"373, 429 n. 241." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"But how, and to what extent, and in what form—the details, in other " +"words—matter. To get a good sense of how this practice of turning the " +"intangible into property emerged, we need to place this <quote>property</" +"quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Men hvordan, og i hvilken utstrekning, og i hvilken form—detaljene, " +"med andre ord—betyr noe. For Ã¥ fÃ¥ en god forstÃ¥else om hvordan denne " +"praksis om Ã¥ gjÃ¸re det immaterielle om til eiendom vokste frem, trenger vi Ã¥ " +"plassere denne <quote>eiendom</quote> i sin rette sammenheng.<placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><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 <quote>copyright material " +"is property</quote> in context. Where did the idea come from? What are its " +"limits? How does it function in practice? After these stories, the " +"significance of this true statement—<quote>copyright material is " +"property</quote>— will be a bit more clear, and its implications will " +"be revealed as quite different from the implications that the copyright " +"warriors would have us draw." +msgstr "" +"Min strategi for Ã¥ gjÃ¸re dette er den samme som min strategi i den " +"foregÃ¥ende del. Jeg tilbyr fire historier som bidrar til Ã¥ plassere " +"<quote>opphavsrettsmateriale er eiendom</quote> i sammenheng. Hvor kom " +"idÃ©en fra? Hva er dens begrensninger? Hvordan fungerer dette i praksis. " +"Etter disse historiene vil betydningen til dette sanne utsagnet—" +"<quote>opphavsrettsmateriale er eiendom</quote>— bli litt mer klart, " +"og dets implikasjoner vil bli avslÃ¸rt som ganske forskjellig fra " +"implikasjonene som opphavsrettskrigerne vil at vi skal forstÃ¥." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER SIX: Founders" +msgstr "Kapittel seks: Grunnleggerne" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "English copyright law developed for" +msgstr "Engelsk Ã¥ndsverkslov utviklet for" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "England, copyright laws developed in" +msgstr "England, Ã¥ndsverkslov utviklet i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "United Kingdom" +msgstr "Storbritannia" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "history of copyright law in" - msgstr "historie om opphavsrett i" ++msgstr "historie av opphavsrettslovgivning i" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Branagh, Kenneth" +msgstr "Branagh, Kenneth" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Henry V" +msgstr "Henry V" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Romeo and Juliet (Shakespeare)" +msgstr "Romeo og Julie (Shakespeare)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>William Shakespeare</emphasis> wrote " +"<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first " +"published in 1597. It was the eleventh major play that Shakespeare had " +"written. He would continue to write plays through 1613, and the plays that " +"he wrote have continued to define Anglo-American culture ever since. So " +"deeply have the works of a sixteenth-century writer seeped into our culture " +"that we often don't even recognize their source. I once overheard someone " +"commenting on Kenneth Branagh's adaptation of Henry V: <quote>I liked it, " +"but Shakespeare is so full of clichÃ©s.</quote>" +msgstr "" +"<emphasis role='strong'>William Shakespeare</emphasis> skrev " +"<citetitle>Romeo og Julie</citetitle> i 1595. Skuespillet ble fÃ¸rst utgitt i " +"1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han " +"fortsatte Ã¥ skrive skuespill helt til 1613, og stykkene han skrev har " +"fortsatt Ã¥ definere angloamerikansk kultur siden. SÃ¥ dypt har verkene av en " +"1500-talls forfatter sunket inn i vÃ¥r kultur at vi ofte ikke engang kjenner " +"kilden. Jeg overhÃ¸rte en gang noen som kommentere Kenneth Branaghs utgave av " +"Henry V: <quote>Jeg likte det, men Shakespeare er sÃ¥ full av klisjeer.</" +"quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Conger" +msgstr "Conger" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Tonson, Jacob" +msgstr "Tonson, Jacob" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Jonson, Ben" +msgstr "Jonson, Ben" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Dryden, John" +msgstr "Dryden, John" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Jacob Tonson is typically remembered for his associations with " +"prominent eighteenth-century literary figures, especially John Dryden, and " +"for his handsome <quote>definitive editions</quote> of classic works. In " +"addition to <citetitle>Romeo and Juliet</citetitle>, he published an " +"astonishing array of works that still remain at the heart of the English " +"canon, including collected works of Shakespeare, Ben Jonson, John Milton, " +"and John Dryden. See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> " +"<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets " +"litterÃ¦re storheter, spesielt John Dryden, og for hans kjekke<quote>ferdige " +"versjoner</quote> av klassiske verk. I tillegg til <citetitle>Romeo og " +"Julie</citetitle>, utga han en utrolig rekke liste av verk som ennÃ¥ er " +"hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben " +"Jonson, John Milton, og John Dryden. Se Keith Walker: <quote>Jacob Tonson, " +"Bookseller</quote>, <citetitle>American Scholar</citetitle> 61:3 (1992): 424-Â" +"31." + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." +msgstr "" +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." + +#. PAGE BREAK 97 +#. type: Content of: <book><part><chapter><para> +msgid "" +"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " +"written, the <quote>copy-right</quote> for the work was still thought by " +"many to be the exclusive right of a single London publisher, Jacob Tonson." +"<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a " +"small group of publishers called the Conger<placeholder type=\"footnote\" id=" +"\"1\"/> who controlled bookselling in England during the eighteenth century. " +"The Conger claimed a perpetual right to control the <quote>copy</quote> of " +"books that they had acquired from authors. That perpetual right meant that " +"no one else could publish copies of a book to which they held the " +"copyright. Prices of the classics were thus kept high; competition to " +"produce better or cheaper editions was eliminated." +msgstr "" +"I 1774, nesten 180 Ã¥r etter at <citetitle>Romeo og Julie</citetitle> ble " +"skrevet, mente mange at <quote>opphavsretten</quote> kun tilhÃ¸rte Ã©n eneste " +"utgiver i London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> " +"Tonson var den mest fremstÃ¥ende av en liten gruppe utgivere kalt <quote>the " +"Conger</quote><placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte " +"boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde " +"en evigvarende rett over <quote>kopier</quote> av bÃ¸ker de hadde fÃ¥tt av " +"forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere " +"kopier av disse bÃ¸kene. Slik ble prisen pÃ¥ klassiske bÃ¸ker holdt oppe; alle " +"konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "British Parliament" +msgstr "Britiske parlamentet, det" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "renewability of" - msgstr "fornyelsesevne av" ++msgstr "fornyelsesevnen til" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> - #, mtrans, fuzzy +msgid "Statute of Anne (1710)" - msgstr "Vedtektene for anne (1710)" ++msgstr "Statute of Anne (1710)" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> As Siva Vaidhyanathan nicely " +"argues, it is erroneous to call this a <quote>copyright law.</quote> See " +"Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Som Siva Vaidhyanathan sÃ¥ pent " +"argumenterer, er det feilaktige Ã¥ kalle dette en <quote>Ã¥ndsverkslov</" +"quote>. Se Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " +"40." + +#. type: Content of: <book><part><chapter><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 " +"<quote>copyright</quote> act. Known as the Statute of Anne, the act stated " +"that all published works would get a copyright term of fourteen years, " +"renewable once if the author was alive, and that all works already published " +"by 1710 would get a single term of twenty-one additional years.<placeholder " +"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</" +"citetitle> should have been free in 1731. So why was there any issue about " +"it still being under Tonson's control in 1774?" +msgstr "" +"Men altsÃ¥, det er noe spennende med Ã¥ret 1774 for alle som vet litt om " +"opphavsretts-lovgivning. Det mest kjente Ã¥ret for opphavsrett er 1710, da " +"det britiske parlamentet vedtok den fÃ¸rste loven. Denne loven er kjent som " +"<quote>Statute of Anne</quote> og sa at alle publiserte verk skulle vÃ¦re " +"beskyttet i fjorten Ã¥r, en periode som kunne fornyes Ã©n gang dersom " +"forfatteren ennÃ¥ levde, og at alle verk publisert i eller fÃ¸r 1710 skulle ha " +"en ekstraperiode pÃ¥ 22 tilleggsÃ¥r.<placeholder type=\"footnote\" id=\"0\"/> " +"PÃ¥ grunn av denne loven, sÃ¥ skulle <citetitle>Romeo og Julie</citetitle> ha " +"falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over " +"verket i 1774?" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "common vs. positive" +msgstr "felles vs. positive" + +#. type: Content of: <book><part><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "positive law" - msgstr "positiv lov" ++msgstr "positiv rett" + +#. type: Content of: <book><part><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "Licensing Act (1662)" - msgstr "lisensiering act (1662)" ++msgstr "Licensing Act (1662)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The reason is that the English hadn't yet agreed on what a <quote>copyright</" +"quote> was—indeed, no one had. At the time the English passed the " +"Statute of Anne, there was no other legislation governing copyrights. The " +"last law regulating publishers, the Licensing Act of 1662, had expired in " +"1695. That law gave publishers a monopoly over publishing, as a way to make " +"it easier for the Crown to control what was published. But after it " +"expired, there was no positive law that said that the publishers, or " +"<quote>Stationers,</quote> had an exclusive right to print books." +msgstr "" +"Ãrsaken var ganske enkelt at engelskmennene ennÃ¥ ikke hadde bestemt hva " +"opphavsrett innebar -- faktisk hadde ingen i verden det. PÃ¥ den tiden da " +"engelskmennene vedtok <quote>Statute of Anne</quote>, var det ingen annen " +"lovgivning om opphavsrett. Den siste loven som regulerte utgivere var " +"lisensieringsloven av 1662, utlÃ¸pt i 1695. At loven ga utgiverne monopol " +"over publiseringen, noe som gjorde det enklere for kronen Ã¥ kontrollere hva " +"ble publisert. Men etter at det har utlÃ¸pt, var det ingen positiv lov som sa " +"at utgiverne hadde en eksklusiv rett til Ã¥ trykke bÃ¸ker." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "common law" +msgstr "sedvanerett" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"There was no <emphasis>positive</emphasis> law, but that didn't mean that " +"there was no law. The Anglo-American legal tradition looks to both the words " +"of legislatures and the words of judges to know the rules that are to govern " +"how people are to behave. We call the words from legislatures " +"<quote>positive law.</quote> We call the words from judges <quote>common law." +"</quote> The common law sets the background against which legislatures " +"legislate; the legislature, ordinarily, can trump that background only if it " +"passes a law to displace it. And so the real question after the licensing " +"statutes had expired was whether the common law protected a copyright, " +"independent of any positive law." +msgstr "" +"At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " +"det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de " +"til lover skapt av politikere (det lovgivende statsorgen)og til lover " +"(prejudikater) skapt av domstolene for Ã¥ bestemme hvordan folket skal leve. " +"Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " +"dommerne sedvanerett.<quote>Common law</quote> angir bakgrunnen for de " +"lovgivendes lovgivning; retten til lovgiving, vanligvis kan trumfe at " +"bakgrunnen bare hvis det gÃ¥r gjennom en lov til Ã¥ forskyve den. Og sÃ¥ var " +"det virkelige spÃ¸rsmÃ¥let etter lisensiering lover hadde utlÃ¸pt om felles lov " +"beskyttet opphavsretten, uavhengig av lovverket positiv." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Scottish publishers" +msgstr "Skotske utgivere" + +#. PAGE BREAK 98 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This question was important to the publishers, or <quote>booksellers,</" +"quote> as they were called, because there was growing competition from " +"foreign publishers. The Scottish, in particular, were increasingly " +"publishing and exporting books to England. That competition reduced the " +"profits of the Conger, which reacted by demanding that Parliament pass a law " +"to again give them exclusive control over publishing. That demand ultimately " +"resulted in the Statute of Anne." +msgstr "" +"Dette spÃ¸rsmÃ¥let var viktig for utgiverne eller <quote>bokselgere</quote>, " +"som de ble kalt, fordi det var Ã¸kende konkurranse fra utenlandske utgivere, " +"SÃ¦rlig fra Skottland hvor publiseringen og eksporten av bÃ¸ker til England " +"hadde Ã¸kt veldig. Denne konkurransen reduserte fortjenesten til <quote>The " +"Conger</quote>, som derfor krevde at parlamentet igjen skulle vedta en lov " +"for Ã¥ gi dem eksklusiv kontroll over publisering. Dette kravet resulterte i " +"<quote>Statute of Anne</quote>." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "as narrow monopoly right" +msgstr "som smal monopolrett" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Statute of Anne granted the author or <quote>proprietor</quote> of a " +"book an exclusive right to print that book. In an important limitation, " +"however, and to the horror of the booksellers, the law gave the bookseller " +"that right for a limited term. At the end of that term, the copyright " +"<quote>expired,</quote> and the work would then be free and could be " +"published by anyone. Or so the legislature is thought to have believed." +msgstr "" +"<quote>Statute of Anne</quote> ga forfatteren eller <quote>eieren</quote> av " +"en bok en eksklusiv rett til Ã¥ publisere denne boken. Men det var, til " +"bokhandlernes forferdelse en viktig begrensning, nemlig hvor lenge denne " +"retten skulle vare. Etter dette gikk trykkeretten bort og verket falt i det " +"fri og kunne trykkes av hvem som helst. Det var ihvertfall det lovgiverne " +"hadde tenkt." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Now, the thing to puzzle about for a moment is this: Why would Parliament " +"limit the exclusive right? Not why would they limit it to the particular " +"limit they set, but why would they limit the right <emphasis>at all?</" +"emphasis>" +msgstr "" +"Men nÃ¥ det mest interessante med dette: Hvorfor ville parlamentet begrense " +"trykkeretten? SpÃ¸rsmÃ¥let er ikke hvorfor de bestemte seg for denne perioden, " +"men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For the booksellers, and the authors whom they represented, had a very " +"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " +"That play was written by Shakespeare. It was his genius that brought it into " +"the world. He didn't take anybody's property when he created this play " +"(that's a controversial claim, but never mind), and by his creating this " +"play, he didn't make it any harder for others to craft a play. So why is it " +"that the law would ever allow someone else to come along and take " +"Shakespeare's play without his, or his estate's, permission? What reason is " +"there to allow someone else to <quote>steal</quote> Shakespeare's work?" +msgstr "" +"Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " +"krav. Ta <citetitle>Romeo og Julie</citetitle> som et eksempel: Skuespillet " +"ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " +"verden. Han krenket ikke noens rett da han skrev dette verket (det er en " +"kontroversiell pÃ¥standen, men det er ikke relevant), og med sin egen rett " +"skapte han verket, han gjorde det ikke noe vanskeligere for andre til Ã¥ lage " +"skuespill. SÃ¥ hvorfor skulle loven tillate at noen annen kunne komme og ta " +"Shakespeares verk uten hans, eller hans arvingers, tillatelse? Hvilke " +"grunner finnes for Ã¥ tillate at noen <quote>stjeler</quote> Shakespeares " +"verk?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The answer comes in two parts. We first need to see something special about " +"the notion of <quote>copyright</quote> that existed at the time of the " +"Statute of Anne. Second, we have to see something important about " +"<quote>booksellers.</quote>" +msgstr "" +"Svaret er todel. FÃ¸rst mÃ¥ vi se pÃ¥ noe spesielt med oppfatningen av " +"opphavsrett som fantes pÃ¥ tidspunktet da <quote>Statute of Anne</quote> ble " +"vedtatt. Deretter mÃ¥ vi se pÃ¥ noe spesielt med bokhandlerne." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "usage restrictions attached to" +msgstr "bruksbegrensninger knyttet til" + +#. PAGE BREAK 99 +#. type: Content of: <book><part><chapter><para> +msgid "" +"First, about copyright. In the last three hundred years, we have come to " +"apply the concept of <quote>copyright</quote> ever more broadly. But in " +"1710, it wasn't so much a concept as it was a very particular right. The " +"copyright was born as a very specific set of restrictions: It forbade others " +"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right " +"to use a particular machine to replicate a particular work. It did not go " +"beyond that very narrow right. It did not control any more generally how a " +"work could be <emphasis>used</emphasis>. Today the right includes a large " +"collection of restrictions on the freedom of others: It grants the author " +"the exclusive right to copy, the exclusive right to distribute, the " +"exclusive right to perform, and so on." +msgstr "" +"FÃ¸rst om opphavsretten. I de siste tre hundre Ã¥r har vi kommet til Ã¥ bruke " +"begrepet <quote>copyright</quote> i stadig videre forstand. Men i 1710 var " +"det ikke sÃ¥ mye et konsept som det var en bestemt rett. Opphavsretten ble " +"fÃ¸dt som et svÃ¦rt spesifikt sett med begrensninger: den forbÃ¸d andre Ã¥ " +"reprodusere en bok. I 1710 var <quote>kopi-rett</quote> en rett til Ã¥ bruke " +"en bestemt maskin til Ã¥ replikere en bestemt arbeid. Den gikk ikke utover " +"dette svÃ¦rt smale formÃ¥let. Den kontrollerte ikke mer generelt hvordan et " +"verk kunne <emphasis>brukes</emphasis>. Idag inkluderer retten en stor " +"samling av restriksjoner pÃ¥ andres frihet: den gir forfatteren eksklusiv " +"rett til Ã¥ kopiere, eksklusiv rett til Ã¥ distribuere, eksklusiv rett til Ã¥ " +"fremfÃ¸re, og sÃ¥ videre." + +#. type: Content of: <book><part><chapter><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 " +"<quote>copy-right</quote> was only an exclusive right to print—no " +"less, of course, but also no more." +msgstr "" +"SÃ¥ selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, " +"betydde det under den opprinnelige betydningen av begrepet at ingen kunne " +"trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den " +"ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne " +"fremfÃ¸res, om verket kunne oversettes eller om Kenneth Branagh ville hatt " +"lov til Ã¥ lage filmer. <quote>Kopi-retten</quote> var bare en eksklusiv rett " +"til Ã¥ trykke--ikke noe mindre, selvfÃ¸lgelig, men heller ikke mer." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Henry VIII, King of England" +msgstr "Henry VIII, Konge av England" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "monopoly, copyright as" +msgstr "monopol, opphavsrett som" + +#. type: Content of: <book><part><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "Statute of Monopolies (1656)" - msgstr "Rhuddlan monopoler (1656)" ++msgstr "Statute of Monopolis (1656)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Even that limited right was viewed with skepticism by the British. They had " +"had a long and ugly experience with <quote>exclusive rights,</quote> " +"especially <quote>exclusive rights</quote> granted by the Crown. The English " +"had fought a civil war in part about the Crown's practice of handing out " +"monopolies—especially monopolies for works that already existed. King " +"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to " +"print playing cards. The English Parliament began to fight back against this " +"power of the Crown. In 1656, it passed the Statute of Monopolies, limiting " +"monopolies to patents for new inventions. And by 1710, Parliament was eager " +"to deal with the growing monopoly in publishing." +msgstr "" +"Selv denne begrensede retten ble mÃ¸tt med skepsis av britene. De hadde hatt " +"en lang og stygg erfaring med <quote>eksklusive rettigheter</quote>, " +"spesielt <quote>enerett</quote> gitt av kronen. Engelskmennene hadde " +"utkjempet en borgerkrig delvis mot kronens praksis med Ã¥ dele ut monopoler--" +"spesielt monopoler for verk som allerede eksisterte. Kong Henrik VIII hadde " +"gitt patent til Ã¥ trykke Bibelen og monopol til Darcy for Ã¥ lage spillkort. " +"Det engelske parlamentet begynte Ã¥ kjempe tilbake mot denne makten hos " +"kronen. I 1656 ble <quote>Statute of Monopolis</quote> vedtatt for Ã¥ " +"begrense monopolene pÃ¥ patenter for nye oppfinnelser. Og i 1710 var " +"parlamentet ivrig etter Ã¥ hÃ¥ndtere det voksende monopolet pÃ¥ publisering." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was " +"naturally viewed as a right that should be limited. (However convincing the " +"claim that <quote>it's my property, and I should have it forever,</quote> " +"try sounding convincing when uttering, <quote>It's my monopoly, and I should " +"have it forever.</quote>) The state would protect the exclusive right, but " +"only so long as it benefited society. The British saw the harms from " +"specialinterest favors; they passed a law to stop them." +msgstr "" +"Dermed ble <quote>kopi-retten</quote>, nÃ¥r den sees pÃ¥ som en monopolrett, " +"en rettighet som bÃ¸r vÃ¦re begrenset. (Uansett hvor overbevisende pÃ¥standen " +"om at <quote>det er min eiendom, og jeg skal ha for alltid,</quote> prÃ¸v " +"hvor overbevisende det er nÃ¥r men sier <quote>det er mitt monopol, og jeg " +"skal ha det for alltid.</quote>) Staten ville beskytte eneretten, men bare " +"sÃ¥ lenge det gavnet samfunnet. Britene sÃ¥ skadene sÃ¦rinteressene kunne " +"skape; de vedtok en lov for Ã¥ stoppe dem." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Milton, John" +msgstr "Milton, John" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "booksellers, English" +msgstr "bokselgere, Engelske" + +#. f4 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." +msgstr "" +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Second, about booksellers. It wasn't just that the copyright was a monopoly. " +"It was also that it was a monopoly held by the booksellers. Booksellers " +"sound quaint and harmless to us. They were not viewed as harmless in " +"seventeenth-century England. Members of the Conger were increasingly seen as " +"monopolists of the worst kind—tools of the Crown's repression, selling " +"the liberty of England to guarantee themselves a monopoly profit. The " +"attacks against these monopolists were harsh: Milton described them as " +"<quote>old patentees and monopolizers in the trade of book-selling</quote>; " +"they were <quote>men who do not therefore labour in an honest profession to " +"which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. " +"Det var ogsÃ¥ et monopol holdt av bokhandlerne. En bokhandler hÃ¸res greie og " +"ufarlige ut for oss, men slik var det ikke i syttenhundretallets England. " +"Medlemmene i <quote>the Conger</quote> ble av en voksende mengde sett pÃ¥ som " +"monopolister av verste sort - et verktÃ¸y for kronens undertrykkelse, de " +"solgte Englands frihet mot Ã¥ vÃ¦re garantert en monopolskinntekt. Men " +"monopolistene ble kvast kritisert: Milton beskrev dem som <quote>gamle " +"patentholdere og monopolister i bokhandlerkunsten</quote>; de var " +"<quote>menn som derfor ikke hadde et Ã¦rlig arbeide hvor utdanning er " +"nÃ¸dvendig.</quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Enlightenment" +msgstr "opplysningstiden" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "knowledge, freedom of" +msgstr "kunnskap, frihet for" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Many believed the power the booksellers exercised over the spread of " +"knowledge was harming that spread, just at the time the Enlightenment was " +"teaching the importance of education and knowledge spread generally. The " +"idea that knowledge should be free was a hallmark of the time, and these " +"powerful commercial interests were interfering with that idea." +msgstr "" +"Mange trodde at den makten bokhandlerne utÃ¸vde over spredning av kunnskap, " +"var til skade for selve spredningen, men pÃ¥ dette tidspunktet viste " +"Opplysningen viktigheten av utdannelse og kunnskap for alle. idÃ©en om at " +"kunnskap burde vÃ¦re gratis er et kjennetegn for tiden, og disse kraftige " +"kommersielle interesser forstyrret denne idÃ©en." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"To balance this power, Parliament decided to increase competition among " +"booksellers, and the simplest way to do that was to spread the wealth of " +"valuable books. Parliament therefore limited the term of copyrights, and " +"thereby guaranteed that valuable books would become open to any publisher to " +"publish after a limited time. Thus the setting of the term for existing " +"works to just twenty-one years was a compromise to fight the power of the " +"booksellers. The limitation on terms was an indirect way to assure " +"competition among publishers, and thus the construction and spread of " +"culture." +msgstr "" +"For Ã¥ balansere denne makten, besluttet Parlamentet Ã¥ Ã¸ke konkurransen blant " +"bokhandlerne, og den enkleste mÃ¥ten Ã¥ gjÃ¸re det pÃ¥, var Ã¥ spre mengden av " +"verdifulle bÃ¸ker. Parlamentet begrenset derfor begrepet om opphavsrett, og " +"garantert slik at verdifulle bÃ¸ker ville bli frie for alle utgiver Ã¥ " +"publisere etter en begrenset periode. Slik ble det Ã¥ gi eksisterende verk en " +"periode pÃ¥ tjueen Ã¥r et kompromiss for Ã¥ bekjempe bokhandlernes makt. " +"Begrensninger med dato var en indirekte mÃ¥te Ã¥ skape konkurranse mellom " +"utgivere, og slik en skapelse og spredning av kultur." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in perpetuity" +msgstr "for evig" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"When 1731 (1710 + 21) came along, however, the booksellers were getting " +"anxious. They saw the consequences of more competition, and like every " +"competitor, they didn't like them. At first booksellers simply ignored the " +"Statute of Anne, continuing to insist on the perpetual right to control " +"publication. But in 1735 and 1737, they tried to persuade Parliament to " +"extend their terms. Twenty-one years was not enough, they said; they needed " +"more time." +msgstr "" +"NÃ¥r 1731 (1710+21) kom, ble bokhandlerne engstelige. De sÃ¥ konsekvensene av " +"mer konkurranse, og som alle konkurrenter, likte de det ikke. FÃ¸rst " +"ignorerte bokhandlere ganske enkelt <quote>Statute of Anne</quote>, og " +"fortsatte Ã¥ kreve en evigvarende rett til Ã¥ kontrollere publiseringen. Men i " +"1735 og 1737 de prÃ¸vde Ã¥ tvinge Parlamentet til Ã¥ utvide periodene. Tjueen " +"Ã¥r var ikke nok, sa de; de trengte mer tid." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Parliament rejected their requests. As one pamphleteer put it, in words that " +"echo today," +msgstr "" +"Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennÃ¥ " +"idag," + +#. f5 +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +msgid "" +"A Letter to a Member of Parliament concerning the Bill now depending in the " +"House of Commons, for making more effectual an Act in the Eighth Year of the " +"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " +"Vesting the Copies of Printed Books in the Authors or Purchasers of such " +"Copies, during the Times therein mentioned (London, 1735), in Brief Amici " +"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." +msgstr "" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"I see no Reason for granting a further Term now, which will not hold as well " +"for granting it again and again, as often as the Old ones Expire; so that " +"should this Bill pass, it will in Effect be establishing a perpetual " +"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " +"great Cramp to Trade, a Discouragement to Learning, no Benefit to the " +"Authors, but a general Tax on the Publick; and all this only to increase the " +"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Jeg ser ingen grunn til Ã¥ gi en utvidet perioden nÃ¥ som ikke ville kunne gi " +"utvidelser om igjen og om igjen, sÃ¥ fort de gamle utgÃ¥r; sÃ¥ dersom dette " +"lovforslaget blir vedtatt, vil effekten vÃ¦re: at et evig monopol blir skapt, " +"et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for " +"forfatterne, men en stor avgift for folket; og alt dette kun for Ã¥ Ã¸ke " +"bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>property</quote> and " +"use it without his permission. The Statute of Anne, the booksellers argued, " +"didn't change that. Therefore, just because the protections of the Statute " +"of Anne expired, that didn't mean the protections of the common law expired: " +"Under the common law they had the right to ban the publication of a book, " +"even if its Statute of Anne copyright had expired. This, they argued, was " +"the only way to protect authors." +msgstr "" +"Etter Ã¥ ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke " +"saker. Deres argument var enkelt og direkte: <quote>Statute of Anne</quote> " +"ga forfatterne en viss beskyttelse gjennom positiv loven, men denne " +"beskyttelsen var ikke ment som en erstatning for felles lov. Istedet var de " +"ment Ã¥ supplere felles lov. IfÃ¸lge sedvanerett var det galt Ã¥ ta en annen " +"persons kreative eiendom og bruke den uten hans tillatelse. <quote>Statute " +"of Anne</quote>, hevdet bokhandlere, endret ikke dette faktum. Derfor " +"betydde ikke det at beskyttelsen gitt av <quote>Statute of Anne</quote> " +"utlÃ¸p, at beskyttelsen fra sedvaneretten utlÃ¸p: IfÃ¸lge sedvaneretten hadde " +"de rett til Ã¥ fordÃ¸mme publiseringen av en bok, selv fÃ¸lgelig om " +"<quote>Statute of Anne</quote> sa at de var falt i det fri. Dette, mente de, " +"var den eneste mÃ¥ten Ã¥ beskytte forfatterne." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Patterson, Raymond" +msgstr "Patterson, Raymond" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use," +"</quote> <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " +"wonderfully compelling account, see Vaidhyanathan, 37–48." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use</" +"quote>, <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " +"fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48." + +#. type: Content of: <book><part><chapter><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, <quote>The publishers " +"… had as much concern for authors as a cattle rancher has for cattle." +"</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care " +"squat for the rights of the author. His concern was the monopoly profit " +"that the author's work gave." +msgstr "" +"Dette var et godt argument, og hadde stÃ¸tte fra flere av den tidens ledende " +"jurister. Det viste ogsÃ¥ en ekstraordinÃ¦r chutzpah. Inntil da, som " +"jusprofessor Raymond Pattetson har sagt, <quote>var utgiverne … like " +"bekymret for forfatterne som en gjeter for sine lam.</quote><placeholder " +"type=\"footnote\" id=\"0\"/> Bokselgerne brydde seg ikke det spor om " +"forfatternes rettigheter. Deres bekymring var den monopolprofitten " +"forfatterens verk ga." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Donaldson, Alexander" +msgstr "Donaldson, Alexander" + +#. f7 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For a compelling account, see David Saunders, <citetitle>Authorship and " +"Copyright</citetitle> (London: Routledge, 1992), 62–69." +msgstr "" +"For en fascinerende fremstilling, se David Saunders, <citetitle>Authorship " +"and Copyright</citetitle> (London: Routledge, 1992), 62–69." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The booksellers' argument was not accepted without a fight. The hero of " +"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" +"Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne " +"kampen var den skotske bokselgeren Alexander Donaldson.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Boswell, James" +msgstr "Boswell, James" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Erskine, Andrew" +msgstr "Erskine, Andrew" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Rose, Mark" +msgstr "Rose, Mark" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. f9 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Ibid., 93." +msgstr "Ibid., 93." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Donaldson was an outsider to the London Conger. He began his career in " +"Edinburgh in 1750. The focus of his business was inexpensive reprints " +"<quote>of standard works whose copyright term had expired,</quote> at least " +"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> " +"Donaldson's publishing house prospered and became <quote>something of a " +"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor " +"Mark Rose writes, was <quote>the young James Boswell who, together with his " +"friend Andrew Erskine, published an anthology of contemporary Scottish poems " +"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Donaldson var en fremmed for Londons <quote>the Conger</quote>. Han startet " +"in karriere i Edinburgh i 1750. Hans forretningsidÃ© var billige kopier av " +"standardverk falt i det fri, ihvertfall fri ifÃ¸lge <quote>Statute of Anne</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/> Donaldsons forlag vokste og " +"ble <quote>et sentrum for litterÃ¦re skotter.</quote> <quote>Blant dem,</" +"quote> skriver professor Mark Rose, var <quote>den unge James Boswell som, " +"sammen med sin venn Andrew Erskine, publiserte en hel antologi av skotsk " +"samtidspoesi sammen med Donaldson.</quote><placeholder type=\"footnote\" id=" +"\"1\"/>" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " +"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting " +"Borwell)." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " +"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (der Borwell " +"blir sitert)." + +#. type: Content of: <book><part><chapter><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 <quote>of the most popular English books, in defiance of the " +"supposed common law right of Literary Property.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to 50 " +"percent, and he rested his right to compete upon the ground that, under the " +"Statute of Anne, the works he was selling had passed out of protection." +msgstr "" +"Da Londons bokselgere prÃ¸vde Ã¥ fÃ¥ stengt Donaldsons butikk i Skottland, sÃ¥ " +"flyttet han butikken til London. Her solgte han billige utgaver av <quote>de " +"mest populÃ¦re, engelske bÃ¸ker, i kamp mot sedvanerettens rett til litterÃ¦r " +"eiendom.</quote> <placeholder type=\"footnote\" id=\"0\"/> BÃ¸kene hans var " +"mellom 30% og 50% billigere enn <quote>the Conger</quote>s, og han baserte " +"sin rett til denne konkurransen pÃ¥ at bÃ¸kene, takket vÃ¦re <quote>Statute of " +"Anne</quote>, var falt i det fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Millar v. Taylor" +msgstr "Millar mot taylor" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The London booksellers quickly brought suit to block <quote>piracy</quote> " +"like Donaldson's. A number of actions were successful against the " +"<quote>pirates,</quote> the most important early victory being " +"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>." +msgstr "" +"Londons bokselgere begynte straks Ã¥ slÃ¥ ned mot <quote>pirater</quote> som " +"Donaldson. Flere tiltak var vellykkede, den viktigste var den tidlig seieren " +"i kampen mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</" +"citetitle>." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Thomson, James" +msgstr "Thomson, James" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Seasons, The (Thomson)" +msgstr "Seasons, The (Thomson)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Taylor, Robert" +msgstr "Taylor, Robert" + +#. f11 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " +"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law " +"Review</citetitle> 29 (1983): 1152." +msgstr "" +"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " +"Exploding the Myth of Common Law Copyright</quote>, <citetitle>Wayne Law " +"Review</citetitle> 29 (1983): 1152." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Millar was a bookseller who in 1729 had purchased the rights to James " +"Thomson's poem <quote>The Seasons.</quote> Millar complied with the " +"requirements of the Statute of Anne, and therefore received the full " +"protection of the statute. After the term of copyright ended, Robert Taylor " +"began printing a competing volume. Millar sued, claiming a perpetual common " +"law right, the Statute of Anne notwithstanding.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"Millar var en bokhandler som i 1729 hadde kjÃ¸pt opp rettighetene til James " +"Thomsons dikt <quote>The Seasons</quote>. Millar hadde da full beskyttelse " +"gjennom <quote>Statute of Anne</quote>, men etter at denne beskyttelsen var " +"utlÃ¸pt, begynte Robert Taylor Ã¥ trykke et konkurrerende bind. Millar gikk " +"til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva " +"<quote>Statute of Anne</quote> sa.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>pirates.</quote> Mansfield's answer was " +"yes: The common law would bar Taylor from reprinting Thomson's poem without " +"Millar's permission. That common law rule thus effectively gave the " +"booksellers a perpetual right to control the publication of any book " +"assigned to them." +msgstr "" +"Til moderne juristers forblÃ¸ffelse, var en av, ikke bare datidens, men en av " +"de stÃ¸rste dommere i engelsk historie, Lord Mansfield, enig med " +"bokhandlerne. Uansett hvilken beskyttelse <quote>Statute of Anne</quote> gav " +"bokhandlerne, sÃ¥ sa han at den ikke fortrengte noe fra sedvaneretten. " +"SpÃ¸rsmÃ¥let var hvorvidt sedvaneretten beskyttet forfatterne mot " +"<quote>pirater</quote>. Mansfield svar var ja: Sedvaneretten nektet Taylor Ã¥ " +"reprodusere Thomsons dikt uten Millars tillatelse. Slik gav sedvaneretten " +"bokselgerne en evig publiseringsrett til bÃ¸ker solgt til dem." + +#. PAGE BREAK 103 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Considered as a matter of abstract justice—reasoning as if justice " +"were just a matter of logical deduction from first principles—" +"Mansfield's conclusion might make some sense. But what it ignored was the " +"larger issue that Parliament had struggled with in 1710: How best to limit " +"the monopoly power of publishers? Parliament's strategy was to offer a term " +"for existing works that was long enough to buy peace in 1710, but short " +"enough to assure that culture would pass into competition within a " +"reasonable period of time. Within twenty-one years, Parliament believed, " +"Britain would mature from the controlled culture that the Crown coveted to " +"the free culture that we inherited." +msgstr "" +"Ser man pÃ¥ det som et spÃ¸rsmÃ¥l innen abstrakt jus - dersom man resonnere som " +"om rettferdighet bare var logisk deduksjon fra de fÃ¸rste bud - kunne " +"Mansfields konklusjon gitt mening. Men den oversÃ¥ det Parlamentet hadde " +"kjempet for i 1710: Hvordan man pÃ¥ best mulig vis kunne innskrenke " +"utgivernes monopolmakt. Parlamentets strategi hadde vÃ¦rt Ã¥ kjÃ¸pe fred " +"gjennom Ã¥ tilby en beskyttelsesperiode ogsÃ¥ for eksisterende verk, men " +"perioden mÃ¥tte vÃ¦re sÃ¥ kort at kulturen ble utsatt for konkurranse innen " +"rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under " +"kronen, inn i en fri og Ã¥pen kultur." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The fight to defend the limits of the Statute of Anne was not to end there, " +"however, and it is here that Donaldson enters the mix." +msgstr "" +"Kampen for Ã¥ forsvare <quote>Statute of Anne</quote>s begrensninger sluttet " +"uansett ikke der, for nÃ¥ kommer Donaldson." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Beckett, Thomas" +msgstr "Beckett, Thomas" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "House of Lords" +msgstr "Overhuset, det britiske" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "House of Lords vs." +msgstr "Overhuset, det britiske mot" + +#. f12 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Ibid., 1156." +msgstr "Ibid., 1156." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Millar died soon after his victory, so his case was not appealed. His estate " +"sold Thomson's poems to a syndicate of printers that included Thomas Beckett." +"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " +"unauthorized edition of Thomson's works. Beckett, on the strength of the " +"decision in <citetitle>Millar</citetitle>, got an injunction against " +"Donaldson. Donaldson appealed the case to the House of Lords, which " +"functioned much like our own Supreme Court. In February of 1774, that body " +"had the chance to interpret the meaning of Parliament's limits from sixty " +"years before." +msgstr "" +"Millar dÃ¸de kort tid etter sin seier. Boet hans solgte rettighetene over " +"Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." +"<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " +"utgave av Thomsons verk. Etter avgjÃ¸relsen i <citetitle>Millar</citetitle>-" +"saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " +"Overhuset, som da fungerte som en slags hÃ¸yesterett. I februar 1774 hadde " +"dette organet muligheten til Ã¥ tolke Parlamentets mening med utlÃ¸psdatoen " +"fra seksti Ã¥r fÃ¸r." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Donaldson v. Beckett" +msgstr "Donaldson mot beckett" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " +"<citetitle>Beckett</citetitle> drew an enormous amount of attention " +"throughout Britain. Donaldson's lawyers argued that whatever rights may have " +"existed under the common law, the Statute of Anne terminated those rights. " +"After passage of the Statute of Anne, the only legal protection for an " +"exclusive right to control publication came from that statute. Thus, they " +"argued, after the term specified in the Statute of Anne expired, works that " +"had been protected by the statute were no longer protected." +msgstr "" +"Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" +"citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " +"advokater mente at selv om det fÃ¸r fantes en del rettigheter i " +"sedvaneretten, sÃ¥ var disse fortrengt av <quote>Statute of Anne</quote>. " +"Etter at <quote>Statute of Anne</quote> var blitt vedtatt, skulle den eneste " +"lovlige beskyttelse for trykkerett kom derfra. Og derfor, mente de, i trÃ¥d " +"med vilkÃ¥rene i <quote>Statute of Anne</quote>, falle i det fri sÃ¥ fort " +"beskyttelsesperioden var over." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The House of Lords was an odd institution. Legal questions were presented to " +"the House and voted upon first by the <quote>law lords,</quote> members of " +"special legal distinction who functioned much like the Justices in our " +"Supreme Court. Then, after the law lords voted, the House of Lords generally " +"voted." +msgstr "" +"Overhuset var en merkelig institusjon. Juridiske spÃ¸rsmÃ¥l ble presentert for " +"huset, og ble fÃ¸rst stemt over av <quote>juslorder</quote>, medlemmer av en " +"spesiell rettslig gruppe som fungerte nesten slik som justiariusene i vÃ¥r " +"HÃ¸yesterett. Deretter, etter at <quote>juslordene</quote> hadde stemt, " +"stemte resten av Overhuset." + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "English legal establishment of" - msgstr "engelsk juridisk etableringen av" ++msgstr "den engelske juridiske etableringen av" + +#. PAGE BREAK 104 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The reports about the law lords' votes are mixed. On some counts, it looks " +"as if perpetual copyright prevailed. But there is no ambiguity about how the " +"House of Lords voted as whole. By a two-to-one majority (22 to 11) they " +"voted to reject the idea of perpetual copyrights. Whatever one's " +"understanding of the common law, now a copyright was fixed for a limited " +"time, after which the work protected by copyright passed into the public " +"domain." +msgstr "" +"Rapportene om juslordene stemmer er uenige. PÃ¥ enkelte punkter ser det ut " +"som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om " +"hvordan resten av Overhuset stemte. Med en majoritet pÃ¥ to mot en (22 mot " +"11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man " +"hadde tolket sedvaneretten, var nÃ¥ kopiretten begrenset til en periode, og " +"etter denne ville verket falle i det fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Bacon, Francis" +msgstr "Bacon, Francis" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Bunyan, John" +msgstr "Bunyan, John" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Johnson, Samuel" +msgstr "Johnson, Samuel" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</" +"citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a " +"public domain in England. Before 1774, there was a strong argument that " +"common law copyrights were perpetual. After 1774, the public domain was " +"born. For the first time in Anglo-American history, the legal control over " +"creative works expired, and the greatest works in English history—" +"including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—" +"were free of legal restraint." +msgstr "" +"<quote>Ã falle i det fri</quote>. FÃ¸r rettssaken <citetitle>Donaldson</" +"citetitle> mot <citetitle>Beckett</citetitle> var det ingen klar oppfatning " +"om hva Ã¥ falle i det fri innebar. FÃ¸r 1774 var det jo en allmenn oppfatning " +"om at kopiretten var evigvarende. Men etter 1774 ble Public Domain fÃ¸dt. For " +"fÃ¸rste gang i angloamerikansk historie var den lovlige beskyttelsen av et " +"verk utgÃ¥tt, og de stÃ¸rste verk i engelsk historie - inkludert Shakespeare, " +"Bacon, Milton, Johnson og Bunyan - var frie." + +#. f13 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Rose, 97." +msgstr "Rose, 97." + +#. type: Content of: <book><part><chapter><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 <quote>pirate publishers</quote> did their work, people celebrated " +"the decision in the streets. As the <citetitle>Edinburgh Advertiser</" +"citetitle> reported, <quote>No private cause has so much engrossed the " +"attention of the public, and none has been tried before the House of Lords " +"in the decision of which so many individuals were interested.</quote> " +"<quote>Great rejoicing in Edinburgh upon victory over literary property: " +"bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Vi kan knapt forestille oss det, men denne avgjÃ¸relsen fra Overhuset fyrte " +"opp under en svÃ¦rt populÃ¦r og politisk reaksjon. I Skottland, hvor de fleste " +"piratutgiverne hadde holdt til, ble avgjÃ¸relsen feiret i gatene. Som " +"<citetitle>Edinburgh Advertiser</citetitle> skrev <quote>Ingen privatsak har " +"noen gang fÃ¥tt slik oppmerksomhet fra folket, og ingen sak som har blitt " +"prÃ¸vet i Overhuset har interessert sÃ¥ mange enkeltmennesker.</quote> " +"<quote>Stor glede i Edinburgh etter seieren over litterÃ¦r eiendom: bÃ¥l og " +"*illuminations*.</quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In London, however, at least among publishers, the reaction was equally " +"strong in the opposite direction. The <citetitle>Morning Chronicle</" +"citetitle> reported:" +msgstr "" +"I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " +"motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"By the above decision … near 200,000 pounds worth of what was " +"honestly purchased at public sale, and which was yesterday thought property " +"is now reduced to nothing. The Booksellers of London and Westminster, many " +"of whom sold estates and houses to purchase Copy-right, are in a manner " +"ruined, and those who after many years industry thought they had acquired a " +"competency to provide for their families now find themselves without a " +"shilling to devise to their successors.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Gjennom denne avgjÃ¸relsen … er verdier til nesten 200 000 pund, som " +"er blitt Ã¦rlig kjÃ¸pt gjennom allment salg, og som i gÃ¥r var eiendom, er nÃ¥ " +"redusert til ingenting. Bokselgerne i London og Westminster, mange av dem " +"har solgt hus og eiendom for Ã¥ kjÃ¸pe kopirettigheter, er med ett ruinerte, " +"og mange som gjennom mange Ã¥r har opparbeidet kompetanse for Ã¥ brÃ¸dfÃ¸ " +"familien, sitter nÃ¥ uten en shilling til sine.<placeholder type=\"footnote\" " +"id=\"0\"/>" + +#. PAGE BREAK 105 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Ruined</quote> is a bit of an exaggeration. But it is not an " +"exaggeration to say that the change was profound. The decision of the House " +"of Lords meant that the booksellers could no longer control how culture in " +"England would grow and develop. Culture in England was thereafter " +"<emphasis>free</emphasis>. Not in the sense that copyrights would not be " +"respected, for of course, for a limited time after a work was published, the " +"bookseller had an exclusive right to control the publication of that book. " +"And not in the sense that books could be stolen, for even after a copyright " +"expired, you still had to buy the book from someone. But <emphasis>free</" +"emphasis> in the sense that the culture and its growth would no longer be " +"controlled by a small group of publishers. As every free market does, this " +"free market of free culture would grow as the consumers and producers chose. " +"English culture would develop as the many English readers chose to let it " +"develop— chose in the books they bought and wrote; chose in the memes " +"they repeated and endorsed. Chose in a <emphasis>competitive context</" +"emphasis>, not a context in which the choices about what culture is " +"available to people and how they get access to it are made by the few " +"despite the wishes of the many." +msgstr "" +"<quote>Ruinert</quote> er en overdrivelse. Men det er ingen overdrivelse Ã¥ " +"si at endringen var stor. Vedtaket fra Overhuset betydde at bokhandlerne " +"ikke lenger kunnen kontrollere hvordan kulturen i England ville vokse og " +"utvikle seg. Kulturen i England var etter dette <emphasis>fri</emphasis>. " +"Ikke i den betydning at kopiretten ble ignorert, for utgiverne hadde i en " +"begrenset periode rett over trykkingen. Og heller ikke i den betydningen at " +"bÃ¸ker kunne stjeles, for selv etter at boken var falt i det fri, sÃ¥ mÃ¥tte " +"den kjÃ¸pes. Men <emphasis>fri</emphasis> i betydningen at kulturen og dens " +"vekst ikke lenger var kontrollert av en liten gruppe utgivere. Som alle frie " +"markeder, ville dette markedet vokse og utvikle seg etter tilbud og " +"etterspÃ¸rsel. Den engelske kulturen ble nÃ¥ formet slik flertallet Englands " +"lesere ville at det skulle formes - gjennom valget av hva de kjÃ¸pte og " +"skrev, gjennom valget av memer de gjentok og beundret. Valg i en " +"<emphasis>konkurrerende sammenheng</emphasis>, ikke der hvor valgene var om " +"hvilken kultur som skulle vÃ¦re tilgjengelig for folket og hvor deres tilgang " +"til den ble styrt av noen fÃ¥, pÃ¥ tros av flertallets Ã¸nsker." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"At least, this was the rule in a world where the Parliament is antimonopoly, " +"resistant to the protectionist pleas of publishers. In a world where the " +"Parliament is more pliant, free culture would be less protected." +msgstr "" +"Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " +"holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett Ã¥ " +"pÃ¥virke, vil den frie kultur vÃ¦re mindre beskyttet." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER SEVEN: Recorders" +msgstr "Kapittel sju: Innspillerne" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "fair use and" +msgstr "rimelig bruk og" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "documentary film" +msgstr "dokumentarfilm" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Else, Jon" +msgstr "Else, Jon" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "fair use" +msgstr "rimelig bruk" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in documentary film" +msgstr "i dokumentarfilm" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "fair use of copyrighted material in" +msgstr "rimelig bruk av opphavsrettsbeskyttet materiale i" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best known " +"for his documentaries and has been very successful in spreading his art. He " +"is also a teacher, and as a teacher myself, I envy the loyalty and " +"admiration that his students feel for him. (I met, by accident, two of his " +"students at a dinner party. He was their god.)" +msgstr "" +"<emphasis role='strong'>Jon Else</emphasis> er en filmskaper. Han er mest " +"kjent for sine dokumentarer og har pÃ¥ ypperlig vis klart Ã¥ spre sin kunst. " +"Han er ogsÃ¥ en lÃ¦rer, som meg selv, og jeg misunner den lojaliteten og " +"beundringen hans studenter har for ham. (Ved et uhell mÃ¸tte jeg to av hans " +"studenter i et middagsselskap og han var deres Gud.)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Else worked on a documentary that I was involved in. At a break, he told me " +"a story about the freedom to create with film in America today." +msgstr "" +"Else arbeidet med en dokumentarfilm hvor ogsÃ¥ jeg var involvert. I en pause " +"sÃ¥ fortalte han meg om hvordan det kunne vÃ¦re Ã¥ skape film i dagens Amerika." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Wagner, Richard" +msgstr "Wagner, Richard" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "San Francisco Opera" +msgstr "San Francisco Opera" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " +"focus was stagehands at the San Francisco Opera. Stagehands are a " +"particularly funny and colorful element of an opera. During a show, they " +"hang out below the stage in the grips' lounge and in the lighting loft. They " +"make a perfect contrast to the art on the stage." +msgstr "" +"I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var pÃ¥ " +"scenearbeidere pÃ¥ San Francisco Opera. Scenearbeiderne er spesielt morsomme " +"og fargerike innslag i en opera. I lÃ¸pet av forestillingen oppholder de seg " +"blant publikum og pÃ¥ lysloftet. De er en perfekt kontrast til kunsten pÃ¥ " +"scenen." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Simpsons, The" +msgstr "Simpsons, The" + +#. PAGE BREAK 107 +#. type: Content of: <book><part><chapter><para> +msgid "" +"During one of the performances, Else was shooting some stagehands playing " +"checkers. In one corner of the room was a television set. Playing on the " +"television set, while the stagehands played checkers and the opera company " +"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " +"this touch of cartoon helped capture the flavor of what was special about " +"the scene." +msgstr "" +"Under en forestilling, filmet Else noen scenearbeidere som spilte dam. I et " +"hjÃ¸rne av rommet stod det et fjernsynsapparat. PÃ¥ fjernsynet, mens " +"forestillingen pÃ¥gikk, mens scenearbeiderne spilte dam og operakompaniet " +"spilte Wagner, gikk <citetitle>The Simpsons</citetitle>. Slik Else sÃ¥ det, " +"sÃ¥ hjalp dette tegnefilm-innslaget med Ã¥ fange det spesielle med scenen." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "multiple copyrights associated with" +msgstr "flere opphavsrettigheter knyttet" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Years later, when he finally got funding to complete the film, Else " +"attempted to clear the rights for those few seconds of <citetitle>The " +"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " +"of course, to use copyrighted material you need the permission of the " +"copyright owner, unless <quote>fair use</quote> or some other privilege " +"applies." +msgstr "" +"SÃ¥ noen Ã¥r senere, da han endelig hadde fÃ¥tt ordnet den siste " +"finansieringen, ville Else skaffe rettigheter til Ã¥ bruke disse fÃ¥ sekundene " +"med <citetitle>The Simpson</citetitle>. For disse fÃ¥ sekundene var selvsagt " +"beskyttet av opphavsretten, og for Ã¥ bruke beskyttet materiale mÃ¥ man ha " +"tillatelse fra eieren, dersom det ikke er <quote>rimelig bruk</quote> eller " +"det foreligger spesielle avtaler." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Gracie Films" +msgstr "Gracie Films" + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "Groening, Matt" +msgstr "Groening, Matt" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " +"to get permission. Groening approved the shot. The shot was a four-and-a-" +"halfsecond image on a tiny television set in the corner of the room. How " +"could it hurt? Groening was happy to have it in the film, but he told Else " +"to contact Gracie Films, the company that produces the program." +msgstr "" +"Else kontaktet <citetitle>Simpson</citetitle>-skaper Matt Groenings kontor " +"for Ã¥ fÃ¥ tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om " +"fire og et halvt sekund pÃ¥ et lite fjernsyn, bakerst i et hjÃ¸rne av rommet. " +"Hvordan kunne det skade? Groening var glad for Ã¥ fÃ¥ ha det med i filmen, men " +"han ba Else om Ã¥ kontakte Gracie Films, firmaet som produserer programmet." + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "Fox (film company)" +msgstr "Fox (filmselskap)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Gracie Films was okay with it, too, but they, like Groening, wanted to be " +"careful. So they told Else to contact Fox, Gracie's parent company. Else " +"called Fox and told them about the clip in the corner of the one room shot " +"of the film. Matt Groening had already given permission, Else said. He was " +"just confirming the permission with Fox." +msgstr "" +"Gracie Films sa ogsÃ¥ at det var greit, men de, slik som Groening, Ã¸nsket Ã¥ " +"vÃ¦re forsiktige, og ba Else om Ã¥ kontakte Fox, konsernet som eide Gracie. Og " +"Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i " +"hjÃ¸rnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt " +"sin tillatelse, sa Else. Han ville bare fÃ¥ det avklart med Fox." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Then, as Else told me, <quote>two things happened. First we discovered " +"… that Matt Groening doesn't own his own creation—or at least " +"that someone [at Fox] believes he doesn't own his own creation.</quote> And " +"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to " +"use this four-point-five seconds of … entirely unsolicited " +"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>" +msgstr "" +"Deretter, fortalte Else: <quote>skjedde to ting. FÃ¸rst oppdaget vi … " +"at Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos " +"Fox] trodde at han ikke eide sitt eget verk.</quote> Som det andre krevde " +"Fox <quote>ti tusen dollar i lisensavgift for disse fire og et halvt " +"sekundene med … fullstendig tilfeldig <citetitle>Simpson</citetitle> " +"som var i et hjÃ¸rne i ett opptak.</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Herrera, Rebecca" +msgstr "Herrera, Rebecca" + +#. type: Content of: <book><part><chapter><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, <quote>There must be some mistake here. … We're asking for " +"your educational rate on this.</quote> That was the educational rate, " +"Herrera told Else. A day or so later, Else called again to confirm what he " +"had been told." +msgstr "" +"Ellers var sikker pÃ¥ at det var en feil. Han fikk tak i noen som han trodde " +"var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at " +"<quote>det mÃ¥ vÃ¦re en feil her … Vi ber deg om en utdanningssats pÃ¥ " +"dette.</quote> Og de hadde fÃ¥tt utdanningssats, fortalte Herrera. Kort tid " +"etter ringte Else igjen for Ã¥ fÃ¥ dette bekreftet." + +#. PAGE BREAK 108 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>I wanted to make sure I had my facts straight,</quote> he told me. " +"<quote>Yes, you have your facts straight,</quote> she said. It would cost " +"$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner " +"of a shot in a documentary film about Wagner's Ring Cycle. And then, " +"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you " +"over to our attorneys.</quote> As an assistant to Herrera told Else later " +"on, <quote>They don't give a shit. They just want the money.</quote>" +msgstr "" +"<quote>Jeg mÃ¥tte vÃ¦re sikker pÃ¥ at jeg hadde riktige opplysninger foran meg</" +"quote>, sa han. <quote>Ja, du har riktige opplysninger</quote>, sa hun. Det " +"ville koste $10 000 Ã¥ bruke dette lille klippet av <citetitle>The Simpson</" +"citetitle>, plassert bakerst i et hjÃ¸rne i en scene i en dokumentar om " +"Wagners Ring Cycle. Som om det ikke var nok, forblÃ¸ffet Herrera Else med Ã¥ " +"si <quote>Og om du siterer meg, vil du hÃ¸re fra vÃ¥re advokater.</quote> En " +"av Herreras assistenter fortalte Else at <quote>De bryr seg ikke i det hele " +"tatt. Alt de vil ha er pengene.</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Day After Trinity, The" +msgstr "Day After Trinity, The" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Else didn't have the money to buy the right to replay what was playing on " +"the television backstage at the San Francisco Opera. To reproduce this " +"reality was beyond the documentary filmmaker's budget. At the very last " +"minute before the film was to be released, Else digitally replaced the shot " +"with a clip from another film that he had worked on, <citetitle>The Day " +"After Trinity</citetitle>, from ten years before." +msgstr "" +"Men Else hadde ikke penger til Ã¥ kjÃ¸pe lisens for klippet. SÃ¥ Ã¥ gjenskape " +"denne delen av virkeligheten, lÃ¥ langt utenfor hans budsjett. Like fÃ¸r " +"dokumentaren skulle slippes, redigerte Else inn et annet klipp pÃ¥ " +"fjernsynet, et klipp fra en av hans andre filmer <citetitle>The Day After " +"Trinity</citetitle> fra ti Ã¥r tidligere." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"There's no doubt that someone, whether Matt Groening or Fox, owns the " +"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " +"property. To use that copyrighted material thus sometimes requires the " +"permission of the copyright owner. If the use that Else wanted to make of " +"the <citetitle>Simpsons</citetitle> copyright were one of the uses " +"restricted by the law, then he would need to get the permission of the " +"copyright owner before he could use the work in that way. And in a free " +"market, it is the owner of the copyright who gets to set the price for any " +"use that the law says the owner gets to control." +msgstr "" +"Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier " +"rettighetene til <citetitle>The Simpsons</citetitle>. Rettighetene er deres " +"eiendom. For Ã¥ bruke beskyttet materiale, kreves det ofte at men fÃ¥r " +"tillatelse fra eieren eller eierne. Dersom Else Ã¸nsket Ã¥ bruke " +"<citetitle>The Simpsons</citetitle> til noe hvor loven gir verket " +"beskyttelse, sÃ¥ mÃ¥ han innhente tillatelse fra eieren fÃ¸r han kan bruke det. " +"Og i et fritt marked er det eieren som bestemmer hvor mye han/hun vil ta for " +"hvilken som helst bruk (hvor loven krever tillatelse fra eier)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For example, <quote>public performance</quote> is a use of <citetitle>The " +"Simpsons</citetitle> that the copyright owner gets to control. If you take a " +"selection of favorite episodes, rent a movie theater, and charge for tickets " +"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then " +"you need to get permission from the copyright owner. And the copyright owner " +"(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. " +"That's her right, as set by the law." +msgstr "" +"For eksempel <quote>offentlig fremvisning</quote> av <citetitle>The Simpson</" +"citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du " +"velger ut dine favorittepisoder, leier en kinosal og selger billetter til " +"<quote>Mine <citetitle>Simpson</citetitle>-favoritter</quote>, sÃ¥ mÃ¥ du ha " +"tillatelse fra rettighetsinnehaveren (eieren). Og eieren kan (med rette, " +"slik jeg ser det) kreve hvor mye han vil; $10 eller $1 000 000. " +"Det er hans rett ifÃ¸lge loven." + +#. f1 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For an excellent argument that such use is <quote>fair use,</quote> but that " +"lawyers don't permit recognition that it is <quote>fair use,</quote> see " +"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory " +"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file " +"with author), University of Chicago Law School, 5 August 2003." +msgstr "" +"Ãnsker du Ã¥ lese en flott redegjÃ¸relse om hvordan dette er <quote>fair use</" +"quote>, og hvordan advokatene ikke anerkjenner det, sÃ¥ les Richard A. Posner " +"og William F. Patry, <quote>Fair Use and Statutory Reform in the Wake of " +"<citetitle>Eldred</citetitle> </quote> (utkast arkivert hos forfatteren), " +"University of Chicago Law School, 5. august 2003." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But when lawyers hear this story about Jon Else and Fox, their first thought " +"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's " +"use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" +"citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" +"citetitle>—and fair use does not require the permission of anyone." +msgstr "" +"Men nÃ¥r jurister hÃ¸rer denne historien om Jon Else og Fox, sÃ¥ er deres " +"fÃ¸rste tanke <quote>rimelig bruk</quote>.<placeholder type=\"footnote\" id=" +"\"0\"/> Elses bruk av 4,5 sekunder med et indirekte klipp av en " +"<citetitle>Simpsons</citetitle>-episode er et klart eksempel pÃ¥ " +"<quote>rimelig bruk</quote> av <citetitle>The Simpsons</citetitle>— og " +"<quote>rimelig bruk</quote> krever ingen tillatelse fra noen." + +#. PAGE BREAK 109 +#. type: Content of: <book><part><chapter><para> +msgid "" +"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's " +"his reply:" +msgstr "" +"SÃ¥ jeg spurte Else om hvorfor han ikke bare stolte pÃ¥ <quote>fair use</" +"quote>. Og her er hans svar:" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "legal intimidation tactics against" +msgstr "juridiske trusler taktikk mot" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " +"gulf between what lawyers find irrelevant in some abstract sense, and what " +"is crushingly relevant in practice to those of us actually trying to make " +"and broadcast documentaries. I never had any doubt that it was " +"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't " +"rely on the concept in any concrete way. Here's why:" +msgstr "" +"<citetitle>Simpsons</citetitle>-fiaskoen lÃ¦rte meg om hvor stor avstand det " +"var mellom det jurister ikke finner relevant pÃ¥ en abstrakt mÃ¥te, og hva som " +"er knusende relevant pÃ¥ en konkret mÃ¥te for oss som prÃ¸ver Ã¥ lage og " +"kringkaste dokumentarer. Jeg tvilte aldri pÃ¥ at dette helt klart var " +"<quote>rimelig bruk</quote>, men jeg kunne ikke stole pÃ¥ konseptet pÃ¥ noen " +"konkret mÃ¥te. Og dette er grunnen:" + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +#, mtrans, fuzzy +msgid "Errors and Omissions insurance" +msgstr "feil og utelatelser forsikring" + +#. 1. +#. type: Content of: <book><part><chapter><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 <quote>visual cue " +"sheet</quote> listing the source and licensing status of each shot in the " +"film. They take a dim view of <quote>fair use,</quote> and a claim of " +"<quote>fair use</quote> can grind the application process to a halt." +msgstr "" +"FÃ¸r vÃ¥re filmer kan kringkastes, krever nettverket at vi kjÃ¸per en " +"<quote>Errors and Omissions</quote>-forsikring. Den krever en detaljert " +"<quote>visual cue sheet</quote> med alle kilder og lisens-status pÃ¥ alle " +"scener i filmen. De har et smalt syn pÃ¥ <quote>fair use</quote>, og Ã¥ pÃ¥stÃ¥ " +"at noe er nettopp det kan forsinke, og i verste fall stoppe, prosessen." + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "Lucas, George" +msgstr "Lucas, George" + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "<citetitle>Star Wars</citetitle>" +msgstr "<citetitle>Star Wars</citetitle>" + +#. 2. +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> +msgid "" +"I probably never should have asked Matt Groening in the first place. But I " +"knew (at least from folklore) that Fox had a history of tracking down and " +"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " +"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " +"usage. So I decided to play by the book, thinking that we would be granted " +"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " +"a documentary producer working to exhaustion on a shoestring, the last thing " +"I wanted was to risk legal trouble, even nuisance legal trouble, and even to " +"defend a principle." +msgstr "" +"Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste " +"(ihvertfall fra rykter) at Fox tidligere hadde brukt Ã¥ jakte pÃ¥ og stoppe " +"ulisensiert bruk av <citetitle>The Simpsons</citetitle>, pÃ¥ samme mÃ¥te som " +"George Lucas var veldig ivrig pÃ¥ Ã¥ forfÃ¸lge bruken av <citetitle>Star Wars</" +"citetitle>. SÃ¥ jeg bestemte meg for Ã¥ fÃ¸lge boka, og trodde at vi kulle fÃ¥ " +"til en gratis, i alle fall rimelig, avtale for fire sekunders bruk av " +"<citetitle>The Simpsons</citetitle>. Som en dokumentarskaper, arbeidende pÃ¥ " +"randen av utryddelse, var det siste jeg Ã¸nsket en juridisk strid, selv for Ã¥ " +"forsvare et prinsipp." + +#. 3. +#. PAGE BREAK 110 +#. type: Content of: <book><part><chapter><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 <quote>depose and litigate you to within an inch of your life,</quote> " +"regardless of the merits of my claim. He made clear that it would boil down " +"to who had the bigger legal department and the deeper pockets, me or them." +msgstr "" +"Jeg snakket faktisk med en av dine kolleger pÃ¥ Stanford Law School … " +"som bekreftet at dette var rimelig bruk. Han bekreftet ogsÃ¥ at Fox ville " +"<quote>depose and litigate you to within an inch of your life</quote>, " +"uavhengig av sannheten i mine krav. Han gjorde det klart at alt ville koke " +"ned til hvem som hadde flest jurister og dypest lommer, jeg eller dem." + +#. 4. +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> +msgid "" +"The question of fair use usually comes up at the end of the project, when we " +"are up against a release deadline and out of money." +msgstr "" +"SpÃ¸rsmÃ¥let om <quote>fair use</quote> dukker om regel opp helt mot slutten " +"av prosjektet, nÃ¥r vi nÃ¦rmer oss siste frist og er tomme for penger." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In theory, fair use means you need no permission. The theory therefore " +"supports free culture and insulates against a permission culture. But in " +"practice, fair use functions very differently. The fuzzy lines of the law, " +"tied to the extraordinary liability if lines are crossed, means that the " +"effective fair use for many types of creators is slight. The law has the " +"right aim; practice has defeated the aim." +msgstr "" +"I teorien betyr <quote>fair use</quote> at du ikke trenger tillatelse. " +"Teorien stÃ¸tter derfor den frie kultur og arbeider mot tillatelseskulturen. " +"Men i praksis fungerer <quote>fair use</quote> helt annerledes. Men de " +"uklare linjene i lovverket, samt de fryktelige konsekvensene dersom man tar " +"feil, gjÃ¸r at mange kunstnere ikke stoler pÃ¥ <quote>fair use</quote>. Loven " +"har en svÃ¦rt god hensikt, men praksisen har ikke fulgt opp." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This practice shows just how far the law has come from its eighteenth-" +"century roots. The law was born as a shield to protect publishers' profits " +"against the unfair competition of a pirate. It has matured into a sword that " +"interferes with any use, transformative or not." +msgstr "" +"Dette eksempelet viser hvor langt denne loven har kommet fra sine " +"syttenhundretalls rÃ¸tter. Loven som skulle beskytte utgiverne mot " +"urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned pÃ¥ " +"_all_ bruk, transformativ* eller ikke." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER EIGHT: Transformers" +msgstr "Kapittel Ã¥tte: Omformerne" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Allen, Paul" +msgstr "Allen, Paul" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Alben, Alex" +msgstr "Alben, Alex" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer working " +"at Starwave, Inc. Starwave was an innovative company founded by Microsoft " +"cofounder Paul Allen to develop digital entertainment. Long before the " +"Internet became popular, Starwave began investing in new technology for " +"delivering entertainment in anticipation of the power of networks." +msgstr "" +"<emphasis role='strong'>I 1993</emphasis> var Alex Alben en jurist som " +"arbeidet hos Starwave Inc. Starwave var et innovativt firma grunnlagt av " +"Paul Allen, som ogsÃ¥ hadde vÃ¦rt med pÃ¥ Ã¥ grunnlegge Microsoft.Starwaves mÃ¥l " +"var Ã¥ utvikle digital underholdning. Lenge fÃ¸r Internett ble superpopulÃ¦rt, " +"forsket Starwave pÃ¥ ny teknologi for Ã¥ levere underholdning uten nettverk." + +#. type: Content of: <book><part><chapter><indexterm><secondary> ++#, mtrans, fuzzy +msgid "retrospective compilations on" - msgstr "retrospektiv samling av" ++msgstr "retrospektiv samleplater pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "CD-ROMs, film clips used in" +msgstr "CD-ROMer, filmklipp brukt i" + +#. type: Content of: <book><part><chapter><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 var veldig interessert i ny teknologi. Han var fascinert av det " +"voksende markedet for CD-ROM-teknologi—ikke for Ã¥ distribuere film, " +"men for Ã¥ gjÃ¸re ting med filmen som fÃ¸r ville vÃ¦rt svÃ¦rt vanskelig. I 1993 " +"lanserte han idÃ©en om Ã¥ utvikle et produkt for Ã¥ vise retrospectives* rundt " +"verkene av en bestemt kunstner. Den fÃ¸rste skuespilleren som ble valgt, var " +"Clint Eastwood. IdÃ©en var Ã¥ vise alle Eastwoods verker, sammen med klipp fra " +"filmene hans og intervjuer av personer som hadde vÃ¦rt viktige i hans " +"karriere." + +#. type: Content of: <book><part><chapter><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 "" +"PÃ¥ den tiden hadde Eastwood lagd over femti filmer, bÃ¥de som skuespiller og " +"som regissÃ¸r. Alben begynte med en serie intervjuer med Eastwood, hvor tema " +"var hans karriere. Siden Starwave produserte disse intervjuene, kunne de " +"fritt ha dem med pÃ¥ CD-en." + +#. PAGE BREAK 112 +#. type: Content of: <book><part><chapter><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 "" +"Men det alene hadde ikke blitt noe interessant produkt, sÃ¥ Starwave Ã¸nsket Ã¥ " +"legge til litt innhold fra noen av Eastwoods filmer, noen plakater, manus og " +"andre ting som kunne knyttes til filmene hans. Mesteparten av Eastwoods " +"karriere hadde foregÃ¥tt hos Warner Brothers og det var relativt enkelt Ã¥ fÃ¥ " +"tillatelse for det materialet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Then Alben and his team decided to include actual film clips. <quote>Our " +"goal was that we were going to have a clip from every one of Eastwood's " +"films,</quote> Alben told me. It was here that the problem arose. <quote>No " +"one had ever really done this before,</quote> Alben explained. <quote>No one " +"had ever tried to do this in the context of an artistic look at an actor's " +"career.</quote>" +msgstr "" +"Deretter Ã¸nsket Alben og hans team Ã¥ bruke noen faktiske klipp fra aktuelle " +"filmer. <quote>VÃ¥rt mÃ¥l var Ã¥ ha et klipp fra alle Eastwoods filmer</quote> " +"fortalte Alben meg. Det var her problemene startet. <quote>Ingen hadde " +"noensinne gjort dette fÃ¸r</quote>, forklarte Alben. <quote>Ingen hadde prÃ¸vd " +"Ã¥ presentere et slikt kunstnerisk overblikk over en skuespillers karriere.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " +"<quote>Well, what will it take?</quote>" +msgstr "" +"Alben tok idÃ©en videre til Michael Slade, leder for Starwave. Slade spurte " +"<quote>Vel, hvor mye vil det kreve?</quote>" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary> +msgid "publicity rights on images of" +msgstr "offentliggjÃ¸ringsrettigheter for bilder av" + +#. type: Content of: <book><part><chapter><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 <quote>Rip, Mix, Burn</quote> " +"creativity, as this chapter evinces. <placeholder type=\"indexterm\" id=" +"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Teknisk sett var rettighetene som Alben mÃ¥tte klarere i hovedsak de om " +"publisitet—rettigheten en artist har til Ã¥ kontrollere den " +"kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster " +"ogsÃ¥ <quote>rip, miks, brenn</quote>-kreativiteten slik dette kapittelet " +"demonstrerer. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Alben replied, <quote>Well, we're going to have to clear rights from " +"everyone who appears in these films, and the music and everything else that " +"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for " +"it.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Alben svarte, <quote>Tja, vi mÃ¥ innhente tillatelse fra alle som opptrer i " +"disse filmene, for musikken og for alt annet som er i disse filmklippene.</" +"quote> Slade svarte <quote>Flott! GjÃ¸r det.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 forstod hva det innebar Ã¥ innhente " +"disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav pÃ¥ " +"royalties for bruk av sin film. Men CD-ROM hadde ikke vÃ¦rt spesifisert i " +"skuespillernes kontrakter, sÃ¥ ingen visste helt hva Starwave skulle gjÃ¸re." + +#. type: Content of: <book><part><chapter><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 om hvordan han lÃ¸ste problemet. Med en tydelig stolthet som " +"overskygget hvor bisarr historien var, sÃ¥ fortalte han hva de gjorde:" + +#. type: Content of: <book><part><chapter><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 <quote>Make my day</quote> clip from <citetitle>Dirty " +"Harry</citetitle>. But you then need to get the guy on the ground who's " +"wiggling under the gun and you need to get his permission. And then you " +"have to decide what you are going to pay him." +msgstr "" +"SÃ¥ vi dro og fant frem filmene og gjorde noen kunstneriske beslutninger om " +"hvilke klipp som skulle vÃ¦re med. Selvsagt skulle vi bruke <quote>Make my " +"day</quote>-scenen fra Dirty Harry. Men da mÃ¥tte vi oppsÃ¸ke den personen som " +"ligger pÃ¥ bakken under gevÃ¦ret og fÃ¥ hans tillatelse. Og sÃ¥ mÃ¥tte vi " +"bestemme hva han skulle fÃ¥ betalt." + +#. PAGE BREAK 113 +#. type: Content of: <book><part><chapter><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 bestemte at det ville vÃ¦re rettferdig hvis vi tilbydde dem en dagspiller-" +"sats for retten til Ã¥ bruke klippet. Vi snakker tross alt om et klipp pÃ¥ " +"under et minutt, men satsen for Ã¥ bruke klippet pÃ¥ CD-ROM lÃ¥ pÃ¥ den tiden pÃ¥ " +"$600. SÃ¥ vi mÃ¥tte identifisere personene - noen var vanskelig Ã¥ " +"identifisere, siden det ofte er vanskelig Ã¥ vite hvem som er skuespilleren " +"og hvem som er stuntmannen i Eastwoods filmer. Og deretter samlet vi oss en " +"gjeng og begynte Ã¥ ringe rundt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Sutherland, Donald" +msgstr "Sutherland, Donald" + +#. type: Content of: <book><part><chapter><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, <quote>Hey, can I pay " +"you $600 or maybe if you were in two films, you know, $1,200?</quote> And " +"they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</" +"quote> And some of course were a bit difficult (estranged ex-wives, in " +"particular). But eventually, Alben and his team had cleared the rights to " +"this retrospective CD-ROM on Clint Eastwood's career." +msgstr "" +"Noen skuespillere var glade for Ã¥ kunne hjelpe — Donald Sutherland " +"fulgte for eksempel opp saken personlig for Ã¥ sÃ¸rge for at alt var greit. " +"Andre brydde seg mest om pengene. Alben kunne spÃ¸rre <quote>Hei, kan jeg " +"betale deg $600, eller hvis du var i to filmer $1200?</quote> Og de kunne " +"svare <quote>Er det sant? Jeg vil svÃ¦rt gjerne ha $1200.</quote> Og noen " +"kunne vÃ¦re litt vanskelige av seg (sÃ¦rlig krevende eks-koner). Men til slutt " +"greide Alben og hans team Ã¥ gjÃ¸re rede for alle rettighetene til CD-en om " +"Clint Eastwoods karriere." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"It was one <emphasis>year</emphasis> later—<quote>and even then we " +"weren't sure whether we were totally in the clear.</quote>" +msgstr "" +"Det gÃ¥tt ett <emphasis>Ã¥r</emphasis> <quote>og selv da var vi ikke sikre pÃ¥ " +"om alt var helt klart.</quote>" + +#. type: Content of: <book><part><chapter><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 stolt av arbeidet sitt. Prosjektet var det fÃ¸rste av sitt slag, og " +"fÃ¸rste gang han hadde hÃ¸rt om et team som hadde tatt pÃ¥ seg sÃ¥ mye arbeid " +"for Ã¥ gi ut en *retrospective*." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"Everyone thought it would be too hard. Everyone just threw up their hands " +"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the " +"music, there's the screenplay, there's the director, there's the actors.</" +"quote> But we just broke it down. We just put it into its constituent parts " +"and said, <quote>Okay, there's this many actors, this many directors, " +"… this many musicians,</quote> and we just went at it very " +"systematically and cleared the rights." +msgstr "" +"Alle hadde trodd det skulle bli for vanskelig. De hadde kastet hendene i " +"vÃ¦ret og sagt <quote>Oi, en film. Det er sÃ¥ mange rettigheter; det er " +"musikk, det er scenekusten, det er skuespillere, det er regissÃ¸rer.</quote> " +"Men vi gjorde det! Vi tok delen fra hverandre og sa <quote>okei, det er sÃ¥ " +"mange skuespillere, sÃ¥ mange regissÃ¸rer ... sÃ¥ mange musikere</quote>, sÃ¥ " +"gikk vi systematisk igjennom det og fikk tak i rettighetene." + +#. PAGE BREAK 114 +#. type: Content of: <book><part><chapter><para> +msgid "" +"And no doubt, the product itself was exceptionally good. Eastwood loved it, " +"and it sold very well." +msgstr "" +"Og produktet ble uten tvil sÃ¦rdeles godt. Eastwood elsket det og det solgte " +"veldig godt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Drucker, Peter" +msgstr "Drucker, Peter" + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"U.S. Department of Commerce Office of Acquisition Management, " +"<citetitle>Seven Steps to Performance-Based Services Acquisition</" +"citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#22</ulink>." +msgstr "" +"U.S. Department of Commerce Office of Acquisition Management, " +"<citetitle>Seven Steps to Performance-Based Services Acquisition</" +"citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #22</ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But I pressed Alben about how weird it seems that it would have to take a " +"year's work simply to clear rights. No doubt Alben had done this " +"efficiently, but as Peter Drucker has famously quipped, <quote>There is " +"nothing so useless as doing efficiently that which should not be done at all." +"</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " +"Alben, that this is the way a new work has to be made?" +msgstr "" +"Men jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt Ã¥r " +"bare Ã¥ fÃ¥ orden pÃ¥ rettigheter. Alben hadde gjort det hele svÃ¦rt effektivt, " +"men som Peter Drucker sÃ¥ berÃ¸mmelig har sagt <quote>Det er ikke noe som er " +"sÃ¥ ubrukelig Ã¥ gjÃ¸re effektivt enn det som egentlig ikke gjÃ¸res i det hele " +"tatt.</quote><placeholder type=\"footnote\" id=\"0\"/> Var det noe fornuft i " +"at det var slik et nye verk skulle skapes, spurte jeg Alben." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For, as he acknowledged, <quote>very few … have the time and " +"resources, and the will to do this,</quote> and thus, very few such works " +"would ever be made. Does it make sense, I asked him, from the standpoint of " +"what anybody really thought they were ever giving rights for originally, " +"that you would have to go clear rights for these kinds of clips?" +msgstr "" +"For, som han innrÃ¸mmet, <quote>veldig fÃ¥ ... har tid og ressurser, og ikke " +"minst vilje til Ã¥ gjÃ¸re dette</quote>, og veldig fÃ¥ slike verk har blitt " +"lagd, Gir det noen mening, spurte jeg ham, ********* at du mÃ¥ gjÃ¸re alt " +"dette for Ã¥ fÃ¥ rett til Ã¥ bruke disse klippene?" + +#. type: Content of: <book><part><chapter><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. NÃ¥r en skuespiller gjengir en forestilling i en film, fÃ¥r " +"han eller hun veldig godt betalt … Og derfor, nÃ¥r 30 sekunder av " +"denne forestillingen blir brukt i et nytt produkt som er et tilbakeblikk pÃ¥ " +"noens karriere, sÃ¥ tror jeg ikke at den personen … burde fÃ¥ " +"kompensasjon for det." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Or at least, is this <emphasis>how</emphasis> the artist should be " +"compensated? Would it make sense, I asked, for there to be some kind of " +"statutory license that someone could pay and be free to make derivative use " +"of clips like this? Did it really make sense that a follow-on creator would " +"have to track down every artist, actor, director, musician, and get explicit " +"permission from each? Wouldn't a lot more be created if the legal part of " +"the creative process could be made to be more clean?" +msgstr "" +"Eller er det kanskje <emphasis>slik</emphasis> en kunstner burde fÃ¥ " +"kompensasjon? Gir det noen mening, spurte jeg, om det var en form for " +"lovbestemt lisens som noen kan betale og fritt videreutvikle og bearbeide " +"klipp som disse? Ga det virkelig mening at en videreutviklende skaper " +"skulle mÃ¥tte spore opp hver eneste artist, skuespiller, regissÃ¸r, musiker og " +"fÃ¥ eksplisitt tillatelse fra hver av dem. Ville ikke mye mer bli laget hvis " +"den juridiske delen av den kreative prosessen kunne gjÃ¸res enklere." + +#. PAGE BREAK 115 +#. type: Content of: <book><part><chapter><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, <quote>Oh, I want a hundred minutes of something " +"and I have no idea what it's going to cost me, and a certain number of " +"people are going to hold me up for money,</quote> then it becomes difficult " +"to put one of these things together." +msgstr "" +"Absolutt. Jeg tror at hvis det fantes en form for " +"lisensieringsmekanisme—hvor du ikke risikerte Ã¥ bli offer for " +"forglemmelser eller problematiske ekskoner—ville man kanskje ha sett " +"mange flere av denne typen verk, rett og slett fordi det ikke ville sett sÃ¥ " +"skrekkinngytende ut Ã¥ sette sammen et tilbakeblikk pÃ¥ noens karriere og Ã¥ " +"bruke mange media-illustrasjoner fra dennes karriere. Du ville kunne lage en " +"budsjettpost pÃ¥ dette. Sette opp en kostnad pÃ¥ X dollar til talentet som " +"fremfÃ¸rte. Og det ville vÃ¦re en kjent kostnad. Det er kanskje " +"kjerneproblemet med Ã¥ produsere slike produkter. Hvis man visste at man " +"hadde 100 minutter med film, kunne man si at dette vil koste meg sÃ¥ og sÃ¥ " +"mange dollar, og lage et budsjett rundt det. Deretter kan du skaffe " +"investorer og alt annet som trengs for Ã¥ produsere det. Men dersom man kun " +"kan si <quote>Hm, jeg Ã¸nsker 100 minutter med noe, og jeg aner ikke hvor mye " +"det vil koste meg, og et bestemt antall personer vil kreve penger</quote>, " +"vil det vÃ¦re ganske vanskelig Ã¥ fÃ¥ til slike ting." + +#. type: Content of: <book><part><chapter><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?" +msgstr "" +"Alben jobbet for et stort selskap. Hans selskap var stÃ¸ttet av noen av de " +"rikeste investorene i verden. Derfor hadde han myndighet og ressurser som en " +"gjennomsnittlig webdesigner ikke kunne drÃ¸mme om. SÃ¥ hvis det tok ham et Ã¥r, " +"hvor lang tid ville det ta noen andre? Og hvor mye kreativitet fÃ¥r aldri " +"form pÃ¥ grunn av kostnadene rundt Ã¥ kartlegge og skaffe rettigheter? " + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These costs are the burdens of a kind of regulation. Put on a Republican hat " +"for a moment, and get angry for a bit. The government defines the scope of " +"these rights, and the scope defined determines how much it's going to cost " +"to negotiate them. (Remember the idea that land runs to the heavens, and " +"imagine the pilot purchasing flythrough rights as he negotiates to fly from " +"Los Angeles to San Francisco.) These rights might well have once made " +"sense; but as circumstances change, they make no sense at all. Or at least, " +"a well-trained, regulationminimizing Republican should look at the rights " +"and ask, <quote>Does this still make sense?</quote>" +msgstr "" +"Disse kostnadene er byrdene av en form for regulering. Vi kan prÃ¸ve Ã¥ ta pÃ¥ " +"oss en republikanerhatt og bli sinte for et Ã¸yeblikk. Staten styrer disse " +"rettighetenes dekningsomrÃ¥de, og dekningsomrÃ¥det bestemmer hvor mye det vil " +"koste Ã¥ krenke disse rettighetene. (Husker dere idÃ©en om at en eiendom " +"strakte seg til universets grense? Og se for dere piloten som mÃ¥ betale for " +"Ã¥ krysse eiendommen som han krenker ved Ã¥ fly fra Los Angeles til San " +"Francisco.) Disse rettighetene gav sikkert mening en gang, men nÃ¥ som " +"forholdene har endret seg, er meningen borte. Ihvertfall sÃ¥ burde en " +"veltrenet, reguleringsfiendtlig republikaner se pÃ¥ rettighetene og spÃ¸rre " +"<quote>Gir dette mening nÃ¥?</quote>" + +#. PAGE BREAK 116 +#. type: Content of: <book><part><chapter><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 glimt av gjenkjennelse pÃ¥ dette punktet, men bare noen fÃ¥ " +"ganger. FÃ¸rste gang var pÃ¥ en konferanse for fÃ¸derale dommere i California. " +"Dommerne var samlet for Ã¥ diskutere det Ã¸kende temaet cyber-lov. Jeg ble " +"spurt om Ã¥ sitte i panelet. Harvey Saferstein, en respektert advokat fra et " +"firma i Los Angeles, introduserte en film han og hans venn Robert Fairbank " +"hadde laget for panelet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The video was a brilliant collage of film from every period in the twentieth " +"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " +"episode. The execution was perfect, down to the sixty-minute stopwatch. The " +"judges loved every minute of it." +msgstr "" +"Videoen var en glimrende sammenstilling av filmer fra hver periode i det " +"tjuende Ã¥rhundret, rammet inn rundt idÃ©en om en episode i TV-serien " +"<citetitle>60 Minutes</citetitle>. UtfÃ¸relsen var perfekt, ned til seksti " +"minutter stoppeklokken. Dommerne elsket enhver minutt av den." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Nimmer, David" +msgstr "Nimmer, David" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"When the lights came up, I looked over to my copanelist, David Nimmer, " +"perhaps the leading copyright scholar and practitioner in the nation. He had " +"an astonished look on his face, as he peered across the room of over 250 " +"well-entertained judges. Taking an ominous tone, he began his talk with a " +"question: <quote>Do you know how many federal laws were just violated in " +"this room?</quote>" +msgstr "" +"Da lysene kom pÃ¥, kikket jeg over til min medpaneldeltager, David Nimmer, " +"kanskje den ledende opphavsrettakademiker og utÃ¸ver i nasjonen. Han hadde en " +"forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over " +"250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin " +"tale med et spÃ¸rsmÃ¥l: <quote>Vet dere hvor mange fÃ¸derale lover som nettopp " +"brutt i dette rommet?</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Boies, David" +msgstr "Boies, David" + +#. type: Content of: <book><part><chapter><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 "" +"Og selvsagt hadde ikke disse to briljante talentene gjort hva Alben hadde " +"gjort. De hadde ikke ordnet alle rettighetene til klippene de brukte. Rent " +"teknisk hadde de brutt loven. Men ingen kom til Ã¥ straffeforfÃ¸lge disse to " +"(selv om de viste den for 250 dommere og en gjeng fÃ¸derale marshaller\". Men " +"Nimmer hadde et viktig poeng: Et Ã¥r fÃ¸r noen hadde hÃ¸rt ordet Napster, og to " +"Ã¥r fÃ¸r et annet medlem av panelet, David Boies, ville forsvare Napster for " +"den niende Circuit Court of Appeals, prÃ¸vde Nimmer Ã¥ fÃ¥ dommerne til Ã¥ " +"forstÃ¥ at loven ikke var sÃ¦rlig Ã¥pen for de nye kapasitetene den nye " +"teknologien ville gi. Teknologi betyr at du kan gjÃ¸re fantastiske ting, " +"enkelt. Men du kan ikke nÃ¸dvendigvis gjÃ¸re dem enkelt, lovlig." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"We live in a <quote>cut and paste</quote> culture enabled by technology. " +"Anyone building a presentation knows the extraordinary freedom that the cut " +"and paste architecture of the Internet created—in a second you can " +"find just about any image you want; in another second, you can have it " +"planted in your presentation." +msgstr "" +"Vi lever i en <quote>klippe og lime</quote>-kultur som er muliggjort av " +"dagens teknologi. Alle som lager presentasjoner vet hvilken eksepsjonell " +"frihet Internettets <quote>klippe og lime</quote>-arkitektur gir—pÃ¥ et " +"sekund kan du finne akkurat det bildet du vil ha, og du kan fÃ¥ den inn i " +"presentasjonen din." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Camp Chaos" +msgstr "Camp Chaos" + +#. PAGE BREAK 117 +#. type: Content of: <book><part><chapter><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 " +"dets arkiver, er musikere i stand til Ã¥ sy sammen nye lydmikser som ingen " +"hadde kunnet forestille seg; filmskapere er i stand til Ã¥ lage filmer ut av " +"klipp pÃ¥ datamaskiner rundt om i verden. Et spesielt nettsted i Sverige tar " +"bilder av politikere og blander dem med musikk Ã¥ skape bitende politiske " +"kommentarer. En nettside kalt Camp Chaos har skapt noe av den skarpeste " +"kritikken som finnes mot musikkindustrien, gjennom Ã¥ mikse Flash! og musikk." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"All of these creations are technically illegal. Even if the creators wanted " +"to be <quote>legal,</quote> the cost of complying with the law is impossibly " +"high. Therefore, for the law-abiding sorts, a wealth of creativity is never " +"made. And for that part that is made, if it doesn't follow the clearance " +"rules, it doesn't get released." +msgstr "" +"Men alt dette er rent teknisk ulovlig. Selv om skaperen Ã¸nsket Ã¥ holde seg " +"pÃ¥ rett side av loven, ville kostnadene ved Ã¥ fÃ¸lge loven vÃ¦rt " +"umenneskelige. Derfor vil de som Ã¸nsker Ã¥ fÃ¸lge loven bli hindret i Ã¥ bruke " +"sin kreativitet, og mye blir aldri skapt. Og det som er skapt, vil ikke bli " +"publisert fordi det ikke fÃ¸lger *clearence-rules*." + +#. type: Content of: <book><part><chapter><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 <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, " +"the system could simply make it easy for follow-on creators to compensate " +"artists without requiring an army of lawyers to come along: a rule, for " +"example, that says <quote>the royalty owed the copyright owner of an " +"unregistered work for the derivative reuse of his work will be a flat 1 " +"percent of net revenues, to be held in escrow for the copyright owner.</" +"quote> Under this rule, the copyright owner could benefit from some royalty, " +"but he would not have the benefit of a full property right (meaning the " +"right to name his own price) unless he registers the work." +msgstr "" +"Noen ser synes at denne historien kommer med et forslag til forbedring: La " +"oss fjerne miksen av rettigheter slik at folk fritt kan bygge pÃ¥ vÃ¥r kultur. " +"Fritt Ã¥ legge til eller mikse som de synes det passer. Vi kunne innfÃ¸re " +"dette uten at det ble fritt som i <quote>fri bar</quote>. I stedet kunne " +"systemet gjÃ¸re det lettere for nye kunstnere Ã¥ kompensere den originale " +"artisten uten at det krever en hÃ¦r av jurister. Hva med regler som f. eks. " +"<quote>kompensasjon til en opphavsrettholder for uregistrerte verk vil for " +"avledede verk fÃ¸re 1% av netto overskudd (*to be held in escrow for the " +"copyright owner.*)</quote> Med en slik regel ville opphavsrettholderen fÃ¥ en " +"inntekt, men han vil ikke ha en full eiendomsrett over opphavsretten (som " +"betyr retten til Ã¥ sette sin egen pris) uten Ã¥ ha registrert verket." + +#. type: Content of: <book><part><chapter><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 vil nekte Ã¥ bli med pÃ¥ det? Og hvilke grunner finner for Ã¥ nekte dette? " +"Vi snakker om et verk som ikke blir lagd akkurat nÃ¥, men om det blir lagd " +"under denne planen, vil det skape inntekter for artistene. Hvilke baktanker " +"kan noen ha for motarbeide det?" + +#. PAGE BREAK 118 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In February 2003</emphasis>, DreamWorks studios " +"announced an agreement with Mike Myers, the comic genius of " +"<citetitle>Saturday Night Live</citetitle> and Austin Powers. According to " +"the announcement, Myers and Dream-Works would work together to form a " +"<quote>unique filmmaking pact.</quote> Under the agreement, DreamWorks " +"<quote>will acquire the rights to existing motion picture hits and classics, " +"write new storylines and—with the use of stateof-the-art digital " +"technology—insert Myers and other actors into the film, thereby " +"creating an entirely new piece of entertainment.</quote>" +msgstr "" +"<emphasis role='strong'>I februar 2003</emphasis> kunne DreamWorks studios " +"kunngjÃ¸re at de hadde fÃ¥tt en avtale med komikeren Mike Myers (mannen bak " +"Saturday Night Liva og Austin Powers). IfÃ¸lge kunngjÃ¸ringen skulle " +"DreamWorks og Myers arbeide for Ã¥ skape en <quote>unik filmskaperavtale</" +"quote>. Og under denne avtalen ville DreamWorks <quote>fÃ¥ rett til Ã¥ benytte " +"eksisterende filmklipp, skrive nye storylines* og - med hjelp av *stateof-" +"the-art-teknologi - sette inn Myers og andre skuespillere i filmene, og slik " +"skape et helt nytt stykke underholdning.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The announcement called this <quote>film sampling.</quote> As Myers " +"explained, <quote>Film Sampling is an exciting way to put an original spin " +"on existing films and allow audiences to see old movies in a new light. Rap " +"artists have been doing this for years with music and now we are able to " +"take that same concept and apply it to film.</quote> Steven Spielberg is " +"quoted as saying, <quote>If anyone can create a way to bring old films to " +"new audiences, it is Mike.</quote>" +msgstr "" +"Dette ble kalt <quote>film sampling</quote>, og som Myers forklarte var " +"<quote>film sampling en fantastisk mÃ¥te Ã¥ fÃ¥ ny vri pÃ¥ eksisterende filmer " +"og lar publikum se gamle filmer i et nytt lys. Rap-artister har gjort slikt " +"i en Ã¥rrekke og nÃ¥ kan vi ta det samme konseptet og bruke det pÃ¥ film.</" +"quote> Steven Spielberg er sitert med fÃ¸lgende utsagn <quote>Hvis noen kan " +"klare Ã¥ bringe gamle filmer til et nytt publikum, sÃ¥ er det Mike.</quote>" + +#. type: Content of: <book><part><chapter><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 har rett. Film sampling med Myers ville vÃ¦rt briljant. Men hvis du " +"ikke fÃ¸lger godt med, sÃ¥ vil du overse det forblÃ¸ffende med denne " +"kunngjÃ¸ringen. Siden den aller stÃ¸rste delen av vÃ¥r filmarv fortsetter Ã¥ " +"vÃ¦re regulert av loven, sÃ¥ er den virkelige meningen i DreamWorks " +"kunngjÃ¸ring fÃ¸lgende: Det er Mike Myers og kun Mike Myers som har lov til Ã¥ " +"gjÃ¸re slikt. All generell frihet til Ã¥ fortsette Ã¥ bygge pÃ¥ verdens " +"filmkultur, en frihet som i andre sammenhenger er en selvfÃ¸lge, er et " +"privilegium forbeholdt de morsomme og berÃ¸mte - og antakelig rike." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This privilege becomes reserved for two sorts of reasons. The first " +"continues the story of the last chapter: the vagueness of <quote>fair use.</" +"quote> Much of <quote>sampling</quote> should be considered <quote>fair use." +"</quote> But few would rely upon so weak a doctrine to create. That leads to " +"the second reason that the privilege is reserved for the few: The costs of " +"negotiating the legal rights for the creative reuse of content are " +"astronomically high. These costs mirror the costs with fair use: You either " +"pay a lawyer to defend your fair use rights or pay a lawyer to track down " +"permissions so you don't have to rely upon fair use rights. Either way, the " +"creative process is a process of paying lawyers—again a privilege, or " +"perhaps a curse, reserved for the few." +msgstr "" +"Dette privilegiet er sÃ¥pass reservert av to grunner: FÃ¸rste grunn er en " +"fortsettelse av forrige kapittel, vagheten i <quote>rimelig bruk</quote>. " +"Mye av denne <quote>samplingen</quote> vil nok betraktes som <quote>rimelig " +"bruk</quote>, men ingen vÃ¥ger Ã¥ stole pÃ¥ et sÃ¥ vagt prinsipp. Det leder oss " +"til neste grunn for at privilegiet er forbeholdt fÃ¥: Kostnadene ved Ã¥ krenke " +"opphavsretten ved kreativt gjenbruk er astronomiske. Disse kostnadene " +"speiler kostnaden for <quote>rimelig bruk</quote>: Enten betaler du en " +"jurist til Ã¥ forsvare dine <quote>rimelig bruk</quote>-rettigheter, eller sÃ¥ " +"betaler du en jurist for Ã¥ oppspore og ordne med rettighetene du trenger, " +"slik at du slipper Ã¥ stole pÃ¥ rimelig bruk. I begge tilfeller er den " +"kreative prosessen blitt en prosess med Ã¥ betale jurister—igjen, et " +"privilegium forbeholdt de fÃ¥." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER NINE: Collectors" +msgstr "Kapittel ni: Samlere" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "archives, digital" +msgstr "arkiver, digitale" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "bots" +msgstr "boter" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In April 1996</emphasis>, millions of <quote>bots</" +"quote>—computer codes designed to <quote>spider,</quote> or " +"automatically search the Internet and copy content—began running " +"across the Net. Page by page, these bots copied Internet-based information " +"onto a small set of computers located in a basement in San Francisco's " +"Presidio. Once the bots finished the whole of the Internet, they started " +"again. Over and over again, once every two months, these bits of code took " +"copies of the Internet and stored them." +msgstr "" +"<emphasis role='strong'>I april 1996</emphasis> hadde millioner av " +"<quote>bots</quote> dataprogramkode utformet for Ã¥ <quote>kravle</quote> " +"eller automatisk sÃ¸king pÃ¥ Internettet og kopiering av innhold—gikk i " +"gang over nettet. Side for side kopierte disse botene internet-basert " +"informasjon til et lite sett maskiner plassert i en kjeller i San Franciscos " +"Presidio. Da botene var ferdig med hele Internettet startet de pÃ¥ nytt. " +"Igjen og igjen, en gang hver to mÃ¥neder, tok disse bitene med kode kopier av " +"Internettet og lagret dem." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Way Back Machine" +msgstr "Way Back Machine" + +#. type: Content of: <book><part><chapter><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 <quote>the Way Back Machine,</quote> you could enter a Web " +"page, and see all of its copies going back to 1996, as well as when those " +"pages changed." +msgstr "" +"I oktober 2001 hadde botene samlet mer enn fem Ã¥r med kopier. Og ved en " +"liten kunngjÃ¸ring i Berkeley, Californa, ble arkivene som disse kopiene " +"utgjorde, Internettarkivet, Ã¥pnet for verden. Ved Ã¥ bruke en teknologi ved " +"navn <quote>Way Back machine</quote> kan du skrive inn en nettside og se " +"alle dets kopier helt tilbake til 1996, samt se nÃ¥r disse sidene endret seg." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Orwell, George" +msgstr "Orwell, George" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is the thing about the Internet that Orwell would have appreciated. In " +"the dystopia described in <citetitle>1984</citetitle>, old newspapers were " +"constantly updated to assure that the current view of the world, approved of " +"by the government, was not contradicted by previous news reports." +msgstr "" +"Dette er en egenskap med Internettet som Orwell visse satt pris pÃ¥. I den " +"dystre verden beskrevet i <citetitle>1984</citetitle> ble gamle aviser " +"kontinuerlig oppdatert for Ã¥ sikre at gjeldende oppfattning av verden, " +"godkjent av myndighetene, ikke ble motsagt av gamle nyhetsmeldinger." + +#. PAGE BREAK 120 +#. type: Content of: <book><part><chapter><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 arbeidere redigerte konstant fortiden, hvilket gjorde at det " +"aldri var mulig Ã¥ vite om historien du leste i dag var historien som ble " +"trykket den datoen som sto fÃ¸rt opp pÃ¥ papiret." + +#. type: Content of: <book><part><chapter><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 Internettet. Hvis du besÃ¸ker en nettside i dag sÃ¥ har " +"du ingen mÃ¥te Ã¥ vite om innholdte du leser nÃ¥ er det samme som innholdet du " +"leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt " +"vÃ¦r helt annerledes. Internettet er Orwells bibliotek—kontinuerlig " +"oppdatert, uten en pÃ¥litelig hukommelse." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "White House press releases" +msgstr "pressemeldinger fra det hvite hus" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the " +"White House changes its own press releases without notice. A May 13, 2003, " +"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> " +"That was later changed, without notice, to <quote>Major Combat Operations in " +"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det " +"hvite hus endrer sine egne pressemeldinger uten varsel. En pressemelding " +"fra 13. mai 2003 inneholdt <quote>Kampoperasjoner i Irak er over</quote>. " +"Det ble senere endret, uten varsel, til <quote>StÃ¸rre kampoperasjoner i Irak " +"er over</quote>. Epost fra Brewster Kahle, 1. desember 2003." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Until the Way Back Machine, at least. With the Way Back Machine, and the " +"Internet Archive underlying it, you can see what the Internet was. You have " +"the power to see what you remember. More importantly, perhaps, you also have " +"the power to find what you don't remember and what others might prefer you " +"forget.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I hvert fall fÃ¸r Way Back Machine dukket opp. Ved hjelp av Way Back " +"Machine, og Internettarkivet som ligger til grunn for denne, sÃ¥ kan du se " +"hvordan Internettet var. Du har mulighet til Ã¥ se det du husker. Og " +"kanskje viktigere, sÃ¥ har du mulighet til Ã¥ finne det du ikke husker og det " +"andre kanskje fortrekker at du glemmer.<placeholder type=\"footnote\" id=" +"\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "history, records of" +msgstr "historien, arkiv over" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>We take it</emphasis> for granted that we can go " +"back to see what we remember reading. Think about newspapers. If you wanted " +"to study the reaction of your hometown newspaper to the race riots in Watts " +"in 1965, or to Bull Connor's water cannon in 1963, you could go to your " +"public library and look at the newspapers. Those papers probably exist on " +"microfiche. If you're lucky, they exist in paper, too. Either way, you are " +"free, using a library, to go back and remember—not just what it is " +"convenient to remember, but remember something close to the truth." +msgstr "" +"<emphasis role='strong'>Vi tar det</emphasis> for gitt at vi kan gÃ¥ tilbake " +"Ã¥ se det vi husker Ã¥ ha lest. Tenk for eksempel pÃ¥ aviser. Hvis du Ã¸nsker Ã¥ " +"studenere reaksjonene i lokalavisen din om raseopprÃ¸rene i Watts i 1965, " +"eller til vannkanonen til Bull Connor i 1963, sÃ¥ kan du gÃ¥ til ditt lokale " +"bibliotek og se i avisene. Disse artiklene finnes sannsynligvis pÃ¥ " +"microfiche. Hvis du er heldig, sÃ¥ eksisterer de ogsÃ¥ pÃ¥ papir. Uansett, sÃ¥ " +"stÃ¥r du fritt til, ved Ã¥ bruke et bibliotek, Ã¥ gÃ¥ tilbake for Ã¥ huske—" +"ikke bare det som er behagelig Ã¥ huske, men Ã¥ huske noe som er nÃ¦r sannheten." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"It is said that those who fail to remember history are doomed to repeat it. " +"That's not quite correct. We <emphasis>all</emphasis> forget history. The " +"key is whether we have a way to go back to rediscover what we forget. More " +"directly, the key is whether an objective past can keep us honest. Libraries " +"help do that, by collecting content and keeping it, for schoolchildren, for " +"researchers, for grandma. A free society presumes this knowedge." +msgstr "" +"Det sies at de som ikke husker historien er dÃ¸mt til Ã¥ gjenta den. Det er " +"ikke helt riktig. Vi <emphasis>alle</emphasis> glemmer historien. NÃ¸kkelen " +"er hvorvidt vi har en mÃ¥te Ã¥ gÃ¥ tilbake for Ã¥ gjenoppdage det vi har glemt. " +"Helt konkret er nÃ¸kkelen hvorvidt en objektiv fortid kan holde oss Ã¦rlige. " +"Biblioteker bidrar til dette, ved Ã¥ samle innhold og ta vare pÃ¥ det, for " +"skolebarn, for forskere, for bestemor. Et fritt samfunn forutsetter denne " +"kunnskapen." + +#. PAGE BREAK 121 +#. type: Content of: <book><part><chapter><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 "" +"Internettet var en unntak fra denne forutsetningen. FÃ¸r Internettarkivet " +"var det ikke mulig Ã¥ gÃ¥ tilbake. Internettet var i essens et flyktig " +"medium. Og likevel, etter hvert som det ble viktigere og viktigere i Ã¥ " +"forme og reformere samfunnet, sÃ¥ blir det viktigere og viktigere Ã¥ bevare " +"det i en eller annen historisk form. Det er helt sÃ¦rt Ã¥ tenke pÃ¥ at vi har " +"masse arkiver med aviser fra smÃ¥ tettsteder rundt om i hele verden, men det " +"finnes bare en kopi av Internettet—den som blir oppbevart av " +"Internettarkivet." + +#. type: Content of: <book><part><chapter><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 stifter av Internettarkivet. Han var en svÃ¦rt vellykket " +"Internett-entreprenÃ¸r etter at han hadde vÃ¦rt en vellykket data-forsker. PÃ¥ " +"1990-tallet bestemte Kahle seg at han hadde hatt nok suksess som " +"forretningsmann, og at det var pÃ¥ tide Ã¥ lykkes pÃ¥ et annet omrÃ¥de. Derfor " +"lanserte han en serie prosjekter som ble utformet for Ã¥ arkivere menneskelig " +"kunnskap. Internettarkivet var bare det fÃ¸rste av prosjektene til denne " +"*Andrew Carnige* for Internettet. I desember 2002 hadde arkivet over ti " +"milliard sider, og det vokste med omtrent en milliard sider i mÃ¥neden." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Library of Congress" +msgstr "Kongress-biblioteket" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Television Archive" +msgstr "TV-arkivet" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Vanderbilt University" +msgstr "Vanderbilt University" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "libraries" +msgstr "biblioteker" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "archival function of" +msgstr "arkiveringsfunksjonen til" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Way Back Machine is the largest archive of human knowledge in human " +"history. At the end of 2002, it held <quote>two hundred and thirty terabytes " +"of material</quote>—and was <quote>ten times larger than the Library " +"of Congress.</quote> And this was just the first of the archives that Kahle " +"set out to build. In addition to the Internet Archive, Kahle has been " +"constructing the Television Archive. Television, it turns out, is even more " +"ephemeral than the Internet. While much of twentieth-century culture was " +"constructed through television, only a tiny proportion of that culture is " +"available for anyone to see today. Three hours of news are recorded each " +"evening by Vanderbilt University—thanks to a specific exemption in the " +"copyright law. That content is indexed, and is available to scholars for a " +"very low fee. <quote>But other than that, [television] is almost unavailable," +"</quote> Kahle told me. <quote>If you were Barbara Walters you could get " +"access to [the archives], but if you are just a graduate student?</quote> As " +"Kahle put it," +msgstr "" +"Way Back Machine er det stÃ¸rste arkivet over menneskelig kunnskap i " +"menneskehetens historie. Ved slutten av 2002 inneholdt det <quote>to hundre " +"og tredve terrabyte med materiale</quote>—og var <quote>ti ganger " +"stÃ¸rre enn kongressbiblioteket</quote>. Og dette var bare det fÃ¸rste av " +"arkivene som Kahle gikk i gang med Ã¥ bygge. I tillegg til Internettarkivet " +"er Kahle i gang med Ã¥ konstruere TV-arkivet. TV, viser det seg, er enda mer " +"flyktig enn Internettet. Selv om mye av kulturen i det tjuende Ã¥rhundret ble " +"til gjennom fjernsyn, sÃ¥ er bare en liten andel av den kulturen tilgjengelig " +"for de som vil se det i dag. Tre timer med nyheter blir tatt opp hver kveld " +"av Vanderbilt University—takket vÃ¦re et spesifikt unntak i " +"opphavsrettsloven. Det innholdet blir gjort sÃ¸kbart og er tilgjengelig for " +"forskere for en svÃ¦rt lav avgift. <quote>Men bortsett fra det, sÃ¥ er [TV] " +"nesten fullstendig utilgjengelig</quote>, fortalte Kahle meg. <quote>Hvis " +"du er Barbara Walters sÃ¥ kan du fÃ¥ tilgang til [arkivene], men hva hvis du " +"bare er en student?</quote> Som Kahle formulete det," + +#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> +msgid "Quayle, Dan" +msgstr "Quayle, Dan" + +#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> +msgid "60 Minutes" +msgstr "60 Minutes" + +#. PAGE BREAK 122 +#. type: Content of: <book><part><chapter><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 <citetitle>60 Minutes</citetitle> episode that came out " +"after it … it would be almost impossible. … Those materials " +"are almost unfindable. …" +msgstr "" +"Husker du da Dan Quayle snakket med Murphy Brown? Husker du den uvirkelige " +"opplevelsen av samtalen som gikk frem og tilbake mellom en politiker og en " +"fiktig TV-karakter? Hvis du var en student som Ã¸nsket Ã¥ studere dette, og " +"du Ã¸nsket Ã¥ fÃ¥ tak i den originale samtalen som gikk frem og tilbake mellom " +"de to og <citetitle>60 Minutes</citetitle>-episoden som kom ut etter dette " +"… sÃ¥ ville det vÃ¦re nesten umulig … Dette materialet er nesten " +"umulig Ã¥ finne. …" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "newspapers" +msgstr "aviser" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "archives of" +msgstr "arkiver over" + +#. type: Content of: <book><part><chapter><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 slik? Hvor er den delen av kulturen vÃ¥r som er lagret i " +"aviser tilgjengelige til evig tid, mens ikke den delen som er lagret pÃ¥ " +"videobÃ¥nd er det? Hvorfor har vi laget en verden der forskere som forsÃ¸ker " +"a forstÃ¥ effekten av media pÃ¥ Amerika i det nittende Ã¥rhundre har en enklere " +"jobb enn forskere som forsÃ¸ker Ã¥ forstÃ¥ effekten av media pÃ¥ Amerika i det " +"tjuende Ã¥rhundre?" + +#. type: Content of: <book><part><chapter><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 pÃ¥ grunn av loven. Opphavsrettseiere var tidlig i " +"amerikansk opphavsrettslov nÃ¸dt til Ã¥ deponere kopier av sine verk i " +"biblioteker. Disse kopiene skulle bÃ¥de sikre spredning av kunnskap, og " +"sikre at det fantes en kopi av verket tilgjenggelig nÃ¥r vernetiden utlÃ¸p, " +"slik at andre kunne fÃ¥ tilgang til og kopiere verket." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "archive of" +msgstr "arkiv for" + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " +"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" +"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " +"Won't Wait: A History of Film Preservation in the United States</citetitle> " +"( Jefferson, N.C.: McFarland & Co., 1992), 36." +msgstr "" +"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " +"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" +"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " +"Won't Wait: A History of Film Preservation in the United States</citetitle> " +"( Jefferson, N.C.: McFarland & Co., 1992), 36." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These rules applied to film as well. But in 1915, the Library of Congress " +"made an exception for film. Film could be copyrighted so long as such " +"deposits were made. But the filmmaker was then allowed to borrow back the " +"deposits—for an unlimited time at no cost. In 1915 alone, there were " +"more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when " +"the copyrights to films expire, there is no copy held by any library. The " +"copy exists—if it exists at all—in the library archive of the " +"film company.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Disse reglene gjalt ogsÃ¥ for filmer. Men i 1915 gjorde kongressbiblioteket " +"et unntak for film. Filmer kunne bli opphavsrettsbeskyttet sÃ¥ lenge det ble " +"gjort slik deponering. Men filmskaperne fikk sÃ¥ lov til Ã¥ lÃ¥ne tilbake de " +"deponerte filmene—sÃ¥ lenge de ville uten noe kostnad. Bare i 1915 var " +"det mer enn 5475 filmer deponert og <quote>lÃ¥nt tilbake</quote>. Dermed var " +"det ikke noe eksemplar i noe bibliotek nÃ¥r vernetiden til filmen utlÃ¸p. " +"Eksemplaret eksisterer—hvis den finnes i det hele tatt—i " +"arkivbiblioteket til filmselskapet.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>theft.</quote> But as technology enabled " +"capturing, broadcasters relied increasingly upon the law. The law required " +"they make a copy of each broadcast for the work to be <quote>copyrighted.</" +"quote> But those copies were simply kept by the broadcasters. No library had " +"any right to them; the government didn't demand them. The content of this " +"part of American culture is practically invisible to anyone who would look." +msgstr "" +"Det samme er generelt sett sant ogsÃ¥ for TV. Fjernsynssendinger var " +"opprinnelig ikke oppphavsrettsbeskyttet—det fantes ingen mÃ¥te Ã¥ ta opp " +"kringkastinger, sÃ¥ det var ikke noe frykt for <quote>tyveri</quote>. Men " +"etter hvert som teknologien gjorde det mulig Ã¥ ta opp TV-sendinger, baserte " +"kringkastere seg i stÃ¸rre grad pÃ¥ loven. Loven krevde at de laget et " +"eksemplar av hver kringkastingssending for at verk skulle bli " +"<quote>opphavsrettsbeskyttet</quote>. Men disse eksemplarene ble kun lagret " +"hos kringkastingsselskapene. Intet bibliotek hadde noen rettigheter knyttet " +"til dem, og myndighetene gjorde ikke krav pÃ¥ dem. Innholdet fra denne delen " +"av amerikansk kultur er i praksis usynlig for alle som kunne tenke seg Ã¥ se " +"den." + +#. PAGE BREAK 123 +#. type: Content of: <book><part><chapter><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 ivret etter Ã¥ rette pÃ¥ dette. FÃ¸r 11. september 2001 hadde han og " +"hans allierte begynt Ã¥ ta opp TV. De valgte tjue stasjoner rundt om i " +"verden og trykket pÃ¥ opptaksknappen. Etter 11. september jobbet Kahle med " +"et dusin andre og valgte tjue stasjoner verden rundt og 11. oktober 2001 ut " +"alt dekningen derfra for uken rundt 11. september fritt tilgjengelig pÃ¥ " +"nett. Envher kunne se hvordan nyhetsmeldingene verden rundt dekket " +"hendelsene den dagen." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Movie Archive" +msgstr "Movie Archive" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "archive.org" +msgstr "archive.org" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Internet Archive" +msgstr "Internettarkivet" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Duck and Cover film" +msgstr "Dukk og skjul deg-film" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "ephemeral films" +msgstr "flyktige filmer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Prelinger, Rick" +msgstr "Prelinger, Rick" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Kahle had the same idea with film. Working with Rick Prelinger, whose " +"archive of film includes close to 45,000 <quote>ephemeral films</quote> " +"(meaning films other than Hollywood movies, films that were never " +"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle " +"digitize 1,300 films in this archive and post those films on the Internet to " +"be downloaded for free. Prelinger's is a for-profit company. It sells copies " +"of these films as stock footage. What he has discovered is that after he " +"made a significant chunk available for free, his stock footage sales went up " +"dramatically. People could easily find the material they wanted to use. Some " +"downloaded that material and made films on their own. Others purchased " +"copies to enable other films to be made. Either way, the archive enabled " +"access to this important part of our culture. Want to see a copy of the " +"<quote>Duck and Cover</quote> film that instructed children how to save " +"themselves in the middle of nuclear attack? Go to archive.org, and you can " +"download the film in a few minutes—for free." +msgstr "" +"Kahle hadde samme idÃ© for film. I samarbeid med Rick Relinger, hvis " +"filmarkiv inneholder nesten 45 000 <quote>flyktige filmer</quote> (i " +"betydningen filmer som ikke er Hollywood-filmer, filmer som aldri ble " +"opphavsrettsbeskyttet), etablerte Kahle Filmarkivet. Prelinger lot Kahle " +"digitalisere 1 300 filmer i dette arkivet og publisere disse filmene pÃ¥ " +"Internettet for gratis nedlasting. Prelingers selskap er et kommersielt " +"selskap og selger eksemplarer av disse filmene som klipparkiv. Det han " +"oppdaget etter at han gjorde en anseelig andel gratis tilgjengelig, var at " +"salget av klipparkivmaterialet steg dramatisk. Folk kunne nÃ¥ enkelt finne " +"materialet som de Ã¸nsket Ã¥ bruke. Noen lastet ned materialet og laget " +"filmer pÃ¥ egen hÃ¥nd. Andre kjÃ¸pte kopier for Ã¥ gjÃ¸re det mulig Ã¥ lage andre " +"filmer. Uansett gjorde arkivet det mulig Ã¥ fÃ¥ tilgang til denne viktige " +"delen av vÃ¥r kultur. Vil du se et eksemplar av <quote>Dukk og skjul deg</" +"quote>-filmen som gir barn instrukser om hvordan de skal redde seg selv " +"under et atomangrep? BesÃ¸k archive.org og du kan laste ned filmen pÃ¥ noen " +"fÃ¥ minutter—gratis." + +#. type: Content of: <book><part><chapter><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 "" +"Nok en gang gir Kahle tilgang til en del av vÃ¥r kultur som vi ellers ikke " +"ville fÃ¥tt enkel tilgang til, hvis vi i det hele tatt fikk tilgang. Det er " +"nok en del av det som definerer det tjuende Ã¥rhundret som er tapt i " +"historien. Loven krever ikke at disse eksemplarene oppevares av noen, eller " +"at de skal deponeres for Ã¥ arkiveres av noen. Dermed er det ikke noen enkel " +"mÃ¥te Ã¥ finne dem." + +#. type: Content of: <book><part><chapter><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 "" +"Og nÃ¸kkelen her er tilgang, ikke pris. Kahle Ã¸nsker Ã¥ gjÃ¸re det mulig Ã¥ fÃ¥ " +"ubegrenset tilgang til dette innholdet, men han Ã¸nsker ogsÃ¥ at andre skal ha " +"mulighet til Ã¥ selge tilgang til det. MÃ¥let hans er Ã¥ sikre konkurranse " +"rundt tilgang til denne viktige delen av kuturen vÃ¥r. Ikke i den " +"kommersielle delen av en kreativ eiendoms liv, men i lÃ¸pet av det andre " +"liven som all kreativ eiendom har—et ikke-kommersielt liv." + +#. PAGE BREAK 124 +#. type: Content of: <book><part><chapter><para> +msgid "" +"For here is an idea that we should more clearly recognize. Every bit of " +"creative property goes through different <quote>lives.</quote> In its first " +"life, if the creator is lucky, the content is sold. In such cases the " +"commercial market is successful for the creator. The vast majority of " +"creative property doesn't enjoy such success, but some clearly does. For " +"that content, commercial life is extremely important. Without this " +"commercial market, there would be, many argue, much less creativity." +msgstr "" +"For her er en idÃ© som vi bÃ¸r kjenne bedre. Hver bit av kreativ eiendom gÃ¥r " +"igjennom ulike <quote>liv</quote>. I dens fÃ¸rste liv, hvis skaperen er " +"heldig, blir innholdet solgt. I slike tilfeller er det kommersielle " +"markedet en suksess for skaperen. Det store flertallet av kreativ eiendom " +"nyter ikke slik suksess, men noen gjÃ¸r helt klart dette. For det innholdet " +"er kommersielt liv ekstremt viktig. Uten dette kommersielle markedet hevder " +"mange at det ville vÃ¦rt mindre kreativitet." + +#. type: Content of: <book><part><chapter><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 at det kommersielle livet til kreativ eiendom har tatt slutt, har vÃ¥r " +"tradisjon alltid stÃ¸ttet opp om et andre liv. En avis leverer nyheter hver " +"dag pÃ¥ dÃ¸rkarmen til Amerika. Neste dag blir det brukt til Ã¥ pakke inn fiks " +"eller fylle bokser med skjÃ¸re gaver eller til Ã¥ bygge et arkiv med kunnskap " +"om vÃ¥r historie. Dette er det andre live, der innholdet kan fortsatt " +"informere selv om informasjonen ikke lenger blir solgt." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " +"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " +"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5 " +"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " +"only 2.2 percent were in print in 2002. R. Anthony Reese, <quote>The First " +"Sale Doctrine in the Era of Digital Networks,</quote> <citetitle>Boston " +"College Law Review</citetitle> 44 (2003): 593 n. 51." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " +"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " +"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5. " +"september 1997, ved Metro Lake 1L. For bÃ¸ker publisert mellom 1927 og 1946, " +"var kun 2,2 prosent fortsatt tilgjengelig fra forlaget 2002. R. Anthony " +"Reese, <quote>The First Sale Doctrine in the Era of Digital Networks,</" +"quote> <citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51." +"Dave barns, \"fledgling karriere i antikke bÃ¸ker: woodstock utleier, bar " +"eier starter et nytt kapittel ved Ã¥ innta virksomhet,\" chicago tribune, 5 " +"september 1997, pÃ¥ t lake 1 l. bÃ¸ker publisert mellom 1927 og 1946, bare 2,2 " +"prosent var i Skriv ut i 2002. r. anthony reese, \"den fÃ¸rste salg doktrinen " +"i tid med digitale nettverk,\" boston college lov gÃ¥ gjennom 44 (2003): 593 " +"n. 51." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The same has always been true about books. A book goes out of print very " +"quickly (the average today is after about a year<placeholder type=\"footnote" +"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " +"without the copyright owner getting anything and stored in libraries, where " +"many get to read the book, also for free. Used book stores and libraries are " +"thus the second life of a book. That second life is extremely important to " +"the spread and stability of culture." +msgstr "" +"Det samme har alltid vÃ¦rt tilfelle for bÃ¸ker. En bok blir utsolgt fra " +"forlaget svÃ¦rt raskt (i dag skjer det i snitt etter et Ã¥r<placeholder type=" +"\"footnote\" id=\"0\"/>). Etter at den er utsolgt fra forlaget kan den " +"selges i bruktbokhandler uten at opphavsrettsinnehaveren fÃ¥r noe. Den kan " +"ogsÃ¥ oppbevares i biblioteker, hvor mange fÃ¥r mulighet til Ã¥ lese boken, " +"helt gratis. Bruktbokhandler og biblioteker er dermed det andre livet til en " +"bok. Dette andre livet er ekstremt viktig for spredningen og stabiliteten " +"til kulturen." + +#. type: Content of: <book><part><chapter><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 "" +"Likevel gjelder i stadig mindre grad antagelsen om et stabilt annet liv for " +"kreativ eiendom de viktigste komponentene som utgjÃ¸r populÃ¦rkulturen i det " +"tjuende og tjuefÃ¸rste Ã¥rhundre. For disse—TV, filmer, musikk, radio, " +"Internettet—finnes det ingen garanti for et annet liv. For denne " +"typen kultur, er det som om vi har byttet ut biblioteker med Barnes & " +"Noble-supermarkeder. Med denne kulturen er det ingenting annet tilgjengelig " +"enn det som et visst begrenset marked etterspÃ¸r. Ut over det forsvinner " +"kulturen." + +#. PAGE BREAK 125 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>For most of</emphasis> the twentieth century, it was " +"economics that made this so. It would have been insanely expensive to " +"collect and make accessible all television and film and music: The cost of " +"analog copies is extraordinarily high. So even though the law in principle " +"would have restricted the ability of a Brewster Kahle to copy culture " +"generally, the real restriction was economics. The market made it impossibly " +"difficult to do anything about this ephemeral culture; the law had little " +"practical effect." +msgstr "" +"<emphasis role='strong'>I det meste</emphasis> av det tjuende Ã¥rhundre var " +"det Ã¸konomi som sÃ¸rget for dette. Det ville vÃ¦rt sinnsykt dyrt a samle og " +"gjÃ¸re alt av TV, film og musikk tilgjengelig: Kostnaden for analoge " +"eksemplarer er ekstremt hÃ¸y. SÃ¥ selv om loven i prinsippet ville ha " +"begrenset muligheten for en som Brewster Kahle til Ã¥ kopiere kulturen " +"generelt, sÃ¥ var den reelle begresningen Ã¸konomi. Markedet gjorde det helt " +"umulig Ã¥ gjÃ¸re noe med denne flyktige kulturen. Loven hadde liten praktisk " +"effekt." + +#. type: Content of: <book><part><chapter><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 den viktigste enkeltegenskapen i den digitale revolusjonen er at for " +"fÃ¸rste gang siden biblioteket i Aleksandria er det gjennomfÃ¸rbart Ã¥ tenke " +"seg Ã¥ lage et arkiv som kan holde all kultur som er produsert eller " +"distribuert offentlig. Teknologien gjÃ¸r det mulig Ã¥ forestille seg et arkiv " +"med alle bÃ¸ker som er publisert, og gjÃ¸r det stadig enklere Ã¥ forestille seg " +"et arkiv over alle bevegelige bilder og lyd." + +#. type: Content of: <book><part><chapter><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 for dette potensielle arkivet er noe vi aldri har forstilt oss " +"fÃ¸r. Folk som Brewster Kahle har drÃ¸mt om det opp igjennom historien, men " +"vi er for fÃ¸rste gang ved et punkt der denne drÃ¸mmen er mulig. Som Kahle " +"beskriver det," + +#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary> +msgid "total number of" +msgstr "totalt antall" + +#. type: Content of: <book><part><chapter><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 til at det er omtrent to til tre millioner opptak av musikk. I " +"gjennom hele historien. Det er omtrent hundre tusen kinofilmer utgitt, " +"… og omtrent en til to millioner filmer [distribuert] i lÃ¸pet av det " +"tjuende Ã¥rhundret. Det finnes omtrente tjueseks millioner ulike boktitler. " +"Alt dette vil fÃ¥ plass pÃ¥ datamaskiner som ville fÃ¥ plas i dette rommet og " +"et lite firma villa ha rÃ¥d til det. SÃ¥ vi er ved et vendepunkt i " +"historien. Universell tilgang er mÃ¥let. Og utsikten til Ã¥ fÃ¥ et annet liv " +"basert pÃ¥ dette er … spennende. Det kan bli en av de tingene som " +"menneskeheten ville vÃ¦re mest stolt av. Helt der oppe blant biblioteket i " +"Aleksandria, plassere en mann pÃ¥ mÃ¥nen, og oppfinnelsen av trykkpressen." + +#. PAGE BREAK 126 +#. type: Content of: <book><part><chapter><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. <emphasis>When</emphasis> the commercial " +"life of creative property ends, I don't know. But it does. And whenever it " +"does, Kahle and his archive hint at a world where this knowledge, and " +"culture, remains perpetually available. Some will draw upon it to understand " +"it; some to criticize it. Some will use it, as Walt Disney did, to re-create " +"the past for the future. These technologies promise something that had " +"become unimaginable for much of our past—a future <emphasis>for</" +"emphasis> our past. The technology of digital arts could make the dream of " +"the Library of Alexandria real again." +msgstr "" +"Kahle er ikke den eneste bibliotekaren. Internetarkivet er ikke det eneste " +"arkivet. Men Kahle og Internetarkivet antyder hva fremtiden for biblioteker " +"eller arkiver kunne vÃ¦re. Jeg vet ikke <emphasis>nÃ¥r</emphasis> det " +"kommersielle liven til kreativ eiendom tar slutt. Men det gjÃ¸r det. Og " +"uansett nÃ¥r det skjer, hinter Kahle og hans arkiv om en verden hvor denne " +"kunnskapen, og kulturen, forblir tilgjengelig til evig tid. Noen vil bruke " +"det for Ã¥ forstÃ¥ det. Andre for Ã¥ kritisere det. Noen vil bruke det, slik " +"Walt Disney gjorde, for Ã¥ gjenskape fortiden for fremtiden. Disse " +"teknologiene har lovnaden om noe som hadde blitt umulig Ã¥ tenke seg i store " +"deler av vÃ¥r fortid—en fremtid <emphasis>for</emphasis> vÃ¥r fortid. " +"Teknologien til digital kunst kunne gjÃ¸re drÃ¸mmen om biblioteket i " +"Aleksandria virkelig igjen." + +#. type: Content of: <book><part><chapter><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 <quote>archives,</quote> as warm as the idea of a <quote>library</" +"quote> might seem, the <quote>content</quote> that is collected in these " +"digital spaces is also someone's <quote>property.</quote> And the law of " +"property restricts the freedoms that Kahle and others would exercise." +msgstr "" +"Teknologer har dermed fjernet den Ã¸konomiske kostnaden med Ã¥ bygge et slikt " +"arkiv. Men advokatkostnadene bestÃ¥r. For uansett hvor mye vi Ã¸nsker Ã¥ " +"kalle dette <quote>arkiver</quote>, og uansett hvor koselig idÃ©en om et " +"<quote>bibliotek</quote> kan virke, sÃ¥ er <quote>innholdet</quote> som er " +"samlet i disse digitale omrÃ¥dene ogsÃ¥ noens <quote>eiendom</quote>. Og " +"eiendoms-lover begrenser friheten til folk som Kahle." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER TEN: <quote>Property</quote>" +msgstr "Kapittel ti: <quote>Eiendom</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Johnson, Lyndon" +msgstr "Johnson, Lyndon" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Kennedy, John F." +msgstr "Kennedy, John F." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of " +"the Motion Picture Association of America since 1966. He first came to " +"Washington, D.C., with Lyndon Johnson's administration—literally. The " +"famous picture of Johnson's swearing-in on Air Force One after the " +"assassination of President Kennedy has Valenti in the background. In his " +"almost forty years of running the MPAA, Valenti has established himself as " +"perhaps the most prominent and effective lobbyist in Washington." +msgstr "" +"<emphasis role='strong'>Jack Valenti</emphasis> har vÃ¦rt president for " +"Motion Picture Assication of America siden 1966. Han ankom Washing D.C. med " +"Lyndon Johnson-administrasjonen—bokstavlig talt. PÃ¥ det berÃ¸mte " +"bildet av edsavleggingen til Johnson pÃ¥ Air Force One etter snikmordet pÃ¥ " +"president Kennedy befinner Valenti seg i bakgrunnen. I sine nesten fÃ¸rt Ã¥r " +"som leder av MPAA har Valenti etablert seg som kanskje den mest synlige og " +"effektive lobbyisten i Washington." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Sony Pictures Entertainment" +msgstr "Sony Pictures Entertainment" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "MGM" +msgstr "MGM" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Paramount Pictures" +msgstr "Paramount Pictures" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Twentieth Century Fox" +msgstr "Twentieth Century Fox" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Universal Pictures" +msgstr "Universal Pictures" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Warner Brothers" +msgstr "Warner Brothers" + +#. type: Content of: <book><part><chapter><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 grenen av den internasjonale filmforeningen. Den ble " +"stiftet i 1922 som en handelsforening hvis mÃ¥l var Ã¥ forsvare amerikanske " +"filmer mot Ã¸kende kritikk innenlands. Organisasjonen representerer nÃ¥ ikke " +"bare filmskapere, med ogsÃ¥ produsenter og distributÃ¸rer av underholdning for " +"TV, video og kabel-TV. Styret er satt sammen av styrelederne og " +"presidentene i de syv stÃ¸rste produsentene og distributÃ¸rene for film og TV-" +"programmer i USA: Walt Disney, Sony Pictures Entertainment, MGM, Paramount " +"Pictures, Twentieth Centory Fox, Universal Studios og Warner Brothers." + +#. PAGE BREAK 128 +#. type: Content of: <book><part><chapter><para> +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 den tredje presidenten for MPAA. Ingen president fÃ¸r han har " +"hatt like mye innflytelse over organisasjonen, eller over Washington. " +"Valenti, som kommer fra Texas, har mestret den viktigste politiske " +"enkeltferdighet som trengs av en fra sÃ¸rstatene—evnen til Ã¥ fremstÃ¥ " +"enkel og treg mens en skjuler sitt lynraske intellekt. Valenti spiller " +"fortsatt en enkel og ydmyk man. Men denne mannen, med MBA fra Harward har " +"skrevet fire bÃ¸ker, fullfÃ¸rt videregÃ¥ende skole i en alder av femten Ã¥r og " +"flÃ¸yet mer enn femti kampoppdrag under andre verdenskrig, er ingen Mr. " +"Smith. Da Valenti dro til Washington mestret han byen like godt som en " +"innfÃ¸dt." + +#. type: Content of: <book><part><chapter><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 " +"<quote>creative property.</quote>" +msgstr "" +"Ved Ã¥ forsvare kunstnerisk frihet og ytringsfrihet som vÃ¥r kultur er " +"avhengig av, sÃ¥ har MPAA gjort viktig og positivt arbeide. Ved Ã¥ utarbeide " +"MPAAs klassifiseringsystem har de antagelig unngÃ¥tt betydelig skade pÃ¥ " +"talefriheten. Men det er et aspekt ved organisasjonens mÃ¥l som bÃ¥de er det " +"mest radikale og det viktigste. Dette er organisasjonens innsats, " +"personifisert i alt Valenti gjÃ¸r, for Ã¥ omdefiniere betydningen av " +"<quote>kreativ eiendom</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In 1982, Valenti's testimony to Congress captured the strategy perfectly:" +msgstr "" +"Valentis vitnemÃ¥l i 1982 til kongressen fanget denne strategien perfekt:" + +#. f1 +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. " +"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, " +"Civil Liberties, and the Administration of Justice of the Committee on the " +"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 " +"(testimony of Jack Valenti)." +msgstr "" +"Hjem registrering av opphavsrettslig beskyttet verk: hearings pÃ¥ hr 4783, hr " +"4794, hr 4808, hr 5250, hr 5488 og hr 5705 fÃ¸r subcommittee on domstoler, " +"borgerrettigheter og administrasjonen av rettferdighet av committee on " +"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 " +"(vitnesbyrd om jack valenti)." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"No matter the lengthy arguments made, no matter the charges and the counter-" +"charges, no matter the tumult and the shouting, reasonable men and women " +"will keep returning to the fundamental issue, the central theme which " +"animates this entire debate: <emphasis>Creative property owners must be " +"accorded the same rights and protection resident in all other property " +"owners in the nation</emphasis>. That is the issue. That is the question. " +"And that is the rostrum on which this entire hearing and the debates to " +"follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 129 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The strategy of this rhetoric, like the strategy of most of Valenti's " +"rhetoric, is brilliant and simple and brilliant because simple. The " +"<quote>central theme</quote> to which <quote>reasonable men and women</" +"quote> will return is this: <quote>Creative property owners must be accorded " +"the same rights and protections resident in all other property owners in the " +"nation.</quote> There are no second-class citizens, Valenti might have " +"continued. There should be no second-class property owners." +msgstr "" +"Strategien for denne retorikken, som strategien til det meste av Valentis " +"retorikk, er strÃ¥lende og enkel og strÃ¥lede fordi den er enkel. Det " +"<quote>sentrale temaet</quote> som <quote>fornuftige menn og kvinner</quote> " +"vil komme tilbake til er dette: <quote>Kreative eiendomseiere mÃ¥ fÃ¥ de samme " +"rettigheter og beskyttelse som gis til alle andre eiendomseiere i nasjonen</" +"quote>. Det finnes ikke annenrangs borgere, kunne Valenti fortsatt. Det " +"bÃ¸r ikke finnes noen annenrangs eiendomseiere." + +#. type: Content of: <book><part><chapter><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 <emphasis>anyone</emphasis> who is serious in this debate than this " +"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " +"perhaps the nation's foremost extremist when it comes to the nature and " +"scope of <quote>creative property.</quote> His views have <emphasis>no</" +"emphasis> reasonable connection to our actual legal tradition, even if the " +"subtle pull of his Texan charm has slowly redefined that tradition, at least " +"in Washington." +msgstr "" +"Denne pÃ¥standen har en Ã¥penbar og kraftig intuitiv appell. Den er uttrykt " +"med slik klarhet for Ã¥ gjÃ¸re idÃ©en like Ã¥penbar som oppfatningen om at vi " +"bruker avstemming for Ã¥ velge presidenter. Men faktum er at det ikke er mer " +"ekstreme pÃ¥stander fremmet av <quote>noen</quote> som er seriÃ¸s i denne " +"debatten enn denne pÃ¥standen fra Valenti. Jack Valenti, uansett hvor " +"hyggelig og brilliant han fremstÃ¥r, er kanskje nasjonens fremste ekstremist " +"nÃ¥r det gjelder egenskapene og rekkeviden for <quote>kreativ eiendom</" +"quote>. Hans syn har <emphasis>ingen</emphasis> fornuftig forbindelse til " +"vÃ¥r faktiske juridiske tradisjon, selv om subtile pÃ¥virkning fra hans Texas-" +"sjarm sakte har endret definisjonen pÃ¥ denne tradisjonen, i hvert fall i " +"Washington." + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a " +"bundle of rights that are sometimes associated with a particular object. " +"Thus, my <quote>property right</quote> to my car gives me the right to " +"exclusive use, but not the right to drive at 150 miles an hour. For the best " +"effort to connect the ordinary meaning of <quote>property</quote> to " +"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property " +"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), " +"26–27." +msgstr "" +"Advokater snakker ikke om <quote>eiendom</quote> som en absolutt ting, men " +"som en samling med rettigheter som noen ganger er knyttet til et bestemt " +"objekt. Dermed gir <quote>eiendomsretten</quote> min til bilen min meg en " +"ekslusiv rett til Ã¥ bruke den, men ikke retten til Ã¥ kjÃ¸re i 200 kilometer i " +"timen. For det beste forsÃ¸ket pÃ¥ Ã¥ knytte den vanlige betydningen av " +"<quote>eiendom</quote> til <quote>advokatsprÃ¥k</quote>, se Bruce Ackerman, " +"<citetitle>Private Property and the Constitution</citetitle> (New Haven: " +"Yale University Press 1977), 26–27." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"While <quote>creative property</quote> is certainly <quote>property</quote> " +"in a nerdy and precise sense that lawyers are trained to understand," +"<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor " +"should it be, that <quote>creative property owners</quote> have been " +"<quote>accorded the same rights and protection resident in all other " +"property owners.</quote> Indeed, if creative property owners were given the " +"same rights as all other property owners, that would effect a radical, and " +"radically undesirable, change in our tradition." +msgstr "" +"Mens <quote>kreativ eiendom</quote> helt klart er <quote>property</quote> pÃ¥ " +"en nerdete og presis mÃ¥te som advokater er trent til Ã¥ forstÃ¥,<placeholder " +"type=\"footnote\" id=\"0\"/> sÃ¥ har det aldri vÃ¦rt tilfelle, og det bÃ¸r det " +"heller ikke vÃ¦re, at <quote>eiere av kreativ eiendom</quote> har fÃ¥tt " +"<quote>tildelt de samme rettigheter og beskyttelser som alle andre " +"eiendomseiere</quote>. Faktisk ville det vÃ¦re en radikal og radikalt " +"uÃ¸nsket endring i vÃ¥r tradisjon hvis eiere av kreativ eiendom ble gitt de " +"samme rettighetene som alle andre eiendomseiere." + +#. type: Content of: <book><part><chapter><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 snakker pÃ¥ vegne av en industri som ikke bryr " +"seg om vÃ¥r tradisjon og verdiene den representerer. Han snakker i stedet " +"for en industri som sloss for Ã¥ gjeninnfÃ¸re tradisjonen som britene gjorde " +"slutt pÃ¥ i 1710. I verden skapt av endringene Valenti foreslÃ¥r, vil noen fÃ¥ " +"mektige aktÃ¸rer utÃ¸ve kraftig kontroll over hvordan vÃ¥r kreative kultur fÃ¥r " +"utvikle seg." + +#. PAGE BREAK 130 +#. type: Content of: <book><part><chapter><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 formÃ¥l med dette kapittelet. Dte fÃ¸rste er Ã¥ overbevise deg om " +"at historisk sett er Valentis pÃ¥stander helt gale. Det andre er Ã¥ " +"overbevise deg om at det ville vÃ¦re forferdelig galt av oss Ã¥ avvise fÃ¥r " +"historie. Vi har alltid behandlet kreative eiendomsretter forskjellig fra " +"rettighetene som hÃ¸rer til alle andre eiendomseiere. De har aldri vÃ¦rt " +"like. Og de bÃ¸r aldri bli like, uansett hvor lite intititivt det kan virke, " +"for Ã¥ gjÃ¸re dem like ville vÃ¦re Ã¥ fundamentalt svekke muligheten for nye " +"skapere til Ã¥ skape. Kreativitet er avhengig av at eierne av kreativitet " +"ikke har perfekt kontroll." + +#. type: Content of: <book><part><chapter><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." +msgstr "" +"Organisasjoner som MPAA, der styret inkluderer de mektigste av den gamle " +"garde, hra liten interesse, pÃ¥ tross av deres retorikk, i Ã¥ sikre at det nye " +"kan erstatte dem. Ingen organisasjon har det. Ingen person har det. (SpÃ¸r " +"for eksempel meg om ansettelsestrygghet.) Men det som er bra for MPA er " +"ikke nÃ¸dvendigvis bra for Amerika. Et samfunn som forsvarer idealene til en " +"fri kultur mÃ¥ ta vare pÃ¥ spesielt muligheten for ny kreativitet til Ã¥ true " +"den gamle." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>To get</emphasis> just a hint that there is " +"something fundamentally wrong in Valenti's argument, we need look no further " +"than the United States Constitution itself." +msgstr "" +"<emphasis role='strong'>For Ã¥ fÃ¥</emphasis> et lite hint om at det er noe " +"fundamentalt galt med Valentis argument trenger vi ikke se lenger en til " +"grunnloven til USA." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The framers of our Constitution loved <quote>property.</quote> Indeed, so " +"strongly did they love property that they built into the Constitution an " +"important requirement. If the government takes your property—if it " +"condemns your house, or acquires a slice of land from your farm—it is " +"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay " +"you <quote>just compensation</quote> for that taking. The Constitution thus " +"guarantees that property is, in a certain sense, sacred. It cannot " +"<emphasis>ever</emphasis> be taken from the property owner unless the " +"government pays for the privilege." +msgstr "" +"Forfatterne av vÃ¥r grunnlov elsket <quote>eiendom</quote>. De elsket de " +"eiendom sÃ¥ sterkt at de bygde inn en viktig forutsetning i grunnloven. Hvis " +"myndigheten tar din eiendom—hvis den kondemnerer huset ditt eller " +"eksproprierer et stykke land fra gÃ¥rden din—sÃ¥ er det et krav, i fÃ¸lge " +"det femte grunnlovstilleggets <quote>beslagleggings-avsnitt</quote>, at du " +"mÃ¥ fÃ¥ <quote>rimelig kompensasjon</quote> hvis noe blir beslaglagt. " +"Grunnloven garanterer dermed at eiendom pÃ¥ en mÃ¥te er urenkelig. Den kan " +"<emphasis>aldri</emphasis> tas fra eiendomseieren med mindre myndighetene " +"betaler for det privilegiet." + +#. PAGE BREAK 131 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet the very same Constitution speaks very differently about what Valenti " +"calls <quote>creative property.</quote> In the clause granting Congress the " +"power to create <quote>creative property,</quote> the Constitution " +"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> " +"Congress take back the rights that it has granted and set the " +"<quote>creative property</quote> free to the public domain. Yet when " +"Congress does this, when the expiration of a copyright term <quote>takes</" +"quote> your copyright and turns it over to the public domain, Congress does " +"not have any obligation to pay <quote>just compensation</quote> for this " +"<quote>taking.</quote> Instead, the same Constitution that requires " +"compensation for your land requires that you lose your <quote>creative " +"property</quote> right without any compensation at all." +msgstr "" +"Likevel snakker den samme grunnloven svÃ¦rt annerledes om det Valenti " +"kaller <quote>kreativ eiendom</quote>. I *clause* som gir kongressen " +"myndighet til Ã¥ skape <quote>creativ eiendom</quote>, " +"<emphasis>krever</emphasis> grunnloven at kongressen etter en " +"<quote>begrenset tid</quote> tar tilbake rettighetene den har delt ut " +"og lar den <quote>kreative eiendommen</quote> falle i det fri og bli " +"allemannseie. Men nÃ¥r kongressen gjÃ¸r dette, nÃ¥r utlÃ¸pet av " +"vernetiden <quote>tar</quote> din opphavsrett og overleverer den til " +"allemannseiet, sÃ¥ har ikke kongressen noe pÃ¥legg om Ã¥ betale " +"<quote>rimelig kompensasjon</quote> for denne <quote>beslaget</quote>. " +"I stedet krever den samme konstitusjonen som krever kompensasjon nÃ¥r " +"det gjelder landomrÃ¥der at du skal miste din <quote>kreative " +"eiendom</quote> helt uten kompensasjon overhodet." + +#. type: Content of: <book><part><chapter><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 "" +"Grunnloven sier dermed rett frem at disse to formene for eiendom ikke skal " +"tildeles de samme rettighetene. De skal tydelig behandles forskjellig. " +"Valenti ber dermed ikke bare om at vÃ¥r tradisjon skal endres nÃ¥r an " +"argumenterer med at eiere av kreativ eiendom skal fÃ¥ de samme rettighetene " +"som enhver annen eiendomseier. Han argumenterer i effekt for Ã¥ endre " +"grunnloven selv." + +#. type: Content of: <book><part><chapter><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 "" +"Ã argumentere for en endring i grunnlvoen vÃ¥r er ikke nÃ¸dvendigvis galt. " +"Det var mye i vÃ¥r originale grunnlov som helt tydelig var galt. Grunnloven " +"av 1789 *entrenched* slaveri. Den sa at senatorer skulle utnevnes i stedet " +"for Ã¥ bli valgt. Den gjorde det mulig Ã¥ fÃ¥ en valgforsamling som ga like " +"mange stemmer til presidenten og hans egen visepresident (som den gjorde i " +"1800). Grunnlovsforfatterne var uten tvil ekstraordinÃ¦re, men jeg vil vÃ¦re " +"den fÃ¸rste til Ã¥ innrÃ¸mme at de gjorde store feil. Vi har siden avvist noen " +"av disse feilene, og det er uten tvil andre som vi ogsÃ¥ burde avvise. SÃ¥ " +"argumentet mitt er ikke at bare pÃ¥ grunn av at Jefferson gjorde det, sÃ¥ bÃ¸r " +"vi ogsÃ¥ gjÃ¸re det." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Instead, my argument is that because Jefferson did it, we should at least " +"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " +"property types that they were, reject the claim that creative property be " +"given the same rights as all other property? Why did they require that for " +"creative property there must be a public domain?" +msgstr "" +"I stedet er mitt argument at pÃ¥ grunn av at Jefferson gjorde det, bÃ¸r vi i " +"det minste forsÃ¸ke Ã¥ forstÃ¥ <emphasis>hvorfor</emphasis>. Hvorfor avviste " +"grunnlovsforfatterne, som jo var fanatiske eiendomstilhengere, avvise " +"pÃ¥standen om at kreativ eiendom skulle tildeles de samme rettighetene som " +"all annen eiendom? Hvorfor krevde de at for kreativ eiendom mÃ¥ det finnes " +"et allemannseie?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"To answer this question, we need to get some perspective on the history of " +"these <quote>creative property</quote> rights, and the control that they " +"enabled. Once we see clearly how differently these rights have been " +"defined, we will be in a better position to ask the question that should be " +"at the core of this war: Not <emphasis>whether</emphasis> creative property " +"should be protected, but how. Not <emphasis>whether</emphasis> we will " +"enforce the rights the law gives to creative-property owners, but what the " +"particular mix of rights ought to be. Not <emphasis>whether</emphasis> " +"artists should be paid, but whether institutions designed to assure that " +"artists get paid need also control how culture develops." +msgstr "" +"For Ã¥ besvare dette spÃ¸rsmÃ¥let trenger vi Ã¥ fÃ¥ litt perspektiv pÃ¥ " +"historien til disse <quote>kreativ eiendomsrettene</quote>, og " +"kontrollen de har muliggjort. NÃ¥r vi klarere ser hvor forskjellig " +"disse rettighetene har vÃ¦rt definert, sÃ¥ har vi bedre mulighet til Ã¥ " +"stille spÃ¸rsmÃ¥lene som bÃ¸r vÃ¦re i kjernen av denne krigen: Ikke " +"<emphasis>hvorvidt</emphasis> kreativ eiendom bÃ¸r beskyttes, men " +"hvordan. Ikke <emphasis>hvorvidt</emphasis> vi vil hÃ¥ndheve " +"rettighetene som lovverket gir til eiere av kreativ eiendom, men " +"hvordan den spesifikk blandingen av rettigheter bÃ¸r vÃ¦re. Ikke " +"<emphasis>hvorvidt</emphasis> artister bÃ¸r fÃ¥ betalt, men hvorvidt " +"institusjoner utformet for Ã¥ sikre at artister fÃ¥r betalt ogsÃ¥ mÃ¥ " +"kontrollere hvordan kultur utvilker seg." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "four modalities of constraint on" +msgstr "fire modalitetene for begrensningen pÃ¥" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "regulation" +msgstr "regulering" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "four modalities of" +msgstr "fire modalitetene for" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "as ex post regulation modality" +msgstr "som ex post regulering modality" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "as constraint modality" +msgstr "som betingelse modality" + +#. PAGE BREAK 132 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"To answer these questions, we need a more general way to talk about how " +"property is protected. More precisely, we need a more general way than the " +"narrow language of the law allows. In <citetitle>Code and Other Laws of " +"Cyberspace</citetitle>, I used a simple model to capture this more general " +"perspective. For any particular right or regulation, this model asks how " +"four different modalities of regulation interact to support or weaken the " +"right or regulation. I represented it with this diagram:" +msgstr "" +"Hvis du vil svare pÃ¥ disse spÃ¸rsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " +"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " +"generell mÃ¥te enn smale sprÃ¥ket i loven tillater. i koden og andre lover av " +"cyberspace brukte jeg en enkel modell for Ã¥ fange dette mer generelle " +"perspektivet. for en bestemt rettighet eller regulering, denne modellen spÃ¸r " +"hvordan fire forskjellige modalitetene for regulering samhandler for Ã¥ " +"stÃ¸tte eller svekke hÃ¸yre eller regulering. Jeg representerte det med dette " +"diagrammet:" + +#. type: Content of: <book><part><chapter><figure><title> +#, mtrans, fuzzy +msgid "" +"How four different modalities of regulation interact to support or weaken " +"the right or regulation." +msgstr "" +"Hvordan fire forskjellige modalitetene for regulering samhandle Ã¥ stÃ¸tte " +"eller svekke hÃ¸yre eller regulering." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1331.png\"></graphic>" +msgstr "<graphic fileref=\"images/1331.png\"></graphic>" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"At the center of this picture is a regulated dot: the individual or group " +"that is the target of regulation, or the holder of a right. (In each case " +"throughout, we can describe this either as regulation or as a right. For " +"simplicity's sake, I will speak only of regulations.) The ovals represent " +"four ways in which the individual or group might be regulated— either " +"constrained or, alternatively, enabled. Law is the most obvious constraint " +"(to lawyers, at least). It constrains by threatening punishments after the " +"fact if the rules set in advance are violated. So if, for example, you " +"willfully infringe Madonna's copyright by copying a song from her latest CD " +"and posting it on the Web, you can be punished with a $150,000 fine. The " +"fine is an ex post punishment for violating an ex ante rule. It is imposed " +"by the state. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"midt pÃ¥ dette bildet er et regulert punkt: pÃ¥ personen eller gruppen som er " +"mÃ¥let 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 " +"mÃ¥ter der personen eller gruppen kan reguleres—enten begrenset eller, " +"alternativt, aktivert. loven er den mest Ã¥penbare begrensningen (til " +"advokater, minst). den begrenser ved truende straffene etter faktum Hvis " +"reglene satt pÃ¥ forhÃ¥nd er brutt. sÃ¥ hvis for eksempel du willfully krenke " +"madonna's copyright ved Ã¥ kopiere en sang fra hennes siste CD-ROMen, og " +"bokfÃ¸re det\\/den pÃ¥ weben, kan du bli straffet med en $150.000 fine. fine " +"er en ex post straff for Ã¥ bryte en ex ante regelen. Det er pÃ¥lagt av staten." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "norms, regulatory influence of" +msgstr "normer, reguleringspÃ¥virkning fra" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Norms are a different kind of constraint. They, too, punish an individual " +"for violating a rule. But the punishment of a norm is imposed by a " +"community, not (or not only) by the state. There may be no law against " +"spitting, but that doesn't mean you won't be punished if you spit on the " +"ground while standing in line at a movie. The punishment might not be harsh, " +"though depending upon the community, it could easily be more harsh than many " +"of the punishments imposed by the state. The mark of the difference is not " +"the severity of the rule, but the source of the enforcement." +msgstr "" +"normer er en annen type betingelse. de, ogsÃ¥, straffe en person for Ã¥ bryte " +"en regel. men straffen av en normen er pÃ¥lagt 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 pÃ¥ bakken mens du " +"stÃ¥r i kÃ¸ pÃ¥ en film. straff kan ikke vÃ¦re harde, men avhengig av samfunnet, " +"det kan lett bli mer harde enn mange av straffene pÃ¥lagt av staten. Merk av " +"differansen er ikke av alvorlighetsgraden av regelen, men kilden for " +"hÃ¥ndhevelse." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "market constraints" +msgstr "markedskonsentrasjon" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The market is a third type of constraint. Its constraint is effected through " +"conditions: You can do X if you pay Y; you'll be paid M if you do N. These " +"constraints are obviously not independent of law or norms—it is " +"property law that defines what must be bought if it is to be taken legally; " +"it is norms that say what is appropriately sold. But given a set of norms, " +"and a background of property and contract law, the market imposes a " +"simultaneous constraint upon how an individual or group might behave." +msgstr "" +"markedet er en tredje type betingelse. betingelsen er berÃ¸rt gjennom " +"betingelser: du kan gjÃ¸re x Hvis du betaler y; vil du fÃ¥ betalt m Hvis du " +"gjÃ¸r n. slike betingelser er Ã¥penbart ikke uavhengig av loven eller " +"normer—det er regler som definerer hva mÃ¥ kjÃ¸pes Hvis det er Ã¥ bli " +"tatt lovlig; Det er normer som sier hva selges pÃ¥ riktig mÃ¥te. men gitt et " +"sett av normer og bakgrunn av eiendom og kontrakt lov, markedet pÃ¥legger en " +"samtidige begrensning pÃ¥ hvor en person eller gruppe kan oppfÃ¸re seg." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "architecture, constraint effected through" +msgstr "arkitektur, begrensninger med opphav i" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Finally, and for the moment, perhaps, most mysteriously, " +"<quote>architecture</quote>—the physical world as one finds it—" +"is a constraint on behavior. A fallen bridge might constrain your ability " +"to get across a river. Railroad tracks might constrain the ability of a " +"community to integrate its social life. As with the market, architecture " +"does not effect its constraint through ex post punishments. Instead, also as " +"with the market, architecture effects its constraint through simultaneous " +"conditions. These conditions are imposed not by courts enforcing contracts, " +"or by police punishing theft, but by nature, by <quote>architecture.</quote> " +"If a 500-pound boulder blocks your way, it is the law of gravity that " +"enforces this constraint. If a $500 airplane ticket stands between you and a " +"flight to New York, it is the market that enforces this constraint." +msgstr "" +"til slutt, og for Ã¸yeblikket, kanskje mest mysteriously \"arkitektur\"—" +"den fysiske verden som en finner den—er en begrensning pÃ¥ atferd. en " +"falne bro kan begrense din evne til Ã¥ komme over en elv. Railroad tracks kan " +"begrense evnen til et fellesskap for Ã¥ integrere sin sosiale liv. som med " +"markedet, pÃ¥virker ingen arkitektur betingelsen gjennom ex post straffene. i " +"stedet, ogsÃ¥ som med markedet, arkitektur effekter betingelsen gjennom " +"samtidige forhold. disse betingelsene er pÃ¥lagt ikke av domstolene hÃ¥ndheve " +"kontrakter, eller av politiet straffe tyveri, men av natur, \"arkitektur.\" " +"Hvis en 500-pund kampestein blokkerer deg, det er lov av tyngdekraften som " +"gjennomfÃ¸rer denne betingelsen. Hvis en $500 flybillett stÃ¥r mellom deg og " +"et fly til new york, er det markedet som hÃ¥ndhever denne betingelsen." + +#. PAGE BREAK 134 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"So the first point about these four modalities of regulation is obvious: " +"They interact. Restrictions imposed by one might be reinforced by another. " +"Or restrictions imposed by one might be undermined by another." +msgstr "" +"sÃ¥ det fÃ¸rste punktet om disse fire metoder av regulering er Ã¥penbare: de " +"samhandler. restriksjoner pÃ¥lagt av en kan bli forsterket av en annen. eller " +"restriksjoner pÃ¥lagt av en kan bli undergravd av en annen." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The second point follows directly: If we want to understand the effective " +"freedom that anyone has at a given moment to do any particular thing, we " +"have to consider how these four modalities interact. Whether or not there " +"are other constraints (there may well be; my claim is not about " +"comprehensiveness), these four are among the most significant, and any " +"regulator (whether controlling or freeing) must consider how these four in " +"particular interact." +msgstr "" +"det andre punktet fÃ¸lger direkte: Hvis vi Ã¸nsker Ã¥ forstÃ¥ effektiv friheten " +"som noen har pÃ¥ et gitt Ã¸yeblikk Ã¥ gjÃ¸re noen bestemt ting, vi har til Ã¥ " +"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser " +"(det kan godt vÃ¦re; min pÃ¥stand er ikke om objektivitet), disse fire er " +"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjÃ¸r) " +"mÃ¥ vurdere hvordan disse fire spesielt samhandle." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "driving speed, constraints on" +msgstr "kjÃ¸rehastighet, begrensninger pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "speeding, constraints on" +msgstr "hastighet, begrensning av" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"So, for example, consider the <quote>freedom</quote> to drive a car at a " +"high speed. That freedom is in part restricted by laws: speed limits that " +"say how fast you can drive in particular places at particular times. It is " +"in part restricted by architecture: speed bumps, for example, slow most " +"rational drivers; governors in buses, as another example, set the maximum " +"rate at which the driver can drive. The freedom is in part restricted by the " +"market: Fuel efficiency drops as speed increases, thus the price of gasoline " +"indirectly constrains speed. And finally, the norms of a community may or " +"may not constrain the freedom to speed. Drive at 50 mph by a school in your " +"own neighborhood and you're likely to be punished by the neighbors. The same " +"norm wouldn't be as effective in a different town, or at night." +msgstr "" +"sÃ¥, for eksempel vurdere \"friheten\" Ã¥ kjÃ¸re bil til en hÃ¸y hastighet. at " +"frihet er delvis begrenset av lover: fartsgrenser som sier hvor fort du kan " +"kjÃ¸re spesielt steder pÃ¥ bestemte tidspunkter. Det er delvis begrenset av " +"arkitektur: hastighet stÃ¸t, for eksempel sakte mest rasjonell drivere; " +"GuvernÃ¸rer i busser, som et annet eksempel, angir den maksimale hastigheten " +"som driveren kan kjÃ¸re. frihet er delvis begrenset av markedet: " +"drivstoffeffektivitet drops som farten Ã¸ker, dermed bensinprisen indirekte " +"begrenser hastighet. og endelig normer for et fellesskap kan eller kan ikke " +"begrense friheten til Ã¥ Ã¸ke. kjÃ¸re pÃ¥ 50 mph av en skole i nabolaget ditt " +"eget og du sannsynligvis til Ã¥ bli straffet av naboene. samme normen ville " +"ikke vÃ¦re sÃ¥ effektiv i en annen by, eller om natten." + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"By describing the way law affects the other three modalities, I don't mean " +"to suggest that the other three don't affect law. Obviously, they do. Law's " +"only distinction is that it alone speaks as if it has a right self-" +"consciously to change the other three. The right of the other three is more " +"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of " +"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " +"Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal " +"Studies</citetitle>, June 1998." +msgstr "" +"ved Ã¥ beskrive hvordan trenger ikke loven pÃ¥virker andre tre metoder, jeg " +"bety Ã¥ foreslÃ¥ at tre andre ikke pÃ¥virker lov. SelvfÃ¸lgelig, de gjÃ¸r. law's " +"eneste forskjellen er at det alene snakker som om den har en rett " +"selvbevisst til Ã¥ endre de andre tre. hÃ¸yre for tre andre uttrykkes mer " +"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new " +"york: grunnleggende bÃ¸ker, 1999): 90Â95; Lawrence lessig, \"den nye chicago " +"skolen,\" journal of Jusstudier, Juni 1998." + +#. PAGE BREAK 135 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The final point about this simple model should also be fairly clear: While " +"these four modalities are analytically independent, law has a special role " +"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " +"other words, sometimes operates to increase or decrease the constraint of a " +"particular modality. Thus, the law might be used to increase taxes on " +"gasoline, so as to increase the incentives to drive more slowly. The law " +"might be used to mandate more speed bumps, so as to increase the difficulty " +"of driving rapidly. The law might be used to fund ads that stigmatize " +"reckless driving. Or the law might be used to require that other laws be " +"more strict—a federal requirement that states decrease the speed " +"limit, for example—so as to decrease the attractiveness of fast " +"driving." +msgstr "" + +#. type: Content of: <book><part><chapter><figure><title> +msgid "Law has a special role in affecting the three." +msgstr "Lovverket har en spesiell rolle i Ã¥ pÃ¥virke disse tre." + +#. type: Content of: <book><part><chapter><figure> +msgid "<graphic fileref=\"images/1361.png\"></graphic>" +msgstr "<graphic fileref=\"images/1361.png\"></graphic>" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "Americans with Disabilities Act (1990)" +msgstr "amerikanerne med funksjonshemminger act (1990)" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Commons, John R." +msgstr "Commons, John R." + +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Some people object to this way of talking about <quote>liberty.</quote> They " +"object because their focus when considering the constraints that exist at " +"any particular moment are constraints imposed exclusively by the government. " +"For instance, if a storm destroys a bridge, these people think it is " +"meaningless to say that one's liberty has been restrained. A bridge has " +"washed out, and it's harder to get from one place to another. To talk about " +"this as a loss of freedom, they say, is to confuse the stuff of politics " +"with the vagaries of ordinary life. I don't mean to deny the value in this " +"narrower view, which depends upon the context of the inquiry. I do, however, " +"mean to argue against any insistence that this narrower view is the only " +"proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come " +"from a long tradition of political thought with a broader focus than the " +"narrow question of what the government did when. John Stuart Mill defended " +"freedom of speech, for example, from the tyranny of narrow minds, not from " +"the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</" +"citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons " +"famously defended the economic freedom of labor from constraints imposed by " +"the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom " +"Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected " +"Essays</citetitle> (London: Routledge: 1997), 62. The Americans with " +"Disabilities Act increases the liberty of people with physical disabilities " +"by changing the architecture of certain public places, thereby making access " +"to those places easier; 42 <citetitle>United States Code</citetitle>, " +"section 12101 (2000). Each of these interventions to change existing " +"conditions changes the liberty of a particular group. The effect of those " +"interventions should be accounted for in order to understand the effective " +"liberty that each of these groups might face. <placeholder type=\"indexterm" +"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" +"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" +msgstr "" +"noen mennesker objektet til denne mÃ¥ten av snakker om \"frihet.\" de " +"objektet fordi deres fokus nÃ¥r de vurderer begrensninger som finnes pÃ¥ et " +"bestemt tidspunkt er begrensninger pÃ¥lagt utelukkende av regjeringen. for " +"eksempel, hvis en storm Ã¸delegger en bro, tror disse folk det er meningslÃ¸st " +"Ã¥ si at en frihet har vÃ¦rt behersket. en bro er vasket ut, og det er " +"vanskeligere for Ã¥ fÃ¥ fra ett sted til et annet. Ã¥ snakke om dette som et " +"tap av frihet, de sier, er Ã¥ forvirre ting av politikk med vagaries av " +"ordinÃ¦rt liv. Jeg trenger ikke bety Ã¥ nekte verdien i denne smalere " +"visningen, som er avhengig av konteksten for henvendelsen. Jeg gjÃ¸r, men " +"mener Ã¥ argumentere mot eventuelle insisterte pÃ¥ 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 " +"spÃ¸rsmÃ¥let om hva regjeringen gjorde nÃ¥r. John stuart mill forsvarte " +"ytringsfriheten, for eksempel fra tyranni av trange sinn, ikke fra frykt for " +"regjeringen rettsforfÃ¸lgelse; John stuart mill, pÃ¥ frihet (indiana: hackett " +"publishing co., 1978), 19. John r. commons forsvarte famously Ã¸konomiske " +"friheten av arbeidskraft fra begrensninger pÃ¥lagt 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 Ã¸ker frihet for personer med " +"funksjonshemninger ved Ã¥ endre arkitekturen i visse offentlige steder, og " +"dermed gjÃ¸r tilgang til de plasserer enklere; 42 united states code, delen " +"12101 (2000). hver av disse intervensjoner for Ã¥ endre eksisterende " +"betingelser, endres frihet Ã¥ en bestemt gruppe. effekten av disse tiltakene " +"bÃ¸r tas med i betraktningen for Ã¥ forstÃ¥ den effektive frihet at hver av " +"disse gruppene kan gjÃ¸re ansiktet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These constraints can thus change, and they can be changed. To understand " +"the effective protection of liberty or protection of property at any " +"particular moment, we must track these changes over time. A restriction " +"imposed by one modality might be erased by another. A freedom enabled by one " +"modality might be displaced by another.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><title> +msgid "Why Hollywood Is Right" +msgstr "Hvorfor Hollywood har rett" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "four regulatory modalities on" +msgstr "fire regulatoriske modaliteter pÃ¥" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The most obvious point that this model reveals is just why, or just how, " +"Hollywood is right. The copyright warriors have rallied Congress and the " +"courts to defend copyright. This model helps us see why that rallying makes " +"sense." +msgstr "" +"det mest Ã¥penbare punktet som denne modellen avslÃ¸rer er bare hvorfor eller " +"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og " +"domstolene Ã¥ forsvare copyright. Denne modellen hjelper oss se hvorfor denne " +"samlingspunkt fornuftig." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let's say this is the picture of copyright's regulation before the Internet:" +msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" + +#. type: Content of: <book><part><chapter><section><figure><title> +#, mtrans, fuzzy +msgid "Copyright's regulation before the Internet." +msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" + +#. PAGE BREAK 136 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There is balance between law, norms, market, and architecture. The law " +"limits the ability to copy and share content, by imposing penalties on those " +"who copy and share content. Those penalties are reinforced by technologies " +"that make it hard to copy and share content (architecture) and expensive to " +"copy and share content (market). Finally, those penalties are mitigated by " +"norms we all recognize—kids, for example, taping other kids' records. " +"These uses of copyrighted material may well be infringement, but the norms " +"of our society (before the Internet, at least) had no problem with this form " +"of infringement." +msgstr "" +"Det er balansen mellom lov, normer, markedet og arkitektur. loven begrenser " +"muligheten til Ã¥ kopiere og dele innhold, ved Ã¥ angi strafferammer for de " +"som kopiere og dele innhold. disse straffer er forsterket av teknologier som " +"gjÃ¸r det vanskelig Ã¥ kopiere og dele innhold (arkitektur) og det er dyrt Ã¥ " +"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 vÃ¦re brudd, men normer for " +"vÃ¥rt samfunn (fÃ¸r Internett, minst) hadde ingen problemer med denne form for " +"krenkelse av." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright regulatory balance lost with" +msgstr "opphavsrett regulatoriske balanse mistet med" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "regulatory balance lost in" +msgstr "regulatoriske balanse tapt i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MP3s" +msgstr "MP3-er" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Enter the Internet, or, more precisely, technologies such as MP3s and p2p " +"sharing. Now the constraint of architecture changes dramatically, as does " +"the constraint of the market. And as both the market and architecture relax " +"the regulation of copyright, norms pile on. The happy balance (for the " +"warriors, at least) of life before the Internet becomes an effective state " +"of anarchy after the Internet." +msgstr "" +"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. " +"nÃ¥ begrensningen av arkitektur endres dramatisk, som gjÃ¸r begrensningen av " +"markedet. og som bÃ¥de markedet og arkitektur kan du slappe av med regulering " +"av copyright, normer haug pÃ¥. happy saldoen (for krigere, minst) av livet " +"fÃ¸r Internett blir en effektiv stat av anarchy etter Internett." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "technology" +msgstr "teknologi" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "established industries threatened by changes in" +msgstr "etablert industri truet av endringer i" + +#. PAGE BREAK 137 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Thus the sense of, and justification for, the warriors' response. " +"Technology has changed, the warriors say, and the effect of this change, " +"when ramified through the market and norms, is that a balance of protection " +"for the copyright owners' rights has been lost. This is Iraq after the fall " +"of Saddam, but this time no government is justifying the looting that " +"results." +msgstr "" +"SÃ¥ledes fÃ¸lelse av, og den begrunnelsen for warriors' svar. teknologi er " +"endret, krigere, sier, og effekten av denne endringen, nÃ¥r ramified gjennom " +"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes " +"rettigheter har gÃ¥tt tapt. Dette er Irak etter fallet av saddam, men denne " +"gangen ingen regjering er rettferdiggjÃ¸rende looting resultater." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "effective state of anarchy after the Internet." +msgstr "effektiv tilstand av anarki etter Internettet." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1381.png\"></graphic>" +msgstr "<graphic fileref=\"images/1381.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Commerce, U.S. Department of" +msgstr "handel-setningsdelen i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "as establishment protectionism" +msgstr "som etablering proteksjonistisk" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Neither this analysis nor the conclusions that follow are new to the " +"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce " +"Department (one heavily influenced by the copyright warriors) in 1995, this " +"mix of regulatory modalities had already been identified and the strategy to " +"respond already mapped. In response to the changes the Internet had " +"effected, the White Paper argued (1) Congress should strengthen intellectual " +"property law, (2) businesses should adopt innovative marketing techniques, " +"(3) technologists should push to develop code to protect copyrighted " +"material, and (4) educators should educate kids to better protect copyright." +msgstr "" +"Denne analysen verken konklusjonene som fÃ¸lger er en ny warriors. faktisk i " +"en \"hvitbok\" utarbeidet av commerce department (en sterkt pÃ¥virket av " +"opphavsrett warriors) i 1995, denne blandingen av regulatoriske modaliteter " +"hadde allerede identifisert og strategi for Ã¥ svare allerede tilordnet. svar " +"pÃ¥ endringene Internett hadde berÃ¸rt, hevdet den tekniske beskrivelsen (1) " +"Kongressen bÃ¸r styrke lovgivning for immaterielle, (2) bedrifter skal vedta " +"innovativ markedsfÃ¸ring teknikker, (3) Teknologorganisasjon push for Ã¥ " +"utvikle kode for Ã¥ beskytte opphavsrettsbeskyttet materiale og (4) lÃ¦rere " +"skal utdanne barn Ã¥ bedre beskytte opphavsretten." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "farming" +msgstr "landbruk" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "steel industry" +msgstr "stÃ¥lindustri" + +#. PAGE BREAK 138 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This mixed strategy is just what copyright needed—if it was to " +"preserve the particular balance that existed before the change induced by " +"the Internet. And it's just what we should expect the content industry to " +"push for. It is as American as apple pie to consider the happy life you have " +"as an entitlement, and to look to the law to protect it if something comes " +"along to change that happy life. Homeowners living in a flood plain have no " +"hesitation appealing to the government to rebuild (and rebuild again) when a " +"flood (architecture) wipes away their property (law). Farmers have no " +"hesitation appealing to the government to bail them out when a virus " +"(architecture) devastates their crop. Unions have no hesitation appealing to " +"the government to bail them out when imports (market) wipe out the U.S. " +"steel industry." +msgstr "" +"Dette blandet strategi er bare hva copyright needed—Hvis det var Ã¥ " +"bevare bestemt saldoen som eksisterte fÃ¸r endringen indusert av Internett. " +"og det er akkurat hva vi kan forvente innhold industrien Ã¥ presse for. Det " +"er sÃ¥ amerikanske som eplepai Ã¥ vurdere det lykkelige liv som du har som en " +"rettighet, og for Ã¥ se til lov til Ã¥ beskytte det hvis noe kommer til Ã¥ " +"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nÃ¸le " +"appellere til regjeringen Ã¥ gjenoppbygge (og gjenoppbygging igjen) nÃ¥r en " +"flom (arkitektur) tÃ¸rke bort deres eiendom (lov). bÃ¸nder har ingen nÃ¸le " +"appellere til regjeringen Ã¥ kausjon dem ut nÃ¥r et virus (arkitektur) " +"devastates deres BeskjÃ¦r. fagforeninger har ingen nÃ¸le appellere til " +"regjeringen Ã¥ kausjon dem. NÃ¥r import (markedet) tÃ¸rke ut amerikanske stÃ¥l " +"industrien." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Thus, there's nothing wrong or surprising in the content industry's campaign " +"to protect itself from the harmful consequences of a technological " +"innovation. And I would be the last person to argue that the changing " +"technology of the Internet has not had a profound effect on the content " +"industry's way of doing business, or as John Seely Brown describes it, its " +"<quote>architecture of revenue.</quote>" +msgstr "" +"SÃ¥ledes, det er ingenting galt eller overraskende i innhold bransjens " +"kampanje til Ã¥ beskytte seg fra skadelige konsekvensene av en teknologisk " +"innovasjon. og jeg vil vÃ¦re den siste personen som hevder at den endrede " +"teknologien pÃ¥ Internett ikke har hatt en dyp effekt pÃ¥ innhold bransjens " +"mÃ¥ten Ã¥ drive virksomhet, eller som john seely brown beskriver den, dens " +"\"arkitektur av inntekter.\"" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "railroad industry" +msgstr "jernbaneindustri" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "remote channel changers" +msgstr "Medieskiftere for ekstern kanal" + +#. f5 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</" +"quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of " +"Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak " +"Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But just because a particular interest asks for government support, it " +"doesn't follow that support should be granted. And just because technology " +"has weakened a particular way of doing business, it doesn't follow that the " +"government should intervene to support that old way of doing business. " +"Kodak, for example, has lost perhaps as much as 20 percent of their " +"traditional film market to the emerging technologies of digital cameras." +"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " +"should ban digital cameras just to support Kodak? Highways have weakened the " +"freight business for railroads. Does anyone think we should ban trucks from " +"roads <emphasis>for the purpose of</emphasis> protecting the railroads? " +"Closer to the subject of this book, remote channel changers have weakened " +"the <quote>stickiness</quote> of television advertising (if a boring " +"commercial comes on the TV, the remote makes it easy to surf ), and it may " +"well be that this change has weakened the television advertising market. But " +"does anyone believe we should regulate remotes to reinforce commercial " +"television? (Maybe by limiting them to function only once a second, or to " +"switch to only ten channels within an hour?)" +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "free market, technological changes in" +msgstr "frie marked, teknologiske endringer i" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Brezhnev, Leonid" +msgstr "Brezhnev, Leonid" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Gates, Bill" +msgstr "Gates, Bill" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "market competition" +msgstr "markedskonkurranse" + +#. f6 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " +"1994), 170–71." +msgstr "" +"Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The obvious answer to these obviously rhetorical questions is no. In a free " +"society, with a free market, supported by free enterprise and free trade, " +"the government's role is not to support one way of doing business against " +"others. Its role is not to pick winners and protect them against loss. If " +"the government did this generally, then we would never have any progress. As " +"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " +"patents, <quote>established companies have an interest in excluding future " +"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative " +"to a startup, established companies also have the means. (Think RCA and FM " +"radio.) A world in which competitors with new ideas must fight not only the " +"market but also the government is a world in which competitors with new " +"ideas will not succeed. It is a world of stasis and increasingly " +"concentrated stagnation. It is the Soviet Union under Brezhnev." +msgstr "" +"Det Ã¥penbare svaret pÃ¥ disse Ã¥penbart retoriske spÃ¸rsmÃ¥lene er nei. I et " +"fritt samfunn, med et fritt marked, stÃ¸ttet av frie markedsaktÃ¸rer og fri " +"handel, er ikke myndighetenes rolle Ã¥ stÃ¸tte en bestemt mÃ¥te Ã¥ gjÃ¸re " +"forretninger mot andre mÃ¥ter. Deres rolle er ikke Ã¥ velge vinnere og " +"beskytte dem mot tap. Hvis myndighetene gjorde dette generelt, sÃ¥ ville vi " +"aldri fÃ¥ noen fremgang. Bill Gates, styrelederen i Microsoft, skrev i 1991 " +"i et notat soma kritiserte programvarepatenter at <quote>etablerte selskaper " +"har interesse av Ã¥ eksludere fremtidige konkurrenter</quote>.<placeholder " +"type=\"footnote\" id=\"0\"/> Og i forhold til et nystartet selskap har " +"etablerte selskaper ogsÃ¥ andre virkemidler. (Tenk RCA og FM-radio.) En " +"verden hvor konkurrenter med nye idÃ©er mÃ¥ sloss ikke bare mot markedet men " +"ogsÃ¥ mot myndighetene er en verden hvor konkurrenter med nye idÃ©er ikke vil " +"lykkes. Det er en verden i stillstand og Ã¸kende konsentrert stagnering. " +"Det er sovjetunionen under Brezhnev." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Thus, while it is understandable for industries threatened with new " +"technologies that change the way they do business to look to the government " +"for protection, it is the special duty of policy makers to guarantee that " +"that protection not become a deterrent to progress. It is the duty of policy " +"makers, in other words, to assure that the changes they create, in response " +"to the request of those hurt by changing technology, are changes that " +"preserve the incentives and opportunities for innovation and change." +msgstr "" +"dermed mens det er forstÃ¥elig for bransjer som er truet med nye teknologier " +"som endrer mÃ¥ten de gjÃ¸r forretninger Ã¥ se til regjeringen for beskyttelse, " +"er det en spesiell plikt for beslutningstakere Ã¥ garantere at beskyttelse " +"ikke blir et avskrekkende til fremgang. Det er plikten til " +"beslutningstakere, med andre ord, Ã¥ sikre at endringene de oppretter, svar " +"pÃ¥ forespÃ¸rsel fra de vondt ved Ã¥ endre teknologi, er endringer som bevare " +"insentiver og muligheter for innovasjon og endre." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "speech, freedom of" +msgstr "talefrihet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional guarantee of" +msgstr "konstitusjonelle garanti for" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In the context of laws regulating speech—which include, obviously, " +"copyright law—that duty is even stronger. When the industry " +"complaining about changing technologies is asking Congress to respond in a " +"way that burdens speech and creativity, policy makers should be especially " +"wary of the request. It is always a bad deal for the government to get into " +"the business of regulating speech markets. The risks and dangers of that " +"game are precisely why our framers created the First Amendment to our " +"Constitution: <quote>Congress shall make no law … abridging the " +"freedom of speech.</quote> So when Congress is being asked to pass laws that " +"would <quote>abridge</quote> the freedom of speech, it should ask— " +"carefully—whether such regulation is justified." +msgstr "" +"i sammenheng med lover som regulerer tale—, og som omfatter, " +"tydeligvis, copyright lov—at plikt er enda sterkere. NÃ¥r industrien " +"klagende om hvordan du endrer teknologier ber Kongressen til Ã¥ svare pÃ¥ en " +"mÃ¥te som byrder tale og kreativitet, bÃ¸r beslutningstakere vÃ¦re spesielt " +"skeptisk til forespÃ¸rselen. Det er alltid en dÃ¥rlig deal for regjeringen Ã¥ " +"komme inn i virksomheten av regulerer tale markeder. risikoer og farer av " +"spillet er nÃ¸yaktig hvorfor vÃ¥re underskrev opprettet den fÃ¸rste endringen " +"til vÃ¥r grunnlov: \"Kongressen skal gjÃ¸re ingen lov... abridging friheten " +"til tale.\" sÃ¥ nÃ¥r Kongressen blir bedt om Ã¥ passere lovgivning som ville " +"\"abridge\" ytringsfriheten, det bÃ¸r spÃ¸rre—nÃ¸ye—om slike " +"regulering er begrunnet." + +#. PAGE BREAK 140 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My argument just now, however, has nothing to do with whether the changes " +"that are being pushed by the copyright warriors are <quote>justified.</" +"quote> My argument is about their effect. For before we get to the question " +"of justification, a hard question that depends a great deal upon your " +"values, we should first ask whether we understand the effect of the changes " +"the content industry wants." +msgstr "" +"mitt argument akkurat nÃ¥, men har ingenting Ã¥ gjÃ¸re med om endringene som " +"skyves av opphavsrett krigerne er \"blokkjustert.\" mitt argument er om " +"deres effekt. for fÃ¸r vi komme til spÃ¸rsmÃ¥let om berettigelse, et vanskelig " +"spÃ¸rsmÃ¥l som mye avhenger av verdier, bÃ¸r vi fÃ¸rst be om vi forstÃ¥r effekten " +"av endringene innhold industrien Ã¸nsker." + +#. type: Content of: <book><part><chapter><section><para> +msgid "Here's the metaphor that will capture the argument to follow." +msgstr "Her kommer metaforen som vil forklare argumentet." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MÃ¼ller, Paul Hermann" +msgstr "MÃ¼ller, Paul Hermann" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "DDT" +msgstr "DDT" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "insecticide, environmental consequences of" +msgstr "insektmiddel, miljÃ¸konsekvensene fra" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul " +"Hermann MÃ¼ller 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 kjemikaliet DDT syntesert fÃ¸rste gang. I 1948 vant den " +"sveitsiske kjemikeren Paul Hermann MÃ¼ller nobelprisen for sitt arbeide med Ã¥ " +"demonstrere de insektsdrepende egenskapene til DDT. I lÃ¸pet av 1950-tallet " +"ble insektsmiddelet mye brukt rundt om i verden for Ã¥ drepe sykdomsbÃ¦rende " +"skadedyr. Det ble ogsÃ¥ brukt til Ã¥ Ã¸ke landbruksproduksjon." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"No one doubts that killing disease-carrying pests or increasing crop " +"production is a good thing. No one doubts that the work of MÃ¼ller was " +"important and valuable and probably saved lives, possibly millions." +msgstr "" +"Ingen tviler pÃ¥ at det er en god ting Ã¥ drepe sykdomsbÃ¦rende skadedyr eller " +"Ã¥ Ã¸ke avlingene. Og ingen tviler pÃ¥ at arbeidet til MÃ¼ller var viktig og " +"verdifult, og antagelig sparte liv, kanskje millioner av liv." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Carson, Rachel" +msgstr "Carson, Rachel" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Silent Spring (Carson)" +msgstr "Silent Spring (Carson)" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "environmentalism" +msgstr "environmentalism" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " +"which argued that DDT, whatever its primary benefits, was also having " +"unintended environmental consequences. Birds were losing the ability to " +"reproduce. Whole chains of the ecology were being destroyed." +msgstr "" +"men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " +"dens primÃ¦re fordeler, hadde ogsÃ¥ utilsiktede miljÃ¸messige konsekvenser. " +"fugler var Ã¥ miste muligheten til Ã¥ reprodusere. hele kjeder av Ã¸kologi ble " +"blir Ã¸delagt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"No one set out to destroy the environment. Paul MÃ¼ller 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 Ã¥ Ã¸delegge miljÃ¸et. Paul mÃ¼ller sikkert ikke mÃ¥l Ã¥ skade " +"noen fugler. men arbeidet med Ã¥ lÃ¸se ett sett med problemer produsert et " +"annet sett som i visningen av noen, var langt verre enn problemene som " +"opprinnelig ble angrepet. eller mer nÃ¸yaktig problemer ddt forÃ¥rsaket var " +"verre enn problemer det lÃ¸st, minst nÃ¥r de vurderer den andre, mer " +"miljÃ¸vennlig mÃ¥ten Ã¥ lÃ¸se problemer som ddt var ment Ã¥ lÃ¸se." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Boyle, James" +msgstr "Boyle, James" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "innovative freedom balanced with fair compensation in" +msgstr "nyskapende frihet balansert med rettferdig kompensasjon i" + +#. f7 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See, for example, James Boyle, <quote>A Politics of Intellectual Property: " +"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" +"citetitle> 47 (1997): 87." +msgstr "" +"Se for eksempel James Boyle, <quote>A Politics of Intellectual Property: " +"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" +"citetitle> 47 (1997): 87." + +#. PAGE BREAK 141 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"It is to this image precisely that Duke University law professor James Boyle " +"appeals when he argues that we need an <quote>environmentalism</quote> for " +"culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I " +"want to develop in the balance of this chapter, is not that the aims of " +"copyright are flawed. Or that authors should not be paid for their work. Or " +"that music should be given away <quote>for free.</quote> The point is that " +"some of the ways in which we might protect authors will have unintended " +"consequences for the cultural environment, much like DDT had for the natural " +"environment. And just as criticism of DDT is not an endorsement of malaria " +"or an attack on farmers, so, too, is criticism of one particular set of " +"regulations protecting copyright not an endorsement of anarchy or an attack " +"on authors. It is an environment of creativity that we seek, and we should " +"be aware of our actions' effects on the environment." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My argument, in the balance of this chapter, tries to map exactly this " +"effect. No doubt the technology of the Internet has had a dramatic effect on " +"the ability of copyright owners to protect their content. But there should " +"also be little doubt that when you add together the changes in copyright law " +"over time, plus the change in technology that the Internet is undergoing " +"just now, the net effect of these changes will not be only that copyrighted " +"work is effectively protected. Also, and generally missed, the net effect of " +"this massive increase in protection will be devastating to the environment " +"for creativity." +msgstr "" +"mitt argument, i balanse av dette kapitlet, prÃ¸ver Ã¥ tilordne nÃ¸yaktig denne " +"effekten. teknologi pÃ¥ Internett har ingen tvil hadde en dramatisk effekt pÃ¥ " +"evnen til eiere av opphavsretter Ã¥ beskytte innholdet sitt. men det bÃ¸r ogsÃ¥ " +"vÃ¦re liten tvil om at nÃ¥r du legger sammen endringene i lov om opphavsrett " +"over tid, i tillegg til endringen i teknologi som Internett er under akkurat " +"nÃ¥, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet " +"arbeid effektivt er beskyttet. ogsÃ¥, og generelt savnet, vil netto effekt av " +"denne massive Ã¸kningen i beskyttelse vÃ¦re Ã¸deleggende for miljÃ¸et for " +"kreativitet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In a line: To kill a gnat, we are spraying DDT with consequences for free " +"culture that will be far more devastating than that this gnat will be lost." +msgstr "" +"i en linje: for Ã¥ drepe en mygg, er vi sprÃ¸yting ddt med konsekvenser, for " +"fri kultur som vil vÃ¦re langt mer Ã¸deleggende enn denne mygg, vil gÃ¥ tapt." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Beginnings" +msgstr "Opphav" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "on creative property" +msgstr "pÃ¥ kreative eiendom" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright purpose established in" +msgstr "opphavsrett formÃ¥l som er etablert i" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "Progress Clause of" +msgstr "fremdrift-setningsdelen i" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional purpose of" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional tradition on" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Progress Clause" +msgstr "handel-setningsdelen i" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"America copied English copyright law. Actually, we copied and improved " +"English copyright law. Our Constitution makes the purpose of <quote>creative " +"property</quote> rights clear; its express limitations reinforce the English " +"aim to avoid overly powerful publishers." +msgstr "" +"Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og forbedret " +"engelsk lov om opphavsrett. vÃ¥r grunnlov gjÃ¸r formÃ¥let med \"creative " +"property\" fjerner du rettigheter; uttrykkelig begrensninger forsterke den " +"engelske mÃ¥l Ã¥ unngÃ¥ altfor kraftig utgivere." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "in constitutional Progress Clause" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The power to establish <quote>creative property</quote> rights is granted to " +"Congress in a way that, for our Constitution, at least, is very odd. Article " +"I, section 8, clause 8 of our Constitution states that:" +msgstr "" +"makt til Ã¥ etablere \"kreative\" eiendomsrettigheter gis til Kongressen pÃ¥ " +"en mÃ¥te som for vÃ¥r grunnlov, minst, er veldig rart. artikkel, del 8, 8-" +"setningsdelen i vÃ¥r grunnlov sier at:" + +#. PAGE BREAK 142 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Congress has the power to promote the Progress of Science and useful Arts, " +"by securing for limited Times to Authors and Inventors the exclusive Right " +"to their respective Writings and Discoveries. We can call this the " +"<quote>Progress Clause,</quote> for notice what this clause does not say. It " +"does not say Congress has the power to grant <quote>creative property rights." +"</quote> It says that Congress has the power <emphasis>to promote progress</" +"emphasis>. The grant of power is its purpose, and its purpose is a public " +"one, not the purpose of enriching publishers, nor even primarily the purpose " +"of rewarding authors." +msgstr "" +"Kongressen har makt til Ã¥ fremme utviklingen av vitenskap og nyttig kunst, " +"ved Ã¥ sikre begrenset ganger til forfattere og oppfinnere den eksklusive " +"retten til deres respektive skrifter og funn. Vi kan kalle dette den " +"\"fremgang setningen,\" for Ã¥ se hva denne bestemmelsen ikke si. Det er ikke " +"si Kongressen har makt til Ã¥ gi \"kreative egenskapen rettigheter.\" det " +"stÃ¥r at Kongressen har makt til Ã¥ fremme fremdrift. grant strÃ¸m er formÃ¥let, " +"og formÃ¥let er en offentlig, ikke hensikten med berikende utgivere, eller " +"med hovedsakelig formÃ¥let med givende forfatternes." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "history of American" +msgstr "historie for Amerikansk" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Progress Clause expressly limits the term of copyrights. As we saw in " +"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the " +"English limited the term of copyright so as to assure that a few would not " +"exercise disproportionate control over culture by exercising " +"disproportionate control over publishing. We can assume the framers followed " +"the English for a similar purpose. Indeed, unlike the English, the framers " +"reinforced that objective, by requiring that copyrights extend <quote>to " +"Authors</quote> only." +msgstr "" +"fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. som " +"vi sÃ¥ i kapittel 6, ville engelsk begrenset av copyright Ã¥ forsikre om at " +"noen ikke utÃ¸ve uforholdsmessig kontroll over kultur ved Ã¥ trene " +"uforholdsmessig kontroll over publisering. Vi kan anta underskrev etterfulgt " +"engelsk for lignende formÃ¥l. faktisk, i motsetning til engelsk, underskrev " +"forsterket det mÃ¥let ved Ã¥ kreve at opphavsretten utvide \"til forfattere\" " +"bare." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Senate, U.S." +msgstr "Senatet i USA" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "structural checks and balances of" +msgstr "strukturelle sjekker og Periodenes" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "electoral college" +msgstr "valgkollegiet" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The design of the Progress Clause reflects something about the " +"Constitution's design in general. To avoid a problem, the framers built " +"structure. To prevent the concentrated power of publishers, they built a " +"structure that kept copyrights away from publishers and kept them short. To " +"prevent the concentrated power of a church, they banned the federal " +"government from establishing a church. To prevent concentrating power in the " +"federal government, they built structures to reinforce the power of the " +"states—including the Senate, whose members were at the time selected " +"by the states, and an electoral college, also selected by the states, to " +"select the president. In each case, a <emphasis>structure</emphasis> built " +"checks and balances into the constitutional frame, structured to prevent " +"otherwise inevitable concentrations of power." +msgstr "" +"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " +"design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " +"vil hindre at konsentrert strÃ¸m av utgivere, bygget de en struktur som holdt " +"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at " +"konsentrert strÃ¸m av en kirke, forbudt de den fÃ¸derale regjeringen fra Ã¥ " +"etablere en kirke. Ã¥ hindre konsentrere seg makten i den fÃ¸derale " +"regjeringen, de bygget strukturer for Ã¥ forsterke kraften i USA—" +"inkludert Senatet, der medlemmene var pÃ¥ tiden som er valgt av USA, og en " +"valg college, ogsÃ¥ valgt av USA, Ã¥ velge presidenten. i hvert tilfelle, en " +"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, " +"strukturert for Ã¥ hindre at ellers uunngÃ¥elig konsentrasjoner av makt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I doubt the framers would recognize the regulation we call <quote>copyright</" +"quote> today. The scope of that regulation is far beyond anything they ever " +"considered. To begin to understand what they did, we need to put our " +"<quote>copyright</quote> in context: We need to see how it has changed in " +"the 210 years since they first struck its design." +msgstr "" +"Jeg tviler underskrev ville anerkjenne regulering vi kaller \"copyright\" i " +"dag. omfanget av denne forskriften er langt overgÃ¥r alt de noensinne " +"vurdert. Hvis du vil begynne Ã¥ forstÃ¥ hva de gjorde, vi trenger Ã¥ sette vÃ¥r " +"\"copyright\" i sammenheng: vi trenger Ã¥ se hvordan det har endret i 210 " +"Ã¥rene siden de fÃ¸rst slo sin design." + +#. PAGE BREAK 143 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Some of these changes come from the law: some in light of changes in " +"technology, and some in light of changes in technology given a particular " +"concentration of market power. In terms of our model, we started here:" +msgstr "" +"noen av disse endringene kommer fra loven: noen i lys av endringer i " +"teknologi, og noen i lys av endringer i teknologi gitt en bestemt " +"konsentrasjon av markedets makt. NÃ¥r det gjelder vÃ¥r modell startet vi her:" + +#. type: Content of: <book><part><chapter><section><para> +msgid "We will end here:" +msgstr "Vi kommer til Ã¥ ende opp her:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "<quote>Copyright</quote> today." +msgstr "<quote>Opphavsrett</quote> i dag." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1442.png\"></graphic>" +msgstr "<graphic fileref=\"images/1442.png\"></graphic>" + +#. PAGE BREAK 144 +#. type: Content of: <book><part><chapter><section><para> +msgid "Let me explain how." +msgstr "La meg forklare hvordan." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Law: Duration" +msgstr "Loven: Varighet" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Copyright Act (1790)" +msgstr "Berlin act (1908)" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "common law protections of" +msgstr "komponister, copyright beskyttelse av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "balance of U.S. content in" +msgstr "balanse mellom you.s. innhold i" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Crosskey, William W." +msgstr "Crosskey, William W." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"William W. Crosskey, <citetitle>Politics and the Constitution in the History " +"of the United States</citetitle> (London: Cambridge University Press, 1953), " +"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the " +"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " +"or were supposed by some to have, under the Common Law</emphasis></quote> " +"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"William W. Crosskey, politikk og Grunnloven i historien av USA (London: " +"Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved " +"vanlig implikasjon av\"Ã¸verstkommanderende lov av land\", evigvarende " +"rettigheter som forfattere hadde eller skulle etter noen Ã¥ ha, under felles " +"lov\" (vekt legges til)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"When the first Congress enacted laws to protect creative property, it faced " +"the same uncertainty about the status of creative property that the English " +"had confronted in 1774. Many states had passed laws protecting creative " +"property, and some believed that these laws simply supplemented common law " +"rights that already protected creative authorship.<placeholder type=" +"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " +"domain in the United States in 1790. If copyrights were protected by the " +"common law, then there was no simple way to know whether a work published in " +"the United States was controlled or free. Just as in England, this lingering " +"uncertainty would make it hard for publishers to rely upon a public domain " +"to reprint and distribute works." +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "federal vs. state" +msgstr "fÃ¸derale vs. tilstand" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"That uncertainty ended after Congress passed legislation granting " +"copyrights. Because federal law overrides any contrary state law, federal " +"protections for copyrighted works displaced any state law protections. Just " +"as in England the Statute of Anne eventually meant that the copyrights for " +"all English works expired, a federal statute meant that any state copyrights " +"expired as well." +msgstr "" +"Det usikkerheten tok slutt da kongressen vedtok lovgivning som tildelte " +"opphavsrettigheter. Da fÃ¸deral lov overstyrer medlemsstatenes lov, " +"fortrengte fÃ¸deral beskyttelse av opphavsrettslig beskyttet verk noen staten " +"lov beskyttelse. akkurat som i england betydde Vedtektene for anne til slutt " +"at opphavsretten for alle engelsk arbeider utlÃ¸pt, en fÃ¸derale vedtekter " +"betydde at staten opphavsrettigheter utlÃ¸pt ogsÃ¥." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1790, Congress enacted the first copyright law. It created a federal " +"copyright and secured that copyright for fourteen years. If the author was " +"alive at the end of that fourteen years, then he could opt to renew the " +"copyright for another fourteen years. If he did not renew the copyright, his " +"work passed into the public domain." +msgstr "" +"i 1790 vedtatt Kongressen den fÃ¸rste lov om opphavsrett. den opprettet en " +"fÃ¸derale copyright og sikret at copyright for fjorten Ã¥r. Hvis forfatteren " +"var Live pÃ¥ slutten av at fjorten Ã¥r, kan han velge for Ã¥ fornye " +"opphavsretten for en annen fjorten Ã¥r. Hvis han ikke fornye opphavsretten, " +"bestÃ¥tt hans arbeid i public domain." + +#. f9 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Although 13,000 titles were published in the United States from 1790 to " +"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " +"History of Book Publishing in the United States</citetitle>, vol. 1, " +"<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " +"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " +"twelve were copyrighted under the 1790 act; William J. Maher, " +"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " +"1790 in Historical Context</citetitle>, 7–10 (2002), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " +"overwhelming majority of works fell immediately into the public domain. Even " +"those works that were copyrighted fell into the public domain quickly, " +"because the term of copyright was short. The initial term of copyright was " +"fourteen years, with the option of renewal for an additional fourteen years. " +"Copyright Act of May 31, 1790, Â§1, 1 stat. 124." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"While there were many works created in the United States in the first ten " +"years of the Republic, only 5 percent of the works were actually registered " +"under the federal copyright regime. Of all the work created in the United " +"States both before 1790 and from 1790 through 1800, 95 percent immediately " +"passed into the public domain; the balance would pass into the pubic domain " +"within twenty-eight years at most, and more likely within fourteen years." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Selv om det ble skapt mange verker i USA i de fÃ¸rste 10 Ã¥rene til " +"republikken, sÃ¥ ble kun 5 prosent av verkene registrert under det fÃ¸derale " +"opphavsrettsregimet. Av alle verker skapt i USA bÃ¥de fÃ¸r 1790 og fra 1790 " +"fram til 1800, sÃ¥ ble 95 prosent Ã¸yeblikkelig allemannseie (public domain). " +"Resten ble allemannseie etter maksimalt 20 Ã¥r, og som oftest etter 14 Ã¥r." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. PAGE BREAK 145 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This system of renewal was a crucial part of the American system of " +"copyright. It assured that the maximum terms of copyright would be granted " +"only for works where they were wanted. After the initial term of fourteen " +"years, if it wasn't worth it to an author to renew his copyright, then it " +"wasn't worth it to society to insist on the copyright, either." +msgstr "" +"Dette fornyelsessystemet var en avgjÃ¸rende del av det amerikanske systemet " +"for opphavsrett. Det sikret at maksimal vernetid i opphavsretten bare ble " +"gitt til verker der det var Ã¸nsket. Etter den fÃ¸rste perioden pÃ¥ fjorten Ã¥r, " +"hvis forfatteren ikke sÃ¥ verdien av Ã¥ fornye sin opphavsrett, var det heller " +"ikke verdt det for samfunnet Ã¥ hÃ¥ndheve opphavsretten." + +#. f10 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Few copyright holders ever chose to renew their copyrights. For instance, of " +"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " +"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " +"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on " +"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), " +"618. For a more recent and comprehensive analysis, see William M. Landes and " +"Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> " +"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, " +"498–501, and accompanying figures." +msgstr "" +"noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " +"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " +"1910. for et Ã¥r etter Ã¥r analyse av opphavsrett fornyelse priser, kan du se " +"barbara a. ringer, \"studere nr. 31: fornyelse av opphavsrett,\" studier pÃ¥ " +"opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. Hvis " +"en nyere og omfattende analyse, se william m landes og richard en. Posner, " +"\"pÃ¥ ubestemt tid fornybar copyright,\" university of chicago lov gÃ¥ gjennom " +"70 (2003): 471, 498Â501 og tilhÃ¸rende tallene." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Fourteen years may not seem long to us, but for the vast majority of " +"copyright owners at that time, it was long enough: Only a small minority of " +"them renewed their copyright after fourteen years; the balance allowed their " +"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f11 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "See Ringer, ch. 9, n. 2." +msgstr "Se Ringer, kap. 9, n. 2." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Even today, this structure would make sense. Most creative work has an " +"actual commercial life of just a couple of years. Most books fall out of " +"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " +"happens, the used books are traded free of copyright regulation. Thus the " +"books are no longer <emphasis>effectively</emphasis> controlled by " +"copyright. The only practical commercial use of the books at that time is to " +"sell the books as used books; that use—because it does not involve " +"publication—is effectively free." +msgstr "" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright terms extended by" +msgstr "opphavsrett hensikt endret av" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "term extensions in" +msgstr "sikt utvidelser i" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In the first hundred years of the Republic, the term of copyright was " +"changed once. In 1831, the term was increased from a maximum of 28 years to " +"a maximum of 42 by increasing the initial term of copyright from 14 years to " +"28 years. In the next fifty years of the Republic, the term increased once " +"again. In 1909, Congress extended the renewal term of 14 years to 28 years, " +"setting a maximum term of 56 years." +msgstr "" +"i de fÃ¸rste hundre Ã¥r av republikken ble av copyright endret Ã©n gang. i " +"1831, ble begrepet Ã¸kt fra maksimum 28 Ã¥r til maksimalt 42 ved Ã¥ Ã¸ke fÃ¸rste " +"begrepet av opphavsrett fra 14 Ã¥r til 28 Ã¥r. i de neste femti Ã¥rene av " +"Republikken begrepet Ã¸kt igjen. i 1909 utvidet Kongressen begrepet fornyelse " +"av 14 Ã¥r til 28 Ã¥r, angi en maksimal periode pÃ¥ 56 Ã¥r." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)" +msgstr "Sonny bono opphavsrett begrepet filtypen handle (ctea) (1998)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "future patents vs. future copyrights in" +msgstr "fremtidige patenter vs. fremtidige opphavsrettigheter i" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Then, beginning in 1962, Congress started a practice that has defined " +"copyright law since. Eleven times in the last forty years, Congress has " +"extended the terms of existing copyrights; twice in those forty years, " +"Congress extended the term of future copyrights. Initially, the extensions " +"of existing copyrights were short, a mere one to two years. In 1976, " +"Congress extended all existing copyrights by nineteen years. And in 1998, " +"in the Sonny Bono Copyright Term Extension Act, Congress extended the term " +"of existing and future copyrights by twenty years." +msgstr "" +"sÃ¥, begynner i 1962, Kongressen begynte en praksis som har definert " +"opphavsrett siden. elleve ganger i de siste 40 Ã¥rene, har Kongressen utvidet " +"vilkÃ¥rene i eksisterende opphavsrettigheter; to ganger i de fÃ¸rti Ã¥r utvidet " +"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var " +"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to Ã¥r. i " +"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten Ã¥r. " +"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen " +"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue Ã¥r." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "patents" +msgstr "patenter" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in public domain" +msgstr "i allemannseie (public domain)" + +#. PAGE BREAK 146 +#. type: Content of: <book><part><chapter><section><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 utvidelsene er ganske enkelt Ã¥ skattlegge, eller forsinke, " +"nÃ¥r verk faller i det fri og blir allemannseie. Denne siste utvidelsen " +"betyr at allemannseie vil ha blitt skattlagt for trettivi av femtifem Ã¥r, " +"eller 70 prosent av tiden siden 1962. Dermed vil det i de tjue Ã¥rene etter " +"Sonny Bono-loven, samtidig som en million patenter har blitt allemannseie, " +"ikke vÃ¦re et eneste opphavsrettsbeskyttet verk som har falt i det fri takket " +"vÃ¦re utlÃ¸p av vernetiden i opphavsretten." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The effect of these extensions has been exacerbated by another, little-" +"noticed change in the copyright law. Remember I said that the framers " +"established a two-part copyright regime, requiring a copyright owner to " +"renew his copyright after an initial term. The requirement of renewal meant " +"that works that no longer needed copyright protection would pass more " +"quickly into the public domain. The works remaining under protection would " +"be those that had some continuing commercial value." +msgstr "" +"effekten av disse tilleggene har blitt forverret av en annen, lite merke " +"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt " +"opphavsrett regime, som krever en rettighetsinnehaveren Ã¥ fornye sin " +"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som " +"ikke lenger nÃ¸dvendig opphavsrettsbeskyttelse ville passere raskere i public " +"domain. works gjenvÃ¦rende under beskyttelse vil vÃ¦re de som hadde noen " +"vedvarende kommersiell verdi." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "of natural authors vs. corporations" +msgstr "av naturlige forfattere vs. selskaper" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "corporations" +msgstr "selskaper" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright terms for" +msgstr "opphavsrett vilkÃ¥r for" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The United States abandoned this sensible system in 1976. For all works " +"created after 1978, there was only one copyright term—the maximum " +"term. For <quote>natural</quote> authors, that term was life plus fifty " +"years. For corporations, the term was seventy-five years. Then, in 1992, " +"Congress abandoned the renewal requirement for all works created before " +"1978. All works still under copyright would be accorded the maximum term " +"then available. After the Sonny Bono Act, that term was ninety-five years." +msgstr "" +"USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet " +"etter 1978, var det bare en opphavsrett term—den maksimale " +"betegnelsen. for \"naturlige\" forfattere var dette ordet livet pluss femti " +"Ã¥r. for bedrifter var begrepet sytti-fem Ã¥r. deretter, i 1992, Kongressen " +"forlatt fornyelse kravet for alle arbeider opprettet fÃ¸r 1978. alle fungerer " +"fortsatt under opphavsrett ville substansiell den maksimale betegnelsen " +"deretter tilgjengelig. etter sonny bono loven, at begrepet var fem og nitti " +"Ã¥r." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This change meant that American law no longer had an automatic way to assure " +"that works that were no longer exploited passed into the public domain. And " +"indeed, after these changes, it is unclear whether it is even possible to " +"put works into the public domain. The public domain is orphaned by these " +"changes in copyright law. Despite the requirement that terms be " +"<quote>limited,</quote> we have no evidence that anything will limit them." +msgstr "" +"Denne endringen betydde at amerikansk lov ikke lenger en automatisk mÃ¥te Ã¥ " +"forsikre som fungerer som utnyttes ikke lenger sendes til public domain. og " +"faktisk, etter disse endringene, er det uklart om det er ogsÃ¥ mulig Ã¥ sette " +"fungerer i public domain. public domain er foreldrelÃ¸se av disse endringene " +"i lov om opphavsrett. til tross for kravet om at vilkÃ¥rene vÃ¦re \"begrenset" +"\", har vi ingen bevis for at noe vil begrense dem." + +#. f12 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"These statistics are understated. Between the years 1910 and 1962 (the first " +"year the renewal term was extended), the average term was never more than " +"thirty-two years, and averaged thirty years. See Landes and Posner, " +"<quote>Indefinitely Renewable Copyright,</quote> loc. cit." +msgstr "" +"disse statistikkene er undervurdert. i Ã¥rene 1910 og 1962 (det fÃ¸rste Ã¥ret " +"fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri mer enn " +"tretti-to Ã¥r, og tretti Ã¥r i gjennomsnitt. se landes og posner, \"pÃ¥ " +"ubestemt tid fornybar copyright,\" loc. cit." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The effect of these changes on the average duration of copyright is " +"dramatic. In 1973, more than 85 percent of copyright owners failed to renew " +"their copyright. That meant that the average term of copyright in 1973 was " +"just 32.2 years. Because of the elimination of the renewal requirement, the " +"average term of copyright is now the maximum term. In thirty years, then, " +"the average term has tripled, from 32.2 years to 95 years.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><title> +msgid "Law: Scope" +msgstr "Loven: VirkeomrÃ¥de" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "scope of" +msgstr "omfanget av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The <quote>scope</quote> of a copyright is the range of rights granted by " +"the law. The scope of American copyright has changed dramatically. Those " +"changes are not necessarily bad. But we should understand the extent of the " +"changes if we're to keep this debate in context." +msgstr "" +"<quote>DekningsomrÃ¥det</quote> for opphavsretten er den rekken av " +"rettighetsomrÃ¥der tildelt gjennom lovverket. DekningsomrÃ¥det for amerikansk " +"opphavsrett har endret seg dramatisk. Disse endringene er ikke nÃ¸dvendigvis " +"dÃ¥rlige, men vi bÃ¸r forstÃ¥ omfanget av endringer hvis vi skal forholde oss " +"til sammenhengen i denne debatten." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "historical shift in copyright coverage of" +msgstr "historisk endring i opphavsrettslig dekning av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1790, that scope was very narrow. Copyright covered only <quote>maps, " +"charts, and books.</quote> That means it didn't cover, for example, music or " +"architecture. More significantly, the right granted by a copyright gave the " +"author the exclusive right to <quote>publish</quote> copyrighted works. That " +"means someone else violated the copyright only if he republished the work " +"without the copyright owner's permission. Finally, the right granted by a " +"copyright was an exclusive right to that particular book. The right did not " +"extend to what lawyers call <quote>derivative works.</quote> It would not, " +"therefore, interfere with the right of someone other than the author to " +"translate a copyrighted book, or to adapt the story to a different form " +"(such as a drama based on a published book)." +msgstr "" +"i 1790 var at omfanget svÃ¦rt smale. Copyright dekket bare \"kart, diagrammer " +"og bÃ¸ker.\", 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 pÃ¥ nytt. Endelig, retten som er " +"innvilget av en opphavsrett var en eksklusiv rett til den aktuelle boken. " +"hÃ¸yre ikke strekker seg til det advokater kaller \"avledede works.\" det vil " +"ikke, derfor forstyrre retten av andre enn forfatteren Ã¥ oversette en " +"opphavsrettsbeskyttet bok, eller Ã¥ tilpasse historien til et annet skjema " +"(for eksempel et drama basert pÃ¥ en publiserte bok)." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This, too, has changed dramatically. While the contours of copyright today " +"are extremely hard to describe simply, in general terms, the right covers " +"practically any creative work that is reduced to a tangible form. It covers " +"music as well as architecture, drama as well as computer programs. It gives " +"the copyright owner of that creative work not only the exclusive right to " +"<quote>publish</quote> the work, but also the exclusive right of control " +"over any <quote>copies</quote> of that work. And most significant for our " +"purposes here, the right gives the copyright owner control over not only his " +"or her particular work, but also any <quote>derivative work</quote> that " +"might grow out of the original work. In this way, the right covers more " +"creative work, protects the creative work more broadly, and protects works " +"that are based in a significant way on the initial creative work." +msgstr "" +"Dette, ogsÃ¥, har endret seg dramatisk. mens konturene av copyright i dag er " +"ekstremt vanskelig Ã¥ beskrive bare, i generelle termer, dekker hÃ¸yre nesten " +"ethvert skapende arbeid som er redusert til en hÃ¥ndgripelig form. den dekker " +"musikk sÃ¥ vel som arkitektur, drama og programmer pÃ¥ datamaskinen. Det gir " +"eieren av opphavsretten av det kreative arbeidet ikke bare den eksklusive " +"retten til \"Publiser\" arbeidet, men ogsÃ¥ den etablerte eneretten for " +"kontroll over alle \"Kopier\" av dem som fungerer. og mest betydningsfulle " +"for vÃ¥rt formÃ¥l her, hÃ¸yre gir opphavsrettsinnehaveren-kontroll over ikke " +"bare hans eller hennes bestemt arbeid, men ogsÃ¥ noen \"avledet arbeid\" som " +"kan vokse ut av det opprinnelige arbeidet. pÃ¥ denne mÃ¥ten, hÃ¸yre dekker mer " +"kreativt arbeid, beskytter det kreative arbeidet mer forstand, og beskytter " +"verk som er basert pÃ¥ en betydelig mÃ¥te pÃ¥ det fÃ¸rste skapende arbeidet." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "marking of" +msgstr "merking av" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "formalities" +msgstr "formaliteter" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "registration requirement of" +msgstr "registreringskrav for" + +#. PAGE BREAK 148 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"At the same time that the scope of copyright has expanded, procedural " +"limitations on the right have been relaxed. I've already described the " +"complete removal of the renewal requirement in 1992. In addition to the " +"renewal requirement, for most of the history of American copyright law, " +"there was a requirement that a work be registered before it could receive " +"the protection of a copyright. There was also a requirement that any " +"copyrighted work be marked either with that famous © or the word " +"<emphasis>copyright</emphasis>. And for most of the history of American " +"copyright law, there was a requirement that works be deposited with the " +"government before a copyright could be secured." +msgstr "" +"pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " +"begrensninger til hÃ¸yre 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 fÃ¸r den kan motta beskyttelse av opphavsretten. Det " +"var ogsÃ¥ et krav at opphavsrettsbeskyttet arbeid merkes enten med det " +"berÃ¸mte Â© eller word-copyright. og for de fleste av historien til amerikansk " +"lov om opphavsrett, det var et krav at works settes med regjeringen fÃ¸r " +"opphavsretten som kan sikres." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The reason for the registration requirement was the sensible understanding " +"that for most works, no copyright was required. Again, in the first ten " +"years of the Republic, 95 percent of works eligible for copyright were never " +"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't " +"need copyright, so registration narrowed the regulation of the law to the " +"few that did. The same reasoning justified the requirement that a work be " +"marked as copyrighted—that way it was easy to know whether a copyright " +"was being claimed. The requirement that works be deposited was to assure " +"that after the copyright expired, there would be a copy of the work " +"somewhere so that it could be copied by others without locating the original " +"author." +msgstr "" +"Ã¥rsaken til registreringskrav var fornuftig forstÃ¥elsen om at for de fleste " +"arbeider, ingen opphavsrett var nÃ¸dvendig. igjen, i de fÃ¸rste ti Ã¥rene 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—mÃ¥ten " +"det var lett Ã¥ vite om en copyright ble hevdet. kravet som fungerer vÃ¦re var " +"avsatt Ã¥ sikre at etter at opphavsretten utlÃ¸pt, det ville vÃ¦re en kopi av " +"arbeidet et sted slik at den kan kopieres av andre uten Ã¥ finne den " +"opprinnelige forfatteren." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "European" +msgstr "europeiske" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"All of these <quote>formalities</quote> were abolished in the American " +"system when we decided to follow European copyright law. There is no " +"requirement that you register a work to get a copyright; the copyright now " +"is automatic; the copyright exists whether or not you mark your work with a " +"©; and the copyright exists whether or not you actually make a copy " +"available for others to copy." +msgstr "" +"alle disse \"formaliteter\" ble avskaffet i det amerikanske systemet nÃ¥r vi " +"besluttet Ã¥ fÃ¸lge europeiske lov om opphavsrett. Det er ingen krav at du " +"registrerer et arbeid for Ã¥ fÃ¥ en copyright; opphavsretten nÃ¥ er automatisk; " +"opphavsretten finnes om du merker arbeidet med en Â©; og opphavsretten finnes " +"om du faktisk lage en kopi tilgjengelig for andre Ã¥ kopiere." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Consider a practical example to understand the scope of these differences." +msgstr "" +"La oss se pÃ¥ et praktisk eksempel for Ã¥ forstÃ¥ omfanget av disse " +"forskjellene." + +#. f13 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the " +"Creation of American Literature,</quote> 29 <citetitle>New York University " +"Journal of International Law and Politics</citetitle> 255 (1997), and James " +"Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., " +"1987)." +msgstr "" +"se thomas bender og david sampliner, \"poeter, pirater og etableringen av " +"amerikansk litteratur,\" 29 new york university journal of internasjonal lov " +"og politikk 255 (1997), og james gilraeth, ed., fÃ¸derale opphavsrett " +"records, 1790Â1800 (US g.p.o., 1987)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"If, in 1790, you wrote a book and you were one of the 5 percent who actually " +"copyrighted that book, then the copyright law protected you against another " +"publisher's taking your book and republishing it without your permission. " +"The aim of the act was to regulate publishers so as to prevent that kind of " +"unfair competition. In 1790, there were 174 publishers in the United States." +"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " +"regulation of a tiny proportion of a tiny part of the creative market in the " +"United States—publishers." +msgstr "" +"Hvis du i 1790 skrev en bok og du var en av de fem prosentene som faktisk " +"registrerte opphavsretten for den boken, sÃ¥ ville opphavsrettsloven beskytte " +"deg mot at andre utgivere tok boken din og publiserte den pÃ¥ nytt uten din " +"tillatelse. MÃ¥let med loven var Ã¥ regulere utgivere for Ã¥ hindre denne " +"typen urimelig konkurranse. I 1790 var det 174 utgivere i USA.<placeholder " +"type=\"footnote\" id=\"0\"/> Opphavsrettslovgivingen var dermed en liten " +"regulering av en liten andel av et liten del av det kreative markedet i " +"USA—utgivere." + +#. PAGE BREAK 149 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The act left other creators totally unregulated. If I copied your poem by " +"hand, over and over again, as a way to learn it by heart, my act was totally " +"unregulated by the 1790 act. If I took your novel and made a play based upon " +"it, or if I translated it or abridged it, none of those activities were " +"regulated by the original copyright act. These creative activities remained " +"free, while the activities of publishers were restrained." +msgstr "" +"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet " +"for hÃ¥nd, igjen og igjen, som en mÃ¥te Ã¥ lÃ¦re det ved hjertet, var min " +"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en " +"spiller som er basert pÃ¥ det, eller hvis jeg har oversatt eller utdrag det, " +"var ingen av disse aktivitetene regulert av opprinnelige copyright act. " +"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere " +"var behersket." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Today the story is very different: If you write a book, your book is " +"automatically protected. Indeed, not just your book. Every e-mail, every " +"note to your spouse, every doodle, <emphasis>every</emphasis> creative act " +"that's reduced to a tangible form—all of this is automatically " +"copyrighted. There is no need to register or mark your work. The protection " +"follows the creation, not the steps you take to protect it." +msgstr "" +"i dag historien er svÃ¦rt 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 hÃ¥ndgripelig form—alt dette automatisk beskyttet med " +"kopirettigheter. Det er ikke nÃ¸dvendig Ã¥ registrere deg eller merke arbeidet " +"ditt. beskyttelse fÃ¸lger etablering, ikke trinnene du ta for Ã¥ beskytte den." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"That protection gives you the right (subject to a narrow range of fair use " +"exceptions) to control how others copy the work, whether they copy it to " +"republish it or to share an excerpt." +msgstr "" +"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use " +"unntak) til Ã¥ kontrollere hvordan andre kopierer arbeidet, om de kopiere den " +"til Ã¥ publisere den pÃ¥ nytt, eller for Ã¥ dele et utdrag." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"That much is the obvious part. Any system of copyright would control " +"competing publishing. But there's a second part to the copyright of today " +"that is not at all obvious. This is the protection of <quote>derivative " +"rights.</quote> If you write a book, no one can make a movie out of your " +"book without permission. No one can translate it without permission. " +"CliffsNotes can't make an abridgment unless permission is granted. All of " +"these derivative uses of your original work are controlled by the copyright " +"holder. The copyright, in other words, is now not just an exclusive right to " +"your writings, but an exclusive right to your writings and a large " +"proportion of the writings inspired by them." +msgstr "" +"Det er mye den Ã¥penbare delen. et system av copyright ville styre " +"konkurrerende publisering. men det er en andre del til opphavsretten i dag " +"som er overhodet ikke Ã¥penbart. 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 gjÃ¸re ikke en forkortelse, med mindre tillatelse er gitt. alle disse " +"avledede bruksomrÃ¥dene for det originale arbeidet er styrt av " +"opphavsrettsinnehaveren. opphavsretten, med andre ord, er nÃ¥ ikke bare en " +"eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en stor " +"andel av skrifter som er inspirert av dem." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"It is this derivative right that would seem most bizarre to our framers, " +"though it has become second nature to us. Initially, this expansion was " +"created to deal with obvious evasions of a narrower copyright. If I write a " +"book, can you change one word and then claim a copyright in a new and " +"different book? Obviously that would make a joke of the copyright, so the " +"law was properly expanded to include those slight modifications as well as " +"the verbatim original work." +msgstr "" +"Det er denne derivat hÃ¸yre som vil synes mest bisarre til vÃ¥re underskrev, " +"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne " +"ekspansjonen opprettet for Ã¥ hÃ¥ndtere Ã¥penbare 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 gjÃ¸re en " +"spÃ¸k av opphavsretten, slik loven ble riktig utvidet til Ã¥ omfatte disse smÃ¥ " +"endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal " +"Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Jonathan Zittrain, <quote>The Copyright Cage</quote>, <citetitle>Legal " +"Affairs</citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In preventing that joke, the law created an astonishing power within a free " +"culture—at least, it's astonishing when you understand that the law " +"applies not just to the commercial publisher but to anyone with a computer. " +"I understand the wrong in duplicating and selling someone else's work. But " +"whatever <emphasis>that</emphasis> wrong is, transforming someone else's " +"work is a different wrong. Some view transformation as no wrong at all—" +"they believe that our law, as the framers penned it, should not protect " +"derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> Whether " +"or not you go that far, it seems plain that whatever wrong is involved is " +"fundamentally different from the wrong of direct piracy." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Rubenfeld, Jeb" +msgstr "Rubenfeld, Jeb" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Professor Rubenfeld has presented a powerful constitutional argument about " +"the difference that copyright law should draw (from the perspective of the " +"First Amendment) between mere <quote>copies</quote> and derivative works. " +"See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's " +"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 " +"(2002): 1–60 (see especially pp. 53–59). <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"professor rubenfeld har presentert en kraftig konstitusjonelle argument om " +"forskjellen som lov om opphavsrett bÃ¸r trekke (fra perspektivet til den " +"fÃ¸rste endringen) bare \"Kopier\" og avledede produkter. se jed rubenfeld, " +"\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\" yale law " +"journal 112 (2002): 1Â60 (se spesielt s. 53Â59)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Yet copyright law treats these two different wrongs in the same way. I can " +"go to court and get an injunction against your pirating my book. I can go to " +"court and get an injunction against your transformative use of my book." +"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " +"creative work are treated the same." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This again may seem right to you. If I wrote a book, then why should you be " +"able to write a movie that takes my story and makes money from it without " +"paying me or crediting me? Or if Disney creates a creature called " +"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse " +"toys and be the one to trade on the value that Disney originally created?" +msgstr "" +"Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, sÃ¥ hvorfor skal " +"du kunne skrive en film som tar min historie og gjÃ¸r penger fra det uten Ã¥ " +"betale meg eller kreditering meg? eller hvis disney oppretter en skapning " +"kalt \"Mikke Mus\", hvorfor skal du kunne gjÃ¸re Mikke Mus leker og vÃ¦re en " +"til Ã¥ handle pÃ¥ verdien som disney opprinnelig opprettet?" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"These are good arguments, and, in general, my point is not that the " +"derivative right is unjustified. My aim just now is much narrower: simply to " +"make clear that this expansion is a significant change from the rights " +"originally granted." +msgstr "" +"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat hÃ¸yre " +"er grunnlÃ¸s. meg sikte akkurat nÃ¥ er mye smalere: bare for Ã¥ gjÃ¸re det klart " +"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Law and Architecture: Reach" +msgstr "Lov og arkitektur: Rekkevidde" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copies as core issue of" +msgstr "Kopier som kjernen utgave av" + +#. f16 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"This is a simplification of the law, but not much of one. The law certainly " +"regulates more than <quote>copies</quote>—a public performance of a " +"copyrighted song, for example, is regulated even though performance per se " +"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section " +"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; " +"17 <citetitle>United States Code</citetitle>, section 112(a). But the " +"presumption under the existing law (which regulates <quote>copies;</quote> " +"17 <citetitle>United States Code</citetitle>, section 102) is that if there " +"is a copy, there is a right." +msgstr "" +"Dette er en forenkling av loven, men ikke mye av en. loven absolutt " +"regulerer mer enn \"Kopier\"—en offentlig fremfÃ¸ring av en " +"kopibeskyttet sang, for eksempel er regulert selv om ytelse per se ikke " +"gjÃ¸re en kopi; 17 united states code, delen 106(4). og det sikkert noen " +"ganger regulere ikke en \"kopi\"; 17 united states code, delen 112(a). men " +"antagelse under den eksisterende lov (som regulerer \"Kopier\"; 17 united " +"states code, avsnitt 102) er at hvis det er en kopi, det er rett." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Whereas originally the law regulated only publishers, the change in " +"copyright's scope means that the law today regulates publishers, users, and " +"authors. It regulates them because all three are capable of making copies, " +"and the core of the regulation of copyright law is copies.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "other property rights vs." +msgstr "andre eiendomsretter vs." + +#. PAGE BREAK 151 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<quote>Copies.</quote> That certainly sounds like the obvious thing for " +"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's " +"argument at the start of this chapter, that <quote>creative property</quote> " +"deserves the <quote>same rights</quote> as all other property, it is the " +"<emphasis>obvious</emphasis> that we need to be most careful about. For " +"while it may be obvious that in the world before the Internet, copies were " +"the obvious trigger for copyright law, upon reflection, it should be obvious " +"that in the world with the Internet, copies should <emphasis>not</emphasis> " +"be the trigger for copyright law. More precisely, they should not " +"<emphasis>always</emphasis> be the trigger for copyright law." +msgstr "" +"\"Kopier.\" som absolutt hÃ¸res ut som det Ã¥penbare tingen for opphavsrett Ã¥ " +"regulere. men som med jack valenti argumentet i begynnelsen av dette " +"kapitlet, at \"kreative property\" fortjener \"samme rettigheter\" som alle " +"andre eiendom, det er Ã¥penbart at vi trenger Ã¥ vÃ¦re mest forsiktig med. for " +"mens det kan vÃ¦re opplagt at i verden fÃ¸r Internett, Kopier var Ã¥penbare " +"utlÃ¸ser for opphavsrett, pÃ¥ refleksjon, bÃ¸r det vÃ¦re Ã¥penbart at i verden " +"med Internett, Kopier ikke bÃ¸r vÃ¦re utlÃ¸ser for lov om opphavsrett. mer " +"presist, bÃ¸r de ikke alltid vÃ¦re utlÃ¸ser for lov om opphavsrett." + +#. f17 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Thus, my argument is not that in each place that copyright law extends, we " +"should repeal it. It is instead that we should have a good argument for its " +"extending where it does, and should not determine its reach on the basis of " +"arbitrary and automatic changes caused by technology." +msgstr "" +"SÃ¥ledes, mitt argument er ikke at i hvert sett at lov om opphavsrett " +"utvider, vi bÃ¸r oppheve den. Det er i stedet at vi bÃ¸r ha et godt argument " +"for dens utvidelse der den does, og bÃ¸r ikke avgjÃ¸re sin rekkevidde pÃ¥ " +"grunnlag av vilkÃ¥rlig og automatiske endringer forÃ¥rsaket av teknologi." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This is perhaps the central claim of this book, so let me take this very " +"slowly so that the point is not easily missed. My claim is that the Internet " +"should at least force us to rethink the conditions under which the law of " +"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " +"because it is clear that the current reach of copyright was never " +"contemplated, much less chosen, by the legislators who enacted copyright law." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"We can see this point abstractly by beginning with this largely empty circle." +msgstr "" +"Vi kan se dette poenget helt abstrakt ved Ã¥ starte med denne i hovedsak " +"tomme sirkel." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "All potential uses of a book." +msgstr "Alle potensielle bruksomrÃ¥der for en bok." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1521.png\"></graphic>" +msgstr "<graphic fileref=\"images/1521.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "three types of uses of" +msgstr "tre typer bruk av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright applicability altered by technology of" +msgstr "opphavsrett anvendbarhet endret av teknologien i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright intent altered by" +msgstr "opphavsrett hensikt endret av" + +#. PAGE BREAK 152 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Think about a book in real space, and imagine this circle to represent all " +"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " +"by copyright law, because the uses don't create a copy. If you read a book, " +"that act is not regulated by copyright law. If you give someone the book, " +"that act is not regulated by copyright law. If you resell a book, that act " +"is not regulated (copyright law expressly states that after the first sale " +"of a book, the copyright owner can impose no further conditions on the " +"disposition of the book). If you sleep on the book or use it to hold up a " +"lamp or let your puppy chew it up, those acts are not regulated by copyright " +"law, because those acts do not make a copy." +msgstr "" +"Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " +"representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene 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 fÃ¸rste salg av en bok, eieren av opphavsretten kan pÃ¥legge uten " +"ytterligere betingelser om tilstanden i boken). Hvis du sove pÃ¥ boken eller " +"bruke den til Ã¥ 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 gjÃ¸r en kopi." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Examples of unregulated uses of a book." +msgstr "Eksempler pÃ¥ uregulert bruk av en bok." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1531.png\"></graphic>" +msgstr "<graphic fileref=\"images/1531.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Obviously, however, some uses of a copyrighted book are regulated by " +"copyright law. Republishing the book, for example, makes a copy. It is " +"therefore regulated by copyright law. Indeed, this particular use stands at " +"the core of this circle of possible uses of a copyrighted work. It is the " +"paradigmatic use properly regulated by copyright regulation (see first " +"diagram on next page)." +msgstr "" +"Ã¥penbart, 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 stÃ¥r bruk i kjernen av denne " +"kretsen av mulige bruksomrÃ¥der for et opphavsrettslig beskyttet verk. Det er " +"paradigmatic bruk riktig regulert av opphavsrett regulering (se fÃ¸rste " +"diagrammet pÃ¥ neste side)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Finally, there is a tiny sliver of otherwise regulated copying uses that " +"remain unregulated because the law considers these <quote>fair uses.</quote>" +msgstr "" +"Til slutt er det en tynn skive av ellers regulert kopierings-bruk som " +"forblir uregluert pÃ¥ grunn av at loven anser dette som <quote>rimelig bruk</" +"quote>." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "" +"Republishing stands at the core of this circle of possible uses of a " +"copyrighted work." +msgstr "" +"Ã gi ut pÃ¥ nytt stÃ¥r i midten av denne sirkelen av mulige bruksomrÃ¥der for " +"et opphavsrettsbeskyttet verk." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1541.png\"></graphic>" +msgstr "<graphic fileref=\"images/1541.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"These are uses that themselves involve copying, but which the law treats as " +"unregulated because public policy demands that they remain unregulated. You " +"are free to quote from this book, even in a review that is quite negative, " +"without my permission, even though that quoting makes a copy. That copy " +"would ordinarily give the copyright owner the exclusive right to say whether " +"the copy is allowed or not, but the law denies the owner any exclusive right " +"over such <quote>fair uses</quote> for public policy (and possibly First " +"Amendment) reasons." +msgstr "" +"disse er bruker at selv innebÃ¦re kopiering, men som det lov behandler som " +"unregulated fordi public policy krever at de forblir unregulated. du er fri " +"til Ã¥ 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 Ã¥ si om kopien er " +"tillatt eller ikke, men loven fornekter eieren av en eksklusiv rett over " +"slike \"fair bruker\" for offentlig politikk (og muligens first endring) " +"grunner." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Unregulated copying considered <quote>fair uses.</quote>" +msgstr "Uregulert kopiering anses som <quote>rimelig bruk</quote>." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1542.png\"></graphic>" +msgstr "<graphic fileref=\"images/1542.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "" +"Uses that before were presumptively unregulated are now presumptively " +"regulated." +msgstr "" +"Bruk som tidligere var antatt Ã¥ ikke vÃ¦re regulert er nÃ¥ antatt Ã¥ vÃ¦re " +"regulert." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1551.png\"></graphic>" +msgstr "<graphic fileref=\"images/1551.png\"></graphic>" + +#. PAGE BREAK 154 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In real space, then, the possible uses of a book are divided into three " +"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that " +"are nonetheless deemed <quote>fair</quote> regardless of the copyright " +"owner's views." +msgstr "" +"i virkelige rommet, deretter mulige bruksomrÃ¥der 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." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on Internet" +msgstr "pÃ¥ internet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "books on" +msgstr "bÃ¸ker pÃ¥" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "Internet burdens on" +msgstr "Internett byrder pÃ¥" + +#. f18 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"I don't mean <quote>nature</quote> in the sense that it couldn't be " +"different, but rather that its present instantiation entails a copy. Optical " +"networks need not make copies of content they transmit, and a digital " +"network could be designed to delete anything it copies so that the same " +"number of copies remain." +msgstr "" +"Jeg trenger ikke bety \"natur\" i den forstand at det kunne ikke vÃ¦re " +"annerledes, men heller at sin nÃ¥vÃ¦rende objektforekomst innebÃ¦rer en kopi. " +"optisk nettverk ikke trenger lage kopier av innhold de overfÃ¸re, og en " +"digital network kan vÃ¦re utformet for Ã¥ slette noe det kopierer slik at det " +"samme antallet kopier forblir." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Enter the Internet—a distributed, digital network where every use of a " +"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> " +"And because of this single, arbitrary feature of the design of a digital " +"network, the scope of category 1 changes dramatically. Uses that before were " +"presumptively unregulated are now presumptively regulated. No longer is " +"there a set of presumptively unregulated uses that define a freedom " +"associated with a copyrighted work. Instead, each use is now subject to the " +"copyright, because each use also makes a copy—category 1 gets sucked " +"into category 2. And those who would defend the unregulated uses of " +"copyrighted work must look exclusively to category 3, fair uses, to bear the " +"burden of this shift." +msgstr "" + +#. PAGE BREAK 155 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"So let's be very specific to make this general point clear. Before the " +"Internet, if you purchased a book and read it ten times, there would be no " +"plausible <emphasis>copyright</emphasis>-related argument that the copyright " +"owner could make to control that use of her book. Copyright law would have " +"nothing to say about whether you read the book once, ten times, or every " +"night before you went to bed. None of those instances of use—" +"reading— could be regulated by copyright law because none of those " +"uses produced a copy." +msgstr "" +"sÃ¥ la oss vÃ¦re svÃ¦rt spesifikke Ã¥ gjÃ¸re herfra Generelt og fjerner. fÃ¸r " +"Internett, hvis du kjÃ¸pte en bok og Les det ti ganger, ville det ikke " +"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan " +"gjÃ¸re for Ã¥ kontrollere at bruk av hennes bok. lov om opphavsrett har " +"ingenting Ã¥ si om hvorvidt du lese boken en gang, ti ganger eller hver natt " +"fÃ¸r du gikk til sengs. Ingen av disse forekomstene av bruk—" +"lesing—kan reguleres av lov om opphavsrett, fordi ingen av de bruker " +"produsert en kopi." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "e-books" +msgstr "e-bÃ¸ker" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "technological developments and" +msgstr "teknologisk utvikling og" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But the same book as an e-book is effectively governed by a different set of " +"rules. Now if the copyright owner says you may read the book only once or " +"only once a month, then <emphasis>copyright law</emphasis> would aid the " +"copyright owner in exercising this degree of control, because of the " +"accidental feature of copyright law that triggers its application upon there " +"being a copy. Now if you read the book ten times and the license says you " +"may read it only five times, then whenever you read the book (or any portion " +"of it) beyond the fifth time, you are making a copy of the book contrary to " +"the copyright owner's wish." +msgstr "" +"men den samme bok som en e-bok styres effektivt av et annet sett med regler. " +"nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare Ã©n gang, eller " +"bare en gang i mÃ¥neden, sÃ¥ lov om opphavsrett skulle hjelpe eieren av " +"opphavsretten i utÃ¸velse slik grad av kontroll, pÃ¥ grunn av funksjonen " +"tilfeldig i lov om opphavsrett som utlÃ¸ser sin sÃ¸knad pÃ¥ det Ã¥ vÃ¦re en kopi. " +"nÃ¥ 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, gjÃ¸r du en kopi av boken i strid med opphavsrett eierens Ã¸nske." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There are some people who think this makes perfect sense. My aim just now is " +"not to argue about whether it makes sense or not. My aim is only to make " +"clear the change. Once you see this point, a few other points also become " +"clear:" +msgstr "" +"Det er noen folk som tror dette gjÃ¸r perfekt forstand. meg sikte er akkurat " +"nÃ¥ ikke Ã¥ krangle om hvorvidt det er fornuftig eller ikke. min mÃ¥let er bare " +"Ã¥ gjÃ¸re det klart endringen. NÃ¥r du ser dette punktet, bli noen andre " +"punkter ogsÃ¥ klar:" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"First, making category 1 disappear is not anything any policy maker ever " +"intended. Congress did not think through the collapse of the presumptively " +"unregulated uses of copyrighted works. There is no evidence at all that " +"policy makers had this idea in mind when they allowed our policy here to " +"shift. Unregulated uses were an important part of free culture before the " +"Internet." +msgstr "" +"FÃ¸rst gjÃ¸r 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 pÃ¥ " +"alle at beslutningstakere hadde denne idÃ©en i tankene nÃ¥r de tillater vÃ¥r " +"policy her for Ã¥ skifte. unregulated bruker var en viktig del av fri kultur " +"fÃ¸r Internett." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Second, this shift is especially troubling in the context of transformative " +"uses of creative content. Again, we can all understand the wrong in " +"commercial piracy. But the law now purports to regulate <emphasis>any</" +"emphasis> transformation you make of creative work using a machine. " +"<quote>Copy and paste</quote> and <quote>cut and paste</quote> become " +"crimes. Tinkering with a story and releasing it to others exposes the " +"tinkerer to at least a requirement of justification. However troubling the " +"expansion with respect to copying a particular work, it is extraordinarily " +"troubling with respect to transformative uses of creative work." +msgstr "" +"andre, dette skiftet er spesielt troubling i sammenheng med transformative " +"bruk av kreative innholdet. igjen, kan vi alle forstÃ¥ feil i kommersielle " +"piratkopiering. men loven nÃ¥ hensikt Ã¥ regulere alle transformasjoner som du " +"gjÃ¸r 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 Ã¥ minst et krav for justering. " +"troubling utvidelse med hensyn til kopiere et bestemt arbeid, men det er " +"svÃ¦rt troubling med hensyn til transformative bruk av skapende arbeid." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "fair use vs." +msgstr "rettferdig bruk vs." + +#. PAGE BREAK 156 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Third, this shift from category 1 to category 2 puts an extraordinary burden " +"on category 3 (<quote>fair use</quote>) that fair use never before had to " +"bear. If a copyright owner now tried to control how many times I could read " +"a book on-line, the natural response would be to argue that this is a " +"violation of my fair use rights. But there has never been any litigation " +"about whether I have a fair use right to read, because before the Internet, " +"reading did not trigger the application of copyright law and hence the need " +"for a fair use defense. The right to read was effectively protected before " +"because reading was not regulated." +msgstr "" +"tredje, dette skiftet fra Kategori 1 til kategori 2 setter en ekstraordinÃ¦re " +"belastning pÃ¥ kategori 3 (\"fair use\"), som rettferdig bruk aldri fÃ¸r hadde " +"Ã¥ bÃ¦re. Hvis en opphavsrettsinnehaveren nÃ¥ prÃ¸vde Ã¥ kontrollere hvor mange " +"ganger jeg kunne lese en bok pÃ¥ nettet, ville den naturlige reaksjon vÃ¦re Ã¥ " +"hevde at dette er et brudd pÃ¥ mine fair use-rettigheter. men det har aldri " +"vÃ¦rt noen rettssaker jeg ha en rettferdig bruk hÃ¸yre for Ã¥ lese, fordi fÃ¸r " +"Internett, leser ikke utlÃ¸se anvendelsen av lov om opphavsrett og dermed " +"behovet for en rettferdig bruk forsvar. retten til Ã¥ lese var effektivt " +"beskyttet fÃ¸r fordi lesing ikke ble regulert." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This point about fair use is totally ignored, even by advocates for free " +"culture. We have been cornered into arguing that our rights depend upon fair " +"use—never even addressing the earlier question about the expansion in " +"effective regulation. A thin protection grounded in fair use makes sense " +"when the vast majority of uses are <emphasis>unregulated</emphasis>. But " +"when everything becomes presumptively regulated, then the protections of " +"fair use are not enough." +msgstr "" +"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " +"kultur. Vi har vÃ¦rt cornered til kranglet at vÃ¥re rettigheter er avhengige " +"av fair use—adressering aldri selv tidligere spÃ¸rsmÃ¥let om utvidelse i " +"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig nÃ¥r det " +"store flertallet av bruker er unregulated. men nÃ¥r alt blir presumptively " +"regulert, deretter beskyttelse av fair use er ikke nok." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Video Pipeline" +msgstr "video rÃ¸rledningen" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "film industry" +msgstr "filmindustri" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "trailer advertisements of" +msgstr "Trailer reklame av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The case of Video Pipeline is a good example. Video Pipeline was in the " +"business of making <quote>trailer</quote> advertisements for movies " +"available to video stores. The video stores displayed the trailers as a way " +"to sell videos. Video Pipeline got the trailers from the film distributors, " +"put the trailers on tape, and sold the tapes to the retail stores." +msgstr "" +"tilfelle av video rÃ¸rledning er et godt eksempel. video rÃ¸rledningen var i " +"bransjen for Ã¥ gjÃ¸re \"trailer\" reklame for filmer tilgjengelig til video " +"butikker. video butikkene vises tilhengere som en mÃ¥te Ã¥ selge videoer. " +"video rÃ¸rledningen fikk tilhengere fra trevare, sette tilhengere pÃ¥ bÃ¥nd, og " +"solgt kassetter til selge i detalj butikker." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +#, mtrans, fuzzy +msgid "browsing" +msgstr "surfing" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The company did this for about fifteen years. Then, in 1997, it began to " +"think about the Internet as another way to distribute these previews. The " +"idea was to expand their <quote>selling by sampling</quote> technique by " +"giving on-line stores the same ability to enable <quote>browsing.</quote> " +"Just as in a bookstore you can read a few pages of a book before you buy the " +"book, so, too, you would be able to sample a bit from the movie on-line " +"before you bought it." +msgstr "" +"selskapet gjorde dette i omtrent femten Ã¥r. deretter, i 1997, det begynte Ã¥ " +"tenke pÃ¥ Internett som en mÃ¥te Ã¥ distribuere disse forhÃ¥ndsvisninger. idÃ©en " +"var Ã¥ utvide sin \"selger ved prÃ¸vetaking\" teknikk ved Ã¥ gi on-line " +"butikker samme muligheten til Ã¥ aktivere \"surfing.\" akkurat som i en " +"bokhandel du kan lese noen fÃ¥ sider av en bok fÃ¸r du kjÃ¸per boken, sÃ¥, du " +"vil ogsÃ¥ kunne smake litt fra filmen on-line fÃ¸r du kjÃ¸pte den." + +#. PAGE BREAK 157 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1998, Video Pipeline informed Disney and other film distributors that it " +"intended to distribute the trailers through the Internet (rather than " +"sending the tapes) to distributors of their videos. Two years later, Disney " +"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to " +"talk about the matter—he had built a business on distributing this " +"content as a way to help sell Disney films; he had customers who depended " +"upon his delivering this content. Disney would agree to talk only if Video " +"Pipeline stopped the distribution immediately. Video Pipeline thought it " +"was within their <quote>fair use</quote> rights to distribute the clips as " +"they had. So they filed a lawsuit to ask the court to declare that these " +"rights were in fact their rights." +msgstr "" +"i 1998 informert video rÃ¸rledningen disney og andre trevare at det ment Ã¥ " +"distribuere tilhengere gjennom Internett (i stedet for Ã¥ sende bÃ¥ndene) til " +"distributÃ¸rer av deres videoer. to Ã¥r senere, fortalte disney video " +"rÃ¸rledning til Ã¥ stoppe. eieren av video rÃ¸rledningen spurte disney Ã¥ snakke " +"om saken, hadde han bygget en bedrift pÃ¥ distribuere dette innholdet som en " +"mÃ¥te Ã¥ hjelp Selg disney filmer; Han hadde kunder som var avhengig av hans " +"leverer dette innholdet. Disney aksepterer Ã¥ snakke bare hvis video " +"rÃ¸rledningen stoppet fordelingen umiddelbart. video rÃ¸rledningen trodde det " +"var innenfor sine \"fair use\"-rettigheter til Ã¥ distribuere utklippene som " +"de hadde. sÃ¥ de anlagt en sak Ã¥ be retten Ã¥ erklÃ¦re at disse rettighetene " +"var faktisk sine rettigheter." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "willful infringement findings in" +msgstr "willful krenkelse funnene i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "willful infringement" +msgstr "willful krenkelse" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Disney countersued—for $100 million in damages. Those damages were " +"predicated upon a claim that Video Pipeline had <quote>willfully infringed</" +"quote> on Disney's copyright. When a court makes a finding of willful " +"infringement, it can award damages not on the basis of the actual harm to " +"the copyright owner, but on the basis of an amount set in the statute. " +"Because Video Pipeline had distributed seven hundred clips of Disney movies " +"to enable video stores to sell copies of those movies, Disney was now suing " +"Video Pipeline for $100 million." +msgstr "" +"Disney countersued—for $100 millioner i skader. disse skader ble " +"predicated upon et krav at video rÃ¸rledningen hadde \"willfully krenket\" pÃ¥ " +"disney's copyright. NÃ¥r en domstol gjÃ¸r en oppdagelse av willful brudd, kan " +"den prisen skader ikke pÃ¥ grunnlag av den faktiske skaden for eieren av " +"opphavsretten, men pÃ¥ grunnlag av et belÃ¸p som er angitt i vedtektene. fordi " +"video rÃ¸rledningen hadde distribuert syv hundre klipp av disney film Ã¥ " +"aktivere video butikker Ã¥ selge kopier av disse filmene, var disney nÃ¥ suing " +"video rÃ¸rledning for $100 millioner." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Disney has the right to control its property, of course. But the video " +"stores that were selling Disney's films also had some sort of right to be " +"able to sell the films that they had bought from Disney. Disney's claim in " +"court was that the stores were allowed to sell the films and they were " +"permitted to list the titles of the films they were selling, but they were " +"not allowed to show clips of the films as a way of selling them without " +"Disney's permission." +msgstr "" +"Disney har rett til Ã¥ kontrollere sin eiendom, selvfÃ¸lgelig. men video " +"butikkene som solgte Disneys filmer hadde ogsÃ¥ en slags rett til Ã¥ vÃ¦re i " +"stand til Ã¥ selge filmer som de hadde kjÃ¸pt fra disney. disney's krav i " +"domstol var at butikkene ble tillatt Ã¥ selge filmene og de ble tillatt Ã¥ " +"vise titlene pÃ¥ filmene de solgte, men de var ikke lov til Ã¥ vise klipp av " +"filmer som en mÃ¥te Ã¥ selge dem uten disney's tillatelse." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "first-sale doctrine" +msgstr "fÃ¸rste salg doktrine" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Now, you might think this is a close case, and I think the courts would " +"consider it a close case. My point here is to map the change that gives " +"Disney this power. Before the Internet, Disney couldn't really control how " +"people got access to their content. Once a video was in the marketplace, the " +"<quote>first-sale doctrine</quote> would free the seller to use the video as " +"he wished, including showing portions of it in order to engender sales of " +"the entire movie video. But with the Internet, it becomes possible for " +"Disney to centralize control over access to this content. Because each use " +"of the Internet produces a copy, use on the Internet becomes subject to the " +"copyright owner's control. The technology expands the scope of effective " +"control, because the technology builds a copy into every transaction." +msgstr "" +"NÃ¥ kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser det " +"som en Lukk saken. Mitt poeng her er Ã¥ tilordne endringen som gir disney " +"denne makten. fÃ¸r Internett, kunne ikke disney virkelig styre hvordan folk " +"har tilgang til innholdet. NÃ¥r en video var i markedet, ville \"fÃ¸rste-salg " +"doktrine\" gratis selgeren for Ã¥ bruke videoen som han Ã¸nsket, inkludert " +"viser deler av det for Ã¥ skape salg av hele filmen video. men med Internett, " +"blir det mulig for disney Ã¥ sentralisere kontroll over tilgang til dette " +"innholdet. fordi hver bruk av Internett gir en kopi, blir copyrighteieren " +"kontroll en bruk pÃ¥ Internett. teknologien utvider omfanget av effektiv " +"kontroll, fordi teknologien bygger en kopi til hver transaksjon." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Barnes & Noble" +msgstr "Barnes & Noble" + +#. PAGE BREAK 158 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"No doubt, a potential is not yet an abuse, and so the potential for control " +"is not yet the abuse of control. Barnes & Noble has the right to say you " +"can't touch a book in their store; property law gives them that right. But " +"the market effectively protects against that abuse. If Barnes & Noble " +"banned browsing, then consumers would choose other bookstores. Competition " +"protects against the extremes. And it may well be (my argument so far does " +"not even question this) that competition would prevent any similar danger " +"when it comes to copyright. Sure, publishers exercising the rights that " +"authors have assigned to them might try to regulate how many times you read " +"a book, or try to stop you from sharing the book with anyone. But in a " +"competitive market such as the book market, the dangers of this happening " +"are quite slight." +msgstr "" +"ingen tvil, et potensial er ikke et misbruk, og sÃ¥ potensialet for kontroll " +"er ikke ennÃ¥ misbruk av kontroll. Barnes & noble har rett til Ã¥ si du " +"ikke rÃ¸re en bok i deres store; Ã¥ndsverkslovgivningen 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 vÃ¦re (mitt argument " +"sÃ¥ langt ikke selv spÃ¸rsmÃ¥let dette) at konkurransen ville hindre noen " +"lignende fare nÃ¥r det gjelder opphavsrett. sikker, kan utgivere utÃ¸ve " +"rettigheter som forfattere har tildelt dem prÃ¸ver Ã¥ regulere hvor mange " +"ganger du leser en bok, eller prÃ¸v Ã¥ opphÃ¸re du fra deler av boken med noen. " +"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer " +"er ganske liten." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Again, my aim so far is simply to map the changes that this changed " +"architecture enables. Enabling technology to enforce the control of " +"copyright means that the control of copyright is no longer defined by " +"balanced policy. The control of copyright is simply what private owners " +"choose. In some contexts, at least, that fact is harmless. But in some " +"contexts it is a recipe for disaster." +msgstr "" +"igjen, mitt mÃ¥l sÃ¥ langt er ganske enkelt Ã¥ kartlegge endringene som er at " +"dette endret arkitekturen aktiverer. aktivere teknologien Ã¥ hÃ¥ndheve " +"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger " +"definert av balansert policyen. kontroll pÃ¥ opphavsrett er bare hva privat " +"eiere velge. i enkelte sammenhenger, minst, er det faktum harmlÃ¸se. men det " +"er en oppskrift pÃ¥ katastrofe i enkelte sammenhenger." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Architecture and Law: Force" +msgstr "Arkitektur og lov: Makt" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The disappearance of unregulated uses would be change enough, but a second " +"important change brought about by the Internet magnifies its significance. " +"This second change does not affect the reach of copyright regulation; it " +"affects how such regulation is enforced." +msgstr "" +"forsvinningen av unregulated bruker ville vÃ¦re endre nok, men andre viktige " +"endringer forÃ¥rsaket av Internett Ã¸ker sin betydning. denne andre endringen " +"pÃ¥virker ikke rekkevidden av opphavsrett regulering; det pÃ¥virker hvordan " +"slike regulering fremtvinges." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "technology as automatic enforcer of" +msgstr "teknologi som automatisk inndriver av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright enforcement controlled by" +msgstr "opphavsrett hensikt endret av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In the world before digital technology, it was generally the law that " +"controlled whether and how someone was regulated by copyright law. The law, " +"meaning a court, meaning a judge: In the end, it was a human, trained in the " +"tradition of the law and cognizant of the balances that tradition embraced, " +"who said whether and how the law would restrict your freedom." +msgstr "" +"i verden fÃ¸r digital teknologi var det generelt loven som kontrollerte om og " +"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en " +"court, som betyr en dommer: til slutt, det var et menneske, utdannet i " +"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa " +"om og hvordan loven ville begrense friheten." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Casablanca" +msgstr "Casablanca" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Marx Brothers" +msgstr "BrÃ¸drene Marx" + +#. f19 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See David Lange, <quote>Recognizing the Public Domain,</quote> " +"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73." +msgstr "" +"Se David Lange, <quote>Recognizing the Public Domain</quote>, <citetitle>Law " +"and Contemporary Problems</citetitle> 44 (1981): 172–73." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"There's a famous story about a battle between the Marx Brothers and Warner " +"Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" +"citetitle>. Warner Brothers objected. They wrote a nasty letter to the " +"Marxes, warning them that there would be serious legal consequences if they " +"went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Det er en berÃ¸mt historie om en kamp mellom Marx-brÃ¸drene (the Marx " +"Brothers) og Warner Brothers. Marx-brÃ¸drene planla Ã¥ lage en parodi av " +"<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " +"ufint brev til Marx-brÃ¸drene og advarte dem om at det ville fÃ¥ seriÃ¸se " +"juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. See also Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. Se ogsÃ¥ Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This led the Marx Brothers to respond in kind. They warned Warner Brothers " +"that the Marx Brothers <quote>were brothers long before you were.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " +"owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " +"insisted on trying to control <citetitle>Casablanca</citetitle>, then the " +"Marx Brothers would insist on control over <citetitle>brothers</citetitle>." +msgstr "" +"Dette fikk Marx-brÃ¸drene til Ã¥ svare tilbake med samme mynt. De advarte " +"Warner Brothers om at Marx-brÃ¸drene <quote>var brÃ¸dre lenge fÃ¸r dere var " +"det</quote>.<placeholder type=\"footnote\" id=\"0\"/> Marx-brÃ¸drene eide " +"derfor ordet <citetitle>Brothers</citetitle>, og hvis Warner Brothers " +"insisterte pÃ¥ Ã¥ forsÃ¸ke Ã¥ kontrollere <citetitle>Casablanca</citetitle>, sÃ¥ " +"ville Marx-brÃ¸drene insistere pÃ¥ kontroll over <citetitle>Brothers</" +"citetitle>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"An absurd and hollow threat, of course, because Warner Brothers, like the " +"Marx Brothers, knew that no court would ever enforce such a silly claim. " +"This extremism was irrelevant to the real freedoms anyone (including Warner " +"Brothers) enjoyed." +msgstr "" +"Det var en absurd og hul trussel, selvfÃ¸lgelig, fordi Warner Brothers, pÃ¥ " +"samme mÃ¥te som Marx-brÃ¸drene, visste at ingen domstol noensinne ville " +"hÃ¥ndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte " +"friheter som alle (inkludert Warner Brothers) nÃ¸t godt av." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"On the Internet, however, there is no check on silly rules, because on the " +"Internet, increasingly, rules are enforced not by a human but by a machine: " +"Increasingly, the rules of copyright law, as interpreted by the copyright " +"owner, get built into the technology that delivers copyrighted content. It " +"is code, rather than law, that rules. And the problem with code regulations " +"is that, unlike law, code has no shame. Code would not get the humor of the " +"Marx Brothers. The consequence of that is not at all funny." +msgstr "" +"PÃ¥ Internett, er det derimot ingen kontroll mot dum regler, fordi pÃ¥ " +"Internett, i Ã¸kende grad, blir regler ikke hÃ¥ndhevet av et menneske, men av " +"en maskin: i Ã¸kende grad reglene om opphavsrett, som tolkes av eieren av " +"opphavsretten fÃ¥ 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 fÃ¥ humor av the marx brothers. Konsekvensen av dette er overhodet " +"ikke morsomt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Adobe eBook Reader" +msgstr "Adobe eBok-leser" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Consider the life of my Adobe eBook Reader." +msgstr "La oss se pÃ¥ livet til min Adobe eBook Reader." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"An e-book is a book delivered in electronic form. An Adobe eBook is not a " +"book that Adobe has published; Adobe simply produces the software that " +"publishers use to deliver e-books. It provides the technology, and the " +"publisher delivers the content by using the technology." +msgstr "" +"En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok " +"som Adobe har publisert. Adobe produserer kun programvaren som utgivere " +"bruker Ã¥ levere e-bÃ¸ker. Den bidrar med teknologien, og utgiveren leverer " +"innholdet ved hjelp av teknologien." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"On the next page is a picture of an old version of my Adobe eBook Reader." +msgstr "" +"pÃ¥ neste er siden et bilde av en gammel versjon av min adobe eBok-leser." + +#. PAGE BREAK 160 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"As you can see, I have a small collection of e-books within this e-book " +"library. Some of these books reproduce content that is in the public domain: " +"<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " +"Some of them reproduce content that is not in the public domain: My own book " +"<citetitle>The Future of Ideas</citetitle> is not yet within the public " +"domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " +"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " +"cover, and then a button at the bottom called Permissions." +msgstr "" +"som du ser, har jeg en liten samling av e-bÃ¸ker i denne e-boken biblioteket. " +"noen av disse bÃ¸kene 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 idÃ©er er ennÃ¥ ikke i public domain. " +"vurdere middlemarch fÃ¸rst. Hvis du klikker pÃ¥ min e-bok-kopi av middlemarch, " +"vil du se en fancy cover og deretter en knapp pÃ¥ bunnen kalt tillatelser." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Picture of an old version of Adobe eBook Reader" +msgstr "Bilde av en gammel versjon av Adobe eBook Reader." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1611.png\"></graphic>" +msgstr "<graphic fileref=\"images/1611.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If you click on the Permissions button, you'll see a list of the permissions " +"that the publisher purports to grant with this book." +msgstr "" +"Hvis du klikker pÃ¥ knappen tillatelser, ser du en liste over tillatelsene " +"som utgiveren hensikt Ã¥ gi med denne boken." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "List of the permissions that the publisher purports to grant." +msgstr "Liste med tillatelser som utgiveren har til hensikt Ã¥ gi." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1612.png\"></graphic>" +msgstr "<graphic fileref=\"images/1612.png\"></graphic>" + +#. PAGE BREAK 161 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"According to my eBook Reader, I have the permission to copy to the clipboard " +"of the computer ten text selections every ten days. (So far, I've copied no " +"text to the clipboard.) I also have the permission to print ten pages from " +"the book every ten days. Lastly, I have the permission to use the Read Aloud " +"button to hear <citetitle>Middlemarch</citetitle> read aloud through the " +"computer." +msgstr "" +"IfÃ¸lge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " +"datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " +"til utklippstavlen.) Jeg har ogsÃ¥ tillatelse til Ã¥ skrive ut ti sider fra " +"boken ti dager. til slutt, jeg har tillatelse til Ã¥ bruke lese hÃ¸yt knapp " +"for Ã¥ hÃ¸re middlemarch lest hÃ¸yt gjennom datamaskinen." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Aristotle" +msgstr "Aristoteles" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "<citetitle>Politics</citetitle>, (Aristotle)" +msgstr "<citetitle>Politikk</citetitle>, (Aristotles)" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Here's the e-book for another work in the public domain (including the " +"translation): Aristotle's <citetitle>Politics</citetitle>." +msgstr "" +"Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): " +"Aristoteles <citetitle>Politikk</citetitle>." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "E-book of Aristotle;s <quote>Politics</quote>" +msgstr "E-bok av Aristoteles <quote>Politikk</quote>" + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1621.png\"></graphic>" +msgstr "<graphic fileref=\"images/1621.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"According to its permissions, no printing or copying is permitted at all. " +"But fortunately, you can use the Read Aloud button to hear the book." +msgstr "" +"i henhold til tillatelsene, ingen utskrift eller kopiering er tillatt i det " +"hele tatt. men heldigvis kan du bruke lese hÃ¸yt knappen for Ã¥ hÃ¸re boken." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "List of the permissions for Aristotle;s <quote>Politics</quote>." +msgstr "Liste med tillatelser for Aristotles "Politikk"." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1622.png\"></graphic>" +msgstr "<graphic fileref=\"images/1622.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Future of Ideas, The (Lessig)" +msgstr "fremtiden for ideer, (lessig)" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Lessig, Lawrence" +msgstr "Lessig, Lawrence" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Finally (and most embarrassingly), here are the permissions for the original " +"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" +msgstr "" +"Endelig (og mest embarrassingly), her er du tillatelsene for den " +"opprinnelige e-bok-versjonen av boken min siste, fremtiden for idÃ©er:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "List of the permissions for <quote>The Future of Ideas</quote>." +msgstr "Liste med tillatelser for <quote>The Future of Ideas</quote>." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1631.png\"></graphic>" +msgstr "<graphic fileref=\"images/1631.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "No copying, no printing, and don't you dare try to listen to this book!" +msgstr "" +"Ingen kopiering, ingen utskrift, og vÃ¥g ikke Ã¥ prÃ¸ve Ã¥ lytte til denne boken!" + +#. f21 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"In principle, a contract might impose a requirement on me. I might, for " +"example, buy a book from you that includes a contract that says I will read " +"it only three times, or that I promise to read it three times. But that " +"obligation (and the limits for creating that obligation) would come from the " +"contract, not from copyright law, and the obligations of contract would not " +"necessarily pass to anyone who subsequently acquired the book." +msgstr "" +"i prinsippet, kan en kontrakt pÃ¥legge et krav pÃ¥ meg. Jeg kan, for eksempel " +"kjÃ¸pe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den " +"bare tre ganger, eller at jeg lover Ã¥ lese den tre ganger. men at " +"forpliktelse (og grensene for Ã¥ opprette denne plikten) ville komme fra " +"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville " +"ikke nÃ¸dvendigvis gÃ¥ til alle som senere kjÃ¸pt boken." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Now, the Adobe eBook Reader calls these controls <quote>permissions</" +"quote>— as if the publisher has the power to control how you use these " +"works. For works under copyright, the copyright owner certainly does have " +"the power—up to the limits of the copyright law. But for work not " +"under copyright, there is no such copyright power.<placeholder type=" +"\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> " +"says I have the permission to copy only ten text selections into the memory " +"every ten days, what that really means is that the eBook Reader has enabled " +"the publisher to control how I use the book on my computer, far beyond the " +"control that the law would enable." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The control comes instead from the code—from the technology within " +"which the e-book <quote>lives.</quote> Though the e-book says that these are " +"permissions, they are not the sort of <quote>permissions</quote> that most " +"of us deal with. When a teenager gets <quote>permission</quote> to stay out " +"till midnight, she knows (unless she's Cinderella) that she can stay out " +"till 2 A.M., but will suffer a punishment if she's caught. But when the " +"Adobe eBook Reader says I have the permission to make ten copies of the text " +"into the computer's memory, that means that after I've made ten copies, the " +"computer will not make any more. The same with the printing restrictions: " +"After ten pages, the eBook Reader will not print any more pages. It's the " +"same with the silly restriction that says that you can't use the Read Aloud " +"button to read my book aloud—it's not that the company will sue you if " +"you do; instead, if you push the Read Aloud button with my book, the machine " +"simply won't read aloud." +msgstr "" +"kontrollen kommer i stedet fra koden—fra teknologi som e-bok \"liv.\" " +"om e-boken sier at disse er tillatelsene, de er ikke typen \"tillatelser\" " +"som de fleste av oss hÃ¥ndtere. NÃ¥r en tenÃ¥ring blir \"tillatelse\" til Ã¥ " +"vÃ¦re ute til midnatt, vet hun (med mindre hun er cinderella) at hun kan vÃ¦re " +"ute til 2 am, men vil lide en straff hvis hun er fanget. men nÃ¥r adobe eBok " +"reader sier jeg har tillatelse til Ã¥ lage ti Kopier teksten inn i " +"datamaskinens minne, som betyr at etter at jeg har gjort ti eksemplarer, " +"datamaskinen ikke vil gjÃ¸re noe mer. det samme med utskrift begrensninger: " +"eBok-leser ikke skrives ut flere sider etter ti sider. Det er det samme med " +"dum stÃ¸rrelsesbegrensningen som sier at du ikke kan bruke lese hÃ¸yt knappen " +"til Ã¥ lese boken min hÃ¸yt—det er ikke at selskapet vil saksÃ¸ke deg " +"hvis du gjÃ¸r; i stedet, hvis du presse lese hÃ¸yt knappen med min bok, " +"maskinen bare vil ikke lese hÃ¸yt." + +#. PAGE BREAK 163 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"These are <emphasis>controls</emphasis>, not permissions. Imagine a world " +"where the Marx Brothers sold word processing software that, when you tried " +"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from " +"the sentence." +msgstr "" +"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " +"brÃ¸drene solgte tekstbehandling programvare som, da du prÃ¸vde Ã¥ skrive inn " +"\"warner brothers,\" slettet \"brÃ¸dre\" fra setningen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is the future of copyright law: not so much copyright <emphasis>law</" +"emphasis> as copyright <emphasis>code</emphasis>. The controls over access " +"to content will not be controls that are ratified by courts; the controls " +"over access to content will be controls that are coded by programmers. And " +"whereas the controls that are built into the law are always to be checked by " +"a judge, the controls that are built into the technology have no similar " +"built-in check." +msgstr "" +"Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ 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 vÃ¦re kontroller som er kodet av programmerere. og mens " +"kontrollene som er innebygd i loven er alltid skal kontrolleres av en " +"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende " +"innebygde kontroller." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"How significant is this? Isn't it always possible to get around the controls " +"built into the technology? Software used to be sold with technologies that " +"limited the ability of users to copy the software, but those were trivial " +"protections to defeat. Why won't it be trivial to defeat these protections " +"as well?" +msgstr "" +"hvor betydelig er dette? er det ikke alltid mulig Ã¥ komme seg rundt " +"kontrollene som er innebygd i teknologien? programvaren brukes til Ã¥ bli " +"solgt med teknologier som begrenset mulighet til brukere Ã¥ kopiere " +"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke " +"vÃ¦re trivielt Ã¥ beseire slik beskyttelse ogsÃ¥?" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"We've only scratched the surface of this story. Return to the Adobe eBook " +"Reader." +msgstr "" +"Vi har kun sÃ¥vidt berÃ¸rt overflaten til denne historien. La oss gÃ¥ tilbake " +"til Adobe eBook reader." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Alice's Adventures in Wonderland (Carroll)" +msgstr "Alice i Eventyrland (Carroll)" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "e-book restrictions on" +msgstr "ebok-begrensninger pÃ¥" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Early in the life of the Adobe eBook Reader, Adobe suffered a public " +"relations nightmare. Among the books that you could download for free on the " +"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</" +"citetitle>. This wonderful book is in the public domain. Yet when you " +"clicked on Permissions for that book, you got the following report:" +msgstr "" +"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bÃ¸kene " +"som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " +"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennÃ¥ nÃ¥r " +"du klikket pÃ¥ tillatelser for boken, fikk du det fulgte rapporten:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "" +"List of the permissions for <quote>Alice's Adventures in Wonderland</quote>." +msgstr "Liste med tillatelser for <quote>Alice i Eventyrland</quote>." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1641.png\"></graphic>" +msgstr "<graphic fileref=\"images/1641.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Here was a public domain children's book that you were not allowed to copy, " +"not allowed to lend, not allowed to give, and, as the <quote>permissions</" +"quote> indicated, not allowed to <quote>read aloud</quote>!" +msgstr "" +"Her var et frivare barnebok som du ikke var tillatt for Ã¥ kopiere, ikke lov " +"til Ã¥ lÃ¥ne, ikke lov til Ã¥ gi og, som \"tillatelser\" angitt, ikke lov til Ã¥ " +"\"lese hÃ¸yt\"!" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The public relations nightmare attached to that final permission. For the " +"text did not say that you were not permitted to use the Read Aloud button; " +"it said you did not have the permission to read the book aloud. That led " +"some people to think that Adobe was restricting the right of parents, for " +"example, to read the book to their children, which seemed, to say the least, " +"absurd." +msgstr "" +"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si " +"at du ikke var tillatt Ã¥ bruke lese hÃ¸yt knappen; det sa du ikke har " +"tillatelse til Ã¥ lese boken hÃ¸yt. som ledet noen folk Ã¥ tenke at adobe var " +"begrense hÃ¸yre for foreldre, for eksempel Ã¥ lese boken til sine barn, som " +"syntes Ã¥ si mildt, absurd." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Adobe responded quickly that it was absurd to think that it was trying to " +"restrict the right to read a book aloud. Obviously it was only restricting " +"the ability to use the Read Aloud button to have the book read aloud. But " +"the question Adobe never did answer is this: Would Adobe thus agree that a " +"consumer was free to use software to hack around the restrictions built into " +"the eBook Reader? If some company (call it Elcomsoft) developed a program to " +"disable the technological protection built into an Adobe eBook so that a " +"blind person, say, could use a computer to read the book aloud, would Adobe " +"agree that such a use of an eBook Reader was fair? Adobe didn't answer " +"because the answer, however absurd it might seem, is no." +msgstr "" +"Adobe svarte raskt at det var absurd Ã¥ tro at den prÃ¸vde Ã¥ begrense " +"rettigheten til Ã¥ lese en bok hÃ¸yt. Det ble Ã¥penbart bare begrense " +"muligheten til Ã¥ bruke lese hÃ¸yt knappen for Ã¥ fÃ¥ boken lest hÃ¸yt. Men " +"spÃ¸rsmÃ¥let adobe aldri svar er dette: er adobe dermed enig at en forbruker " +"var fri til Ã¥ bruke programvare for Ã¥ banalisere rundt restriksjoner som er " +"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et " +"program for Ã¥ deaktivere teknologiske beskyttelsen som er innebygd i en " +"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til Ã¥ lese " +"boken hÃ¸yt, vil adobe vÃ¦re enig at slik bruk av en eBok-leser var " +"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er " +"ingen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The point is not to blame Adobe. Indeed, Adobe is among the most innovative " +"companies developing strategies to balance open access to content with " +"incentives for companies to innovate. But Adobe's technology enables " +"control, and Adobe has an incentive to defend this control. That incentive " +"is understandable, yet what it creates is often crazy." +msgstr "" +"Poenget er ikke Ã¥ klandre adobe. faktisk, adobe er blant de mest innovative " +"selskapene som utvikler strategier for Ã¥ balansere Ã¥pen tilgang til innhold " +"med insentiver for bedriftene Ã¥ skape noe nytt. men Adobes teknologi gjÃ¸r " +"det mulig for kontroll, og adobe har et insentiv til Ã¥ forsvare denne " +"kontrollen. dette insentiv er forstÃ¥elig, men hva som skaper er ofte gal." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"To see the point in a particularly absurd context, consider a favorite story " +"of mine that makes the same point." +msgstr "" +"Hvis du vil se punktet i en spesielt absurd sammenheng, bÃ¸r du vurdere en " +"favoritt historien om mine som gjÃ¸r det samme punktet." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Aibo robotic dog" +msgstr "Aibo robothund" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "robotic dog" +msgstr "robothund" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Sony" +msgstr "Sony" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "Aibo robotic dog produced by" +msgstr "Aibo robothund produsert av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo " +"learns tricks, cuddles, and follows you around. It eats only electricity and " +"that doesn't leave that much of a mess (at least in your house)." +msgstr "" +"vurdere robotic hunden gjort av sony kalt \"aibo.\" i aibo lÃ¦rer triks, " +"cuddles, og fÃ¸lger deg. det spiser bare elektrisitet og som ikke la sÃ¥ mye " +"av et rot (i det minste i huset)." + +#. PAGE BREAK 165 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Aibo is expensive and popular. Fans from around the world have set up " +"clubs to trade stories. One fan in particular set up a Web site to enable " +"information about the Aibo dog to be shared. This fan set 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 populÃ¦re. fans fra hele verden har satt opp klubber til " +"handel historier. en vifte spesielt satt opp et webomrÃ¥de slik at " +"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com " +"(og aibohack.com, men de lÃ¸ser til det samme omrÃ¥det), og han gitt " +"informasjon om hvordan du lÃ¦re en aibo Ã¥ gjÃ¸re triks i tillegg til de sony " +"hadde lÃ¦rt det pÃ¥ det omrÃ¥det." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<quote>Teach</quote> here has a special meaning. Aibos are just cute " +"computers. You teach a computer how to do something by programming it " +"differently. So to say that aibopet.com was giving information about how to " +"teach the dog to do new tricks is just to say that aibopet.com was giving " +"information to users of the Aibo pet about how to hack their computer " +"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)." +msgstr "" +"\"lÃ¦re\" har her en spesiell betydning. aibos er bare sÃ¸t datamaskiner. du " +"lÃ¦re en datamaskin hvor Ã¥ gjÃ¸re noe ved programmering det annerledes. sÃ¥ Ã¥ " +"si at aibopet.com var Ã¥ gi informasjon om hvordan du lÃ¦re hunden Ã¥ gjÃ¸re nye " +"triks er bare Ã¥ si at aibopet.com var Ã¥ gi informasjon til brukere av aibo-" +"pet om hvordan Ã¥ hacke datamaskinen \"hund\" slik at den gjÃ¸r nye triks " +"(derfor aibohack.com)." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "hacks" +msgstr "Hacks" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If you're not a programmer or don't know many programmers, the word " +"<citetitle>hack</citetitle> has a particularly unfriendly connotation. " +"Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " +"worse. But to programmers, or coders, as I call them, <citetitle>hack</" +"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " +"means code that enables the program to do something it wasn't originally " +"intended or enabled to do. If you buy a new printer for an old computer, you " +"might find the old computer doesn't run, or <quote>drive,</quote> the " +"printer. If you discovered that, you'd later be happy to discover a hack on " +"the Net by someone who has written a driver to enable the computer to drive " +"the printer you just bought." +msgstr "" +"Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har det " +"ord banalisere en spesielt unfriendly connotation. nonprogrammers banalisere " +"busker eller ugress. nonprogrammers i horror filmer gjÃ¸re enda verre. men " +"programmerere eller coders, som jeg kaller dem, banalisere er et mye mer " +"positiv begrep. banalisere betyr bare kode som gjÃ¸r at programmet til Ã¥ " +"gjÃ¸re noe det ikke var opprinnelig ment eller aktivert Ã¥ gjÃ¸re. Hvis du " +"kjÃ¸per en ny skriver for en gammel datamaskin, kan du finne den gamle " +"datamaskinen ikke kjÃ¸rer, eller \"drive\", skriveren. Hvis du oppdaget at, " +"vil du senere gjerne til Ã¥ oppdage en hack pÃ¥ nettet av noen som har skrevet " +"en driver for Ã¥ aktivere datamaskinen til Ã¥ kjÃ¸re skriveren du nettopp kjÃ¸pt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Some hacks are easy. Some are unbelievably hard. Hackers as a community like " +"to challenge themselves and others with increasingly difficult tasks. " +"There's a certain respect that goes with the talent to hack well. There's a " +"well-deserved respect that goes with the talent to hack ethically." +msgstr "" +"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap " +"liker Ã¥ utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er " +"en viss respekt som gÃ¥r med talent Ã¥ hacke godt. Det er en velfortjent " +"respekt som gÃ¥r med talent Ã¥ hacke etisk." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Aibo fan was displaying a bit of both when he hacked the program and " +"offered to the world a bit of code that would enable the Aibo to dance jazz. " +"The dog wasn't programmed to dance jazz. It was a clever bit of tinkering " +"that turned the dog into a more talented creature than Sony had built." +msgstr "" +"fan aibo var vise litt av begge nÃ¥r han hacket programmet og tilbÃ¸d Ã¥ verden " +"litt kode som ville gjÃ¸re det mulig for aibo Ã¥ danse jazz. hunden var ikke " +"programmert Ã¥ danse jazz. Det var en smart bit av fiksing og triksing som " +"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget." + +#. PAGE BREAK 166 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I've told this story in many contexts, both inside and outside the United " +"States. Once I was asked by a puzzled member of the audience, is it " +"permissible for a dog to dance jazz in the United States? We forget that " +"stories about the backcountry still flow across much of the world. So let's " +"just be clear before we continue: It's not a crime anywhere (anymore) to " +"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " +"be a crime (though we don't have a lot to go on here) to teach your robot " +"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " +"that the owner of aibopet.com thought, <emphasis>What possible problem could " +"there be with teaching a robot dog to dance?</emphasis>" +msgstr "" +"Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " +"NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " +"hunden Ã¥ danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles " +"flyter gjennom store deler av verden. sÃ¥ la oss vÃ¦re klare fÃ¸r vi " +"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) Ã¥ danse jazz. " +"heller ikke er det en forbrytelse Ã¥ lÃ¦re din hunden Ã¥ danse jazz. heller " +"ikke bÃ¸r det vÃ¦re en forbrytelse (selv om vi ikke har mye Ã¥ gÃ¥ pÃ¥ her) Ã¥ " +"lÃ¦re hunden din robot Ã¥ danse jazz. dans jazz er en helt lovlig aktivitet. " +"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det vÃ¦re " +"med undervisning en robot hunden Ã¥ danse?" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "government case against" +msgstr "regjeringen sak mot" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let's put the dog to sleep for a minute, and turn to a pony show— not " +"literally a pony show, but rather a paper that a Princeton academic named Ed " +"Felten prepared for a conference. This Princeton academic is well known and " +"respected. He was hired by the government in the Microsoft case to test " +"Microsoft's claims about what could and could not be done with its own code. " +"In that trial, he demonstrated both his brilliance and his coolness. Under " +"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not " +"about to be bullied into being silent about something he knew very well." +msgstr "" +"La oss sette hunden Ã¥ sove litt, og slÃ¥ til en ponni Vis—ikke " +"bokstavelig talt en ponni show, men heller et papir som en princeton " +"akademiske kalt ed felten forberedt pÃ¥ en konferanse. Denne princeton " +"akademiske er godt kjent og respektert. Han ble ansatt av regjeringen i " +"microsoft-saken til Ã¥ teste Microsofts krav om hva kunne og ikke kunne " +"gjÃ¸res med en egen kode. i denne rettssaken demonstrerte han bÃ¥de hans " +"herlighet og hans coolness. under tung badgering av microsoft advokater, ed " +"felten stÃ¥tt sin bakken. Han var ikke om Ã¥ bli mobba til Ã¥ vÃ¦re stille om " +"noe han visste godt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Electronic Frontier Foundation" +msgstr "Elektronisk forpost-stiftelsen (EFF)" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</" +"quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, " +"<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks," +"</quote> <citetitle>American Prospect</citetitle>, January 2002; " +"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> " +"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 " +"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech " +"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, " +"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic " +"Frontier Foundation, <quote>Frequently Asked Questions about " +"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " +"Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But Felten's bravery was really tested in April 2001.<placeholder type=" +"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " +"to be submitted at conference. The paper was intended to describe the " +"weakness in an encryption system being developed by the Secure Digital Music " +"Initiative as a technique to control the distribution of music." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The SDMI coalition had as its goal a technology to enable content owners to " +"exercise much better control over their content than the Internet, as it " +"originally stood, granted them. Using encryption, SDMI hoped to develop a " +"standard that would allow the content owner to say <quote>this music cannot " +"be copied,</quote> and have a computer respect that command. The technology " +"was to be part of a <quote>trusted system</quote> of control that would get " +"content owners to trust the system of the Internet much more." +msgstr "" +"sdmi-koalisjonen hadde som mÃ¥l en teknologi for Ã¥ aktivere innholdseiere Ã¥ " +"utÃ¸ve mye bedre kontroll over deres innhold enn Internett, som den " +"opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi hÃ¥pet Ã¥ utvikle " +"en standard som ville tillate innholdseieren Ã¥ si \"denne musikken ikke kan " +"kopieres\", og har en datamaskin respekterer kommandoen. teknologien var Ã¥ " +"vÃ¦re del av et \"klarert system\" av kontroll som ville fÃ¥ innholdseiere kan " +"stole pÃ¥ systemet av Internett mye mer." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"When SDMI thought it was close to a standard, it set up a competition. In " +"exchange for providing contestants with the code to an SDMI-encrypted bit of " +"content, contestants were to try to crack it and, if they did, report the " +"problems to the consortium." +msgstr "" +"NÃ¥r sdmi trodde det var nÃ¦r en standard, satt det opp en konkurranse. i " +"bytte for Ã¥ gi contestants med koden til en sdmi-krypterte bit av innholdet, " +"var contestants Ã¥ prÃ¸ve Ã¥ sprekk det, og hvis de gjorde, kan du rapportere " +"problemer til konsortiet." + +#. PAGE BREAK 167 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Felten and his team figured out the encryption system quickly. He and the " +"team saw the weakness of this system as a type: Many encryption systems " +"would suffer the same weakness, and Felten and his team thought it " +"worthwhile to point this out to those who study encryption." +msgstr "" +"felten og teamet hans funnet ut kryptering systemet raskt. Han og teamet sÃ¥ " +"svakheten av dette systemet som en type: mange kryptering systemer vil lide " +"samme svakhet, og felten og teamet hans trodde det verdt Ã¥ pÃ¥peke dette til " +"de som studerer kryptering." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let's review just what Felten was doing. Again, this is the United States. " +"We have a principle of free speech. We have this principle not just because " +"it is the law, but also because it is a really great idea. A strongly " +"protected tradition of free speech is likely to encourage a wide range of " +"criticism. That criticism is likely, in turn, to improve the systems or " +"people or ideas criticized." +msgstr "" +"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et " +"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er " +"loven, men ogsÃ¥ fordi det er en virkelig god idÃ©. en sterkt beskyttet " +"tradisjon av ytringsfriheten er sannsynlig Ã¥ oppmuntre til et bredt spekter " +"av kritikk. at kritikk er sannsynlig, i sin tur til Ã¥ forbedre systemer " +"eller personer eller idÃ©er kritisert." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"What Felten and his colleagues were doing was publishing a paper describing " +"the weakness in a technology. They were not spreading free music, or " +"building and deploying this technology. The paper was an academic essay, " +"unintelligible to most people. But it clearly showed the weakness in the " +"SDMI system, and why SDMI would not, as presently constituted, succeed." +msgstr "" +"Hva felten og hans kolleger gjorde var publisering en papiret beskriver " +"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og " +"distribusjon av denne teknologien. papiret var en faglige essay, uleselig " +"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi " +"ville ikke, sÃ¥ dag konstituert, lykkes." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"What links these two, aibopet.com and Felten, is the letters they then " +"received. Aibopet.com received a letter from Sony about the aibopet.com " +"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:" +msgstr "" +"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter " +"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. " +"Selv om en jazz-dans hunden er helt lovlig, skrev sony:" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"Your site contains information providing the means to circumvent AIBO-ware's " +"copy protection protocol constituting a violation of the anti-circumvention " +"provisions of the Digital Millennium Copyright Act." +msgstr "" +"nettstedet inneholder informasjon metoder for Ã¥ omgÃ¥ aibo-ware " +"kopibeskyttelse protokollen utgjÃ¸r et brudd pÃ¥ anti-omgÃ¥else bestemmelsene i " +"digital millennium copyright act." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"And though an academic paper describing the weakness in a system of " +"encryption should also be perfectly legal, Felten received a letter from an " +"RIAA lawyer that read:" +msgstr "" +"og selv om en akademisk papiret beskriver svakhet i et system av kryptering " +"bÃ¸r ogsÃ¥ vÃ¦re helt lovlig, felten mottatt et brev fra en riaa advokat som " +"lese:" + +#. PAGE BREAK 168 +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"Any disclosure of information gained from participating in the Public " +"Challenge would be outside the scope of activities permitted by the " +"Agreement and could subject you and your research team to actions under the " +"Digital Millennium Copyright Act (<quote>DMCA</quote>)." +msgstr "" +"enhver formidling av informasjon fra Ã¥ delta i offentlig challenge ville " +"vÃ¦re utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen og " +"kunne utsettes du og din undersÃ¸kelsesgruppen for handlinger under digital " +"millennium copyright act (\"dmca\")." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In both cases, this weirdly Orwellian law was invoked to control the spread " +"of information. The Digital Millennium Copyright Act made spreading such " +"information an offense." +msgstr "" +"i begge tilfeller ble denne nifs orwellian loven startet for Ã¥ kontrollere " +"spredningen av informasjon. digital millennium copyright act gjort sprer seg " +"slik informasjon en krenkelser." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The DMCA was enacted as a response to copyright owners' first fear about " +"cyberspace. The fear was that copyright control was effectively dead; the " +"response was to find technologies that might compensate. These new " +"technologies would be copyright protection technologies— technologies " +"to control the replication and distribution of copyrighted material. They " +"were designed as <emphasis>code</emphasis> to modify the original " +"<emphasis>code</emphasis> of the Internet, to reestablish some protection " +"for copyright owners." +msgstr "" +"dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes fÃ¸rste frykt om " +"cyberspace. frykt var at opphavsrett kontroll var effektivt dÃ¸d; svaret var " +"Ã¥ finne teknologier som kan kompensere. disse nye teknologiene ville vÃ¦re " +"opphavsrettsbeskyttelse teknologier—teknologier for Ã¥ kontrollere " +"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble " +"utviklet som kode for Ã¥ endre den opprinnelige koden for Internett, for Ã¥ " +"gjenopprette noe beskyttelse for eiere av opphavsretter." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The DMCA was a bit of law intended to back up the protection of this code " +"designed to protect copyrighted material. It was, we could say, " +"<emphasis>legal code</emphasis> intended to buttress <emphasis>software " +"code</emphasis> which itself was intended to support the <emphasis>legal " +"code of copyright</emphasis>." +msgstr "" +"dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " +"koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " +"var vi kunne si, Juridisk Lisenstekst ment Ã¥ buttress programvarekode som " +"selv var ment Ã¥ stÃ¸tte Juridisk Lisenstekst av opphavsrett." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But the DMCA was not designed merely to protect copyrighted works to the " +"extent copyright law protected them. Its protection, that is, did not end at " +"the line that copyright law drew. The DMCA regulated devices that were " +"designed to circumvent copyright protection measures. It was designed to ban " +"those devices, whether or not the use of the copyrighted material made " +"possible by that circumvention would have been a copyright violation." +msgstr "" +"men dmca ble ikke utformet for bare Ã¥ beskytte opphavsrettslig beskyttet " +"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si " +"ikke slutten pÃ¥ linjen som trakk av lov om opphavsrett. dmca regulert " +"enheter som ble utviklet for Ã¥ omgÃ¥ opphavsrettsbeskyttelse tiltak. den ble " +"utformet for Ã¥ forby disse enheter, om bruk av opphavsrettslig materiale " +"gjort mulig ved at omgÃ¥else ville ha vÃ¦rt et brudd pÃ¥ opphavsretten." + +#. PAGE BREAK 169 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Aibopet.com and Felten make the point. The Aibo hack circumvented a " +"copyright protection system for the purpose of enabling the dog to dance " +"jazz. That enablement no doubt involved the use of copyrighted material. But " +"as aibopet.com's site was noncommercial, and the use did not enable " +"subsequent copyright infringements, there's no doubt that aibopet.com's hack " +"was fair use of Sony's copyrighted material. Yet fair use is not a defense " +"to the DMCA. The question is not whether the use of the copyrighted material " +"was a copyright violation. The question is whether a copyright protection " +"system was circumvented." +msgstr "" +"aibopet.com og felten gjÃ¸re punktet. det aibo banalisere omgikk et system " +"for opphavsrettsbeskyttelse for Ã¥ aktivere hunden Ã¥ danse jazz. at " +"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men " +"som aibopet.com's omrÃ¥det var ikke-kommersielt, og bruk ikke aktiverte " +"etterfÃ¸lgende opphavsrett infringements, er det ingen tvil om at aibopet.com " +"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. " +"rettferdig bruk er ennÃ¥ ikke krenkelser av dmca. spÃ¸rsmÃ¥let er ikke om bruk " +"av opphavsrettslig materiale var et brudd pÃ¥ opphavsretten. spÃ¸rsmÃ¥let er om " +"et system for opphavsrettsbeskyttelse var omgikk." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The threat against Felten was more attenuated, but it followed the same line " +"of reasoning. By publishing a paper describing how a copyright protection " +"system could be circumvented, the RIAA lawyer suggested, Felten himself was " +"distributing a circumvention technology. Thus, even though he was not " +"himself infringing anyone's copyright, his academic paper was enabling " +"others to infringe others' copyright." +msgstr "" +"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med " +"resonnement. ved Ã¥ publisere en papir som beskriver hvordan et system for " +"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslÃ¥tt, felten " +"selv var distribuere en omgÃ¥else-teknologi. SÃ¥ledes, selv om han ikke var " +"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre " +"til Ã¥ krenke andres opphavsrett." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Rogers, Fred" +msgstr "Rogers, Fred" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Conrad, Paul" +msgstr "Conrad, Paul" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by " +"Paul Conrad. At that time, a court in California had held that the VCR could " +"be banned because it was a copyright-infringing technology: It enabled " +"consumers to copy films without the permission of the copyright owner. No " +"doubt there were uses of the technology that were legal: Fred Rogers, aka " +"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified " +"in that case that he wanted people to feel free to tape Mr. Rogers' " +"Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av " +"paul conrad. pÃ¥ den tiden, en domstol i california hadde holdt at " +"videoopptakeren kan bli utestengt fordi det var en copyright-krenkende " +"teknologi: det aktivert forbrukere til Ã¥ 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 sÃ¥ " +"fall at han Ã¸nsket Ã¥ fremkalle gratis Ã¥ tape mr. rogers' neighborhood." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <citetitle>Sony Corporation of " +"America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., " +"464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the " +"VCR. See James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, " +"and the Onslaught of the VCR</citetitle> (New York: W. W. Norton, 1987), " +"270–71. <placeholder type=\"indexterm\" id=\"1\"/>" +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), 270Â71." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Some public stations, as well as commercial stations, program the " +"<quote>Neighborhood</quote> at hours when some children cannot use it. I " +"think that it's a real service to families to be able to record such " +"programs and show them at appropriate times. I have always felt that with " +"the advent of all of this new technology that allows people to tape the " +"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the " +"<quote>Neighborhood</quote> because that's what I produce, that they then " +"become much more active in the programming of their family's television " +"life. Very frankly, I am opposed to people being programmed by others. My " +"whole approach in broadcasting has always been <quote>You are an important " +"person just the way you are. You can make healthy decisions.</quote> Maybe " +"I'm going on too long, but I just feel that anything that allows a person to " +"be more active in the control of his or her life, in a healthy way, is " +"important.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 170 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Even though there were uses that were legal, because there were some uses " +"that were illegal, the court held the companies producing the VCR " +"responsible." +msgstr "" +"Selv om det var bruker som var juridiske, fordi det var noen bruksomrÃ¥der " +"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This led Conrad to draw the cartoon below, which we can adopt to the DMCA. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Dette fÃ¸rte conrad Ã¥ trekke tegneserie nedenfor, som vi kan vedta Ã¥ dmca." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "No argument I have can top this picture, but let me try to get close." +msgstr "" +"ingen argument jeg har kan topp dette bildet, men la meg prÃ¸ve Ã¥ komme nÃ¦r." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The anticircumvention provisions of the DMCA target copyright circumvention " +"technologies. Circumvention technologies can be used for different ends. " +"They can be used, for example, to enable massive pirating of copyrighted " +"material—a bad end. Or they can be used to enable the use of " +"particular copyrighted materials in ways that would be considered fair " +"use—a good end." +msgstr "" +"anticircumvention bestemmelsene i dmca mot opphavsrett omgÃ¥else teknologier. " +"omgÃ¥else teknologiene kan brukes for ulike ender. de kan brukes, for " +"eksempel Ã¥ aktivere massiv pirating av opphavsrettsbeskyttet materiale—" +"en dÃ¥rlig slutt. eller de kan brukes til Ã¥ aktivere bruken av bestemt " +"opphavsrettsbeskyttet materiale pÃ¥ mÃ¥ter som vil anses rimelig bruk—en " +"god slutt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "handguns" +msgstr "hÃ¥ndvÃ¥pen" + +#. PAGE BREAK 171 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"A handgun can be used to shoot a police officer or a child. Most would agree " +"such a use is bad. Or a handgun can be used for target practice or to " +"protect against an intruder. At least some would say that such a use would " +"be good. It, too, is a technology that has both good and bad uses." +msgstr "" +"en pistol kan brukes til Ã¥ skyte en politimann eller et barn. de fleste vil " +"vÃ¦re enige slik bruk er dÃ¥rlig. eller en pistol kan brukes for mÃ¥let " +"praksis, eller for Ã¥ beskytte mot en inntrenger. minst noen vil si at slik " +"bruk ville vÃ¦rt bra. det, ogsÃ¥, er en teknologi som har bÃ¥de gode og dÃ¥rlige " +"bruker." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "VCR/handgun cartoon." +msgstr "" + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1711.png\"></graphic>" +msgstr "<graphic fileref=\"images/1711.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The obvious point of Conrad's cartoon is the weirdness of a world where guns " +"are legal, despite the harm they can do, while VCRs (and circumvention " +"technologies) are illegal. Flash: <emphasis>No one ever died from copyright " +"circumvention</emphasis>. Yet the law bans circumvention technologies " +"absolutely, despite the potential that they might do some good, but permits " +"guns, despite the obvious and tragic harm they do." +msgstr "" +"den Ã¥penbare punkt conrad's tegneserie er weirdness av en verden der guns er " +"juridisk, til tross for skade som de kan gjÃ¸re, mens videospillere (og " +"omgÃ¥else teknologier) er ulovlig. Flash: ingen noensinne dÃ¸de fra " +"opphavsrett omgÃ¥else. ennÃ¥ forbud lov omgÃ¥else teknologier absolutt, til " +"tross for potensialet som de kan gjÃ¸re noe godt, men tillater vÃ¥pen, til " +"tross for den Ã¥penbare og tragisk skaden de gjÃ¸r." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Aibo and RIAA examples demonstrate how copyright owners are changing the " +"balance that copyright law grants. Using code, copyright owners restrict " +"fair use; using the DMCA, they punish those who would attempt to evade the " +"restrictions on fair use that they impose through code. Technology becomes a " +"means by which fair use can be erased; the law of the DMCA backs up that " +"erasing." +msgstr "" +"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som " +"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter " +"fair use; bruker dmca, straffe de de som vil forsÃ¸ke Ã¥ unngÃ¥ begrensningene " +"pÃ¥ rimelig bruk som de innfÃ¸re gjennom koden. teknologien blir et middel som " +"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " +"controls built into the technology of copy and access protection become " +"rules the violation of which is also a violation of the law. In this way, " +"the code extends the law—increasing its regulation, even if the " +"subject it regulates (activities that would otherwise plainly constitute " +"fair use) is beyond the reach of the law. Code becomes law; code extends the " +"law; code thus extends the control that copyright owners effect—at " +"least for those copyright holders with the lawyers who can write the nasty " +"letters that Felten and aibopet.com received." +msgstr "" +"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " +"for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " +"pÃ¥ loven. pÃ¥ denne mÃ¥ten utvider koden loven—Ã¸ke sin regulering, selv " +"om emnet den regulerer (aktiviteter som ellers tydelig utgjÃ¸r rimelig bruk) " +"er utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode " +"dermed utvider kontrollen som eiere av opphavsretter effekt—minst for " +"de innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene " +"som felten og aibopet.com som er mottatt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There is one final aspect of the interaction between architecture and law " +"that contributes to the force of copyright's regulation. This is the ease " +"with which infringements of the law can be detected. For contrary to the " +"rhetoric common at the birth of cyberspace that on the Internet, no one " +"knows you're a dog, increasingly, given changing technologies deployed on " +"the Internet, it is easy to find the dog who committed a legal wrong. The " +"technologies of the Internet are open to snoops as well as sharers, and the " +"snoops are increasingly good at tracking down the identity of those who " +"violate the rules." +msgstr "" +"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til " +"styrken av copyright's regulering. Dette er enkelt som infringements av " +"loven som kan oppdages. for i motsetning til retorikken felles fÃ¸dselen av " +"cyberspace at pÃ¥ Internett, ingen vet du er en hunden, i Ã¸kende grad er gitt " +"skiftende teknologier som er deployert pÃ¥ Internett, det enkelt Ã¥ finne " +"hunden som har begÃ¥tt en juridisk feil. teknologien av Internett er Ã¥pne for " +"snoops, sÃ¥ vel som brukere, og snoops er stadig gode pÃ¥ sporing ned " +"identiteten til de som bryter reglene." + +#. f24 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal " +"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> " +"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 " +"(1997): 651." +msgstr "" +"for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-" +"fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles " +"underholdning law journal 17 (1997): 651." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " +"club. You gathered every month to share trivia, and maybe to enact a kind of " +"fan fiction about the show. One person would play Spock, another, Captain " +"Kirk. The characters would begin with a plot from a real story, then simply " +"continue it.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Before the Internet, this was, in effect, a totally unregulated activity. " +"No matter what happened inside your club room, you would never be interfered " +"with by the copyright police. You were free in that space to do as you " +"wished with this part of our culture. You were allowed to build on it as you " +"wished without fear of legal control." +msgstr "" +"fÃ¸r 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 Ã¥ gjÃ¸re som du vil. med denne delen " +"av vÃ¥r kultur. du ble tillatt Ã¥ bygge videre pÃ¥ det som du selv Ã¸nsker, uten " +"frykt for juridisk kontroll." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But if you moved your club onto the Internet, and made it generally " +"available for others to join, the story would be very different. Bots " +"scouring the Net for trademark and copyright infringement would quickly find " +"your site. Your posting of fan fiction, depending upon the ownership of the " +"series that you're depicting, could well inspire a lawyer's threat. And " +"ignoring the lawyer's threat would be extremely costly indeed. The law of " +"copyright is extremely efficient. The penalties are severe, and the process " +"is quick." +msgstr "" +"men hvis du har flyttet din klubb til Internett, og gjorde det vanligvis " +"tilgjengelig for andre til Ã¥ delta, historien ville vÃ¦re svÃ¦rt forskjellige. " +"robotsÃ¸keprogrammer scouring nettet for varemerke- og copyright infringement " +"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av " +"eierskap av serien som du som viser, kan ogsÃ¥ inspirere en advokat trussel. " +"og ignorerer den advokat trussel ville vÃ¦re uhyre kostbart faktisk. loven om " +"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er " +"rask." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This change in the effective force of the law is caused by a change in the " +"ease with which the law can be enforced. That change too shifts the law's " +"balance radically. It is as if your car transmitted the speed at which you " +"traveled at every moment that you drove; that would be just one step before " +"the state started issuing tickets based upon the data you transmitted. That " +"is, in effect, what is happening here." +msgstr "" +"Denne endringen i effektiv makt i loven er forÃ¥rsaket av en endring i lett " +"som kan hÃ¥ndheves loven. at endringen ogsÃ¥ skifter loven er balansere " +"radikalt. Det er som om bilen overfÃ¸res hastigheten som du reist pÃ¥ hvert " +"Ã¸yeblikk som du kjÃ¸rte; det ville vÃ¦re bare ett trinn fÃ¸r staten begynte Ã¥ " +"utstede billetter basert pÃ¥ dataene du har overfÃ¸rt. det vil si, hva som " +"skjer her." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Market: Concentration" +msgstr "Marked: Konsentrasjon" + +#. PAGE BREAK 173 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"So copyright's duration has increased dramatically—tripled in the past " +"thirty years. And copyright's scope has increased as well—from " +"regulating only publishers to now regulating just about everyone. And " +"copyright's reach has changed, as every action becomes a copy and hence " +"presumptively regulated. And as technologists find better ways to control " +"the use of content, and as copyright is increasingly enforced through " +"technology, copyright's force changes, too. Misuse is easier to find and " +"easier to control. This regulation of the creative process, which began as a " +"tiny regulation governing a tiny part of the market for creative work, has " +"become the single most important regulator of creativity there is. It is a " +"massive expansion in the scope of the government's control over innovation " +"and creativity; it would be totally unrecognizable to those who gave birth " +"to copyright's control." +msgstr "" +"Slik copyright's varighet har Ã¸kt dramatisk—tredoblet de siste tretti " +"Ã¥rene. og copyright's omfang har Ã¸kt samt—fra regulerer bare utgivere " +"Ã¥ regulere nÃ¥ omtrent alle. og copyright's rekkevidde har endret, som hver " +"handling blir en kopi og dermed presumptively regulert. og som " +"Teknologorganisasjon finne bedre mÃ¥ter Ã¥ kontrollere bruken av innhold, og " +"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft " +"endringer, ogsÃ¥. misbruk er enklere Ã¥ finne og enklere Ã¥ 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 Ã¸kning i " +"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville " +"vÃ¦re helt ugjenkjennelige til de som fÃ¸dte copyright's kontroll." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Still, in my view, all of these changes would not matter much if it weren't " +"for one more change that we must also consider. This is a change that is in " +"some sense the most familiar, though its significance and scope are not well " +"understood. It is the one that creates precisely the reason to be concerned " +"about all the other changes I have described." +msgstr "" +"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det " +"ikke var for en enda en endring som mÃ¥ vi ogsÃ¥ vurdere. Dette er en endring " +"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er " +"godt forstÃ¥tt. Det er den som oppretter nettopp grunnen til Ã¥ vÃ¦re bekymret " +"for alle andre endringer jeg har beskrevet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is the change in the concentration and integration of the media. In " +"the past twenty years, the nature of media ownership has undergone a radical " +"alteration, caused by changes in legal rules governing the media. Before " +"this change happened, the different forms of media were owned by separate " +"media companies. Now, the media is increasingly owned by only a few " +"companies. Indeed, after the changes that the FCC announced in June 2003, " +"most expect that within a few years, we will live in a world where just " +"three companies control more than percent of the media." +msgstr "" +"Dette er endring i konsentrasjon og integrering av media. i de siste tjue " +"Ã¥rene, har natur av media eierskapet gjennomgÃ¥tt en radikal endring, " +"forÃ¥rsaket av endringer i juridiske reglene som styrer media. fÃ¸r denne " +"endringen skjedde, var de ulike formene for media eid av egen media " +"selskapene. media eies nÃ¥, i Ã¸kende grad av bare et par selskaper. faktisk, " +"etter endringene som fcc annonsert i juni 2003, mest forventer at innen fÃ¥ " +"Ã¥r vil vi lever i en verden der bare tre selskaper kontrollere mer enn " +"prosent av media." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"These changes are of two sorts: the scope of concentration, and its nature." +msgstr "" +"Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "BMG" +msgstr "BMG" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "EMI" +msgstr "EMI" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "McCain, John" +msgstr "McCain, John" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Universal Music Group" +msgstr "Universal music group" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Warner Music Group" +msgstr "Warner music group" + +#. f25 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"FCC Oversight: Hearing Before the Senate Commerce, Science and " +"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement " +"of Senator John McCain)." +msgstr "" +"FCC oversight: hÃ¸ring fÃ¸r Senatet commerce, science and transport komiteen, " +"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)." + +#. f26 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to " +"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002." +msgstr "" +"lynette holloway, \"til tross for en markedsfÃ¸ring blitz cd salg fortsette Ã¥ " +"skyve,\" new york times, 23 desember 2002." + +#. f27 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> " +"<citetitle>Charleston Gazette</citetitle>, 31 May 2003." +msgstr "" +"Molly ivins, \"media konsolidering mÃ¥ stoppes,\" charleston gazette, 31 kan " +"2003." + +#. type: Content of: <book><part><chapter><section><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, " +"<quote>five companies control 85 percent of our media sources.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> The five recording labels of " +"Universal Music Group, BMG, Sony Music Entertainment, Warner Music Group, " +"and EMI control 84.8 percent of the U.S. music market.<placeholder type=" +"\"footnote\" id=\"1\"/> The <quote>five largest cable companies pipe " +"programming to 74 percent of the cable subscribers nationwide.</" +"quote><placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" + +#. PAGE BREAK 174 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The story with radio is even more dramatic. Before deregulation, the " +"nation's largest radio broadcasting conglomerate owned fewer than seventy-" +"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 " +"stations. During that period of consolidation, the total number of radio " +"owners dropped by 34 percent. Today, in most markets, the two largest " +"broadcasters control 74 percent of that market's revenues. Overall, just " +"four companies control 90 percent of the nation's radio advertising revenues." +msgstr "" +"historien med radio er enda mer dramatisk. fÃ¸r dereguleringen, landets " +"stÃ¸rste radio sendinger konglomerat eid fÃ¦rre 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 stÃ¸rste broadcasters 74 prosent av dette " +"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets " +"radio annonsering inntekter." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Newspaper ownership is becoming more concentrated as well. Today, there are " +"six hundred fewer daily newspapers in the United States than there were " +"eighty years ago, and ten companies control half of the nation's " +"circulation. There are twenty major newspaper publishers in the United " +"States. The top ten film studios receive 99 percent of all film revenue. The " +"ten largest cable companies account for 85 percent of all cable revenue. " +"This is a market far from the free press the framers sought to protect. " +"Indeed, it is a market that is quite well protected— by the market." +msgstr "" +"avisen eierskap er i ferd med Ã¥ bli mer konsentrert ogsÃ¥. i dag, er det seks " +"hundre fÃ¦rre daglige aviser i USA enn det var Ã¥tti Ã¥r 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 " +"stÃ¸rste kabelselskaper konto for 85 prosent av alle inntekter for kabel. " +"Dette er et marked langt fra fri presse underskrev sÃ¸kt Ã¥ beskytte. Det er " +"faktisk et marked som er svÃ¦rt godt beskyttet—av markedet." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Fallows, James" +msgstr "Fallows, James" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Concentration in size alone is one thing. The more invidious change is in " +"the nature of that concentration. As author James Fallows put it in a recent " +"article about Rupert Murdoch, <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"konsentrasjon i stÃ¸rrelse alene er Ã©n ting. mer invidious endringen er i " +"natur at konsentrasjon. som forfatter james fallows sette den i en fersk " +"artikkel om rupert murdoch," + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic " +"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " +"id=\"0\"/>" +msgstr "" +"James Fallows, <quote>The Age of Murdoch</quote>, <citetitle>Atlantic " +"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The pattern with Murdoch is the pattern of modern media. Not just large " +"companies owning many radio stations, but a few companies owning as many " +"outlets of media as possible. A picture describes this pattern better than a " +"thousand words could do:" +msgstr "" +"mÃ¸nsteret med murdoch er mÃ¸nsteret av moderne medier. ikke bare store " +"selskaper Ã¥ eie mange radiostasjoner, men noen selskaper Ã¥ eie sÃ¥ mange " +"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjÃ¸re " +"dette mÃ¸nsteret:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Pattern of modern media ownership." +msgstr "MÃ¸nster for moderne mediaeierskap." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1761.png\"></graphic>" +msgstr "<graphic fileref=\"images/1761.png\"></graphic>" + +#. PAGE BREAK 175 +#. type: Content of: <book><part><chapter><section><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 "" +"Betyr denne konsentrasjonen noe? PÃ¥virker det hva som blir laget, eller hva " +"som blir distribuert? Eller er det bare en mer effektiv mÃ¥te Ã¥ produsere og " +"distribuere innhold?" + +#. type: Content of: <book><part><chapter><section><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 "" +"Mitt syn var at konsentrasjonen ikke betÃ¸d noe. Jeg tenkte det ikke var noe " +"mer enn en mer effektiv finansiell struktur. Men nÃ¥, etter Ã¥ ha lest og " +"hÃ¸rt pÃ¥ en haug av skapere prÃ¸ve Ã¥ overbevise meg om det motsatte, har jeg " +"begynt Ã¥ endre mening." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Here's a representative story that begins to suggest how this integration " +"may matter." +msgstr "" +"Her er en representativ historie som kan foreslÃ¥ hvorfor denne integreringen " +"er viktig." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Lear, Norman" +msgstr "Lear, Norman" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "All in the Family" +msgstr "alle i familien" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</" +"citetitle>. He took the pilot to ABC. The network didn't like it. It was too " +"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy " +"than the first. ABC was exasperated. You're missing the point, they told " +"Lear. We wanted less edgy, not more." +msgstr "" +"I 1969 laget Norman Lear en polit for <citetitle>All in the Family</" +"citetitle>. Han tok piloten til ABC, og nettverket likte det ikke. Da sa " +"til Lear at det var for pÃ¥ kanten. GjÃ¸r det om igjen. Lear lagde piloten pÃ¥ " +"nytt, mer pÃ¥ kanten enn den fÃ¸rste. ABC ble fra seg. Du fÃ¥r ikke med deg " +"poenget, fortalte de Lear. Vi vil ha det mindre pÃ¥ kanten, ikke mer." + +#. f29 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum " +"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> " +"St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the " +"Lear story, not included in the prepared remarks, see <ulink url=\"http://" +"free-culture.cc/notes/\">link #29</ulink>)." +msgstr "" + +#. type: Content of: <book><part><chapter><section><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 "" +"I stedet for Ã¥ fÃ¸ye seg, to Lear ganske enkelt serien sin til noen andre. " +"CBS var glad for Ã¥ ha seriene, og ABC kunne ikke stoppe Lear fra Ã¥ gÃ¥ til " +"andre. Opphavsretten som Lear hadde sikret uavhengighet fra nettverk-" +"kontroll.<placeholder type=\"footnote\" id=\"0\"/>" + +#. PAGE BREAK 176 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The network did not control those copyrights because the law forbade the " +"networks from controlling the content they syndicated. The law required a " +"separation between the networks and the content producers; that separation " +"would guarantee Lear freedom. And as late as 1992, because of these rules, " +"the vast majority of prime time television—75 percent of it—was " +"<quote>independent</quote> of the networks." +msgstr "" +"nettverket ikke kontrollere mâÃte av opphavsrettighetene fordi lov forbÃ¸d " +"nettverk fra controlling the content de skal grupperes. loven kreves et " +"skille mellom nettverkene og innhold produsenter; at separasjon ville " +"garantere lear frihet. og sÃ¥ sent som i 1992, pÃ¥ grunn av disse reglene, det " +"store flertallet av prime-time TV—75 prosent av det—var " +"\"uavhengige\" av nettverk." + +#. f30 +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><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. <quote>In 1992, only 15 percent of " +"new series were produced for a network by a company it controlled. Last " +"year, the percentage of shows produced by controlled companies more than " +"quintupled to 77 percent.</quote> <quote>In 1992, 16 new series were " +"produced independently of conglomerate control, last year there was one.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime " +"time television was owned by the networks that ran it. <quote>In the ten-" +"year period between 1992 and 2002, the number of prime time television hours " +"per week produced by network studios increased over 200%, whereas the number " +"of prime time television hours per week produced by independent studios " +"decreased 63%.</quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Today, another Norman Lear with another <citetitle>All in the Family</" +"citetitle> would find that he had the choice either to make the show less " +"edgy or to be fired: The content of any show developed for a network is " +"increasingly owned by the network." +msgstr "" +"i dag, en annen norman lear med en annen alle i familien ville finne at han " +"mÃ¥tte velge Ã¥ gjÃ¸re showet mindre irritabel eller sparken: innholdet i et " +"hvilket som helst Vis utviklet for et nettverk er i Ã¸kende grad eid av " +"nettverket." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Diller, Barry" +msgstr "Diller, Barry" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Moyers, Bill" +msgstr "Moyers, Bill" + +#. type: Content of: <book><part><chapter><section><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 Ã¸kt dramatisk, har eierskapet til disse kanalene " +"snevret inn fra fÃ¥ til stadig fÃ¦rre. Som Barry Diller sa til Bill Moyers," + +#. f32 +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with " +"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>." +msgstr "" +"<quote>Barry Diller Takes on Media Deregulation</quote>, <citetitle>Now with " +"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, redigert avskrift " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #31</" +"ulink>." + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This narrowing has an effect on what is produced. The product of such large " +"and concentrated networks is increasingly homogenous. Increasingly safe. " +"Increasingly sterile. The product of news shows from networks like this is " +"increasingly tailored to the message the network wants to convey. This is " +"not the communist party, though from the inside, it must feel a bit like the " +"communist party. No one can question without risk of consequence—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 pÃ¥ 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 Ã¸nsker Ã¥ formidle. Dette er ikke det " +"kommunistiske parten, selv om fra innsiden, mÃ¥ det fÃ¸les litt som det " +"kommunistiske parten. Ingen kan spÃ¸rsmÃ¥let uten risiko for konsekvens—" +"ikke nÃ¸dvendigvis banishment til Sibir, men straff likevel. uavhengige, " +"kritiske, forskjellige visninger er Ã¸dela. Dette er ikke miljÃ¸ for et " +"demokrati." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Clark, Kim B." +msgstr "Clark, Kim B." + +#. f33 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " +"Revolutionary National Bestseller that Changed the Way We Do Business</" +"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen " +"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. " +"Clark, <quote>The Interaction of Design Hierarchies and Market Concepts in " +"Technological Evolution,</quote> <citetitle>Research Policy</citetitle> 14 " +"(1985): 235–51. For a more recent study, see Richard Foster and Sarah " +"Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to " +"Last Underperform the Market—and How to Successfully Transform Them</" +"citetitle> (New York: Currency/Doubleday, 2001)." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Economics itself offers a parallel that explains why this integration " +"affects creativity. Clay Christensen has written about the " +"<quote>Innovator's Dilemma</quote>: the fact that large traditional firms " +"find it rational to ignore new, breakthrough technologies that compete with " +"their core business. The same analysis could help explain why large, " +"traditional media companies would find it rational to ignore new cultural " +"trends.<placeholder type=\"footnote\" id=\"0\"/> Lumbering giants not only " +"don't, but should not, sprint. Yet if the field is only open to the giants, " +"there will be far too little sprinting. <placeholder type=\"indexterm\" id=" +"\"1\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I don't think we know enough about the economics of the media market to say " +"with certainty what concentration and integration will do. The efficiencies " +"are important, and the effect on culture is hard to measure." +msgstr "" +"Jeg tror ikke vi vet nok om Ã¸konomien i media markedet Ã¥ si med sikkerhet " +"hva konsentrasjon og integrering vil gjÃ¸re. effektiviteten er viktig, og " +"effekten pÃ¥ kultur er vanskelig Ã¥ mÃ¥le." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But there is a quintessentially obvious example that does strongly suggest " +"the concern." +msgstr "men det er en typiske Ã¥penbare eksempel som sterkt at bekymringen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In addition to the copyright wars, we're in the middle of the drug wars. " +"Government policy is strongly directed against the drug cartels; criminal " +"and civil courts are filled with the consequences of this battle." +msgstr "" +"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. " +"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker " +"og sivile domstolene er fylt med konsekvensene av denne kampen." + +#. PAGE BREAK 178 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let me hereby disqualify myself from any possible appointment to any " +"position in government by saying I believe this war is a profound mistake. I " +"am not pro drugs. Indeed, I come from a family once wrecked by drugs—" +"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 Ã¥ 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 sÃ¥ stor at gjÃ¸re fÃ¸re krig galskap. " +"NÃ¥r du legger til sammen byrdene pÃ¥ det strafferettslige systemet, " +"desperasjon generasjoner av barna som har bare ekte Ã¸konomiske muligheter er " +"som narkotika krigere, queering av konstitusjonelle vern pÃ¥ grunn av " +"konstant overvÃ¥king krever at denne krigen, og, mest dypt total Ã¸deleggelse " +"av juridiske systemer av mange sÃ¸ramerikanske land pÃ¥ grunn av kraften i " +"lokale stoffet cartelsJeg finner det umulig Ã¥ tro at marginal nytte i " +"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse " +"kostnadene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"You may not be convinced. That's fine. We live in a democracy, and it is " +"through votes that we are to choose policy. But to do that, we depend " +"fundamentally upon the press to help inform Americans about these issues." +msgstr "" +"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og " +"det er gjennom stemmer at vi skal velge policyen. men for Ã¥ gjÃ¸re det, vi " +"avhengig fundamentalt pressen for Ã¥ informere amerikanerne om disse " +"problemene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Beginning in 1998, the Office of National Drug Control Policy launched a " +"media campaign as part of the <quote>war on drugs.</quote> The campaign " +"produced scores of short film clips about issues related to illegal drugs. " +"In one series (the Nick and Norm series) two men are in a bar, discussing " +"the idea of legalizing drugs as a way to avoid some of the collateral damage " +"from the war. One advances an argument in favor of drug legalization. The " +"other responds in a powerful and effective way against the argument of the " +"first. In the end, the first guy changes his mind (hey, it's television). " +"The plug at the end is a damning attack on the pro-legalization campaign." +msgstr "" +"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 Ã©n serie (nick og normen-serie) to menn er i en bar, diskuterer " +"idÃ©en om legalizing narkotika som en mÃ¥te Ã¥ unngÃ¥ noen av " +"sikkerhetsstillelse skade fra krigen. en avanserer et argument for narkotika " +"legalization. de andre svarer pÃ¥ en kraftig og effektiv mÃ¥te mot argumentet " +"av fÃ¸rste. til slutt, den fÃ¸rste mann forandrer mening (Hei, det er TV). " +"pluggen pÃ¥ slutten er en damning angrep pÃ¥ pro-legalization kampanjen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Fair enough. It's a good ad. Not terribly misleading. It delivers its " +"message well. It's a fair and reasonable message." +msgstr "" +"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding " +"godt. Det er en rettferdig og rimelig melding." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But let's say you think it is a wrong message, and you'd like to run a " +"countercommercial. Say you want to run a series of ads that try to " +"demonstrate the extraordinary collateral harm that comes from the drug war. " +"Can you do it?" +msgstr "" +"men la oss si at du tror det er en feil melding, og du Ã¸nsker Ã¥ kjÃ¸re en " +"countercommercial. si du vil kjÃ¸re en rekke annonser som prÃ¸ver Ã¥ " +"demonstrere den ekstraordinÃ¦re sikkerhetsstillelse skaden som kommer fra " +"stoffet krigen. kan du gjÃ¸re det?" + +#. PAGE BREAK 179 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Well, obviously, these ads cost lots of money. Assume you raise the money. " +"Assume a group of concerned citizens donates all the money in the world to " +"help you get your message out. Can you be sure your message will be heard " +"then?" +msgstr "" +"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve " +"penger. Anta at en gruppe av berÃ¸rte borgere donerer alle pengene i verden " +"for Ã¥ hjelpe deg Ã¥ fÃ¥ budskapet. kan du vÃ¦re sikker pÃ¥ at meldingen vil " +"deretter bli hÃ¸rt?" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Comcast" +msgstr "Comcast" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "Marijuana Policy Project" +msgstr "marihuana policy project" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "NBC" +msgstr "NBC" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "WJOA" +msgstr "WJOA" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "WRC" +msgstr "WRC" + +#. type: Content of: <book><part><chapter><section><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 <quote>against [their] " +"policy.</quote> The local NBC affiliate, WRC, rejected the ads without " +"reviewing them. The local ABC affiliate, WJOA, originally agreed to run the " +"ads and accepted payment to do so, but later decided not to run the ads and " +"returned the collected fees. Interview with Neal Levine, 15 October 2003. " +"These restrictions are, of course, not limited to drug policy. See, for " +"example, Nat Ives, <quote>On the Issue of an Iraq War, Advocacy Ads Meet " +"with Rejection from TV Networks,</quote> <citetitle>New York Times</" +"citetitle>, 13 March 2003, C4. Outside of election-related air time there " +"is very little that the FCC or the courts are willing to do to even the " +"playing field. For a general overview, see Rhonda Brown, <quote>Ad Hoc " +"Access: The Regulation of Editorial Advertising on Television and Radio,</" +"quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): " +"449–79, and for a more recent summary of the stance of the FCC and the " +"courts, see <citetitle>Radio-Television News Directors Association</" +"citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872 (D.C. Cir. 1999). " +"Municipal authorities exercise the same authority as the networks. In a " +"recent example from San Francisco, the San Francisco transit authority " +"rejected an ad that criticized its Muni diesel buses. Phillip Matier and " +"Andrew Ross, <quote>Antidiesel Group Fuming After Muni Rejects Ad,</quote> " +"SFGate.com, 16 June 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #32</ulink>. The ground was that the criticism was <quote>too " +"controversial.</quote> <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=" +"\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/> " +"<placeholder type=\"indexterm\" id=\"6\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"No. You cannot. Television stations have a general policy of avoiding " +"<quote>controversial</quote> ads. Ads sponsored by the government are deemed " +"uncontroversial; ads disagreeing with the government are controversial. " +"This selectivity might be thought inconsistent with the First Amendment, but " +"the Supreme Court has held that stations have the right to choose what they " +"run. Thus, the major channels of commercial media will refuse one side of a " +"crucial debate the opportunity to present its case. And the courts will " +"defend the rights of the stations to be this biased.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +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 vÃ¦re glad for Ã¥ 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 hÃ¥ndfull selskaper kontrollere " +"tilgangen til media, og at hÃ¥ndfull selskaper kommer til Ã¥ bestemme hvilke " +"politiske holdninger som den gjÃ¸r det mulig Ã¥ bli forfremmet pÃ¥ sine " +"kanaler, sÃ¥ i en Ã¥penbare og viktig mÃ¥te, konsentrasjon teller. du kanskje " +"liker posisjoner hÃ¥ndfull selskaper velger. men du bÃ¸r ikke liker en verden " +"der bare en noen kommer til Ã¥ bestemme hvilke problemer med resten av oss fÃ¥ " +"vite om." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Together" +msgstr "Sammen" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There is something innocent and obvious about the claim of the copyright " +"warriors that the government should <quote>protect my property.</quote> In " +"the abstract, it is obviously true and, ordinarily, totally harmless. No " +"sane sort who is not an anarchist could disagree." +msgstr "" +"Det er noe uskyldig og Ã¥penbar om kravet om opphavsrett warriors at " +"regjeringen bÃ¸r \"beskytte min egenskapen.\" i abstrakt, det er Ã¥penbart " +"sann og, vanligvis helt ufarlig. Ingen forstandig sortering som ikke er en " +"Anarkisten kan uenige." + +#. PAGE BREAK 180 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But when we see how dramatically this <quote>property</quote> 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 <quote>property</quote> rights granted by copyright fundamentally " +"changes the freedom within this culture to cultivate and build upon our " +"past, then we have to ask whether this property should be redefined." +msgstr "" +"men nÃ¥r vi ser hvor dramatisk denne \"property\" er endret—nÃ¥r vi " +"innser hvor den kan nÃ¥ kommunisere med bÃ¥de teknologi og markeder Ã¥ bety at " +"effektiv begrensningen pÃ¥ den frihet Ã¥ dyrke vÃ¥r kultur er dramatisk " +"annerledes—kravet begynner Ã¥ synes mindre uskyldig og Ã¥penbar. gitt " +"(1) den kraftige teknologi til Ã¥ supplere lovens kontroll, og (2) makt " +"konsentrert markeder for Ã¥ svekke muligheten for dissens, hvis strengt " +"hÃ¥ndheve massivt utvidet \"property\"-rettigheter som er gitt av copyright " +"fundamentalt endres frihet i denne kulturen til Ã¥ dyrke og bygge pÃ¥ vÃ¥r " +"fortid, sÃ¥ mÃ¥ vi spÃ¸rre om denne egenskapen skal defineres." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Not starkly. Or absolutely. My point is not that we should abolish copyright " +"or go back to the eighteenth century. That would be a total mistake, " +"disastrous for the most important creative enterprises within our culture " +"today." +msgstr "" +"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bÃ¸r avskaffe " +"copyright eller gÃ¥ tilbake til 1700-tallet. det ville vÃ¦re en totalt feil, " +"katastrofalt for de viktigste kreative bedriftene i vÃ¥r kultur i dag." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But there is a space between zero and one, Internet culture " +"notwithstanding. And these massive shifts in the effective power of " +"copyright regulation, tied to increased concentration of the content " +"industry and resting in the hands of technology that will increasingly " +"enable control over the use of culture, should drive us to consider whether " +"another adjustment is called for. Not an adjustment that increases " +"copyright's power. Not an adjustment that increases its term. Rather, an " +"adjustment to restore the balance that has traditionally defined copyright's " +"regulation—a weakening of that regulation, to strengthen creativity." +msgstr "" +"men det er et mellomrom mellom null og Ã©n, Internett-kultur til tross for. " +"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet " +"til Ã¸kt konsentrasjon av innhold industrien og hvile i hendene pÃ¥ teknologi " +"som i Ã¸kende grad vil aktivere kontroll over bruken av kultur, bÃ¸r kjÃ¸re oss " +"til Ã¥ vurdere om en annen justering kalles for. ikke en justering som Ã¸ker " +"copyright's strÃ¸m. ikke en justering som Ã¸ker sin sikt. snarere en justering " +"for Ã¥ gjenopprette balansen som tradisjonelt har definert copyright's " +"regulering—en svekkelse av den reguleringen, Ã¥ styrke kreativitet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Copyright law has not been a rock of Gibraltar. It's not a set of constant " +"commitments that, for some mysterious reason, teenagers and geeks now flout. " +"Instead, copyright power has grown dramatically in a short period of time, " +"as the technologies of distribution and creation have changed and as " +"lobbyists have pushed for more control by copyright holders. Changes in the " +"past in response to changes in technology suggest that we may well need " +"similar changes in the future. And these changes have to be " +"<emphasis>reductions</emphasis> in the scope of copyright, in response to " +"the extraordinary increase in control that technology and the market enable." +msgstr "" +"lov om opphavsrett har ikke vÃ¦rt en rock of gibraltar. Det er ikke et sett " +"med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " +"geeks nÃ¥ 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 pÃ¥ at vi kan godt trenger " +"lignende endringer i fremtiden. og disse endringene mÃ¥ vÃ¦re reduksjoner i " +"omfanget av opphavsrett, svar pÃ¥ det ekstraordinÃ¦re Ã¸kning i kontrollen som " +"teknologi og markedet aktivere." + +#. PAGE BREAK 181 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"For the single point that is lost in this war on pirates is a point that we " +"see only after surveying the range of these changes. When you add together " +"the effect of changing law, concentrated markets, and changing technology, " +"together they produce an astonishing conclusion: <emphasis>Never in our " +"history have fewer had a legal right to control more of the development of " +"our culture than now</emphasis>." +msgstr "" +"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi " +"ser bare etter kartlegging pÃ¥ rekke disse endringene. NÃ¥r du legger sammen " +"til effekten av Ã¥ endre loven, konsentrert markeder, og endre teknologien, " +"sammen de produserer en forblÃ¸ffende konklusjon: aldri i vÃ¥r historie har " +"fÃ¦rre hadde en lovfestet rett til Ã¥ styre flere av utviklingen av vÃ¥r kultur " +"enn nÃ¥." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan captures a " +"similar point in his <quote>four surrenders</quote> of copyright law in the " +"digital age. See Vaidhyanathan, 159–60." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan fanger et " +"lignende poeng i hans <quote>fire kapitulasjoner</quote> for Ã¥ndsverksloven " +"i den digitale tidsalder. Se Vaidhyanathan, 159–60." + +#. type: Content of: <book><part><chapter><section><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. " +"<emphasis>Never</emphasis> has copyright protected such a wide range of " +"rights, against as broad a range of actors, for a term that was remotely as " +"long. This form of regulation—a tiny regulation of a tiny part of the " +"creative energy of a nation at the founding—is now a massive " +"regulation of the overall creative process. Law plus technology plus the " +"market now interact to turn this historically benign regulation into the " +"most significant regulation of culture that our free society has known." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point " +"can now be briefly stated." +msgstr "Dette har vÃ¦rt en lang kapittel. sitt punkt kan nÃ¥ kort oppgis." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"At the start of this book, I distinguished between commercial and " +"noncommercial culture. In the course of this chapter, I have distinguished " +"between copying a work and transforming it. We can now combine these two " +"distinctions and draw a clear map of the changes that copyright law has " +"undergone. In 1790, the law looked like this:" +msgstr "" +"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell " +"kultur. i lÃ¸pet av dette kapitlet, har jeg skilte mellom kopiere et arbeid " +"og transformerer det. Vi kan nÃ¥ kombinere disse to utmerkelser og tegne en " +"Fjern tilordning av endringene som har gjennomgÃ¥tt en lov om opphavsrett. i " +"1790, loven sÃ¥ ut som dette:" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "PUBLISH" +msgstr "Publisere" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "TRANSFORM" +msgstr "Omforme" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Commercial" +msgstr "Kommersiell" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "©" +msgstr "©" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Free" +msgstr "Fri" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Noncommercial" +msgstr "Ikke-kommersiell" + +#. PAGE BREAK 182 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The act of publishing a map, chart, and book was regulated by copyright law. " +"Nothing else was. Transformations were free. And as copyright attached only " +"with registration, and only those who intended to benefit commercially would " +"register, copying through publishing of noncommercial work was also free." +msgstr "" +"loven av publisering pÃ¥ 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 Ã¥ gagne " +"kommersielt ville registrere, kopiere gjennom publisering av ikke-" +"kommersielt arbeid var ogsÃ¥ gratis." + +#. type: Content of: <book><part><chapter><section><para> +msgid "By the end of the nineteenth century, the law had changed to this:" +msgstr "" +"PÃ¥ slutten av det nittende Ã¥rhundre hadde loven blitt endret til dette:" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +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 nÃ¥ regulert av lov om opphavsrett—Hvis publisert, som " +"igjen, gitt Ã¸konomien i publisering pÃ¥ tiden, betyr hvis tilbudt " +"kommersielt. men ikke-kommersiell publisering og transformasjon var fortsatt " +"hovedsakelig gratis." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1909 the law changed to regulate copies, not publishing, and after this " +"change, the scope of the law was tied to technology. As the technology of " +"copying became more prevalent, the reach of the law expanded. Thus by 1975, " +"as photocopying machines became more common, we could say the law began to " +"look like this:" +msgstr "" +"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne " +"endringen omfanget av loven var knyttet til teknologi. som teknologi med Ã¥ " +"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, " +"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte Ã¥ se " +"slik ut:" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "COPY" +msgstr "Kopiere" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "©/Free" +msgstr "©/Fri" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The law was interpreted to reach noncommercial copying through, say, copy " +"machines, but still much of copying outside of the commercial market " +"remained free. But the consequence of the emergence of digital technologies, " +"especially in the context of a digital network, means that the law now looks " +"like this:" +msgstr "" +"loven ble tolket for Ã¥ nÃ¥ reklamefrie kopiering gjennom, si, kopimaskiner, " +"men fortsatt mye med Ã¥ kopiere utenfor det kommersielle markedet vÃ¦rt " +"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i " +"sammenheng med en digital network, betyr at loven nÃ¥ ser slik ut:" + +#. PAGE BREAK 183 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Every realm is governed by copyright law, whereas before most creativity was " +"not. The law now regulates the full range of creativity— commercial or " +"not, transformative or not—with the same rules designed to regulate " +"commercial publishers." +msgstr "" +"hver riket er underlagt lov om opphavsrett, mens fÃ¸r de fleste kreativitet " +"ikke var. loven regulerer nÃ¥ hele omfanget av kreativitet—kommersielle " +"eller ikke, transformative eller ikke â med de samme reglene som er utformet " +"for Ã¥ regulere kommersielle utgivere." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Obviously, copyright law is not the enemy. The enemy is regulation that does " +"no good. So the question that we should be asking just now is whether " +"extending the regulations of copyright law into each of these domains " +"actually does any good." +msgstr "" +"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som " +"virker ikke godt. SÃ¥ spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre akkurat nÃ¥ er enten utvide " +"forskrifter om opphavsrett i hver av disse domenene faktisk gjÃ¸r noe bra." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I have no doubt that it does good in regulating commercial copying. But I " +"also have no doubt that it does more harm than good when regulating (as it " +"regulates just now) noncommercial copying and, especially, noncommercial " +"transformation. And increasingly, for the reasons sketched especially in " +"chapters <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> and " +"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, one " +"might well wonder whether it does more harm than good for commercial " +"transformation. More commercial transformative work would be created if " +"derivative rights were more sharply restricted." +msgstr "" +"Jeg har ingen tvil om at den gjÃ¸r bra i regulerer kommersielle kopiering. " +"men jeg har ingen tvil om at det gjÃ¸r mer skade enn bra nÃ¥r regulerer (som " +"den regulerer akkurat nÃ¥) ikke-kommersiell kopiering og, spesielt, ikke-" +"kommersiell transformasjon ogsÃ¥. og i Ã¸kende grad av Ã¥rsaker som skisserte " +"spesielt i kapitlene 7 og 8, en kan vel rart om det gjÃ¸r mer skade enn godt " +"for kommersielle transformasjon. mer kommersielt transformative arbeid vil " +"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "legal realist movement" +msgstr "juridiske realist bevegelse" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"It was the single most important contribution of the legal realist movement " +"to demonstrate that all property rights are always crafted to balance public " +"and private interests. See Thomas C. Grey, <quote>The Disintegration of " +"Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland " +"Pennock and John W. Chapman, eds. (New York: New York University Press, " +"1980). <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for Ã¥ " +"demonstrere at alle eiendomsrettigheter alltid er laget for Ã¥ balansere " +"offentlige og private interesser. se thomas c. grey, \"opplÃ¸sningen av " +"eiendom,\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, Red. " +"(new york: new york university press, 1980)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The issue is therefore not simply whether copyright is property. Of course " +"copyright is a kind of <quote>property,</quote> and of course, as with any " +"property, the state ought to protect it. But first impressions " +"notwithstanding, historically, this property right (as with all property " +"rights<placeholder type=\"footnote\" id=\"0\"/>) has been crafted to " +"balance the important need to give authors and artists incentives with the " +"equally important need to assure access to creative work. This balance has " +"always been struck in light of new technologies. And for almost half of our " +"tradition, the <quote>copyright</quote> did not control <emphasis>at all</" +"emphasis> the freedom of others to build upon or transform a creative work. " +"American culture was born free, and for almost 180 years our country " +"consistently protected a vibrant and rich free culture." +msgstr "" + +#. PAGE BREAK 184 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"We achieved that free culture because our law respected important limits on " +"the scope of the interests protected by <quote>property.</quote> The very " +"birth of <quote>copyright</quote> as a statutory right recognized those " +"limits, by granting copyright owners protection for a limited time only (the " +"story of chapter 6). The tradition of <quote>fair use</quote> is animated by " +"a similar concern that is increasingly under strain as the costs of " +"exercising any fair use right become unavoidably high (the story of chapter " +"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 oppnÃ¥dde at fri kultur fordi vÃ¥r lov respektert viktig begrensninger pÃ¥ " +"omfanget av interessene beskyttet av \"egenskapen.\" svÃ¦rt fÃ¸dselen av " +"\"copyright\" som en lovfestet rett gjenkjennes disse grensene, ved Ã¥ 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 Ã¥ utÃ¸ve noen rettferdig bruk hÃ¸yre " +"bli uunngÃ¥elig hÃ¸y (historien om kapittel 7). legge lovbestemte rettigheter " +"der markeder kan kveler innovasjon er en annen kjent grensen pÃ¥ eiendommen " +"hÃ¸yre at opphavsretten er (kapittel 8). og gi arkiver og biblioteker en bred " +"frihet til Ã¥ samle inn, pÃ¥stander om egenskapen tross, er en avgjÃ¸rende 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 svÃ¦rt forskjellig fra ekstremistgrupper visjonen som dominerer " +"debatten i dag." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Free culture is increasingly the casualty in this war on piracy. In response " +"to a real, if not yet quantified, threat that the technologies of the " +"Internet present to twentieth-century business models for producing and " +"distributing culture, the law and technology are being transformed in a way " +"that will undermine our tradition of free culture. The property right that " +"is copyright is no longer the balanced right that it was, or was intended to " +"be. The property right that is copyright has become unbalanced, tilted " +"toward an extreme. The opportunity to create and transform becomes weakened " +"in a world in which creation requires permission and creativity must check " +"with a lawyer." +msgstr "" +"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar pÃ¥ " +"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 pÃ¥ en mÃ¥te som vil " +"undergrave vÃ¥r tradisjon for fri kultur. eiendommen er copyright ikke lenger " +"rettigheten balansert som det var, eller var ment Ã¥ vÃ¦re. egenskapen akkurat " +"det vil si opphavsrett har blitt ubalansert, skrÃ¥stilt mot en ekstrem. " +"muligheten til Ã¥ opprette og transformere blir svekket i en verden der " +"oppretting krever tillatelse og kreativitet mÃ¥ kontrollere med en advokat." + +#. type: Content of: <book><part><title> +msgid "PUZZLES" +msgstr "NÃ¸tter" + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER ELEVEN: Chimera" +msgstr "Kapittel elleve: Fantasifoster" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "chimeras" +msgstr "fantasifoster/chimera" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Wells, H. G." +msgstr "Wells, H. G." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "<quote>Country of the Blind, The</quote> (Wells)" +msgstr "<quote>Country of the Blind, The</quote> (Wells)" + +#. f1. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See H. G. " +"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " +"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." +msgstr "" +"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). Se H. G. " +"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " +"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In a well-known</emphasis> short story by H. G. " +"Wells, a mountain climber named Nunez trips (literally, down an ice slope) " +"into an unknown and isolated valley in the Peruvian Andes.<placeholder type=" +"\"footnote\" id=\"0\"/> The valley is extraordinarily beautiful, with " +"<quote>sweet water, pasture, an even climate, slopes of rich brown soil with " +"tangles of a shrub that bore an excellent fruit.</quote> But the villagers " +"are all blind. Nunez takes this as an opportunity. <quote>In the Country of " +"the Blind,</quote> he tells himself, <quote>the One-Eyed Man is King.</" +"quote> So he resolves to live with the villagers to explore life as a king." +msgstr "" +"<emphasis role='strong'>I en velkjent</emphasis> novelle av H. G. Wells, " +"snublet en fjellklatrer ved navn Nunez ned en is-skrÃ¥ning inn i en ukjent og " +"isolert dal i de Peruanske Andesfjellene.<placeholder type=\"footnote\" id=" +"\"0\"/> Dalen er utrolig vakker, med <quote>friskt vann, *pasture*, et jevnt " +"klima og sletter med rik brun jord med *tangles* av buskas som bar en " +"utmerket frukt</quote>. Men landsbybeboerne er alle blinde. Nunez ser " +"dette som en mulighet. <quote>I de blindes rike</quote>, forteller han seg " +"selv, <quote>er den enÃ¸yde konge</quote>. SÃ¥ han bestemmer seg for Ã¥ slÃ¥ " +"seg ned hos landsbybeboerne for Ã¥ utforske livet som konge." + +#. type: Content of: <book><part><chapter><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 <quote>blind." +"</quote> They don't have the word <citetitle>blind</citetitle>. They think " +"he's just thick. Indeed, as they increasingly notice the things he can't do " +"(hear the sound of grass being stepped on, for example), they increasingly " +"try to control him. He, in turn, becomes increasingly frustrated. " +"<quote>`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!'</quote>" +msgstr "" +"Ting blir ikke helt som han har planlagt. Han forsÃ¸ker Ã¥ forklare idÃ©en om " +"syn til landsbybeboerne. De forstÃ¥r ikke. Han forteller dem at de er " +"<quote>blind</quote>. De mangler et ord for <citetitle>blind</citetitle>. " +"De tror han bare er treg. Etterhvert som de oppdager tingene ha ikke kan " +"gjÃ¸re (for eksempel hÃ¸re lyden av gress som blir trÃ¥kket pÃ¥), forsÃ¸ker de " +"mer og mer Ã¥ kontrollere ham. Han blir dermed mer og mer frustrert. " +"<quote><quote>Dere forstÃ¥r ikke</quote>, ropte han, i en stemme som var ment " +"Ã¥ vÃ¦re storslÃ¥tt og bestemt, og som skar ut. <quote>Dere er blinde og jeg " +"kan se. La meg vÃ¦re i fred!</quote></quote>" + +#. PAGE BREAK 187 +#. type: Content of: <book><part><chapter><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 <quote>the most beautiful thing in the whole " +"of creation,</quote> understands the beauty of sight. Nunez's description of " +"what he sees <quote>seemed to her the most poetical of fancies, and she " +"listened to his description of the stars and the mountains and her own sweet " +"white-lit beauty as though it was a guilty indulgence.</quote> <quote>She " +"did not believe,</quote> Wells tells us, and <quote>she could only half " +"understand, but she was mysteriously delighted.</quote>" +msgstr "" +"Landsbybeboerne lot han ikke vÃ¦re i fred. Og de ser (for Ã¥ si det slik) " +"ikke det fine i hans spesielle krefter. Ikke en gang det ultimale mÃ¥let for " +"hans hengivenhet, en ung kvinde som for han synes <quote>den vakreste tingen " +"i hele skapelsen</quote>, forstÃ¥r skjÃ¸nnheten i Ã¥ kunne se. Ninez sine " +"beskrivelser av det han ser <quote>virket for henne Ã¥ vÃ¦re de mest poetiske " +"av fantasier, og hun hÃ¸rte pÃ¥ hans beskrivelser av stjernene og fjellene og " +"hennes egen sÃ¸te hvit-lysende skjÃ¸nnhet som om det var en skylding " +"tilfredsstillelse </quote>. <quote>Hun trodde ikke</quote>, forteller Wells " +"oss, og <quote>hun kunne bare halvveis forstÃ¥, men hun var underlig gledet</" +"quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"When Nunez announces his desire to marry his <quote>mysteriously delighted</" +"quote> love, the father and the village object. <quote>You see, my dear,</" +"quote> her father instructs, <quote>he's an idiot. He has delusions. He " +"can't do anything right.</quote> They take Nunez to the village doctor." +msgstr "" +"NÃ¥r Nuez kunngjÃ¸r sitt Ã¸nske om Ã¥ gifte seg med sin <quote>underlig gledet</" +"quote> kjÃ¦rlighet, protesterte faaren og landsbyen. <quote>Du skjÃ¸nner, " +"kjÃ¦re</quote>, instruerer hennes far, <quote>han er en idiot. Han har " +"vrangforestillinger. Han kan ikke gjÃ¸re noe riktig.</quote> De tar Nunez " +"til landsbylegen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"After a careful examination, the doctor gives his opinion. <quote>His brain " +"is affected,</quote> he reports." +msgstr "" +"Etter en nÃ¸ye undersÃ¸kelse gir legen sin vurdering. <quote>Hjernen hans er " +"pÃ¥virket</quote>, rapporterer han." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>What affects it?</quote> the father asks. <quote>Those queer things " +"that are called the eyes … are diseased … in such a way as to " +"affect his brain.</quote>" +msgstr "" +"<quote>Hva pÃ¥virker den?</quote> spÃ¸r faren. <quote>De sÃ¦re tingene som " +"kalles Ã¸yene … er sykelige … pÃ¥ en mÃ¥te som pÃ¥virker hjernen " +"hans.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The doctor continues: <quote>I think I may say with reasonable certainty " +"that in order to cure him completely, all that we need to do is a simple and " +"easy surgical operation—namely, to remove these irritant bodies [the " +"eyes].</quote>" +msgstr "" +"Legen fortsetter: <quote>Jeg tror jeg med rimelig sikkerhet kan si at for Ã¥ " +"kunne helbrede han er alt vi trenger Ã¥ gjÃ¸re en enkel og lett kirurgisk " +"operasjon—nemlig Ã¥ fjerne disse irriterte organene [Ã¸ynene].</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Thank Heaven for science!</quote> says the father to the doctor. They " +"inform Nunez of this condition necessary for him to be allowed his bride. " +"(You'll have to read the original to learn what happens in the end. I " +"believe in free culture, but never in giving away the end of a story.)" +msgstr "" +"<quote>Takk gud for vitenskapen!</quote> sier faren til doktoren. De " +"forteller Nunez om dette kravet som han mÃ¥ oppfylle for Ã¥ fÃ¥ sin brud. (Du " +"fÃ¥r lese originalen for Ã¥ lÃ¦re hvordan historien ender. Jeg tror pÃ¥ fri " +"kultur, men ikke pÃ¥ Ã¥ avslÃ¸re hvordan en historie slutter.)" + +#. PAGE BREAK 188 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>It sometimes</emphasis> happens that the eggs of " +"twins fuse in the mother's womb. That fusion produces a <quote>chimera.</" +"quote> A chimera is a single creature with two sets of DNA. The DNA in the " +"blood, for example, might be different from the DNA of the skin. This " +"possibility is an underused plot for murder mysteries. <quote>But the DNA " +"shows with 100 percent certainty that she was not the person whose blood was " +"at the scene. …</quote>" +msgstr "" +"<emphasis role='strong'>Det skjer</emphasis> noen ganger at eggene til " +"tvillinger sveises sammen i morens livmor. Den sammensveisingen skaper et " +"<quote>fantasifoster/chimera</quote>. Et fantasifoster er en enkelt " +"skapning med to sett med DNA. DNA-et i bloet kan for eksempel vÃ¦re " +"forskjellig fra DNA-et i huden. Denne muligheten er et for lite brukt " +"handling i mordmysterer. <quote>Men DNA-et viser med 100 prosent sikkerhet " +"at hennes blod ikke var det som var pÃ¥ Ã¥stedet. …</quote>" + +#. type: Content of: <book><part><chapter><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 <quote>person</quote> should " +"reflect this reality." +msgstr "" +"FÃ¸r jeg hadde lest om fantasifoster, sÃ¥ ville jeg ha sagt at de var umulig. " +"En enkelt person kan ikke ha to sett med DNA. Selve idÃ©en med DNA er at det " +"er koden til et individ. Likevel er det jo faktisk slik at ikke bare kan to " +"individer ha samme sett med DNA (identiske tvillinger), men en person kan ha " +"to ulike sett med DNA (et fantasifoster). Var forstÃ¥else av en " +"<quote>person</quote> bÃ¸r gjenspeile denne virkeligheten." + +#. type: Content of: <book><part><chapter><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, <quote>the copyright wars,</quote> the more I think we're dealing " +"with a chimera. For example, in the battle over the question <quote>What is " +"p2p file sharing?</quote> both sides have it right, and both sides have it " +"wrong. One side says, <quote>File sharing is just like two kids taping each " +"others' records—the sort of thing we've been doing for the last thirty " +"years without any question at all.</quote> That's true, at least in part. " +"When I tell my best friend to try out a new CD that I've bought, but rather " +"than just send the CD, I point him to my p2p server, that is, in all " +"relevant respects, just like what every executive in every recording company " +"no doubt did as a kid: sharing music." +msgstr "" +"Jo mer jeg arbeider for Ã¥ forstÃ¥ den nÃ¥vÃ¦rende <quote>opphavsrettskrigen</" +"quote> rundt opphavsrett og kultur, som jeg bÃ¥de har kalt urettferdig og " +"ikke urettferdig nok, jo mer tenker jeg at det er et fantasifoster vi " +"snakker om. For eksempel i kampen om spÃ¸rsmÃ¥let <quote>Hva er p2p-fildeling?" +"</quote> har begge sider rett, og begge sider tar feil. En side sier, " +"<quote>fildeling er akkurat som om to unger tar opp hverandres plater pÃ¥ " +"bÃ¥nd—akkurat slik vi har gjort det de siste tredve Ã¥rene uten at noen " +"har stilt spÃ¸rsmÃ¥l ved det i det hele tatt</quote>. Det er riktig, i hvert " +"fall delvis. NÃ¥r jeg ber min beste venn om Ã¥ hÃ¸re pÃ¥ en ny CD jeg har kjÃ¸pt " +"og i stedet for Ã¥ bare sende CDen sÃ¥ peker jeg han til min p2p-tjener, sÃ¥ er " +"det pÃ¥ alle relevante mÃ¥ter akkurat slik enhver leder i ethvert plateselskap " +"uten tvil gjorde som barn: deling av musikk." + +#. type: Content of: <book><part><chapter><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 <quote>friends</" +"quote> beyond recognition to say <quote>my ten thousand best friends</quote> " +"can get access. Whether or not sharing my music with my best friend is what " +"<quote>we have always been allowed to do,</quote> we have not always been " +"allowed to share music with <quote>our ten thousand best friends.</quote>" +msgstr "" +"Men beskrivelsen er ogsÃ¥ delvis uriktig. For nÃ¥r min p2p-tjener er pÃ¥ et " +"p2p-nettverk der enhver kan fÃ¥ tilgang til min musikk, sÃ¥ kan helt klart " +"mine venner fÃ¥ tilgang, men det strekker betydningen av <quote>venner</" +"quote> forbi bristepunktet nÃ¥r en sier <quote>mine ti tusen beste venner</" +"quote> kan fÃ¥ tilgang. Uansett om <quote>vi alltid har hatt lov til</quote> " +"Ã¥ dele min musikk med min beste venner, sÃ¥ har vi ikke alltid hatt lov til Ã¥ " +"dele musikk med <quote>vÃ¥re ti tusen beste venner</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Likewise, when the other side says, <quote>File sharing is just like walking " +"into a Tower Records and taking a CD off the shelf and walking out with it,</" +"quote> that's true, at least in part. If, after Lyle Lovett (finally) " +"releases a new album, rather than buying it, I go to Kazaa and find a free " +"copy to take, that is very much like stealing a copy from Tower. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Tilsvarende, nÃ¥r den andre siden sier, <quote>Fildeling er som Ã¥ gÃ¥ inn hos " +"Tower Records Ã¥ ta en CD fra hylla og gÃ¥ ut av butikken med den</quote>, sÃ¥ " +"er det riktig, i hvert fall delvis. Hvis jeg, etter at Lyle Lovett " +"(endelig) gir ut et nytt album, i stedet for Ã¥ kjÃ¸pe den gÃ¥r pÃ¥ Kazaa og " +"finner et gratis eksemplar jeg kan ta, sÃ¥ er det veldig likt det Ã¥ stjele et " +"eksemplar fra Tower.<placeholder type=\"indexterm\" id=\"0\"/>" + +#. PAGE BREAK 189 +#. type: Content of: <book><part><chapter><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 som Ã¥ sjele fra Tower. Tross alt har Tower Record en " +"mindre CD de kan selge nÃ¥r jeg tar en CD fra Tower. Og nÃ¥r jeg tar en CD " +"fra Tower Records, sÃ¥ fÃ¥r jeg en bit plastik og et omslag, og noe Ã¥ vise " +"frem pÃ¥ hyllene mine. (Og nÃ¥r vi fÃ¸rst er i gang, bÃ¸r vi ogsÃ¥ ta med at nÃ¥r " +"jeg tar en CD fra Tower Records, sÃ¥ er den masimale boten jeg kan pÃ¥rda meg, " +"i hvert fall i fÃ¸lge loven i California, $1 000. I fÃ¸lge RIAA kan jeg, " +"derimot, hvis jeg laster ned en ti-sangs CD, bli ansvarlig for " +"$1 500 000 i erstatning.)" + +#. type: Content of: <book><part><chapter><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 beskrivelsen fra begge sider er feil. Poenget er at " +"begge sider har rett—bÃ¥de som RIAA beskriver det og som Kazaa " +"beskriver det. Det er et fantasifoster. Og i stedet for Ã¥ ganske enkelt " +"benekte det den andre siden hevder, sÃ¥ mÃ¥ vi begynne Ã¥ Ã¥ tenke pÃ¥ hvordan vi " +"kan svare pÃ¥ dette fantasifosteret. Hvilke regler bÃ¸r styre det?" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "ISPs (Internet service providers), user identities revealed by" +msgstr "ISPer (Internet-tilbydere), brukeridentiteter avslÃ¸rt av" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Conyers, John, Jr." +msgstr "Conyers, John, Jr." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Berman, Howard L." +msgstr "Berman, Howard L." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> For an excellent summary, see the " +"report prepared by GartnerG2 and the Berkman Center for Internet and Society " +"at Harvard Law School, <quote>Copyright and Digital Media in a Post-Napster " +"World,</quote> 27 June 2003, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #33</ulink>. Reps. John Conyers Jr. (D-Mich.) and Howard L. " +"Berman (D-Calif.) have introduced a bill that would treat unauthorized on-" +"line copying as a felony offense with punishments ranging as high as five " +"years imprisonment; see Jon Healey, <quote>House Bill Aims to Up Stakes on " +"Piracy,</quote> <citetitle>Los Angeles Times</citetitle>, 17 July 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " +"Civil penalties are currently set at $150,000 per copied song. For a recent " +"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " +"the identity of a user accused of sharing more than 600 songs through a " +"family computer, see <citetitle>RIAA</citetitle> v. <citetitle>Verizon " +"Internet Services (In re. Verizon Internet Services)</citetitle>, 240 F. " +"Supp. 2d 24 (D.D.C. 2003). Such a user could face liability ranging as high " +"as $90 million. Such astronomical figures furnish the RIAA with a powerful " +"arsenal in its prosecution of file sharers. Settlements ranging from $12,000 " +"to $17,500 for four students accused of heavy file sharing on university " +"networks must have seemed a mere pittance next to the $98 billion the RIAA " +"could seek should the matter proceed to court. See Elizabeth Young, " +"<quote>Downloading Could Lead to Fines,</quote> redandblack.com, August " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #35</" +"ulink>. For an example of the RIAA's targeting of student file sharing, and " +"of the subpoenas issued to universities to reveal student file-sharer " +"identities, see James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to " +"Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8 August 2003, " +"D3, available at <ulink url=\"http://free-culture.cc/notes/\">link #36</" +"ulink>. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" +"\"indexterm\" id=\"2\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><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 "" +"Vi kunne svare ved Ã¥ ganske enkelt late som om det ikke er et " +"fantasifoster. Vi kunne, sammen med RIAA, bestemme at hver eneste fildeling " +"bÃ¸r vÃ¦re en forbrytelse. Vi kan straffeforfÃ¸lge familier for millioner av " +"dollar i skader kun pÃ¥ bakgrunn av at fildelingen skjedde pÃ¥ en av familiens " +"datamaskiner. Og vi kan fÃ¥ universiteter til Ã¥ overvÃ¥ke all datatrafikk for " +"Ã¥ sikre at ingen datamaskin blir brukt til Ã¥ gjennomfÃ¸re denne " +"forbrytelsen. Disse svarene er kanskje ekstreme, men hver av dem har enten " +"blitt foreslÃ¥tt eller er allerede gjennomfÃ¸rt.<placeholder type=\"footnote\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 pÃ¥ fildeling slik mange unger oppfÃ¸rer seg som om " +"vi har svart. Vi kan legalisere det fullstendig. Fjern alt ansvar for " +"brudd pÃ¥ opphavsretten, bÃ¥de sivilt og strafferettslig, nÃ¥r en gjÃ¸r " +"opphavsrettsbeskyttet materiale tilgjengelig pÃ¥ nettet. GjÃ¸r fildeling som " +"sladder: regulert av sosiale normer i stedet for med lov, hvis det er " +"regulert i det hele tatt." + +#. type: Content of: <book><part><chapter><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 " +"<emphasis>either</emphasis> extreme would be worse than a reasonable " +"alternative. But I believe the zero-tolerance solution would be the worse " +"of the two extremes." +msgstr "" +"Begge svarene er mulige. Jeg tror hver av dem ville vÃ¦re en tabbe. I stedet " +"for Ã¥ velge en av disse to ekstremene, sÃ¥ bÃ¸r vi velge noe som gjenkjenner " +"sannheten i begge. Og selv om jeg avslutter denne boken med en sksse til et " +"system som gjÃ¸r akkurat det, sÃ¥ er mÃ¥let mitt med neste kapittel Ã¥ vise " +"akkurat hvor grufult det ville vÃ¦re for oss om vi adopterer nulltoleranse-" +"ekstremet. Jeg tror <emphasis>begge</emphasis> ekstremene vil vÃ¦re verre " +"enn et rimelig alternativ. Men jeg tror nulltoleranse-lÃ¸sningen vil vÃ¦re " +"den verste av de to ekstremene." + +#. PAGE BREAK 190 +#. type: Content of: <book><part><chapter><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 "" +"Likevel er nulltoleranse i stadig stÃ¸rre grad vÃ¥re myndigheters politikk. " +"Midt i dette kaoset som Internettet har skapt, finner en ekstraordinÃ¦r *land " +"grab* sted. Retten og teknologien endres til Ã¥ gi innholdsinnehaverne en " +"type kontroll over kulturen vÃ¥r som de aldri har hatt fÃ¸r. Og i denne " +"ekstremiteten vil mange muligheter for nye oppfinnelser og ny kreativitet gÃ¥ " +"tapt." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"I'm not talking about the opportunities for kids to <quote>steal</quote> " +"music. My focus instead is the commercial and cultural innovation that this " +"war will also kill. We have never seen the power to innovate spread so " +"broadly among our citizens, and we have just begun to see the innovation " +"that this power will unleash. Yet the Internet has already seen the passing " +"of one cycle of innovation around technologies to distribute content. The " +"law is responsible for this passing. As the vice president for global public " +"policy at one of these new innovators, eMusic.com, put it when criticizing " +"the DMCA's added protection for copyrighted material," +msgstr "" +"Jeg snakker ikke om mulighetene for unger til Ã¥ <quote>stjele</quote> " +"musikk. Min fokus er i stedet pÃ¥ den kommersielle og kulturelle " +"nyskapningen som denne krigen ogsÃ¥ vil ta knekken pÃ¥. Vi har aldri fÃ¸r sett " +"muligheten til Ã¥ skape spre seg sÃ¥ bredt blant vÃ¥re borgere, og vi har bare " +"sÃ¥ vidt begynt Ã¥ se nyskapingen som denne muligheten vil slippe fri. " +"Likevel har Internettet allerede sett slutten pÃ¥ en generasjon av nyskaping " +"rundt teknologier for Ã¥ distribuere innhold. Loven er ansvarlig for at den " +"forsvant. Som visepresidenten for global offentlig politikk hos en av disse " +"nye oppfinnerne, eMusic.com, formulerte det da han kritiserte hvordan DMCA " +"la til vern for opphavsrettsbeskyttet materiale." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"eMusic opposes music piracy. We are a distributor of copyrighted material, " +"and we want to protect those rights." +msgstr "" +"eMusic er imot piratkopiering av musikk. Vi er en distributÃ¸r av " +"opphavsrettsbeskyttet materiale, og vi Ã¸nsker Ã¥ beskytte disse rettighetene." + +#. type: Content of: <book><part><chapter><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 Ã¥ bygge en teknologisk festning som inn interessene til de store " +"plateselskapene er ikke nÃ¸dvendigvis den eneste mÃ¥ten Ã¥ beskytte " +"opphavsrettsinteresser, og heller ikke nÃ¸dvendige den beste. Det er ganske " +"enkelt for tidlig Ã¥ svare pÃ¥ det spÃ¸rsmÃ¥let. Markedskrefter som opererer " +"fritt kan godt gi en helt annen indistri-modell." + +#. f3. +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital " +"Entertainment on the Internet and Other Media: Hearing Before the " +"Subcommittee on Telecommunications, Trade, and Consumer Protection, House " +"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, " +"vice president, Global Public Policy and Standards, EMusic.com), available " +"in LEXIS, Federal Document Clearing House Congressional Testimony File." +msgstr "" +"WIPO og dmca ett Ã¥r senere: vurdering av forbruker tilgang til digital " +"underholdning pÃ¥ Internett og andre medier: hÃ¸re fÃ¸r 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, " +"fÃ¸derale dokumentet Ã¥ fjerne huset Kongressens vitnesbyrd fil." + +#. type: Content of: <book><part><chapter><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 "" +"Dette er et kritisk poeng. Valgene som industrisektorer gjÃ¸r relatert til " +"disse systemene vil pÃ¥ mange vis direkte forme markedet for digitale media " +"og hvordan digitale medier blir distribuert. Dette pÃ¥virker sÃ¥ hvilke valg " +"som er tilgjengelig for forbrukere, bÃ¥de nÃ¥r det gjelder hvor enkelt de vil " +"vÃ¦re i stand til Ã¥ fÃ¥ tilgang til digitale medier, og utstyret som de vil " +"kreve for Ã¥ gjÃ¸re dette. DÃ¥rlige valg som gjÃ¸res tidlig i dette spillet vil " +"hemme veksten i dette markedet og skade alles interesser.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Vivendi Universal" +msgstr "Vivendi Universal" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In April 2001, eMusic.com was purchased by Vivendi Universal, one of " +"<quote>the major labels.</quote> Its position on these matters has now " +"changed. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"I april 2001 ble eMusic.com kjÃ¸pt opp av Vivendi Universal, et av <quote>de " +"store plateselskapene</quote>. Selskapets holdning i disse saken har nÃ¥ " +"endret seg. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 "" +"Ã nÃ¥ reversere vÃ¥r tolerante tradisjon vil ikke bare knuse piratvirksomhet. " +"Det vil ofre verdier som er viktige for denne kulturen, og det vil drepe " +"muligheter som kan vÃ¦re svÃ¦rt verdifulle." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER TWELVE: Harms" +msgstr "Kapittel tolv: Skader" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to " +"protect <quote>property,</quote> the content industry has launched a war. " +"Lobbying and lots of campaign contributions have now brought the government " +"into this war. As with any war, this one will have both direct and " +"collateral damage. As with any war of prohibition, these damages will be " +"suffered most by our own people." +msgstr "" +"<emphasis role='strong'>Ved Ã¥ bekjempe</emphasis> <quote>piratvirksomhet</" +"quote> for Ã¥ beskytte <quote>eiendom</quote> har innholdsindustrien erklÃ¦rt " +"krig. Lobbyering og mange valgkampbidrag har nÃ¥ dratt myndighetene inn i " +"denne krigen. Og som med enhver krig vil en bÃ¥de ha direkte og utilsiktet " +"Ã¸deleggelse. Og som med enhver forbudskrig, er det mest vÃ¥re egne folk som " +"lider under disse Ã¸deleggelsene." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"My aim so far has been to describe the consequences of this war, in " +"particular, the consequences for <quote>free culture.</quote> But my aim now " +"is to extend this description of consequences into an argument. Is this war " +"justified?" +msgstr "" +"SÃ¥ langt har mÃ¥let mitt vÃ¦rt Ã¥ beskrive konsekvensene av denne krigen, og " +"spesielt konsekvensene for <quote>fri kultur</quote>. Men nÃ¥ er mÃ¥let mitt " +"Ã¥ utvide denne beskrivelsen av konsekvensene til et argument. Er dette en " +"godt begrunnet krig?" + +#. type: Content of: <book><part><chapter><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 <quote>intellectual property</quote> is at its greatest " +"in our history." +msgstr "" +"Etter mitt syn er den ikke det. Det er ingen god grunn nÃ¥, for fÃ¸rste gang, " +"at loven burde forsvare det gamle mot det nye, akkurat nÃ¥r makten til " +"eiendomsretten som kalles <quote>immateriell eiendom</quote> er stÃ¸rre en " +"den noen gang har vÃ¦rt i vÃ¥r historie." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet <quote>common sense</quote> does not see it this way. Common sense is " +"still on the side of the Causbys and the content industry. The extreme " +"claims of control in the name of property still resonate; the uncritical " +"rejection of <quote>piracy</quote> still has play." +msgstr "" +"Likevel ser ikke <quote>sunn fornuft</quote> det slik. Sunn fornuft er " +"fortsatt enig med Causby-ene og innholdsindustrien. Det ekstreme krav om " +"kontroll som fremmes pÃ¥ vegne av eiendomsrett aksepteres fortsatt. " +"<quote>Piratvirksomhet</quote> avvises fortsatt ukritisk." + +#. PAGE BREAK 193 +#. type: Content of: <book><part><chapter><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 vÃ¦re mange konsekvenser ved Ã¥ fortsette denne krigen. Jeg Ã¸nsker Ã¥ " +"beskrive kun tre. Alle tre kan sies Ã¥ vÃ¦re utilsiktet. Jeg er ganske " +"sikker pÃ¥ at den tredje er utilsiktet, men jeg er mindre sikker om de fÃ¸rste " +"to. De fÃ¸rste to beskytter de moderne RCA-ene, men det er ingen Howard " +"Armstrong pÃ¥ flankene for Ã¥ sloss mot dagens kulturmonopolister." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Constraining Creators" +msgstr "Legger bÃ¥nd pÃ¥ skaperne" + +#. type: Content of: <book><part><chapter><section><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 Ã¥rene vil vi se en eksplosjon av digitale teknologier. Disse " +"teknologiene vil gjÃ¸re det mulig for nesten hvem som helst Ã¥ lagre og dele " +"innhold. Ã lagre og dele innhold er naturligvis det mennesker har gjort " +"siden historiens begynnelse. Det er slik vi lÃ¦rer og kommuniserer. Men " +"lagring og deling ved hjelp av digital teknologi er annerledes. " +"Gjengivelsen og kraften er forskjellig. Du kunne sende en epost og fortalt " +"noen om en vits du sÃ¥ pÃ¥ Comedy Central, eller du kan sende selve klippet. " +"Du kan skrive et innlegg om inkonsekvenser i argumentene til en politiker " +"som du elsker Ã¥ hate, eller du kan lage en kort film som setter uttalelser " +"mot hverandre. Du kan skrive et dikt som uttrykker din kjÃ¦rlighet, eller du " +"kan veve sammen en trÃ¥d—en nettfletting— av sanger fra dine " +"favorittartister i en collage og gjÃ¸re den tilgjengelig pÃ¥ nettet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This digital <quote>capturing and sharing</quote> is in part an extension of " +"the capturing and sharing that has always been integral to our culture, and " +"in part it is something new. It is continuous with the Kodak, but it " +"explodes the boundaries of Kodak-like technologies. The technology of " +"digital <quote>capturing and sharing</quote> promises a world of " +"extraordinarily diverse creativity that can be easily and broadly shared. " +"And as that creativity is applied to democracy, it will enable a broad range " +"of citizens to use technology to express and criticize and contribute to the " +"culture all around." +msgstr "" +"Denne digitale \"fange inn og dele\" er delvis en utvidelse for Ã¥ registrere " +"og dele det har alltid vÃ¦rt del av vÃ¥r 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\" lÃ¸fter en " +"verden av svÃ¦rt mangfoldig kreativitet som kan enkelt og forstand deles. og " +"sÃ¥ at kreativiteten brukes til demokrati, det vil muliggjÃ¸re et bredt " +"spekter av borgere Ã¥ bruke teknologi for Ã¥ uttrykke og kritisere og bidra " +"til kultur rundt." + +#. PAGE BREAK 194 +#. type: Content of: <book><part><chapter><section><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 Ã¥ gjÃ¸re noe med kultur som " +"bare har vÃ¦rt mulig for enkeltpersoner i smÃ¥ grupper, isolert fra andre " +"grupper. Forestill deg en gammel mann som forteller en historie til en " +"samling med naboer i en liten landsby. Forestill deg sÃ¥ den samme " +"historiefortellingen utvidet til Ã¥ nÃ¥ over hele verden." + +#. type: Content of: <book><part><chapter><section><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 "" +"Likevel er alt dette kun mulig hvis aktiviteten antas Ã¥ vÃ¦re lovlig. I " +"dagens juridiske reguleringsregime er det ikke det. La oss glemme fildeling " +"et Ã¸yeblikk. Tenk pÃ¥ dine fantastiske favorittsteder pÃ¥ nettet. Nettsteder " +"som tilbyr oppsummeringer av handlingen for glemte TV-serier, steder som " +"samler tegneserier fra 1960-tallet, steder som mikser bilde og lyd for Ã¥ " +"kritisere politikere eller bedrifter, steder som samler avisartikler fra " +"smale tema om vitenskap eller kultur. Det er store mengder kreativte verker " +"spredt rundt om pÃ¥ Internettet. Men slik loven er satt sammen i dag er " +"disse verkene antatt Ã¥ vÃ¦re ulovlig." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Worldcom" +msgstr "Worldcom" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "doctors malpractice claims against" +msgstr "legers feilbehandlingsanklager mot" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at " +"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; " +"for details of the settlement, see MCI press release, <quote>MCI Wins U.S. " +"District Court Approval for SEC Settlement</quote> (7 July 2003), available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</" +"citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for " +"detaljer om dette forliket, se pressemelding fra MCI, <quote>MCI Wins U.S. " +"District Court Approval for SEC Settlement</quote> (7. juli 2003), " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #37</" +"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Bush, George W." +msgstr "Bush, George W." + +#. type: Content of: <book><part><chapter><section><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, <quote>Measure Stalls in Senate: `We'll Be " +"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and " +"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #39</ulink>. " +"President Bush has continued to urge tort reform in recent months. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Lovforslaget, som var modellerert etter Califorias *tort reform*-modell, ble " +"vedtatt i Representantenes hus men stoppet i Senatet i juli 2003. For en " +"oversikt, se Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,' " +"Say Tort Reformers</quote>, amednews.com, 28. juli 2003, tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, og " +"<quote>Senate Turns Back Malpractice Caps</quote>, CBSNews.com, 9. juli " +"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#39</ulink>. President Bush har fortsatt Ã¥ argumentere for *tort reform* de " +"siste mÃ¥nedene. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "art, underground" +msgstr "kunst, undergrunns" + +#. f3. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> " +"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #40</ulink>. For an overview of the " +"exhibition, see <ulink url=\"http://free-culture.cc/notes/\">link #41</" +"ulink>." +msgstr "" +"Se Danit Lidor, <quote>Artists Just Wanna Be Free</quote>, <citetitle>Wired</" +"citetitle>, 7. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #40</ulink>. For en oversikt over utstillingen, se <ulink " +"url=\"http://free-culture.cc/notes/\">link #41</ulink>." + +#. type: Content of: <book><part><chapter><section><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 <quote>pirates.</" +"quote> We make it impossible for businesses to rely upon a public domain, " +"because the boundaries of the public domain are designed to be unclear. It " +"never pays to do anything except pay for the right to create, and hence only " +"those who can pay are allowed to create. As was the case in the Soviet " +"Union, though for very different reasons, we will begin to see a world of " +"underground art—not because the message is necessarily political, or " +"because the subject is controversial, but because the very act of creating " +"the art is legally fraught. Already, exhibits of <quote>illegal art</quote> " +"tour the United States.<placeholder type=\"footnote\" id=\"0\"/> In what " +"does their <quote>illegality</quote> consist? In the act of mixing the " +"culture around us with an expression that is critical or reflective." +msgstr "" +"Konsekvensen av denne juridiske usikkerheten, sammen med desse ekstreme hÃ¸ye " +"straffene, er at en ekstraordinÃ¦r mengde kreativitet aldri vil gjennomfÃ¸res, " +"eller aldri vil gjennomfÃ¸res Ã¥pnelyst. Vi tvinger denne kreative prosessen " +"under jorda ved Ã¥ hevde at de moderne Walt Disney-ene er <quote>pirater</" +"quote>. Vi gjÃ¸r det umulig for bedrifter Ã¥ basere seg pÃ¥ et allemannseie pÃ¥ " +"grunn av at grensene for allemannsienet er laget for Ã¥ vÃ¦re uklare. Det " +"betaler seg aldri Ã¥ gjÃ¸re noe annet enn Ã¥ betale for retten til Ã¥ skape, og " +"dermed vil kun de som kan betale fÃ¥ lov til Ã¥ skape. Slik det var tilfelle " +"i Sovjetunionen, dog av helt andre Ã¥rsaker, sÃ¥ vil vi begynne Ã¥ se en verden " +"av undergrunns-kust—ikke fordi budskapet nÃ¸dvendigvis er politisk, " +"eller fordi temaet er kontroversielt, men pÃ¥ grunn av at selve det Ã¥ skape " +"denne kunsten er juridisk skummelt. Allerede har utstillinger med " +"<quote>ulovlig kunst</quote> vÃ¦rt pÃ¥ turnÃ© i USA.<placeholder type=\"footnote" +"\" id=\"0\"/> Hva bestÃ¥r deres <quote>ulovlighet</quote> i? I det Ã¥ mikse " +"kulturen rundt oss med et uttrykk som er kritisk eller ettertenksomt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Part of the reason for this fear of illegality has to do with the changing " +"law. I described that change in detail in chapter <xref xrefstyle=\"select: " +"labelnumber\" linkend=\"property-i\"/>. But an even bigger part has to do " +"with the increasing ease with which infractions can be tracked. As users of " +"file-sharing systems discovered in 2002, it is a trivial matter for " +"copyright owners to get courts to order Internet service providers to reveal " +"who has what content. It is as if your cassette tape player transmitted a " +"list of the songs that you played in the privacy of your own home that " +"anyone could tune into for whatever reason they chose." +msgstr "" +"en del av Ã¥rsaken til denne frykten for illegality har Ã¥ gjÃ¸re med endring " +"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda " +"stÃ¸rre del har Ã¥ gjÃ¸re med den Ã¸kende enkelt som brudd kan spores. som " +"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell " +"sak for opphavsrett eiere Ã¥ fÃ¥ domstoler Ã¥ bestille Internett-leverandÃ¸rer Ã¥ " +"avslÃ¸re 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><part><chapter><section><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 fÃ¸r i vÃ¥r historie har en maler trengt Ã¥ bekymre seg om hans maleri " +"krenker noen andres verk. Men en moderne maler, som bruker verktÃ¸yene til " +"Photoshop og deler innholdet pÃ¥ nettet, mÃ¥ bekymre seg for dette hele " +"tiden. Bilder er over alt, men de eneste trygge bildene Ã¥ bruke i " +"skapelsesprosessen er de som er kjÃ¸pt fra Corbis eller en annen av " +"bildebutikkene. Og i denne kjÃ¸psprosessen skjer det sensurering. Det er et " +"fritt marked for blyanter. Vi trenger ikke bekymre oss for dets effekt pÃ¥ " +"kreativiteten. Men det er en strengt regulert og monopolisert marked for " +"kulturelle ikoner, retten til Ã¥ kultivere og endre pÃ¥ dem er ikke " +"tilsvarende fritt." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Lawyers rarely see this because lawyers are rarely empirical. As I described " +"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, " +"in response to the story about documentary filmmaker Jon Else, I have been " +"lectured again and again by lawyers who insist Else's use was fair use, and " +"hence I am wrong to say that the law regulates such a use." +msgstr "" +"Advokater ser sjelden dette pÃ¥ grunn av at advokater er sjelden empiriske. " +"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"recorders\"/>, som respons pÃ¥ historien om dokumentarfilmskaper Jon Else, " +"har jeg blitt belÃ¦rt gang pÃ¥ gang av advokater som insisterer pÃ¥ at Elses " +"bruk var rimelig bruk. Og at jeg derfor tok feil nÃ¥r jeg sa at loven " +"regulerer slik bruk." + +#. PAGE BREAK 196 +#. type: Content of: <book><part><chapter><section><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 USA betyr bare en har rett til Ã¥ hyre inn en advokat til " +"Ã¥ forsvare din rett til Ã¥ skape. Og som advokater liker Ã¥ glemme er vÃ¥rt " +"system for Ã¥ forsvare ens rett utrolig dÃ¥rlig—i nÃ¦r sagt enhver " +"sammenheng, men spesielt her. Det koster for mye, det leverer for tregt, og " +"det som blir levert har ofte liten tilknytning til rettferdigheten i det " +"underliggende kravet. Rettssystemet er kanskje tolererbart for de veldig " +"rike. Men for alle andre er det pinlig for en tradisjon som ellers liker Ã¥ " +"vÃ¦re stolt av rettssikkerheten." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Judges and lawyers can tell themselves that fair use provides adequate " +"<quote>breathing room</quote> between regulation by the law and the access " +"the law should allow. But it is a measure of how out of touch our legal " +"system has become that anyone actually believes this. The rules that " +"publishers impose upon writers, the rules that film distributors impose upon " +"filmmakers, the rules that newspapers impose upon journalists— these " +"are the real laws governing creativity. And these rules have little " +"relationship to the <quote>law</quote> with which judges comfort themselves." +msgstr "" +"Dommere og advokater kan fortelle hverandre at rimelig bruk gir " +"tilstrekkelig <quote>pusterom</quote> mellom lovregulering og tilgangen som " +"loven bÃ¸r tillate. Men det viser hvor fjernt vÃ¥rt juridiske system har " +"blitt at noen faktisk kan tro dette. Reglene som utgivere pÃ¥legger " +"forfattere, reglene som filmdistributÃ¸rer pÃ¥legger filmskapere, reglene som " +"aviser pÃ¥legger journalister—dette er de virkelige lovene som styrer " +"kreativitet. Og disse reglene har lite til felles med <quote>loven</quote> " +"som dommerne trÃ¸ster hverandre med." + +#. type: Content of: <book><part><chapter><section><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 <quote>copyright</quote> silence speech and " +"creativity. And in that world, it takes a studied blindness for people to " +"continue to believe they live in a culture that is free." +msgstr "" +"For i en verden som truer med $150 000 i erstatningskrav for et enkelt " +"opphavsrettsbrudd gjort med hensikt, og som krever titusener av dollar bare " +"for Ã¥ forsvare seg mot en pÃ¥stand om Ã¥ ha brutt oppahvsretten, og som aldri " +"vil gi de som er feilaktig anklaget noen av de kostnadene hun ble pÃ¥fÃ¸rt for " +"Ã¥ forsvare sin rett til Ã¥ uttale seg—i den verden, knebler de utrolig " +"vidtrekkende reguleringene som gÃ¥r under navnet <quote>opphavsrett</quote> " +"bÃ¥de tale og kreativitet. Og i den verden kreves det en utstudert blindhet " +"for at noen fortsatt skal tro at de lever i en fri kultur." + +#. type: Content of: <book><part><chapter><section><para> +msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me," +msgstr "" +"Som Jed Horovitz, forretningsmannen som stÃ¥r bak Video Pipelie sa til meg," + +#. PAGE BREAK 197 +#. type: Content of: <book><part><chapter><section><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, <quote>This has been cleared.</quote> You're not even going " +"to get it on PBS without that kind of permission. That's the point at which " +"they control it." +msgstr "" +"Vi mister [kreative] muligheter over alt. Kreative folk blir tvunget til Ã¥ " +"ikke uttrykke seg. Mange tanker kommer aldri ned pÃ¥ papiret. Og mens en " +"masse ting kanskje [fortsatt] blir skapt, sÃ¥ blir det ikke distribuert. " +"Selv om tingene blir laget … sÃ¥ fÃ¥r du ikke distribuert det i de " +"tradisjonelle mediene med mindre du har en liten lapp fra en advokat som " +"sier <quote>dette er blitt klarert</quote>. Du klarer ikke en gang Ã¥ fÃ¥ det " +"pÃ¥ PBS uten slik tillatelse. Det er poenget med den type kontroll de har." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Constraining Innovators" +msgstr "Legger bÃ¥nd pÃ¥ oppfinnere" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "innovation hampered by" +msgstr "nyskapning hemmet av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "industry establishment opposed to" +msgstr "industrien etablering motsetning til" + +#. type: Content of: <book><part><chapter><section><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 i den siste delen var en knasende venstreorientert historie—" +"kreativitet knust, artister fÃ¥r ikke uttrykke seg, bla bla bla. Kanskje " +"slikt ikke overbeviser deg. Kanskje du mener det er nok sÃ¦r kunst der ute, " +"og uttrykk som er kritiske til omtrent alt mulig. Og hvis du tenker slik, " +"sÃ¥ mener du kanskje at det er lite i den historien Ã¥ bekymre deg over." + +#. type: Content of: <book><part><chapter><section><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, " +"<xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> pages into a " +"book like this), then you can see this other aspect by substituting " +"<quote>free market</quote> every place I've spoken of <quote>free culture.</" +"quote> The point is the same, even if the interests affecting culture are " +"more fundamental." +msgstr "" +"Men det er det en fasett med denne historien som over hodet ikke er " +"venstrevridd. Faktisk er det en fasett som kunne vÃ¦rt skrevet av den mest " +"ekstreme ideologiske forkjemper for markedet. hvis du er en av disse (og en " +"svÃ¦rt spesiell en, <xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> sider inn i en bok som denne), sÃ¥ kan du se denne " +"andre fasetten ved Ã¥ bytte inn <quote>fritt marked</quote> hver gang jeg har " +"snakket om <quote>fri kultur</quote>. Poenget er det samme, selv om " +"interessene som pÃ¥virker kultur er mer fundamentale." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The charge I've been making about the regulation of culture is the same " +"charge free marketers make about regulating markets. Everyone, of course, " +"concedes that some regulation of markets is necessary—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 vÃ¦rt Ã¥ gjÃ¸re om regulering av kultur er samme tillegget gratis " +"markedsfÃ¸rere gjÃ¸re om regulerer markeder. enhver, selvfÃ¸lgelig innrÃ¸mme at " +"noen regulering av markeder er nÃ¸dvendig—et minimum, vi trenger " +"reglene for egenskapen og kontrakt og domstolene for Ã¥ hÃ¥ndheve begge. pÃ¥ " +"samme mÃ¥te i denne kultur debatten innrÃ¸mme enhver at minst noen rammen av " +"copyright er ogsÃ¥ nÃ¸dvendig. men begge perspektiver insisterer vehemently at " +"bare fordi noen regulering er bra, ikke det fÃ¸lger at mer regulering er " +"bedre. og begge perspektiver er stadig attuned til mÃ¥tene i hvilke " +"regulering aktiverer bare de kraftige industriene i dag for Ã¥ beskytte seg " +"mot konkurrenter i morgen." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Barry, Hank" +msgstr "Barry, Hank" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "venture capitalists" +msgstr "venture kapitalister" + +#. PAGE BREAK 198 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is the single most dramatic effect of the shift in regulatory strategy " +"that I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>. The consequence of this massive threat of liability tied " +"to the murky boundaries of copyright law is that innovators who want to " +"innovate in this space can safely innovate only if they have the sign-off " +"from last generation's dominant industries. That lesson has been taught " +"through a series of cases that were designed and executed to teach venture " +"capitalists a lesson. That lesson—what former Napster CEO Hank Barry " +"calls a <quote>nuclear pall</quote> 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 " +"Ã¸nsker Ã¥ skape noe nytt i denne plassen kan trygt innovate bare hvis de har " +"avlogging fra siste generasjon dominerende bransjer. denne leksjonen har " +"lÃ¦rt gjennom en rekke tilfeller som ble utformet og utfÃ¸rt for Ã¥ lÃ¦re " +"venture kapitalister en leksjon. denne leksjonen—hva tidligere napster " +"ceo hank barry kaller en \"kjernefysisk pall\" som har falt over dalen—" +"har blitt lÃ¦rt." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Consider one example to make the point, a story whose beginning I told in " +"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way " +"that even I (pessimist extraordinaire) would never have predicted." +msgstr "" +"Her er et eksempel for Ã¥ demonstrere dette poenget, en historie jeg fortalte " +"starten av i <citetitle>The Future of Ideas</citetitle> og som har utviklet " +"seg pÃ¥ en mÃ¥te som selv ikke jeg (en ekstraordinÃ¦r pessimist) kunne ha spÃ¥dd." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MP3.com" +msgstr "MP3.com" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "my.mp3.com" +msgstr "my.mp3.com" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Roberts, Michael" +msgstr "Roberts, Michael" + +#. type: Content of: <book><part><chapter><section><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 etablerte Michael Roberts et selskap ved navn MP3.com. MP3.com var " +"ute etter Ã¥ endre pÃ¥ musikkbransjen. MÃ¥let deres var ikke bare Ã¥ bidra til " +"nye mÃ¥ter Ã¥ fÃ¥ tilgang til innhold. MÃ¥let var ogsÃ¥ Ã¥ bidra til nye mÃ¥ter Ã¥ " +"skape innhold. Til forskjell fra de store plateselskapene tilbÃ¸d MP3.com " +"opphavspersonene en arena for Ã¥ distribuere sin kreativitet, uten Ã¥ kreve et " +"eksklusivt engasjement fra opphavspersonene." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "preference data on" +msgstr "preferanse data pÃ¥" + +#. type: Content of: <book><part><chapter><section><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 "" +"Men for Ã¥ fÃ¥ dette systemet til Ã¥ virke, trengte MP3.com en pÃ¥litelig mÃ¥te Ã¥ " +"anbefale musikk til sine brukere. IdÃ©en bak dette alternativet var Ã¥ " +"utnytte musikklytternes eksponerte musikkvalg for Ã¥ anbefale nye artister. " +"Hvis du liker Lyle Lovett, sÃ¥ vil du antagelig nyte Bonnie Raitt. Og sÃ¥ " +"videre." + +#. type: Content of: <book><part><chapter><section><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 "" +"Denne idÃ©en krevde et enkel mÃ¥te Ã¥ samle inn data om hva brukerne " +"foretrekker. MP3.com kom opp med en svÃ¦rt snedig mÃ¥te Ã¥ samle inn data om " +"hva brukerne foretrakk. Januar 2000 lanserte selskapet tjenesten my.mp3." +"com. Ved Ã¥ bruke programvare fra MP3.com logget brukeren inn pÃ¥ en konto og " +"satte sÃ¥ en CD inn i datamaskinen sin. Programvaren ville kjenne igjen CDen " +"og sÃ¥ gi brukeren tilgang til det innholdet. Dermed kunne du hvis du f." +"eks. satte inn en CD av Jill Sobule, fÃ¥ tilgang til den musikken uansett " +"hvor du var—pÃ¥ jobb eller hjemme—sÃ¥ snart du hadde logget inn pÃ¥ " +"konto. Systemet var dermed en slags lÃ¥sbart musikk-skrin." + +#. PAGE BREAK 199 +#. type: Content of: <book><part><chapter><section><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 "" +"Det er ingen tvil om at noen kunne bruke dette systemet til Ã¥ kopiere " +"ulovlig innhold. Men den muligheten eksisterte bÃ¥de fÃ¸r og etter MP3.com. " +"MÃ¥let med my.mpr.com-tjenesten var Ã¥ gi brukere tilgang til deres eget " +"innhold, og som et biprodukt av Ã¥ se hva slags innhold de allerede eide, " +"oppdage hva slags innhold brukerne likte." + +#. type: Content of: <book><part><chapter><section><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 "" +"Men for Ã¥ fÃ¥ dette systemet til Ã¥ fungere, mÃ¥tte MP3.com kopiere 50 000 " +"CD-er til en tjener. (I prinsippet kunne det vÃ¦rt brukerne som lastet opp " +"musikken, men det ville tatt svÃ¦rt mye tid, og det ville gjort at produktet " +"hadde tvilsom kvalitet.) Det kjÃ¸pte derfor 50 000 CDer fra en butikk " +"og gikk igang med Ã¥ kopiere disse CD-ene. Og nok en gang, selskapet ville " +"ikke gi ut innholdet fra disse kopiene til noen andre enn de som kunne " +"bekrefte at de allerede hadde et eksemplar av Cd-en de Ã¸nsket tilgang til. " +"SÃ¥ selv pom dette var 50 000 kopier, sÃ¥ var det 50 000 kopier som " +"ble tilbudt for Ã¥ gi kunder noe de allerede hadde kjÃ¸pt." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "distribution technology targeted in" +msgstr "distribusjon-teknologi mÃ¥l for" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "outsize penalties of" +msgstr "Ã¸kte straffer ved" + +#. type: Content of: <book><part><chapter><section><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 at MP3.com lanserte sin tjeneste anla de fem store " +"plateselskapene, under ledelse av RIAA, sak mot MP3.com. MP3.com inngikk " +"forlik med fire av de fem. Ni mÃ¥neder senere avgjorde en fÃ¸deral dommer at " +"MP3.com hadde vÃ¦rt skyldig i Ã¥ med hensikt ha brutt opphavsretten nÃ¥r det " +"gjalt den femte. Ved Ã¥ anvende loven slik den er utformet nÃ¥ ila dommeren " +"MP3.com en bot pÃ¥ $118 millioner. MP3.com inngikk sÃ¥ et forlik med den " +"gjenstÃ¥ende saksÃ¸ker, Vivendi Universal, og betalte mer enn $54 millioner. " +"Vivendi kjÃ¸pte MP3.com omtrent et Ã¥r senere." + +#. type: Content of: <book><part><chapter><section><para> +msgid "That part of the story I have told before. Now consider its conclusion." +msgstr "Den delen av historien har jeg fortalt fÃ¸r. NÃ¥ kommer konklusjonen." + +#. type: Content of: <book><part><chapter><section><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 kjÃ¸pte MP3.com, snudde Vivendi seg rundt og saksÃ¸kte for " +"pliktforsÃ¸mmelse de advokatene som hadde gitt rÃ¥d om at selskapet i god tro " +"kunne hevde at tjenesten selskapet Ã¸nsket Ã¥ tilby ville bli ansett som " +"lovlig i henhold til opphavsretten. Dette sÃ¸ksmÃ¥let hevdet at det burde ha " +"vÃ¦rt Ã¥penbart at domstolene ville anse denne oppfÃ¸rselen for ulovlig. " +"Dermed forsÃ¸kte dette sÃ¸ksmÃ¥let Ã¥ straffe enhver advokat som vÃ¥get Ã¥ foreslÃ¥ " +"at loven var mindre restrektiv en plateselskapene krevde." + +#. PAGE BREAK 200 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The clear purpose of this lawsuit (which was settled for an unspecified " +"amount shortly after the story was no longer covered in the press) was to " +"send an unequivocal message to lawyers advising clients in this space: It is " +"not just your clients who might suffer if the content industry directs its " +"guns against them. It is also you. So those of you who believe the law " +"should be less restrictive should realize that such a view of the law will " +"cost you and your firm dearly." +msgstr "" +"Den Ã¥penbare hensikten med dette sÃ¸ksmÃ¥let (som ble avsluttet med et forlik " +"for et uspesifisert belÃ¸p like etter at saken ikke lenger fikk " +"pressedekning), var Ã¥ sende en melding som ikke kan misforstÃ¥s til advokater " +"som gir rÃ¥d til klienter pÃ¥ dette omrÃ¥det: Det er ikke bare dine klienter " +"som fÃ¥r lide hvis innholdsindustrien retter sine vÃ¥pen mot dem. Det fÃ¥r " +"ogsÃ¥ du. SÃ¥ de av dere som tror loven burde vÃ¦re mindre restriktiv bÃ¸r " +"innse at et slikt syn pÃ¥ loven vil koste deg og ditt firma dyrt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "BMW" +msgstr "BMW" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "cars, MP3 sound systems in" +msgstr "biler, MP3-lydsystem i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Hummer, John" +msgstr "Hummer, John" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Hummer Winblad" +msgstr "Hummer Winblad" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MP3 players" +msgstr "MP3-spillere" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "venture capital for" +msgstr "risikovillig kapital for" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Needleman, Rafe" +msgstr "Needleman, Rafe" + +#. f4. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> " +"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel " +"argument about the effects on innovation in the distribution of music, see " +"Janelle Brown, <quote>The Music Revolution Will Not Be Digitized,</quote> " +"Salon.com, 1 June 2001, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #42</ulink>. See also Jon Healey, <quote>Online Music " +"Services Besieged,</quote> <citetitle>Los Angeles Times</citetitle>, 28 May " +"2001." +msgstr "" + +#. type: Content of: <book><part><chapter><section><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 <citetitle>Business 2.0</citetitle>, " +"Rafe Needleman describes a discussion with BMW:" +msgstr "" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> " +"<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #43</ulink>. I am grateful to Dr. " +"Mohammad Al-Ubaydli for this example. <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Rafe Needleman, <quote>Driving in Cars with MP3s</quote>, " +"<citetitle>Business 2.0</citetitle>, 16. juni 2003, tilgjengelig via <ulink " +"url=\"http://free-culture.cc/notes/\">link #43</ulink>. Jeg er takknemlig " +"til Dr. Mohammad Al-Ubaydli for dette eksemplet. <placeholder type=" +"\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +msgid "" +"This is the world of the mafia—filled with <quote>your money or your " +"life</quote> offers, governed in the end not by courts but by the threats " +"that the law empowers copyright holders to exercise. It is a system that " +"will obviously and necessarily stifle new innovation. It is hard enough to " +"start a company. It is impossibly hard if that company is constantly " +"threatened by litigation." +msgstr "" +"Dette er verden til mafiaen—fylt med <quote>penger eller livet</quote>-" +"trusler, som ikke er regulert av domstolene men av trusler som loven gir " +"rettighetsinnehaver mulighet til Ã¥ komme med. Det er et system som Ã¥penbart " +"og nÃ¸dvendigvis vil kvele ny innovasjon. Det er vanskelig nok Ã¥ starte et " +"selskap. Det blir helt umulig hvis selskapet er stadig truet av sÃ¸ksmÃ¥l." + +#. PAGE BREAK 201 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The point is not that businesses should have a right to start illegal " +"enterprises. The point is the definition of <quote>illegal.</quote> The law " +"is a mess of uncertainty. We have no good way to know how it should apply to " +"new technologies. Yet by reversing our tradition of judicial deference, and " +"by embracing the astonishingly high penalties that copyright law imposes, " +"that uncertainty now yields a reality which is far more conservative than is " +"right. If the law imposed the death penalty for parking tickets, we'd not " +"only have fewer parking tickets, we'd also have much less driving. The same " +"principle applies to innovation. If innovation is constantly checked by this " +"uncertain and unlimited liability, we will have much less vibrant innovation " +"and much less creativity." +msgstr "" +"Poenget er ikke at virksomheter skal ha lov til Ã¥ starte ulovlig aktivitet. " +"Poenget er definisjonen av <quote>ulovlig</quote>. Loven er et rot av " +"usikkerhet. Vi har ingen god mÃ¥te Ã¥ vite hvordan den bÃ¸r anvendes pÃ¥ nye " +"teknologier. Og likevel, ved Ã¥ reverse vÃ¥r tradisjon for juridisk " +"hensynsfullhet og omfavne det forblÃ¸ffende hÃ¸ye straffenivÃ¥et som pÃ¥legges " +"av opphavsretten, gir denne usikkerheten nÃ¥ en virkelighet som er mye mer " +"konservativ enn det som er rett. Hvis loven pÃ¥la dÃ¸dsstraff for Ã¥ parkere " +"ulovlig, sÃ¥ ville vi ikke bare ha fÃ¦rre ulovlige parkeringer, vi ville ogsÃ¥ " +"ha mye mindre kjÃ¸ring. Det samme prinsippet gjelder for nyskapning. Hvis " +"innovasjon stadig kontrolleres av denne usikre og ubegrensede " +"strafferettsansvaret, sÃ¥ vil vi ha mye mindre levende nyskapning og mye " +"mindre kreativitet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The point is directly parallel to the crunchy-lefty point about fair use. " +"Whatever the <quote>real</quote> law is, realism about the effect of law in " +"both contexts is the same. This wildly punitive system of regulation will " +"systematically stifle creativity and innovation. It will protect some " +"industries and some creators, but it will harm industry and creativity " +"generally. Free market and free culture depend upon vibrant competition. " +"Yet the effect of the law today is to stifle just this kind of competition. " +"The effect is to produce an overregulated culture, just as the effect of too " +"much control in the market is to produce an 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 Ã¥ " +"undertrykke akkurat denne type konkurranse. effekten er Ã¥ produsere en " +"overregulated kultur, akkurat som effekten av for mye kontroll i markedet er " +"Ã¥ produsere en overregulatedregulated markedet." + +#. PAGE BREAK 202 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The building of a permission culture, rather than a free culture, is the " +"first important way in which the changes I have described will burden " +"innovation. A permission culture means a lawyer's culture—a culture in " +"which the ability to create requires a call to your lawyer. Again, I am not " +"antilawyer, at least when they're kept in their proper place. I am certainly " +"not antilaw. But our profession has lost the sense of its limits. And " +"leaders in our profession have lost an appreciation of the high costs that " +"our profession imposes upon others. The inefficiency of the law is an " +"embarrassment to our tradition. And while I believe our profession should " +"therefore do everything it can to make the law more efficient, it should at " +"least do everything it can to limit the reach of the law where the law is " +"not doing any good. The transaction costs buried within a permission culture " +"are enough to bury a wide range of creativity. Someone needs to do a lot of " +"justifying to justify that result." +msgstr "" +"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den fÃ¸rste " +"viktige mÃ¥ten der vil endringene jeg har beskrevet byrden innovasjon. en " +"tillatelse kultur betyr en advokat kultur—en kultur der muligheten til " +"Ã¥ opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke " +"antilawyer, minst nÃ¥r de er holdt i deres riktig sted. Jeg er sikkert ikke " +"antilaw. Men vÃ¥rt yrke har mistet fÃ¸lelsen av sine grenser. og ledere i vÃ¥r " +"profesjon har mistet en styrking av de hÃ¸ye kostnadene som vÃ¥rt yrke " +"pÃ¥legger over andre. ineffektiviteten i loven er en forlegenhet til vÃ¥r " +"tradisjon. og mens jeg tror vÃ¥rt yrke bÃ¸r derfor gjÃ¸re alt den kan for Ã¥ " +"effektivisere loven, det bÃ¸r minst gjÃ¸re alt den kan for Ã¥ begrense " +"rekkevidden av loven der loven ikke gjÃ¸r noe bra. transaksjonskostnader " +"begravde innen en tillatelse kultur er nok Ã¥ begrave et bredt spekter av " +"kreativitet. noen mÃ¥ gjÃ¸re en masse rettferdiggjÃ¸rende for Ã¥ rettferdiggjÃ¸re " +"dette resultatet. Usikkerheten av loven er en byrde pÃ¥ innovasjon. Det er en " +"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen " +"innhold for Ã¥ bruke loven til Ã¥ regulere direkte teknologi pÃ¥ Internett slik " +"at det bedre beskytter innholdet." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>The uncertainty</emphasis> of the law is one burden " +"on innovation. There is a second burden that operates more directly. This is " +"the effort by many in the content industry to use the law to directly " +"regulate the technology of the Internet so that it better protects their " +"content." +msgstr "" +"<emphasis role='strong'>Usikkerheten</emphasis> i loven er en av byrdene som " +"legges pÃ¥ nyskapningen. Det er en annen byrde som virker mer direkte. " +"Dette er effekten fra mange i innholdsindustrien som bruker loven til Ã¥ " +"direkte regulere teknologien pÃ¥ Internettet slik at den beskytter deres " +"innhold bedre." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The motivation for this response is obvious. The Internet enables the " +"efficient spread of content. That efficiency is a feature of the Internet's " +"design. But from the perspective of the content industry, this feature is a " +"<quote>bug.</quote> The efficient spread of content means that content " +"distributors have a harder time controlling the distribution of content. " +"One obvious response to this efficiency is thus to make the Internet less " +"efficient. If the Internet enables <quote>piracy,</quote> then, this " +"response says, we should break the kneecaps of the Internet." +msgstr "" +"motivasjon for dette svaret er Ã¥penbart. Internett gjÃ¸r 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 " +"distributÃ¸rer har en hardere tid kontrollere distribusjon av innhold. ettall " +"Ã¥penbare svaret Ã¥ denne effektiviteten er derfor Ã¥ gjÃ¸re Internett mindre " +"effektivt. Hvis Internett gjÃ¸r at \"piratkopiering\", deretter dette svaret " +"sier, vi bÃ¸r bryte kneecaps av Internett." + +#. f6. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<quote>Copyright and Digital Media in a Post-Napster World,</quote> " +"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law " +"School (2003), 33–35, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #44</ulink>." +msgstr "" + +#. f7. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "GartnerG2, 26–27." +msgstr "GartnerG2, 26–27." + +#. type: Content of: <book><part><chapter><section><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 <quote>broadcast flag</quote> that would be required on any " +"device capable of transmitting digital video (i.e., a computer), and that " +"would disable the copying of any content that is marked with a broadcast " +"flag. Other members of Congress have proposed immunizing content providers " +"from liability for technology they might deploy that would hunt down " +"copyright violators and disable their machines.<placeholder type=\"footnote" +"\" id=\"1\"/>" +msgstr "" + +#. PAGE BREAK 203 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In one sense, these solutions seem sensible. If the problem is the code, why " +"not regulate the code to remove the problem. But any regulation of technical " +"infrastructure will always be tuned to the particular technology of the day. " +"It will impose significant burdens and costs on the technology, but will " +"likely be eclipsed by advances around exactly those requirements." +msgstr "" +"i en forstand synes disse lÃ¸sningene fornuftig. Hvis problemet er koden, " +"hvorfor ikke regulere koden for Ã¥ fjerne problemet. men noen regulering av " +"tekniske infrastruktur vil alltid er stilt inn pÃ¥ bestemt teknologi av " +"dagen. det vil innfÃ¸re betydelig byrder og kostnader pÃ¥ teknologi, men vil " +"trolig vÃ¦re eclipsed av fremskritt rundt akkurat disse kravene." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Intel" +msgstr "Intel" + +#. f8. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> " +"Newsbytes, February 2002 (Entertainment)." +msgstr "" +"se david mcguire, \"tech execs torget off over piratkopiering,\" newsbytes, " +"februar 2002 (underholdning)." + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>There is one</emphasis> more obvious way in which " +"this war has harmed innovation—again, a story that will be quite " +"familiar to the free market crowd." +msgstr "" +"<emphasis role='strong'>Det er en</emphasis> mer Ã¥penbar mÃ¥te som denne " +"krigen har skadet nyskapning—igjen, en historie som vil vÃ¦re ganske " +"familiÃ¦r for de som stÃ¸tter det frie markedet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Copyright may be property, but like all property, it is also a form of " +"regulation. It is a regulation that benefits some and harms others. When " +"done right, it benefits creators and harms leeches. When done wrong, it is " +"regulation the powerful use to defeat competitors." +msgstr "" +"Copyright kanskje eiendom, men som all eiendom, det er ogsÃ¥ en form for " +"regulering. Det er en forordning som fordeler noen og skader andre. NÃ¥r det " +"gjÃ¸res riktig, det fordeler skaperne og skader leeches. NÃ¥r gjort galt, det " +"er regulering kraftig bruk Ã¥ beseire konkurrenter." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Digital Copyright (Litman)" +msgstr "Digital Copyright (Litman)" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: " +"Prometheus Books, 2001). <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Jessica litman, digitale copyright (amherst, n.y.: prometheus bÃ¸ker, 2001)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, despite this feature of copyright as regulation, and " +"subject to important qualifications outlined by Jessica Litman in her book " +"<citetitle>Digital Copyright</citetitle>,<placeholder type=\"footnote\" id=" +"\"0\"/> overall this history of copyright is not bad. As chapter 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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But that pattern of deference to new technologies has now changed with the " +"rise of the Internet. Rather than striking a balance between the claims of a " +"new technology and the legitimate rights of content creators, both the " +"courts and Congress have imposed legal restrictions that will have the " +"effect of smothering the new to benefit the old." +msgstr "" +"men dette mÃ¸nsteret av deference til nye teknologier er nÃ¥ endret med " +"veksten av Internett. i stedet for Ã¥ treffe en balanse mellom kravene til en " +"ny teknologi og legitime rettighetene til skapere av innhold, har bÃ¥de " +"domstoler og Kongressen innfÃ¸rt juridiske restriksjoner som vil ha effekten " +"av smothering ny for Ã¥ dra nytte av gamle." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "radio on" +msgstr "radio pÃ¥" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Grokster, Ltd." +msgstr "Grokster, Ltd." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> The only circuit court exception " +"is found in <citetitle>Recording Industry Association of America (RIAA)</" +"citetitle> v. <citetitle>Diamond Multimedia Systems</citetitle>, 180 F. 3d " +"1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit " +"reasoned that makers of a portable MP3 player were not liable for " +"contributory copyright infringement for a device that is unable to record or " +"redistribute music (a device whose only copying function is to render " +"portable a music file already stored on a user's hard drive). At the " +"district court level, the only exception is found in <citetitle>Metro-" +"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</" +"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found " +"the link between the distributor and any given user's conduct too attenuated " +"to make the distributor liable for contributory or vicarious infringement " +"liability." +msgstr "" +"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 bÃ¦rbar 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 Ã¥ gjengi bÃ¦rbare en musikkfil som " +"allerede er lagret pÃ¥ brukerens harddisk). pÃ¥ district court-nivÃ¥, 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 distributÃ¸ren og noen gitt bruker 's " +"gjennomfÃ¸re for attenuated Ã¥ gjÃ¸re distributÃ¸ren ansvarlig for krenkelse av " +"medvirkende eller stedfortredende erstatningsansvar." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Tauzin, Billy" +msgstr "Tauzin, Billy" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Hollings, Fritz" +msgstr "Hollings, Fritz" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> For example, in July 2002, " +"Representative Howard Berman introduced the Peer-to-Peer Piracy Prevention " +"Act (H.R. 5211), which would immunize copyright holders from liability for " +"damage done to computers when the copyright holders use technology to stop " +"copyright infringement. In August 2002, Representative Billy Tauzin " +"introduced a bill to mandate that technologies capable of rebroadcasting " +"digital copies of films broadcast on TV (i.e., computers) respect a " +"<quote>broadcast flag</quote> that would disable copying of that content. " +"And in March of the same year, Senator Fritz Hollings introduced the " +"Consumer Broadband and Digital Television Promotion Act, which mandated " +"copyright protection technology in all digital media devices. See GartnerG2, " +"<quote>Copyright and Digital Media in a Post-Napster World,</quote> 27 June " +"2003, 33–34, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #44</ulink>. <placeholder type=\"indexterm\" id=\"1\"/> " +"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " +"id=\"3\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"pirates\"/>, when a radio station plays a song, the recording artist " +"doesn't get paid for that <quote>radio performance</quote> unless he or she " +"is also the composer. So, for example if Marilyn Monroe had recorded a " +"version of <quote>Happy Birthday</quote>—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 <quote>Happy Birthday</quote> would get some money, whereas " +"Marilyn Monroe would not." +msgstr "" +"som jeg beskrevet i kapittel 4, nÃ¥r en radiostasjon spiller en sang, fÃ¥r " +"ikke innspillingen artisten betalt for at \"radio ytelse\" med mindre han " +"eller hun er ogsÃ¥ komponisten. sÃ¥, for eksempel hvis marilyn monroe hadde " +"spilt inn en versjon av \"happy birthday\"—for Ã¥ memorialize sin " +"berÃ¸mte opptreden fÃ¸r president kennedy i madison square garden—" +"deretter nÃ¥r denne innspillingen ble spilt pÃ¥ radio, gjeldende opphavsrett " +"eierne av \"happy birthday\" ville fÃ¥ noen penger, mens marilyn monroe ville " +"ikke." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The reasoning behind this balance struck by Congress makes some sense. The " +"justification was that radio was a kind of advertising. The recording artist " +"thus benefited because by playing her music, the radio station was making it " +"more likely that her records would be purchased. Thus, the recording artist " +"got something, even if only indirectly. Probably this reasoning had less to " +"do with the result than with the power of radio stations: Their lobbyists " +"were quite good at stopping any efforts to get Congress to require " +"compensation to the recording artists." +msgstr "" +"begrunnelsen bak denne balansen truffet av Kongressen gjÃ¸r noe fornuftig. " +"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte " +"dermed fordi ved Ã¥ spille musikken hennes, radiostasjonen var Ã¥ gjÃ¸re det " +"mer sannsynlig at hennes poster ville vÃ¦re kjÃ¸pt. dermed Plateartist fikk " +"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre Ã¥ " +"gjÃ¸re med resultatet enn med makten av radiostasjoner: deres lobbyister var " +"ganske god til Ã¥ stoppe enhver innsats for Ã¥ fÃ¥ Kongressen til Ã¥ kreve " +"kompensasjon for artistene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Enter Internet radio. Like regular radio, Internet radio is a technology to " +"stream content from a broadcaster to a listener. The broadcast travels " +"across the Internet, not across the ether of radio spectrum. Thus, I can " +"<quote>tune in</quote> to an Internet radio station in Berlin while sitting " +"in San Francisco, even though there's no way for me to tune in to a regular " +"radio station much beyond the San Francisco metropolitan area." +msgstr "" +"Skriv inn Internett-radio. som vanlige radio er Internett-radio en teknologi " +"Ã¥ direktesende innhold fra en kringkasteren til en lytter. kringkastingen " +"reiser over Internett, ikke pÃ¥ tvers av Eter av radio spectrum. SÃ¥ledes, jeg " +"kan \"stille inn\" til Internett-radiostasjonen i berlin mens du sitter i " +"san francisco, selv om det er ingen mÃ¥te for meg Ã¥ stille inn pÃ¥ en vanlig " +"radiostasjon langt utover san francisco metropolitan area." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This feature of the architecture of Internet radio means that there are " +"potentially an unlimited number of radio stations that a user could tune in " +"to using her computer, whereas under the existing architecture for broadcast " +"radio, there is an obvious limit to the number of broadcasters and clear " +"broadcast frequencies. Internet radio could therefore be more competitive " +"than regular radio; it could provide a wider range of selections. And " +"because the potential audience for Internet radio is the whole world, niche " +"stations could easily develop and market their content to a relatively large " +"number of users worldwide. According to some estimates, more than eighty " +"million users worldwide have tuned in to this new form of radio." +msgstr "" +"Denne funksjonen i arkitekturen av Internett-radio betyr at det er " +"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn " +"til Ã¥ bruke sin datamaskin, mens under den eksisterende arkitekturen for " +"kringkasting, det er en Ã¥penbar grense for hvor mange broadcasters og fjerne " +"kringkastingsfrekvenser. Internett-radio kan derfor vÃ¦re 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 markedsfÃ¸re innholdet til et relativt " +"stort antall brukere over hele verden. IfÃ¸lge noen anslag har mer enn Ã¥tti " +"millioner brukere over hele verden stilt inn pÃ¥ denne nye formen for radio." + +#. PAGE BREAK 205 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Internet radio is thus to radio what FM was to AM. It is an improvement " +"potentially vastly more significant than the FM improvement over AM, since " +"not only is the technology better, so, too, is the competition. Indeed, " +"there is a direct parallel between the fight to establish FM radio and the " +"fight to protect Internet radio. As one author describes Howard Armstrong's " +"struggle to enable FM radio," +msgstr "" +"Internett-radio er dermed til radio hva fm var Ã¥ am. Det er en forbedring " +"potensielt vesentlig stÃ¸rre betydning enn fm-forbedring over am, siden ikke " +"bare er teknologien bedre, sÃ¥, ogsÃ¥, er konkurransen. faktisk er det en " +"direkte parallell mellom kampen for Ã¥ etablere fm-radio og kampen for Ã¥ " +"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp " +"for Ã¥ aktivere fm-radio," + +#. f12. +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "Lessing, 239." +msgstr "Lessing, 239." + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "Ibid., 229." +msgstr "ibid., 229." + +#. type: Content of: <book><part><chapter><section><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 " +"<quote>vested interests, habits, customs and legislation</quote><placeholder " +"type=\"footnote\" id=\"0\"/> to retard the growth of this competing " +"technology." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Now the very same claim could be made about Internet radio. For again, there " +"is no technical limitation that could restrict the number of Internet radio " +"stations. The only restrictions on Internet radio are those imposed by the " +"law. Copyright law is one such law. So the first question we should ask is, " +"what copyright rules would govern Internet radio?" +msgstr "" +"nÃ¥ kunne samme kravet gjort om Internett-radio. for pÃ¥ nytt finnes det ingen " +"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de " +"eneste begrensningene pÃ¥ Internett-radio som er pÃ¥lagt av loven. lov om " +"opphavsrett er en slik lov. sÃ¥ det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre er, " +"hvilke opphavsrett regler ville styre Internett-radio?" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on radio" +msgstr "om radio" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "Internet radio hampered by" +msgstr "Internett-radio som er hemmet av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on Internet radio fees" +msgstr "om radio-avgifter pÃ¥ internet" + +#. PAGE BREAK 206 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But here the power of the lobbyists is reversed. Internet radio is a new " +"industry. The recording artists, on the other hand, have a very powerful " +"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet " +"radio in 1995, the lobbyists had primed Congress to adopt a different rule " +"for Internet radio than the rule that applies to terrestrial radio. While " +"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " +"it plays her hypothetical recording of <quote>Happy Birthday</quote> on the " +"air, <emphasis>Internet radio does</emphasis>. Not only is the law not " +"neutral toward Internet radio—the law actually burdens Internet radio " +"more than it burdens terrestrial radio." +msgstr "" +"men her kraften i lobbyister tilbakefÃ¸res. Internett-radio er en ny " +"industri. artister, derimot, har en svÃ¦rt kraftig lobby, riaa. dermed hadde " +"Kongressen vurdert nÃ¥r fenomenet Internett-radio i 1995, lobbyister primed " +"Kongressen Ã¥ adoptere en annen regel for Internett-radio enn regelen som " +"gjelder bakkesendte radio. mens bakkesendte radio ikke trenger Ã¥ betale vÃ¥re " +"hypotetisk marilyn monroe nÃ¥r den spilles hennes hypotetisk innspillingen av " +"\"happy birthday\" pÃ¥ luften, Internett-radio gjÃ¸r. ikke bare er loven ikke " +"nÃ¸ytral mot Internett-radio—loven faktisk byrder Internettradio mer " +"enn det byrder bakkesendte radio." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "CARP (Copyright Arbitration Royalty Panel)" +msgstr "Carp (opphavsrett voldgift royalty-panelet)" + +#. type: Content of: <book><part><chapter><section><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, <quote>Copyright as " +"Entry Policy: The Case of Digital Distribution,</quote> <citetitle>Antitrust " +"Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was not confusion, " +"these are just old-fashioned entry barriers. Analog radio stations are " +"protected from digital entrants, reducing entry in radio and diversity. Yes, " +"this is done in the name of getting royalties to copyright holders, but, " +"absent the play of powerful interests, that could have been done in a media-" +"neutral way.</quote> <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The burden is not financial only. Under the original rules that were " +"proposed, an Internet radio station (but not a terrestrial radio station) " +"would have to collect the following data from <emphasis>every listening " +"transaction</emphasis>:" +msgstr "" +"byrden er ikke Ã¸konomiske bare. under de opprinnelige reglene som ble " +"foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " +"ville ha til Ã¥ samle inn fÃ¸lgende data fra hver lytting transaksjon:" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "name of the service;" +msgstr "navn pÃ¥ tjenesten," + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "channel of the program (AM/FM stations use station ID);" +msgstr "kanalen til programmet (AM/FM-stasjoner bruker stasjons-ID);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "type of program (archived/looped/live);" +msgstr "type program (fra arkivet/i lÃ¸kke/direkte);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "date of transmission;" +msgstr "dato for sending;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "time of transmission;" +msgstr "tidspunkt for sending;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "time zone of origination of transmission;" +msgstr "tidssone til opprinnelsen for sending;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "" +"numeric designation of the place of the sound recording within the program;" +msgstr "numeriske angivelsen av i stedet for lydopptak programmet;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "duration of transmission (to nearest second);" +msgstr "varigheten av sending (til nÃ¦rmeste sekund):" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "sound recording title;" +msgstr "lydinnspilling-tittel;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "ISRC code of the recording;" +msgstr "ISRC-kode for opptaket;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "" +"release year of the album per copyright notice and in the case of " +"compilation albums, the release year of the album and copy- right date of " +"the track;" +msgstr "" +"gi Ã¥r av albumet per opphavsrett og nÃ¥r det gjelder samlealbum, utgivelsesÃ¥r " +"av albumet og kopi hÃ¸yre datoen for spor;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "featured recording artist;" +msgstr "spillende plateartist;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "retail album title;" +msgstr "tittel pÃ¥ album i butikker;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "recording label;" +msgstr "plateselskap;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "UPC code of the retail album;" +msgstr "UPC-koden for albumet i butikker;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "catalog number;" +msgstr "katalognummer;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "copyright owner information;" +msgstr "informasjon om opphavsrettsinnehaver;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "musical genre of the channel or program (station format);" +msgstr "musikksjanger for kanal eller programmet (stasjonsformat);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "name of the service or entity;" +msgstr "navn pÃ¥ tjenesten eller selskap;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "channel or program;" +msgstr "kanal eller program;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "date and time that the user logged in (in the user's time zone);" +msgstr "datoen og klokkeslettet da brukeren logget pÃ¥ (i brukerens tidssone);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "date and time that the user logged out (in the user's time zone);" +msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "time zone where the signal was received (user);" +msgstr "tidssone der signalet ble mottatt (bruker);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "unique user identifier;" +msgstr "unik bruker-identifikator;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "the country in which the user received the transmissions." +msgstr "landet til brukeren som mottok sendingene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Librarian of Congress eventually suspended these reporting requirements, " +"pending further study. And he also changed the original rates set by the " +"arbitration panel charged with setting rates. But the basic difference " +"between Internet radio and terrestrial radio remains: Internet radio has to " +"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does " +"not." +msgstr "" +"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " +"ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " +"voldgift panelet belastet med angivelse av priser. men den grunnleggende " +"forskjellen mellom Internett-radio og bakkesendte radio gjenstÃ¥r: Internett " +"radio har Ã¥ betale en type opphavsrett gebyr som bakkesendte radio ikke." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Why? What justifies this difference? Was there any study of the economic " +"consequences from Internet radio that would justify these differences? Was " +"the motive to protect artists against piracy?" +msgstr "" +"hvorfor? Hva rettferdiggjÃ¸r denne forskjellen? var det noen studier av " +"Ã¸konomiske konsekvensene fra Internett-radio som ville forsvare disse " +"forskjellene? var motivet Ã¥ beskytte kunstnere mot piratkopiering?" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Real Networks" +msgstr "Real Networks" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In a rare bit of candor, one RIAA expert admitted what seemed obvious to " +"everyone at the time. As Alex Alben, vice president for Public Policy at " +"Real Networks, told me," +msgstr "" +"i sjeldne litt candor innrÃ¸mmet Ã©n riaa ekspert hva syntes Ã¥penbar for alle " +"samtidig. som alex alben fortalte visepresident for public policy pÃ¥ real " +"networks, meg:" + +#. PAGE BREAK 208 +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"The RIAA, which was representing the record labels, presented some testimony " +"about what they thought a willing buyer would pay to a willing seller, and " +"it was much higher. It was ten times higher than what radio stations pay to " +"perform the same songs for the same period of time. And so the attorneys " +"representing the webcasters asked the RIAA, … <quote>How do you come " +"up with a rate that's so much higher? Why is it worth more than radio? " +"Because here we have hundreds of thousands of webcasters who want to pay, " +"and that should establish the market rate, and if you set the rate so high, " +"you're going to drive the small webcasters out of business. …</quote>" +msgstr "" +"riaa, som var som representerer plateselskapene, presentert noen vitnesbyrd " +"om hva de tenkte en villig kjÃ¸per betaler til en villig selger, og det var " +"mye hÃ¸yere. Det var ti ganger hÃ¸yere enn hva radiostasjoner betale for Ã¥ " +"utfÃ¸re de samme sangene i samme periode av tid. og sÃ¥ advokater som " +"representerer webcasters spurte riaa... \"hvordan kan du komme opp med en " +"hastighet som er sÃ¥ mye hÃ¸yere? Hvorfor er det verdt mer enn radio? fordi " +"her har vi hundretusener av webcasters som Ã¸nsker Ã¥ betale, og som bÃ¸r " +"etablere markedet rate, og hvis du angir satsen sÃ¥ hÃ¸yt, du kommer til Ã¥ " +"drive smÃ¥ webcasters ut av business.... \"" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"And the RIAA experts said, <quote>Well, we don't really model this as an " +"industry with thousands of webcasters, <emphasis>we think it should be an " +"industry with, you know, five or seven big players who can pay a high rate " +"and it's a stable, predictable market</emphasis>.</quote> (Emphasis added.)" +msgstr "" +"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med " +"tusenvis av webcasters, vi tror det bÃ¸r vÃ¦re en bransje med, du vet, fem " +"eller sju store spillere som kan betale en hÃ¸y hastighet, og det er en " +"stabil, forutsigbar marked.\" (vekt legges)." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Translation: The aim is to use the law to eliminate competition, so that " +"this platform of potentially immense competition, which would cause the " +"diversity and range of content available to explode, would not cause pain to " +"the dinosaurs of old. There is no one, on either the right or the left, who " +"should endorse this use of the law. And yet there is practically no one, on " +"either the right or the left, who is doing anything effective to prevent it." +msgstr "" +"oversettelse: mÃ¥let er Ã¥ bruke loven til Ã¥ eliminere konkurranse, slik at " +"denne plattformen av potensielt enorme konkurransen, som ville fÃ¸re til " +"mangfoldet og omfanget av innholdet tilgjengelig til Ã¥ eksplodere, ikke " +"ville forÃ¥rsake smerte til dinosaurs av gamle. Det er ingen, enten til hÃ¸yre " +"eller venstre, som bÃ¸r bifaller denne bruken av loven. og ennÃ¥ er det " +"praktisk talt ingen, enten til hÃ¸yre eller venstre, som gjÃ¸r noe effektivt " +"for Ã¥ hindre den." + +#. type: Content of: <book><part><chapter><section><title> +#, mtrans, fuzzy +msgid "Corrupting Citizens" +msgstr "Ã¸delegge borgere" + +#. type: Content of: <book><part><chapter><section><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 "" +"For mye regulering knebler kretiviteten. Den kveler nyskapning. Den gir " +"dinosaurer vetorett over fremtiden. Den kaster bort den ekstraordinÃ¦re " +"muligheten for en demokratisk kreativitet som digital teknologi gjÃ¸r mulig." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In addition to these important harms, there is one more that was important " +"to our forebears, but seems forgotten today. Overregulation corrupts " +"citizens and weakens the rule of law." +msgstr "" +"i tillegg til disse viktige skadene er det en mer som var viktig for vÃ¥re " +"forfedre, men synes glemt i dag. overregulation skader borgere og svekker " +"rettssikkerhet." + +#. f15. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> " +"Pew Internet and American Life Project (24 April 2001), available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #46</ulink>. The Pew Internet " +"and American Life Project reported that 37 million Americans had downloaded " +"music files from the Internet by early 2001." +msgstr "" + +#. PAGE BREAK 209 +#. type: Content of: <book><part><chapter><section><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 <citetitle>The New York Times</citetitle>, 43 " +"million Americans downloaded music in May 2002.<placeholder type=\"footnote" +"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million " +"Americans is a felony. We thus have a set of rules that transform 20 percent " +"of America into criminals. As the RIAA launches lawsuits against not only " +"the Napsters and Kazaas of the world, but against students building search " +"engines, and increasingly against ordinary users downloading content, the " +"technologies for sharing will advance to further protect and hide illegal " +"use. It is an arms race or a civil war, with the extremes of one side " +"inviting a more extreme response by the other." +msgstr "" + +#. f16. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA Case,</" +"quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business." +msgstr "" +"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" " +"los angeles times, 10 september 2003, business." + +#. type: Content of: <book><part><chapter><section><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 "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "alcohol prohibition" +msgstr "alkohol forbud" + +#. f17. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During " +"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, no. " +"2 (1991): 242." +msgstr "" +"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" " +"amerikanske Ã¸konomiske anmeldelse 81, no. 2 (1991): 242." + +#. f18. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"National Drug Control Policy: Hearing Before the House Government Reform " +"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. " +"Walters, director of National Drug Control Policy)." +msgstr "" +"nasjonale narkotikapolitikken kontroll: hÃ¸re fÃ¸r house government reform " +"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, " +"direktÃ¸r for nasjonale narkotikapolitikken kontroll)." + +#. f19. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax " +"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 " +"(1998): 818 (survey of compliance literature)." +msgstr "" +"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" " +"journal av Ã¸konomiske litteratur 36 (1998): 818 (undersÃ¸kelse av samsvar " +"litteratur)." + +#. type: Content of: <book><part><chapter><section><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 <quote>free society,</" +"quote> but an endless array of ordinary behavior is regulated within our " +"society. And as a result, a huge proportion of Americans regularly violate " +"at least some law." +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "law schools" +msgstr "Jusstudier" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This state of affairs is not without consequence. It is a particularly " +"salient issue for teachers like me, whose job it is to teach law students " +"about the importance of <quote>ethics.</quote> As my colleague Charlie " +"Nesson told a class at Stanford, each year law schools admit thousands of " +"students who have illegally downloaded music, illegally consumed alcohol and " +"sometimes drugs, illegally worked without paying taxes, illegally driven " +"cars. These are kids for whom behaving illegally is increasingly the norm. " +"And then we, as law professors, are supposed to teach them how to behave " +"ethically—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 <quote>normally</quote> entails " +"a certain degree of illegality." +msgstr "" +"denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt " +"fremtredende spÃ¸rsmÃ¥let for lÃ¦rere som meg, hvis jobb er det Ã¥ undervise law " +"studenter om betydningen av \"etikk.\" som min kollega charlie nesson " +"fortalte en klasse ved stanford, hvert Ã¥r lov skoler innrÃ¸mme tusenvis av " +"studentene som har ulovlig lastet ned musikk, ulovlig konsumert alkohol og " +"noen ganger narkotika, ulovlig arbeidet uten Ã¥ betale skatt, ulovlig drevet " +"biler. disse er barna som oppfÃ¸rer seg ulovlig er stadig normen. og deretter " +"vi, som loven professorer, skal lÃ¦re dem hvordan Ã¥ oppfÃ¸re seg etisk—" +"hvordan Ã¥ si nei til bestikkelser, holde klienten midler atskilt eller Ã¦re " +"et krav til Ã¥ avslÃ¸re 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 bÃ¥de normalt og lovlig, siden \"normalt\" innebÃ¦rer en viss grad av " +"illegality." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The response to this general illegality is either to enforce the law more " +"severely or to change the law. We, as a society, have to learn how to make " +"that choice more rationally. Whether a law makes sense depends, in part, at " +"least, upon whether the costs of the law, both intended and collateral, " +"outweigh the benefits. If the costs, intended and collateral, do outweigh " +"the benefits, then the law ought to be changed. Alternatively, if the costs " +"of the existing system are much greater than the costs of an alternative, " +"then we have a good reason to consider the alternative." +msgstr "" +"response til denne generelle illegality er Ã¥ hÃ¥ndheve loven mer alvorlig " +"eller endre loven. Vi har som et samfunn Ã¥ lÃ¦re hvordan du gjÃ¸r mer " +"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om " +"kostnadene ved loven, bÃ¥de tiltenkte og sikkerhetsstillelse, oppveier " +"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, " +"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet " +"er mye stÃ¸rre enn kostnadene for et alternativ, vi har en god grunn til Ã¥ " +"vurdere alternativet." + +#. PAGE BREAK 211 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My point is not the idiotic one: Just because people violate a law, we " +"should therefore repeal it. Obviously, we could reduce murder statistics " +"dramatically by legalizing murder on Wednesdays and Fridays. But that " +"wouldn't make any sense, since murder is wrong every day of the week. A " +"society is right to ban murder always and everywhere." +msgstr "" +"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bÃ¸r " +"derfor oppheve den. Vi kan selvfÃ¸lgelig redusere mord statistikk dramatisk " +"ved legalizing drap for pÃ¥ onsdager og fredager. men det ville ikke gi noen " +"mening, siden drap er galt hver dag i uken. et samfunn er rett Ã¥ utestenge " +"drap alltid og overalt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My point is instead one that democracies understood for generations, but " +"that we recently have learned to forget. The rule of law depends upon people " +"obeying the law. The more often, and more repeatedly, we as citizens " +"experience violating the law, the less we respect the law. Obviously, in " +"most cases, the important issue is the law, not respect for the law. I don't " +"care whether the rapist respects the law or not; I want to catch and " +"incarcerate the rapist. But I do care whether my students respect the law. " +"And I do care if the rules of law sow increasing disrespect because of the " +"extreme of regulation they impose. Twenty million Americans have come of " +"age since the Internet introduced this different idea of <quote>sharing.</" +"quote> We need to be able to call these twenty million Americans " +"<quote>citizens,</quote> not <quote>felons.</quote>" +msgstr "" +"Mitt poeng er i stedet en som demokratier forstÃ¥tt i generasjoner, men som " +"vi nylig har lÃ¦rt Ã¥ glemme. rettssikkerhet, er avhengig av folk som fÃ¸lge " +"loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve brudd pÃ¥ " +"loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste tilfeller, " +"det viktige spÃ¸rsmÃ¥let er lov, ikke respekt for loven. jeg ikke bryr seg om " +"voldtektsforbryter respekterer loven eller ikke; Jeg Ã¸nsker Ã¥ fange og " +"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer " +"loven. og jeg bryr seg Hvis reglene for loven purke Ã¸kende aktelse pÃ¥ grunn " +"av ekstreme regulering de innfÃ¸re. fem millioner amerikanere har kommet av " +"alder siden Internett innfÃ¸rt denne annen idÃ© om \"deling.\" vi trenger Ã¥ " +"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"When at least forty-three million citizens download content from the " +"Internet, and when they use tools to combine that content in ways " +"unauthorized by copyright holders, the first question we should be asking is " +"not how best to involve the FBI. The first question should be whether this " +"particular prohibition is really necessary in order to achieve the proper " +"ends that copyright law serves. Is there another way to assure that artists " +"get paid without transforming forty-three million Americans into felons? " +"Does it make sense if there are other ways to assure that artists get paid " +"without transforming America into a nation of felons?" +msgstr "" +"NÃ¥r minst fÃ¸rti - tre millioner innbyggere dataoverfÃ¸re innhold fra " +"Internett, og nÃ¥r de bruker verktÃ¸y til Ã¥ kombinere at innhold pÃ¥ mÃ¥ter " +"uautorisert ved innehaver av opphavsrett, det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r " +"spÃ¸rre ikke er hvordan man best kan innebÃ¦re fbi. det fÃ¸rste spÃ¸rsmÃ¥let bÃ¸r " +"vÃ¦re om dette bestemte forbudet er virkelig nÃ¸dvendig for Ã¥ oppnÃ¥ riktig " +"ender som serverer lov om opphavsrett. er det en annen mÃ¥te Ã¥ forsikre at " +"artister fÃ¥r betalt uten Ã¥ transformere fÃ¸rti - tre millioner amerikanere i " +"felons? betyr det fornuftig hvis det finnes andre mÃ¥ter Ã¥ sikre at artister " +"fÃ¥r betalt uten Ã¥ transformere Amerika til en nasjon av felons?" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "This abstract point can be made more clear with a particular example." +msgstr "Denne abstrakte punkt kan gjÃ¸res mer tydelig med en bestemt eksempel." + +#. PAGE BREAK 212 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"We all own CDs. Many of us still own phonograph records. These pieces of " +"plastic encode music that in a certain sense we have bought. The law " +"protects our right to buy and sell that plastic: It is not a copyright " +"infringement for me to sell all my classical records at a used record store " +"and buy jazz records to replace them. That <quote>use</quote> 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 kjÃ¸pt. loven beskytter vÃ¥r " +"rett til Ã¥ kjÃ¸pe og selge den plasten: det er ikke en krenkelse av " +"opphavsrett for meg Ã¥ selge min klassisk poster pÃ¥ en brukte platebutikk og " +"kjÃ¸pe jazz poster hvis du vil erstatte dem. \"Bruk\" av opptak er gratis." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But as the MP3 craze has demonstrated, there is another use of phonograph " +"records that is effectively free. Because these recordings were made without " +"copy-protection technologies, I am <quote>free</quote> to copy, or " +"<quote>rip,</quote> music from my records onto a computer hard disk. Indeed, " +"Apple Corporation went so far as to suggest that <quote>freedom</quote> was " +"a right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, " +"Burn</quote> capacities of digital technologies." +msgstr "" +"men som mp3-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 Ã¥ kopiere eller \"rip\" musikk fra min poster pÃ¥ en " +"harddisk pÃ¥ datamaskinen. faktisk apple corporation gikk sÃ¥ langt som Ã¥ " +"foreslÃ¥ at \"friheten\" var en rett: i en rekke reklamefilmer, apple " +"godkjent \"rip, mikse, brenne\" kapasiteter digitale teknologier." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Andromeda" +msgstr "Andromeda" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "mix technology and" +msgstr "blande teknologi og" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This <quote>use</quote> of my records is certainly valuable. I have begun a " +"large process at home of ripping all of my and my wife's CDs, and storing " +"them in one archive. Then, using Apple's iTunes, or a wonderful program " +"called Andromeda, we can build different play lists of our music: Bach, " +"Baroque, Love Songs, Love Songs of Significant Others—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 vÃ¥re musikk: bach, " +"barokk, love songs, love songs av betydelige andre—potensialet er " +"uendelige. og ved Ã¥ redusere kostnadene ved Ã¥ blande spillelister, disse " +"teknologier hjelpe bygge en kreativitet med spille lister som selv er " +"uavhengig verdifull. samlinger av sanger er kreative og meningsfull i egen " +"rett." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +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 ogsÃ¥ aktivere fildeling. fildeling truer (eller sÃ¥ innhold " +"industrien mener) evne til skaperne Ã¥ tjene en god avkastning fra sin " +"kreativitet. og dermed mange begynner Ã¥ eksperimentere med teknologier for Ã¥ " +"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere " +"CDer som ikke blir rippet. eller de kan aktivere spion programmer Ã¥ " +"identifisere rippede innhold pÃ¥ folks maskiner." + +#. PAGE BREAK 213 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If these technologies took off, then the building of large archives of your " +"own music would become quite difficult. You might hang in hacker circles, " +"and get technology to disable the technologies that protect the content. " +"Trading in those technologies is illegal, but maybe that doesn't bother you " +"much. In any case, for the vast majority of people, these protection " +"technologies would effectively destroy the archiving use of CDs. The " +"technology, in other words, would force us all back to the world where we " +"either listened to music by manipulating pieces of plastic or were part of a " +"massively complex <quote>digital rights management</quote> 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 fÃ¥ " +"teknologi for Ã¥ 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 " +"Ã¸delegge arkivering bruk av CDer. teknologi, med andre ord, vil tvinge oss " +"alle tilbake til verden der vi lyttet til musikk ved Ã¥ manipulere stykker av " +"plast eller var del av en svÃ¦rt kompleks \"digital rights management\" " +"systemet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If the only way to assure that artists get paid were the elimination of the " +"ability to freely move content, then these technologies to interfere with " +"the freedom to move content would be justifiable. But what if there were " +"another way to assure that artists are paid, without locking down any " +"content? What if, in other words, a different system could assure " +"compensation to artists while also preserving the freedom to move content " +"easily?" +msgstr "" +"Hvis den eneste mÃ¥ten Ã¥ sikre at artister fÃ¥r betalt var eliminering av " +"muligheten til Ã¥ fritt flytte innhold, ville sÃ¥ disse teknologiene Ã¥ " +"forstyrre bevege innhold vÃ¦re forsvarlig. men hva hvis det var en annen mÃ¥te " +"Ã¥ forsikre at kunstnere er betalt, uten Ã¥ lÃ¥se ned innhold? Hva om, med " +"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig " +"som du beholder ogsÃ¥ bevege innhold lett?" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My point just now is not to prove that there is such a system. I offer a " +"version of such a system in the last chapter of this book. For now, the only " +"point is the relatively uncontroversial one: If a different system achieved " +"the same legitimate objectives that the existing copyright system achieved, " +"but left consumers and creators much more free, then we'd have a very good " +"reason to pursue this alternative—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 nÃ¥ ikke for Ã¥ bevise at det er et slikt system. Jeg " +"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for " +"nÃ¥, det eneste punktet er den relativt ukontroversiell: Hvis et annet system " +"oppnÃ¥dd mÃ¥lene er samme legitime som eksisterende opphavsretten til systemet " +"oppnÃ¥dd, men forlot forbrukere og skaperne mye mer gratis, sÃ¥ vi ville ha en " +"svÃ¦rt god grunn til Ã¥ forfÃ¸lge denne alternative—nemlig frihet. valg, " +"med andre ord, ville ikke vÃ¦re mellom eiendom og piratkopiering; valget " +"ville vÃ¦re mellom forskjellige eiendom systemer og frihetene hver tillatt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I believe there is a way to assure that artists are paid without turning " +"forty-three million Americans into felons. But the salient feature of this " +"alternative is that it would lead to a very different market for producing " +"and distributing creativity. The dominant few, who today control the vast " +"majority of the distribution of content in the world, would no longer " +"exercise this extreme of control. Rather, they would go the way of the horse-" +"drawn buggy." +msgstr "" +"Jeg tror det er en mÃ¥te Ã¥ sikre at kunstnere er betalt uten Ã¥ slÃ¥ fÃ¸rti - " +"tre millioner amerikanere i felons. men funksjonen fremspringende i denne " +"alternativ er at det ville fÃ¸re til en svÃ¦rt forskjellige markedet for " +"produksjon og distribusjon av kreativitet. de dominerende fÃ¥, som i dag " +"kontrollerer det store flertallet av distribusjon av innhold i verden, ville " +"ikke lenger utÃ¸ve denne ekstreme av kontroll. de ville heller gÃ¥ veien for " +"hest trukket buggy." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Except that this generation's buggy manufacturers have already saddled " +"Congress, and are riding the law to protect themselves against this new form " +"of competition. For them the choice is between fortythree million Americans " +"as criminals and their own survival." +msgstr "" +"bortsett fra at denne generasjon vognen produsenter har allerede saddled " +"Kongressen, og sykle loven for Ã¥ 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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"It is understandable why they choose as they do. It is not understandable " +"why we as a democracy continue to choose as we do. Jack Valenti is charming; " +"but not so charming as to justify giving up a tradition as deep and " +"important as our tradition of free culture." +msgstr "" +"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " +"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " +"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " +"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>There's one more</emphasis> aspect to this " +"corruption that is particularly important to civil liberties, and follows " +"directly from any war of prohibition. As Electronic Frontier Foundation " +"attorney Fred von Lohmann describes, this is the <quote>collateral damage</" +"quote> that <quote>arises whenever you turn a very large percentage of the " +"population into criminals.</quote> This is the collateral damage to civil " +"liberties generally." +msgstr "" +"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " +"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " +"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " +"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur. Det er en mer " +"aspekt til dette kan fÃ¸re til minnefeil som er spesielt viktig for " +"borgerrettigheter, og fÃ¸lger direkte fra noen krig av forbudet. som " +"electronic frontier foundation advokat fred von sang beskriver, dette er den " +"\"sikkerhetsstillelse skaden\" som \"oppstÃ¥r nÃ¥r du slÃ¥r en veldig stor " +"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse " +"skader pÃ¥ borgerrettigheter vanligvis." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "von Lohmann, Fred" +msgstr "von Lohmann, Fred" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<quote>If you can treat someone as a putative lawbreaker,</quote> von " +"Lohmann explains," +msgstr "" +"<quote>Hvis du kan behandle noen som en antatt lovbryter</quote>, forklarer " +"von Lohmann," + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"then all of a sudden a lot of basic civil liberty protections evaporate to " +"one degree or another. … If you're a copyright infringer, how can you " +"hope to have any privacy rights? If you're a copyright infringer, how can " +"you hope to be secure against seizures of your computer? How can you hope to " +"continue to receive Internet access? … Our sensibilities change as " +"soon as we think, <quote>Oh, well, but that person's a criminal, a " +"lawbreaker.</quote> Well, what this campaign against file sharing has done " +"is turn a remarkable percentage of the American Internet-using population " +"into <quote>lawbreakers.</quote>" +msgstr "" +"sÃ¥ plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe " +"til en grad eller annen.... Hvis du er en opphavsrett pÃ¥ lovgivningen, " +"hvordan kan du hÃ¥per Ã¥ ha noen personvernet? Hvis du er en opphavsrett pÃ¥ " +"lovgivningen, hvordan kan du hÃ¥per Ã¥ bli sikker mot beslag av datamaskinen? " +"Hvordan kan du hÃ¥per Ã¥ fortsette Ã¥ motta Internett-tilgang? ... vÃ¥r " +"sensibilities endre sÃ¥ snart vi tror, \"oh, vel, men denne personen er en " +"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er " +"Ã¥ slÃ¥ en bemerkelsesverdig prosent av den amerikanske Internett-bruker " +"befolkningen i \"lawbreakers.\"" + +#. type: Content of: <book><part><chapter><section><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 konsekvensen av denne transformeringen av det amerikanske folket til " +"kriminelle er at det blir trivielt, i trÃ¥d med god rettspraksis, og " +"effektivt sett radere ut mye av personvernet som de fleste tar for gitt." + +#. type: Content of: <book><part><chapter><section><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 pÃ¥ Internettet begynte Ã¥ se dette generelt i 2003 da RIAA lanserte " +"sin kampanje for Ã¥ tvinge InternettleverandÃ¸rer til Ã¥ overlevere navnene pÃ¥ " +"kundene som RIAA trodde brÃ¸t opphavsrettloven. Verizon kjempet mot dette " +"kravet og tapte. Men en enkel forespÃ¸rsel til en dommer, og uten Ã¥ gi " +"beskjed til kunden i det hele tatt, blir identiteten til en internetbruker " +"avslÃ¸rt." + +#. f20. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " +"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " +"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, " +"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry " +"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs " +"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</" +"citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording Industry " +"Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September 2003, " +"4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop Fan, " +"Either,</quote> <citetitle>New York Times</citetitle>, 25 September 2003, " +"C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> <citetitle>Toronto " +"Star</citetitle>, 18 September 2003, P7." +msgstr "" +"se frank ahrens, \"riaa's sÃ¸ksmÃ¥l mÃ¸te overrasket over mÃ¥l; enkelt mor i " +"California, 12-Ã¥r gammel jente i ny blant saksÃ¸kte,\"washington post, 10 " +"september 2003, e1; Chris cobbs, \"bekymret foreldre trekke pluggen pÃ¥ filen" +"\"stjele\"; med musikkbransjen cracking ned pÃ¥ Filbytte, er foreldre prÃ¸ver " +"Ã¥ lure programvare fra hjemme-PC Ã¥ unngÃ¥ blir saksÃ¸kte,\"orlando sentinel " +"tribune, 30 august 2003, c1; Jefferson graham, \"innspillingen industri sues " +"foreldre,\" usa today, 15 september 2003, 4 d; John schwartz, \"hun sier hun " +"er ingen musikk pirat. ikke snoop fan, enten,\"new york times, 25 september " +"2003, c1; Margo varadi, \"er brianna en kriminell?\" toronto star, 18 " +"september 2003, p7." + +#. type: Content of: <book><part><chapter><section><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 "" +"RIAA utvidet sÃ¥ denne kampanjen ved Ã¥ annonsere en generell strategi om Ã¥ " +"saksÃ¸ke individuelle brukere av Internettet som blir anklaget for Ã¥ ha " +"lastet ned opphavsrettsbeskyttet musikk fra fildelingssystemer. Men som vi " +"har sett er de potensielle skadene fra slike sÃ¸ksmÃ¥l astronomiske: Hvis en " +"families datamaskin blir brukt til Ã¥ laste ned musikk tilsvarende en enkelt " +"CD, sa kan familien risikere Ã¥ mÃ¥tte betale 2 millioner dollar i " +"erstatning. Dette stoppet ikke RIAA fra Ã¥ saksÃ¸ke et antall av disse " +"familiene, pÃ¥ samme mÃ¥te som de hadde saksÃ¸kt Jesse Jordan.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. f21. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses " +"Some Methods Used,</quote> CNN.com, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #47</ulink>." +msgstr "" +"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" +"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#49</ulink>." + +#. type: Content of: <book><part><chapter><section><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 <quote>fingerprint.</quote>" +msgstr "" +"Selv dette undervurderer spioneringen som blir gjennomfÃ¸rt av RIAA. I en " +"rapport fra CNN sent sist sommer beskriver en strategi som RIAA har adoptert " +"for Ã¥ spore Napster-brukere.<placeholder type=\"footnote\" id=\"0\"/> Ved Ã¥ " +"bruke en sofistikert hashings-algoritme tok RIAA det som effektivt sett er " +"et fingeravtrykk av hver eneste sang i Napster-katalogen. Enhver kopi av " +"disse MP3-ene vil ha samme <quote>fingerprint</quote>." + +#. f22. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</" +"quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; " +"Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry Group " +"Targets File Sharing at Colleges,</quote> <citetitle>Washington Post</" +"citetitle>, 4 April 2003, E1; Elizabeth Armstrong, <quote>Students `Rip, " +"Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science Monitor</" +"citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, " +"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed " +"Over; Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 " +"July 2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on Universities," +"</quote> <citetitle>Internet News</citetitle>, 30 January 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny " +"Evangelista, <quote>Download Warning 101: Freshman Orientation This Fall to " +"Include Record Industry Warnings Against File Sharing,</quote> " +"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; " +"<quote>Raid, Letters Are Weapons at Universities,</quote> <citetitle>USA " +"Today</citetitle>, 26 September 2000, 3D." +msgstr "" + +#. type: Content of: <book><part><chapter><section><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 <quote>cooperating</quote> with the RIAA's " +"espionage, and she hasn't properly protected her content from the network " +"(do you know how to do that yourself ?), then the RIAA will be able to " +"identify your daughter as a <quote>criminal.</quote> And under the rules " +"that universities are beginning to deploy,<placeholder type=\"footnote\" id=" +"\"0\"/> your daughter can lose the right to use the university's computer " +"network. She can, in some cases, be expelled." +msgstr "" +"SÃ¥ se for deg det fÃ¸lgende ikke usannsynlige scenariet: Tenk at en venn gir " +"en CD til din datter—en samling med sanger lik de kasettene du laget " +"som barn. Hverken du eller din datter vet hvor disse sangene kom fra. Men " +"hun kopierer disse sangene inn pÃ¥ datamaskinen sin, og tar sÃ¥ maskinen med " +"seg til universitetet og kobler den pÃ¥ universitetsnettverket. Hvis " +"universitetsnettet <quote>samarbeider</quote> med RIAAs spionering, og hun " +"ikke har beskyttet sitt innhold pÃ¥ riktig vis (vet du selv hvordan du gjÃ¸r " +"dette?), sÃ¥ vil RIAA kunne identifisere din datter som en <quote>kriminell</" +"quote>. Og i henhold til de reglene som universiteter er i gang med Ã¥ rulle " +"ut,<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ kan din datter miste retten " +"til Ã¥ bruke universitetets datanettverk. Hun kan i noen tilfeller bli " +"utvist." + +#. PAGE BREAK 216 +#. type: Content of: <book><part><chapter><section><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 <quote>contraband</" +"quote> as presumptive of guilt. And as any number of college students have " +"already learned, our presumptions about innocence disappear in the middle of " +"wars of prohibition. This war is no different. Says von Lohmann," +msgstr "" +"NÃ¥ har hun selvfÃ¸lgelig rett til Ã¥ forsvare seg selv. Du kan leie inn en " +"advokat til henne (til $300 per time, hvis du er heldig), og hun kan hevde " +"at hun ikke visste noenting om hvor sangene kom fra eller at de kom fra " +"Napster. Og det kan godt hende at universitetet tror henne. Men det kan " +"ogsÃ¥ godt hende at universitetet ikke tror henne. Og som et antall " +"universitetsstudenter allerede har lÃ¦rt, forsvinner vÃ¥r antagelse om Ã¥ vÃ¦re " +"uskylding inntil det motsatte er bevist nÃ¥r en er midt i en forbudskrig. " +"Denne krigen er ikke annerledes. Som von Lohmann sier det," + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"So when we're talking about numbers like forty to sixty million Americans " +"that are essentially copyright infringers, you create a situation where the " +"civil liberties of those people are very much in peril in a general matter. " +"[I don't] think [there is any] analog where you could randomly choose any " +"person off the street and be confident that they were committing an unlawful " +"act that could put them on the hook for potential felony liability or " +"hundreds of millions of dollars of civil liability. Certainly we all speed, " +"but speeding isn't the kind of an act for which we routinely forfeit civil " +"liberties. Some people use drugs, and I think that's the closest analog, " +"[but] many have noted that the war against drugs has eroded all of our civil " +"liberties because it's treated so many Americans as criminals. Well, I think " +"it's fair to say that file sharing is an order of magnitude larger number of " +"Americans than drug use. … If forty to sixty million Americans have " +"become lawbreakers, then we're really on a slippery slope to lose a lot of " +"civil liberties for all forty to sixty million of them." +msgstr "" +"NÃ¥r vi snakker om tall som fÃ¸rti til seksti millioner amerikanere som i " +"essensen bryter opphavsretten, sÃ¥ skaper du en situasjon der " +"borgerrettighetene til disse folkene er stÃ¥r i fare for Ã¥ forsvinne i " +"praksis. [Jeg] tror [ikke det finnes noen] tilsvarende tilfeller hvor du kan " +"velge en tilfeldig person pÃ¥ gata og vÃ¦re trygg pÃ¥ at de har brutt loven pÃ¥ " +"en mÃ¥te som gjÃ¸r at de risikerer straffedom eller Ã¥ mÃ¥tte betale milloner av " +"dollar i sivil erstatning. Vi kjÃ¸rer alle for fort, men Ã¥ kjÃ¸re for fort er " +"ikke den type handlinger hvor vi pÃ¥ rutine fratar folk borgerrettigheter. " +"Noen folk bruker narkotika, og jeg tror det er den nÃ¦rmeste analogien, [men] " +"mange har kommentert at krigen mot narkotika har radert alle vÃ¥re " +"borgerrettigheter pÃ¥ grunn av at det behandler sÃ¥ mange amerikanere som " +"kriminelle. Jeg tror det er rimelig Ã¥ si at fildeling gjelder en " +"stÃ¸rrelsesorden flere amerikanere enn burk av narkotika. … Hvis fÃ¸rti " +"til seksti millioner amerikanere har blitt lovbrytere, da er vi pÃ¥ en " +"*slippery slope* der vi kan miste borgerrettighetene for alle disse fÃ¸rti " +"til seksti personene." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"When forty to sixty million Americans are considered <quote>criminals</" +"quote> under the law, and when the law could achieve the same " +"objective— securing rights to authors—without these millions " +"being considered <quote>criminals,</quote> who is the villain? Americans or " +"the law? Which is American, a constant war on our own people or a concerted " +"effort through our democracy to change our law?" +msgstr "" +"NÃ¥r fÃ¸rti til seksti millioner amerikanere i fÃ¸lge loven anses som " +"<quote>kriminelle</quote>, og nÃ¥r loven kunne oppnÃ¥ det samme mÃ¥let—" +"sikre rettigheter til forfattere— uten at disse millionene anses Ã¥ " +"vÃ¦re <quote>kriminelle</quote>, hvem er det da som er skurken? Amerikanerne " +"eller loven? Hva er amerikansk, en konstant krig mot vÃ¥rt eget folk, eller " +"en felles innsats i vÃ¥rt demokrati for Ã¥ endre loven vÃ¥r?" + +#. type: Content of: <book><part><title> +msgid "BALANCES" +msgstr "Maktfordeling" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role='strong'>So here's</emphasis> the picture: You're standing at " +"the side of the road. Your car is on fire. You are angry and upset because " +"in part you helped start the fire. Now you don't know how to put it out. " +"Next to you is a bucket, filled with gasoline. Obviously, gasoline won't put " +"the fire out." +msgstr "" +"<emphasis role='strong'>SÃ¥ her</emphasis> er bildet: Du stÃ¥r pÃ¥ siden av " +"veien. Bilen din er pÃ¥ brann. Du er sint og opprÃ¸rt fordi du delvis bidro " +"til Ã¥ starte brannen. NÃ¥ vet du ikke hvordan du slokker den. Ved siden av " +"deg er en bÃ¸tte, fylt med bensin. Bensin vil Ã¥penbart ikke slukke brannen." + +#. type: Content of: <book><part><partintro><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 "" +"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper " +"hun bÃ¸tta, og fÃ¸r du har hatt sjansen til Ã¥ be henne stoppe—eller fÃ¸r " +"hun forstÃ¥r hvorfor hun bÃ¸r stoppe—er bÃ¸tten i svevet. Bensinen er pÃ¥ " +"tur mot den brennende bilen. Og brannen som bensinen kommer til Ã¥ fyre opp " +"vil straks sette fyr pÃ¥ alt i omgivelsene." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role='strong'>A war</emphasis> 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 "" +"<emphasis role='strong'>En krig</emphasis> om opphavsrett pÃ¥gÃ¥r over " +"alt— og vi fokuserer alle pÃ¥ feil ting. Det er ingen tvil om at " +"dagens teknologier truer eksisterende virksomheter. Uten tvil kan de true " +"artister. Men teknologier endrer seg. Industrien og teknologer har en " +"rekke mÃ¥ter Ã¥ bruke teknologi til Ã¥ beskytte dem selv mot dagens trusler pÃ¥ " +"Internet. Dette er en brann som overlatt til seg selv vil brenne ut." + +#. PAGE BREAK 219 +#. type: Content of: <book><part><partintro><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 "" +"Likevel er ikke besluttningstagere villig til Ã¥ la denne brannen i fred. " +"Ladet med masse penger fra lobbyister er de lystne pÃ¥ Ã¥ gÃ¥ i mellom for Ã¥ " +"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det " +"er ikke den reelle trusselen som denne kulturen stÃ¥r med ansiktet mot. For " +"mens vi ser pÃ¥ denne lille brannen i hjÃ¸rnet er det en massiv endring i " +"hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " + +#. type: Content of: <book><part><partintro><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 "" +"PÃ¥ en eller annen mÃ¥te mÃ¥ vi klare Ã¥ snu oppmerksomheten mot dette mer " +"viktige og fundametale problemet. Vi mÃ¥ finne en mÃ¥te Ã¥ unngÃ¥ Ã¥ helle " +"bensin pÃ¥ denne brannen." + +#. type: Content of: <book><part><partintro><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 funne denne mÃ¥ten ennÃ¥. Istedet synes vi Ã¥ vÃ¦re fanget i en " +"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser pÃ¥ for Ã¥ " +"gjÃ¸re rammen for debatten litt bredere, er det dette enkle sort-hvit-synet " +"som bestÃ¥r. Vi kjÃ¸rer sakte forbi og stirrer pÃ¥ brannen nÃ¥r vi i stedet " +"burde holde Ã¸ynene pÃ¥ veien." + +#. type: Content of: <book><part><partintro><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 vÃ¦rt livet mitt de siste Ã¥rene. Det har ogsÃ¥ vÃ¦rt " +"min falitt. I de to neste kapitlene, beskriver jeg en liten innsats, sÃ¥ " +"langt uten suksess, pÃ¥ Ã¥ finne en mÃ¥te Ã¥ endre fokus pÃ¥ denne debatten. Vi " +"mÃ¥ forstÃ¥ disse mislyktede forsÃ¸kene hvis vi skal forstÃ¥ hva som kreves for " +"Ã¥ lykkes." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER THIRTEEN: Eldred" +msgstr "Kapittel tretten: Eldred" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Eldred, Eric" +msgstr "Eldred, Eric" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Hawthorne, Nathaniel" +msgstr "Hawthorne, Nathaniel" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In 1995</emphasis>, a father was frustrated that his " +"daughters didn't seem to like Hawthorne. No doubt there was more than one " +"such father, but at least one did something about it. Eric Eldred, a retired " +"computer programmer living in New Hampshire, decided to put Hawthorne on the " +"Web. An electronic version, Eldred thought, with links to pictures and " +"explanatory text, would make this nineteenth-century author's work come " +"alive." +msgstr "" +"<emphasis role='strong'>I 1995</emphasis> var en far frustrert over at hans " +"dÃ¸tre ikke syntes Ã¥ like Hawthorne. Det var uten tvil mer enn en slik far, " +"men i hvert fall en gjorde noe med det. Eric Eldred, en pensjonert " +"dataprogrammerer som bodde i New Hampshire, bestemte seg for Ã¥ putte " +"Hawthorne pÃ¥ nettet. En elektronisk versjon, tenkte Eldred, med lenker til " +"bilder og forklarende tekst, ville gjÃ¸re denne nittenhundretalls-" +"forfatterens verk mer levende." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "of public-domain literature" +msgstr "av allemannseid litteratur" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "library of works derived from" +msgstr "bibliotek av verker avledet fra" + +#. type: Content of: <book><part><chapter><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 "" +"Det virket ikke—i hvert fall ikke for hans dÃ¸tre. De fant ikke " +"Hawthorne noe mer interessant enn tidligere. Men Eldreds eksperiment ga " +"opphavet til en hobby, og hobbyen hans ga opphav til et kall: Eldred ville " +"lage et bibliotek over verk i det fri ved Ã¥ scanne disse og gjÃ¸re dem gratis " +"tilgjengelig." + +#. PAGE BREAK 221 +#. type: Content of: <book><part><chapter><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 "" +"Biblioteket til Eldred var ikke bare en kopi av visse verk i det fri, selv " +"om en kopi ville vÃ¦rt av stor verdi for folk rundt om i verden som ikke kan " +"fÃ¥ tilgang til papirutgaver av disse verkene. I stedet laget Eldred " +"avledede verk fra disse allemannseide verkene. PÃ¥ samme mÃ¥te som Disney " +"gjorde Grimm om til historier som var mer tilgjengelige i det tjuende " +"Ã¥rhundret, formet Eldred om pÃ¥ Hawthorne og mange andre til noe mer " +"tilgjengelig—teknisk tilgjengelig—i dag." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Scarlet Letter, The (Hawthorne)" +msgstr "Scarlet Letter, The (Hawthorne)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Eldred's freedom to do this with Hawthorne's work grew from the same source " +"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed " +"into the public domain in 1907. It was free for anyone to take without the " +"permission of the Hawthorne estate or anyone else. Some, such as Dover Press " +"and Penguin Classics, take works from the public domain and produce printed " +"editions, which they sell in bookstores across the country. Others, such as " +"Disney, take these stories and turn them into animated cartoons, sometimes " +"successfully (<citetitle>Cinderella</citetitle>), sometimes not " +"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure " +"Planet</citetitle>). These are all commercial publications of public domain " +"works." +msgstr "" +"Eldreds frihet til Ã¥ gjÃ¸re dette med Hawthornes verk kom fra samme kilde som " +"Disneys. Hawthornes <citetitle>Scarlet Letter</citetitle> hadde falt i det " +"fri i 1907. Alle hadde frihet til Ã¥ ta det uten tillatelse fra boet etter " +"Hawthorne eller noen andre. Noen, slik som Dover Press og Penguin Classics, " +"tar verk som er falt i det fri og lager papirutgaver som de selger i " +"bokhandler rundt om i landet. Andre, slik som Disney, tar disse historiene " +"og gjÃ¸r dem om til tegnefilmer. Noen ganger med suksess " +"((<citetitle>Askepott</citetitle>) og noen ganger uten (<citetitle>Ringeren " +"i Notre Dame</citetitle>, <citetitle>Treasure Planet</citetitle>). Disse er " +"alle kommersielle publiseringer av verk i det fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "pornography" +msgstr "pornografi" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with " +"pornography that is a bit hard to describe, but it's a strong one. One " +"phenomenon that the Internet created was a world of noncommercial " +"pornographers—people who were distributing porn but were not making " +"money directly or indirectly from that distribution. Such a class didn't " +"exist before the Internet came into being because the costs of distributing " +"porn were so high. Yet this new class of distributors got special attention " +"in the Supreme Court, when the Court struck down the Communications Decency " +"Act of 1996. It was partly because of the burden on noncommercial speakers " +"that the statute was found to exceed Congress's power. The same point could " +"have been made about noncommercial publishers after the advent of the " +"Internet. The Eric Eldreds of the world before the Internet were extremely " +"few. Yet one would think it at least as important to protect the Eldreds of " +"the world as to protect noncommercial pornographers." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Det er en parallell her til " +"pornografi som er litt vanskelig Ã¥ beskrive men som er veldig sterk. Et " +"fenomen som Internettet skapte var en verden av ikke-kommersiell " +"pornografi—folk som distribuerte porno men som ikke tjente penger " +"direkte eller indirekte fra denne distribusjonen. Noe slikt eksisterte ikke " +"fÃ¸r Internettet dukket opp, pÃ¥ grunn av at kostnaden med Ã¥ distribuere porno " +"var sÃ¥ hÃ¸y. Likevel fikk denne nye klassen av distributÃ¸rer spesiell " +"oppmerksomhet fra hÃ¸yesterett, da retten slo ned pÃ¥ Anstendig Kommunikasjons-" +"loven fra 1996. Det var delvis pÃ¥ grunn av byrden pÃ¥ ikke-kommersielle " +"talere at loven ble funnet Ã¥ gÃ¥ ut over kongressens myndighet. Det samme " +"poenget kan sies Ã¥ gjelde for ikke-kommersielle utgivere etter at " +"Internettet dukket opp. Alle Eric Eldred-ene i verden fÃ¸r internettet var " +"ekstremt fÃ¥. Likevel skulle en tro at det er minst like viktig Ã¥ beskytte " +"alle Eldred-ene i verden som det er Ã¥ beskytte ikkekommersielle pornografer." + +#. type: Content of: <book><part><chapter><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 " +"<quote>noncommercial publishing industry,</quote> which before the Internet " +"was limited to people with large egos or with political or social causes. " +"But with the Internet, it includes a wide range of individuals and groups " +"dedicated to spreading culture generally.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Internettet skapte muligheten for ikke-kommersiell publisering av verk i det " +"fri. Eldreds publisering er bare ett eksempel. Det finnes bokstavlig talt " +"tusenvis andre. Hundretusenvis rundt om i verden har oppdaget denne " +"platformen for Ã¥ uttrykke seg og bruker den til Ã¥ dele verk som, i fÃ¸lge " +"loven, kan tas fritt. Dette har skapt det vi kan kalle den " +"<quote>ikkekommersielle utgiverindustrien</quote>, hvilket fÃ¸r Internettet " +"var begrenset til folk med store ego eller med politiske eller sosiale " +"kall. Men med Internettet inkluderer det en lang rekke med individer og " +"grupper som er dedikert til Ã¥ spre kultur generelt.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Frost, Robert" +msgstr "Frost, Robert" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "New Hampshire (Frost)" +msgstr "New Hampshire (Frost)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " +"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the " +"public domain. Eldred wanted to post that collection in his free public " +"library. But Congress got in the way. As I described in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, in 1998, for the " +"eleventh time in forty years, Congress extended the terms of existing " +"copyrights—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 Hapshire. I 1998 skulle diktsamlingen " +"<citetitle>New Hampshire</citetitle> av Robert Frost falle i det fri. Eldred " +"Ã¸nsket Ã¥ legge den samlingen til i hans fritt tilgjengelige bibliotek. Men " +"kongressen kom i veien. Som jeg beskrev i kapittel <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"property-i\"/>, utvidet kongressen for " +"ellevte gang pÃ¥ fÃ¸rti Ã¥r, vernetiden for eksisterende opphavsrett—" +"denne gang med tjue Ã¥r. Eldred ville ikke stÃ¥ fritt til Ã¥ legge inn verker " +"nyere enn 1923 til sin samlig fÃ¸r 2019. Faktisk vil ikke et eneste " +"opphavsrettsbeskyttet verk falle i det fri fÃ¸r det Ã¥ret (og ikke en gang da, " +"hvis kongressen utvidet vernetiden igjen). Som kontrast ville mer enn en " +"million patenter falle i det fri i samme periode." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Bono, Mary" +msgstr "Bono, Mary" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Bono, Sonny" +msgstr "Bono, Sonny" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of " +"copyright protection to last forever. I am informed by staff that such a " +"change would violate the Constitution. I invite all of you to work with me " +"to strengthen our copyright laws in all of the ways available to us. As you " +"know, there is also Jack Valenti's proposal for a term to last forever less " +"one day. Perhaps the Committee may look at that next Congress,</quote> 144 " +"Cong. Rec. H9946, 9951-2 (October 7, 1998)." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Hele teksten er: <quote>Sonny [Bono] Ã¸nsket at vernetiden i " +"opphavsretten skulle vare evig. Jeg er informert av ansatte at en slik " +"endring ville vÃ¦re i strid med grunnloven. Jeg inviterer dere alle til Ã¥ " +"jobbe sammen med meg for Ã¥ styrke vÃ¥re opphavsrettslover pÃ¥ alle mÃ¥ter som " +"er tilgjengelig for oss. Som dere vet, er det ogsÃ¥ et forslag fra Jack " +"Valenti om en vernetid som varer evig minus en dag. Kanskje komiteen kan se " +"pÃ¥ i neste periode.</quote> 144 Kongr. Ref. H9946, 9951-2 (7. oktober 1998)." + +#. type: Content of: <book><part><chapter><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 <quote>copyrights should be forever.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Dette var Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA), lagt " +"frem til minne om kongressrepresentant og tidligere musiker Sonny Bony, som " +"i fÃ¸lge hans enke Mari Bony mente at <quote>opphavsreten bÃ¸r vare evig</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "felony punishment for infringement of" +msgstr "" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "NET (No Electronic Theft) Act (1998)" +msgstr "NET(Nei til Elektronisk Tyveri)-loven (1998)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "No Electronic Theft (NET) Act (1998)" +msgstr "Nei til Elektronisk Tyveri(NET)-loven (1998)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "felony punishments for" +msgstr "" + +#. type: Content of: <book><part><chapter><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 bestemte seg for Ã¥ sloss mot denne loven. Han valgte fÃ¸rst Ã¥ " +"bekjempe den gjennom sivil ulydighet. I en serie intervjuer annonserte " +"Eldred at han kom til Ã¥ publisere som planlagt, pÃ¥ tross av CTEA. Men pÃ¥ " +"grunn av en annen lov som ble vedtatt i 1998, NET-loven (Nei til Elektronisk " +"Tyveri), sÃ¥ ville det Ã¥ publisere gjÃ¸re Eldred til en kriminell—uanset " +"om noen protesteret eller ikke. Dette var en varlig strategi Ã¥ gjennomfÃ¸re " +"for en handikappet programmerer." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional powers of" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "Eldred case involvement of" +msgstr "" + +#. type: Content of: <book><part><chapter><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 jeg ble involvert i Eldreds kamp. Jeg var en grunnlovsforsker " +"hvis fÃ¸rste lidenskap var grunnlovstolkning. Og selv om grunnlovskursene " +"aldri fokuserer pÃ¥ <quote>fremme</quote>-delen av grunnloven, sÃ¥ har det at " +"den er forskjellig fra resten alltid slÃ¥tt meg som viktig. Som du vet sier " +"grunnloven fÃ¸lgende," + +#. type: Content of: <book><part><chapter><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 myndighet til Ã¥ fremme utviklingen av vitenskapen…ved " +"Ã¥ sikre forfattere, i et begrenset tidsrom, … eksklusive rettigheter " +"til sine … skrifter. …" + +#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> or " +"<quote>declare War.</quote> But here, the <quote>something</quote> is " +"something quite specific—to <quote>promote … Progress</" +"quote>—through means that are also specific— by <quote>securing</" +"quote> <quote>exclusive Rights</quote> (i.e., copyrights) <quote>for limited " +"Times.</quote>" +msgstr "" +"Som jeg har beskrevet er denne bestemmelsen unik innenfor bestemmelsene som " +"deler ut myndighet i artikkel I, seksjon 8, av vÃ¥r grunnlov. Alle de andre " +"bestemmelsene deler ut myndighet til kongressen ved Ã¥ ganske enkelt si at " +"kongressen har myndighet til Ã¥ gjÃ¸re noe—for eksempel til Ã¥ regulere " +"<quote>handel mellom flere stater</quote> eller <quote>erklÃ¦re krig</" +"quote>. Men her er dette <quote>noe</quote> ganske spesifikt—Ã¥ " +"<quote>fremme utviklingen</quote>—gjennom virkemidler som ogsÃ¥ er " +"ganske spesifikke—ved Ã¥ <quote>sikre</quote> <quote>eksklusive " +"rettigheter</quote> (det vil si opphavsretten) <quote>i et begrenset " +"tidsrom</quote>." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Jaszi, Peter" +msgstr "Jaszi, Peter" + +#. PAGE BREAK 223 +#. type: Content of: <book><part><chapter><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 <quote>limited</quote> will have no practical " +"effect. If every time a copyright is about to expire, Congress has the power " +"to extend its term, then Congress can achieve what the Constitution plainly " +"forbids—perpetual terms <quote>on the installment plan,</quote> as " +"Professor Peter Jaszi so nicely put it." +msgstr "" +"I de siste fÃ¸rti Ã¥rene har kongressen lagt seg pÃ¥ en praksis med Ã¥ utvide " +"eksisterende vernetid i opphavsretten. Det som ga meg hodebry var at hvis " +"kongressen hadde myndighet til Ã¥ utvide eksisterende vernetid, da ville " +"grunnlovens krav om at vernetiden skulle vÃ¦re <quote>begrenset</quote> ikke " +"ha noen praktisk effekt. Hvis kongressen hadde myndighet til Ã¥ utvide " +"vernetiden, hver gang vernetiden holder pÃ¥ Ã¥ gÃ¥ ut, sÃ¥ kunne kongressen " +"oppnÃ¥ det grunnloven tydelig forbyr—evigvarende vernetid <quote>pÃ¥ " +"avbetaling</quote> som professor Peter Jaszi sÃ¥ pent formulerte det." + +#. type: Content of: <book><part><chapter><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 akademiker var min fÃ¸rste reaksjon Ã¥ vende meg til bÃ¸kene. Jeg husker " +"at jeg satt sent pÃ¥ kontoret og sÃ¸kte gjennom nett-databaser etter enhver " +"seriÃ¸s vurdering av spÃ¸rsmÃ¥let. Ingen hadde noen gang utfordret kongressens " +"praksis med Ã¥ utvide eksisterende verneperioder. Den feilen kan vÃ¦re deler " +"av Ã¥rsaken til at kongressen virket sÃ¥ ubekymret i sin praksis. Det, og det " +"faktum at denne praksisen hadde blitt sÃ¥ lukrativ for konressen. Kongressen " +"vet at opphavsrettseiere vil vÃ¦re villig til Ã¥ betale mye penger for Ã¥ se " +"utvidelser i vernetiden for opphavsretten. Og dermed er kongressen ganske " +"fornÃ¸yd med Ã¥ fortsatt kunne fÃ¥ disse lettjente pengene." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For this is the core of the corruption in our present system of government. " +"<quote>Corruption</quote> not in the sense that representatives are bribed. " +"Rather, <quote>corruption</quote> in the sense that the system induces the " +"beneficiaries of Congress's acts to raise and give money to Congress to " +"induce it to act. There's only so much time; there's only so much Congress " +"can do. Why not limit its actions to those things it must do—and those " +"things that pay? Extending copyright terms pays." +msgstr "" +"For dette er kjernen i korrupsjonen av vÃ¥rt nÃ¥vÃ¦rende styringssystem. " +"<quote>Korrupsjon</quote> ikke i den forstand at representanter blir " +"bestukket. I stedet, <quote>korrupsjon</quote> pÃ¥ den mÃ¥ten at systemet " +"legger opp til at de som har fordeler av det som gjÃ¸res i kongressens skal " +"skaffe og gi penger til kongressen for Ã¥ legge opp til at bestemte ting blir " +"gjort. Det er begresnset med tid, og det er sÃ¥ mye kongressen kan gjÃ¸re. " +"Hvorfor ikke begrense det den gjÃ¸r til de tingene den mÃ¥ gjÃ¸re— og de " +"tingene som betaler seg? Ã utvide vernetiden i opphavsretten betaler seg." + +#. type: Content of: <book><part><chapter><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 Ã¥penbart for deg, vurder fÃ¸lgende: La oss si at du er en av " +"de heldige fÃ¥ opphavsrettseierne hvis opphavsrett fortsetter Ã¥ skaffe penger " +"ett hundre Ã¥r etter at den ble tildelt. Boet etter Robert Frost er et godt " +"eksempel. Frost dÃ¸de i 1963. Hans poesi forsetter Ã¥ vÃ¦rÃ¦ svÃ¦rt verdifull. " +"Dermed har boet etter Robert Frost store fordeler av en utvidelse av " +"opphavsretten, siden ingen utgiver ville betale boet penger hvis diktene " +"Frost skrev kunne gis gratis ut av enhver." + +#. type: Content of: <book><part><chapter><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 "" +"Forestill deg sÃ¥ at boet etter Robert Frost tjener $100 000 hvert Ã¥r " +"fra tre av diktene til Frist. Og forestill deg sÃ¥ at disse diktene snart " +"faller i det fri. Du sitter i styret for boet etter Robert Frost. Din " +"Ã¸konomirÃ¥dgiver kommer til styremÃ¸tet med en veldig dyster rapport:" + +#. PAGE BREAK 224 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Next year,</quote> the adviser announces, <quote>our copyrights in " +"works A, B, and C will expire. That means that after next year, we will no " +"longer be receiving the annual royalty check of $100,000 from the publishers " +"of those works.</quote>" +msgstr "" +"<quote>Neste Ã¥r</quote>, kunngjÃ¸r rÃ¥dgiveren, <quote>vil verkene A, B og C " +"falle i det fri. Det betyr at etter neste Ã¥r vil vi ikke lenger motta den " +"Ã¥rlige vederlags-sjekken pÃ¥ $100 000 fra utgiverne av disse verkene.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>There's a proposal in Congress, however,</quote> she continues, " +"<quote>that could change this. A few congressmen are floating a bill to " +"extend the terms of copyright by twenty years. That bill would be " +"extraordinarily valuable to us. So we should hope this bill passes.</quote>" +msgstr "" +"<quote>Men det er et forslag i kongressen</quote>, forsetter hun, <quote>som " +"kan endre dette. Noen kongressrepresentanter har lansert et lovforslag om Ã¥ " +"utvide vernetiden i opphavsretten med tjue Ã¥r. Det forslaget vil vÃ¦re " +"ekstremt verdifullt for oss. SÃ¥ vi bÃ¸r hÃ¥pe at den loven blir vedtatt.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing " +"something about it?</quote>" +msgstr "" +"<quote>HÃ¥pe?</quote>, sier en kollega i styret. <quote>Kan vi ikke gjÃ¸re " +"mer enn det?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could " +"contribute to the campaigns of a number of representatives to try to assure " +"that they support the bill.</quote>" +msgstr "" +"<quote>Vel, jo, selvfÃ¸lgelig</quote>, svarer rÃ¥dgiveren. <quote>Vi kan " +"bidra til valgkampanjene til et antall representanter for Ã¥ forsÃ¸ke Ã¥ sikre " +"at de vil stÃ¸tte lovforslaget.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"You hate politics. You hate contributing to campaigns. So you want to know " +"whether this disgusting practice is worth it. <quote>How much would we get " +"if this extension were passed?</quote> you ask the adviser. <quote>How much " +"is it worth?</quote>" +msgstr "" +"Du hater politikk. Du hater Ã¥ bidra til valgkampanjer. SÃ¥ du Ã¸nsker Ã¥ vite " +"hvorvidt denne motbydelige praksisen er verdt det. <quote>Hvor mye vil vi " +"fÃ¥ hvis denne utvidelsen blir vedtatt?</quote> spÃ¸r du rÃ¥dgiveren. " +"<quote>Hvor mye er det verdt?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Well,</quote> the adviser says, <quote>if you're confident that you " +"will continue to get at least $100,000 a year from these copyrights, and you " +"use the `discount rate' that we use to evaluate estate investments (6 " +"percent), then this law would be worth $1,146,000 to the estate.</quote>" +msgstr "" +"<quote>Vel</quote>, sier rÃ¥dgiveren og fortsetter. <quote>Hvis du er sikker " +"pÃ¥ at du vil fortsette Ã¥ fÃ¥ minst $100 000 i Ã¥ret for disse " +"opphavsrettene, og du bruker samme <quote>diskonteringssats</quote> som vi " +"bruker for Ã¥ vurdere eiendomsinvesteringer (6 prosent), sÃ¥ vil denne loven " +"vÃ¦re verdt $1 146 000 til boet.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"You're a bit shocked by the number, but you quickly come to the correct " +"conclusion:" +msgstr "" +"Du blir litt sjokkert over tallet, men du kommer raskt frem til riktig " +"konklusjon:" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>So you're saying it would be worth it for us to pay more than " +"$1,000,000 in campaign contributions if we were confident those " +"contributions would assure that the bill was passed?</quote>" +msgstr "" +"<quote>SÃ¥ du sier at det vil vÃ¦re verdt det for oss Ã¥ betale mer enn " +"$1 000 000 i valgkampbidrag hvis vi var trygge pÃ¥ at disse " +"bidragene ville sikre at loven ble vedtatt?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Absolutely,</quote> the adviser responds. <quote>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.</quote>" +msgstr "" +"<quote>Aboslutt</quote>, svarer rÃ¥dgiveren. <quote>Det er verdt det hvis du " +"bidrar med opp til dagens verdi av inntektene du forventer fra disse " +"opphavsrettene. Hvilket for oss betyr over $1 000 000.</quote>" + +#. PAGE BREAK 225 +#. type: Content of: <book><part><chapter><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 tar raskt poenget—du som medlem av styret og, regner jeg med, du " +"som leser. Hver gang opphavsretten holder pÃ¥ Ã¥ lÃ¸pe ut, har hver eneste " +"mottaker i samme posisjon som boet etter Robert Frost det samme valget: Hvis " +"de bidrar til Ã¥ fÃ¥ en lov vedtatt som utvider opphavsretten sÃ¥ vil de ha " +"stor nytte av den utvidelsen. SÃ¥ hver eneste gang opphavsretten er i ferd " +"med Ã¥ lÃ¸pe ut, sÃ¥ er det en massiv lobbyering for Ã¥ fÃ¥ " +"opphavsrettsvernetiden utvidet." + +#. type: Content of: <book><part><chapter><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 har vi en kongressbasert evighetsmaskin: SÃ¥ lenge lovgiving kan " +"kjÃ¸pes (riktignok indirekte), sÃ¥ vil det vÃ¦re alle insentiver i verden for Ã¥ " +"kjÃ¸pe ytterligere utvidelser av opphavsretten." + +#. f3. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " +"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> " +"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22." +msgstr "" +"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " +"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years</quote>, " +"<citetitle>Chicago Tribune</citetitle>, 17. oktober 1998, 22." + +#. f4. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age,</" +"quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #49</" +"ulink>." +msgstr "" +"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" +"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#49</ulink>." + +#. f5. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> " +"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>." +msgstr "" +"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars</quote>, " +"<citetitle>Congressional Quarterly This Week</citetitle>, 8. august 1990, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #50</" +"ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In the lobbying that led to the passage of the Sonny Bono Copyright Term " +"Extension Act, this <quote>theory</quote> about incentives was proved real. " +"Ten of the thirteen original sponsors of the act in the House received the " +"maximum contribution from Disney's political action committee; in the " +"Senate, eight of the twelve sponsors received contributions.<placeholder " +"type=\"footnote\" id=\"0\"/> The RIAA and the MPAA are estimated to have " +"spent over $1.5 million lobbying in the 1998 election cycle. They paid out " +"more than $200,000 in campaign contributions.<placeholder type=\"footnote\" " +"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to " +"reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" +"I lobbyeringen som fÃ¸rte til at Sonny Bono utvidelse av opphavsrettsvernetid-" +"loven ble vedtatt ble denne <quote>teorien</quote> om insentiver bevist Ã¥ " +"vÃ¦re riktig. Ti av de tretten originale sponsorene til loven i overhuset " +"mottok maksimalt bidrag fra Disneys politiske handlingskomite. I senatet " +"mottok Ã¥tte av de tolv sponsorene bidrag.<placeholder type=\"footnote\" id=" +"\"0\"/> RIAA og MPAA er estimert Ã¥ ha brukt mer enn $1,5 lobby-millioner i " +"1998-valgperioden. De betalte ut mer enn $200 000 i kampanjebidrag." +"<placeholder type=\"footnote\" id=\"1\"/> Disney er estimert Ã¥ ha bidratt " +"med mer enn $800 000 i gjenvelgelseskampaner den perioden.<placeholder " +"type=\"footnote\" id=\"2\"/>" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>Constitutional law</emphasis> is not oblivious to " +"the obvious. Or at least, it need not be. So when I was considering Eldred's " +"complaint, this reality about the never-ending incentives to increase the " +"copyright term was central to my thinking. In my view, a pragmatic court " +"committed to interpreting and applying the Constitution of our framers would " +"see that if Congress has the power to extend existing terms, then there " +"would be no effective constitutional requirement that terms be " +"<quote>limited.</quote> If they could extend it once, they would extend it " +"again and again and again." +msgstr "" +"konstitusjonelle loven er ikke oblivious til det Ã¥penbare. eller i det " +"minste, det trenger ikke vÃ¦re. sÃ¥ nÃ¥r jeg var vurderer eldred's klage, denne " +"virkeligheten om never-ending insentiver til Ã¥ Ã¸ke opphavsrett begrepet var " +"sentral til min tenkning. i min mening, vil en pragmatisk domstol forpliktet " +"til Ã¥ tolke og bruke Grunnloven av vÃ¥re underskrev se at hvis Kongressen har " +"makt til Ã¥ utvide eksisterende vilkÃ¥r, og det vil vÃ¦re ingen effektiv " +"konstitusjonelle krav at vilkÃ¥rene vÃ¦re \"begrenset.\" Hvis de kunne " +"forlenge det en gang, de ville utvide den igjen og igjen og igjen." + +#. PAGE BREAK 226 +#. type: Content of: <book><part><chapter><para> +msgid "" +"It was also my judgment that <emphasis>this</emphasis> Supreme Court would " +"not allow Congress to extend existing terms. As anyone close to the Supreme " +"Court's work knows, this Court has increasingly restricted the power of " +"Congress when it has viewed Congress's actions as exceeding the power " +"granted to it by the Constitution. Among constitutional scholars, the most " +"famous example of this trend was the Supreme Court's decision in 1995 to " +"strike down a law that banned the possession of guns near schools." +msgstr "" +"Det var ogsÃ¥ min vurdering at <emphasis>denne</emphasis> hÃ¸yesteretten ikke " +"ville tillate kongressen Ã¥ utvide den eksisterende vernetiden. Som alle som " +"kjenner hÃ¸yestretts arbeid vet, har denne retten i stadig stÃ¸rre grad " +"begrenset myndigheten til kongressen nÃ¥r den har vurdert at kongressens " +"vedtak gÃ¥r ut over myndigheten tildelt dem i grunnloven. Blant " +"grunnlovsforskere var det mest berÃ¸mte eksemplet pÃ¥ denne trenden " +"avgjÃ¸relsen fra hÃ¸yesterett i 1995 om Ã¥ slÃ¥ ned pÃ¥ en lov som forbÃ¸d " +"besittelse av vÃ¥pen nÃ¦r skoler." + +#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> (aka <quote>interstate " +"commerce</quote>), the Supreme Court had interpreted that power to include " +"the power to regulate any activity that merely affected interstate commerce." +msgstr "" +"Siden 1937 hadde hÃ¸yesterett tolket kongressens tildelte myndighet svÃ¦rt " +"bredt. SÃ¥ mens grunnloven gir kongressen myndighet til Ã¥ kun regulere " +"<quote>handel mellom stater</quote> (aka <quote>mellomstatlig handel</" +"quote>), sÃ¥ hadde hÃ¸yesterett tolket den myndigheten til Ã¥ inneholde " +"myndigheten til Ã¥ regulere enhver aktivitet som kun berÃ¸rer mellomstatlig " +"handel." + +#. type: Content of: <book><part><chapter><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 "" +"Etter hvert som Ã¸konomien vokste, betÃ¸d denne standarden i stadig stÃ¸rre " +"grad at det ikke var noen grenser for kongressens myndighet til Ã¥ regulere, " +"siden omtrent hver eneste aktivitet, nÃ¥r en vurderte det pÃ¥ nasjonal skala, " +"pÃ¥virker mellomstatlig handel. En grunnlov utformet for Ã¥ begrense " +"kongressens myndighet ble istedet tolket til Ã¥ ikke ha noen grense." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Rehnquist, William H." +msgstr "Rehnquist, William H." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Supreme Court, under Chief Justice Rehnquist's command, changed that in " +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The " +"government had argued that possessing guns near schools affected interstate " +"commerce. Guns near schools increase crime, crime lowers property values, " +"and so on. In the oral argument, the Chief Justice asked the government " +"whether there was any activity that would not affect interstate commerce " +"under the reasoning the government advanced. The government said there was " +"not; if Congress says an activity affects interstate commerce, then that " +"activity affects interstate commerce. The Supreme Court, the government " +"said, was not in the position to second-guess Congress." +msgstr "" +"HÃ¸yesterett endret, under ledelse av hÃ¸yesterettsjustitiarius " +"Rehnquist, det i <citetitle>United States</citetitle> mot " +"<citetitle>Lopez</citetitle>. Staten hadde argumentert med at Ã¥ bÃ¦re " +"vÃ¥pen nÃ¦r skoler pÃ¥virket mellomstatlig handel. VÃ¥pen nÃ¦r skoler Ã¸ker " +"kriminalitet, kriminalitet reduserte eiendomsverdier, og sÃ¥ videre. I " +"den muntlige argumentasjonen spurte hÃ¸yesterettsjustitiariusen staten " +"om det fantes noen aktivitet som ikke ville pÃ¥virke mellomstatlig " +"handel i henhold til resoneringen som staten fremfÃ¸rte. Staten sa at " +"det fantes ikke. Hvis kongressen sa at en aktivitet pÃ¥virket " +"mellomstatlig handel, sÃ¥ pÃ¥virket den aktiviteten mellomstatlig " +"handel. Staten sa at HÃ¸yesterett ikke var i posisjon til Ã¥ etterprÃ¸ve " +"kongressen." + +#. f6. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U." +"S. 549, 564 (1995)." +msgstr "" +"<citetitle>United States</citetitle> mot <citetitle>Lopez</citetitle>, 514 U." +"S. 549, 564 (1995)." + +#. f7. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 " +"U.S. 598 (2000)." +msgstr "" +"<citetitle>United States</citetitle> mot <citetitle>Morrison</citetitle>, " +"529 U.S. 598 (2000)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>We pause to consider the implications of the government's arguments,</" +"quote> the Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If " +"anything Congress says is interstate commerce must therefore be considered " +"interstate commerce, then there would be no limit to Congress's power. The " +"decision in <citetitle>Lopez</citetitle> was reaffirmed five years later in " +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>." +"<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. f8. +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"If it is a principle about enumerated powers, then the principle carries " +"from one enumerated power to another. The animating point in the context of " +"the Commerce Clause was that the interpretation offered by the government " +"would allow the government unending power to regulate commerce—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 <quote>limited times</quote> " +"notwithstanding." +msgstr "" +"Hvis det er et prinsipp om nummerert kreftene, deretter bÃ¦rer 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 Ã¥ regulere handel—begrenset til " +"utdanningen handel til tross for. det samme punktet er sant i forbindelse " +"med opphavsrett-setningsdel. her ogsÃ¥, regjeringens tolkning ville tillate " +"regjeringen unending makt til Ã¥ regulere opphavsrett—begrenset til " +"\"begrenset ganger\" til tross for." + +#. PAGE BREAK 227 +#. type: Content of: <book><part><chapter><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 " +"<quote>stopping point</quote> to Congress's power over terms, though the " +"Constitution expressly states that there is such a limit. Thus, the same " +"principle applied to the power to grant copyrights should entail that " +"Congress is not allowed to extend the term of existing copyrights." +msgstr "" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis>If</emphasis>, that is, the principle announced in " +"<citetitle>Lopez</citetitle> stood for a principle. Many believed the " +"decision in <citetitle>Lopez</citetitle> stood for politics—a " +"conservative Supreme Court, which believed in states' rights, using its " +"power over Congress to advance its own personal political preferences. But I " +"rejected that view of the Supreme Court's decision. Indeed, shortly after " +"the decision, I wrote an article demonstrating the <quote>fidelity</quote> " +"in such an interpretation of the Constitution. The idea that the Supreme " +"Court decides cases based upon its politics struck me as extraordinarily " +"boring. I was not going to devote my life to teaching constitutional law if " +"these nine Justices were going to be petty politicians." +msgstr "" +"Det vil si <emphasis>hvis</emphasis> prinsippet annonsert i " +"<citetitle>Lopez</citetitle> sto for et prinsipp. Mange mente " +"avgjÃ¸relsen i <citetitle>Lopez</citetitle> sto for politikk—en " +"konservativ hÃ¸yesterett, som trodde pÃ¥ statenes rettigheter, brukte " +"sin myndighet over kongressen til Ã¥ fremme sine egne personlige " +"politiske preferanser. Men jeg avviste det synet pÃ¥ avgjÃ¸relsen fra " +"hÃ¸yesterett. Jeg hadde til og med skrevet en artikkel like etter " +"avgjÃ¸relsen som demonstrerte hvor <quote>tro mot opphavet</quote> en " +"slik tolking var mot Grunnloven. IdÃ©en om at hÃ¸yesterett avgjorde " +"saker basert pÃ¥ sin politiske overbevisning slo meg som Ã¥ usedvanlig " +"kjedelig. Jeg kom ikke til Ã¥ dedikere mitt liv til Ã¥ lÃ¦re bort " +"grunnlovsjus hvis disse ni dommerne kun skulle vÃ¦re smÃ¥lige " +"politikere." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>Now let's pause</emphasis> for a moment to make sure " +"we understand what the argument in <citetitle>Eldred</citetitle> was not " +"about. By insisting on the Constitution's limits to copyright, obviously " +"Eldred was not endorsing piracy. Indeed, in an obvious sense, he was " +"fighting a kind of piracy—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 "" +"NÃ¥ la oss pause for et Ã¸yeblikk Ã¥ sÃ¸rge for at vi forstÃ¥r hva argumentet i " +"eldred ikke var om. ved Ã¥ insistere pÃ¥ grunnlovens grenser for opphavsrett, " +"var Ã¥penbart eldred ikke stÃ¸ttet piratkopiering. faktisk i en Ã¥penbar " +"forstand kjemper han en form for piratkopiering—piratkopiering av den " +"offentlige sfÃ¦ren. da robert frost skrev hans arbeid og nÃ¥r walt disney " +"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks Ã¥r. pÃ¥ " +"grunn av midlertidige endringer, hadde frost og disney allerede likte " +"monopol sytti-fem Ã¥r for deres arbeid. de hadde fÃ¥tt fordelen av handel som " +"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-" +"seks Ã¥r, de opprettet nytt arbeid. men nÃ¥ disse enhetene bruker deres " +"makt—uttrykt gjennom strÃ¸mmen av lobbyister penger—for Ã¥ fÃ¥ en " +"annen tyve Ã¥rs dollop av monopol. at tyve Ã¥rs Dollop dollop ville bli Hentet " +"fra public domain. Eric eldred var kjemper en piratkopiering som pÃ¥virker " +"oss alle." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Nashville Songwriters Association" +msgstr "Nashville sangforfatterforening" + +#. f9. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Brief of the Nashville Songwriters Association, <citetitle>Eldred</" +"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " +"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #51</ulink>." +msgstr "" +"Orientering fra Nashvillesangforfatterforening, <citetitle>Eldred</" +"citetitle> mot <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " +"01-618), n.10, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #51</ulink>." + +#. type: Content of: <book><part><chapter><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 <quote>legal piracy.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> But it is not piracy when the law allows it; and in " +"our constitutional system, our law requires it. Some may not like the " +"Constitution's requirements, but that doesn't make the Constitution a " +"pirate's charter." +msgstr "" +"Noen folk ser pÃ¥ allemannseiet med forakt. I notatet de sendt til " +"hÃ¸yesterett, skrev Nashville sangforfatterforening at allemannseiet ikke var " +"noe annet enn <quote>lovlig piratvirksomhet</quote>.<placeholder type=" +"\"footnote\" id=\"0\"/> Men det er ikke piratvirksomhet nÃ¥r loven tillater " +"det. Og i vÃ¥rt konstituelle system krever loven dette. Noen liker kanskje " +"ikke kravene i grunnloven vÃ¥r, men det gjÃ¸r ikke grunnloven til en " +"piratkodeks." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"As we've seen, our constitutional system requires limits on copyright as a " +"way to assure that copyright holders do not too heavily influence the " +"development and distribution of our culture. Yet, as Eric Eldred discovered, " +"we have set up a system that assures that copyright terms will be repeatedly " +"extended, and extended, and extended. We have created the perfect storm for " +"the public domain. Copyrights have not expired, and will not expire, so long " +"as Congress is free to be bought to extend them again." +msgstr "" +"som vi har sett, krever systemet vÃ¥rt konstitusjonelle begrensninger pÃ¥ " +"opphavsrett som en mÃ¥te Ã¥ sikre at innehaver av opphavsrett ikke for sterkt " +"pÃ¥virke utviklingen og distribueringen av vÃ¥r kultur. ennÃ¥, som eric eldred " +"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkÃ¥rene vil " +"vÃ¦re gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den " +"perfekte stormen for public domain. opphavsrett er utlÃ¸pt ikke, og utlÃ¸per " +"ikke, sÃ¥ lenge congress er gratis kjÃ¸pes for Ã¥ utvide dem igjen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>It is valuable</emphasis> copyrights that are " +"responsible for terms being extended. Mickey Mouse and <quote>Rhapsody in " +"Blue.</quote> These works are too valuable for copyright owners to ignore. " +"But the real harm to our society from copyright extensions is not that " +"Mickey Mouse remains Disney's. Forget Mickey Mouse. Forget Robert Frost. " +"Forget all the works from the 1920s and 1930s that have continuing " +"commercial value. The real harm of term extension comes not from these " +"famous works. The real harm is to the works that are not famous, not " +"commercially exploited, and no longer available as a result." +msgstr "" +"<emphasis role='strong'>Det er verdifull</emphasis> opphavsrett som er " +"ansvarlig for at verneperioden blir utvidet. Mikke Mus og <quote>Rhapsody " +"in Blue</quote>. Disse verkene er for verdifulle til at opphavsrettseierene " +"kan ignorere dem. Men den egentlige skaden fra opphavsrettsutvidelser for " +"vÃ¥rt samfunn er ikke at Mikke Mus forblir Disneys. Glem Mikke Mus. Glem " +"Robert Frost. Glem alle verk fra tjue-tallet og tredve-tallet som fortsatt " +"har kommersiell verdi. Den egentlige skaden fra utvidelse av vernetiden " +"kommer ikke fra disse berÃ¸mte verkene. Den egenelige skaden er fra de " +"verkene som ikke er berÃ¸mte, ikke kommersielt utnytttet, og dermed heller " +"ikke lenger tilgjengelig." + +#. f10. +#. type: Content of: <book><part><chapter><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, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #52</ulink>." +msgstr "" +"Tallet 2 prosent er en ektrapolering fra en undersÃ¸kelse gjort av " +"kongressens forskningstjeneste, med bakgrunn i de estimerte " +"fornyelsespennene. Se Brief of Petitioners, <citetitle>Eldred</citetitle> " +"mot <citetitle>Ashcroft</citetitle>, 7, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #52</ulink>." + +#. type: Content of: <book><part><chapter><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 "" +"Hvis du ser pÃ¥ arbeider laget i de fÃ¸rste tjue Ã¥rene (1923 til 1942) " +"pÃ¥virket av Sonny Bono utvidelse av opphavsrettsvernetid-loven, sÃ¥ har 2 " +"prosent av disse verkene fortsatt kommersielle verdi. Det var " +"opphavsrettsinnehaverne for disse 2 prosentene som fikk igjennom CTEA. Men " +"loven og dens effekt var ikke begresnet til disse 2 prosentene. Loven " +"utvidet vernetiden til opphavsretten generelt.<placeholder type=\"footnote\" " +"id=\"0\"/>" + +#. PAGE BREAK 229 +#. type: Content of: <book><part><chapter><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 om konsekvensen av denne utvidelsen—praktisk som en " +"forretningsmann, ikke som en advokat ivrig etter mer juridisk arbeide. I " +"1930 ble 10047 bÃ¸ker publisert. I 2000 var 174 av disse bÃ¸kene fortsatt " +"tilgjengelig fra forlaget. La oss anta at du var Brewster Kahle, og du " +"Ã¸nsket Ã¥ gjÃ¸re de resterende 9873 tilgjengelig for verden i ditt iArkiv-" +"prosjekt. Hva ville du mÃ¥tte gjÃ¸re?" + +#. type: Content of: <book><part><chapter><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, fÃ¸rst mÃ¥ du finne ut hvilke av disse 9873 bÃ¸kene som fortsatt er vernet " +"av opphavsretten. Det krever at du gÃ¥r til biblioteket (den informasjonen " +"er ikke tilgjengelig pÃ¥ nettet) og blar igjennom haller med bÃ¸ker mens du " +"kryss-sjekker titler og forfatterne av disse 9873 bÃ¸kene med " +"opphavsrettsregistreringene og fornyingsmeldingene for verker publisert i " +"1930. Dette vil gi en liste med bÃ¸ker som fortsatt er vernet av " +"opphavsretten." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Then for the books still under copyright, you would need to locate the " +"current copyright owners. How would you do that?" +msgstr "" +"SÃ¥ for bÃ¸kerne som fortsatt er vernet av opphavsretten mÃ¥ en finne de " +"nÃ¥vÃ¦rende opphavsrettseiere. Hvordan vil du gjÃ¸re det?" + +#. type: Content of: <book><part><chapter><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 folk tenker at det mÃ¥ vÃ¦re en liste over disse opphavsrettseierne " +"en eller annen plass. Praktiske folk tenker slik. Hvordan kan det vÃ¦re " +"tusener pÃ¥ tusener av monopoler delt ut av myndighetene uten at det i hvert " +"fall finnes en liste?" + +#. type: Content of: <book><part><chapter><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 vÃ¦re et navn fra 1930, og deretter i 1959, " +"for personen som registrerte opphavsretten. Men bare tenkt praktisk rundt " +"hvor utrolig vanskelig det vil vÃ¦re Ã¥ spore opp tusenvis av slike " +"arkivoppfÃ¸ringer—spesielt siden personen som er registrert ikke " +"nÃ¸dvendigvis er den nÃ¥vÃ¦rende eier. Og vi snakker kun om 1930!" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>But there isn't a list of who owns property generally,</quote> the " +"apologists for the system respond. <quote>Why should there be a list of " +"copyright owners?</quote>" +msgstr "" +"<quote>Men det er ikke generelt en liste over hvem som eier eiendom</quote> " +"svarer forsvarerne av systemet. <quote>Hvorfor skulle det finnes en liste " +"over opphavsrettseiere?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty " +"of lists of who owns what property. Think about deeds on houses, or titles " +"to cars. And where there isn't a list, the code of real space is pretty " +"good at suggesting who the owner of a bit of property is. (A swing set in " +"your backyard is probably yours.) So formally or informally, we have a " +"pretty good way to know who owns what tangible property." +msgstr "" +"Vel, egentlig, nÃ¥r du tenker pÃ¥ det, sÃ¥ <emphasis>finnes</emphasis> det " +"mange lister over hvem som eier hvilken eiendom. Tenk pÃ¥ skjÃ¸ter for hus, " +"eller hvem som eier biler. Og der det ikke finnes en liste, sÃ¥ er koden for " +"den virkelige verden ganske god til Ã¥ foreslÃ¥ hvem som eier en bit eiendom " +"(en huske plassert i bakhagen din er sannsynlig vis din) SÃ¥ formelt eller " +"uformelt har vi en ganske god mÃ¥te Ã¥ vite hvem som eier hvilken hÃ¥ndgripelig " +"eiendom." + +#. PAGE BREAK 230 +#. type: Content of: <book><part><chapter><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 "" +"Dermed: Du vandrer ned en gate og ser et hus. Du kan vite hvem som eier " +"huset ved Ã¥ slÃ¥ opp i kommunehusets register. Hvis du ser en bil, sÃ¥ er det " +"normal et bilskilt som vil knytte eieren til bilen. Hvis du ser en haug med " +"barneleker som ligger pÃ¥ plenen forran et hus, sÃ¥ er det rimelig enkelt Ã¥ " +"finne ut hvem som eier lekene. Og hvis du tilfeldigvis ser en baseball som " +"ligger i grÃ¸fta pÃ¥ siden av veien, sÃ¥ se deg rundt et Ã¸yeblikk etter unger " +"som spiller ball. Hvis du ikke ser noen barn, sÃ¥ ok: her er det en bit " +"eiedom hvis eier vi ikke enkelt kan lokalisere. Dette er unntaket som " +"bekrefter regelen: at vi normalt vet veldig godt hvem som eier hvilken " +"eiendom." + +#. type: Content of: <book><part><chapter><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 "" +"Sammenlig denne historien med immateriell eiendom. Du gÃ¥r inn i et " +"bibliotek. Biblioteket eier bÃ¸kene. Men hvem eier opphavsretten? Som jeg " +"allerede har beskrevet, sÃ¥ finnes det ingen liste med opphavsrettseiere. " +"Det er navnene til forfattere, naturligvis, men deres opphavsrett kan ha " +"blitt overfÃ¸rt, eller blitt arvet til et bo lik bestemors gamle smykker. " +"For Ã¥ vite hvem som eier hva, sÃ¥ mÃ¥ du hyre en privatdetektiv. Det en " +"sitter igjen med er at eieren kan ikke enkelt finnes. Og med et regime som " +"vÃ¥rt, der det er en forbrytelse Ã¥ bruke slik eiendom uten tillatelse fra " +"eiendomseieren, sÃ¥ vil eiendommen ikke bli brukt." + +#. type: Content of: <book><part><chapter><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 "" +"Konsekvensen men gamle bÃ¸ker er at de ikke vil bli digitalisert, og dermed " +"ganske enkelt vil rotne bort pÃ¥ hyller. Men konsekvensen for andre kreative " +"arbeider er mye mer alvorlig." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Agee, Michael" +msgstr "Agee, Michael" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Hal Roach Studios" +msgstr "Hal Roach Studios" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Laurel and Hardy Films" +msgstr "Helan og Halvan-filmene" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Lucky Dog, The" +msgstr "heldig hunden, den" + +#. f11. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See David G. Savage, <quote>High Court Scene of Showdown on Copyright Law,</" +"quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David " +"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " +"Hears Arguments Today on Striking Down Copyright Extension,</quote> " +"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002." +msgstr "" +"Se David G. Savage, <quote>High Court Scene of Showdown on Copyright Law</" +"quote>, <citetitle>Los Angeles Times</citetitle>, 6. oktober 2002, David " +"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " +"Hears Arguments Today on Striking Down Copyright Extension</quote>, " +"<citetitle>Orlando Sentinel Tribune</citetitle>, 9. oktober 2002." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Consider the story of Michael Agee, chairman of Hal Roach Studios, which " +"owns the copyrights for the Laurel and Hardy films. Agee is a direct " +"beneficiary of the Bono Act. The Laurel and Hardy films were made between " +"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</" +"citetitle>, is currently out of copyright. But for the CTEA, films made " +"after 1923 would have begun entering the public domain. Because Agee " +"controls the exclusive rights for these popular films, he makes a great deal " +"of money. According to one estimate, <quote>Roach has sold about 60,000 " +"videocassettes and 50,000 DVDs of the duo's silent films.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Se pÃ¥ historien til Michael Agee, styreleder ved Hal Roach Studios, som eier " +"opphavsrettene for Helan og Halvan-filmene. Agee har dermed direkte fordel " +"av Bono-loven. Helan og Halvan-filmene ble laget mellom 1921 og 1951. Kun " +"en av disse filmene, <citetitle>The Lucky Dog</citetitle>, har sÃ¥ langt falt " +"i det fri. Men hadde det ikke vÃ¦rt for CTEA, ville filmer laget etter 1923 " +"begynt Ã¥ falle i det fri. Da Agee kontrollerer de eksklusive rettighetene " +"for disse populÃ¦re filmene sÃ¥ tjener an en god del penger. I fÃ¸lge et " +"estimat, <quote>har Roach solgt omtrent 60 000 videokassetter og " +"50 000 DVDer av filmene til denne stumfilmduoen.</quote><placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 "" +"Likevel gikk Agee mot CTEA. Hans begrunnelse en sjelden dyd i denne " +"kulturen: uselviskhet. Han argumenterte i sitt innlegg foran hÃ¸yesteretten " +"at Sonny Bono utvidelse av opphavsrettsvernetid-loven vil, hvis den ble " +"stÃ¥ende, Ã¸delegge en hel generasjon med amerikansk film." + +#. PAGE BREAK 231 +#. type: Content of: <book><part><chapter><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 "" +"Argumentet hans er enkelt. En liten brÃ¸kdel av disse verkene har vedvarende " +"kommersiell verdi. Resten—i den grad de overlever i det hele " +"tatt—ligger i et hvelv og samler stÃ¸v. Det kan vÃ¦re vÃ¦re at at noen " +"av disse verkene som nÃ¥ ikke er kommersielt verdifulle vil bli vurdert Ã¥ " +"vÃ¦re verdifulle av eierne av hvelvene. For at det skal skje, mÃ¥ den " +"kommersielle gevinsten fra verkene overstige kostnaden med Ã¥ gjÃ¸re verket " +"tilgjengelig for distribusjon." + +#. f12. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " +"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</" +"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus " +"Curiae filed on behalf of Petitioners by the Internet Archive, " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>." +msgstr "" + +#. type: Content of: <book><part><chapter><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 8 mm film.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Vi kan ikke vite gevinsten, men vi vet mye om konstnadene. For det meste av " +"filmhistorien har kostnaden med Ã¥ restaurere film vÃ¦rt veldig hÃ¸y. Digital " +"teknologi har redusert disse konstnadene betydelig. Mens det i 1993 kostet " +"mer enn $10 000 for Ã¥ restaurere en nittiminutters sort-hvit-film, sÃ¥ " +"kan det nÃ¥ koste sÃ¥ lite som $100 a digitalisere en times 8-millimeterfilm." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 "" +"Restaureringsteknologien er ikke den eneste kostnaden, og heller ikke den " +"viktigste. Advokater er ogsÃ¥ en kostnad, og i stadig stÃ¸rre grad, en veldig " +"viktig del. I tillegg til Ã¥ preservere filmen, sÃ¥ mÃ¥ en distributÃ¸r sikre " +"seg rettighetene. Og for Ã¥ sikre seg rettighetene til en film som er vernet " +"av opphavsretten, sÃ¥ mÃ¥ du finne opphavsrettseieren." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't " +"only a single copyright associated with a film; there are many. There isn't " +"a single person whom you can contact about those copyrights; there are as " +"many as can hold the rights, which turns out to be an extremely large " +"number. Thus the costs of clearing the rights to these films is " +"exceptionally high." +msgstr "" +"Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, <emphasis>eiere</emphasis>. Som vi har sett " +"er det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. " +"Det er ikke en enkelt person som du kan kontakte om disse opphavsrettene. " +"Det er like mange som det er opphavsretter knyttet til den, hvilket viser " +"seg kan vÃ¦re et ekstremt hÃ¸yt tall. Dermed blir kostnaden med Ã¥ klarere " +"rettighetene for disse filmene eksepsjonelt hÃ¸y." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>But can't you just restore the film, distribute it, and then pay the " +"copyright owner when she shows up?</quote> Sure, if you want to commit a " +"felony. And even if you're not worried about committing a felony, when she " +"does show up, she'll have the right to sue you for all the profits you have " +"made. So, if you're successful, you can be fairly confident you'll be " +"getting a call from someone's lawyer. And if you're not successful, you " +"won't make enough to cover the costs of your own lawyer. Either way, you " +"have to talk to a lawyer. And as is too often the case, saying you have to " +"talk to a lawyer is the same as saying you won't make any money." +msgstr "" +"<quote>Men kan du ikke bare restaurere filmen, distribuere den, og sÃ¥ betale " +"opphavsrettseieren nÃ¥r hun dukker opp?</quote> Jovisst, hvis du Ã¸nsker Ã¥ " +"gjÃ¸re deg selv til kriminiell. Og selv om du ikke er bekymret over Ã¥ begÃ¥ " +"en forbrytelse, sÃ¥ vil hun nÃ¥r hun dukker opp ha rett til Ã¥ saksÃ¸ke deg for " +"all fortjeneste du har hatt. SÃ¥ hvis du lykkes, sÃ¥ kan du vÃ¦re rimelig " +"sikker pÃ¥ at du fÃ¥r besÃ¸k fra noens advokat. Og hvis du ikke lykkess, sÃ¥ " +"vil du ikke ha tjent nok til Ã¥ dekke konstnaden for din egen advokat. " +"Uansett vil du vÃ¦re nÃ¸dt til Ã¥ snakke med en advokat. Og det Ã¥ si at du mÃ¥ " +"snakke med en advokat er ofte det samme som Ã¥ si at du ikke vil tjene noen " +"penger." + +#. PAGE BREAK 232 +#. type: Content of: <book><part><chapter><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 det hende gevinsten fra Ã¥ gi ut filmen vil overskride " +"disse kostnadene. Men for de aller fleste av dem er det ingen mulighet for " +"at gevinsten vil oppveie de juridiske kostnadene. Dermed vil de aller fleste " +"gamle filmer, argumenterte AGee, ikke bli restaurert og distribuert fÃ¸r " +"opphavsretten lÃ¸per ut." + +#. type: Content of: <book><part><chapter><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 innen opphavsretten for disse filmene er utlÃ¸pt, vil filmen ha gÃ¥tt " +"tapt. Disse filmene ble produsert pÃ¥ nitrat-baserte filmruller, og " +"nitratfilm gÃ¥r i opplÃ¸sning over tid. De vil vÃ¦re borte, og metalleskene " +"der de nÃ¥ blir lagret vil kun inneholde stÃ¸v." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Of all the</emphasis> creative work produced by " +"humans anywhere, a tiny fraction has continuing commercial value. For that " +"tiny fraction, the copyright is a crucially important legal device. For that " +"tiny fraction, the copyright creates incentives to produce and distribute " +"the creative work. For that tiny fraction, the copyright acts as an " +"<quote>engine of free expression.</quote>" +msgstr "" +"<emphasis role='strong'>Av alle de</emphasis> kreative verk produsert av " +"mennesker i verden, sÃ¥ er det kun en liten brÃ¸kdel som fortsetter Ã¥ ha " +"kommersiell verdi. For en liten brÃ¸kdel er opphavsretten en kritisk viktig " +"juridisk mekanisme. For den lille brÃ¸kdelen skaper opphavsretten insentiver " +"til Ã¥ produsere og distribuere kreative verker. For den lille brÃ¸kdelen " +"fungerer opphavsrett som en <quote>motor for uttrykksfrihet</quote>." + +#. type: Content of: <book><part><chapter><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 denne lille brÃ¸kdelen, sÃ¥ er den faktiske tiden som det " +"kreative arbeidet har kommersiellt liv ekstremt kort. Som jeg indikerte " +"tidligere blir de fleste bÃ¸ker utsolgt fra forlaget innen et Ã¥r. Det samme " +"er sant for musikk og film. Kommersiell kultur er som et rovdyr. Den mÃ¥ " +"fortsette Ã¥ bevege seg. Og nÃ¥r et kreativt arbeid ikke lenger fÃ¥r godviljen " +"fra en kommersell distributÃ¸r, sÃ¥ tar det kommersielle livet slutt." + +#. type: Content of: <book><part><chapter><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 "" +"Likevel betyr ikke dette at livet til det kreative arbeidet tar slutt. Vi " +"har ikke biblioteker for Ã¥ konkurrere med Barnes & Noble og vi har ikke " +"filmarkiver fordi vi forventer at folk skal velge mellom Ã¥ tilbringe " +"fredagskvelden med Ã¥ se nye filme eller tilbringe fredagskvelden med Ã¥ se en " +"nyhetsdokumentar fra 1930. Det ikke-kommersielle livet til kulturen er " +"viktig og verdifullt—for underholdning men ogsÃ¥, og viktigere, for " +"kunnskap. For Ã¥ forstÃ¥ hvem vi er, hvor vi kom fra og hvordan vi gjorde de " +"feil vi har gjort, sÃ¥ mÃ¥ vi ha tilgang til denne historien." + +#. PAGE BREAK 233 +#. type: Content of: <book><part><chapter><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 "" +"Opphavsretten i denne sammenhengen utgjÃ¸r ikke en motor for uttrykksfrihet. " +"I denne sammenhengen er det ikke behov for en eksklusiv rettighet. " +"Opphavsretten i denne sammenhengen bidrar ikke positivt." + +#. type: Content of: <book><part><chapter><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 " +"<emphasis>copyright-related use</emphasis> that would be inhibited by an " +"exclusive right. When a book went out of print, you could not buy it from a " +"publisher. But you could still buy it from a used book store, and when a " +"used book store sells it, in America, at least, there is no need to pay the " +"copyright owner anything. Thus, the ordinary use of a book after its " +"commercial life ended was a use that was independent of copyright law." +msgstr "" +"Men for det meste av vÃ¥r historie gjorde den liten skade. For det meste av " +"vÃ¥r historie, nÃ¥r det kommersielle livet til et verk tok slutt, sÃ¥ var det " +"ikke noe <emphasis>opphavsrettsrelatert bruk</emphasis> som ville bli " +"blokkert av en eksklusiv rett. NÃ¥r en bok ble utsolgt fra forlaget, sÃ¥ " +"kunne du ikke kjÃ¸pe det fra et forlag. Men du kunne fortsatt kjÃ¸pe den fra " +"en brukbokhandel. Og nÃ¥r en bruktbokhandel selger den, i hvert fall i " +"Amerika, sÃ¥ er det ikke nÃ¸dvendig Ã¥ betale noe til opphavsrettseieren. " +"Dermed var den vanlige bruken av en bok etter at det kommersielle livet tok " +"slutt en bruk som var uavhengig av opphavsrettslov." + +#. type: Content of: <book><part><chapter><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 praktisk sett sant ogsÃ¥ for film. PÃ¥ grunn av kostnadene med " +"Ã¥ restaurere en film—de egentlige Ã¸konomiske kostnadene, ikke " +"advokatkoastnadene—var sÃ¥ hÃ¸ye, sÃ¥ var det aldri praktisk mulig Ã¥ ta " +"vare pÃ¥ eller restaurere film. Omtrent som med restene etter en flott " +"middag, nÃ¥r den er over sÃ¥ er den over. NÃ¥r det kommersielle livet til en " +"film var over, sÃ¥ kan den ha blitt arkivert en stund, men det var slutten pÃ¥ " +"filmens liv sÃ¥ lenge markedet ikke hadde noe mer Ã¥ tilby." + +#. type: Content of: <book><part><chapter><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, selv om opphavsrettsbeskyttelsen har vÃ¦rt relativt kort for " +"det meste av vÃ¥r historie, sa ville ikke lang opphavsrettsbeskyttelse gjort " +"noe forskjell for arbeider som har mistet sin kommersielle verdi. Lang " +"opphavsrettsbeskyttelse for disse verkene ville ikke forstyrret noe." + +#. type: Content of: <book><part><chapter><para> +msgid "But this situation has now changed." +msgstr "Men denne situasjonen er nÃ¥ endret." + +#. type: Content of: <book><part><chapter><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 veldig viktig konsekvens av fremveksten av digitale teknologier er Ã¥ " +"muliggjÃ¸re arkivet som Brewster Kahle drÃ¸mmer om. Digitale teknologier gjÃ¸r " +"det nÃ¥ mulig Ã¥ ta vare pÃ¥ og gi tilgnag til alle typer kunnskap. NÃ¥r en bok " +"er utsolgt fra forlaget, sÃ¥ kan vi forestille oss Ã¥ digitalisere den og " +"gjÃ¸re den tilgjengelig for alle, til evig tid. NÃ¥r en film ikke lenger er " +"tilgjengelig fra distributÃ¸r kan vi digitalisere den og gjÃ¸re den " +"tilgjengleig for alle, til evig tid. Digitale teknologier gir nytt til vil " +"opphavsrettsbeskyttet materiale etter at det trer ut av sitt kommersielle " +"liv. Det er nÃ¥ mulig Ã¥ ta vare pÃ¥ og sikre universell tilgang til denne " +"kunskapen og kulturen, mens det tidligere ikke var mulig." + +#. PAGE BREAK 234 +#. type: Content of: <book><part><chapter><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 nÃ¥ kommer opphavsrettsloven i veien. Hvert steg som trengs for Ã¥ " +"produsere dette digitale arkivet over vÃ¥r kultur krenker den eksklusive " +"retten i opphavsretten. Ã digitalisere en bok er Ã¥ kopiere den. For Ã¥ " +"gjÃ¸re det mÃ¥ en ha tillatelse fra opphavsrettseieren. Det samme gjelder " +"musikk, film og ethvert annet aspekt av vÃ¥r kultur som er beskyttet av " +"opphavsretten. Innsatsen som trengs for Ã¥ gjÃ¸re disse tingene tilgjengelig " +"for fremtiden, eller til forskere, eler for de som bare Ã¸nsker Ã¥ utforske " +"den, er nÃ¥ hindret av det sett med regler som ble skrevet for en radikalt " +"forskjellig omgivelse." + +#. type: Content of: <book><part><chapter><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 <emphasis>copyright</" +"emphasis> purpose, for the purpose of copyright is to enable the commercial " +"market that spreads culture. No, we are talking about culture after it has " +"lived its commercial life. In this context, copyright is serving no purpose " +"<emphasis>at all</emphasis> related to the spread of knowledge. In this " +"context, copyright is not an engine of free expression. Copyright is a brake." +msgstr "" +"Her er kjernen av skaden som kommer fra Ã¥ utvide verneperiodene: NÃ¥ som " +"teknolgi gjÃ¸r det mulig for oss Ã¥ gjenoppbygge biblioteket i Alexandria, " +"kommer loven i veien. Og den kommer ikke i veien pÃ¥ grunn av et nyttig " +"<emphasis>opphavsretts</emphasis>-formÃ¥l,, som jo er Ã¥ gjÃ¸re det mulig for " +"det kommersielle markedet Ã¥ spre kultur. Nei, vi snakker om kultur etter at " +"den levd sitt kommersielle liv. I denne sammenhengen tjener opphavsretten " +"ikke noe formÃ¥l <emphasis>i det hele tatt</emphasis>, relatert til spredning " +"av kunskap. I denne sammenhengen er ikke opphavsrett en motor for " +"uttrykksfrihet. Opphavsrett er en bremse." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"You may well ask, <quote>But if digital technologies lower the costs for " +"Brewster Kahle, then they will lower the costs for Random House, too. So " +"won't Random House do as well as Brewster Kahle in spreading culture widely?" +"</quote>" +msgstr "" +"Du kan godt spÃ¸rre, <quote>Men hvis digitale teknologier reduserer kostnaden " +"for Brewster Kahle, sÃ¥ reduserer de ogsÃ¥ kostnadene for Random House. Vil " +"da ikke Random House spre kultur like vidt som Brewster Kahle?</quote>" + +#. type: Content of: <book><part><chapter><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 <quote>the market</quote> 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 "" +"Mulig det. En eller annen dag. Men det finnes ingen indisier som tyder pÃ¥ " +"at utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble " +"tilbÃ¸d utlÃ¥n av bÃ¸ker fra sine lager til en lavere pris, ville det eliminere " +"behovet for biblioteker? Kun hvis du mener at den eneste rollen et " +"bibliotek skal tjene er den <quote>markedet</quote> etterspÃ¸r. Men hvis du " +"mener rollen til et bibliotek er stÃ¸rre en dette—hvis du mener dets " +"rolle er Ã¥ arkivere kultur, uavhengig av om det er en etterspÃ¸rsel etter en " +"bestemt bit av den kulturen eller ikke—da kan vi ikke basere oss pÃ¥ at " +"det kommersielle markedet vil gjÃ¸re biblioteksjobben for oss." + +#. f13. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> " +"20 December 2002, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #54</ulink>." +msgstr "" +"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory</quote>, " +"20 December 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #54</ulink>." + +#. type: Content of: <book><part><chapter><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 1923 and 1946 is not commercially " +"available. However much you love the commercial market, if access is a " +"value, then 6 percent is a failure to provide that value.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Jeg er blant de fÃ¸rste til Ã¥ vÃ¦re enig i at det skal gjÃ¸re sÃ¥ mye som det " +"kan: Vi bÃ¸r basere oss pÃ¥ markedet sÃ¥ mye som mulig for Ã¥ spre og muliggjÃ¸re " +"kultur. Mitt budskap er absolutt ikke imot markedet. Men der vi ser at " +"markedet ikek gjÃ¸r jobben, da bÃ¸r vi tillate krefter utenfor markedet " +"friheten til Ã¥ fylle hullene. En forsker beregnet for amerikansk kultur at " +"94 prosent av filmer, bÃ¸ker og musikk produsert mellom 1923 og 1946 er ikke " +"kommersielt tilgjengelig. Uansett hvor mye du elsker markedet, sÃ¥ er 6 " +"prosent en svikt hvis tilgang er et mÃ¥leparameter.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In January 1999</emphasis>, we filed a lawsuit on " +"Eric Eldred's behalf in federal district court in Washington, D.C., asking " +"the court to declare the Sonny Bono Copyright Term Extension Act " +"unconstitutional. The two central claims that we made were (1) that " +"extending existing terms violated the Constitution's <quote>limited Times</" +"quote> requirement, and (2) that extending terms by another twenty years " +"violated the First Amendment." +msgstr "" +"<emphasis role='strong'>I januar 1999</emphasis> anla vi sak pÃ¥ vegne av " +"Eric Eldred ved den fÃ¸derale distriktsretten i Washington, D.C., og ba " +"retten om Ã¥ erklÃ¦re at Sonny Bono utvidelse av opphavsrettsvernetid-loven " +"var i strid med grunnloven. De to sentrale pÃ¥standene vi kom med var (1) at " +"Ã¥ utvide eksisterende vernetid var i strid med grunnlovens krav om <quote>et " +"begrenset tidsrom</quote>, og (2) at Ã¥ utvide vernetiden med tjue nye Ã¥r var " +"i strid med fÃ¸rste grunnlovstillegg." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The district court dismissed our claims without even hearing an argument. A " +"panel of the Court of Appeals for the D.C. Circuit also dismissed our " +"claims, though after hearing an extensive argument. But that decision at " +"least had a dissent, by one of the most conservative judges on that court. " +"That dissent gave our claims life." +msgstr "" +"district court avvist pÃ¥stander om vÃ¥re uten Ã¥ selv hÃ¸re et argument. et " +"panel av court of appeals for DC-kretsen ogsÃ¥ oppsagt vÃ¥re krav, men etter " +"hÃ¸re et omfattende argument. men at beslutningen hadde minst en dissens, av " +"en av de mest konservative dommerne pÃ¥ at domstolen. at ga dissens livet " +"vÃ¥rt krav." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Judge David Sentelle said the CTEA violated the requirement that copyrights " +"be for <quote>limited Times</quote> only. His argument was as elegant as it " +"was simple: If Congress can extend existing terms, then there is no " +"<quote>stopping point</quote> to Congress's power under the Copyright " +"Clause. The power to extend existing terms means Congress is not required to " +"grant terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, " +"the court had to interpret the term <quote>limited Times</quote> to give it " +"meaning. And the best interpretation, Judge Sentelle argued, would be to " +"deny Congress the power to extend existing terms." +msgstr "" +"Dommer David Sentelle sa at CTEA kun brÃ¸t med krav om at opphavsrett skal " +"gis for <quote>et begrenset tidsrom</quote>. Hans argument var like elegant " +"som det var enkelt. Hvis kongressen kan utvide eksisterende vernetid, sÃ¥ " +"finnes det ikke noe <quote>endepunkt</quote> til kongressens myndighet i " +"fÃ¸lge opphavsrettsbestemmelsen. Myndigheten til Ã¥ utvide vernetiden betyr at " +"kongressen ikke er nÃ¸dt til Ã¥ dele ut vernetider som er <quote>begrenset</" +"quote>. Dermed argumenterte dommer Sentelle at retten mÃ¥tte tolke begrepet " +"<quote>begrenset tidsrom</quote> for at det skulle ha mening. Og dommer " +"Sentelle argumenterte at den beste tolkningen ville vÃ¦re Ã¥ nekte kongressen " +"myndighet til Ã¥ utvide eksisterende vernetid." + +#. type: Content of: <book><part><chapter><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 <quote>en banc</quote> to hear the case." +msgstr "" +"Vi spurte hele ankedomstolen for D.C. ankekretsen om Ã¥ ta opp saken. Saker " +"tas normalt opp i et panel med tre deltagere, med unntak av viktige saker " +"eller saker som tar opp tema som er spesifikk for kretsen som helhet, der " +"domstolen vil samles <quote>en banc</quote> for Ã¥ ta opp saken." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Tatel, David" +msgstr "Tatel, David" + +#. PAGE BREAK 236 +#. type: Content of: <book><part><chapter><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 "" +"Ankedomstolen avviste vÃ¥r anmodning om Ã¥ ta opp saken en banc. Denne gangen " +"fikk dommer Sentelle fÃ¸lge av det mest liberale medlemmet av ankekretsen i D." +"C., dommer David Tatel. BÃ¥de de mest konservative og den mest liberale " +"dommerne i ankekretsen i D.C. mente kongressen hadde gÃ¥tt over side grenser." + +#. type: Content of: <book><part><chapter><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 de fleste forventet at Eldred mot Ashcroft ville dÃ¸, for " +"hÃ¸yesterett tar sjelden opp en avgjÃ¸relse gjort av en ankedomstol. (Den tar " +"opp omtrent hundre saker i Ã¥ret, ut av mer enn fem tusen anker.) Og den " +"revurderer praktiskt talt aldri en avgjÃ¸relse som opprettholder en regel nÃ¥r " +"ingen annen domstol sÃ¥ langt har revurdert regelen." + +#. type: Content of: <book><part><chapter><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 overrasket hÃ¸yesterett verden ved Ã¥ innvilge vÃ¥r " +"forespÃ¸rsel om Ã¥ ta opp avgjÃ¸relsen fra D.C.-kretsen. Argumentasjonen ble " +"fastsat til oktober 2002. Sommeren ble tilbrakt med Ã¥ skrive innlegg og " +"forberede oss for argumentasjonen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>It is over</emphasis> a year later as I write these " +"words. It is still astonishingly hard. If you know anything at all about " +"this story, you know that we lost the appeal. And if you know something more " +"than just the minimum, you probably think there was no way this case could " +"have been won. After our defeat, I received literally thousands of missives " +"by well-wishers and supporters, thanking me for my work on behalf of this " +"noble but doomed cause. And none from this pile was more significant to me " +"than the e-mail from my client, Eric Eldred." +msgstr "" +"<emphasis role='strong'>Det er mer</emphasis> enn et Ã¥r senere nÃ¥r jeg " +"skriver disse ordene. Det er fortsatt utrolig vanskelig. Hvis du vet noe " +"om denne historien, sÃ¥ vet du at vi tapte anken. Og hvis du vet noe mer enn " +"bare litt, sÃ¥ tror du antagelig at det var ingen mÃ¥te denne saken kunne " +"blitt vunnet. Etter vÃ¥rt nederlag fikk jeg jeg bokstavlig talt tusenvis av " +"meldinger fra stÃ¸ttespillere og folk som ville Ã¸nske meg lykke til, som " +"takket meg for min innsats pÃ¥ vegne av denne noble men fortapte sak. Og " +"ingen fra denne haugen var viktigere for meg enn eposten fra min klient, " +"Eric Eldred." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But my client and these friends were wrong. This case could have been won. " +"It should have been won. And no matter how hard I try to retell this story " +"to myself, I can never escape believing that my own mistake lost it." +msgstr "" +"Men min klient og disse vennene tok feil. Denne saken kunne vÃ¦rt vunnet. Det " +"burde ha vÃ¦rt vunnet. Og uansett hvor hardt jeg prÃ¸ver Ã¥ fortelle den " +"historien til meg selv, kan jeg aldri unnslippe troen pÃ¥ at det er min feil " +"at vi ikke vant." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Steward, Geoffrey" +msgstr "Steward, Geoffrey" + +#. PAGE BREAK 237 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The mistake</emphasis> was made early, though it " +"became obvious only at the very end. Our case had been supported from the " +"very beginning by an extraordinary lawyer, Geoffrey Stewart, and by the law " +"firm he had moved to, Jones, Day, Reavis and Pogue. Jones Day took a great " +"deal of heat from its copyright-protectionist clients for supporting us. " +"They ignored this pressure (something that few law firms today would ever " +"do), and throughout the case, they gave it everything they could." +msgstr "" +"<emphasis role='strong'>Feilen</emphasis> ble gjort tidlig, skjÃ¸nt det ble " +"fÃ¸rst Ã¥penbart pÃ¥ slutten. VÃ¥r sak hadde hatt stÃ¸tte hos en ekstraordinÃ¦r " +"advokat, Geoffrey Stewart, helt fra starten, og hos advokatfirmaet hadde han " +"flyttet til, Jones, Day, Reavis og Pogue. Jones Day mottok mye press fra " +"sine opphavsrettsbeskyttende klienter pÃ¥ grunn av sin stÃ¸tte til oss. De " +"ignorert dette presset (noe veldig fÃ¥ advokatfirmaer noen sinne ville " +"gjÃ¸re), og ga alt de hadde gjennom hele saken." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Ayer, Don" +msgstr "Ayer, Don" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Bromberg, Dan" +msgstr "Bromberg, Dan" + +#. type: Content of: <book><part><chapter><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 <quote>important</quote> to the Supreme Court. It had to seem as " +"if dramatic harm were being done to free speech and free culture; otherwise, " +"they would never vote against <quote>the most powerful media companies in " +"the world.</quote>" +msgstr "" +"Det var tre viktige advokater pÃ¥ saken fra Jones DaY. Geoff Stewart var den " +"fÃ¸rst, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og " +"Ayer spesielt hadde en felles oppfatning om hvordan denne saken ville bli " +"vunnet: vi ville bare vinne, fortalte de gjentatte ganger til meg, hvis vi " +"fÃ¥ problemet til Ã¥ virke <quote>viktig</quote> for HÃ¸yesterett. Det mÃ¥tte " +"synes som om dramatisk skade ble gjort til ytringsfriheten og fri kultur, " +"ellers ville de aldri stemt mot <quote>de mektigste mediaselskapene i " +"verden</quote>." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"I hate this view of the law. Of course I thought the Sonny Bono Act was a " +"dramatic harm to free speech and free culture. Of course I still think it " +"is. But the idea that the Supreme Court decides the law based on how " +"important they believe the issues are is just wrong. It might be " +"<quote>right</quote> as in <quote>true,</quote> I thought, but it is " +"<quote>wrong</quote> as in <quote>it just shouldn't be that way.</quote> As " +"I believed that any faithful interpretation of what the framers of our " +"Constitution did would yield the conclusion that the CTEA was " +"unconstitutional, and as I believed that any faithful interpretation of what " +"the First Amendment means would yield the conclusion that the power to " +"extend existing copyright terms is unconstitutional, I was not persuaded " +"that we had to sell our case like soap. Just as a law that bans the " +"swastika is unconstitutional not because the Court likes Nazis but because " +"such a law would violate the Constitution, so too, in my view, would the " +"Court decide whether Congress's law was constitutional based on the " +"Constitution, not based on whether they liked the values that the framers " +"put in the Constitution." +msgstr "" +"Jeg hater dette synet pÃ¥ loven. SelvfÃ¸lgelig trodde jeg Sonny Bono-loven var " +"en dramatisk skade pÃ¥ ytringsfriheten og fri kultur. SelvfÃ¸lgelig tror jeg " +"fortsatt dette. Men idÃ©en om at HÃ¸yesterett bestemmer loven basert pÃ¥ hvor " +"viktig de tror problemene er er bare galt. Det kan vÃ¦re \"riktig\" som i " +"\"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bÃ¸r ikke vÃ¦re den " +"mÃ¥ten.\" som jeg mente at alle trofaste tolkning av forfatterne av vÃ¥r " +"grunnlov gjorde gi konklusjonen at ctea var forfatningsstridig, og som jeg " +"mente at alle trofaste tolkning av hva den fÃ¸rste endring betyr ville gi " +"konklusjonen som strÃ¸m for Ã¥ forlenge eksisterende opphavsrett vilkÃ¥rene er " +"unconstitutionalJeg var ikke overbevist om at vi mÃ¥tte selge vÃ¥rt tilfelle " +"som sÃ¥pe. akkurat som en lov som forbud swastika er unconstitutional ikke " +"fordi retten liker nazistene, men fordi slik lov ville bryte Grunnloven, sÃ¥ " +"ogsÃ¥, i min mening, ville domstol bestemmer om congress's lov var " +"konstitusjonelle basert pÃ¥ Grunnloven, ikke basert pÃ¥ om de likte verdiene " +"som underskrev de innlegge Grunnloven." + +#. type: Content of: <book><part><chapter><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 "" +"Jeg tenkte uansett at domstolen allerede mÃ¥ se faren og skaden forÃ¥rsaket av " +"dette type lov. Hvorfor skulle de ellers gÃ¥ med pÃ¥ Ã¥ ta opp saken? Det var " +"ingen grunn til Ã¥ ta opp saken i hÃ¸yesterett hvis de ikke var overbevist om " +"at dette lovverket var skadelig. Dermed var det etter mitt syn ikke " +"nÃ¸dvendig Ã¥ overbevise den om at denne loven var ille. Vi trengte Ã¥ vise " +"den hvorfor den var i strid med grunnloven." + +#. PAGE BREAK 238 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"There was one way, however, in which I felt politics would matter and in " +"which I thought a response was appropriate. I was convinced that the Court " +"would not hear our arguments if it thought these were just the arguments of " +"a group of lefty loons. This Supreme Court was not about to launch into a " +"new field of judicial review if it seemed that this field of review was " +"simply the preference of a small political minority. Although my focus in " +"the case was not to demonstrate how bad the Sonny Bono Act was but to " +"demonstrate that it was unconstitutional, my hope was to make this argument " +"against a background of briefs that covered the full range of political " +"views. To show that this claim against the CTEA was grounded in " +"<emphasis>law</emphasis> and not politics, then, we tried to gather the " +"widest range of credible critics—credible not because they were rich " +"and famous, but because they, in the aggregate, demonstrated that this law " +"was unconstitutional regardless of one's politics." +msgstr "" +"Det var en mÃ¥te, men i som jeg fÃ¸lte politikk ville saken og som jeg trodde " +"et svar var riktig. Jeg var overbevist om at domstolen ikke ville hÃ¸re vÃ¥re " +"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty " +"loons. Denne HÃ¸yesterett var ikke om Ã¥ 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 Ã¥ " +"demonstrere hvor ille sonny bono handle var, men for Ã¥ demonstrere at det " +"var forfatningsstridig, mitt hÃ¥p var Ã¥ gjÃ¸re dette argumentet mot et " +"bakteppe av truser som dekket hele spekteret av politiske synspunkter. Ã¥ " +"vise at denne pÃ¥standen mot ctea ble jordet i loven og ikke politikk, sÃ¥ vi " +"prÃ¸vde Ã¥ samle sÃ¥ mange sÃ¸keordresultater troverdig kritikere—" +"troverdig ikke fordi de var rike og berÃ¸mte, men fordi de, i samlet, vist at " +"denne loven var forfatningsstridig uavhengig av ens politikk." + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Eagle Forum" +msgstr "Eagle forum" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Schlafly, Phyllis" +msgstr "Schlafly, Phyllis" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The first step happened all by itself. Phyllis Schlafly's organization, " +"Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. " +"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she " +"wrote a stinging editorial attacking the Republican Congress for allowing " +"the law to pass. As she wrote, <quote>Do you sometimes wonder why bills that " +"create a financial windfall to narrow special interests slide easily through " +"the intricate legislative process, while bills that benefit the general " +"public seem to get bogged down?</quote> The answer, as the editorial " +"documented, was the power of money. Schlafly enumerated Disney's " +"contributions to the key players on the committees. It was money, not " +"justice, that gave Mickey Mouse twenty more years in Disney's control, " +"Schlafly argued." +msgstr "" +"det fÃ¸rste trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, " +"eagle forum, hadde vÃ¦rt 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 Ã¥ la loven " +"skjedde. som hun skrev, \"noen ganger lurer du hvorfor regninger som " +"oppretter en finansiell nedfallsfrukt for Ã¥ begrense spesielle interesser " +"skyv lett gjennom den intrikate lovgivende prosessen, mens regninger at " +"fordelen allmennheten synes Ã¥ komme bogged ned?\", som de redaksjonelle " +"dokumentert, var svaret strÃ¸mmen av penger. schlafly nummerert disney's " +"bidrag til sentrale aktÃ¸rer pÃ¥ komiteene. Det var penger, ikke " +"rettferdighet, som ga Mikke Mus tjue Ã¥r i disney's kontroll, schlafly hevdet." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"In the Court of Appeals, Eagle Forum was eager to file a brief supporting " +"our position. Their brief made the argument that became the core claim in " +"the Supreme Court: If Congress can extend the term of existing copyrights, " +"there is no limit to Congress's power to set terms. That strong " +"conservative argument persuaded a strong conservative judge, Judge Sentelle." +msgstr "" +"i lagmannsrett var eagle forum ivrig etter Ã¥ inngi en kort som stÃ¸tter vÃ¥r " +"posisjon. sine kort gjort argumentet om at ble kjernen kravet i HÃ¸yesterett: " +"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen " +"grense for Kongressens makt til Ã¥ angi vilkÃ¥r. som sterkt konservativ " +"argumentet overtalt en sterk konservative dommer, dommer sentelle." + +#. PAGE BREAK 239 +#. type: Content of: <book><part><chapter><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><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "American Association of Law Libraries" +msgstr "American association of lov biblioteker" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "National Writers Union" +msgstr "nasjonale forfattere union" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Those briefs framed a legal argument. Then to support the legal argument, " +"there were a number of powerful briefs by libraries and archives, including " +"the Internet Archive, the American Association of Law Libraries, and the " +"National Writers Union." +msgstr "" +"disse truser innrammet et juridisk argument. deretter for Ã¥ stÃ¸tte " +"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><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"But two briefs captured the policy argument best. One made the argument I've " +"already described: A brief by Hal Roach Studios argued that unless the law " +"was struck, a whole generation of American film would disappear. The other " +"made the economic argument absolutely clear." +msgstr "" +"men to truser fanget argumentet policyen best. en gjort argumentet jeg har " +"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven " +"ble truffet, en hel generasjon av american film ville forsvinne. den andre " +"gjort argumentet Ã¸konomiske helt klart." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Akerlof, George" +msgstr "Akerlof, George" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Arrow, Kenneth" +msgstr "Arrow, Kenneth" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Buchanan, James" +msgstr "Buchanan, James" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Coase, Ronald" +msgstr "Coase, Ronald" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Friedman, Milton" +msgstr "Friedman, Milton" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This economists' brief was signed by seventeen economists, including five " +"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton " +"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of " +"Nobel winners demonstrates, spanned the political spectrum. Their " +"conclusions were powerful: There was no plausible claim that extending the " +"terms of existing copyrights would do anything to increase incentives to " +"create. Such extensions were nothing more than <quote>rent-seeking</" +"quote>—the fancy term economists use to describe special-interest " +"legislation gone wild." +msgstr "" +"Denne Ã¸konomer kort ble signert av sytten Ã¸konomer, inkludert fem " +"Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton " +"friedman, kenneth pilen og george akerlof. Ã¸konomer, spredte som viser " +"listen over nobel vinnere, det politiske spektret. deres konklusjoner var " +"kraftig: det var ingen sannsynlig hevder at utvide vilkÃ¥rene i eksisterende " +"opphavsrettigheter ville gjÃ¸re noe for Ã¥ Ã¸ke insentiver til Ã¥ opprette. " +"slike utvidelser var ingenting mer enn \"leie-sÃ¸ker\"—fancy sikt " +"Ã¸konomer bruk Ã¥ beskrive spesielle interesser lovgivning gone wild." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Fried, Charles" +msgstr "Fried, Charles" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Morrison, Alan" +msgstr "Morrison, Alan" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Public Citizen" +msgstr "offentlige borger" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Reagan, Ronald" +msgstr "Reagan, Ronald" + +#. PAGE BREAK 240 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The same effort at balance was reflected in the legal team we gathered to " +"write our briefs in the case. The Jones Day lawyers had been with us from " +"the start. But when the case got to the Supreme Court, we added three " +"lawyers to help us frame this argument to this Court: Alan Morrison, a " +"lawyer from Public Citizen, a Washington group that had made constitutional " +"history with a series of seminal victories in the Supreme Court defending " +"individual rights; my colleague and dean, Kathleen Sullivan, who had argued " +"many cases in the Court, and who had advised us early on about a First " +"Amendment strategy; and finally, former solicitor general Charles Fried." +msgstr "" +"samme innsats pÃ¥ balanse ble reflektert i det juridiske teamet vi samles for " +"Ã¥ skrive vÃ¥re truser i tilfelle. jones dag advokater hadde blitt med oss fra " +"starten. men da saken kom til HÃ¸yesterett, vi har lagt tre advokater for Ã¥ " +"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 HÃ¸yesterett " +"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde " +"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en " +"fÃ¸rste endring strategi; og endelig, tidligere advokat general charles stekt." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "Commerce Clause of" +msgstr "handel-setningsdelen i" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Fried was a special victory for our side. Every other former solicitor " +"general was hired by the other side to defend Congress's power to give media " +"companies the special favor of extended copyright terms. Fried was the only " +"one who turned down that lucrative assignment to stand up for something he " +"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. " +"He had helped craft the line of cases that limited Congress's power in the " +"context of the Commerce Clause. And while he had argued many positions in " +"the Supreme Court that I personally disagreed with, his joining the cause " +"was a vote of confidence in our argument." +msgstr "" +"stekt var en spesiell seier for vÃ¥r side. hver andre tidligere advokat " +"generelt ble ansatt av den andre siden, Ã¥ forsvare congress's kraft til Ã¥ gi " +"medieselskaper spesiell gunst utvidet opphavsrett vilkÃ¥rene. stekt var den " +"eneste som slÃ¥tt ned lukrative tildelingen til Ã¥ stÃ¥ opp for noe han mente " +"i. han hadde vÃ¦rt ronald reagan's sjef advokat i HÃ¸yesterett. Han hadde " +"bidratt til Ã¥ skape linjen i tilfeller som begrenset Kongressens makt i " +"forbindelse med handel-setningsdel. og mens han hadde hevdet mange " +"posisjoner i HÃ¸yesterett som jeg personlig uenige med, hans begynte Ã¥rsaken " +"var en stemme av tilliten i vÃ¥r argumentet." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The government, in defending the statute, had its collection of friends, as " +"well. Significantly, however, none of these <quote>friends</quote> included " +"historians or economists. The briefs on the other side of the case were " +"written exclusively by major media companies, congressmen, and copyright " +"holders." +msgstr "" +"regjeringen, i Ã¥ forsvare statutten, hadde sin samling av venner, ogsÃ¥. " +"betydelig, men ingen av disse \"vennene\" inkludert historikere eller " +"Ã¸konomer. truser pÃ¥ den andre siden av saken ble skrevet utelukkende av " +"store medieselskaper, congressmen og innehaver av opphavsrett." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The media companies were not surprising. They had the most to gain from the " +"law. The congressmen were not surprising either—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 Ã¥ tjene pÃ¥ loven. " +"congressmen var ikke overraskende enten—de var Ã¥ forsvare sin makt, og " +"indirekte, KjÃ¸ttsaft tog av bidrag slik makt indusert. og selvfÃ¸lgelig var " +"det ikke overraskende at rettighetshavere ville forsvare idÃ©en om at de bÃ¸r " +"fortsette Ã¥ ha rett til Ã¥ kontrollere hvem som gjorde hva med innhold de " +"Ã¸nsket Ã¥ kontroll." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Gershwin, George" +msgstr "Gershwin, George" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Porgy and Bess" +msgstr "Porgy and Bess" + +#. f14. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19." +msgstr "" +"Orientering fra Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</" +"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. " +"01-618), 19." + +#. f15. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " +"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March " +"1998, B7." +msgstr "" +"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " +"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28. mars " +"1998, B7." + +#. PAGE BREAK 241 +#. type: Content of: <book><part><chapter><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 " +"<quote>glorify drugs or to create pornography.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> That was also the motive of the Gershwin estate, " +"which defended its <quote>protection</quote> of the work of George Gershwin. " +"They refuse, for example, to license <citetitle>Porgy and Bess</citetitle> " +"to anyone who refuses to use African Americans in the cast.<placeholder type=" +"\"footnote\" id=\"1\"/> That's their view of how this part of American " +"culture should be controlled, and they wanted this law to help them effect " +"that control." +msgstr "" +"Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre " +"at boet etter Dr. Seuss kontrollerte hva som skjedde med verkene til Dr. " +"Seuss—bedre enn Ã¥ la det falle i det fri—pÃ¥ grunn av at hvis " +"denne kreativiteten var allemannseie sÃ¥ ville folk bruke dem til Ã¥ " +"<quote>forherlige narkotika og skape pornografi</quote>.<placeholder type=" +"\"footnote\" id=\"0\"/> Dette var ogsÃ¥ motivet til boet etter Gershwin, som " +"forsvarte sin <quote>beskyttelse</quote> av verkene til George Gershwin. De " +"avviste for eksempel Ã¥ lisensiere ut <citetitle>Progy and Bess</citetitle> " +"til enhver som nektet Ã¥ bruke Afrikans-amerikanere i rollelista.<placeholder " +"type=\"footnote\" id=\"1\"/> Det er deres syn pÃ¥ hovrdan denne delen av " +"amerikansk kultur bÃ¸r kontrolleres, og de Ã¸nsket hjelp fra denne lovel til Ã¥ " +"effektuere denne kontrollen." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This argument made clear a theme that is rarely noticed in this debate. " +"When Congress decides to extend the term of existing copyrights, Congress is " +"making a choice about which speakers it will favor. Famous and beloved " +"copyright owners, such as the Gershwin estate and Dr. Seuss, come to " +"Congress and say, <quote>Give us twenty years to control the speech about " +"these icons of American culture. We'll do better with them than anyone else." +"</quote> Congress of course likes to reward the popular and famous by giving " +"them what they want. But when Congress gives people an exclusive right to " +"speak in a certain way, that's just what the First Amendment is " +"traditionally meant to block." +msgstr "" +"Dette argumentet gjort klart et tema som er sjelden merke i denne debatten. " +"NÃ¥r Kongressen beslutter Ã¥ forlenge eksisterende opphavsrettigheter, gjÃ¸r " +"Kongressen et valg om hvilke hÃ¸yttalere det prioriteres. berÃ¸mte og elskede " +"opphavsrett eiere, for eksempel gershwin eiendom og dr. seuss, komme til " +"Kongressen og si, \"gi oss tjue Ã¥r Ã¥ kontrollere tale om disse ikonene av " +"den amerikanske kulturen. Vi vil gjÃ¸re bedre med dem enn noen andre." +"\"Kongressen liker selvfÃ¸lgelig Ã¥ belÃ¸nne de populÃ¦re og berÃ¸mte ved Ã¥ gi " +"dem det de Ã¸nsker. men nÃ¥r Kongressen gir folk en eksklusiv rett til Ã¥ " +"snakke pÃ¥ en bestemt mÃ¥te, det er akkurat hva den fÃ¸rste endringen er " +"tradisjonelt ment Ã¥ blokkere." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"We argued as much in a final brief. Not only would upholding the CTEA mean " +"that there was no limit to the power of Congress to extend copyrights—" +"extensions that would further concentrate the market; it would also mean " +"that there was no limit to Congress's power to play favorites, through " +"copyright, with who has the right to speak." +msgstr "" +"Vi hevdet sÃ¥ mye i en endelige kort. ikke bare vil opprettholde ctea bety at " +"det var ingen grense for strÃ¸m av Kongressen for Ã¥ forlenge " +"opphavsrett—utvidelser som ytterligere konsentrere seg markedet; det " +"vil ogsÃ¥ bety at det var ingen grense congress's kraft til Ã¥ spille " +"favoritter, gjennom opphavsrett, med som har rett til Ã¥ 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><part><chapter><para> +msgid "" +"<emphasis role='strong'>Between February</emphasis> and October, there was " +"little I did beyond preparing for this case. Early on, as I said, I set the " +"strategy." +msgstr "" +"<emphasis role='strong'>Mellom februar</emphasis> og kotober gjorde jeg lite " +"ut over Ã¥ forberede meg for denne saken. Som jeg nevnte tidligere, satte " +"jeg strategien tidlig." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "O'Connor, Sandra Day" +msgstr "O'Connor, Sandra Day" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Supreme Court was divided into two important camps. One camp we called " +"<quote>the Conservatives.</quote> The other we called <quote>the Rest.</" +"quote> The Conservatives included Chief Justice Rehnquist, Justice O'Connor, " +"Justice Scalia, Justice Kennedy, and Justice Thomas. These five had been the " +"most consistent in limiting Congress's power. They were the five who had " +"supported the <citetitle>Lopez/Morrison</citetitle> line of cases that said " +"that an enumerated power had to be interpreted to assure that Congress's " +"powers had limits." +msgstr "" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Breyer, Stephen" +msgstr "Breyer, Stephen" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Ginsburg, Ruth Bader" +msgstr "Ginsburg, Ruth Bader" + +#. PAGE BREAK 242 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +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 pÃ¥ " +"Kongressens makt. disse fire—rettferdighet stevens, rettferdighet " +"souter, rettferdighet ginsburg og rettferdighet breyer—hadde gjentatte " +"ganger hevdet at grunnloven gir Kongressen bred skjÃ¸nn Ã¥ bestemme hvordan du " +"best Ã¥ implementere sin myndighet. i sak etter sak, hadde disse to andre " +"justiariusene hevdet at retten rolle bÃ¸r vÃ¦re en av deference. om stemmene " +"til disse fire justiariusene var stemmene som jeg personlig hadde mest " +"konsekvent avtalt med, var de ogsÃ¥ stemmene som vi var minst sannsynlig Ã¥ fÃ¥." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"In particular, the least likely was Justice Ginsburg's. In addition to her " +"general view about deference to Congress (except where issues of gender are " +"involved), she had been particularly deferential in the context of " +"intellectual property protections. She and her daughter (an excellent and " +"well-known intellectual property scholar) were cut from the same " +"intellectual property cloth. We expected she would agree with the writings " +"of her daughter: that Congress had the power in this context to do as it " +"wished, even if what Congress wished made little sense." +msgstr "" +"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes " +"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjÃ¸nn er " +"involvert), hadde hun vÃ¦rt 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 vÃ¦re enig med skriftene til datteren: at Kongressen hadde " +"makt i denne sammenheng Ã¥ gjÃ¸re som det Ã¸nsket, selv om hva Kongressen " +"Ã¸nsket gjort lite fornuftig." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Close behind Justice Ginsburg were two justices whom we also viewed as " +"unlikely allies, though possible surprises. Justice Souter strongly favored " +"deference to Congress, as did Justice Breyer. But both were also very " +"sensitive to free speech concerns. And as we strongly believed, there was a " +"very important free speech argument against these retrospective extensions." +msgstr "" +"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi ogsÃ¥ sett pÃ¥ " +"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter " +"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. " +"men begge var ogsÃ¥ svÃ¦rt sensitive til ytringsfriheten bekymringer. og som " +"vi sterkt mente, det var en svÃ¦rt viktig ytringsfriheten argument mot disse " +"retrospektiv utvidelser." + +#. type: Content of: <book><part><chapter><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 stemmen vi kunne vÃ¦re trygg pÃ¥ hvar den til dommer Stevens. " +"Historien viser at dommer Stevens er en av de stÃ¸rste dommerne i denne " +"domstolen. Han stemmer har vÃ¦rt konsistent selektiv, hvilket bare betyr at " +"ikke noen enkel ideologi forklarer hvordan vil stille seg. Men han hadde " +"konsistent argumentert for begresninger i sammenheng med immaterielle eiedom " +"generelt. Vi var rimelig sikre pÃ¥ at han ville kjenne igjen begresningene " +"her." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This analysis of <quote>the Rest</quote> showed most clearly where our focus " +"had to be: on the Conservatives. To win this case, we had to crack open " +"these five and get at least a majority to go our way. Thus, the single " +"overriding argument that animated our claim rested on the Conservatives' " +"most important jurisprudential innovation—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 vÃ¥rt fokus mÃ¥tte vÃ¦re: " +"pÃ¥ hÃ¸yre. for Ã¥ vinne dette tilfellet, vi hadde Ã¥ sprekk Ã¥pne disse fem og " +"fÃ¥ minst et flertall Ã¥ gÃ¥ pÃ¥ vÃ¥r mÃ¥te. dermed enkelt overstyrende argument " +"som animert vÃ¥re krav hvilte pÃ¥ HÃ¸yres viktigste jurisprudential innovasjon " +"- argumentet at dommer sentelle hadde grunnlag i lagmannsrett, at " +"Kongressens makt mÃ¥ tolkes slik at dens nummerert kreftene har begrensninger." + +#. PAGE BREAK 243 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This then was the core of our strategy—a strategy for which I am " +"responsible. We would get the Court to see that just as with the " +"<citetitle>Lopez</citetitle> case, under the government's argument here, " +"Congress would always have unlimited power to extend existing terms. If " +"anything was plain about Congress's power under the Progress Clause, it was " +"that this power was supposed to be <quote>limited.</quote> Our aim would be " +"to get the Court to reconcile <citetitle>Eldred</citetitle> with " +"<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce was " +"limited, then so, too, must Congress's power to regulate copyright be " +"limited." +msgstr "" +"Dette var deretter kjernen i vÃ¥r strategi—en strategi som jeg er " +"ansvarlig. Vi ville fÃ¥ retten Ã¥ se at akkurat som du er med under " +"regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha " +"ubegrenset makt til Ã¥ utvide eksisterende vilkÃ¥r. Hvis noe var vanlig om " +"Kongressens makt under setningsdelen fremdrift, det var at dette makt var " +"ment for Ã¥ vÃ¦re \"begrenset.\" vÃ¥rt mÃ¥l vil vÃ¦re Ã¥ fÃ¥ retten Ã¥ avstemme " +"eldred med lopez: Hvis Kongressens makt til Ã¥ regulere handel var begrenset, " +"deretter sÃ¥, ogsÃ¥, congress's makt til Ã¥ regulere copyright skal begrenses." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The argument</emphasis> on the government's side " +"came down to this: Congress has done it before. It should be allowed to do " +"it again. The government claimed that from the very beginning, Congress has " +"been extending the term of existing copyrights. So, the government argued, " +"the Court should not now say that practice is unconstitutional." +msgstr "" +"<emphasis role='strong'>Argumentet</emphasis> pÃ¥ regjerningens side kokte " +"ned til dette: Kongressen har gjort det fÃ¸r, og bÃ¸r fÃ¥ lov til Ã¥ gjÃ¸re det " +"igjen. Regjeringen hevdet at helt fra starten har kongressen utvidet " +"vernetiden til eksisterende opphavsrett. Derfor, argumenterte regjeringen, " +"burde ikke retten nÃ¥ si at praksisen var i strid med grunnloven." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"There was some truth to the government's claim, but not much. We certainly " +"agreed that Congress had extended existing terms in 1831 and in 1909. And of " +"course, in 1962, Congress began extending existing terms regularly—" +"eleven times in forty years." +msgstr "" +"Det var noe sant i regjeringens pÃ¥stand, men ikke mye. Vi var helt klart " +"enig i at kongressen hadde utvidet verntiden i 1831 og i 1909. Og i 1962, " +"selvfÃ¸lgelig, begynte kongressen regelmessig Ã¥ utvide eksisterende " +"vernetid—elleve ganger pÃ¥ fÃ¸rti Ã¥r." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"But this <quote>consistency</quote> should be kept in perspective. Congress " +"extended existing terms once in the first hundred years of the Republic. It " +"then extended existing terms once again in the next fifty. Those rare " +"extensions are in contrast to the now regular practice of extending existing " +"terms. Whatever restraint Congress had had in the past, that restraint was " +"now gone. Congress was now in a cycle of extensions; there was no reason to " +"expect that cycle would end. This Court had not hesitated to intervene where " +"Congress was in a similar cycle of extension. There was no reason it " +"couldn't intervene here." +msgstr "" +"men dette \"konsistens\" bÃ¸r holdes i perspektiv. Kongressen utvidet " +"eksisterende vilkÃ¥rene en gang i fÃ¸rste hundre Ã¥r av Republikken. det " +"deretter utvidet eksisterende vilkÃ¥rene igjen i de neste femti. disse " +"sjeldne utvidelser er i motsetning til nÃ¥ vanlig praksis for Ã¥ utvide " +"eksisterende vilkÃ¥r. Uansett selvbeherskelse Kongressen hadde hatt i siste, " +"at selvbeherskelse nÃ¥ var borte. Kongressen var nÃ¥ i en syklus av " +"utvidelser; Det var ingen grunn til Ã¥ forvente at syklus ville end. denne " +"domstolen hadde ikke vil nÃ¸le med Ã¥ 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 fÃ¸rste uken i oktober. Jeg " +"ankom i DC to uker fÃ¸r argumentet. i lÃ¸pet av de to ukene, ble jeg gjentatte " +"ganger \"mooted\" av advokater som hadde frivillig til Ã¥ hjelpe i tilfelle. " +"slike \"moots\" er i utgangspunktet praksis runder, der wannabe " +"justiariusene brann spÃ¸rsmÃ¥l pÃ¥ wannabe vinnere." + +#. PAGE BREAK 244 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Oral argument</emphasis> was scheduled for the first " +"week in October. I arrived in D.C. two weeks before the argument. During " +"those two weeks, I was repeatedly <quote>mooted</quote> by lawyers who had " +"volunteered to help in the case. Such <quote>moots</quote> are basically " +"practice rounds, where wannabe justices fire questions at wannabe winners." +msgstr "" +"<emphasis role='strong'>Muntlig argumentasjon</emphasis> var fastsatt til " +"fÃ¸rste uke i oktober. Jeg ankom D.C. to uker fÃ¸r dette. I lÃ¸pet av disse " +"to ukene ble jeg gang pÃ¥ gang <quote>opponert</quote> av advokater som hadde " +"meldt seg frivillig til Ã¥ hjelpe til i saken. Slike <quote>opponeringsÃ¸kter</" +"quote> er i grunnen Ã¸velsesrunder hvor de som vil vÃ¦re dommere fyrer av " +"spÃ¸rsmÃ¥l mot de som vil vinne." + +#. type: Content of: <book><part><chapter><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 Ã¥ vinne, mÃ¥tte jeg holde retten fokusert pÃ¥ et " +"enkelt poeng: hvis denne utvidelsen ble akseptert sÃ¥ ville det ikke vÃ¦re " +"noen grenser for myndigheten til Ã¥ vedta vernetid. Ã vÃ¦re enig med " +"regjeringen ville bety at vernetiden effektivt sett ville vÃ¦re uten " +"begrensing. Ã vÃ¦re enig med oss ville gi kongressen en klar linje Ã¥ fÃ¸lge: " +"Ikke utvid den eksisterende vernetiden. Opponeringsrundene var effektiv " +"trening. Jeg fant mÃ¥ter Ã¥ bringe hvert eneste spÃ¸rsmÃ¥l tilbake til den " +"sentrale idÃ©en." + +#. type: Content of: <book><part><chapter><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 opponeringsrunde var foran advokatene hos Jones Day. Don Ayer var " +"skeptikeren. Han hadde tjenestegjort i justisdepartementet under Reagen med " +"riksadvokat Charles Fried. Han hadde presentert mange saker foran " +"hÃ¸yesterett. Og i sin oppsummering av opponeringsrunden kom han med sin " +"bekymring:" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>I'm just afraid that unless they really see the harm, they won't be " +"willing to upset this practice that the government says has been a " +"consistent practice for two hundred years. You have to make them see the " +"harm—passionately get them to see the harm. For if they don't see " +"that, then we haven't any chance of winning.</quote>" +msgstr "" +"<quote>Jeg er bare redd for at med mindre de virkelig ser skaden, sÃ¥ vil de " +"ikke vÃ¦re villige til Ã¥ bryte denne praksisen som regjeringen sier har vÃ¦rt " +"konsistent praksis for to hundre Ã¥r. Du mÃ¥ fÃ¥ dem til Ã¥ se skaden—med " +"ettertrykk fÃ¥ dem til Ã¥ se skaden. Hvis de ikke ser den, sÃ¥ har vi ingen " +"sjanse til Ã¥ vinne.</quote>" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"He may have argued many cases before this Court, I thought, but he didn't " +"understand its soul. As a clerk, I had seen the Justices do the right " +"thing—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." +msgstr "" +"han kanskje har hevdet mange tilfeller fÃ¸r denne retten, jeg tenkte, men han " +"forstod ikke sin sjel. Jeg hadde sett justiariusene gjÃ¸re rette—ikke " +"pÃ¥ grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde " +"tilbrakt livet undervise elevene mine at denne retten gjÃ¸r rette—ikke " +"pÃ¥ grunn av politikk som en lov professor, men fordi det er riktig. da jeg " +"lyttet til ayer's pÃ¥stand om lidenskap i presserende politikk, jeg forsto " +"hans punkt, og jeg avviste den. VÃ¥rt argument var rett. Det var nok. La " +"politikerne lÃ¦re Ã¥ se at det var ogsÃ¥ god. natten fÃ¸r argumentet, en linje " +"av mennesker begynte Ã¥ form foran HÃ¸yesterett. saken hadde blitt et fokus av " +"pressen og bevegelse for fri kultur. hundrevis sto i kÃ¸ for sjansen til Ã¥ se " +"proceedings. score tilbragte natten pÃ¥ HÃ¸yesterett trinnene slik at de ville " +"vÃ¦re trygg pÃ¥ et sete." + +#. PAGE BREAK 245 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The night before</emphasis> the argument, a line of " +"people began to form in front of the Supreme Court. The case had become a " +"focus of the press and of the movement to free culture. Hundreds stood in " +"line for the chance to see the proceedings. Scores spent the night on the " +"Supreme Court steps so that they would be assured a seat." +msgstr "" +"<emphasis role='strong'>Natten fÃ¸r</emphasis> argumentasjonen begynte en kÃ¸ " +"av folk Ã¥ dukke opp foran hÃ¸yesterett. Saken hadde fÃ¥tt oppmerksomhet fra " +"pressen og fri kultur-bevegelsen. Hundrevis sto pÃ¥ rekke for Ã¥ fÃ¥ en sjanse " +"til Ã¥ se forhandlingen. Flokkevis tilbrakte natten pÃ¥ trappen til " +"hÃ¸yesterett for Ã¥ sikre seg et sete." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Not everyone has to wait in line. People who know the Justices can ask for " +"seats they control. (I asked Justice Scalia's chambers for seats for my " +"parents, for example.) Members of the Supreme Court bar can get a seat in a " +"special section reserved for them. And senators and congressmen have a " +"special place where they get to sit, too. And finally, of course, the press " +"has a gallery, as do clerks working for the Justices on the Court. As we " +"entered that morning, there was no place that was not taken. This was an " +"argument about intellectual property law, yet the halls were filled. As I " +"walked in to take my seat at the front of the Court, I saw my parents " +"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting " +"in the special section ordinarily reserved for family of the Justices." +msgstr "" +"ikke alle har til Ã¥ vente pÃ¥ 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 HÃ¸yesterett baren kan " +"fÃ¥ et sete i en spesiell del reservert for dem. og senators og congressmen " +"har et spesielt sted hvor de fÃ¥r Ã¥ sitte, ogsÃ¥. og til slutt, selvfÃ¸lgelig, " +"pressen har et galleri som gjÃ¸r clerks som jobber for de to andre " +"justiariusene pÃ¥ 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. sÃ¥ jeg gikk i Ã¥ ta min plass pÃ¥ forsiden " +"av retten, sÃ¥ jeg mine foreldre som sitter til venstre. som jeg satte meg " +"ned ved bordet, sÃ¥ jeg jack valenti sitter i delen spesielle vanligvis " +"forbeholdt familie av de to andre justiariusene." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"When the Chief Justice called me to begin my argument, I began where I " +"intended to stay: on the question of the limits on Congress's power. This " +"was a case about enumerated powers, I said, and whether those enumerated " +"powers had any limit." +msgstr "" +"NÃ¥r justisministeren ringte meg Ã¥ starte mitt argument, jeg begynte hvor jeg " +"skal bo: pÃ¥ spÃ¸rsmÃ¥let om begrensninger pÃ¥ Kongressens makt. Dette var en " +"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen " +"grense." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Justice O'Connor stopped me within one minute of my opening. The history " +"was bothering her." +msgstr "" +"Dommer O'Connor stoppet meg fÃ¸r det jeg var kommet et minutt inn i " +"Ã¥pningsforedraget mitt. Historien plaget henne." + +#. type: Content of: <book><part><chapter><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 "" +"Dommer O'Connor: Kongressen har utvidet vernetiden sÃ¥ mange ganger etter " +"hvert. Hvis du har rett, risikerer vi ikke Ã¥ forstyrre tidligere utvidelser " +"av vernetiden? Jeg mener, dette virker Ã¥ vÃ¦re en praksis som startet med " +"den aller fÃ¸rste lovendringen?" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"She was quite willing to concede <quote>that this flies directly in the face " +"of what the framers had in mind.</quote> But my response again and again was " +"to emphasize limits on Congress's power." +msgstr "" +"Hun var ganske villig til Ã¥ innrÃ¸mme \"at dette flyr direkte i mÃ¸te med hva " +"underskrev hadde i tankene.\", men mitt svar var igjen og igjen Ã¥ " +"understreke begrensninger pÃ¥ Kongressens makt." + +#. PAGE BREAK 246 +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"mr. lessig: Well, if it flies in the face of what the framers had in mind, " +"then the question is, is there a way of interpreting their words that gives " +"effect to what they had in mind, and the answer is yes." +msgstr "" +"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, " +"sÃ¥ spÃ¸rsmÃ¥let er, er det en mÃ¥te Ã¥ tolke sine ord som gir kraft til hva de " +"hadde i tankene, og svaret er Ja." + +#. type: Content of: <book><part><chapter><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 poenger i dette argumentet der jeg burde ha sett hvor retten var " +"pÃ¥ vei. Det fÃ¸rste var et spÃ¸rsmÃ¥l fra dommer Kennedy, som observerte," + +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"justice kennedy: Well, I suppose implicit in the argument that the '76 act, " +"too, should have been declared void, and that we might leave it alone " +"because of the disruption, is that for all these years the act has impeded " +"progress in science and the useful arts. I just don't see any empirical " +"evidence for that." +msgstr "" +"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, " +"ogsÃ¥, bÃ¸r har blitt gjort ugyldige, og at vi kan la det vÃ¦re pÃ¥ grunn av " +"avbrudd, er som for alle disse Ã¥rene loven har hindret fremgang i vitenskap " +"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Here follows my clear mistake. Like a professor correcting a student, I " +"answered," +msgstr "" +"Her fÃ¸lger min Ã¥penbare feil. Som en professor som korrigerer en student, " +"svarte jeg," + +#. type: Content of: <book><part><chapter><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: Dommer, det er ikke en empirisk pÃ¥stand i det hele tatt. " +"Ingenting i pÃ¥standen om vÃ¥r opphavsrettsbestemmelse baserer seg pÃ¥ den " +"empiriske antagelsen om Ã¥ hindre fremgang. VÃ¥rt eneste argument er at dette " +"er en strukturell begrensning som er nÃ¸dvendig for Ã¥ sikre at det som ellers " +"ville vÃ¦re en evigvarende vernetid ikke blir tillatt i opphavsrettsloven." + +#. type: Content of: <book><part><chapter><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 et riktig svar, men det var ikke det riktige svaret. Det riktige " +"svaret var i stedet at det var Ã¥penbar og dyptgripende skade. En rekke " +"orienteringer hadde blitt skrevet om den. Han Ã¸nsket Ã¥ hÃ¸re det. Og det " +"var her rÃ¥det fra Don Ayer burde ha hatt betydning. Dette var en lett " +"pasning, og mitt svar bommet fullstendig." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The second came from the Chief, for whom the whole case had been crafted. " +"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, " +"and we hoped that he would see this case as its second cousin." +msgstr "" +"andre kom fra sjefen, som hele saken hadde blitt utformet. for " +"justisministeren hadde utformet lopez avgjÃ¸relse, og vi hÃ¥pet at ville han " +"se denne saken som sin andre fetter." + +#. PAGE BREAK 247 +#. type: Content of: <book><part><chapter><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 ett sekund inn i hans spÃ¸rsmÃ¥l at han overhode ikke hadde " +"sympati med oss. For ham var vi en gjeng med anarkister. Han spurte sÃ¥," + +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"chief justice: Well, but you want more than that. You want the right to copy " +"verbatim other people's books, don't you?" +msgstr "" +"Chief justice: godt, men du Ã¸nsker mer enn som. du vil ha rett til Ã¥ kopiere " +"ordrett andres bÃ¸ker, ikke du?" + +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"mr. lessig: We want the right to copy verbatim works that should be in the " +"public domain and would be in the public domain but for a statute that " +"cannot be justified under ordinary First Amendment analysis or under a " +"proper reading of the limits built into the Copyright Clause." +msgstr "" +"Mr. lessig: vi vil ha rett til Ã¥ kopiere ordrett verk som bÃ¸r vÃ¦re i den " +"offentlige sfÃ¦ren, og ville vÃ¦re allemannseie, men for en vedtekter som ikke " +"kan begrunnes under vanlige fÃ¸rste endring analyse eller under en riktig " +"lesing av grensene som er innebygd i setningsdelen opphavsrett." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Olson, Theodore B." +msgstr "Olson, Theodore B." + +#. type: Content of: <book><part><chapter><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 nÃ¥r regjerningen presenterte sitt " +"Ã¥pniningsforedrag. For nÃ¥ tok retten tak i kjernen i vÃ¥re pÃ¥stander. Dommer " +"Scalia spurte regjeringsadvokat Olson," + +#. type: Content of: <book><part><chapter><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 "" +"Dommer Scalia: Du sier at den funksjonelle ekvivalenten til en ubegrenset " +"vernetid ville vÃ¦re i strid [med grunnloven], men det er jo nÃ¸yaktig det " +"argumentet som fremmes av *petitioners* her, at en begrenset vernetid som er " +"utvidbar er den funksjonelle ekvivalenten til en ubegrenset vernetid." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"When Olson was finished, it was my turn to give a closing rebuttal. Olson's " +"flailing had revived my anger. But my anger still was directed to the " +"academic, not the practical. The government was arguing as if this were the " +"first case ever to consider limits on Congress's Copyright and Patent Clause " +"power. Ever the professor and not the advocate, I closed by pointing out the " +"long history of the Court imposing limits on Congress's power in the name of " +"the Copyright and Patent Clause— 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 "" +"NÃ¥r olson var ferdig, var det min tur til Ã¥ 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 fÃ¸rste tilfellet noensinne Ã¥ vurdere begrensninger pÃ¥ congress's " +"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg " +"lukket noensinne ved Ã¥ peke pÃ¥ den lange historien av domstolen innfÃ¸re " +"begrensninger pÃ¥ Kongressens makt i navnet pÃ¥ opphavsrett og patent-" +"setningsdel—faktisk, det aller fÃ¸rste tilfellet stÃ¸tning en lov av " +"Kongressen som overskrider en bestemt, nummerert makt var basert pÃ¥ " +"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til Ã¥ flytte " +"retten til min side." + +#. PAGE BREAK 248 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>As I left</emphasis> the court that day, I knew " +"there were a hundred points I wished I could remake. There were a hundred " +"questions I wished I had answered differently. But one way of thinking about " +"this case left me optimistic." +msgstr "" +"<emphasis role='strong'>Da jeg dro</emphasis>fra retten den dagen visste jeg " +"det var hundrevis av ting jeg skulle Ã¸nske jeg hadde gjort pÃ¥ nytt. Det var " +"hundrevis av spÃ¸rsmÃ¥l jeg skulle Ã¸nske jeg hadde svart annerledes. Men en " +"mÃ¥te Ã¥ tenke pÃ¥ denne saken gjorde jeg optimistisk." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The government had been asked over and over again, what is the limit? Over " +"and over again, it had answered there is no limit. This was precisely the " +"answer I wanted the Court to hear. For I could not imagine how the Court " +"could understand that the government believed Congress's power was unlimited " +"under the terms of the Copyright Clause, and sustain the government's " +"argument. The solicitor general had made my argument for me. No matter how " +"often I tried, I could not understand how the Court could find that " +"Congress's power under the Commerce Clause was limited, but under the " +"Copyright Clause, unlimited. In those rare moments when I let myself believe " +"that we may have prevailed, it was because I felt this Court—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 Ã¥ hÃ¸re. for jeg ikke kan forestille meg hvordan domstol " +"kunne forstÃ¥ 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 forsÃ¸kt, kunne jeg ikke forstÃ¥ hvordan domstol finner at " +"Kongressens makt under handel-setningsdel var begrenset, men under den " +"opphavsrett setningen, ubegrenset. i de sjeldne Ã¸yeblikkene nÃ¥r jeg la meg " +"tro at vi kan ha kommet, det var fordi jeg fÃ¸lte denne retten—spesielt " +"ville konservative—fÃ¸le seg begrenset av rettssikkerhet at det hadde " +"etablert andre steder." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>The morning</emphasis> of January 15, 2003, I was " +"five minutes late to the office and missed the 7:00 A.M. call from the " +"Supreme Court clerk. Listening to the message, I could tell in an instant " +"that she had bad news to report.The Supreme Court had affirmed the decision " +"of the Court of Appeals. Seven justices had voted in the majority. There " +"were two dissents." +msgstr "" +"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og " +"ubesvarte anropet 7: 00 am fra HÃ¸yesterett kontorist. lytte til meldingen, " +"jeg kunne fortelle pÃ¥ et Ã¸yeblikk at hun hadde dÃ¥rlige nyheter til report." +"the hadde HÃ¸yesterett bekreftet avgjÃ¸relsen til court of appeals. syv " +"justiariusene hadde stemt i fleste. Det var to Dissensene." + +#. type: Content of: <book><part><chapter><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 fÃ¥ sekunder senere ankom domsavsigelsen via epost. Jeg tok " +"telefonrÃ¸ret av krogen, la ut en kunngjÃ¸ring pÃ¥ bloggen vÃ¥r, og satte meg sÃ¥ " +"ned for Ã¥ se hvor jeg hadde tatt feil i min argumentasjon." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money " +"in the world against <emphasis>reasoning</emphasis>. And here was the last " +"naÃ¯ve law professor, scouring the pages, looking for reasoning." +msgstr "" +"Min <emphasis>argumentasjon</emphasis>. Her var et tilfelle der alle alle " +"pengene i verden var satset mot <emphasis>argumentasjon</emphasis>. Og her " +"satt den siste naive juss-professor og trÃ¥let igjennom sidene pÃ¥ jakt etter " +"argumentasjon." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"I first scoured the opinion, looking for how the Court would distinguish the " +"principle in this case from the principle in <citetitle>Lopez</citetitle>. " +"The argument was nowhere to be found. The case was not even cited. The " +"argument that was the core argument of our case did not even appear in the " +"Court's opinion." +msgstr "" +"FÃ¸rst trÃ¥let jeg domsavsigelsen for Ã¥ finne hvordan domstolen ville skille " +"prinsippet i denne saken fra prinsippet i <citetitle>Lopez</citetitle>. Jeg " +"fant ikke argumentet noe sted. Saken var ikke en gang sitert. Argumentet " +"som var kjerneargumenet i vÃ¥r sak var ikke en gang tilstede i domstolens " +"domsavsigelse." + +#. PAGE BREAK 249 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Justice Ginsburg simply ignored the enumerated powers argument. Consistent " +"with her view that Congress's power was not limited generally, she had found " +"Congress's power not limited here." +msgstr "" +"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. " +"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, " +"hun hadde funnet Kongressens makt ikke begrenset her." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Her opinion was perfectly reasonable—for her, and for Justice Souter. " +"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to " +"expect them to write an opinion that recognized, much less explained, the " +"doctrine they had worked so hard to defeat." +msgstr "" +"Hennes mening var helt rimelig—for henne og for dommer Souter. Ingen " +"av dem tror pÃ¥ <citetitle>Lopez</citetitle>. Det ville vÃ¦re for mye Ã¥ " +"forvente at de skulle skrive en domsavsigelse som annerkjente, langt mindre " +"forklarte, den doktrinen som de hadde jobbet sÃ¥ hardt for Ã¥ bekjempe." + +#. type: Content of: <book><part><chapter><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 <emphasis>by not addressing the argument</emphasis>. There was no " +"inconsistency because they would not talk about the two together. There was " +"therefore no principle that followed from the <citetitle>Lopez</citetitle> " +"case: In that context, Congress's power would be limited, but in this " +"context it would not." +msgstr "" +"Men etter hvert som jeg innsÃ¥ hva som hadde skjedd, sÃ¥ kunne jeg ikke helt " +"tro det jeg leste. Jeg hadde sagt at det ikke var mulig for domstolen Ã¥ " +"*reconcile* begrenset myndighet for handels-bestemmelsen og ubegrenset " +"myndighet for fremgangs-bestemmelsen. Det hadde aldri slÃ¥tt meg at de kunne " +"*reconcile* de to ved Ã¥ ganske enkelt <emphasis>ikke bry seg om argumentet</" +"emphasis>. Det var ingen manglende konsistens ganske enkelt fordi de lot " +"vÃ¦re Ã¥ omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte fra " +"<citetitle>Lopez</citetitle>-saken: I den sammenhengen var kongressens " +"myndighet begrenset, men i denne sammenhengen var den ikke begrenset." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Yet by what right did they get to choose which of the framers' values they " +"would respect? By what right did they—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 "" +"ennÃ¥ ved hvilken rett de fikk til Ã¥ velge hvilke av de underskrev verdiene " +"de ville respekt? ved hvilken rett gjorde de—de stille fem—fÃ¥r Ã¥ " +"velge delen av Grunnloven de ville hÃ¥ndheve basert pÃ¥ verdiene de trodde " +"viktig? Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg " +"hadde mislyktes med Ã¥ overbevise dem om at problemet her var viktig, og jeg " +"hadde unnlot Ã¥ innse at det er systemet vi har, men mye jeg kan hater et " +"system der domstolen fÃ¥r velge konstitusjonelle verdiene som det vil " +"respektere,." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion " +"was crafted internal to the law: He argued that the tradition of " +"intellectual property law should not support this unjustified extension of " +"terms. He based his argument on a parallel analysis that had governed in the " +"context of patents (so had we). But the rest of the Court discounted the " +"parallel—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 bÃ¸r stÃ¸tter dette uberettiget forlengelse " +"av vilkÃ¥rene. han basert hans argument pÃ¥ en parallell analyse som hadde " +"styrt i sammenheng med patenter (sÃ¥ hadde vi). men resten av domstolen " +"nedsatte parallelt—uten Ã¥ forklare hvordan de samme ord i fremgang-" +"setningsdelen kan komme til Ã¥ bety helt forskjellige ting som er avhengig av " +"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens " +"kostnad gÃ¥ ubesvart." + +#. PAGE BREAK 250 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Justice Breyer's opinion, perhaps the best opinion he has ever written, was " +"external to the Constitution. He argued that the term of copyrights has " +"become so long as to be effectively unlimited. We had said that under the " +"current term, a copyright gave an author 99.8 percent of the value of a " +"perpetual term. Breyer said we were wrong, that the actual number was " +"99.9997 percent of a perpetual term. Either way, the point was clear: If the " +"Constitution said a term had to be <quote>limited,</quote> 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 sÃ¥ lenge som Ã¥ vÃ¦re 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 mÃ¥tte vÃ¦re \"begrenset\", og eksisterende " +"begrepet var sÃ¥ langt som Ã¥ vÃ¦re effektivt ubegrenset, sÃ¥ det var " +"forfatningsstridig." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"These two justices understood all the arguments we had made. But because " +"neither believed in the <citetitle>Lopez</citetitle> case, neither was " +"willing to push it as a reason to reject this extension. The case was " +"decided without anyone having addressed the argument that we had carried " +"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince." +msgstr "" +"disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " +"ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " +"grunn til Ã¥ 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><part><chapter><para> +msgid "" +"<emphasis role='strong'>Defeat brings depression</emphasis>. They say it is " +"a sign of health when depression gives way to anger. My anger came quickly, " +"but it didn't cure the depression. This anger was of two sorts." +msgstr "" +"<emphasis role='strong'>Tap gir depresjon</emphasis>. De sier det er et " +"sunnhetstegn nÃ¥r depresjon mÃ¥ vike for sinne. Mitt sinne kom raskt, men det " +"kurerte ikke depresjonen. Sinnet gikk i to retninger." + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "originalism" +msgstr "originalism" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"It was first anger with the five <quote>Conservatives.</quote> It would have " +"been one thing for them to have explained why the principle of " +"<citetitle>Lopez</citetitle> didn't apply in this case. That wouldn't have " +"been a very convincing argument, I don't believe, having read it made by " +"others, and having tried to make it myself. But it at least would have been " +"an act of integrity. These justices in particular have repeatedly said that " +"the proper mode of interpreting the Constitution is <quote>originalism</" +"quote>—to first understand the framers' text, interpreted in their " +"context, in light of the structure of the Constitution. That method had " +"produced <citetitle>Lopez</citetitle> and many other <quote>originalist</" +"quote> rulings. Where was their <quote>originalism</quote> now?" +msgstr "" +"Det var fÃ¸rste sinne pÃ¥ fem \"konservative.\" det ville ha vÃ¦rt en ting for " +"dem Ã¥ har forklart hvorfor prinsippet om lopez ikke bruk i dette tilfellet. " +"ikke som ville vÃ¦rt et veldig overbevisende argument, jeg ikke tror, etter Ã¥ " +"ha lest det gjort av andre, og at de hadde prÃ¸vd Ã¥ gjÃ¸re det selv. men i " +"alle fall ville det ha vÃ¦rt en handling av integritet. disse to andre " +"justiariusene spesielt har gjentatte ganger sagt at riktig tolke Grunnloven " +"er \"originalism\"—Ã¥ fÃ¸rst forstÃ¥ 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\" " +"nÃ¥?" + +#. PAGE BREAK 251 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Here, they had joined an opinion that never once tried to explain what the " +"framers had meant by crafting the Progress Clause as they did; they joined " +"an opinion that never once tried to explain how the structure of that clause " +"would affect the interpretation of Congress's power. And they joined an " +"opinion that didn't even try to explain why this grant of power could be " +"unlimited, whereas the Commerce Clause would be limited. In short, they had " +"joined an opinion that did not apply to, and was inconsistent with, their " +"own method for interpreting the Constitution. This opinion may well have " +"yielded a result that they liked. It did not produce a reason that was " +"consistent with their own principles." +msgstr "" +"her, de hadde med seg en oppfatning at aldri en gang prÃ¸vde Ã¥ forklare hva " +"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de " +"sluttet seg en oppfatning at aldri en gang forsÃ¸kt Ã¥ forklare hvordan " +"strukturen i som ledd vil pÃ¥virke tolkningen av Kongressens makt. og de med " +"seg en mening som ikke engang forsÃ¸ke Ã¥ forklare hvorfor dette stipendet av " +"makt kan vÃ¦re ubegrenset, mens handel-setningsdel ville vÃ¦re 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 ogsÃ¥ har gitt et " +"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin " +"egen prinsipper." + +#. type: Content of: <book><part><chapter><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 mot de konservative ga raskt etter for sinnet mot meg selv. For " +"jeg hadde latt en holdning til loven som jeg likte forstyrre en holdning til " +"loven slik den er." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Most lawyers, and most law professors, have little patience for idealism " +"about courts in general and this Supreme Court in particular. Most have a " +"much more pragmatic view. When Don Ayer said that this case would be won " +"based on whether I could convince the Justices that the framers' values were " +"important, I fought the idea, because I didn't want to believe that that is " +"how this Court decides. I insisted on arguing this case as if it were a " +"simple application of a set of principles. I had an argument that followed " +"in logic. I didn't need to waste my time showing it should also follow in " +"popularity." +msgstr "" +"de fleste jurister og de fleste lov professorer, har liten tÃ¥lmodighet for " +"idealismen om domstoler Generelt og denne HÃ¸yesterett spesielt. de fleste " +"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet " +"basert pÃ¥ om jeg kunne overbevise de to andre justiariusene at verdiene for " +"de underskrev var viktig, jeg kjempet idÃ©en, fordi jeg ikke Ã¸nsker Ã¥ tro at " +"det er hvordan denne retten bestemmer. jeg insisterte pÃ¥ kranglet denne " +"saken som om den var en enkel PÃ¥fÃ¸ring av et sett prinsipper. Jeg hadde et " +"argument som fulgte i logikken. Jeg trengte ikke Ã¥ kaste bort min tid viser " +"det bÃ¸r ogsÃ¥ fÃ¸lge i popularitet." + +#. PAGE BREAK 252 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"As I read back over the transcript from that argument in October, I can see " +"a hundred places where the answers could have taken the conversation in " +"different directions, where the truth about the harm that this unchecked " +"power will cause could have been made clear to this Court. Justice Kennedy " +"in good faith wanted to be shown. I, idiotically, corrected his question. " +"Justice Souter in good faith wanted to be shown the First Amendment harms. " +"I, like a math teacher, reframed the question to make the logical point. I " +"had shown them how they could strike this law of Congress if they wanted to. " +"There were a hundred places where I could have helped them want to, yet my " +"stubbornness, my refusal to give in, stopped me. I have stood before " +"hundreds of audiences trying to persuade; I have used passion in that effort " +"to persuade; but I refused to stand before this audience and try to persuade " +"with the passion I had used elsewhere. It was not the basis on which a court " +"should decide the issue." +msgstr "" +"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg " +"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, " +"der sannheten om skade som denne ukontrollert makt vil forÃ¥rsake kunne vÃ¦rt " +"gjort klart til denne retten. rettferdighet kennedy i god tro ville vÃ¦re " +"vist. Jeg, idiotically, rettet opp sine spÃ¸rsmÃ¥l. rettferdighet souter i god " +"tro ville vÃ¦re vist den fÃ¸rste endringen skader. Jeg, reframed som en " +"matematikk-lÃ¦rer spÃ¸rsmÃ¥l for Ã¥ gjÃ¸re 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 Ã¥ gi i, stoppet meg. Jeg har stÃ¥tt fÃ¸r hundrevis av mÃ¥lgrupper prÃ¸ver " +"Ã¥ overtale; Jeg har brukt lidenskap i at forsÃ¸k pÃ¥ Ã¥ overtale; men jeg " +"nektet Ã¥ stÃ¥ denne mÃ¥lgruppen og prÃ¸ver Ã¥ overtale med lidenskap jeg hadde " +"brukt et annet sted. Det var ikke grunnlag som en domstol bÃ¸r avgjÃ¸re " +"problemet." + +#. type: Content of: <book><part><chapter><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 gÃ¥tt annerledes hvis jeg hadde argumentert litt forskjellig? " +"Ville det ha gÃ¥tt annerledes hvis Don Ayer hadde argumentert? Eller Charles " +"Fried? Eller Kathleen Sullivan?" + +#. type: Content of: <book><part><chapter><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 samlet seg rundt meg for Ã¥ insistere pÃ¥ at det ville det ikke. " +"Domstolen var ikke klar, insisterte mine venner. Det var et tap bestemt av " +"skjebnen. Det ville kreve mye mer for Ã¥ vise samfunnet vÃ¥rt hvorfor " +"grunnlovsforsamlingen hadde rett. Og nÃ¥r vi gjÃ¸r det, sÃ¥ vil vi vÃ¦rÃ¦ i " +"stand til Ã¥ vise det til domstolen." + +#. type: Content of: <book><part><chapter><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 "" +"Mulig det, men jeg tviler. Disse dommerne hadde ingen Ã¸konomiske " +"interesser i Ã¥ gjÃ¸re noe annet en det som var riktig. De blir ikke " +"lobbiert. De har liten interesse i for Ã¥ ikke gjÃ¸re det som er " +"riktig. Jeg klarer ikke la vÃ¦re Ã¥ tenke at om jeg hadde gitt slipp pÃ¥ " +"min pene bilde av justis uten fÃ¸lelser, sÃ¥ hadde jeg overbevist dem." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"And even if I couldn't, then that doesn't excuse what happened in January. " +"For at the start of this case, one of America's leading intellectual " +"property professors stated publicly that my bringing this case was a " +"mistake. <quote>The Court is not ready,</quote> 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 Ã¥ bringe denne saken var en feil. " +"-domstolen ikke er klar,\"sagt peter jaszi, Dette problemet bÃ¸r ikke heves " +"fÃ¸r det er." + +#. type: Content of: <book><part><chapter><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." +msgstr "" +"Etter argumentasjonen og etter avgjÃ¸relsen sa Peter til meg, og offentlig, " +"at han tok feil. Men hvis domstolen faktisk ikke kunne bli overbevist, sÃ¥ " +"er det igjen alt bevis som trengs for Ã¥ vite at her hadde Peter nok en gang " +"rett. Enten var ikke jeg klar til Ã¥ argumentere for denne saken pÃ¥ en mÃ¥te " +"som ville bidra positivt, eller sÃ¥ var de ikke klare for Ã¥ ta opp denne " +"saken pÃ¥ en mÃ¥te som ville bidra positivt. Uansett var avgjÃ¸relsen om Ã¥ " +"fremme denne saken feil—en avgjÃ¸relse jeg hadde tatt fire Ã¥r tidligere." + +#. PAGE BREAK 253 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>While the reaction</emphasis> to the Sonny Bono Act " +"itself was almost unanimously negative, the reaction to the Court's decision " +"was mixed. No one, at least in the press, tried to say that extending the " +"term of copyright was a good idea. We had won that battle over ideas. Where " +"the decision was praised, it was praised by papers that had been skeptical " +"of the Court's activism in other cases. Deference was a good thing, even if " +"it left standing a silly law. But where the decision was attacked, it was " +"attacked because it left standing a silly and harmful law. <citetitle>The " +"New York Times</citetitle> wrote in its editorial," +msgstr "" +"<emphasis role='strong'>Mens reaksjonen</emphasis>pÃ¥ Sonny Bono-loven selv " +"var nesten enstemming negativ, sÃ¥ var reaksjonen pÃ¥ domstolens avgjÃ¸relse " +"blandet. Ikke en eneste, i hvert fall i pressen, forsÃ¸kte Ã¥ si at det var " +"en god idÃ© Ã¥ utvide vernetiden i opphavsretten. Vi hadde vunnet kampen om " +"idÃ©en. AvgjÃ¸relsen fikk stÃ¸tte fra aviser som hadde vÃ¦rt skeptisk til " +"domstolens aktivisme i andre saker. Ã holde hendene unna var en god ting, " +"selv om den lot en dum lov bli stÃ¥ende. Men der avgjÃ¸relsen ble angrepet sÃ¥ " +"ble den angrepet pÃ¥ grunn av at den lot en dum og skadelig bli stÃ¥ende. " +"<citetitle>The New York Times</citetitle> skrev i sin leder," + +#. type: Content of: <book><part><chapter><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 "" +"Effekten er at beslutningen i HÃ¸yesterett gjÃ¸r det sannsynlig at vi ser " +"starten pÃ¥ slutten til allemannseie, og fÃ¸dselen til evig opphavsrett. " +"Allemannseie har vÃ¦rt et storslÃ¥tt eksperiment, som ikke bÃ¸r fÃ¥ lov til Ã¥ " +"dÃ¸. Evnen til Ã¥ trekke uten begresning pÃ¥ hele den kreative produksjonen " +"til menneskeheten er en av grunnene til at vi lever i en tid med sÃ¥ " +"fruktbart kreativt vekstmiljÃ¸." + +#. type: Content of: <book><part><chapter><figure><indexterm><primary> +msgid "Bolling, Ruben" +msgstr "Bolling, Ruben" + +#. type: Content of: <book><part><chapter><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 (<xref linkend=" +"\"fig-18\"/>). The <quote>powerful and wealthy</quote> line is a bit unfair. " +"But the punch in the face felt exactly like that. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"De beste responsene dukket opp i tegneseriene. Det var en haug veldig " +"morsome tegninger—av Mikke i fengsel og dets like. Det beste fra mitt " +"stÃ¥sted i saken, var fra Ruben Bolling, og er gjengitt pÃ¥ den neste siden " +"(<xref linkend=\"fig-18\"/>). Tekstlinjen om <quote>mektig og rik</quote> " +"er litt urettferdig. Men slaget i ansiktet fÃ¸ltes akkurat slik ut." +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><figure><title> +msgid "Tom the Dancing Bug cartoon" +msgstr "Tom the Dancing Bug-tegneserie" + +#. type: Content of: <book><part><chapter><figure> +msgid "" +"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" +"\" id=\"0\"/>" +msgstr "" +"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" +"\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The image that will always stick in my head is that evoked by the quote from " +"<citetitle>The New York Times</citetitle>. That <quote>grand experiment</" +"quote> we call the <quote>public domain</quote> is over? When I can make " +"light of it, I think, <quote>Honey, I shrunk the Constitution.</quote> But I " +"can rarely make light of it. We had in our Constitution a commitment to free " +"culture. In the case that I fathered, the Supreme Court effectively " +"renounced that commitment. A better lawyer would have made them see " +"differently." +msgstr "" +"Bildet som for alltid stÃ¥r inne i hodet mitt er det som ble utlÃ¸st av et " +"sitat fra <citetitle>New York Times</citetitle>. At <quote>det store " +"eksperimentet</quote> vi kaller <quote>allemannseie</quote> er over? NÃ¥r " +"jeg kan ta lett pÃ¥ det, sÃ¥ tenker jeg <quote>KjÃ¦re, jeg krympet grunnloven</" +"quote>. Men jeg klarer sjelden Ã¥ ta lett pÃ¥ det. Vi hadde i grunnloven vÃ¥r " +"en forpliktelse til Ã¥ frigjÃ¸re kultur. I den saken som jeg hadde ansvar " +"for, ga hÃ¸yesterett effektivt avkall pÃ¥ den forpliktelsen. En bedre advokat " +"ville fÃ¥tt dem til Ã¥ annerledes pÃ¥ det." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER FOURTEEN: Eldred II" +msgstr "Kapittel fjorten: Eldred II" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The day</emphasis> <citetitle>Eldred</citetitle> was " +"decided, fate would have it that I was to travel to Washington, D.C. (The " +"day the rehearing petition in <citetitle>Eldred</citetitle> was denied—" +"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 "" +"<emphasis role='strong'>Dagen</emphasis> <citetitle>Eldred</citetitle> ble " +"avgjort, ville skjebnen det at jeg skulle reise til Washington, D.C. (Dagen " +"da en forespÃ¸rsel ny hÃ¸ring for <citetitle>Eldred</citetitle> ble " +"avslÃ¥tt—som betÃ¸d at saken endelig var avsluttet—skjebnen gjorde " +"at jeg holdt en tale til teknologer ved Disney World.) Dette var en " +"spesielt lang flytur til byen jeg setter minst pris pÃ¥. KjÃ¸returen inn til " +"byen fra Dulles flyplass var forsinket pÃ¥ grunn av trafikken, sa jeg Ã¥pnet " +"opp datamaskinen og skrev en kronikk." + +#. type: Content of: <book><part><chapter><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: " +"<quote>For all these years the act has impeded progress in science and the " +"useful arts. I just don't see any empirical evidence for that.</quote> And " +"so, having failed in the argument of constitutional principle, finally, I " +"turned to an argument of politics." +msgstr "" +"Det var en botsÃ¸velse. Gjennom hele flyturen fra San Francisco til " +"Washington hadde jeg i mitt indre Ã¸re hÃ¸rt om og om igjen det samme rÃ¥det " +"fra Don Ayer: Du mÃ¥ fÃ¥ dem til Ã¥ forstÃ¥ hvorfor det er viktig. Og innimellom " +"dette rÃ¥det var spÃ¸rsmÃ¥let fra dommer Kennedy: <quote>I alle disse Ã¥rene som " +"loven har hemmet fremgang i vitenskap og nyttige kunstarter, sÃ¥ ser jeg " +"intet empirisk bevis for dette.</quote> Og dermed, etter Ã¥ ha feilet i Ã¥ " +"argumentere med konstituelle prinsipper, forsÃ¸kte jeg til slutt meg med Ã¥ " +"argumentere politisk." + +#. PAGE BREAK 256 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<citetitle>The New York Times</citetitle> published the piece. In it, I " +"proposed a simple fix: Fifty years after a work has been published, the " +"copyright owner would be required to register the work and pay a small fee. " +"If he paid the fee, he got the benefit of the full term of copyright. If he " +"did not, the work passed into the public domain." +msgstr "" +"<citetitle>New York Times</citetitle> publiserte stykket. I det foreslo jeg " +"en enkel fiks: Femti Ã¥r etter at et verk har blitt publisert, bÃ¸r " +"opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ registrere verket og betale en liten " +"avgift. Hvis han betalte avgiften fikk han fordelene av hele vernetiden for " +"opphavstiden. Hvis han ikke gjorde det, falt verket i det fri." + +#. type: Content of: <book><part><chapter><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 dette Eldred-loven, men det var kun for Ã¥ gi det et navn. Eric " +"Eldred var snill nok til Ã¥ la sitt navn brukes nok en gang, men han sa tidig " +"at den ikke ville bli vedtatt med mindre den fikk et annet navn." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Or another two names. For depending upon your perspective, this is either " +"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright " +"Term Deregulation Act.</quote> Either way, the essence of the idea is clear " +"and obvious: Remove copyright where it is doing nothing except blocking " +"access and the spread of knowledge. Leave it for as long as Congress allows " +"for those works where its worth is at least $1. But for everything else, let " +"the content go." +msgstr "" +"Eller to andre navn. For avhengig av synsvinkel, sÃ¥ er dette enten " +"<quote>Forbedring av allemannseie-loven</quote> eller <quote>Avregulering av " +"opphavsrettsvernetids-loven</quote>. Uansett er essensen i idÃ©en klar og " +"tydelig: Fjern opphavsretten der den ikke gjÃ¸r noe annet enn Ã¥ blokkere for " +"tilgang og spredning av kunnskap. La den eksistere sÃ¥ lenge som kongressen " +"tillater det for de verk der verdien er minst en dollar. For alt annet, " +"slipp innholdet fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Forbes, Steve" +msgstr "Forbes, Steve" + +#. type: Content of: <book><part><chapter><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 "" +"Reaksjonen pÃ¥ denne idÃ©en var utrolig sterk. Steve Forbes gikk god for den " +"i en leder, og jeg mottok et skred av epost og brev med stÃ¸tte. NÃ¥r du " +"fokuserer temaet pÃ¥ tapt kreativitet, sÃ¥ ser folk at opphavsrettssystemet " +"ikke gir mening. En god republikaner kunne si at her kommer ganske enkelt " +"myndigentsregulering i veien for nyskapning og kreativitet. Og en god " +"demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang og " +"spredning av kunnskap. Det er faktisk ingen reell forskjell mellom " +"demokrater og republikanere rundt dette temaet. Enhver kan gjenkjenne de " +"idiotiske skadene som dagens ordning gir." + +#. type: Content of: <book><part><chapter><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 ser mange de Ã¥penbare fordelene med registreringskravet. For en av " +"de vanskeligste tingene med dagens system for folk som Ã¸nsker Ã¥ lisensiere " +"innhold er at det ikke er noen Ã¥penbar plass Ã¥ se etter gjeldende " +"opphavsrettseiere. Siden registrering ikke er pÃ¥krevd, sÃ¥ er det ofte " +"blokkerende vanskelig Ã¥ spore opp opphavsrettseiere for Ã¥ spÃ¸rre om " +"tillatelse til Ã¥ bruke eller lisensiere deres verk. Dette systemet ville " +"redusere disse kostnadene ved Ã¥ etablere i hvert fall et register hvor " +"opphavsrettseierene kan identifiseres." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Berlin Act (1908)" +msgstr "Berlinvedtaket (1908)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Berne Convention (1908)" +msgstr "Bern-konvensjonen (1908)" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "German copyright law" +msgstr "Tysk Ã¥ndsverkslov" + +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Until the 1908 Berlin Act of the " +"Berne Convention, national copyright legislation sometimes made protection " +"depend upon compliance with formalities such as registration, deposit, and " +"affixation of notice of the author's claim of copyright. However, starting " +"with the 1908 act, every text of the Convention has provided that <quote>the " +"enjoyment and the exercise</quote> of rights guaranteed by the Convention " +"<quote>shall not be subject to any formality.</quote> The prohibition " +"against formalities is presently embodied in Article 5(2) of the Paris Text " +"of the Berne Convention. Many countries continue to impose some form of " +"deposit or registration requirement, albeit not as a condition of copyright. " +"French law, for example, requires the deposit of copies of works in national " +"repositories, principally the National Museum. Copies of books published in " +"the United Kingdom must be deposited in the British Library. The German " +"Copyright Act provides for a Registrar of Authors where the author's true " +"name can be filed in the case of anonymous or pseudonymous works. Paul " +"Goldstein, <citetitle>International Intellectual Property Law, Cases and " +"Materials</citetitle> (New York: Foundation Press, 2001), 153–54." +msgstr "" +"fÃ¸r 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 \"fÃ¥ glede og Ã¸velsen\" av rettigheter garanteres ved " +"konvensjonen \"skal ikke vÃ¦re gjenstand for alle formalitet.\" forbud mot " +"formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten i berne " +"konvensjonen. mange land fortsatt Ã¥ innfÃ¸re noen form for innskudd eller " +"registrering kravet, om enn ikke som en betingelse for opphavsrett. Fransk " +"lov, krever for eksempel innskudd pÃ¥ kopier av works i nasjonale, for, " +"hovedsakelig nasjonalmuseet. Kopier av bÃ¸ker som er utgitt i Storbritannia " +"mÃ¥ settes i british library. tysk opphavsrett lov gir en registrar av " +"forfattere der forfatterens sanne navn kan vÃ¦re arkivert i tilfelle av " +"anonym eller pseudonymous fungerer. Paul goldstein, lovgivning for " +"immaterielle, saker og materialer (new york: foundation press, 2001), 153Â54." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, formalities in copyright law were removed in 1976, when " +"Congress followed the Europeans by abandoning any formal requirement before " +"a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The " +"Europeans are said to view copyright as a <quote>natural right.</quote> " +"Natural rights don't need forms to exist. Traditions, like the Anglo-" +"American tradition that required copyright owners to follow form if their " +"rights were to be protected, did not, the Europeans thought, properly " +"respect the dignity of the author. My right as a creator turns on my " +"creativity, not upon the special favor of the government." +msgstr "" +"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/> ble formaliteter fjernet fra opphavsrettsloven i 1976, da " +"kongressen fulgte etter europeerne i Ã¥ avskaffe alle formelle krav fÃ¸r " +"opphavsretten ble innvilget.<placeholder type=\"footnote\" id=\"0\"/> " +"Europeerne sies Ã¥ anse opphavsrett som en <quote>naturlig rettighet</" +"quote>. Naturlige rettigheter trenger ingen formaliterer for Ã¥ eksistere. " +"Tradisjoner lik den anglo-amerikanske som har krevd at opphavsrettseiere mÃ¥ " +"fÃ¸lge visse formaliteter hvis deres rettigheter skal bli beskyttet, mente " +"europeerne at ikke respekterte forfatterens verdighet skikkelig. Mine " +"skaper-rettigheter stammer fra min kreativitet, ikke noe som deles ut av " +"myndighetene." + +#. type: Content of: <book><part><chapter><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 <quote>Walt " +"Disney creativity</quote> is destroyed when there is no simple way to know " +"what's protected and what's not." +msgstr "" +"Det er flott retorikk, og det hÃ¸res vidunderlig romatisk ut. Men det er " +"absurd opphavsrettspolitikk. Det er absurd spesielt for forfattere, fordi " +"en verden uten formaliterer skader den som skaper. Muligheten til Ã¥ spre " +"<quote>Walt Disney-kreativtet</quote> er fjernet nÃ¥r det ikke er noen enkel " +"mÃ¥te Ã¥ vite hva som er beskyttet og hva som ikke er det." + +#. type: Content of: <book><part><chapter><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 " +"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the " +"loss of widows' only income." +msgstr "" +"Kampen mot formaliteter oppnÃ¥dde sin fÃ¸rste virkelige seier i Berlig i " +"1908. Internasjonale opphavsrettsadvokater fikk pÃ¥ plass et tillegg i Bern-" +"konvensjonen i 1909 som krevde opphavsrettslig verneperiode som rakk hele " +"livet pluss femti Ã¥r, i tillegg til Ã¥ avskaffe opphavsrettsformaliteter. " +"Formalitetene var hatet pÃ¥ grunn av historiene om utilsiktet tap ble mer og " +"mer vanlige. Det var som om en karakter fra Charles Dickets drev alle " +"opphavsrettskontorene, og Ã¥ glemme Ã¥ sette prikken over en <citetitle>i</" +"citetitle> eller glemme Ã¥ streke igjennom en <citetitle>t</citetitle> fÃ¸rte " +"til at en enke mistet sin eneste inntekt." + +#. type: Content of: <book><part><chapter><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 klagene var reelle og fornuftige. Og hvor strengt formalitetene ble " +"hÃ¥ndhevd, spesielt i USA, var absurd. Loven bÃ¸r alltid ha mÃ¥ter Ã¥ tilgi " +"uskyldige feil. Det er ingen grunn til at ikke ogsÃ¥ Ã¥ndsverksloven skulle " +"kunne det. I stedet for Ã¥ droppen formaliteter helt, sÃ¥ burde responsen i " +"Berlin vÃ¦rt Ã¥ omfavne et mer rettverdig registreringssystem." + +#. type: Content of: <book><part><chapter><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 det ville dog fÃ¥tt motstand, pÃ¥ grunn av at registrering fortsatt var " +"kostbart i det nittende og tjuende Ã¥rhundret. Det var ogsÃ¥ en plage. " +"Avviklingen av formaliteter ga ikke bare lovnad om Ã¥ redde sultende enker, " +"men ogsÃ¥ Ã¥ redusere en unÃ¸dvendig regulatorisk belastning som var pÃ¥tvunget " +"skapere." + +#. PAGE BREAK 258 +#. type: Content of: <book><part><chapter><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 <quote>naturally,</quote> and he can assert " +"that right against anyone who would steal the table, whether or not he has " +"informed the government of his ownership of the table." +msgstr "" +"I tillegg til de praktiske klagene fra forfatterne i 1908, sÃ¥ var det ogsÃ¥ " +"moralske innsigelser. Det var ingen grunn til at kreative " +"eiendomsrettigheter skulle vÃ¦re en annenrangs type eiendom. Hvis en snekker " +"lager et bord, sÃ¥ er ikke hans rettigheter over dette bordet avhengig av av " +"han sender inn et skjema til myndighetene. Han har en <quote>naturgitt</" +"quote> eiendomsrett til bordet og kan hevde denne retten mot enhver som " +"forsÃ¸ker Ã¥ stjele bordet, uansett om han har informert myndighetene om sitt " +"eierskap til bordet." + +#. type: Content of: <book><part><chapter><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 dets implikasjoner er misvisende. For " +"argumenter i favÃ¸r av formaliteter er ikke avhengig av at kreative eiendom " +"er annerangs eiendom. Argumentet i favÃ¸r av formaliteter kretser rundt de " +"spesielle problemene som kreativ eiendom gir oss. Loven om formaliteter er " +"et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for a " +"sikre at den kan spres effektivt og rettferdig." + +#. type: Content of: <book><part><chapter><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 "" +"For eksempel er det ingen som mener at landomrÃ¥der er annenklasses eiendom " +"kun fordi du mÃ¥ tinglyse et skjÃ¸te hvis ditt salg av land skal ta effekt. " +"Og fÃ¥ mener at en bil er annenklasses eiendom bare pÃ¥ grunn av at du mÃ¥ " +"registrere bilen hos biltilsynet og merke den med et bilskilt. I begge " +"disse tilfellene ser alle at det er viktige grunner til Ã¥ kreve " +"registrering—bÃ¥de pÃ¥ grunn av at det gjÃ¸r markedet mer effektivt, og " +"pÃ¥ grunn av at det bedre sikrer rettighetene til eieren. Uten et " +"registreringssystem for landomrÃ¥der mÃ¥tte landeiere hele tiden vokte sin " +"eiendom. Met registrering kan de ganske enkelt vise politiet et skjÃ¸te. " +"Uten et registreringssystem for biler ville biltyveri vÃ¦re mye enklere. Med " +"et registreringssystem blir det mye vanskeligere for tyven Ã¥ fÃ¥ solgt den " +"stjÃ¥lne bilen. En liten byrde blir lagt pÃ¥ eiendomseieren, men disse " +"byrdene gir et generelt settq mye bedre system for Ã¥ beskytte eiendom." + +#. type: Content of: <book><part><chapter><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, <emphasis>lawyer</emphasis> transactions " +"take their place. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Det er lignende spesielle fysiske egenskaper som gjÃ¸r formaliteter viktig i " +"opphavsrettslovgiving. I motsetning til en snekkers bord, er det ingenting " +"i naturen som gjÃ¸r det relativt Ã¥penbart hvem som kan eie en bestemt bit av " +"kreativ eiendom. Et opptak av Lyle Lovetts siste album kan eksistere en " +"milliard steder uten at noe nÃ¸dvendigvis peker tilbake til en bestemt eier. " +"Og pÃ¥ samme mÃ¥te som en bil, er det ingen mÃ¥te Ã¥ vÃ¦re trygg ved kjÃ¸p og salg " +"av kreativ eiendom med mindre det finnes en enkel mÃ¥te Ã¥ bekrefte hvem som " +"er forfatteren og hvilke rettigheter han har. Enkle transaksjoner blir " +"umulige i en verden uten formaliteter. Kompliserte, dyre, " +"<emphasis>advokat</emphasis>-transaksjoner trer inn i stedet. <placeholder " +"type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>get.</" +"quote> Because we live in a system without formalities, there is no way " +"easily to build upon or use culture from our past. If copyright terms were, " +"as Justice Story said they would be, <quote>short,</quote> then this " +"wouldn't matter much. For fourteen years, under the framers' system, a work " +"would be presumptively controlled. After fourteen years, it would be " +"presumptively uncontrolled." +msgstr "" +"Dette var forstÃ¥elsen av problemet med Sonny Bono-loven som vi forsÃ¸kte Ã¥ " +"demonstrere for retten. Dette var den delen som den ikke <quote>tok</" +"quote>. Fordi vi lever i et system uten formaliteter, sÃ¥ er det ikke noen " +"enkel mÃ¥te Ã¥ bygge pÃ¥ eller bruke kulturen fra vÃ¥r fortid. Hvis vernetiden " +"i opphavsretten var, slik dommer Story sa den ville vÃ¦re, <quote>kort</" +"quote>, da ville ikke dette bety stort. I fjorten Ã¥r, i fÃ¸lge systemet til " +"de som skrev grunnloven, ville et verk kunne antas Ã¥ vÃ¦re kontrollert. " +"Etter fjorten Ã¥r kunne en anta at det ikke var kontrollert." + +#. type: Content of: <book><part><chapter><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 <emphasis>because there are no " +"formalities</emphasis>." +msgstr "" +"Men nÃ¥ nÃ¥r opphavsretten kan vare omtrent et Ã¥rhundre, sÃ¥ er den manglende " +"evnen til Ã¥ vite hva som er beskyttet og hva som ikke er beskyttet blitt en " +"stor og Ã¥penbar byrde pÃ¥ den kreative prosessen. Hvis den eneste mÃ¥ten et " +"bibliotek kan legge frem en internet-utstilling om New Deal er ved Ã¥ hyre " +"inn en advokat til Ã¥ klarere rettighetene til hvert eneste bilde og hver " +"eneste lydinnspilling, sÃ¥ belaster opphavsrettssystemet kreativiteten pÃ¥ en " +"mÃ¥te som aldri fÃ¸r er observert, <emphasis>fordi det ikke er noen " +"formaliteter</emphasis>." + +#. type: Content of: <book><part><chapter><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-loven var utformet for Ã¥ svare pÃ¥ akkurat dette problemet. Hvis det " +"er verdt en dollar for deg, sÃ¥ registrer verket ditt og du kan fÃ¥ lengre " +"vernetid. Andre vil vite hvordan de skal kontakte deg og dermed hvordan de " +"kan fÃ¥ din tillatelse hvis de Ã¸nsker Ã¥ bruke ditt verk. Og du vil fÃ¥ " +"fordelen av en utvidet opphavsrettslig vernetid." + +#. type: Content of: <book><part><chapter><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 Ã¥ registrere verket for Ã¥ fÃ¥ fordelene av " +"en utvidet vernetid, sÃ¥ bÃ¸r det heller ikke vÃ¦re verdt det for myndighetene " +"Ã¥ forsvare ditt monopol over det samme verket. Verket bÃ¸r falle i det fri " +"hvor enhver kan kopiere det, eller lage arkiver med det, eller lage en film " +"basert pÃ¥ det. Det bÃ¸r bli fritt tilgjengelig hvis det ikke er verdt en " +"dollar for deg." + +#. type: Content of: <book><part><chapter><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 bekymrer seg over byrden pÃ¥ forfattere. GjÃ¸r ikke byrden med Ã¥ " +"registrere verket at belÃ¸pet $1 egentlig er misvisende? Er ikke " +"ekstraarbeidet verdt mer enn $1? Er ikke dette det virkelige problemet med " +"registrering?" + +#. PAGE BREAK 260 +#. type: Content of: <book><part><chapter><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 <emphasis>governments</emphasis> standing at the core of " +"any system of formalities. In this book, I offer such a solution. That " +"solution essentially remakes the Copyright Office. For now, assume it was " +"Amazon that ran the registration system. Assume it was one-click " +"registration. The Eldred Act would propose a simple, one-click registration " +"fifty years after a work was published. Based upon historical data, that " +"system would move up to 98 percent of commercial work, commercial work that " +"no longer had a commercial life, into the public domain within fifty years. " +"What do you think?" +msgstr "" +"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nÃ¥ er " +"grufult. Jeg er helt enig i at opphavsrettskontoret har gjort en " +"forferdelig jobb (uten tvil pÃ¥ grunn av at de har forferdelig dÃ¥rlig " +"finansiering) i Ã¥ gjÃ¸re registrering enkelt og billig. En skikkelig lÃ¸sning " +"pÃ¥ problemet med formaliteter mÃ¥ adressere det egentlige problemet med " +"<emphasis>myndigheter</emphasis> som befinner seg i kjernen av ethvert " +"system med formaliteter. I denne boken legger jeg frem en slik lÃ¸sning. " +"LÃ¸sningen gjÃ¸r i essensen om pÃ¥ opphavsrettskontoret. Forestill deg at " +"registrering kun krever ett klikk. Eldred-loven foreslo en enkel, ett-" +"klikks registrering, femti Ã¥r etter at et verk var publisert. Basert pÃ¥ " +"historiske data ville dette systemet fÃ¥ opp mot 98 prosent av kommersielle " +"verk, kommersielle verk som ikke lenger har et kommersielt liv, til Ã¥ falle " +"i det fri etter femti Ã¥r. Hva tror du?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>When Steve Forbes</emphasis> endorsed the idea, some " +"in Washington began to pay attention. Many people contacted me pointing to " +"representatives who might be willing to introduce the Eldred Act. And I had " +"a few who directly suggested that they might be willing to take the first " +"step." +msgstr "" +"<emphasis role='strong'>Da Steve Forbes</emphasis> stÃ¸ttet idÃ©en, begynte " +"enkelte i Washington Ã¥ fÃ¸lge med. Mange kontaktet meg med tips til " +"representanter som kan vÃ¦re villig til Ã¥ introdusere en Eldred-lov. og jeg " +"hadde noen fÃ¥ som foreslo direkte at de kan vÃ¦re villige til Ã¥ ta det fÃ¸rste " +"skrittet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Lofgren, Zoe" +msgstr "Lofgren, Zoe" + +#. type: Content of: <book><part><chapter><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, <quote>we are close.</quote> There was a general " +"reaction in the blog community that something good might happen here." +msgstr "" +"En representant, Zoe Lofgren fra California, gikk sÃ¥ langt som Ã¥ fÃ¥ " +"lovforslaget utarbeidet. Utkastet lÃ¸ste noen problemer med internasjonal " +"lov. Det pÃ¥la de enklest mulige forutsetninger pÃ¥ innehaverne av " +"opphavsretter. I mai 2003 sÃ¥ det ut som om loven skulle vÃ¦re introdusert. " +"16. mai, postet jeg pÃ¥ Eldred Act-bloggen, <quote>vi er nÃ¦re</quote>. Det " +"oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje her." + +#. type: Content of: <book><part><chapter><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 pÃ¥ dette stadiet begynte lobbyister Ã¥ bryte inn. Jack Valento og MPAAs " +"sjefsjurist kom til kongressrepresentantens kontor for Ã¥ gi MPAAS syn pÃ¥ " +"saken. Veiledet av sin advokat, fortalte Valenti meg, informerte Valenti " +"kongressrepresentanten om at MPAA ville motsette seg Eldred-loven. Arsakene " +"var pinlig tynne. Enda viktigere er det at deres spinkelhet viser noe klart " +"om hva denne debatten egentlig handler om." + +#. PAGE BREAK 261 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The MPAA argued first that Congress had <quote>firmly rejected the central " +"concept in the proposed bill</quote>—that copyrights be renewed. That " +"was true, but irrelevant, as Congress's <quote>firm rejection</quote> had " +"occurred long before the Internet made subsequent uses much more likely. " +"Second, they argued that the proposal would harm poor copyright owners—" +"apparently those who could not afford the $1 fee. Third, they argued that " +"Congress had determined that extending a copyright term would encourage " +"restoration work. Maybe in the case of the small percentage of work covered " +"by copyright law that is still commercially valuable, but again this was " +"irrelevant, as the proposal would not cut off the extended term unless the " +"$1 fee was not paid. Fourth, the MPAA argued that the bill would impose " +"<quote>enormous</quote> costs, since a registration system is not free. True " +"enough, but those costs are certainly less than the costs of clearing the " +"rights for a copyright whose owner is not known. Fifth, they worried about " +"the risks if the copyright to a story underlying a film were to pass into " +"the public domain. But what risk is that? If it is in the public domain, " +"then the film is a valid derivative use." +msgstr "" +"MPAAs fÃ¸rste argument var at kongressen <quote>bestemt hadde avvist det " +"sentrale konseptet i lovforslaget</quote>—at opphavsretter skal " +"fornyes. Det er riktig, men irrelevant, etter som kongressen " +"<quote>bestemte hadde avvist</quote> dette lenge fÃ¸r Internettet gjorde " +"pÃ¥fÃ¸lgende bruk mye mer sannsynlig. Det andre argumentet var at at " +"forslaget ville skade fattige opphavsrettseiere—tilsynelatende de som " +"ikke har rÃ¥d til en avgift pÃ¥ en dollar. Det tredje argumentet var at " +"kongressen hadde konkludert med at Ã¥ utvide vernetiden i opphavsretten ville " +"oppmuntre til Ã¥ restaurere verk. Det kan stemme for den lille " +"prosentandelen verk vernet av Ã¥ndsverksloven og som fortsatt er kommersielt " +"verdifulle. Men dette er ogsÃ¥ irrelevant, etter som forslaget ikke ville " +"fjerne den utvidede vernetiden med mindre avgiften pÃ¥ en dollar ikke ble " +"betalt. Det fjerde argumenet fra MPAA var at forslaget ville pÃ¥fÃ¸re " +"<quote>enorme</quote> kostnader, etter som et registrerings-system ikke er " +"gratis. Sant nok, men disse konstnadene er helt klart lavere enn kostnadene " +"med Ã¥ klarere rettigheter for en opphavsrett der eieren er ukjent. Det " +"femte argumentet var at de var bekymret over risikoen hvis opphavsretten til " +"en historie som lÃ¥ til grunn for en film skulle falle i det fri. Men hva " +"slags risiko er dette? Hvis den er falt i det fri, sÃ¥ er filmen gyldig " +"avleded bruk." + +#. type: Content of: <book><part><chapter><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 "" +"Til slutt hevdet MPAA at eksisterende lovgiving gjorde det mulig for " +"opphavsrettseierer Ã¥ gjÃ¸rÃ¦ dette hvis de Ã¸nsket det. Men hele poenget er at " +"det er tusenvis av opphavsrettseiere som ikke engang vet at de har en " +"opphavsrett Ã¥ gi bort. Hvorvidt de stÃ¥r fritt til Ã¥ gi bort opphavsretten " +"eller ikke—uansett en kontroversiell pÃ¥stand—sÃ¥ med mindre de " +"vet opp en opphavsrett sÃ¥ er det lite sannsynlig at de vil gjÃ¸re det." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>At the beginning</emphasis> of this book, I told two " +"stories about the law reacting to changes in technology. In the one, common " +"sense prevailed. In the other, common sense was delayed. The difference " +"between the two stories was the power of the opposition—the power of " +"the side that fought to defend the status quo. In both cases, a new " +"technology threatened old interests. But in only one case did those " +"interest's have the power to protect themselves against this new competitive " +"threat." +msgstr "" +"<emphasis role='strong'>I begynnelsen</emphasis> av denne boken fortalte jeg " +"to historier om hvordan loven reagerte mÃ¥ endringer i teknologien. I den " +"ene vant sunn fornuft frem. I den andre ble sunn fornuft forsinket. " +"Forskjellen mellom de to historiene var hvor mektig opposisjonen var—" +"hvor mektig siden som sloss for Ã¥ forsvare status quo. I begge tilfellene " +"truet ny teknologi gamle interesser. Men i kun en av tilfellene hadde disse " +"interessene nok makt til Ã¥ beskytte seg mot denne nye konkurransemessige " +"trusselen." + +#. type: Content of: <book><part><chapter><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 mÃ¥te Ã¥ ramme inn krigen som denne " +"boken har handlet om. For her er det ogsÃ¥ en ny teknologi som tvinger loven " +"til Ã¥ reagere. Og her bÃ¸r vi ogsÃ¥ spÃ¸rre, er loven i trÃ¥d med eller i strid " +"med sunn fornuft. Hvis sunn fornuft stÃ¸tter loven, hva forklarer denne " +"sunne fornuften?" + +#. PAGE BREAK 262 +#. type: Content of: <book><part><chapter><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 "" +"NÃ¥r problemet er piratvirksomhet, sÃ¥ er det riktig at loven stÃ¸tter " +"opphavsrettseierne. Den kommersielle piratvirksomheten som jeg har " +"beskrevet er galt og skadelig, og loven bÃ¸r jobbe for Ã¥ eliminere den. NÃ¥r " +"problemet er p2p-deling, sÃ¥ er det enkelt Ã¥ forstÃ¥ hvorfor loven fortsatt " +"stÃ¸tter eierne. Mye av denne delingen er galt, selv om mye er harmlÃ¸st. NÃ¥r " +"problemet er opphavsrettsvernetiden for Mikke Mus-ene i verden, sÃ¥ er det " +"forsatt mulig Ã¥ forstÃ¥ hvorfor loven favoriserer Hollywood: De fleste " +"kjenner ikke igjen grunner til Ã¥ begrense vernetiden for opphavsretten. Det " +"er dermed forsatt mulig Ã¥ se god tro hos motstanden." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Kelly, Kevin" +msgstr "Kelly, Kevin" + +#. type: Content of: <book><part><chapter><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 <quote>Dark Content</quote> that fills archives " +"around the world. So when the warriors oppose a change like this, we should " +"ask one simple question:" +msgstr "" +"Men nÃ¥r opphavsrettseiere motsetter seg et forslag som Eldred-loven, sÃ¥ er " +"det endelig et eksempel som eksponerer den nakne egeninteressen som holder " +"denne krigen i gang. Dette lovforslaget ville frigjÃ¸re en ekstraordinÃ¦r " +"rekke av innhold som ellers ville forbli ubrukt. Det ville ikke forstyrre " +"noen opphavsrettseiers trang til Ã¥ utÃ¸ve fortsatt kontroll over sitt " +"innhold. Det ville ganske enkelt frigjÃ¸re det som Kevin Kelly kaller det " +"<quote>mÃ¸rke innhold</quote> som fyller arkivene rundt om i verden. SÃ¥ nÃ¥r " +"krigerne motsetter seg en slik endring, sÃ¥ bÃ¸r vi stille et enkelt spÃ¸rsmÃ¥l:" + +#. type: Content of: <book><part><chapter><para> +msgid "What does this industry really want?" +msgstr "Hva Ã¸nsker denne industrien egentlig?" + +#. type: Content of: <book><part><chapter><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 " +"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an " +"effort to assure that nothing more passes into the public domain. It is " +"another step to assure that the public domain will never compete, that there " +"will be no use of content that is not commercially controlled, and that " +"there will be no commercial use of content that doesn't require " +"<emphasis>their</emphasis> permission first." +msgstr "" +"Med svÃ¦rt liten innsats kunne krigerne beskytte sitt innhold. SÃ¥ innsatsen " +"for Ã¥ blokkere noe ala Eldred-loven er ikke egentlig om Ã¥ beskytte " +"<emphasis>deres</emphasis> innhold. Innsatsen for Ã¥ blokkere Eldred-loven " +"er en innsats for Ã¥ sikre at ingenting mer faller i det fri. Det er et nytt " +"steg for Ã¥ sikre at allemannseiet aldri vil konkurrere, at det ikke vil vÃ¦re " +"noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke vil " +"vÃ¦re noe kommersiell bruk av innhold som ikke fÃ¸rst krever <emphasis>deres</" +"emphasis> tillatelse." + +#. type: Content of: <book><part><chapter><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 <quote>property</quote> but the rejection of a tradition. " +"Their aim is not simply to protect what is theirs. <emphasis>Their aim is to " +"assure that all there is is what is theirs</emphasis>." +msgstr "" +"Motstanden mot Eldred-loven avslÃ¸rer hvor ekstrem den andre siden er. Den " +"mektigste, sexy og hÃ¸yt elskede av lobbyorganisasjoner har som mÃ¥l ikke Ã¥ " +"beskytte <quote>eiendom</quote> men Ã¥ bli kvitt en tradisjon. Deres mÃ¥l er " +"ikke bare Ã¥ beskytte det som er deres. <emphasis>Deres mÃ¥l er Ã¥ sikre at " +"alt som finnes er det som er deres.</emphasis>" + +#. PAGE BREAK 263 +#. type: Content of: <book><part><chapter><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 Ã¥ forstÃ¥ hvorfor krigerne har dette synet. Det er " +"ikke vanskelig Ã¥ se hvordan det vil gi dem fordeler hvis konkurransen fra " +"allemannseiet knyttet til Internettet pÃ¥ en eller mannen mÃ¥te kunne knuses. " +"PÃ¥ samme mÃ¥te som RCA fryktet konkurransen fra FM, frykter de konkurransen " +"fra allemannseiet knyttet til en befolkning som nÃ¥ har mulighet til Ã¥ skape " +"med den og dele sine egne kreasjoner." + +#. type: Content of: <book><part><chapter><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 "" +"Det som er vanskelig Ã¥ forstÃ¥ er hvorfor folket innehar dette synet. Det er " +"som om loven gjorde at flymaskiner tok seg inn pÃ¥ annen manns eiendom. MPAA " +"stÃ¥r side om side med Causbyene og krever at deres fjerne og ubrukelige " +"eierrettigheter blir respektert, slik at disse fjerne og glemte " +"opphavsrettsinnehaverne kan blokkere fremgangen til andre." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"All this seems to follow easily from this untroubled acceptance of the " +"<quote>property</quote> in intellectual property. Common sense supports it, " +"and so long as it does, the assaults will rain down upon the technologies of " +"the Internet. The consequence will be an increasing <quote>permission " +"society.</quote> The past can be cultivated only if you can identify the " +"owner and gain permission to build upon his work. The future will be " +"controlled by this dead (and often unfindable) hand of the past." +msgstr "" +"Alt dette ser ut til Ã¥ lett fÃ¸lge fra Ã¥ ukritisk akseptere <quote>eiendom</" +"quote>-biten av immateriell eiendom. Sunn fornuft stÃ¸tter det, og sÃ¥ lenge " +"den gjÃ¸r det vil overfallene regne ned over teknologiene pÃ¥ Internettet. " +"Konsekvensene vil vÃ¦re mer og mer et <quote>tillatelses-samfunn</quote>. " +"Fortiden kan kun kultiveres hvis du kan finne eieren og be om tillatelse til " +"Ã¥ bygge pÃ¥ hans verk. Fremtiden vil bli kontrollert av denne dÃ¸de (og ofte " +"forsvunnede) hÃ¥nd fra fortiden." + +#. type: Content of: <book><chapter><title> +msgid "CONCLUSION" +msgstr "Konklusjon" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Africa, medications for HIV patients in" +msgstr "Afrika, medisinering for HIV-pasienter i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "AIDS medications" +msgstr "AIDS-medisiner" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "antiretroviral drugs" +msgstr "antiretroviral medisin" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "developing countries, foreign patent costs in" +msgstr "utviklingsland, utenlandske patentkostnader i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "drugs" +msgstr "medisiner" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "pharmaceutical" +msgstr "farmasÃ¸ytisk" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "HIV/AIDS therapies" +msgstr "HIV/AIDS-behandlinger" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>There are more</emphasis> than 35 million people " +"with the AIDS virus worldwide. Twenty-five million of them live in sub-" +"Saharan Africa. Seventeen million have already died. Seventeen million " +"Africans is proportional percentage-wise to seven million Americans. More " +"importantly, it is seventeen million Africans." +msgstr "" +"<emphasis role='strong'>Det er mer</emphasis> enn trettifem millioner " +"mennesker over hele verden med AIDS-viruset. Tjuefem millioner av dem bor i " +"Afrika sÃ¸r for Sahara. Sytten millioner har allerede dÃ¸dd. Sytten " +"millioner afrikanere er prosentvis proporsjonalt med syv millioner " +"amerikanere. Viktigere er det at dette er 17 millioner afrikanere." + +#. type: Content of: <book><chapter><para> +msgid "" +"There is no cure for AIDS, but there are drugs to slow its progression. " +"These antiretroviral therapies are still experimental, but they have already " +"had a dramatic effect. In the United States, AIDS patients who regularly " +"take a cocktail of these drugs increase their life expectancy by ten to " +"twenty years. For some, the drugs make the disease almost invisible." +msgstr "" +"Det finnes ingen kur for AIDS, men det finnes medisiner som kan hemme " +"sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt " +"eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA Ã¸ker " +"AIDS-pasienter som regelmessig tar en cocktail av disse medisinene sin " +"levealder med ti til tjue Ã¥r. For noen gjÃ¸re medisinene sykdommen nesten " +"usynlig." + +#. f1. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " +"Intellectual Property Rights and Development Policy</quote> (London, 2002), " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. " +"According to a World Health Organization press release issued 9 July 2002, " +"only 230,000 of the 6 million who need drugs in the developing world receive " +"them—and half of them are in Brazil." +msgstr "" +"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " +"Intellectual Property Rights and Development Policy</quote> (London, 2002), " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</" +"ulink>. I fÃ¸lge en pressemelding fra verdens helseorganisasjon sendt ut 9. " +"juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i " +"utviklingsland dem de trenger—og halvparten av dem er i Brasil." + +#. type: Content of: <book><chapter><para> +msgid "" +"These drugs are expensive. When they were first introduced in the United " +"States, they cost between $10,000 and $15,000 per person per year. Today, " +"some cost $25,000 per year. At these prices, of course, no African nation " +"can afford the drugs for the vast majority of its population: $15,000 is " +"thirty times the per capita gross national product of Zimbabwe. At these " +"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Disse medisinene er dyre. Da de ble fÃ¸rst introdusert i USA, kostet de " +"mellom $10 000 og $15 000 pr. person hvert Ã¥r. I dag koster noen " +"av dem $25 000 pr. Ã¥r. Med disse prisene har, selvfÃ¸lgelig, ingen " +"afrikansk stat rÃ¥d til medisinen for det store flertall av sine innbyggere: " +"$15 000 er tredve ganger brutto nasjonalprodukt pr. innbygger i " +"Zimbabwe. Med slike priser er disse medisinene fullstendig utilgjengelig." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on pharmaceuticals" +msgstr "om legemidler" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "pharmaceutical patents" +msgstr "farmasÃ¸ytiske patenter" + +#. 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 hÃ¸ye fordi ingrediensene til medisinene er dyre. " +"Disse prisene er hÃ¸ye fordi medisinene er beskyttet av patenter. " +"Farmasiselskapene som produserer disse livreddende blandingene nyter minst " +"tjue Ã¥rs monopol pÃ¥ sine oppfinnelser. De bruker denne monopolmakten til Ã¥ " +"hente ut sÃ¥ mye de kan fra markedet. Ved hjelp av denne makten holder de " +"prisene hÃ¸ye." + +#. 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 patenter pÃ¥ medisiner. " +"Det er ikke jeg. Faktisk av alle forskningsomrÃ¥der som kan vÃ¦re stÃ¸ttet av " +"patenter, er forskning pÃ¥ medisiner, etter min mening, det klareste tilfelle " +"der patenter er nÃ¸dvendig. Patenter gir et farmasÃ¸ytiske firma en viss " +"forsikring om at hvis det lykkes i Ã¥ finne opp et nytt medikament som kan " +"behandle en sykdom, vil det kunne tjene tilbake investeringen og mer til. " +"Dette ber sosialt et ekstremt verdifullt insentiv. Jeg er den siste personen " +"som vil argumentere for at loven skal avskaffe dette, 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 Ã©n ting Ã¥ stÃ¸tte patenter, selv patenter pÃ¥ medisiner. Det er en " +"annen ting Ã¥ avgjÃ¸re hvordan en best skal hÃ¥ndtere en krise. Og i det " +"afrikanske ledere begynte Ã¥ erkjenne Ã¸deleggelsen AIDS brakte, begynte de Ã¥ " +"se etter mÃ¥ter Ã¥ importere HIV-medisiner til kostnader betydelig under " +"markedspris." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "international law" +msgstr "internasjonal lov" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "parallel importation" +msgstr "parallellimport" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "South Africa, Republic of, pharmaceutical imports by" +msgstr "SÃ¸r-Afrika, Republikken, farmasÃ¸ytiske import til" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Braithwaite, John" +msgstr "Braithwaite, John" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: " +"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " +"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" +"\" id=\"1\"/>" +msgstr "" +"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " +"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " +"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" +"\" id=\"1\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"In 1997, South Africa tried one tack. It passed a law to allow the " +"importation of patented medicines that had been produced or sold in another " +"nation's market with the consent of the patent owner. For example, if the " +"drug was sold in India, it could be imported into Africa from India. This is " +"called <quote>parallel importation,</quote> and it is generally permitted " +"under international trade law and is specifically permitted within the " +"European Union.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I 1997 forsÃ¸kte SÃ¸r-Afrika seg pÃ¥ en tilnÃ¦rming. Landet vedtok en lov som " +"tillot import av patenterte medisiner som hadde blitt produsert og solgt i " +"en annen nasjons marked med godkjenning fra patenteieren. For eksempel, " +"hvis medisinen var solgt i India, sÃ¥ kunne den bli importert inn til Afrika " +"fra India. Dette kalles <quote>parallellimport</quote> og er generelt " +"tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den " +"europeiske union.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "United States Trade Representative (USTR)" +msgstr "USAs handelrepresentant (USTR)" + +#. f3. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over " +"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug " +"Policy, and Human Resources, House Committee on Government Reform, H. Rep., " +"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James " +"Love)." +msgstr "" + +#. f4. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 15." +msgstr "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en " +"rapport forberedt for the World Intellectual Property Organization</" +"citetitle> (Washington, D.C., 2000), 15." + +#. type: Content of: <book><chapter><para> +msgid "" +"However, the United States government opposed the bill. Indeed, more than " +"opposed. As the International Intellectual Property Association " +"characterized it, <quote>The U.S. government pressured South Africa … " +"not to permit compulsory licensing or parallel imports.</quote><placeholder " +"type=\"footnote\" id=\"0\"/> Through the Office of the United States Trade " +"Representative, the government asked South Africa to change the law—" +"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 "" +"Men USA var imot lovendringen. Og de nÃ¸yde seg ikke med Ã¥ vÃ¦re imot. Som " +"International Intellectual Property Association karakteriserte det, " +"<quote>Myndighetene i USA presset SÃ¸r-Afrika … til Ã¥ ikke tillate " +"tvungen lisensiering eller parallellimport</quote><placeholder type=" +"\"footnote\" id=\"0\"/> Gjennom kontoret til USAs handelsrepresentant " +"(USTR), ba myndighetene SÃ¸r-Afrika om Ã¥ endre loven—og for Ã¥ legge " +"press bak den forespÃ¸rselen, listet USTR i 1998 opp SÃ¸r-Afrika som et land " +"som burde vurderes for handelsrestriksjoner. Samme Ã¥r gikk mer enn fÃ¸rti " +"farmasiselskaper til retten for Ã¥ utfordre myndighetenes handlinger. USA " +"fikk selskap av andre myndigheter fra EU. Deres pÃ¥stand, og pÃ¥standen til " +"farmasiselskapene, var at SÃ¸r-Afrika brÃ¸t sine internasjonale forpliktelser " +"ved Ã¥ diskriminere mot en bestemt type patenter—farmasÃ¸ytiske " +"patenter. Kravet fra disse myndighetene, med USA i spissen, var at SÃ¸r-" +"Afrika skulle respektere disse patentene pÃ¥ samme mÃ¥te som alle andre " +"patenter, uavhengig av eventuell effekt pÃ¥ behandlingen av AIDS i SÃ¸r-Afrika." +"<placeholder type=\"footnote\" id=\"1\"/>" + +#. 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 bÃ¸r sette intervensjonen til USA i sammenheng. Det er ingen tvil om at " +"patenter ikke er den viktigste Ã¥rsaken til at Afrikanere ikke har tilgang " +"til medisiner. Fattigdom og den totale mangel pÃ¥ effektivt helsevesen betyr " +"mer. Men uansett om patenter er en viktigste grunnen eller ikke, sÃ¥ har " +"prisen pÃ¥ medisiner en effekt pÃ¥ etterspÃ¸rselen, og patenter pÃ¥virker " +"prisen. SÃ¥ uansett, massiv eller marginal, sÃ¥ var det en effekt av vÃ¥re " +"myndigheters intervensjon for Ã¥ stoppe flyten av medisiner inn til Afrika." + +#. type: Content of: <book><chapter><para> +msgid "" +"By stopping the flow of HIV treatment into Africa, the United States " +"government was not saving drugs for United States citizens. This is not " +"like wheat (if they eat it, we can't); instead, the flow that the United " +"States intervened to stop was, in effect, a flow of knowledge: information " +"about how to take chemicals that exist within Africa, and turn those " +"chemicals into drugs that would save 15 to 30 million lives." +msgstr "" +"Ved Ã¥ stoppe flyten av HIV-behandling til Afrika, sikret ikke myndighetene i " +"USA medisiner til USA borgere. Dette er ikke som hvete (hvis de spise det sÃ¥ " +"kan ikke vi spise det). Det som USA i effekt intervenerte for Ã¥ stoppe, var " +"flyten av kunnskap: Informasjon om hvordan en kan ta kjemikalier som finnes " +"i Afrika og gjÃ¸re disse kjemikaliene om til medisiner som kan redde 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 "" +"Intervensjonen fra USA ville heller ikke beskytte fortjenesten til " +"medisinselskapene i USA— i hvert fall ikke betydelig. Det var jo ikke " +"slik at disse landene hadde mulighet til Ã¥ kjÃ¸pe medisinene til de prisene " +"som medisinselskapene forlangte. Igjen var afrikanerne for fattige til Ã¥ ha " +"rÃ¥d til disse medisinene til de tilbudte prisene. Ã blokkere for " +"parallellimport av disse medisinene ville ikke Ã¸ke salget til de amerikanske " +"selskapene betydelig." + +#. f5. +#. PAGE BREAK 333 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's " +"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco " +"Chronicle</citetitle>, 24 May 1999, A1, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #57</ulink> (<quote>compulsory licenses and " +"gray markets pose a threat to the entire system of intellectual property " +"protection</quote>); Robert Weissman, <quote>AIDS and Developing Countries: " +"Democratizing Access to Essential Medicines,</quote> <citetitle>Foreign " +"Policy in Focus</citetitle> 4:23 (August 1999), available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #58</ulink> (describing U.S. policy); " +"John A. Harrelson, <quote>TRIPS, Pharmaceutical Patents, and the HIV/AIDS " +"Crisis: Finding the Proper Balance Between Intellectual Property Rights and " +"Compassion, a Synopsis,</quote> <citetitle>Widener Law Symposium Journal</" +"citetitle> (Spring 2001): 175." +msgstr "" + +#. 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 <quote>intellectual property</quote> would be violated that these " +"drugs should not flow into Africa. It was a principle about the importance " +"of <quote>intellectual property</quote> that led these government actors to " +"intervene against the South African response to AIDS." +msgstr "" +"I stedet var argumentet til fordel for restriksjoner pÃ¥ denne flyten av " +"informasjon, som var nÃ¸dvendig for Ã¥ redde millioner av liv, et argument om " +"eiendoms ukrenkelighet.<placeholder type=\"footnote\" id=\"0\"/> Det var pÃ¥ " +"grunn av at <quote>intellektuell eiendom</quote> ville bli krenket at disse " +"medisinene ikke skulle flomme inn til Afrika. Det var prinsippet om " +"viktigheten av <quote>intellektuell eiendom</quote> som fikk disse " +"myndighetsaktÃ¸rene til Ã¥ intervenere mot SÃ¸r-Afrikas mottiltak mot AIDS." + +#. 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 <quote>sanctity</quote> of an idea? What possible " +"justification could there ever be for a policy that results in so many " +"deaths? What exactly is the insanity that would allow so many to die for " +"such an abstraction?" +msgstr "" +"La oss ta et skritt tilbake for et Ã¸yeblikk. En gang om tredve Ã¥r vil vÃ¥re " +"barn se tilbake pÃ¥ oss og spÃ¸rre, hvordan kunne vi la dette skje? Hvordan " +"kunne vi tillate Ã¥ gjennomfÃ¸re en politikk hvis direkte kostnad var fÃ¥ 15 " +"til 30 millioner afrikanere til Ã¥ dÃ¸ raskere, og hvis eneste virkelige " +"fordel var Ã¥ opprettholde <quote>ukrenkeligheten</quote> til en idÃ©? Hva " +"slags berettigelse kan noen sinne eksistere for en politikk som resulterer i " +"sÃ¥ mange dÃ¸de? Hva slags galskap er det egentlig som tillater at sÃ¥ mange " +"dÃ¸r for slik en abstraksjon?" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "in pharmaceutical industry" +msgstr "i farmasÃ¸ytisk industri" + +#. 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 skylder pÃ¥ farmasiselskapene. Det gjÃ¸r ikke jeg. De er selskaper, og " +"deres ledere er lovpÃ¥lagt Ã¥ tjene penger for selskapene. De presser pÃ¥ for " +"en bestemt patentpolitikk, ikke pÃ¥ grunn av idealer, men fordi det er dette " +"som gjÃ¸r at de tjener mest penger. Og dette gjÃ¸r kun at de tjener mest " +"penger pÃ¥ grunn av en slags korrupsjon i vÃ¥rt politiske system— en " +"korrupsjon som farmasiselskapene helt klart ikke er 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 "" +"Denne korrupsjonen er vÃ¥re egne politikeres manglende integritet. For " +"medisinprodusentene ville elske—sier de selv, og jeg tror dem — " +"Ã¥ selge sine medisiner sÃ¥ billig som de kan til land i Afrika og andre " +"steder. Det er utfordringer de mÃ¥ lÃ¸se Ã¥ sikre at medisinene ikke kommer " +"tilbake til USA, men dette er bare teknologiske utfordring. De kan bli " +"overvunnet." + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "of drug patents" +msgstr "av legemiddelpatenter" + +#. 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, <quote>How is it you can sell " +"this HIV drug in Africa for only $1 a pill, but the same drug would cost an " +"American $1,500?</quote> Because there is no <quote>sound bite</quote> " +"answer to that question, its effect would be to induce regulation of prices " +"in America. The drug companies thus avoid this spiral by avoiding the first " +"step. They reinforce the idea that property should be sacred. They adopt a " +"rational strategy in an irrational context, with the unintended consequence " +"that perhaps millions die. And that rational strategy thus becomes framed in " +"terms of this ideal—the sanctity of an idea called <quote>intellectual " +"property.</quote>" +msgstr "" +"Et annet problem kan derimot ikke lÃ¸ses. Det er frykten for at en politiker " +"som skal vise seg og kaller inn lederne hos medisinprodusentene til hÃ¸ring i " +"senatet eller representantenes hus og spÃ¸r, <quote>hvordan har det seg at du " +"kan selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille " +"koster en amerikansker $1 500?</quote> Da det ikke finnes et " +"<quote>kjapt svar</quote> pÃ¥ det spÃ¸rsmÃ¥let, ville effekten bli regulering " +"av priser i Amerika. Medisinprodusentene unngÃ¥r dermed denne spiralen ved Ã¥ " +"sikre at det fÃ¸rste steget ikke tas. De forsterker idÃ©en om at " +"eierrettigheter skal vÃ¦re ukrenkelige. De legger seg pÃ¥ en rasjonell " +"strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at " +"kanskje millioner dÃ¸r. Og den rasjonelle strategien rammes dermed inn ved " +"hjel av dette ideal—ukrenkeligheten til en idÃ© som kalles " +"<quote>immaterielle rettigheter</quote>." + +#. 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 "" +"SÃ¥ nÃ¥r du konfronteres av ditt barns sunne fornuft, hva vil du si? NÃ¥r den " +"sunne fornuften hos en generasjon endelig gjÃ¸r opprÃ¸r mot hva vi har gjort, " +"hvordan vil vi rettferdiggjÃ¸re det? 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 patentpolitikk kunne gÃ¥ god for og gi sterk stÃ¸tte til " +"patentsystemet uten Ã¥ mÃ¥tte nÃ¥ alle overalt pÃ¥ nÃ¸yaktig samme mÃ¥te. PÃ¥ samme " +"mÃ¥te som en fornuftig opphavsrettspolitikk kunne gÃ¥ god for og gi sterk " +"stÃ¸tte til et opphavsretts-system uten Ã¥ mÃ¥tte regulere spredningen av " +"kultur perfekt og for alltid. En fornuftig patentpolitikk kunne gÃ¥ god for " +"og gi sterk stÃ¸tte til et patentsystem uten Ã¥ mÃ¥tte blokkere spredning av " +"medisiner til et land som uansett ikke er rikt nok til Ã¥ ha rÃ¥d til " +"markedsprisen. En fornuftig politikk kan en dermed si kunne vÃ¦re en " +"balansert politikk. For det meste av vÃ¥r historie har bÃ¥de opphavsrett- og " +"patentpolitikken i denne forstand vÃ¦rt balansert." + +#. 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." +msgstr "" +"Men vi som kultur har mistet denne fÃ¸lelsen for balanse. Vi har mistet det " +"kritiske blikket som hjelper oss til Ã¥ se forskjellen mellom sannhet og " +"ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vÃ¥r " +"tradisjon, hersker nÃ¥ i vÃ¥r kultur—sÃ¦rt, og med konsekvenser mer " +"alvorlig for spredningen av idÃ©er og kultur enn nesten enhver annen politisk " +"enkeltavgjÃ¸relse vi som demokrati kan fatte." + +#. PAGE BREAK 269 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>A simple idea</emphasis> blinds us, and under the " +"cover of darkness, much happens that most of us would reject if any of us " +"looked. So uncritically do we accept the idea of property in ideas that we " +"don't even notice how monstrous it is to deny ideas to a people who are " +"dying without them. So uncritically do we accept the idea of property in " +"culture that we don't even question when the control of that property " +"removes our ability, as a people, to develop our culture democratically. " +"Blindness becomes our common sense. And the challenge for anyone who would " +"reclaim the right to cultivate our culture is to find a way to make this " +"common sense open its eyes." +msgstr "" +"<emphasis role='strong'>En enkel idÃ©</emphasis> blender oss, og under dekke " +"av mÃ¸rket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt " +"med. SÃ¥ ukritisk aksepterer vi idÃ©en om eierskap til idÃ©er at vi ikke " +"engang legger merke til hvor uhyrlig det er Ã¥ nekte tilgang til idÃ©er for et " +"folk som dÃ¸r uten dem. SÃ¥ ukritisk aksepterer vi idÃ©en om eiendom til " +"kulturen at vi ikke engang stiller spÃ¸rsmÃ¥l ved nÃ¥r kontrollen over denne " +"eiendommen fjerner vÃ¥r evne, som folk, til Ã¥ utvikle vÃ¥r kultur " +"demokratisk. Blindhet blir vÃ¥r sunne fornuft, og utfordringen for enhver " +"som vil gjenvinne retten til Ã¥ dyrke vÃ¥r kultur er Ã¥ finne en mÃ¥te Ã¥ fÃ¥ " +"denne sunne fornuften til Ã¥ Ã¥pne sine Ã¸yne." + +#. 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 <quote>piracy,</quote> " +"and devastate a culture for creativity. They defend the idea of " +"<quote>creative property,</quote> while transforming real creators into " +"modern-day sharecroppers. They are insulted by the idea that rights should " +"be balanced, even though each of the major players in this content war was " +"itself a beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a " +"city like Washington, hypocrisy is not even noticed. Powerful lobbies, " +"complex issues, and MTV attention spans produce the <quote>perfect storm</" +"quote> for free culture." +msgstr "" +"SÃ¥ langt sover sunn fornuft. Det er intet opprÃ¸r. Sunn fornuft ser ennÃ¥ " +"ikke hva det er Ã¥ gjÃ¸re opprÃ¸r mot. Ekstremismen som nÃ¥ dominerer denne " +"debatten resonerer med idÃ©er som virker naturlige, og resonansen er " +"forsterket av vÃ¥re moderne RCA-ene. De fÃ¸rer en frenetisk krig for Ã¥ " +"bekjempe <quote>piratvirksomhet</quote> og knuser kreativitetskultur. De " +"forsvarer idÃ©en om <quote>kreativt eierskap</quote>, mens de endrer ekte " +"skapere til moderne leilendinger. De blir fornÃ¦rmet av idÃ©en om at " +"rettigheter skulle vÃ¦re balanserte, selv om hver av hovedaktÃ¸rene i denne " +"innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet " +"rÃ¥r. Men i en by som Washington blir ikke hykleriet en gang lagt merke " +"til. Mektige lobbyister, kompliserte problemer og MTV-oppmerksomhetsspenn " +"gir en <quote>perfekt storm</quote> for fri kultur." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "academic journals" +msgstr "akademiske tidsskrifter" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "biomedical research" +msgstr "biomedisinsk forskning" + +#. type: Content of: <book><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "international organization on issues of" +msgstr "internasjonal organisasjon om saker av" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "IBM" +msgstr "IBM" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "PLoS (Public Library of Science)" +msgstr "PLoS (Offentlige Vitenskapsbiblioteket, det)" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Public Library of Science (PLoS)" +msgstr "Offentlige Vitenskapsbiblioteket, det (PLoS)" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "public projects in" +msgstr "offentlige prosjekter i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "single nucleotied polymorphisms (SNPs)" +msgstr "enkeltnukleotidforskjeller (SNPs)" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Wellcome Trust" +msgstr "Wellcome Trust" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "World Intellectual Property Organization (WIPO)" +msgstr "World intellectual property organization (WIPO)" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "World Wide Web" +msgstr "World Wide Web" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Global Positioning System" +msgstr "Globalt posisjoneringssystem" + +#. f6. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> " +"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " +"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> " +"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; " +"William New, <quote>U.S. Official Opposes `Open Source' Talks at WIPO,</" +"quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 August " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #61</" +"ulink>." +msgstr "" +"Jonathan Krim, <quote>The Quiet War over Open-Source</quote>, " +"<citetitle>Washington Post</citetitle>, august 2003, E1, tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " +"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir</quote>, " +"<citetitle>National Journal's Technology Daily</citetitle>, 19. august 2003, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #60</" +"ulink>; William New, <quote>U.S. Official Opposes `Open Source' Talks at " +"WIPO</quote>, <citetitle>National Journal's Technology Daily</citetitle>, " +"19. august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #61</ulink>." + +#. PAGE BREAK 270 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>In August 2003</emphasis>, a fight broke out in the " +"United States about a decision by the World Intellectual Property " +"Organization to cancel a meeting.<placeholder type=\"footnote\" id=\"0\"/> " +"At the request of a wide range of interests, WIPO had decided to hold a " +"meeting to discuss <quote>open and collaborative projects to create public " +"goods.</quote> These are projects that have been successful in producing " +"public goods without relying exclusively upon a proprietary use of " +"intellectual property. Examples include the Internet and the World Wide Web, " +"both of which were developed on the basis of protocols in the public domain. " +"It included an emerging trend to support open academic journals, including " +"the Public Library of Science project that I describe in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>. It included a " +"project to develop single nucleotide polymorphisms (SNPs), which are thought " +"to have great significance in biomedical research. (That nonprofit project " +"comprised a consortium of the Wellcome Trust and pharmaceutical and " +"technological companies, including Amersham Biosciences, AstraZeneca, " +"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " +"IBM, Motorola, Novartis, Pfizer, and Searle.) It included the Global " +"Positioning System, which Ronald Reagan set free in the early 1980s. And it " +"included <quote>open source and free software.</quote>" +msgstr "" +"<emphasis role='strong'>I august 2003</emphasis> brÃ¸t en kamp ut i USA om en " +"avgjÃ¸relse fra World Intellectual Property Organiation om Ã¥ avlyse et mÃ¸te." +"<placeholder type=\"footnote\" id=\"0\"/> PÃ¥ forespÃ¸rsel fra en lang rekke " +"med interessenter hadde WIPO bestemt Ã¥ avholde et mÃ¸te for Ã¥ diskutere " +"<quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape goder for felleskapet</" +"quote>. Disse prosjektene som hadde lyktes i Ã¥ produsere goder for " +"fellesskapet uten Ã¥ basere seg eksklusivt pÃ¥ bruken av proprietÃ¦re " +"immaterielle rettigheter. Eksempler inkluderer Internettet og verdensveven, " +"begge som ble utviklet pÃ¥ grunnlag av protokoller i allemannseie. Det hadde " +"med en begynnende trend for Ã¥ stÃ¸tte Ã¥pne akademiske tidsskrifter, og " +"inkluderte Public Library of Science-prosjektet som jeg beskriver i kapittel " +"<xref xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Det " +"inkluderte et prosjekt for a utvikle enkeltnukleotidforskjeller (SNPs), som " +"er antatt Ã¥ fÃ¥ stor betydning i biomedisinsk forskning. (Dette ideelle " +"prosjektet besto av et konsortium av Wellcome Trust og farmasÃ¸ytiske og " +"teknologiske selskaper, inkludert Amersham Biosciences, AstraZeneca, " +"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " +"IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt " +"posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig pÃ¥ 1980-tallet. Og " +"det inkluderte <quote>Ã¥pen kildekode og fri programvare</quote>." + +#. 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 "" +"FormÃ¥let med mÃ¸tet var Ã¥ vurdere denne rekken av prosjekter fra et felles " +"perspektiv: at ingen av disse prosjektene hadde som grunnlag immateriell " +"ekstremisme. I stedet, hos alle disse, ble immaterielle rettigheter " +"balansert med avtaler om Ã¥ holde tilgang Ã¥pen, eller for Ã¥ legge " +"begrensninger pÃ¥ hvordan proprietÃ¦re krav kan bli brukt." + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "in international debate on intellectual property" +msgstr "i internasjonal debatt om immateriell eiendom" + +#. 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 bÃ¸r nevne at jeg var en av folkene som ba WIPO om dette mÃ¸tet." + +#. 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 "" +"Dermed var, fra perspektivet i denne boken, denne konferansen ideell." +"<placeholder type=\"footnote\" id=\"0\"/> Prosjektene innenfor temaet var " +"bÃ¥de kommersielle og ikkekommersielle verker. De involverte i hovedsak " +"vitenskapen, men fra mange perspektiver. Og WIPO var et ideelt sted for " +"denne diskusjonen, siden WIPO var den fremstÃ¥ende internasjonale aktÃ¸r som " +"drev med immaterielle rettighetsspÃ¸rsmÃ¥l." + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "World Summit on the Information Society (WSIS)" +msgstr "World summit pÃ¥ informasjonssamfunnet (wsis)" + +#. 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 <quote>Information Society</quote> unless one also " +"talked about the range of information and culture that would be free. My " +"talk did not make my immoderate moderator very happy. And she was no doubt " +"correct that the scope of intellectual property protections was ordinarily " +"the stuff of WIPO. But in my view, there couldn't be too much of a " +"conversation about how much intellectual property is needed, since in my " +"view, the very idea of balance in intellectual property had been lost." +msgstr "" +"Faktisk fikk jeg en gang offentlig kjeft for Ã¥ ikke anerkjenne dette faktum " +"om WIPO. I februar 2003 leverte jeg et nÃ¸kkelforedrag pÃ¥ en forberedende " +"konferanse for World Summit on the Information Society (WSIS). PÃ¥ en " +"pressekonferanse fÃ¸r innlegget, ble jeg spurt hva jeg skulle snakke om. Jeg " +"svarte at jeg skulle snakke litt om viktigheten av balanse rundt " +"immaterielle verdier for utviklingen av informasjonssamfunnet. Ordstyreren " +"pÃ¥ arrangementet avbrÃ¸t meg da brÃ¥tt for Ã¥ informere meg og journalistene " +"tilstede at ingen spÃ¸rsmÃ¥l rundt immaterielle verdier ville bli diskutert av " +"WSIS, da slike spÃ¸rsmÃ¥l kun skulle diskuteres i WIPO. I innlegget jeg hadde " +"forberedt var temaet om immaterielle verdier en forholdvis liten del av det " +"hele. Men etter denne forblÃ¸ffende uttalelsen, gjorde jeg immaterielle " +"verdier til hovedfokus for mitt innlegg. Det var ikke mulig Ã¥ snakke om et " +"<quote>informasjonssamfunn</quote> uten at en ogsÃ¥ snakket om andelen av " +"informasjon og kultur som ikke er vernet av opphavsretten. Mitt innlegg " +"gjorde ikke min overivrige moderator veldig glad. Og hun hadde uten tvil " +"rett i at omfanget til vern av immaterielle rettigheter normalt hÃ¸rte inn " +"under WIPO. Men etter mitt syn, kunne det ikke bli for mye diskusjon om " +"hvor mye immaterielle rettigheter som trengs, siden etter mitt syn, hadde " +"selve idÃ©en om en balanse rundt immaterielle rettigheter hadde gÃ¥tt tapt." + +#. 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 <quote>open and collaborative projects to create public goods</" +"quote> seemed perfectly appropriate within the WIPO agenda." +msgstr "" +"SÃ¥ uansett om WSIS kan diskutere balanse i intellektuell eiendom eller ikke, " +"sÃ¥ hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed " +"mÃ¸tet om <quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape fellesgoder</" +"quote> virker Ã¥ passe perfekt for WIPOs agenda." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Apple Corporation" +msgstr "Apple Corporation" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on free software" +msgstr "om fri programvare" + +#. 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 <quote>open source and free software." +"</quote> Microsoft in particular is wary of discussion of the subject. From " +"its perspective, a conference to discuss open source and free software would " +"be like a conference to discuss Apple's operating system. Both open source " +"and free software compete with Microsoft's software. And internationally, " +"many governments have begun to explore requirements that they use open " +"source or free software, rather than <quote>proprietary software,</quote> " +"for their own internal uses." +msgstr "" +"Men det er ett prosjekt i listen som er svÃ¦rt kontroversielt, i hvert fall " +"blant lobbyister. Dette prosjektet er <quote>Ã¥pen kildekode og fri " +"programvare</quote>. Microsoft spesielt er skeptisk til diskusjon om emnet. " +"Fra deres perspektiv, ville en konferanse for Ã¥ diskutere Ã¥pen kildekode og " +"fri programvare vÃ¦re som en konferanse for Ã¥ diskutere Apples " +"operativsystem. BÃ¥de Ã¥pen kildekode og fri programvare konkurrerer med " +"Microsofts programvare. Og internasjonalt har mange myndigheter begynt Ã¥ " +"utforske krav om at de skal bruke Ã¥pen kildekode eller fri programvare, i " +"stedet for <quote>proprietÃ¦r programvare</quote>, til sine egne interne " +"behov." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "<quote>copyleft</quote> licenses" +msgstr "<quote>copyleft</quote>-lisenser" + +#. 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 " +"<quote>open source</quote> software or software in the public domain. " +"Microsoft's principal opposition is to <quote>free software</quote> licensed " +"under a <quote>copyleft</quote> license, meaning a license that requires the " +"licensee to adopt the same terms on any derivative work. See Bradford L. " +"Smith, <quote>The Future of Software: Enabling the Marketplace to Decide,</" +"quote> <citetitle>Government Policy Toward Open Source Software</citetitle> " +"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " +"American Enterprise Institute for Public Policy Research, 2002), 69, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " +"See also Craig Mundie, Microsoft senior vice president, <citetitle>The " +"Commercial Software Model</citetitle>, discussion at New York University " +"Stern School of Business (3 May 2001), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #63</ulink>." +msgstr "" +"Microsofts posisjon om Ã¥pen kildekode og fri programvare er mer " +"sofistikert. De har flere ganger forklart at de har ikke noe problem med " +"programvare som er <quote>Ã¥pen kildekode</quote> eller programvare som er " +"allemannseie. Microsofts prinsipielle motstand er mot <quote>fri " +"programvare</quote> lisensiert med en <quote>copyleft</quote>-lisens, som " +"betyr at lisensen krever at de som lisensierer skal adoptere same vilkÃ¥r for " +"ethvert avledet verk. Se Bradford L. Smith, <quote>The Future of Software: " +"Enabling the Marketplace to Decide</quote>, <citetitle>Government Policy " +"Toward Open Source Software</citetitle> (Washington, D.C.: AEI-Brookings " +"Joint Center for Regulatory Studies, American Enterprise Institute for " +"Public Policy Research, 2002), 69, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #62</ulink>. Se ogsÃ¥ Craig Mundie, Microsoft senior " +"vice president, <citetitle>The Commercial Software Model</citetitle>, " +"diskusjon ved New York University Stern School of Business (3. mai 2001), " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #63</" +"ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"I don't mean to enter that debate here. It is important only to make clear " +"that the distinction is not between commercial and noncommercial software. " +"There are many important companies that depend fundamentally upon open " +"source and free software, IBM being the most prominent. IBM is increasingly " +"shifting its focus to the GNU/Linux operating system, the most famous bit of " +"<quote>free software</quote>—and IBM is emphatically a commercial " +"entity. Thus, to support <quote>open source and free software</quote> is not " +"to oppose commercial entities. It is, instead, to support a mode of software " +"development that is different from Microsoft's.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"Jeg mener ikke Ã¥ gÃ¥ inn i den debatten her. Det er viktig kun for Ã¥ gjÃ¸re " +"det klart at skillet ikke er mellom kommersiell og ikke-kommersiell " +"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av " +"fri programvare, der IBM er den mest fremtredende. IBM har i stadig stÃ¸rre " +"grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berÃ¸mte " +"biten av <quote>fri programvare</quote>—og IBM er helt klart en " +"kommersiell aktÃ¸r. Dermed er det Ã¥ stÃ¸tte <quote>fri programvare</quote> " +"ikke Ã¥ motsette seg kommersielle aktÃ¸rer. Det er i stedet Ã¥ stÃ¸tte en mÃ¥te " +"Ã¥ drive programvareutvikling som er forskjellig fra Microsofts.<placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "General Public License (GPL)" +msgstr "general public license (gpl)" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "GPL (General Public License)" +msgstr "GPL (general public license)" + +#. PAGE BREAK 272 +#. type: Content of: <book><chapter><para> +msgid "" +"More important for our purposes, to support <quote>open source and free " +"software</quote> is not to oppose copyright. <quote>Open source and free " +"software</quote> is not software in the public domain. Instead, like " +"Microsoft's software, the copyright owners of free and open source software " +"insist quite strongly that the terms of their software license be respected " +"by adopters of free and open source software. The terms of that license are " +"no doubt different from the terms of a proprietary software license. Free " +"software licensed under the General Public License (GPL), for example, " +"requires that the source code for the software be made available by anyone " +"who modifies and redistributes the software. But that requirement is " +"effective only if copyright governs software. If copyright did not govern " +"software, then free software could not impose the same kind of requirements " +"on its adopters. It thus depends upon copyright law just as Microsoft does." +msgstr "" +"Mer viktig for vÃ¥re formÃ¥l, er at Ã¥ stÃ¸tte <quote>Ã¥pen kildekode og fri " +"programvare</quote> ikke er Ã¥ motsette seg opphavsrett. <quote>Ãpen " +"kildekode og fri programvare</quote> er ikke programvare uten " +"opphavsrettslig vern. Istedet, pÃ¥ samme mÃ¥te som programvare fra Microsoft, " +"insisterer opphavsrettsinnehaverne av fri programvare ganske sterkt at " +"vilkÃ¥rene i deres programvarelisens blir respektert av de som tar i bruk fri " +"programvare. VilkÃ¥rene i den lisensen er uten tvil forskjellig fra " +"vilkÃ¥rene i en proprietÃ¦r programvarelisens. For eksempel krever fri " +"programvare lisensiert med den generelle offentlige lisensen (GPL), at " +"kildekoden for programvare gjÃ¸res tilgjengelig for alle som endrer og " +"videredistribuerer programvaren. Men dette kravet er kun effektivt hvis " +"opphavsrett rÃ¥der over programvare. Hvis opphavsretten ikke rÃ¥der over " +"programvare, sÃ¥ kunne ikke fri programvare pÃ¥legge slike krav pÃ¥ de som tar " +"i bruk programvaren. Den er dermed like avhengig av Ã¥ndsverksloven som " +"Microsoft." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Krim, Jonathan" +msgstr "Krim, Jonathan" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "WIPO meeting opposed by" +msgstr "WIPO-mÃ¸te motarbeidet av" + +#. f9. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Krim, <quote>The Quiet War over Open-Source,</quote> available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #64</ulink>." +msgstr "" +"Krim, <quote>The Quiet War over Open-Source</quote>, tilgjengelig fra <ulink " +"url=\"http://free-culture.cc/notes/\">link #64</ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"It is therefore understandable that as a proprietary software developer, " +"Microsoft would oppose this WIPO meeting, and understandable that it would " +"use its lobbyists to get the United States government to oppose it, as well. " +"And indeed, that is just what was reported to have happened. According to " +"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's " +"lobbyists succeeded in getting the United States government to veto the " +"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, " +"the meeting was canceled." +msgstr "" +"Det er dermed forstÃ¥elig at Microsoft, som utviklere av proprietÃ¦r " +"programvare, gikk imot et slikt WIPO-mÃ¸te, og like fullt forstÃ¥elig at de " +"bruker sine lobbyister til Ã¥ fÃ¥ USAs myndigheter til Ã¥ gÃ¥ imot mÃ¸tet. Og " +"ganske riktig, det er akkurat dette som i fÃ¸lge rapporter hadde skjedd. I " +"fÃ¸lge Jonathan Krim i <citetitle>Washington Post</citetitle>, lyktes " +"Microsofts lobbyister i Ã¥ fÃ¥ USAs myndigheter til Ã¥ legge ned veto mot et " +"slikt mÃ¸te.<placeholder type=\"footnote\" id=\"0\"/> Og uten stÃ¸tte fra USA " +"ble mÃ¸tet avlyst." + +#. type: Content of: <book><chapter><para> +msgid "" +"I don't blame Microsoft for doing what it can to advance its own interests, " +"consistent with the law. And lobbying governments is plainly consistent with " +"the law. There was nothing surprising about its lobbying here, and nothing " +"terribly surprising about the most powerful software producer in the United " +"States having succeeded in its lobbying efforts." +msgstr "" +"Jeg klandrer ikke Microsoft for Ã¥ gjÃ¸re det de kan for Ã¥ fremme sine egne " +"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er " +"Ã¥penbart i samsvar med loven. Det er ikke noe overraskende her med deres " +"lobbyvirksomhet, og ikke veldig overraskende at den mektigste " +"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Boland, Lois" +msgstr "Boland, Lois" + +#. 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 <quote>open-source software runs counter to the mission of WIPO, which " +"is to promote intellectual-property rights.</quote> She is quoted as saying, " +"<quote>To hold a meeting which has as its purpose to disclaim or waive such " +"rights seems to us to be contrary to the goals of WIPO.</quote>" +msgstr "" +"Det som var overraskende var USAs regjerings begrunnelse for Ã¥ vÃ¦re imot " +"mÃ¸tet. Igjen, sitert av Krim, forklarte Lois Boland, direktÃ¸r for " +"internasjonale forbindelser ved USAs patent og varemerkekontor, at " +"<quote>programvare med Ã¥pen kildekode gÃ¥r imot til formÃ¥let til WIPO, som er " +"Ã¥ fremme immaterielle rettigheter.</quote>. Hun skal i fÃ¸lge sitatet ha " +"sagt, <quote>Ã holde et mÃ¸te som har som formÃ¥l Ã¥ fraskrive seg eller " +"frafalle slike rettigheter synes for oss Ã¥ vÃ¦re i strid med formÃ¥lene til " +"WIPO.</quote>" + +#. type: Content of: <book><chapter><para> +msgid "These statements are astonishing on a number of levels." +msgstr "Disse utsagnene er forblÃ¸ffende pÃ¥ flere nivÃ¥er." + +#. 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 " +"<quote>copyright</quote>. Without it, restrictions imposed by those " +"licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the " +"mission of promoting intellectual property rights reveals an extraordinary " +"gap in understanding—the sort of mistake that is excusable in a first-" +"year law student, but an embarrassment from a high government official " +"dealing with intellectual property issues." +msgstr "" +"For det fÃ¸rste er de ganske enkelt ikke riktige. Som jeg beskrev, er det " +"meste av Ã¥pen kildekode og fri programvare fundamentalt avhengig av den " +"immaterielle retten kalt <quote>opphavsrett</quote>. Uten den vil " +"begrensningene definert av disse lisensene ikke fungere. Dermed er det Ã¥ si " +"at de <quote>gÃ¥r imot</quote> formÃ¥let om Ã¥ fremme immaterielle rettigheter " +"Ã¥ avslÃ¸re en ekstraordinÃ¦r mangel pÃ¥ forstÃ¥else—den type feil som er " +"tilgivelig hos en fÃ¸rsteÃ¥rs jusstudent, men pinlig fra en hÃ¸yt plassert " +"statstjenestemann som hÃ¥ndterer utfordringer rundt immaterielle rettigheter." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "generic drugs" +msgstr "generiske medisiner" + +#. type: Content of: <book><chapter><para> +msgid "" +"Second, who ever said that WIPO's exclusive aim was to <quote>promote</" +"quote> intellectual property maximally? As I had been scolded at the " +"preparatory conference of WSIS, WIPO is to consider not only how best to " +"protect intellectual property, but also what the best balance of " +"intellectual property is. As every economist and lawyer knows, the hard " +"question in intellectual property law is to find that balance. But that " +"there should be limits is, I had thought, uncontested. One wants to ask Ms. " +"Boland, are generic drugs (drugs based on drugs whose patent has expired) " +"contrary to the WIPO mission? Does the public domain weaken intellectual " +"property? Would it have been better if the protocols of the Internet had " +"been patented?" +msgstr "" +"For det andre, hvem har noen gang hevdet at WIPOs eksklusive mÃ¥l var Ã¥ " +"<quote>fremme</quote> immaterielle rettigheter maksimalt? Som jeg fikk " +"kjeft om pÃ¥ den forberedende konferansen til WSIS, skal WIPO vurdere ikke " +"bare hvordan best beskytte immaterielle rettigheter, men ogsÃ¥ hva som er den " +"beste balansen rundt immaterielle rettigheter. Som enhver Ã¸konom og advokat " +"vet, er det vanskelige spÃ¸rsmÃ¥let i immaterielle rettighetsjuss Ã¥ finne den " +"balansen. Men at det skulle vÃ¦re en grense, trodde jeg, var ubestridt. Man " +"Ã¸nsker Ã¥ spÃ¸rre Ms. Boland om generelle medisiner (medisiner basert pÃ¥ " +"medisiner med patenter som er utlÃ¸pt) i strid med WIPOs oppdrag? Svekker " +"allemannseie immaterielle rettigheter? Ville det vÃ¦rt bedre om Internettets " +"protokoller hadde vÃ¦rt patentert?" + +#. 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 <emphasis>their</emphasis> rights. If " +"they want to <quote>waive</quote> or <quote>disclaim</quote> their rights, " +"that is, within our tradition, totally appropriate. When Bill Gates gives " +"away more than $20 billion to do good in the world, that is not inconsistent " +"with the objectives of the property system. That is, on the contrary, just " +"what a property system is supposed to be about: giving individuals the right " +"to decide what to do with <emphasis>their</emphasis> property." +msgstr "" +"For det tredje, selv om en tror at formÃ¥let med WIPO var Ã¥ maksimere " +"immaterielle rettigheter, sÃ¥ innehas immaterielle rettigheter, i vÃ¥r " +"tradisjon, av individer og selskaper. De fÃ¥r bestemme hva som skal gjÃ¸res " +"med disse rettighetene, igjen fordi det er <emphasis>de</emphasis> som eier " +"rettighetene. Hvis de Ã¸nsker Ã¥ <quote>frafalle</quote> eller <quote>frasi</" +"quote> seg sine rettigheter, sÃ¥ er det helt etter boka i vÃ¥r tradisjon. NÃ¥r " +"Bill Gates gir bort mer enn $20 milliarder til gode formÃ¥l, sÃ¥ er ikke det " +"uforenelig med mÃ¥lene til eiendomssystemet. Det er heller tvert i mot, " +"akkurat hva eiendomssysstemet er ment Ã¥ oppnÃ¥, at individer har retten til Ã¥ " +"bestemme hva de vil gjÃ¸re med <emphasis>sin</emphasis> eiendom." + +#. PAGE BREAK 274 +#. type: Content of: <book><chapter><para> +msgid "" +"When Ms. Boland says that there is something wrong with a meeting " +"<quote>which has as its purpose to disclaim or waive such rights,</quote> " +"she's saying that WIPO has an interest in interfering with the choices of " +"the individuals who own intellectual property rights. That somehow, WIPO's " +"objective should be to stop an individual from <quote>waiving</quote> or " +"<quote>disclaiming</quote> an intellectual property right. That the interest " +"of WIPO is not just that intellectual property rights be maximized, but that " +"they also should be exercised in the most extreme and restrictive way " +"possible." +msgstr "" +"NÃ¥r Ms. Boland sier at det er noe galt med et mÃ¸te <quote>som har som sitt " +"formÃ¥l Ã¥ fraskrive eller frafalle slike rettigheter</quote>, sÃ¥ sier hun at " +"WIPO har en interesse i Ã¥ pÃ¥virke valgene til enkeltpersoner som eier " +"immaterielle rettigheter. At pÃ¥ en eller annen WIPOs oppdrag bÃ¸r vÃ¦re Ã¥ " +"stoppe individer fra Ã¥ <quote>fraskrive</quote> eller <quote>frafalle</" +"quote> seg sine immaterielle rettigheter. At interessen til WIPO ikke bare " +"er maksimale immaterielle rettigheter, men ogsÃ¥ at de skal utÃ¸ves pÃ¥ den " +"mest ekstreme og restriktive mulig mÃ¥ten." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "feudal system" +msgstr "fÃ¸ydalsystem" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "feudal system of" +msgstr "fÃ¸ydalsystem for" + +#. 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 <quote>feudalism.</quote> Under " +"feudalism, not only was property held by a relatively small number of " +"individuals and entities. And not only were the rights that ran with that " +"property powerful and extensive. But the feudal system had a strong interest " +"in assuring that property holders within that system not weaken feudalism by " +"liberating people or property within their control to the free market. " +"Feudalism depended upon maximum control and concentration. It fought any " +"freedom that might interfere with that control." +msgstr "" +"Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den " +"anglo-amerikansk tradisjon. Det kalles <quote>fÃ¸ydalisme</quote>. Under " +"fÃ¸ydalismen var eiendommer ikke bare kontrollert av et relativt lite antall " +"individer og aktÃ¸rer. Men det fÃ¸ydale systemet hadde en sterk interesse i Ã¥ " +"sikre at landeier i systemet ikke svekke fÃ¸ydalismen ved Ã¥ frigjÃ¸re folkene " +"og eiendomene som de kontrollerte til det frie markedet. FÃ¸ydalismen var " +"avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet " +"som kunne forstyrre denne kontrollen." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " +"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " +"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. 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 <emphasis>free</" +"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal." +msgstr "" +"Som Peter Drahos og John Braithwaite beskriver, dette er nÃ¸yaktig det valget " +"vi nÃ¥ gjÃ¸r om immaterielle rettigheter.<placeholder type=\"footnote\" id=" +"\"0\"/> Vi kommer til Ã¥ fÃ¥ et informasjonssamfunn. SÃ¥ mye er sikkert. VÃ¥rt " +"eneste valg nÃ¥ er hvorvidt dette informasjonssamfunnet skal vÃ¦re " +"<emphasis>fritt</emphasis> eller <emphasis>fÃ¸ydalt</emphasis>. Trenden er " +"mot det fÃ¸ydale." + +#. 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 "" +"Da denne bataljen brÃ¸t ut, blogget jeg om dette. En heftig debatt brÃ¸t ut i " +"kommentarfeltet. Ms. Boland hadde en rekke stÃ¸ttespillere som forsÃ¸kte Ã¥ " +"vise hvorfor hennes kommentarer ga mening. Men det var spesielt en " +"kommentar som gjorde meg trist. En anonym kommentator skrev," + +#. 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 (<quote>the goal of WIPO, and the goal of any government, should " +"be to promote the right balance of intellectual property rights, not simply " +"to promote intellectual property rights</quote>), not as it is. If we were " +"talking about the world as it is, then of course Boland didn't say anything " +"wrong. But in the world as Lessig would have it, then of course she did. " +"Always pay attention to the distinction between Lessig's world and ours." +msgstr "" +"George, du misforstÃ¥r Lessig: Han snakker bare om verden slik den burde vÃ¦re " +"(<quote>mÃ¥let til WIPO, og mÃ¥let til enhver regjering, bÃ¸r vÃ¦re Ã¥ fremme den " +"riktige balansen for immaterielle rettigheter, ikke bare Ã¥ fremme " +"immaterielle rettigheter</quote>), ikke som den er. Hvis vi snakket om " +"verden slik den er, sÃ¥ har naturligvis Boland ikke sagt noe galt. Men i " +"verden slik Lessig vil at den skal vÃ¦re, er det Ã¥penbart at hun har sagt noe " +"galt. En mÃ¥ alltid vÃ¦re oppmerksom pÃ¥ forskjellen mellom Lessigs og vÃ¥r " +"verden." + +#. 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 gikk glipp av ironien fÃ¸rst gangen jeg leste den. Jeg lese den raskt og " +"trodde forfatteren stÃ¸ttet idÃ©en om at det vÃ¥re myndigheter burde gjÃ¸re var " +"Ã¥ sÃ¸ke balanse. (Min kritikk av Ms Boland, selvfÃ¸lgelig, var ikke om " +"hvorvidt hun sÃ¸kte balanse eller ikke; min kritikk var at hennes kommentarer " +"avslÃ¸rte en feil kun en fÃ¸rsteÃ¥rs jusstudent burde kunne gjÃ¸re. Jeg har noen " +"illusjon om ekstremismen hos vÃ¥re myndigheter, uansett om de er " +"republikanere eller demokrater. Min eneste tilsynelatende illusjon er " +"hvorvidt vÃ¥re myndigheter bÃ¸r snakke sant 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 <quote>goal</" +"quote> of a government should be <quote>to promote the right balance</quote> " +"of intellectual property. That was obviously silly to him. And it obviously " +"betrayed, he believed, my own silly utopianism. <quote>Typical for an " +"academic,</quote> the poster might well have continued." +msgstr "" +"Det var derimot Ã¥penbart at den som postet meldingen ikke stÃ¸ttet idÃ©en. I " +"stedet latterliggjorde forfatteren selve idÃ©en om at i den virkelig verden " +"skulle <quote>mÃ¥let</quote> til myndighetene vÃ¦re <quote>Ã¥ fremme den " +"riktige balanse</quote> for immaterielle rettigheter. Det var Ã¥penbart " +"tÃ¥pelig for ham. Og det avslÃ¸rte Ã¥penbart, trodde han, min egen tÃ¥pelige " +"utopisme. <quote>Typisk for en akademiker</quote>, kunne forfatteren like " +"gjerne ha fortsatt." + +#. 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 forstÃ¥r kritikken av akademisk utopisme. Jeg mener ogsÃ¥ at utopisme er " +"tÃ¥pelig, og jeg vil vÃ¦re blant de fÃ¸rste til Ã¥ gjÃ¸re narr av de absurde " +"urealistiske idealer til akademikere gjennom historien (og ikke bare i vÃ¥rt " +"eget lands historie)." + +#. type: Content of: <book><chapter><para> +msgid "" +"But when it has become silly to suppose that the role of our government " +"should be to <quote>seek balance,</quote> then count me with the silly, for " +"that means that this has become quite serious indeed. If it should be " +"obvious to everyone that the government does not seek balance, that the " +"government is simply the tool of the most powerful lobbyists, that the idea " +"of holding the government to a different standard is absurd, that the idea " +"of demanding of the government that it speak truth and not lies is just " +"naïve, then who have we, the most powerful democracy in the world, " +"become?" +msgstr "" +"Men nÃ¥r det har blitt dumt Ã¥ anta at rollen til vÃ¥re myndigheter bÃ¸r vÃ¦re Ã¥ " +"<quote>oppnÃ¥ balanse</quote>, da kan du regne meg blant de dumme, for det " +"betyr at dette faktisk har blitt ganske seriÃ¸st. Hvis det bÃ¸r vÃ¦re Ã¥penbart " +"for alle at myndighetene ikke sÃ¸ker Ã¥ oppnÃ¥ balanse, at myndighetene ganske " +"enkelt et verktÃ¸y for de mektigste lobbyistene, at idÃ©en om Ã¥ forvente bedre " +"av myndighetene er absurd, at idÃ©en om Ã¥ kreve at myndighetene snakker sant " +"og ikke lyver bare er naiv, hva har da vi, det mektigste demokratiet i " +"verden, blitt?" + +#. PAGE BREAK 276 +#. type: Content of: <book><chapter><para> +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 vÃ¦re galskap Ã¥ forvente at en mektig myndigshetsperson skal si " +"sannheten. Det kan vÃ¦re galskap Ã¥ tro at myndighetenes politikk skal gjÃ¸re " +"mer enn Ã¥ tjene de mektigste interesser. Det kan vÃ¦re galskap Ã¥ argumentere " +"for Ã¥ bevare en tradisjon som har vÃ¦rt en del av vÃ¥r tradisjon for " +"mesteparten av vÃ¥r historie—fri kultur." + +#. type: Content of: <book><chapter><para> +msgid "If this is crazy, then let there be more crazies. Soon." +msgstr "Hvis dette er galskap, sÃ¥ la det vÃ¦re mer gÃ¦rninger. Snart." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Turner, Ted" +msgstr "Turner, Ted" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>There are moments</emphasis> of hope in this " +"struggle. And moments that surprise. When the FCC was considering relaxing " +"ownership rules, which would thereby further increase the concentration in " +"media ownership, an extraordinary bipartisan coalition formed to fight this " +"change. For perhaps the first time in history, interests as diverse as the " +"NRA, the ACLU, Moveon.org, William Safire, Ted Turner, and CodePink Women " +"for Peace organized to oppose this change in FCC policy. An astonishing " +"700,000 letters were sent to the FCC, demanding more hearings and a " +"different result." +msgstr "" +"<emphasis role='strong'>Det finnes Ã¸yeblikk</emphasis> av hÃ¥p i denne " +"kampen. Og Ã¸yeblikk som overrasker. Da FCC vurderte mindre strenge " +"eierskapsregler, som ville ytterligere konsentrere medieeierskap, dannet det " +"seg en en ekstraordinÃ¦r koalisjon pÃ¥ tvers av partiene for Ã¥ bekjempe " +"endringen. For kanskje fÃ¸rste gang i historien organiserte interesser sÃ¥ " +"forskjellige som NRA, ACLU, moveon.org, William Safire, Ted Turner og " +"Codepink Women for Piece seg for Ã¥ protestere pÃ¥ denne endringen i FCC-" +"reglene. SÃ¥ mange som 700 000 brev ble sendt til FCC med krav om flere " +"hÃ¸ringer 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 "" +"Disse protestene stoppet ikke FCC, men like etter stemte en bred koalisjon i " +"senatet for Ã¥ reversere avgjÃ¸relsen i FCC. De fiendtlige hÃ¸ringene som ledet " +"til avstemmingen avslÃ¸rte hvor mektig denne bevegelsen hadde blitt. Det var " +"ingen betydningsfull stÃ¸tte for FCCs avgjÃ¸relse, mens det var bred og " +"vedvarende stÃ¸tte for Ã¥ 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 gÃ¥r glipp av en viktig brikke i puslespillet. Ã " +"vÃ¦re stor er ikke ille i seg selv. Frihet er ikke truet bare pÃ¥ grunn av at " +"noen blir veldig rik, eller pÃ¥ grunn av at det bare er en hÃ¥ndfull store " +"aktÃ¸rer. Den dÃ¥rlige kvaliteten til Big Macs eller Quartar Punders betyr " +"ikke at du ikke kan fÃ¥ en god hamburger andre steder." + +#. 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 med mediekonsentrasjon kommer ikke fra selve konsentrasjonen, men " +"kommer fra fÃ¸ydalismen som denne konsentrasjonen fÃ¸rer til nÃ¥r den kobles " +"til endringer i opphavsretten. Det er ikke kun at det er noen mektige " +"selskaper som styrer en stadig voksende andel av mediene. Det er at denne " +"konsentrasjonen kan pÃ¥kalle en like oppsvulmet rekke rettigheter—" +"eiendomsrettigheter i en historisk ekstrem form—som gjÃ¸r stÃ¸rrelsen " +"ille." + +#. 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 <quote>big,</quote> wisely or not. That we could be " +"motivated to fight <quote>big</quote> again is not something new." +msgstr "" +"Det er derfor betydningsfullt at sÃ¥ mange vil kjempe for Ã¥ kreve konkurranse " +"og Ã¸kt mangfold. Likevel, hvis kampanjen blir forstÃ¥tt til Ã¥ kun gjelde " +"stÃ¸rrelse, sÃ¥ er ikke det veldig overraskende. Vi amerikanere har en lang " +"historie med Ã¥ slÃ¥ss mot <quote>stort</quote>, klokt eller ikke. At vi kan " +"vÃ¦re motivert til Ã¥ slÃ¥ss mot <quote>store</quote> igjen ikke noe nytt." + +#. 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 " +"<quote>intellectual property.</quote> Not because balance is alien to our " +"tradition; indeed, as I've argued, balance is our tradition. But because the " +"muscle to think critically about the scope of anything called " +"<quote>property</quote> is not well exercised within this tradition anymore." +msgstr "" +"Det ville vÃ¦rt noe nytt, og noe veldig viktig, hvis like mange kan vÃ¦re med " +"pÃ¥ en kampanje for Ã¥ bekjempe Ã¸kende ekstremisme bygget inn i idÃ©en om " +"<quote>intellektuell eiendom</quote>. Ikke fordi balanse er fremmed for vÃ¥r " +"tradisjon. Jeg argumenterer for at balanse er vÃ¥r tradisjon. Men fordi " +"evnen til Ã¥ tenke kritisk pÃ¥ omfanget av alt som kalles <quote>eiendom</" +"quote> ikke er lenger er godt trent i denne tradisjonen." + +#. 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 Akilles, sÃ¥ ville dette vÃ¦re vÃ¥r hÃ¦l. Dette ville vÃ¦re stedet " +"for vÃ¥re tragedie." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Dylan, Bob" +msgstr "Dylan, Bob" + +#. f11. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, " +"September 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers," +"</quote> CNN/Money, 8 September 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #66</ulink>; Soni Sangha and Phyllis Furman with " +"Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as " +"Sharers,</quote> <citetitle>New York Daily News</citetitle>, 9 September " +"2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " +"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " +"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean, " +"<quote>Schoolgirl Settles with RIAA,</quote> <citetitle>Wired News</" +"citetitle>, 10 September 2003, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #67</ulink>." +msgstr "" +"John Borland, <quote>RIAA Sues 261 File Swappers</quote>, CNET News.com, " +"september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers</" +"quote>, CNN/Money, 8 september 2003, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #66</ulink>; Soni Sangha og Phyllis Furman " +"sammen med Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 " +"Cited as Sharers</quote>, <citetitle>New York Daily News</citetitle>, 9. " +"september 2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised " +"Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants</" +"quote>, <citetitle>Washington Post</citetitle>, 10. september 2003, E1; " +"Katie Dean, <quote>Schoolgirl Settles with RIAA</quote>, <citetitle>Wired " +"News</citetitle>, 10. september 2003, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #67</ulink>." + +#. f12. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady,</" +"quote> mtv.com, 17 September 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #68</ulink>." +msgstr "" +"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady</" +"quote>, mtv.com, 17. september 2003, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #68</ulink>." + +#. f13. +#. PAGE BREAK 334 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " +"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #69</ulink>." +msgstr "" +"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " +"Dylan Songs</quote>, Kansascity.com, 9. juli 2003, tilgjengelig fra <ulink " +"url=\"http://free-culture.cc/notes/\">link #69</ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>As I write</emphasis> these final words, the news is " +"filled with stories about the RIAA lawsuits against almost three hundred " +"individuals.<placeholder type=\"footnote\" id=\"0\"/> Eminem has just been " +"sued for <quote>sampling</quote> someone else's music.<placeholder type=" +"\"footnote\" id=\"1\"/> The story about Bob Dylan <quote>stealing</quote> " +"from a Japanese author has just finished making the rounds.<placeholder type=" +"\"footnote\" id=\"2\"/> An insider from Hollywood—who insists he must " +"remain anonymous—reports <quote>an amazing conversation with these " +"studio guys. They've got extraordinary [old] content that they'd love to use " +"but can't because they can't begin to clear the rights. They've got scores " +"of kids who could do amazing things with the content, but it would take " +"scores of lawyers to clean it first.</quote> Congressmen are talking about " +"deputizing computer viruses to bring down computers thought to violate the " +"law. Universities are threatening expulsion for kids who use a computer to " +"share content." +msgstr "" +"<emphasis role='strong'>Mens jeg skriver</emphasis> disse avsluttende " +"ordene, er nyhetene fylt med historier om at RIAA saksÃ¸ker nesten tre hundre " +"individer.<placeholder type=\"footnote\" id=\"0\"/> Eminem har nettopp " +"blitt saksÃ¸kt for Ã¥ ha <quote>samplet</quote> noen andres musikk." +"<placeholder type=\"footnote\" id=\"1\"/> Historien om hvordan Bob Dylan " +"har <quote>stjÃ¥let</quote> fra en japansk forfatter har nettopp gÃ¥tt verden " +"over.<placeholder type=\"footnote\" id=\"2\"/> En pÃ¥ innsiden i " +"Hollywood—som insisterer pÃ¥ at han mÃ¥ forbli anonym—rapporterer " +"<quote>en utrolig samtale med disse studiofolkene. De har fantastisk " +"[gammelt] innhold som de ville elske Ã¥ bruke, men det kan de ikke pÃ¥ grunn " +"av at de fÃ¸rst mÃ¥ klarere rettighetene. De har hauger med ungdommer som " +"kunne gjÃ¸re fantastiske ting med innholdet, men det vil fÃ¸rst kreve hauger " +"med advokater for Ã¥ klarere det fÃ¸rst</quote>. Kongressrepresentanter " +"snakker om Ã¥ gi datavirus politimyndighet for Ã¥ ta ned datamaskiner som " +"antas Ã¥ bryte loven. Universiteter truer med Ã¥ utvise ungdommer som bruker " +"en datamaskin for Ã¥ dele innhold." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "BBC" +msgstr "BBC" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Brazil, free culture in" +msgstr "Brasil, fri kultur i" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Creative Commons" +msgstr "Creative Commons" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Gil, Gilberto" +msgstr "Gil, Gilberto" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "public creative archive in" +msgstr "offentlig kreativt arkiv i" + +#. f14. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press " +"release, 24 August 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #70</ulink>." +msgstr "" +"<quote>BBC Plans to Open Up Its Archive to the Public</quote>, pressemelding " +"fra BBC, 24. august 2003, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #70</ulink>." + +#. f15. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 " +"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#71</ulink>." +msgstr "" +"<quote>Creative Commons and Brazil</quote>, Creative Commons Weblog, 6. " +"august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #71</ulink>." + +#. 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 <quote>Creative Archive,</quote> from which British citizens " +"can download BBC content, and rip, mix, and burn it.<placeholder type=" +"\"footnote\" id=\"0\"/> And in Brazil, the culture minister, Gilberto Gil, " +"himself a folk hero of Brazilian music, has joined with Creative Commons to " +"release content and free licenses in that Latin American country." +"<placeholder type=\"footnote\" id=\"1\"/> I've told a dark story. The truth " +"is more mixed. A technology has given us a new freedom. Slowly, some begin " +"to understand that this freedom need not mean anarchy. We can carry a free " +"culture into the twenty-first century, without artists losing and without " +"the potential of digital technology being destroyed. It will take some " +"thought, and more importantly, it will take some will to transform the RCAs " +"of our day into the Causbys." +msgstr "" +"I mens pÃ¥ andre siden av Atlanteren har BBC nettopp annonsert at de vil " +"bygge opp et <quote>kreativt arkiv</quote> som britiske borgere kan laste " +"ned BBC-innhold fra, og rippe, mikse og brenne det ut.<placeholder type=" +"\"footnote\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i " +"seg selv en folkehelt i brasiliansk musikk, slÃ¥tt seg sammen med Creative " +"Commons for Ã¥ gi ut innhold og frie lisenser i dette latinamerikanske landet." +"<placeholder type=\"footnote\" id=\"1\"/> Jeg har fortalt en mÃ¸rk " +"historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet. " +"Sakte begynner noen Ã¥ forstÃ¥ at denne friheten trenger ikke Ã¥ bety anarki. " +"Vi kan fÃ¥ med oss fri kultur inn i det tjuefÃ¸rste Ã¥rhundre, uten at artister " +"taper og uten at potensialet for digital teknologi blir knust. Det vil " +"kreve omtanke, og viktigere, det vil kreve at noen omformer RCA-ene av i dag " +"til Causbyere." + +#. 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 mÃ¥ gjÃ¸re opprÃ¸r. Den mÃ¥ handle for Ã¥ frigjÃ¸re kulturen. Og " +"snart, hvis dette potensialet skal noen gang bli realisert." + +#. type: Content of: <book><chapter><title> +msgid "AFTERWORD" +msgstr "Etterord" + +#. PAGE BREAK 280 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>At least some</emphasis> who have read this far will " +"agree with me that something must be done to change where we are heading. " +"The balance of this book maps what might be done." +msgstr "" +"<emphasis role='strong'>I hvert fall</emphasis> noen av de som har lest helt " +"hit vil vÃ¦re enig med meg om at noe mÃ¥ gjÃ¸res for Ã¥ endre retningen vi " +"holder. Balansen i denne boken kartlegger hva som kan gjÃ¸res." + +#. 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 deler dette kartet i to deler: det som enhver kan gjÃ¸re nÃ¥, og det som " +"krever hjelp fra lovgiverne. Hvis det er en lÃ¦rdom vi kan trekke fra " +"historien om Ã¥ endre pÃ¥ sunn fornuft, sÃ¥ er det at det krever Ã¥ endre " +"hvordan mange mennesker tenker pÃ¥ den aktuelle saken. " + +#. 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 mÃ¥ starte i gatene. Det mÃ¥ rekrutteres et " +"signifikant antall foreldre, lÃ¦rere, bibliotekarer, skapere, forfattere, " +"musikere, filmskapere, forskere—som alle mÃ¥ fortelle denne historien " +"med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er " +"sÃ¥ 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 "" +"NÃ¥r denne bevegelsen har hatt sin effekt i gatene, sÃ¥ er det et visst hÃ¥p om " +"at det kan ha effekt i Washington. Vi er fortsatt et demokrati. Hva folk " +"mener betyr noe. Ikke sÃ¥ mye som det burde, i hvert fall nÃ¥r en RCA stÃ¥r " +"imot, men likevel, det betyr noe. Og dermed vil jeg skissere, i den andre " +"delen som fÃ¸lger, endringer som kongressen kunne gjÃ¸re for Ã¥ bedre sikre en " +"fri kultur." + +#. type: Content of: <book><chapter><section><title> +msgid "US, NOW" +msgstr "Oss, nÃ¥" + +#. type: Content of: <book><chapter><section><para> +msgid "" +"<emphasis role='strong'>Common sense</emphasis> 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 "" +"<emphasis role='strong'>Sunn fornuft</emphasis> er pÃ¥ same side som " +"opphavsrettskrigerne pÃ¥ grunn av at debatten sÃ¥ langt har vÃ¦rt rammet inn " +"rundt ytterpunktene—som en stor entel/eller: enten eiendom eller " +"anarki, enten total kontroll eller sÃ¥ fÃ¥r ikke kunstnerne betalt. Hvis " +"dette virkelig var valget sÃ¥ burde krigerne vinne." + +#. type: Content of: <book><chapter><section><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—<quote>All Rights Reserved</quote>— " +"and those who reject copyright—<quote>No Rights Reserved.</quote> The " +"<quote>All Rights Reserved</quote> sorts believe that you should ask " +"permission before you <quote>use</quote> a copyrighted work in any way. The " +"<quote>No Rights Reserved</quote> sorts believe you should be able to do " +"with content as you wish, regardless of whether you have permission or not." +msgstr "" +"Tabben her er feilen med Ã¥ utelukke den gyldne middelvei. Det er " +"ytterpunkter i denne debatten, men ytterpunktene er ikke det hele. Det er " +"de som tror pÃ¥ maksimal opphavsrett—<quote>Alle rettigheter reservert</" +"quote>—og de som avviser opphavsrett—<quote>Ingen rettigheter " +"reservert</quote>. <quote>Alle rettigheter reservert</quote>-typen mener du " +"bÃ¸r spÃ¸rre om tillatelse fÃ¸r du <quote>bruker</quote> et " +"opphavsrettsbeskyttet verk pÃ¥ noe vis. <quote>Ingen rettigheter reservert</" +"quote>-typen mener du bÃ¸r kunne gjÃ¸re med innhold som du selv Ã¸nsker " +"uavhengig av om du har tillatelse eller ikke." + +#. type: Content of: <book><chapter><section><indexterm><secondary> +msgid "initial free character of" +msgstr "opprinnelige frie egenskaper ved" + +#. PAGE BREAK 282 +#. type: Content of: <book><chapter><section><para> +msgid "" +"When the Internet was first born, its initial architecture effectively " +"tilted in the <quote>no rights reserved</quote> direction. Content could be " +"copied perfectly and cheaply; rights could not easily be controlled. Thus, " +"regardless of anyone's desire, the effective regime of copyright under the " +"original design of the Internet was <quote>no rights reserved.</quote> " +"Content was <quote>taken</quote> regardless of the rights. Any rights were " +"effectively unprotected." +msgstr "" +"Da Internettet ble skapt, ga dets arkitektur i effekt en helning mot " +"<quote>ingen rettigheter reservert</quote>. Innhold kunne kopieres billig " +"og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed " +"var, uavhengig av hva noen Ã¸nsket, det effektive regimet for opphavsrett " +"under den originale utformingen av Internettet <quote>ingen rettigheter " +"reservert</quote>. Innhold ble <quote>tatt</quote> uavhengig av " +"rettighetene. Alle rettigheter var effektivt ubeskyttet." + +#. type: Content of: <book><chapter><section><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 <quote>no rights reserved,</quote> the future architecture will make " +"the effective default <quote>all rights reserved.</quote> The architecture " +"and law that surround the Internet's design will increasingly produce an " +"environment where all use of content requires permission. The <quote>cut " +"and paste</quote> world that defines the Internet today will become a " +"<quote>get permission to cut and paste</quote> world that is a creator's " +"nightmare." +msgstr "" +"Denne opprinnelige egenskapen ga en reaksjon (med motsatt fortegn, men ikke " +"helt likt) fra opphavsrettseierne. Den reaksjonen har vÃ¦rt tema for denne " +"boken. Gjennom lovgiving, sÃ¸ksmÃ¥l og endringer i nettverkets utforming har " +"opphavsrettsinnehaverne vÃ¦rt i stand ti lÃ¥ endre den grunnlegende egenskapen " +"til omgivelsen for det originale Internett. Hvis den opprinnelige " +"arkitekturen gir et effektivt utgangspunkt med <quote>ingen rettigheter " +"reserver</quote>, sÃ¥ vil fremtidens arkitektur gjÃ¸re det effektive " +"utgangspunktet til <quote>alle rettigheter reservert</quote>. Arkitekturen " +"og loven som omgir Internettets utforming vil i stadig stÃ¸rre grad gi en " +"omgivelse hvor all bruk av innhold krever tillatelse. <quote>Klipp og lim</" +"quote>-verden som definerer Internettet i dag vil bli en <quote>skaff " +"tillatelse til Ã¥ klippe og lime</quote>-verden som er en skapers mareritt." + +#. type: Content of: <book><chapter><section><para> +msgid "" +"What's needed is a way to say something in the middle—neither " +"<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but " +"<quote>some rights reserved</quote>— and thus a way to respect " +"copyrights but enable creators to free content as they see fit. In other " +"words, we need a way to restore a set of freedoms that we could just take " +"for granted before." +msgstr "" +"Det som trengs er en mÃ¥te Ã¥ si noe i midten—hverken <quote>alle " +"rettigheter reservert</quote> eller <quote>ingen rettigheter reservert</" +"quote> men <quote>noen rettigheter reservert</quote>—og dermed en mÃ¥te " +"Ã¥ respektere opphavsretter mens en gjÃ¸r det mulig for skaperne Ã¥ frigjÃ¸re " +"innhold nÃ¥r de Ã¸nsker det. Med andre ord, vi trenger en mÃ¥te Ã¥ gjeninnfÃ¸re " +"settet med friheter som vi kunne ta for gitt tidligere." + +#. type: Content of: <book><chapter><section><section><title> +msgid "Rebuilding Freedoms Previously Presumed: Examples" +msgstr "Gjenoppbygging av friheter som tidligere var antatt: Eksempler" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "restoration efforts on previous aspects of" +msgstr "restaurering innsats pÃ¥ forrige aspekter av" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "privacy rights" +msgstr "personvernrettigheter" + +#. type: Content of: <book><chapter><section><section><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 " +"<quote>privacy</quote> of your browsing habits was assured." +msgstr "" +"Hvis du trer tilbake fra slaget jeg har beskrevet her, sÃ¥ vil du kjenne " +"igjen dette problemet fra andre omgivelser. Tenk pÃ¥ personvern. FÃ¸r " +"Internettet trengte ikke de fleste av oss Ã¥ bekymre oss over hvor mye data " +"om vÃ¥re liv som vi kringkastet til verden. Hvis du gikk inn i en bokhandler " +"og tittet pÃ¥ verkene til Karl Marx, sÃ¥ trengte du ikke bekymre deg for Ã¥ " +"mÃ¥tte forklare hva du tittet pÃ¥ for dine naboer eller din sjef. " +"<quote>Personvernet</quote> rundt hva du tittet pÃ¥ var sikret." + +#. type: Content of: <book><chapter><section><section><para> +msgid "What made it assured?" +msgstr "Hva gjorde at det var sikret?" + +#. type: Content of: <book><chapter><section><section><para> +#, mtrans, fuzzy +msgid "" +"Well, if we think in terms of the modalities I described in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was " +"assured because of an inefficient architecture for gathering data and hence " +"a market constraint (cost) on anyone who wanted to gather that data. If you " +"were a suspected spy for North Korea, working for the CIA, no doubt your " +"privacy would not be assured. But that's because the CIA would (we hope) " +"find it valuable enough to spend the thousands required to track you. But " +"for most of us (again, we can hope), spying doesn't pay. The highly " +"inefficient architecture of real space means we all enjoy a fairly robust " +"amount of privacy. That privacy is guaranteed to us by friction. Not by law " +"(there is no law protecting <quote>privacy</quote> in public places), and in " +"many places, not by norms (snooping and gossip are just fun), but instead, " +"by the costs that friction imposes on anyone who would want to spy." +msgstr "" +"Vel, hvis vi tror nÃ¥r det gjelder metoder jeg beskrevet i kapittel 10, " +"personvernet var forsikret pÃ¥ grunn av en ineffektiv arkitektur for Ã¥ samle " +"data og dermed betingelsen markedet (kostnader) pÃ¥ alle som Ã¸nsket Ã¥ samle " +"inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, ville " +"arbeider for cia, ingen tvil om personvernet ikke vÃ¦re trygg. men det er " +"fordi vil cia (hÃ¥per vi) finne det verdifullt nok til Ã¥ bruke tusenvis som " +"er nÃ¸dvendig for Ã¥ spore deg. men for de fleste av oss (igjen, vi kan " +"hÃ¥per), spionere ikke betaler. svÃ¦rt 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 pÃ¥legger pÃ¥ alle som Ã¸nsker Ã¥ spy." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Amazon" +msgstr "Amazon" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cookies, Internet" +msgstr "informasjonskapsler, Internett" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "privacy protection on" +msgstr "personvernbeskyttelse pÃ¥" + +#. type: Content of: <book><chapter><section><section><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 <quote>recently viewed</" +"quote> pages. Now, because of the architecture of the Net and the function " +"of cookies on the Net, it is easier to collect the data than not. The " +"friction has disappeared, and hence any <quote>privacy</quote> protected by " +"the friction disappears, too." +msgstr "" +"Inn kommer Internettet, hvor kostnaden med Ã¥ spore spesielt det blir bladd i " +"har blitt svÃ¦rt liten. Hvis du er en kunde av Amazon, sÃ¥ vil Amazon samle " +"informasjon om hva du har sett pÃ¥ mens du tittet pÃ¥ sidene der. Du vet " +"dette pÃ¥ grunn av at det i en spalte pÃ¥ siden vises en liste med " +"<quote>nylig sette</quote> sider. PÃ¥ grunn av arkitekturen til nettet og " +"hvordan informasjonskapsler fungerer pÃ¥ nettet, sÃ¥ er det enklere Ã¥ samle " +"inn disse dataene enn Ã¥ la vÃ¦re. Friksjonen har forsvunnet, og dermed " +"forsvinner ogsÃ¥ ethvert <quote>personvern</quote> som var beskyttet av denne " +"friksjonen." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "privacy rights in use of" +msgstr "personvernrettigheter i bruk av" + +#. type: Content of: <book><chapter><section><section><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 <quote>right</quote> to browse in a library without the " +"government knowing which books you look at (I'm one of those lefties, too), " +"then this change in the technology of monitoring might concern you. If it " +"becomes simple to gather and sort who does what in electronic spaces, then " +"the friction-induced privacy of yesterday disappears." +msgstr "" +"Amazon er naturligvis ikke problemet. Men vi kan begynne Ã¥ bekymre oss for " +"biblioteker. Hvis du er en av disse sprÃ¸ venstrevridde som mener at folk " +"bÃ¸r ha <quote>retten</quote> til Ã¥ bla igjennom et bibliotek uten at " +"myndighetene fÃ¥r vite hvilke bÃ¸ker du ser pÃ¥ (jeg er ogsÃ¥ en av disse " +"venstrevridde), da kan det hende denne endringen i teknologien for " +"overvÃ¥kning angÃ¥r deg. Hvis det blir enkelt Ã¥ samle inn og sortere hvem som " +"gjÃ¸r hva i det elektroniske rom, sÃ¥ forsvinner det friksjons-induserte " +"personvernet fra tidligere tider." + +#. f1. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the " +"Architecture of Privacy (What Larry Doesn't Get),</quote> " +"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " +"6–18, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#72</ulink> (describing examples in which technology defines privacy " +"policy). See also Jeffrey Rosen, <citetitle>The Naked Crowd: Reclaiming " +"Security and Freedom in an Anxious Age</citetitle> (New York: Random House, " +"2004) (mapping tradeoffs between technology and privacy)." +msgstr "" +"Se for eksempel Marc Rotenberg, <quote>Fair Information Practices and the " +"Architecture of Privacy (What Larry Doesn't Get)</quote>, " +"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " +"6–18, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #72</ulink> (beskriver eksempler der teknologi definerer " +"personvernregler). Se ogsÃ¥ Jeffrey Rosen, <citetitle>The Naked Crowd: " +"Reclaiming Security and Freedom in an Anxious Age</citetitle> (New York: " +"Random House, 2004) (kartlegger avveininger mellom teknologi og personvern)." + +#. PAGE BREAK 284 +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"It is this reality that explains the push of many to define <quote>privacy</" +"quote> on the Internet. It is the recognition that technology can remove " +"what friction before gave us that leads many to push for laws to do what " +"friction did.<placeholder type=\"footnote\" id=\"0\"/> And whether you're in " +"favor of those laws or not, it is the pattern that is important here. We " +"must take affirmative steps to secure a kind of freedom that was passively " +"provided before. A change in technology now forces those who believe in " +"privacy to affirmatively act where, before, privacy was given by default." +msgstr "" +"Det er denne virkeligheten som forklarer at mange gjÃ¸r en innsats for Ã¥ " +"definere <quote>personvern</quote> pÃ¥ Internettet. Det er erkjennelsen om " +"at teknologi kan fjerne det friksjon fÃ¸r ga oss som fÃ¥r mange til Ã¥ be om " +"lover som gjÃ¸r det friksjonen gjorde.<placeholder type=\"footnote\" id=\"0\"/" +"> Og uansett om du er for eller imot disse lovene, sÃ¥ er det mÃ¸nsteret som " +"er det viktige her. Vi mÃ¥ ta aktive steg for Ã¥ sikre en slags frihet som " +"var passivt sikret tidligere. En endring i teknologi tvinger nÃ¥ de som tror " +"pÃ¥ personvern til Ã¥ gjÃ¸re aktive handlinger der hvor personvern tidligere " +"var gitt som utgangspunkt." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Data General" +msgstr "Data General" + +#. type: Content of: <book><chapter><section><section><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 lignende historie kan fortelles om stiftelsen av fri programvare-" +"bevegelsen. Da datamaskiner med programvare fÃ¸rst ble gjort kommersielt " +"tilgjengelig var programvaren—bÃ¥de kildekoden og binÃ¦rene—fritt " +"tilgjengelig. Du kunne ikke kjÃ¸re et program skrevet for en Data General-" +"maskin pÃ¥ en IBM-maskin, sÃ¥ Data General og IBM brydde seg ikke mye om Ã¥ " +"kontrollere programvaren sin." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Stallman, Richard" +msgstr "Stallman, Richard" + +#. type: Content of: <book><chapter><section><section><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 "" +"Dette var verden Richard Stallman ble fÃ¸dt inn i og som forsker ved MIT " +"lÃ¦rte han Ã¥ elske samfunnet som utviklet seg nÃ¥r en var fri til Ã¥ utforske " +"og fikle med programvaren som kjÃ¸rte pÃ¥ datamaskiner. Som en av de smarte " +"typene, i tillegg til Ã¥ vÃ¦re en flink programmerer, begynte Stallman Ã¥ " +"basere seg pÃ¥ friheten han hadde til bygge pÃ¥ eller endre pÃ¥ andre personers " +"verker." + +#. type: Content of: <book><chapter><section><section><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 hvert fall i akademia er ikke dette en veldig radikal idÃ©. Ved et " +"matematisk institutt ville enhver ha friheten til Ã¥ fikle med et bevis som " +"noen andre la frem. Hvis du trodde du hadde en bedre mÃ¥te Ã¥ bevise et " +"teorem, sÃ¥ kunne du ta det noen andre hadde gjort og endre det. Ved et " +"institutt for klassisk historie, hvis du mente en kollegas oversettelse av " +"en nylig oppdaget tekst hadde feil, sÃ¥ hadde du friheten til Ã¥ forbedre " +"den. Dermed, for Stallman, virket det Ã¥penbart at du burde stÃ¥ fritt til Ã¥ " +"fikle med og forbedre koden som kjÃ¸rte pÃ¥ en maskin. Dette var ogsÃ¥ " +"kunnskap. Hvorfor skulle det ikke vÃ¦re Ã¥pent for kritikk pÃ¥ samme mÃ¥te som " +"alt annet?" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "proprietary code" +msgstr "proprietÃ¦r kode" + +#. type: Content of: <book><chapter><section><section><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 svarte pÃ¥ det spÃ¸rsmÃ¥let. Istedet endret arkitekturen for inntekter i " +"dataverden seg. Etter hvert som det ble mulig Ã¥ importere programmer fra et " +"system til et annet, det ble Ã¸konomisk attraktivt (i hvert fall etter noens " +"syn) Ã¥ skjule koden til programmet som man laget. I tillegg begynte " +"selskaper Ã¥ selge ekstrautstyr til stormaskiner. Hvis jeg bare kunne ta din " +"printerdriver og kopiere den, sÃ¥ ville det gjÃ¸re det enklere for meg enn det " +"var for deg Ã¥ selge en printer i markedet." + +#. PAGE BREAK 285 +#. type: Content of: <book><chapter><section><section><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 begynte praksisen med proprietÃ¦r kode Ã¥ spre seg, og tidlig pÃ¥ 1980-" +"tallet fant Stallman at han var omringet av proprietÃ¦r kode. Verden av fri " +"programvare hadde blitt fjernet av en endring i Ã¸konomien rundt " +"databehandling. Og han trodde at hvis han ikke gjorde noe med dette, sÃ¥ " +"ville friheten til Ã¥ endre og dele programvare bli fundamentalt svekket." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Torvalds, Linus" +msgstr "Torvalds, Linus" + +#. type: Content of: <book><chapter><section><section><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 <quote>Linux</" +"quote> kernel was added to produce the GNU/Linux operating system. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" +msgstr "" +"Derfor, i 1984, startet Stallmann pÃ¥ et prosjekt for Ã¥ bygge et fritt " +"operativsystem, slik i hvert fall en flik av fri programvare skulle " +"overleve. Dette var starten pÃ¥ GNU-prosjektet, som <quote>Linux</quote>-" +"kjernen til Linus Torvalds senere ble lagt til i for Ã¥ produsere GNU/Linux-" +"operativsystemet. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><chapter><section><section><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 teknikk var Ã¥ bruke Ã¥ndsverksloven til Ã¥ bygge en verden av " +"programvare som mÃ¥ forbli fri. Programvare lisensiert med GPL fra Free " +"Software Foundation kan ikke endres og distribueres uten at kildekoden for " +"den programvaren ogsÃ¥ blir gjort tilgjengelig. Dermed mÃ¥ enhver som bygger " +"pÃ¥ GPL-et programvare ogsÃ¥ frigjÃ¸re sitt byggverk. Dette trodde Stallman " +"ville sikre, at en Ã¸kologi av kode ville utvikle seg som forble fri for " +"andre Ã¥ bygge pÃ¥. Hans fundamentale mÃ¥l var frihet. Nyskapende kreativ " +"kode var et biprodukt." + +#. type: Content of: <book><chapter><section><section><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 gjorde dermed for programvare det personvernforkjempere nÃ¥ gjÃ¸r for " +"personvern. Han sÃ¸kte etter en mÃ¥te Ã¥ gjenoppbygge den type frihet som fÃ¸r " +"var tatt for gitt. Gjennom aktiv bruk av lisenser som gjelder for " +"opphavsrettsbeskyttet kildekode, gjenerobret Stallman aktivt en arena der " +"fri programvare ville overleve. Han beskyttet aktivt det som fÃ¸r hadde vÃ¦rt " +"passivt garantert." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "scientific journals" +msgstr "vitenskapelige tidsskrifter" + +#. type: Content of: <book><chapter><section><section><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, la oss se pÃ¥ et veldig nytt eksempel som resonerer mer direkte " +"med historien i denne boken. Dette er overgangen for hvordan akademiske og " +"vitenskapelige tidsskrifter blir produsert." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Lexis and Westlaw" +msgstr "Lexis and Westlaw" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "journals in" +msgstr "tidsskrifter i" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "access to opinions of" +msgstr "tilgang til vurderinger fra" + +#. PAGE BREAK 286 +#. type: Content of: <book><chapter><section><section><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 "" +"Etter hvert som teknologien utviklet seg, blir det Ã¥penbart for mange at Ã¥ " +"skrive ut tusenvis av kopier av tidsskrifter hver mÃ¥ned og sende dem til " +"biblioteker kanskje ikke er den mest effektive mÃ¥ten Ã¥ spre kunnskap. I " +"stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres " +"brukere gis tilgang til disse elektroniske tidsskriftene gjennom passord-" +"beskyttede nettsteder. Noe lignende har skjedd innen justissektoren i " +"nesten tredve Ã¥r: Lexis og Westlaw har hatt elektroniske versjoner av " +"domstolavgjÃ¸relser tilgjengelig for sine tjeneste-abonnenter. Selv om en " +"hÃ¸yesterettsdom ikke er opphavsrettsbeskyttet, og enhver stÃ¥r fritt til Ã¥ gÃ¥ " +"til et bibliotek og lese den, sÃ¥ stÃ¥r Lexis og Westlaw ogsÃ¥ fritt til Ã¥ " +"kreve betaling fra sine brukerne for Ã¥ gi tilgang til den samme " +"hÃ¸yesterettsdommen gjennom deres respektive tjenester." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "access fees for material in" +msgstr "tilgangsavgifter for materiale i" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "license system for rebuilding of" +msgstr "lisens-systemet for Ã¥ gjenoppbygging av" + +#. type: Content of: <book><chapter><section><section><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 generelt ingenting galt med dette, og muligheten til Ã¥ ta betalt for " +"tilgang selv for allemannseid materiale er helt klart et godt insentiv for " +"folk til Ã¥ utvikle nye og nyskapende mÃ¥ter Ã¥ spre kunnskap. Loven har vÃ¦rt " +"enig, hvilket er det som gjÃ¸r at Lexis og Westlaw har fÃ¥tt lov til Ã¥ " +"blomstre. Og hvis det ikke er noe galt med Ã¥ selge det som er allemannseie, " +"sÃ¥ bÃ¸r det i prinspippet ikke vÃ¦re noe galt i Ã¥ selge tilgang til materiale " +"som ikke er allemannseie." + +#. type: Content of: <book><chapter><section><section><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 hvis den eneste mÃ¥ten Ã¥ fÃ¥ tilgang til sosiale og vitenskapelige " +"data var gjennom proprietÃ¦re tjenester? Hva hvis ingen hadde muligheten til " +"Ã¥ bla igjennom disse datasettene uten Ã¥ betale for et abonnement?" + +#. type: Content of: <book><chapter><section><section><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 flere begynner Ã¥ oppdage, er dette stadig oftere virkeligheten med " +"vitenskapelige tidsskrifter. Da disse tidsskriftene ble distribuert i " +"papirutgaven, kunne bibliotekene gjÃ¸re tidsskriftene tilgjengelig for enhver " +"som hadde tilgang til biblioteket. Dermed kunne pasienter med kreft bli " +"kreft-eksperter pÃ¥ grunn av at biblioteket ga dem tilgang. Eller pasienter " +"som forsÃ¸kte Ã¥ forstÃ¥ risikoen med en bestemt behandling kunne forske pÃ¥ " +"disse risikoene ved Ã¥ lese alle tilgjengelige artikler om den behandlingen. " +"Denne friheten var dermed et resultat av hvordan biblioteker fungerte " +"(normer) og teknologien til papirtidsskrifter (arkitektur)—nemlig at " +"det var veldig vanskelig a kontrollere tilgang til et papirtidsskrift." + +#. type: Content of: <book><chapter><section><section><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 "" +"Etter hvert som tidsskrift blir elektroniske krever derimot utgiverne at " +"bibliotekene ikke gir alle tilgang til tidsskriftene. Dette betyr at " +"frihetene som papirtidsskrifter ga i offentlige biblioteker begynner Ã¥ " +"forsvinne. Dermed, pÃ¥ samme mÃ¥te som med personvern og programvare, " +"endringer i teknologien og markedet krymper en frihet som vi tok for gitt " +"tidligere." + +#. PAGE BREAK 287 +#. type: Content of: <book><chapter><section><section><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 reduserte friheten har fÃ¥tt mange til Ã¥ ta aktive steg for Ã¥ " +"gjenopprette friheten som har gÃ¥tt tapt. Et eksempel er Det Offentlige " +"Vitenskapsbiblioteket (PLoS), som er et ikkekommersielt selskap dedikert til " +"Ã¥ gjÃ¸re vitenskapeling forskning tilgjengelig til alle som har en " +"nettforbindelse. Forfattere av vitenskapelige verk laster sitt verk opp til " +"Det Offentlige Vitenskapsbiblioteket. Dette verket gÃ¥r sÃ¥ igjennom " +"fagfellevurdering. Hvis det blir akseptert, sÃ¥ blir verket sÃ¥ lagret i et " +"offentlig, elektronisk arkiv og gjort gratis og permanent tilgjengelig. " +"PLoS selger ogsÃ¥ trykte utgaver av verkene, men opphavsretten til " +"papirtidsskriftene fratar ingen retten til Ã¥ fritt videredistribuere verket." + +#. type: Content of: <book><chapter><section><section><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 en av mange slike anstrengelser for Ã¥ gjenopprette en frihet som " +"tidligere ble tatt for gitt, men som nÃ¥ er truet av endringer i teknologi og " +"marked. Det er ingen tvil om at dette alternativet konkurrerer med de " +"tradisjonelle forlagene og deres innsats for Ã¥ tjene penger fra den " +"eksklusive distribusjonen av innhold. Men konkurranse antas i vÃ¥r tradisjon " +"for Ã¥ vÃ¦re bra—spesielt nÃ¥r det bidrar til Ã¥ spre kunnskap og " +"vitenskap." + +#. type: Content of: <book><chapter><section><section><title> +msgid "Rebuilding Free Culture: One Idea" +msgstr "Gjenoppbygging av fri kultur: En idÃ©" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The same strategy could be applied to culture, as a response to the " +"increasing control effected through law and technology." +msgstr "" +"Den samme strategien kan brukes pÃ¥ kultur, som et svar pÃ¥ den Ã¸kende " +"kontrollen som gjennomfÃ¸res gjennom lov og teknologi." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Stanford University" +msgstr "Stanford University" + +#. type: Content of: <book><chapter><section><section><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 <emphasis>reasonable</emphasis> copyright on top " +"of the extremes that now reign. It does this by making it easy for people to " +"build upon other people's work, by making it simple for creators to express " +"the freedom for others to take and build upon their work. Simple tags, tied " +"to human-readable descriptions, tied to bulletproof licenses, make this " +"possible." +msgstr "" +"Inn kommer Creative Commons. Creative Commons er et ikke-kommersielt " +"selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford " +"University. Selskapets mÃ¥l er Ã¥ bygge et lag av <emphasis>rimelig</" +"emphasis> opphavsrett pÃ¥ toppen av ekstremene som nÃ¥ regjerer. Det gjÃ¸r " +"dette ved Ã¥ gjÃ¸re det enkelt for folk Ã¥ bygge pÃ¥ andre folks verk, ved Ã¥ " +"gjÃ¸re det enkelt for skapere Ã¥ uttrykke friheten for andre til Ã¥ ta og bygge " +"pÃ¥ deres verk. Dette gjÃ¸res mulig med enkle merker, knyttet til " +"menneskelesbare beskrivelser, som igjen er knyttet til vanntette lisenser." + +#. PAGE BREAK 288 +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"<emphasis>Simple</emphasis>—which means without a middleman, or " +"without a lawyer. By developing a free set of licenses that people can " +"attach to their content, Creative Commons aims to mark a range of content " +"that can easily, and reliably, be built upon. These tags are then linked to " +"machine-readable versions of the license that enable computers automatically " +"to identify content that can easily be shared. These three expressions " +"together—a legal license, a human-readable description, and machine-" +"readable tags—constitute a Creative Commons license. A Creative " +"Commons license constitutes a grant of freedom to anyone who accesses the " +"license, and more importantly, an expression of the ideal that the person " +"associated with the license believes in something different than the " +"<quote>All</quote> or <quote>No</quote> extremes. Content is marked with the " +"CC mark, which does not mean that copyright is waived, but that certain " +"freedoms are given." +msgstr "" +"<emphasis>Enkelt</emphasis>—som betyr uten en mellommann eller uten en " +"advokat. Ved Ã¥ utvikle et fritt sett med lisenser som folk kan knytte til " +"sitt innhold, sikter Creative Commons Ã¥ merke en rekke innhold som enkelt og " +"pÃ¥litelig kan bygges pÃ¥. Disse merkene er sÃ¥ lenket til maskinlesbare " +"versjoner av lisensen som gjÃ¸r det mulig for datamaskiner Ã¥ automatisk " +"identifisere innhold som enkelt kan deles. Denne samlingen av tre " +"uttrykk—en juridisk lisens, en menneske-lesbar beskrivelse og et " +"maskinlesbart merke—utgjÃ¸r en Creative Commons-lisens. En Creative " +"Commons-lisens utgjÃ¸r en tildeling av frihet til enhver som har tilgang til " +"lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror " +"pÃ¥ noe annet enn <quote>Alle</quote>- eller <quote>Ingen</quote>-" +"ytterkantene. Innhold merket med CC-merket betyr ikke at en har sagt fra " +"seg opphavsretten, men derimot at enkelte friheter er gitt bort." + +#. type: Content of: <book><chapter><section><section><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 (<quote>share and share alike</quote>). Or any use so long as no " +"derivative use is made. Or any use at all within developing nations. Or any " +"sampling use, so long as full copies are not made. Or lastly, any " +"educational use." +msgstr "" +"Disse frihetene gÃ¥r ut over friheten som loves av rimelig bruk. Frihetenes " +"presise omriss er avhenging av valgene som skaperen gjÃ¸r. Skaperen kan velge " +"en lisens som tillater enhver bruk, sÃ¥ lenge opphavspersonen navngis. Hun " +"kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge " +"en lisens som tillater enhver bruk sÃ¥ lenge de samme friheter gis videre til " +"andre brukere (<quote>del pÃ¥ like vilkÃ¥r</quote>). Eller enhver bruk sÃ¥ " +"lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland. " +"Eller enhver bruk som <quote>smakebit</quote>, sÃ¥ lenge det ikke lages " +"komplette kopier. Og til slutt, enhver bruk til opplÃ¦ring." + +#. type: Content of: <book><chapter><section><section><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 etablerer dermed en rekke friheter som gÃ¥r ut over " +"utgangspunktet i Ã¥ndsverksloven. De muliggjÃ¸r ogsÃ¥ friheter som gÃ¥r ut over " +"tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse " +"frihetene pÃ¥ en mÃ¥te som de pÃ¥fÃ¸lgende brukerne kan bruke og basere seg pÃ¥ " +"uten Ã¥ hyre inn en advokat. Creative Commons sikter dermed mot Ã¥ bygge et " +"lag av innhold, styrt av et lag av fornuftig Ã¥ndsverkslov, som andre kan " +"bygge pÃ¥. Frivillig valg fra individer og skapere vil gjÃ¸re dette innholdet " +"tilgjengelig. Og dette innholdet vi sÃ¥ gjÃ¸re det mulig for oss Ã¥ " +"gjenopprette allemannseiet." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Garlick, Mia" +msgstr "Garlick, Mia" + +#. PAGE BREAK 289 +#. type: Content of: <book><chapter><section><section><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 (<quote>content conducers,</" +"quote> as attorney Mia Garlick calls them) who help build the public domain " +"and, by their work, demonstrate the importance of the public domain to other " +"creativity." +msgstr "" +"Dette er bare et av mange prosjekter innen Creative Commons. Og Creative " +"Commons er naturligvis ikke den eneste organisasjonen som bidrar til slike " +"friheter. Men det som skiller Creative Commons fra mange andre er at vi er " +"ikke bare interessert i Ã¥ snakke om et allemannseie eller i Ã¥ fÃ¥ lovgiverne " +"til Ã¥ bidra til Ã¥ bygge et allemannseie. VÃ¥rt mÃ¥l er Ã¥ bygge en bevegelse " +"av konsumenter og produsenter av innhold (<quote>innholds-kondusenter</" +"quote>, som advokat Mia Garlick kaller dem) som hjelper til Ã¥ bygge " +"allemannseie og demonstrerer med deres egne verker hvor viktig allemannseiet " +"er for annen kreativitet." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The " +"aim is to complement them. The problems that the law creates for us as a " +"culture are produced by insane and unintended consequences of laws written " +"centuries ago, applied to a technology that only Jefferson could have " +"imagined. The rules may well have made sense against a background of " +"technologies from centuries ago, but they do not make sense against the " +"background of digital technologies. New rules—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 "" +"MÃ¥let er ikke Ã¥ sloss mot <quote>alle rettigheter reservert</quote>-" +"folkene. MÃ¥let er Ã¥ utfylle dem. Problemene som loven skaper for oss som " +"kultur er skapt av sinnsyke og utilsiktede konsekvenser av lover skrevet for " +"Ã¥rhundrer siden, anvendt pÃ¥ en teknologi som kun Jefferson kunne ha " +"forestilt seg. Reglene kan godt Ã¥ gitt mening da bakgrunnen var " +"teknologiene tilgjengelig for hundrevis av Ã¥r siden, men de gir ikke mening " +"nÃ¥r bakgrunnen er digitale teknologier. Nye regler—med andre " +"friheter, uttrykket slik at mennesker uten advokater kan bruke dem—" +"trengs. Creative Commons gir folk en effektiv mÃ¥te Ã¥ begynne Ã¥ lage disse " +"reglene." + +#. type: Content of: <book><chapter><section><section><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, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, was released on-line and for free, under a Creative " +"Commons license, on the same day that it went on sale in bookstores." +msgstr "" +"Hvorfor ville skapere delta i Ã¥ gi slipp pÃ¥ total kontroll? Noen deltar for " +"Ã¥ Ã¸ke spredningen av deres innhold. Et eksempel er Cory Doctorow som er en " +"science fiction-forfatter. Hans fÃ¸rste roman, <citetitle>Down and Out in " +"the Magic Kingdom</citetitle>, ble sluppet gratis pÃ¥ nettet med en Creative " +"Commons-lisens, samme dag som den ble lagt ut for salg i bokhandler." + +#. type: Content of: <book><chapter><section><section><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 " +"<emphasis>increase</emphasis> sales of Cory's book." +msgstr "" +"Hvorfor ville en utgiver noen sinne gÃ¥ med pÃ¥ dette? Jeg mistenker hans " +"utgiver tenkte som dette: Det er to grupper av mennesker der ute: (1) de som " +"vil kjÃ¸pe Corys bok uansett om den er pÃ¥ Internettet eller ikke og (2)de som " +"kanskje aldri hÃ¸rer om Corys bok hvis den ikke blir gjort tilgjengelig " +"gratis pÃ¥ Internettet. En del av (1) vil laste ned Corys bok i stedet for Ã¥ " +"kjÃ¸pe den. Vi kan kalle dem slemme-(1). En del av (2) vil laste ned Corys " +"bok, like den, og deretter bestemme seg for Ã¥ kjÃ¸pe den. Vi kan kalle dem " +"gode-(2). Hvis det er flere gode-(2-) enn det er slemme-(1), sÃ¥ vil " +"strategien med Ã¥ gi ut Corys bok gratis pÃ¥ nettet antagelig <emphasis>Ã¸ke</" +"emphasis> salget av Corys bok." + +#. type: Content of: <book><chapter><section><section><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 "" +"Faktisk stÃ¸tter erfaringene fra hans utgiver helt klart denne konklusjonen. " +"FÃ¸rsteutgaven av boken var utsolgt flere mÃ¥neder tidligere enn utgiveren " +"hadde forventet. Denne fÃ¸rste romanen til en science fiction-formfatter var " +"en total suksess." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Free for All (Wayner)" +msgstr "Free for All (Wayner)" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Wayner, Peter" +msgstr "Wayner, Peter" + +#. PAGE BREAK 290 +#. type: Content of: <book><chapter><section><section><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 <citetitle>Free for All</" +"citetitle>, made an electronic version of his book free on-line under a " +"Creative Commons license after the book went out of print. He then monitored " +"used book store prices for the book. As predicted, as the number of " +"downloads increased, the used book price for his book increased, as well." +msgstr "" +"IdÃ©en om at gratis innhold kan Ã¸ke verdien for ikke-gratis innhold var " +"bekreftet av et eksperiment gjennomfÃ¸rt av en annen forfatter. Peter Wayner, " +"som skrev en bok om fri programvarebevegelsen med tittelen <citetitle>Free " +"For All</citetitle>, gjorde en elektronisk utgave av boken gratis til " +"gjengelig pÃ¥ nettet med en Creative Commons-lisens etter at boken var " +"utsolgt fra forlaget. Han fulgte deretter med pÃ¥ prisen for boken i " +"bruktbokhandler. Som forutsett, etter hvert som antall nedlastinger steg, " +"steg ogsÃ¥ bruktprisen pÃ¥ boken." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Public Enemy" +msgstr "Public Enemy" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "rap music" +msgstr "rap-musikk" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Leaphart, Walter" +msgstr "Leaphart, Walter" + +#. f2. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " +"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg " +"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #72</ulink>." +msgstr "" +"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " +"Culture Wars</citetitle> (2003), produsert av Jed Horovitz, regissert av " +"Greg Hittelman, en produksjon av Fiat Lucre, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #72</ulink>." + +#. type: Content of: <book><chapter><section><section><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 <quote>sampling license</quote> do so because anything else would be " +"hypocritical. The sampling license says that others are free, for commercial " +"or noncommercial purposes, to sample content from the licensed work; they " +"are just not free to make full copies of the licensed work available to " +"others. This is consistent with their own art—they, too, sample from " +"others. Because the <emphasis>legal</emphasis> costs of sampling are so high " +"(Walter Leaphart, manager of the rap group Public Enemy, which was born " +"sampling the music of others, has stated that he does not <quote>allow</" +"quote> Public Enemy to sample anymore, because the legal costs are so " +"high<placeholder type=\"footnote\" id=\"0\"/>), these artists release into " +"the creative environment content that others can build upon, so that their " +"form of creativity might grow." +msgstr "" +"Dette er eksempler pÃ¥ bruk av Creative Commons for Ã¥ bedre spre proprietÃ¦rt " +"innhold. Jeg mener at dette er en nydelig og vanlig bruk av Creative " +"Commons. Det er andre som bruker Creative Commons-lisenser av andre " +"grunner. Mange som bruker <quote>sampling-lisensen</quote> gjÃ¸r det pÃ¥ " +"grunn av at det ville vÃ¦re hyklerisk. Samling-lisensen sier at andre stÃ¥r " +"fritt til, for kommersielle eller ikke-kommersielle formÃ¥l, Ã¥ bruke biter av " +"innhold fra det lisensierte verket. De har bare ikke friheten til Ã¥ gjÃ¸re " +"hele innholdet tilgjengelig for andre. PÃ¥ grunn av at den " +"<emphasis>juridiske</emphasis> kostnaden med samling er sÃ¥ hÃ¸y (Walter " +"Leaphart, manager for rap-gruppen Public Enemy, som ble skapt ved Ã¥ sample " +"musikken til andre, har uttalt at han ikke <quote>tillater</quote> Public " +"Enemy Ã¥ sample mer, pÃ¥ grunn av at den juridiske kostnaden er sÃ¥ " +"hÃ¸y<placeholder type=\"footnote\" id=\"0\"/>), slipper disse artistene " +"innhold ut i det kreative miljÃ¸et som andre kan bygge videre pÃ¥, slik at " +"deres form for kreativitet kan vokse." + +#. type: Content of: <book><chapter><section><section><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 <quote>All Rights Reserved</quote> " +"model. Good for you, but many do not. Many believe that however appropriate " +"that rule is for Hollywood and freaks, it is not an appropriate description " +"of how most creators view the rights associated with their content. The " +"Creative Commons license expresses this notion of <quote>Some Rights " +"Reserved,</quote> and gives many the chance to say it to others." +msgstr "" +"Til slutt er det mange som merker sitt innhold med en Creative Commons-" +"lisens kun fordi de Ã¸nsker Ã¥ uttrykke til andre hvor viktig de synes balanse " +"er i denne debatten. Hvis du bare aksepterer systemet slik det er, sÃ¥ sier " +"du i effekt at du tror pÃ¥ <quote>alle rettigheter reservert</quote>-" +"modellen. Fint for deg, men mange gjÃ¸r ikke det. Mange tror at uansett hvor " +"riktig den regelen er for Hollywood og gÃ¦rninger, sÃ¥ er den ikke en riktig " +"beskrivelse av hvordan de fleste skaperne ser pÃ¥ rettighetene knyttet til " +"sitt innhold. Creative Commons-lisensen uttrykker begrepet <quote>noen " +"rettigheter reservert</quote>, og gir mange muligheten til Ã¥ si det til " +"andre." + +#. PAGE BREAK 291 +#. type: Content of: <book><chapter><section><section><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 fÃ¸rste seks mÃ¥nedene av Creative Commons-eksperimentet, ble over en " +"million objekter lisensiert med disse fri kultur-lisensene. Neste steg er " +"partnerskap med mellomvare-tilbyderne av innhold for Ã¥ hjelpe dem Ã¥ bygge " +"enkle mÃ¥ter for brukerne Ã¥ merke innholdet med friheten gitt med Creative " +"Commons inn i teknologiene de lager." + +#. type: Content of: <book><chapter><section><section><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 de fÃ¸rste stegene for Ã¥ gjenoppbygge et allemannseie. De er ikke " +"kun argumentasjon, de er handlinger. A bygge allemannseiet er fÃ¸rste steg " +"for Ã¥ vise folk hvor viktig dette er for kreativitet og nyskapning. " +"Creative Commons baserer seg pÃ¥ frivillige steg for Ã¥ fÃ¥ til denne " +"gjenoppbyggingen. De vil fÃ¸re til en verden hvor mer enn frivillige steg er " +"mulig." + +#. type: Content of: <book><chapter><section><section><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 pÃ¥ frivillig innsats fra " +"enkeltpersoner og skapere for Ã¥ endre blandingen av rettigheter som nÃ¥ " +"styrer det kreative omrÃ¥det. Prosjektet konkurrerer ikke med " +"opphavsretten. Den utfyller den. Dets mÃ¥l er ikke Ã¥ bekjempe rettighetene " +"til forfatterne, men a gjÃ¸re det enklere for forfattere og skapere Ã¥ utÃ¸ve " +"sine rettigheter mer fleksibelt og billigere. Den forskjellen, tror vi, vil " +"gjÃ¸re det mulig for kreativiteten a spre seg lettere." + +#. type: Content of: <book><chapter><section><title> +msgid "THEM, SOON" +msgstr "Dem, snart" + +#. type: Content of: <book><chapter><section><para> +msgid "" +"<emphasis role='strong'>We will</emphasis> not reclaim a free culture by " +"individual action alone. It will also take important reforms of laws. We " +"have a long way to go before the politicians will listen to these ideas and " +"implement these reforms. But that also means that we have time to build " +"awareness around the changes that we need." +msgstr "" +"<emphasis role='strong'>Vi vil</emphasis> ikke vinne tilbake en fri kultur " +"kun ved individuelle handlinger. Det trengs ogsÃ¥ viktige lovreformer. Vi " +"har en lang vei a gÃ¥ fÃ¸r politikerne vil lytte til disse idÃ©ene og " +"implementere disse reformene. Men det betyr ogsÃ¥ at vi har tid til Ã¥ bygge " +"opp bevisstheten rundt endringene som trengs." + +#. type: Content of: <book><chapter><section><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 kapittelet skisserer jeg fem typer endringer: fire som er generelle " +"og en som er spesifikk for den mest opphetede kampen for tiden, musikk. " +"Hver av dem er et steg, ikke et mÃ¥l. Men hver av disse stegene vil fÃ¸re oss " +"et godt stykke mot vÃ¥rt mÃ¥l." + +#. type: Content of: <book><chapter><section><section><title> +msgid "1. More Formalities" +msgstr "1. Flere formaliteter" + +#. type: Content of: <book><chapter><section><section><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 kjÃ¸per et hus, sÃ¥ mÃ¥ du registrere salget i et skjÃ¸te. Hvis du " +"kjÃ¸per eiendom for Ã¥ bygge et hus, sÃ¥ mÃ¥ du registrere kjÃ¸pet i et skjÃ¸te. " +"Hvis du kjÃ¸per en bil sÃ¥ fÃ¥r du en eierskiftemelding og registrerer bilen. " +"Hvis du kjÃ¸per en flybillett sÃ¥ har den navnet ditt pÃ¥ den." + +#. PAGE BREAK 293 +#. type: Content of: <book><chapter><section><section><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 eiendom. De er krav som vi alle mÃ¥ " +"forholde oss til hvis vi Ã¸nsker at vÃ¥r eiendom skal bli beskyttet." + +#. type: Content of: <book><chapter><section><section><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 <quote>formalities</quote> are banished." +msgstr "" +"Dette stÃ¥r i kontrast til gjeldende Ã¥ndsverkslov, der du automatisk fÃ¥r " +"opphavsrett uavhengig av om du overholder noen formaliteter eller ikke. Du " +"trenger ikke Ã¥ registrere den. Du trenger ikke en gang merke innholdet " +"ditt. Utgangspunktet er kontroll, og <quote>formaliteter</quote> er " +"bannlyst." + +#. type: Content of: <book><chapter><section><section><para> +msgid "Why?" +msgstr "Hvorfor?" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, the motivation to abolish formalities was a good one. In " +"the world before digital technologies, formalities imposed a burden on " +"copyright holders without much benefit. Thus, it was progress when the law " +"relaxed the formal requirements that a copyright owner must bear to protect " +"and secure his work. Those formalities were getting in the way." +msgstr "" +"Som jeg foreslo i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, var motivasjonen for Ã¥ avskaffe formalitetene god. I " +"verden fÃ¸r digitale teknologier, la formalitetene en byrde pÃ¥ " +"opphavsrettsinnehaverne uten at det ga nevneverdige fordeler. Dermed var " +"det en fremgang da loven slakket opp pÃ¥ de formelle kravene som " +"opphavsrettseieren mÃ¥tte oppfylle for Ã¥ beskytte og sikre sitt verk. Disse " +"formalitetene kom i veien." + +#. type: Content of: <book><chapter><section><section><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 <emphasis>lack</emphasis> of formalities " +"forces many into silence where they otherwise could speak." +msgstr "" +"Men Internettet endrer alt dette. Formaliteter trenger i dag ikke vÃ¦re en " +"byrde. I stedet er det slik at en verden uten formaliteter er en verden som " +"hemmer kreativiteten. I dag er det ingen enkel mÃ¥te Ã¥ vite hvem som eier " +"hva, og hvem en mÃ¥ gjÃ¸re avtale med for Ã¥ kunne bruke eller bygge pÃ¥ det " +"kreative verket til andre. Det er intet register og det er intet system for " +"Ã¥ spore—det er ingen enkel mÃ¥te Ã¥ vite hvordan en fÃ¥r tillatelse. Og " +"likevel er det, gitt den massive Ã¸kningen i omfanget for opphavsrettens " +"regler, et nÃ¸dvendig steg Ã¥ fÃ¥ tillatelse for ethvert verk som baserer seg " +"pÃ¥ vÃ¥r fortid. Og dermed tvinger <emphasis>fravÃ¦ret</emphasis> av " +"formaliteter mange til Ã¥ vÃ¦re stille der de ellers ville talt." + +#. f1. +#. type: Content of: <book><chapter><section><section><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 fremmmer her ville kun gjelde for amerikanske verk. Jeg tror " +"naturligvis at det ville vÃ¦re en fordel om samme ide ble adoptert ogsÃ¥ av " +"andre land." + +#. type: Content of: <book><chapter><section><section><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 "" +"Loven burde derfor endre dette kravet<placeholder type=\"footnote\" id=\"0\"/" +">—men den bÃ¸r ikke endres ved Ã¥ gÃ¥ tilbake til det gamle Ã¸delagte " +"systemet. Vi bÃ¸r kreve formaliteter, men vi bÃ¸r etablere et system som vil " +"skape insentivene for Ã¥ minimere byrden disse formalitetene pÃ¥fÃ¸rer." + +#. type: Content of: <book><chapter><section><section><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 "" +"Det er tre viktige formaliteter: merke opphavsrettsbeskyttede verk, " +"registrere opphavsrett og fornÃ¸ye krav om opphavsrett. Tradisjonelt var den " +"fÃ¸rste av disse tre noe opphavsrettsinnehaveren gjorde og de andre to var " +"noe myndighetene gjorde. Men et revidert system med formaliteter bÃ¸r fjerne " +"myndighetene fra prosessen, med unntak fra det ene formÃ¥let med Ã¥ godkjenne " +"standarder utviklet av andre." + +#. type: Content of: <book><chapter><section><section><section><title> +msgid "REGISTRATION AND RENEWAL" +msgstr "Registrering og fornying" + +#. type: Content of: <book><chapter><section><section><section><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 "" +"I det gamle systemet mÃ¥tte en opphavsrettseier sende inn en registrering til " +"opphavsrettskontoret for Ã¥ registrere eller fornye opphavsretten. NÃ¥r en " +"sendte inn registreringen mÃ¥tte opphavsrettseieren betale en avgift. Som " +"med de fleste offentlige kontorer hadde opphavsrettskontoret lite insentiv " +"til Ã¥ minimere belastningen som registreringen ga. Det hadde ogsÃ¥ lite " +"insentiv til Ã¥ minimere avgiften. Og etter som opphavsrettskontoret ikke " +"var et hovedmÃ¥l for regjeringens politikk, har kontoret historisk vÃ¦rt " +"veldig underfinansiert. Dermed, nÃ¥r folks om kjenner til prosessen hÃ¸rer " +"denne idÃ©en om formaliteter sÃ¥ er deres fÃ¸rste reaksjon panikk—" +"ingenting kan vÃ¦re verre enn Ã¥ tvinge folk Ã¥ forholde seg til rotet som " +"heter opphavsrettskontoret." + +#. type: Content of: <book><chapter><section><section><section><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 har det alltid overrasket meg at vi, som kommer fra en tradisjon med " +"ekstraordinÃ¦r nyskapning innen myndighetsutforming, ikke lenger kan vÃ¦re " +"nyskapende om hvordan myndighetsfunksjoner kan utformes. Det at det er et " +"offentlig formÃ¥l i en styringsrolle, betyr ikke at myndighetene er de eneste " +"som kan administrere rollen. I stedet burde vi skape insentiver for at " +"private aktÃ¸rer tilbyr tjenesten til offentligheten, i fÃ¸lge standarder som " +"myndighetene definerer." + +#. type: Content of: <book><chapter><section><section><section><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 en registrerings-sammenheng er Internettet en opplagt modell. Det finnes " +"minst 32 millioner nettsteder registrert rundt om i verden. Eiere av " +"domenenavnene til disse nettstedene mÃ¥ betale en avgift for Ã¥ beholde sin " +"registrering. For de viktigste toppnivÃ¥-domenene (.com, .org, .net) er det " +"et sentralt register. enkelte registreringene er derimot gjennomfÃ¸rt av " +"mange konkurrerende registrarer. Denne konkurransen presser ned " +"registreringskostnadene, og enda viktigere sÃ¥ bidrar dette til Ã¥ gjÃ¸re hver " +"enkelt registrering enklere." + +#. PAGE BREAK 295 +#. type: Content of: <book><chapter><section><section><section><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 burde ta i bruk en lignende modell for registrering og fornying av " +"opphavsretter. Opphavsrettskontoret kan godt fungere som det sentrale " +"registeret, men de burde ikke drive registrarvirksomhet. I stedet burde det " +"etablere en database, og et sett med stadarder for registrarer. Det bÃ¸r " +"godkjenne registrarer som fÃ¸lger disse standardene. Disse registrarene " +"ville dermed konkurrere med hverandre om Ã¥ levere den billigste og enkleste " +"systemet for Ã¥ registrere og fornye opphavsretter. Denne konkurransen ville " +"redusere betydelig belastningen som denne formaliteten gir—mens det " +"gir en database over registreringer som kan forenkle lisensiering av innhold." + +#. type: Content of: <book><chapter><section><section><section><title> +msgid "MARKING" +msgstr "Merking" + +#. type: Content of: <book><chapter><section><section><section><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 Ã¥ ikke merke kreative verker med opphavsrettsinformasjon fÃ¸rte tidligere " +"til at en mistet opphavsretten. Det var en veldig streng straff for Ã¥ ikke " +"overholde en regulatorisk regel—omtrent som Ã¥ dÃ¸mme noen til " +"dÃ¸dsstraff for Ã¥ fÃ¥ ha parkert ulovlig i kreativ rettighets-verden. Her er " +"det heller ikke noen grunn til at markeringskravene trenger Ã¥ bli hÃ¥ndhevd " +"pÃ¥ denne mÃ¥ten. Og viktigere er at det ikke er noen grunn til at " +"merkingskravene trenger Ã¥ hÃ¥ndheves likt pÃ¥ tvers av alle medier." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"MÃ¥let med merkingen er Ã¥ signalisere til offentligheten at dette verket er " +"opphavsrettsbeskyttet og at forfatteren Ã¸nsker a hÃ¥ndheve sine rettigheter. " +"Merket gjÃ¸r det ogsÃ¥ enkelt Ã¥ spore opp en opphavsrettseier for Ã¥ skaffe " +"tillatelse til Ã¥ bruke verket." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"Et av problemene som opphavsrettssystemet konfronterte tidlig var at ulike " +"opphavsrettsbeskyttede verker mÃ¥tte markeres forskjellig. Det var ikke " +"klart hvordan og hvor en statue skulle merkes, eller en plate, eller en " +"film. Et nytt merkingskrav kan lÃ¸se disse problemene ved Ã¥ anerkjenne " +"forskjellene i mediene, og ved Ã¥ tillate merkings-systemet til Ã¥ utvikle seg " +"etter hvert som teknologien muliggjÃ¸r det. Systemet kan muliggjÃ¸re et " +"spesielt signal nÃ¥r en ikke merker—ikke miste opphavsretten, men miste " +"retten til Ã¥ straffe noen for Ã¥ ikke ha skaffet seg tillatelse fÃ¸rst." + +#. f2. +#. type: Content of: <book><chapter><section><section><section><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 "" +"En kompliserende faktor er avledede verker, og den har jeg ikke lÃ¸st her. " +"Etter mitt syn skaper loven rundt avledede verker et mer komplisert system " +"enn det som kan rettferdiggjÃ¸res ut fra de marginale insentivene dette gir." + +#. PAGE BREAK 296 +#. type: Content of: <book><chapter><section><section><section><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 <quote>use unless someone complains.</quote> If someone " +"does complain, then the obligation would be to stop using the work in any " +"new work from then on though no penalty would attach for existing uses. " +"This would create a strong incentive for copyright owners to mark their work." +msgstr "" +"La oss starte med det siste poenget. Hvis en opphavsrettsinnehaver tillater " +"at hans verk blir publisert uten opphavsrettsmerking, sÃ¥ trenger ikke " +"konsekvensen vÃ¦re at opphavsretten er tapt. Konsekvensen kan i stedet vÃ¦re " +"at enhver da har rett til Ã¥ bruke dette verket inntil " +"opphavsrettsinnehaveren klager og demonstrerer at det er hans verk og at han " +"ikke gir tillatelse.<placeholder type=\"footnote\" id=\"0\"/> Meningen til " +"et umerket verk ville dermed vÃ¦re <quote>bruk med mindre noen klager</" +"quote>. Hvis noen klager, sÃ¥ er forpliktelsen at en mÃ¥ slutte Ã¥ bruke " +"verket i ethvert nytt verk fra da av, selv om det ikke er noen " +"straffereaksjon knyttet til eksisterende bruk. Dette vil skape et sterkt " +"insentiv for opphavsrettseiere til Ã¥ merke sine verk." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"Dette i sin tur reiser spÃ¸rsmÃ¥let om hvordan et verk best bÃ¸r merkes. Her mÃ¥ " +"systemet igjen justere seg etter hvert som teknologiene utvikler seg. Den " +"beste mÃ¥ten Ã¥ sikre at systemet utvikler seg er Ã¥ begrense " +"opphavsrettskontorets rolle til Ã¥ godkjenne standarder for Ã¥ merke innhold " +"som har vÃ¦rt utviklet av andre." + +#. type: Content of: <book><chapter><section><section><section><indexterm><secondary> +msgid "copyright marking of" +msgstr "opphavsrettsmerking av" + +#. type: Content of: <book><chapter><section><section><section><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 <emphasis>solely</emphasis> upon the " +"consideration of which method could best be integrated into the registration " +"and renewal system. We would not count on the government to innovate; but we " +"would count on the government to keep the product of innovation in line with " +"its other important functions." +msgstr "" +"For eksempel, hvis en plateindustriforening kommer opp med en metode for Ã¥ " +"merke CDer, sÃ¥ ville den foreslÃ¥ dette til opphavsrettskontoret. " +"Opphavsrettskontoret ville sÃ¥ holde en hÃ¸ring, hvor andre forslag kunne " +"legges frem. Opphavsrettskontoret ville sÃ¥ velge det forslaget som det " +"vurderte som det beste, og det ville basere valget <emphasis>utelukkende</" +"emphasis> pÃ¥ vurderingen om hvilken metode som best kunne integreres inn i " +"registrering- og fornyings-systemet. Vi ville ikke basere oss pÃ¥ at " +"myndighetene laget noe nytt, men vi ville basere oss pÃ¥ at myndighetene " +"sikret at de nye produktene pÃ¥ linje med dets andre viktige funksjoner." + +#. type: Content of: <book><chapter><section><section><section><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 vil klart markert innhold gjÃ¸re registreringskravene enklere. " +"Hvis fotografier var merket med forfatter og Ã¥r, sÃ¥ ville det vÃ¦re liten " +"grunn til Ã¥ ikke tillate en fotograf til Ã¥ fornye for eksempel alle " +"fotografier tatt i et bestemt Ã¥r i et raskt steg. MÃ¥let med formaliteten er " +"ikke Ã¥ belaste skaperne. Systemet selv bÃ¸r holdes sÃ¥ enkelt som mulig." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"FormÃ¥let med formaliteter er Ã¥ gjÃ¸re ting mer klart. Det eksisterende " +"systemet gjÃ¸r ingenting for Ã¥ gjÃ¸re ting mer klart. Det virker heller som " +"om det er utformet for Ã¥ gjÃ¸re ting mindre klart." + +#. type: Content of: <book><chapter><section><section><section><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 slik som registrering ble gjeninnfÃ¸rt, sÃ¥ ville et av de " +"mest vanskelige sidene med Ã¥ stole pÃ¥ allemannseie bli fjernet. Det ville " +"bli enkelt Ã¥ identifisere hvilket innhold som kan antas Ã¥ vÃ¦re fritt " +"tilgjengelig. Det ville vÃ¦re enkelt Ã¥ identifisere hvem som kontrollerer " +"rettighetene for et bestemt type innhold. Det ville vÃ¦re enkelt Ã¥ hevde " +"disse rettighetene, og Ã¥ fornye denne hevden pÃ¥ riktig tidspunkt." + +#. type: Content of: <book><chapter><section><section><title> +msgid "2. Shorter Terms" +msgstr "2. Kortere vernetid" + +#. type: Content of: <book><chapter><section><section><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 "" +"Vernetiden i opphavsretten har gÃ¥tt fra fjorten Ã¥r til nittifem Ã¥r der " +"selskap har forfatterskapet, og livstiden til forfatteren pluss sytti Ã¥r for " +"individuelle forfattere." + +#. f3. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 " +"(25 January 2003): 15, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #74</ulink>." +msgstr "" +"<quote>A Radical Rethink</quote>, <citetitle>Economist</citetitle>, 366:8308 " +"(25. januar 2003): 15, tilgjengelig fra <ulink url=\"http://free-culture.cc/" +"notes/\">link #74</ulink>." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-" +"year term, granted in five-year increments with a requirement of renewal " +"every five years. That seemed radical enough at the time. But after we lost " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the " +"proposals became even more radical. <citetitle>The Economist</citetitle> " +"endorsed a proposal for a fourteen-year copyright term.<placeholder type=" +"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for " +"patents." +msgstr "" +"I <citetitle>The Future of Ideas</citetitle> foreslo jeg syttifemÃ¥rs " +"vernetid, tildelt i femÃ¥rsbolker med et krav om Ã¥ fornye hvert femte Ã¥r. " +"Dette virket radikalt nok pÃ¥ den tiden. Men etter at vi tapte " +"<citetitle>Eldred</citetitle> mot <citetitle>Ashcroft</citetitle> ble " +"forslaget enda mer radikalt. <citetitle>The Economist</citetitle> anbefalte " +"et forslag om fjorten Ã¥rs vernetid.<placeholder type=\"footnote\" id=\"0\"/> " +"Andre har foreslÃ¥tt Ã¥ knytte vernetiden til vernetiden for patenter." + +#. type: Content of: <book><chapter><section><section><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 vi trenger en radikal endring i opphavsretten " +"levetid. Men hvorvidt den er fjorten Ã¥r eller syttifem, sÃ¥ er det fire " +"prinsipper som det er viktig Ã¥ tenke pÃ¥ nÃ¥r det gjelder varighetenen til " +"opphavsretten." + +#. (1) +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it short:</emphasis> The term should be as long as necessary " +"to give incentives to create, but no longer. If it were tied to very strong " +"protections for authors (so authors were able to reclaim rights from " +"publishers), rights to the same work (not derivative works) might be " +"extended further. The key is not to tie the work up with legal regulations " +"when it no longer benefits an author." +msgstr "" +"<emphasis>Hold den kort:</emphasis> Lengden bÃ¸r vÃ¦re sÃ¥ lang at den gir " +"nÃ¸dvendig insentiv til Ã¥ skape, men ikke lenger. Hvis den er knyttet opp " +"til svÃ¦rt sterk beskyttelse for forfattere (slik at forfattere er i stand " +"til Ã¥ fÃ¥ tilbake rettigheter fra utgiverne), sÃ¥ kan rettigheter til samme " +"verk (ikke avledede verk) bli ytterligere utvidet. NÃ¸kkelen er Ã¥ ikke binde " +"verk opp med juridiske reguleringer nÃ¥r det ikke lenger gir fordeler til en " +"forfatter." + +#. (2) +#. PAGE BREAK 298 +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it simple:</emphasis> The line between the public domain and " +"protected content must be kept clear. Lawyers like the fuzziness of " +"<quote>fair use,</quote> and the distinction between <quote>ideas</quote> " +"and <quote>expression.</quote> That kind of law gives them lots of work. But " +"our framers had a simpler idea in mind: protected versus unprotected. The " +"value of short terms is that there is little need to build exceptions into " +"copyright when the term itself is kept short. A clear and active " +"<quote>lawyer-free zone</quote> makes the complexities of <quote>fair use</" +"quote> and <quote>idea/expression</quote> less necessary to navigate." +msgstr "" +"<emphasis>GjÃ¸r det enkelt:</emphasis> Skillelinjen mellom verker uten " +"opphavsrettslig vern og innhold som er beskyttet mÃ¥ forbli klart. Advokater " +"liker uklarheten som <quote>rimelig bruk</quote> og forskjellen mellom " +"<quote>idÃ©er</quote> og <quote>uttrykk</quote> har. Denne type lovverk gir " +"dem en masse arbeid. Men de som skrev grunnloven hadde en enklere idÃ©: " +"vernet versus ikke vernet. Verdien av korte vernetider er at det er lite " +"behov for Ã¥ bygge inn unntak i opphavsretten nÃ¥r vernetiden holdes kort. En " +"klar og aktiv <quote>advokat-fri sone</quote> gjÃ¸r kompleksiteten av " +"<quote>rimelig bruk</quote> og <quote>idÃ©/uttrykk</quote> mindre nÃ¸dvendig Ã¥ " +"hÃ¥ndtere." + +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary> +msgid "veterans' pensions" +msgstr "veteranpensjoner" + +#. f4. +#. type: Content of: <book><chapter><section><section><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 "" +"Department of Veterans Affairs, Veteran's Application for Compensation and/" +"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>." + +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. " +"Especially if the maximum term is long, the copyright owner should be " +"required to signal periodically that he wants the protection continued. This " +"need not be an onerous burden, but there is no reason this monopoly " +"protection has to be granted for free. On average, it takes ninety minutes " +"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/" +"> If we make veterans suffer that burden, I don't see why we couldn't " +"require authors to spend ten minutes every fifty years to file a single form." +msgstr "" +"<emphasis>Hold det i live:</emphasis> En bÃ¸r vÃ¦re nÃ¸dt til Ã¥ fornye " +"opphavsrettsbeskyttelsen. Spesielt hvis den maksimale varigheten er lang, " +"sÃ¥ bÃ¸r opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ signalisere regelmessig at han " +"Ã¸nsker at beskyttelsen fortsetter. Dette trenger ikke vÃ¦re en enorm " +"belastning, men det er ingen grunn til at denne monopolbeskyttelsen mÃ¥ deles " +"ut gratis. I snitt tar det nitti minutter for en veteran Ã¥ sÃ¸ke om pensjon." +"<placeholder type=\"footnote\" id=\"0\"/> Hvis vi belaster veteraner med sÃ¥ " +"mye, sÃ¥ ser jeg ikke hvorfor vi ikke kan kreve at forfattere bruker ti " +"minutter hvert femtiende Ã¥r for Ã¥ fylle ut et enkelt skjema." + +#. (4) +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright " +"should be, the clearest lesson that economists teach is that a term once " +"given should not be extended. It might have been a mistake in 1923 for the " +"law to offer authors only a fifty-six-year term. I don't think so, but it's " +"possible. If it was a mistake, then the consequence was that we got fewer " +"authors to create in 1923 than we otherwise would have. But we can't correct " +"that mistake today by increasing the term. No matter what we do today, we " +"will not increase the number of authors who wrote in 1923. Of course, we can " +"increase the reward that those who write now get (or alternatively, increase " +"the copyright burden that smothers many works that are today invisible). But " +"increasing their reward will not increase their creativity in 1923. What's " +"not done is not done, and there's nothing we can do about that now." +msgstr "" +"<emphasis>Hold det potensielt:</emphasis> Uansett hva lengden pÃ¥ vernetiden " +"i opphavsretten bÃ¸r vÃ¦re, sÃ¥ er den klareste lÃ¦rdommen Ã¸konomiene kan lÃ¦re " +"oss er at en levetid nÃ¥r den er gitt aldri bÃ¸r bli utvidet. Det kan ha vÃ¦rt " +"en tabbe i 1923 at loven kun tilbÃ¸d forfattere en varighet pÃ¥ femtisyv Ã¥r. " +"Jeg tror ikke det, men det er mulig. Hvis det var en tabbe, sÃ¥ var " +"konsekvensen at vi fikk fÃ¦rre forfattere som skrev i 1923 enn vi ellers " +"ville hatt. Men vi kan ikke korrigere den feilen i dag ved Ã¥ utvide " +"vernetiden. Uansett hva vi gjÃ¸r i dag, sÃ¥ kan vi ikke Ã¸ke antallet " +"forfattere som skrev i 1923. Vi kan naturligvis Ã¸ke belÃ¸nningen for de som " +"skriver nÃ¥ (eller alternativt, Ã¸ke opphavsrettsbyrden som kveler mange " +"verker som i dag er usynlige. Men Ã¥ Ã¸ke deres belÃ¸nning vil ikke Ã¸ke deres " +"kreativitet i 1923. Det som ikke ble gjort ble ikke gjort, og det er " +"ingenting vi kan gjÃ¸re med det nÃ¥." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"These changes together should produce an <emphasis>average</emphasis> " +"copyright term that is much shorter than the current term. Until 1976, the " +"average term was just 32.2 years. We should be aiming for the same." +msgstr "" +"Disse endringene vil sammen gi en <emphasis>gjennomsnittlig</emphasis> " +"opphavsrettslig vernetid som er mye kortere enn den gjeldende vernetiden. " +"Frem til 1976 var gjennomsnittlig vernetid kun 32.2 Ã¥r. VÃ¥rt mÃ¥l bÃ¸r vÃ¦re " +"det samme." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"No doubt the extremists will call these ideas <quote>radical.</quote> (After " +"all, I call them <quote>extremists.</quote>) But again, the term I " +"recommended was longer than the term under Richard Nixon. How " +"<quote>radical</quote> can it be to ask for a more generous copyright law " +"than Richard Nixon presided over?" +msgstr "" +"Uten tvil vil ekstremistene kalle disse idÃ©ene <quote>radikale</quote>. " +"(Tross alt, sÃ¥ kaller jeg dem <quote>ekstremister</quote>.) Men igjen, " +"vernetiden jeg anbefalte var lengre enn vernetiden under Richard Nixon. hvor " +"<quote>radikalt</quote> kan det vÃ¦re Ã¥ be om en mer sjenerÃ¸s " +"opphavsrettighet enn da Richard Nixon var president?" + +#. type: Content of: <book><chapter><section><section><title> +msgid "3. Free Use Vs. Fair Use" +msgstr "3. Fri Bruk vs. rimelig bruk" + +#. type: Content of: <book><chapter><section><section><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 observerte i starten av denne boken, ga originalt eiendomsretten " +"landeiere retten til Ã¥ kontrollere sin eiendom fra joda og helt opp til " +"himmelen. SÃ¥ kom flymaskiner, og omfanget av eiendomsretter ble raskt " +"endret. Det var intet oppstyr, ingen konstituell utfordring. Det ga ikke " +"mening lenger Ã¥ gi bort sÃ¥ mye kontroll, gitt fremveksten av denne nye " +"teknologien." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Our Constitution gives Congress the power to give authors <quote>exclusive " +"right</quote> to <quote>their writings.</quote> Congress has given authors " +"an exclusive right to <quote>their writings</quote> plus any derivative " +"writings (made by others) that are sufficiently close to the author's " +"original work. Thus, if I write a book, and you base a movie on that book, I " +"have the power to deny you the right to release that movie, even though that " +"movie is not <quote>my writing.</quote>" +msgstr "" +"VÃ¥r grunnlov gir kongressen myndighet til Ã¥ tildele forfattere " +"<quote>eksklusive rett</quote> til <quote>deres skrifter</quote>. Kongressen " +"har gitt forfattere en eksklusiv rett til <quote>deres skrifter</quote> " +"pluss alle avledede skrifter (laget av andre) som er tilstrekkelig nÃ¦r " +"forfatterens opprinnelige verk. Dermed, hvis jeg skriver en bok, og du " +"baserer en film pÃ¥ den boken, sÃ¥ har jeg myndighet til Ã¥ nekte deg Ã¥ gi ut " +"den filmen, selv om den filmen ikke er <quote>min skrift</quote>." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Kaplan, Benjamin" +msgstr "Kaplan, Benjamin" + +#. f5. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " +"York: Columbia University Press, 1967), 32." +msgstr "" +"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " +"York: Columbia University Press, 1967), 32." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Congress granted the beginnings of this right in 1870, when it expanded the " +"exclusive right of copyright to include a right to control translations and " +"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The " +"courts have expanded it slowly through judicial interpretation ever since. " +"This expansion has been commented upon by one of the law's greatest judges, " +"Judge Benjamin Kaplan." +msgstr "" +"Kongressen innvilget opphavet til denne retten i 1870, da den utvidet den " +"eksklusive retten i opphavsretten til Ã¥ inneholde retten til Ã¥ kontrollere " +"oversettelser og dramatiseringer av et verk.<placeholder type=\"footnote\" " +"id=\"0\"/> Domstolene har utvidet det sakte gjennom lovfortolkninger siden " +"da. Denne utvidelsen har vÃ¦rt kommentert av en av jussverdens beste " +"dommere, dommer Benjamin Kaplan." + +#. f6. +#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para> +msgid "Ibid., 56." +msgstr "Ibid., 56." + +#. type: Content of: <book><chapter><section><section><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 "" +"Vi har blitt sÃ¥ tilvendt til utvidelsen av monopolet til en lang rekke med " +"sÃ¥kalte avledede verker at vi ikke lenger ser hvor rart det er Ã¥ akseptere " +"en slik utvidelse av opphavsretten mens vi nynner pÃ¥ abrakadabraen rundt " +"idÃ©er og uttrykk.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 pÃ¥ tide Ã¥ anerkjenne at det er flymaskiner pÃ¥ dette omrÃ¥det, " +"og at utvidelser av rettigheter for avledede verker ikke lenger gir mening. " +"Mer presist gir de ikke mening for hele verneperioden til opphavsretten. Og " +"de gir ikke mening som ubegrenset tildeling. La oss vurdere hver " +"begrensning for seg." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, " +"then that right should be for a much shorter term. It makes sense to protect " +"John Grisham's right to sell the movie rights to his latest novel (or at " +"least I'm willing to assume it does); but it does not make sense for that " +"right to run for the same term as the underlying copyright. The derivative " +"right could be important in inducing creativity; it is not important long " +"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"<emphasis>Vernetid:</emphasis> Hvis kongressen Ã¸nsker Ã¥ tildele avledede " +"rettigheter, da bÃ¸r den rettigheten ha mye kortere vernetid.. Det gir mening " +"Ã¥ beskytte John Grishams rett til Ã¥ selge filmrettighetene til hans siste " +"roman (eller i det minste er jeg villig til Ã¥ anta at det gir mening), men " +"det gir ikke mening at denne rettigheten skal vare like lenge som vernetiden " +"til den underliggende opphavsretten. Den avledede rettigheten kan vÃ¦re " +"viktig for Ã¥ bidra til kreativitet, men den er ikke viktig lenge etter at " +"det kreative arbeidet er ferdig. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights " +"be narrowed. Again, there are some cases in which derivative rights are " +"important. Those should be specified. But the law should draw clear lines " +"around regulated and unregulated uses of copyrighted material. When all " +"<quote>reuse</quote> of creative material was within the control of " +"businesses, perhaps it made sense to require lawyers to negotiate the lines. " +"It no longer makes sense for lawyers to negotiate the lines. Think about all " +"the creative possibilities that digital technologies enable; now imagine " +"pouring molasses into the machines. That's what this general requirement of " +"permission does to the creative process. Smothers it." +msgstr "" +"<emphasis>Omfang:</emphasis> PÃ¥ samme mÃ¥te bÃ¸r omfanget for avledede verker " +"snevres inn. Her igjen er det noen tilfeller der avledede rettigheter er " +"viktige. Disse bÃ¸r spesifiseres. Men loven bÃ¸r skille klart mellom " +"regulert og uregulert bruk av opphavsrettsbeskyttet materiale. Da all " +"<quote>gjenbruk</quote> av kreativt materiale var under kontroll av " +"bedrifter, sÃ¥ gjorde det kanskje mening Ã¥ kreve advokater for Ã¥ forhandle om " +"hvor grensen gikk. Det gir ikke lenger mening Ã¥ la advokater forhandle om " +"hvor grensene gÃ¥r. Tenk pÃ¥ alle de kreative mulighetene som digitale " +"teknologier muliggjÃ¸r. Forestill deg sÃ¥ Ã¥ helle sirup inn i maskinene. Det " +"er hva dette generelle kravet om tillatelse gjÃ¸r med den kreative " +"prosessen. Den kveler den." + +#. type: Content of: <book><chapter><section><section><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 kom med da han beskrev hvordan han laget Clint " +"Eastwood-CDen. Mens det gir mening Ã¥ kreve forhandlinger for overskuelige " +"avledede rettigheter—Ã¥ lage en film av en bok, eller et noteark av et " +"dikt—sÃ¥ gir det ikke mening Ã¥ kreve forhandlinger for det " +"uoverskuelige. Her gir en lovfestet rett mer mening." + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Goldstein, Paul" +msgstr "Goldstein, Paul" + +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " +"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " +"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " +"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " +"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 "" +"I hver av disse tilfellene burde loven markere hvilke bruksomrÃ¥der som er " +"beskyttet og en bÃ¸r sÃ¥ kunne anta at andre bruksomrÃ¥der ikke er beskyttet. " +"Dette er det motsatte av anbefalingen fra min kollega Paul Goldstein." +"<placeholder type=\"footnote\" id=\"0\"/> Hans syn er at loven bÃ¸r skrives " +"slik at beskyttelsen utvides nÃ¥r bruksomrÃ¥dene utvides." + +#. type: Content of: <book><chapter><section><section><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 "" +"Analysen til GoldStein gir absolutt mening hvis kostnadene ved det " +"rettssystemet var lave. Men som vi nÃ¥ ser i sammenheng med Internettet, gir " +"usikkerhet rundt omfanget av beskyttelse, og insentivet til Ã¥ beskytte den " +"eksisterende arkitektur for inntekter kombinert med en sterk opphavsrett, en " +"svekket nyskapningsprosess." + +#. PAGE BREAK 301 +#. type: Content of: <book><chapter><section><section><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 motvirke dette problemet enten ved Ã¥ fjerne beskyttelsen ut over " +"de delene som er eksplisitt nevnt, eller ved Ã¥ tillate gjenbruksretter pÃ¥ " +"visse lovbestemte betingelser. Fro hver av disse alternativene ville " +"effekten vÃ¦re Ã¥ frigjÃ¸re en stor del av kulturen slik at andre kan fÃ¥ den " +"til Ã¥ vokse. Og under et lovbestemt rettighetsregime, sÃ¥ ville slik " +"gjenbruk gi kunstnerne flere inntekter." + +#. type: Content of: <book><chapter><section><section><title> +msgid "4. Liberate the Music—Again" +msgstr "4. FrigjÃ¸r musikken—igjen" + +#. type: Content of: <book><chapter><section><section><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 startet hele denne krigen var om musikk, sÃ¥ det ville ikke vÃ¦re " +"rimelig Ã¥ avslutte denne boken uten Ã¥ ta opp problemet som er mest " +"presserende for de fleste—musikk. Det er ingen andre policy-tema som " +"bedre forklarer hva en kan lÃ¦re i denne boken enn slagene om deling av " +"musikk." + +#. type: Content of: <book><chapter><section><section><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 "" +"Appellen til fildeling var dopet for veksten til Internettet. Det drev " +"behovet for tilgang til Internettet kraftigere enn noe annet " +"enkeltbruksomrÃ¥de. Det var Internettets <quote>*killer app*</quote>—" +"kanskje i to betydninger av ordet. Det var uten tvil det bruksomrÃ¥det som " +"drev etterspÃ¸rselen etter bÃ¥ndbredde. Det kan godt endte opp med Ã¥ vÃ¦re " +"bruksomrÃ¥det som driver igjennom krav om reguleringer som til slutt dreper " +"nyskapning pa nettet." + +#. type: Content of: <book><chapter><section><section><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 "" +"MÃ¥let med opphavsrett, bÃ¥de generelt og for musikk spesielt, er Ã¥ skape " +"insentiver for Ã¥ komponere, fremfÃ¸re og aller viktigst, spre, musikk. Loven " +"gjÃ¸r dette ved Ã¥ gi en eksklusiv rett til en komponist til Ã¥ kontrollere " +"offentlige fremfÃ¸ringer av sitt verk, og til en utÃ¸vende artist til Ã¥ " +"kontrollere kopier av sine fremfÃ¸ringer." + +#. type: Content of: <book><chapter><section><section><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 <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"piracy\"/>, they enable four different " +"kinds of sharing:" +msgstr "" +"Fildelingsnettverk kompliserer denne modellen ved Ã¥ gjÃ¸re det mulig a spre " +"innhold uten at utÃ¸veren har fÃ¥tt betalt. Men dette er naturligvis ikke alt " +"et fildelingsnettverk gjÃ¸r. Som jeg beskrev i kapittel <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"piracy\"/>, sÃ¥ muliggjÃ¸r de fire ulike " +"former for deling:" + +#. A. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"There are some who are using sharing networks as substitutes for purchasing " +"CDs." +msgstr "" +"Det er noen som bruker delingsnettverk som erstatninger for Ã¥ kjÃ¸pe CDer." + +#. B. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"There are also some who are using sharing networks to sample, on the way to " +"purchasing CDs." +msgstr "" +"Det er ogsÃ¥ noen som bruker delingsnettverk for Ã¥ prÃ¸velytte, mens de " +"vurderer hva slags CDer de vil kjÃ¸pe." + +#. PAGE BREAK 302 +#. C. +#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk til Ã¥ fÃ¥ tilgang til innhold som " +"ikke lenger er i salg, men fortsatt er vernet av opphavsrett eller som ville " +"ha vÃ¦rt altfor vanskelig Ã¥ fÃ¥ kjÃ¸pt via nettet." + +#. D. +#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk for Ã¥ fÃ¥ tilgang til innhold som " +"ikke er opphavsrettsbeskyttet, eller for Ã¥ fÃ¥ tilgang som " +"opphavsrettsinnehaveren Ã¥penbart gÃ¥r god for." + +#. type: Content of: <book><chapter><section><section><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 "" +"Enhver reform av loven mÃ¥ ha disse ulike bruksomrÃ¥dene i fokus. Den mÃ¥ " +"unngÃ¥ Ã¥ belaste type-D-deling selv om den tar sikte pÃ¥ Ã¥ fjerne type A. " +"Hvor ivrig loven sÃ¸ker Ã¥ fjerne type-A-deling bÃ¸r videre vÃ¦re avhengig av " +"stÃ¸rrelsen pÃ¥ type-B-deling. Som med videospillere, hvis nettoeffekten av " +"deling ikke er spesielt skadelig, sÃ¥ er behovet for regulering betydelig " +"svekket.noen reform av loven behov for Ã¥ holde disse ulike bruksomrÃ¥der i " +"fokus. den mÃ¥ unngÃ¥ bebyrde type d selv om formÃ¥let er Ã¥ eliminere type a. " +"den iver etter med som loven sikte pÃ¥ Ã¥ eliminere type a, videre bÃ¸r " +"avhenger omfanget av typen b. som med videospillere, hvis netto effekt av en " +"deling er faktisk ikke svÃ¦rt skadelige, behovet for regulering er betydelig " +"svekket." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"As I said in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"piracy" +"\"/>, the actual harm caused by sharing is controversial. For the purposes " +"of this chapter, however, I assume the harm is real. I assume, in other " +"words, that type A sharing is significantly greater than type B, and is the " +"dominant use of sharing networks." +msgstr "" +"Som jeg sa i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"piracy\"/>, er det kontroversielt om delingen forÃ¥rsaker skade. Men i " +"dette kapittelet vil jeg anta at skaden er reell. Jeg antar, med andre ord, " +"at type-A-deling er betydelig stÃ¸rre enn type-B, og er den dominerende " +"bruken av delingsnettverk." + +#. type: Content of: <book><chapter><section><section><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 "" +"Uansett, det er et avgjÃ¸rende faktum om den gjeldende teknologiske " +"omgivelsen som vi mÃ¥ huske pÃ¥ hvis vi skal forstÃ¥ hvordan loven bÃ¸r reagere." + +#. type: Content of: <book><chapter><section><section><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 blir er fildeling avhengighetsskapende. Om ti Ã¥r vil det vÃ¦re det. " +"Det er avhengighetsskapende i dag pÃ¥ grunn av at det er den enkleste mÃ¥ten Ã¥ " +"fÃ¥ tilgang til et bredt spekter av innhold. Det vil ikke vÃ¦re den enkleste " +"mÃ¥ten Ã¥ fÃ¥ tilgang til et bredt spekter av innhold om ti Ã¥r. I dag er " +"tilgang til Internettet knotete og tregt—vi i USA er heldige hvis vi " +"har en bredbÃ¥ndstjeneste med 1,5 MB/s, og svÃ¦rt sjelden fÃ¥r vi tjenesten med " +"den hastigheten bÃ¥de opp og ned. Selv om trÃ¥dlÃ¸s tilgang vokser, mÃ¥ de " +"fleste av oss fÃ¥ tilgang via kabler. De fleste fÃ¥r kun tilgang via en " +"maskin med et tastatur. IdÃ©en om Ã¥ alltid vÃ¦re tilkoblet Internett er i " +"hovedsak bare en idÃ©." + +#. PAGE BREAK 303 +#. type: Content of: <book><chapter><section><section><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 mÃ¥ten vi fÃ¥r tilgang til " +"Internettet pÃ¥ i dag er en teknologi i endring. Beslutningstakere bÃ¸r ikke " +"lage regler basert pÃ¥ teknologi i endring. De bÃ¸r lage regler basert pÃ¥ " +"hvor teknologien er pÃ¥ vei. SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re om hvordan loven skal " +"regulere delingen slik verden er nÃ¥. SpÃ¸rsmÃ¥let bÃ¸r vÃ¦re, hva slags lov vil " +"vi trenge nÃ¥r nettverket blir det nettverket helt klart er pÃ¥ vei mot. Det " +"nettverket er et hvor enhver maskin som bruker strÃ¸m i essensen er pÃ¥ " +"nettet. Uansett hvor du er—muligens med unntak av i Ã¸rkenen og " +"fjerntliggende fjellpartier—kan du umiddelbart bli koblet til " +"Internettet. Forestill deg internettet sÃ¥ allstedsnÃ¦rvÃ¦rende som den beste " +"mobiltelefontjenesten, hvor du er tilkoblet med et enkelt trykk pÃ¥ en bryter." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cell phones, music streamed over" +msgstr "mobiltelefoner, musikk streamet via" + +#. f8. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"See, for example, <quote>Music Media Watch,</quote> The J@pan Inc. " +"Newsletter, 3 April 2002, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #76</ulink>." +msgstr "" +"For eksempel, se, <quote>Music Media Watch</quote>, The J@pan Inc. " +"Newsletter, 3 April 2002, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #76</ulink>." + +#. type: Content of: <book><chapter><section><section><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 <emphasis>extremely</emphasis> easy to connect to services " +"that give access to content, it will be <emphasis>easier</emphasis> to " +"connect to services that give you access to content than it will be to " +"download and store content <emphasis>on the many devices you will have for " +"playing content</emphasis>. It will be easier, in other words, to subscribe " +"than it will be to be a database manager, as everyone in the download-" +"sharing world of Napster-like technologies essentially is. Content services " +"will compete with content sharing, even if the services charge money for the " +"content they give access to. Already cell-phone services in Japan offer " +"music (for a fee) streamed over cell phones (enhanced with plugs for " +"headphones). The Japanese are paying for this content even though " +"<quote>free</quote> content is available in the form of MP3s across the Web." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I den verden vil det vÃ¦re ekstremt enkelt Ã¥ koble seg til en tjeneste som " +"gir deg direkte tilgang til innhold—slik som Internett-radio, innhold " +"som strÃ¸mmes til brukeren nÃ¥r brukeren Ã¸nsker det. Her er dermed det " +"kritiske poenget: NÃ¥r det er <emphasis>ekstremt</emphasis> enkelt Ã¥ koble " +"seg til tjenester som gir tilgang til innhold, sa vil det vÃ¦re " +"<emphasis>enklere</emphasis> Ã¥ koble seg til tjenester som gir deg tilgang " +"til innhold enn det vil vÃ¦re Ã¥ laste ned og lagre innhold <emphasis>pÃ¥ de " +"mange enhetene som du vil ha for Ã¥ vise frem innhold</emphasis>. Det vil " +"med andre ord vÃ¦re enklere Ã¥ abonnere enn det vil vÃ¦re Ã¥ vÃ¦re " +"databaseadministrator, hvilket enhver er i en <quote>last ned og del</quote>-" +"verden som Napster-lignende teknologier i essensen er. Innholdstjenester " +"vil konkurrere med innholdsdeling, selv om tjenestene krever penger for " +"innholdet de gir tilgang til. Allerede tilbyr mobiltelefontjenester i Japan " +"musikk (mot et gebyr) strÃ¸mmet via mobiltelefoner (forbedret med plugger for " +"Ã¸retelefoner). Japanerne betaler for dette innholdet selv om <quote>gratis</" +"quote> innhold er tilgjengelig i form av MP3er via nettet.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. PAGE BREAK 304 +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"This point about the future is meant to suggest a perspective on the " +"present: It is emphatically temporary. The <quote>problem</quote> with file " +"sharing—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 <quote>solving</quote> this problem in light of a technology that will " +"be gone tomorrow. The question should not be how to regulate the Internet " +"to eliminate file sharing (the Net will evolve that problem away). The " +"question instead should be how to assure that artists get paid, during this " +"transition between twentieth-century models for doing business and twenty-" +"first-century technologies." +msgstr "" +"Dette poenget om fremtiden er med Ã¥ foreslÃ¥ et perspektiv om nÃ¥tiden: Det er " +"ettertrykkelig midlertidig. <quote>Problemet</quote> med fildeling—i " +"den grad det er et reelt problem—er et problem som mer og mer vil " +"forsvinne etter hvert som det blir enklere Ã¥ koble seg pÃ¥ Internettet. Og " +"dermed er det en stor feil for beslutningstakere i dag Ã¥ <quote>lÃ¸se</quote> " +"dette problem basert pÃ¥ en teknologi som vil vÃ¦re borte i morgen. " +"SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re hvordan regulere Internettet for Ã¥ fjerne fildeling " +"(nettet vil utvikle seg slik at det problemet blir borte). SpÃ¸rsmÃ¥let bÃ¸r i " +"stedet vÃ¦re hvordan en sikrer at kunstnere fÃ¥r betalt, gjennom denne " +"overgangen fra forretningsmodellene i det tjuende Ã¥rhundre og til " +"teknologiene i det tjuefÃ¸rste Ã¥rhundre." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The answer begins with recognizing that there are different <quote>problems</" +"quote> here to solve. Let's start with type D content—uncopyrighted " +"content or copyrighted content that the artist wants shared. The " +"<quote>problem</quote> with this content is to make sure that the technology " +"that would enable this kind of sharing is not rendered illegal. You can " +"think of it this way: Pay phones are used to deliver ransom demands, no " +"doubt. But there are many who need to use pay phones who have nothing to do " +"with ransoms. It would be wrong to ban pay phones in order to eliminate " +"kidnapping." +msgstr "" +"Svaret begynner med Ã¥ erkjenne at det er ulike <quote>problemer</quote> Ã¥ " +"lÃ¸se her. La oss starte med type-D-innhold—ikke opphavsrettsbeskyttet " +"innhold eller opphavsrettsbeskyttet innhold som kunstneren Ã¸nsker Ã¥ fÃ¥ delt. " +"<quote>Problemet</quote> med dette innholdet er Ã¥ sikre at teknologien som " +"muliggjÃ¸r denne type deling ikke blir gjort ulovlig. Tenk pÃ¥ det slik: " +"telefonbokser kan uten tvil brukes til Ã¥ levere krav om lÃ¸sepenger. Men det " +"er mange som trenger Ã¥ bruke telefonbokser som ikke har noe med lÃ¸sepenger Ã¥ " +"gjÃ¸re. Det ville vÃ¦re galt Ã¥ forby telefonbokser for Ã¥ eliminere kidnapping." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Type C content raises a different <quote>problem.</quote> This is content " +"that was, at one time, published and is no longer available. It may be " +"unavailable because the artist is no longer valuable enough for the record " +"label he signed with to carry his work. Or it may be unavailable because the " +"work is forgotten. Either way, the aim of the law should be to facilitate " +"the access to this content, ideally in a way that returns something to the " +"artist." +msgstr "" +"Type-C-innhold reiser et annet <quote>problem</quote>. Dette er innhold som " +"var publisert, en gang i tiden, og ikke lenger er tilgjengelig. Det kan " +"vÃ¦re utilgjengelig fordi kunstneren ikke lenger er verdifull nok for " +"plateselskapet han har signert med til at de vil formidle hans verker. " +"Eller det kan vÃ¦re utilgjengelig fordi verket er glemt. Uansett bÃ¸r mÃ¥let " +"til loven vÃ¦re Ã¥ muliggjÃ¸re tilgang til dette innholdet, ideelt sett pÃ¥ en " +"mÃ¥te som gir noe tilbake til kunstneren." + +#. type: Content of: <book><chapter><section><section><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 " +"<quote>sharing</quote> of his content without his being compensated is less " +"than ideal." +msgstr "" +"Igjen, her er modellen bruktbokhandelen. Etter at en bok er utsolgt fra " +"forlaget, sÃ¥ kan den fortsatt vÃ¦re tilgjengelig fra biblioteker og " +"bruktbokhandler. Men biblioteker og bruktbokhandler betaler ikke " +"opphavsrettseieren nÃ¥r noen leser eller kjÃ¸per en bok som er utsolgt fra " +"forlaget. Dette gir absolutt mening, selvfÃ¸lgelig, siden ethvert annet " +"system ville vÃ¦re sÃ¥ tungvindt at det ville gjÃ¸re det umulig for " +"bruktbokhandler Ã¥ eksistere. Men fra forfatterens synsvinkel er denne " +"<quote>delingen</quote> av hans innhold uten at han fÃ¥r kompensasjon ikke " +"helt ideell." + +#. type: Content of: <book><chapter><section><section><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 <quote>share</quote> that content, even though the " +"sharing involved making a copy. The copy here would be incidental to the " +"trade; in a context where commercial publishing has ended, trading music " +"should be as free as trading books." +msgstr "" +"Modellen for bruktbokhandler antyder at loven ganske enkelt kan anse utsolgt-" +"fra-forlaget-musikk for fritt vilt. Hvis utgiveren ikke gjÃ¸r utgaver av " +"musikken tilgjengelig for salg, sÃ¥ ville kommersielle og ikke-kommersielle " +"tilbydere stÃ¥ fritt, under denne regelen, til Ã¥ <quote>dele</quote> det " +"innholdet, selv om delingen involverte Ã¥ lage en kopi. Kopien her ville " +"vÃ¦re teknisk detalj for Ã¥ for gjennomfÃ¸re handelen. I en sammenheng der " +"kommersiell publisering er avsluttet, sÃ¥ burde friheten til Ã¥ handle med " +"musikk vÃ¦re lik den som gjelder for bÃ¸ker." + +#. PAGE BREAK 305 +#. type: Content of: <book><chapter><section><section><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 "" +"Alternativt kan loven opprette en lovbestemt lisens som ville sÃ¸rge for at " +"kunstnere fÃ¥r noe fra handelen med deres verk. For eksempel, hvis loven " +"satte en lav lovbestemt sats for kommersiell deling av innhold som ikke ble " +"tilbudt for salg fra en kommersiell utgiver, og hvis denne raten automatisk " +"ble overfÃ¸rt til en tiltrodd tredjepart til fordel for kunstneren, sÃ¥ kunne " +"selskaper utvikle seg rundt idÃ©en om handel med dette innholdet mens " +"kunstneren ville ha fordel av denne handelen." + +#. type: Content of: <book><chapter><section><section><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 ville ogsÃ¥ skape et insentiv for utgivere Ã¥ la verk forbli " +"kommersielt tilgjengelig. Verk som er kommersielt tilgjengelig ville ikke " +"bli underlagt denne lisensen. Dermed kan utgiverne beskytte retten til Ã¥ ta " +"betalt hvilket som helst belÃ¸p for innhold hvis de holdt det kommersielt " +"tilgjengelig. Men hvis de ikke holdt det tilgjengelig, og i stedet var det " +"harddiskene til tilhengere rundt om kring i verden som holdt det i live, da " +"burde enhver lisensbetaling for slik kopiering vÃ¦re mye mindre enn det en " +"vanligvis ville skylle en kommersiell utgiver." + +#. type: Content of: <book><chapter><section><section><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 "" +"De vanskelige tilfellene er innhold av type A og B. Og igjen, disse " +"tilfellene er kun vanskelig fordi utstrekningen av problemet vil endre seg " +"over tid, etter hvert som teknologier for Ã¥ fÃ¥ tilgang til innhold endrer " +"seg. Lovens lÃ¸sning bÃ¸r derfor vÃ¦re like fleksibelt som problemet er, og " +"forstÃ¥ at vi er midt i en radikal endring i teknologi for levering og " +"tilgang til innhold." + +#. type: Content of: <book><chapter><section><section><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 "" +"SÃ¥ her er en lÃ¸sning som i fÃ¸rste omgang kan virke veldig underlig for begge " +"sider i denne krigen, men som jeg tror vil gi mer mening nÃ¥r en fÃ¥r tenkt " +"seg om." + +#. type: Content of: <book><chapter><section><section><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 "" +"NÃ¥r retorikken om ukrenkeligheten til eiendom er fjernet, er de " +"grunnleggende pÃ¥standen til innholdsindustrien denne: En ny teknologi " +"(Internettet) har skadet et sett med rettigheter som sikrer opphavsretten. " +"Hvis disse rettighetene skal bli beskyttet, sÃ¥ bÃ¸r innholdsindustrien " +"kompenseres for denne skaden. PÃ¥ samme mÃ¥te som tobakksteknologien skadet " +"helsen til millioner av amerikanere, eller aspestteknologien forÃ¥rsaket " +"alvorlig sykdom hos tusenvis av gruvearbeidere, sÃ¥ har den digitale " +"nettverksteknologien skadet interessene til innholdsindustrien." + +#. PAGE BREAK 306 +#. type: Content of: <book><chapter><section><section><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, sÃ¥ jeg liker ikke Ã¥ sammenligne det med tobakk eller " +"asbest. Men analogien er rimelig nÃ¥r en ser det fra lovens perspektiv. Og " +"det foreslÃ¥r en rimelig respons: I stedet for Ã¥ forsÃ¸ke Ã¥ Ã¸delegge Internett " +"eller p2p-teknologien som i dag skader innholdsleverandÃ¸rer pÃ¥ Internett, sÃ¥ " +"bÃ¸r vi finne en relativt enkel mÃ¥te Ã¥ kompensere de som blir skadelidende." + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Promises to Keep (Fisher)" +msgstr "Promises to Keep (Fisher)" + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Fisher, William" +msgstr "Fisher, William" + +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " +"<citetitle>Digital Music: Problems and Possibilities</citetitle> (last " +"revised: 10 October 2000), available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to Keep: " +"Technology, Law, and the Future of Entertainment</citetitle> (forthcoming) " +"(Stanford: Stanford University Press, 2004), ch. 6, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel has " +"proposed a related idea that would exempt noncommercial sharing from the " +"reach of copyright and would establish compensation to artists to balance " +"any loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy " +"to Allow Free P2P File Sharing,</quote> available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #79</ulink>. For other proposals, see Lawrence " +"Lessig, <quote>Who's Holding Back Broadband?</quote> <citetitle>Washington " +"Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " +"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " +"Foreign Relations Committee, 26 February 2002, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, " +"<citetitle>A Quick Case for Intellectual Property Use Fee (IPUF)</" +"citetitle>, 3 March 2002, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #81</ulink>; Jefferson Graham, <quote>Kazaa, Verizon Propose " +"to Pay Artists Directly,</quote> <citetitle>USA Today</citetitle>, 13 May " +"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</" +"ulink>; Steven M. Cherry, <quote>Getting Copyright Right,</quote> IEEE " +"Spectrum Online, 1 July 2002, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #83</ulink>; Declan McCullagh, <quote>Verizon's Copyright " +"Campaign,</quote> CNET News.com, 27 August 2002, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #84</ulink>. Fisher's proposal is " +"very similar to Richard Stallman's proposal for DAT. Unlike Fisher's, " +"Stallman's proposal would not pay artists directly proportionally, though " +"more popular artists would get more than the less popular. As is typical " +"with Stallman, his proposal predates the current debate by about a decade. " +"See <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " +"<citetitle>Digital Music: Problems and Possibilities</citetitle> (sist " +"revidert: 10. oktober 2000), tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to " +"Keep: Technology, Law, and the Future of Entertainment</citetitle> (kommer) " +"(Stanford: Stanford University Press, 2004), kap. 6, tilgjengelig fra <ulink " +"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel " +"har foreslÃ¥tt en relatert idÃ© som ville gjÃ¸re at opphavsretten ikke gjelder " +"ikke-kommersiell deling fra og ville etablere kompensasjon til kunstnere for " +"Ã¥ balansere eventuelle tap. Se Neil Weinstock Netanel, <quote>Impose a " +"Noncommercial Use Levy to Allow Free P2P File Sharing</quote>, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. For andre " +"forslag, se Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> " +"<citetitle>Washington Post</citetitle>, 8. january 2002, A17; Philip S. " +"Corwin pÃ¥ vegne av Sharman Networks, Et brev til Senator Joseph R. Biden, " +"Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #80</" +"ulink>; Serguei Osokine, <citetitle>A Quick Case for Intellectual Property " +"Use Fee (IPUF)</citetitle>, 3. mars 2002, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson Graham, " +"<quote>Kazaa, Verizon Propose to Pay Artists Directly</quote>, " +"<citetitle>USA Today</citetitle>, 13. mai 2002, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, " +"<quote>Getting Copyright Right</quote>, IEEE Spectrum Online, 1. juli 2002, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #83</" +"ulink>; Declan McCullagh, <quote>Verizon's Copyright Campaign</quote>, CNET " +"News.com, 27. august 2002, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #84</ulink>. Forslaget fra Fisher er ganske likt forslaget " +"til Richard Stallman nÃ¥r det gjelder DAT. I motsetning til Fishers forslag, " +"ville Stallmanns forslag ikke betale kunstnere proposjonalt, selv om mer " +"populÃ¦re artister ville fÃ¥ mer betalt enn mindre populÃ¦re. Slik det er " +"typisk med Stallman, la han fram sitt forslag omtrent ti Ã¥r fÃ¸r dagens " +"debatt. Se <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" + +#. type: Content of: <book><chapter><section><section><para> +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 "" +"IdÃ©en er basert pÃ¥ et forslag lansert av jusprofessor William Fisher ved " +"Harvard.<placeholder type=\"footnote\" id=\"0\"/> Fisher foreslÃ¥r en veldig " +"lur mÃ¥te rundt den pÃ¥gÃ¥ende stillingskrigen pÃ¥ Internettet. I fÃ¸lge hans " +"plan ville alt innhold som kan sendes digitalt (1) vÃ¦re markert med et " +"digitalt vannmerke (ikke bekymre deg over hvor enkelt det ville vÃ¦re Ã¥ unngÃ¥ " +"disse merkene, som du vil se er det ikke noe insentiv for Ã¥ unngÃ¥ dem). NÃ¥r " +"innholdet er merket, sÃ¥ ville entreprenÃ¸rer utvikle (2) systemer for Ã¥ " +"registrere hvor mange enheter av hvert innhold som ble distribuert. PÃ¥ " +"grunnlag av disse tallene ville sÃ¥ (3) kunstnerne bli kompensert. " +"Kompensasjonen kunne bli finansiert med (4) en passende skatt." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Fisher's proposal is careful and comprehensive. It raises a million " +"questions, most of which he answers well in his upcoming book, " +"<citetitle>Promises to Keep</citetitle>. The modification that I would make " +"is relatively simple: Fisher imagines his proposal replacing the existing " +"copyright system. I imagine it complementing the existing system. The aim " +"of the proposal would be to facilitate compensation to the extent that harm " +"could be shown. This compensation would be temporary, aimed at facilitating " +"a transition between regimes. And it would require renewal after a period of " +"years. If it continues to make sense to facilitate free exchange of content, " +"supported through a taxation system, then it can be continued. If this form " +"of protection is no longer necessary, then the system could lapse into the " +"old system of controlling access." +msgstr "" +"Forslaget til Fisher er grundig og omfattende. Det reiser en million " +"spÃ¸rsmÃ¥l, de fleste av dem godt besvart i hans kommende bok, " +"<citetitle>Promises to Keep</citetitle>. Endringene jeg vil gjÃ¸re er " +"relativt enkle: Fisher ser for seg at hans forslag erstatter det " +"eksisterende opphavsrettssystemet. Jeg ser for meg at det vil utfylle det " +"eksisterende systemet. MÃ¥let med forslaget vil vÃ¦re Ã¥ gjÃ¸re det enklere Ã¥ " +"gi kompensasjon i den grad skade kan pÃ¥vises. Denne kompensasjonen ville " +"vÃ¦re midlertidig, med mÃ¥lsetning om Ã¥ gjÃ¸re overgangen lettere mellom to " +"regimer. Og det ville kreve fornying etter en periode pa noen Ã¥r. Hvis det " +"fortsatt gir mening Ã¥ forenkle gratis utveksling av innhold gjennom et " +"skattesystem, sÃ¥ kan det viderefÃ¸res. Hvis denne form for beskyttelse ikke " +"lenger er nÃ¸dvendig, sÃ¥ kan systemet foldes inn i det gamle systemet for Ã¥ " +"kontrollere tilgang." + +#. PAGE BREAK 307 +#. type: Content of: <book><chapter><section><section><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 <quote>semiotic democracy</quote> 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 ville steile over idÃ©en om Ã¥ tillate systemet til Ã¥ foldes vekk. " +"Hans mÃ¥l er ikke bare Ã¥ sikre at kunstnerne blir betalt, men ogsÃ¥ Ã¥ sikre at " +"systemet stÃ¸tter den videste rekken av <quote>*semiotic democracy*</quote> " +"som mulig. Men mÃ¥let om *semiotic democracy* kan oppfylles hvis de andre " +"endringer jeg beskriver kommer pÃ¥ plass—spesielt begrensninger pÃ¥ " +"avledet bruk. Et system som ganske enkelt tar imot betaling for tilgang vil " +"ikke belaste *semiotic democracy* veldig hvis det var fÃ¥ begrensninger pÃ¥ " +"hva en fÃ¥r lov til Ã¥ gjÃ¸re med selve innholdet." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "MusicStore" +msgstr "MusicStore" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "prices of" +msgstr "priser pÃ¥" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"No doubt it would be difficult to calculate the proper measure of " +"<quote>harm</quote> to an industry. But the difficulty of making that " +"calculation would be outweighed by the benefit of facilitating innovation. " +"This background system to compensate would also not need to interfere with " +"innovative proposals such as Apple's MusicStore. As experts predicted when " +"Apple launched the MusicStore, it could beat <quote>free</quote> by being " +"easier than free is. This has proven correct: Apple has sold millions of " +"songs at even the very high price of 99 cents a song. (At 99 cents, the cost " +"is the equivalent of a per-song CD price, though the labels have none of the " +"costs of a CD to pay.) Apple's move was countered by Real Networks, offering " +"music at just 79 cents a song. And no doubt there will be a great deal of " +"competition to offer and sell music on-line." +msgstr "" +"Uten tvil vil det vÃ¦re vanskelig Ã¥ mÃ¥le nÃ¸yaktig <quote>skaden</quote> pÃ¥ en " +"industri. Men vanskeligheten i Ã¥ beregne dette vil veies opp av fordelen " +"ved Ã¥ tilrettelegge for nyskapning. Dette bakgrunnssystemet for Ã¥ kompensere " +"ville heller ikke trenge Ã¥ forstyrre nyskapende forslag som Apples " +"MusicStore. Som eksperter forutsÃ¥ da Apple lanserte sin MusicStore, sÃ¥ kan " +"den slÃ¥ <quote>gratis</quote> ved Ã¥ vÃ¦re enklere enn det gratis er. Dette " +"har vist seg Ã¥ vÃ¦re riktig: Apple har solgt millioner av sanger til selv den " +"veldig hÃ¸ye prisen 99 cent pr. sang (til 99 cent er kostnaden tilsvarende " +"prisen pr. sang pÃ¥ CD, selv om plateselskapene ikke mÃ¥ betale noen av " +"kostnadene knyttet til Cd-produksjon). Apples lansering ble mÃ¸tt av Real " +"Networks, som tilbÃ¸d musikk til kun 79 cent pr. sang. Og uten tvil vil det " +"bli mye konkurranse rundt Ã¥ tilby og Ã¥ selge musikk pÃ¥ nettet." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "cable vs. broadcast" +msgstr "kabel-TV mot kringkasting" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "luxury theatres vs. video piracy in" +msgstr "luksuskinoer mot video-piratvirksomhet i" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"This competition has already occurred against the background of <quote>free</" +"quote> music from p2p systems. As the sellers of cable television have known " +"for thirty years, and the sellers of bottled water for much more than that, " +"there is nothing impossible at all about <quote>competing with free.</quote> " +"Indeed, if anything, the competition spurs the competitors to offer new and " +"better products. This is precisely what the competitive market was to be " +"about. Thus in Singapore, though piracy is rampant, movie theaters are often " +"luxurious—with <quote>first class</quote> seats, and meals served " +"while you watch a movie—as they struggle and succeed in finding ways " +"to compete with <quote>free.</quote>" +msgstr "" +"Denne konkurransen er allerede pÃ¥ plass mot bakgrunnen med <quote>gratis</" +"quote> musikk fra p2p-systemer. Slik selgerne av kabel-TV har visst i " +"tredve Ã¥r, og de som selger vann pÃ¥ plaske enda lengre, sÃ¥ er det slett ikke " +"umulig over det Ã¥ <quote>konkurrere med gratis</quote>. Faktisk til " +"konkurransen om ikke annet inspirere til Ã¥ tilby nye og bedre produkter. " +"Det er nÃ¸yaktig det et konkurransedyktig marked skulle handle om. Dermed " +"har en i Singapore, hvor piratkopiering er utbredt, ofte luksuriÃ¸se " +"kinosaler—med <quote>fÃ¸rsteklasses</quote> seter, og mÃ¥ltider servert " +"mens du ser pÃ¥ en film—mens de kjemper og lykkes i Ã¥ finne en mÃ¥te a " +"konkurrere med <quote>gratis</quote>." + +#. type: Content of: <book><chapter><section><section><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 konkurranseregimet, med en sikringsmekanisme for Ã¥ sikre at kunstnere " +"ikke taper, ville bidra mye til nyskapning innen levering av innhold. " +"Konkurransen ville fortsette Ã¥ redusere type-A-deling. Det ville inspirere " +"en ekstraordinÃ¦r rekke av nye innovatÃ¸rer—som ville ha retten til a " +"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer " +"fra loven." + +#. type: Content of: <book><chapter><section><section><para> +msgid "In summary, then, my proposal is this:" +msgstr "Oppsummert, sÃ¥ er dette mitt forslag:" + +#. PAGE BREAK 308 +#. type: Content of: <book><chapter><section><section><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 endring. Vi bÃ¸r ikke regulere en teknologi i endring. Vi bÃ¸r " +"i stedet regulere for Ã¥ minimere skaden pÃ¥fÃ¸rt interesser som er berÃ¸rt av " +"denne teknologiske endringen, samtidig vi muliggjÃ¸r, og oppmuntrer, den mest " +"effektive teknologien vi kan lage." + +#. type: Content of: <book><chapter><section><section><para> +msgid "We can minimize that harm while maximizing the benefit to innovation by" +msgstr "" +"Vi kan minimere skaden og samtidig maksimere fordelen med innovasjon ved Ã¥" + +#. 1. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "guaranteeing the right to engage in type D sharing;" +msgstr "garantere retten til Ã¥ engasjere seg i type-D-deling;" + +#. 2. +#. type: Content of: <book><chapter><section><section><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 "" +"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og " +"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov." + +#. 3. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"while in this transition, taxing and compensating for type A sharing, to the " +"extent actual harm is demonstrated." +msgstr "" +"mens denne overgangen pÃ¥gÃ¥r, skattlegge og kompensere for type-A-deling, i " +"den grad faktiske skade kan pÃ¥vises." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"But what if <quote>piracy</quote> doesn't disappear? What if there is a " +"competitive market providing content at a low cost, but a significant number " +"of consumers continue to <quote>take</quote> content for nothing? Should the " +"law do something then?" +msgstr "" +"Men hva om <quote>piratvirksomheten</quote> ikke forsvinner? Hva om det " +"finnes et konkurranseutsatt marked som tilbyr innhold til en lav kostnad, " +"men et signifikant antall av forbrukere fortsetter Ã¥ <quote>ta</quote> " +"innhold uten Ã¥ betale? Burde loven gjÃ¸re noe da?" + +#. type: Content of: <book><chapter><section><section><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 <citetitle>x</citetitle>, or " +"(b) to have a technology that is 50 percent secure but produces a market of " +"five times <citetitle>x</citetitle>? Less secure might produce more " +"unauthorized sharing, but it is likely to also produce a much bigger market " +"in authorized sharing. The most important thing is to assure artists' " +"compensation without breaking the Internet. Once that's assured, then it may " +"well be appropriate to find ways to track down the petty pirates." +msgstr "" +"Ja, det bÃ¸r den. Men, nok en gang, hva den bÃ¸r gjÃ¸re avhenger hvordan " +"realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-" +"deling. Men det virkelige spÃ¸rmÃ¥let er ikke om de eliminerer deling i " +"abstrakt betydning. Det virkelige spÃ¸rsmÃ¥let er hvilken effekt det har pÃ¥ " +"markedet. Er det bedre (a) Ã¥ ha en teknologi som er 95 prosent sikker og " +"gir et marked av stÃ¸rrelse <citetitle>x</citetitle>, eller (b) Ã¥ ha en " +"teknologi som er 50 prosent sikker, og som gir et marked som er fem ganger " +"stÃ¸rre enn <citetitle>x</citetitle>? Mindre sikker kan gi mer uautorisert " +"deling, men det vil sannsynligvis ogsÃ¥ gi et mye stÃ¸rre marked for " +"autorisert deling. Det viktigste er Ã¥ sikre kunstneres kompensasjon uten Ã¥ " +"Ã¸delegge Internettet. NÃ¥r det er pÃ¥ plass, kan det hende det er riktig Ã¥ " +"finne mÃ¥ter Ã¥ spore opp de smÃ¥lige piratene." + +#. PAGE BREAK 309 +#. type: Content of: <book><chapter><section><section><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 Ã¥ spikke problemet ned til dette delsettet av type-A-" +"delere. Og vÃ¥rt fokus inntil er der bÃ¸r ikke vÃ¦re Ã¥ finne mÃ¥ter Ã¥ Ã¸delegge " +"Internettet. Var fokus inntil vi er der bÃ¸r vÃ¦re hvordan sikre at artister " +"fÃ¥r betalt, mens vi beskytter rommet for nyskapning og kreativitet som " +"Internettet er." + +#. type: Content of: <book><chapter><section><section><title> +msgid "5. Fire Lots of Lawyers" +msgstr "5. Spark en masse advokater" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe " +"in the law of copyright. Indeed, I have devoted my life to working in law, " +"not because there are big bucks at the end but because there are ideals at " +"the end that I would love to live." +msgstr "" +"Jeg er en advokat. Jeg lever av Ã¥ utdanne advokater. Jeg tror pÃ¥ loven. Jeg " +"tror pÃ¥ Ã¥ndsverksloven. Jeg har faktisk viet livet til Ã¥ jobbe med loven, " +"ikke fordi det er mye penger Ã¥ tjene, men fordi det innebÃ¦rer idealer som " +"jeg elsker Ã¥ leve opp til." + +#. type: Content of: <book><chapter><section><section><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 har mye av denne boken vÃ¦rt kritikk av advokater, eller rollen " +"advokater har spilt i denne debatten. Loven taler om idealer, mens det er " +"min oppfatning av vÃ¥r yrkesgruppe er blitt for knyttet til klienten. Og i " +"en verden der rike klienter har sterke synspunkter vil uviljen hos vÃ¥r " +"yrkesgruppe til Ã¥ stille spÃ¸rsmÃ¥l med eller protestere mot dette sterke " +"synet Ã¸delegge loven." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Nimmer, Melville" +msgstr "Nimmer, Melville" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "Supreme Court challenge of" +msgstr "HÃ¸yesteretts utfordring av" + +#. f10. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " +"Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): " +"1057, 1069–70." +msgstr "" +"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " +"Nimmer Memorial Lecture), <citetitle>UCLA law Review</citetitle> 48 (2001): " +"1057, 1069–70." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The evidence of this bending is compelling. I'm attacked as a " +"<quote>radical</quote> by many within the profession, yet the positions that " +"I am advocating are precisely the positions of some of the most moderate and " +"significant figures in the history of this branch of the law. Many, for " +"example, thought crazy the challenge that we brought to the Copyright Term " +"Extension Act. Yet just thirty years ago, the dominant scholar and " +"practitioner in the field of copyright, Melville Nimmer, thought it obvious." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Indisiene for slik bÃ¸yning er overbevisene. Jeg er angrepet som en " +"<quote>radikal</quote> av mange innenfor yrket, og likevel er meningene jeg " +"argumenterer for nÃ¸yaktig de meningene til mange av de mest moderate og " +"betydningsfulle personene i historien til denne delen av loven. Mange trodde " +"for eksempel at vÃ¥r utfordring til lovforslaget om Ã¥ utvide opphavsrettens " +"vernetid var galskap. Mens bare tredve Ã¥r siden mente den dominerende " +"foreleser og utÃ¸ver i opphavsrettsfeltet, Melville Nimmer, at den var " +"Ã¥penbar.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 handler " +"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere " +"om vÃ¥r manglende evne til Ã¥ faktisk ta inn over oss hva loven koster." + +#. type: Content of: <book><chapter><section><section><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, <citetitle>Rethinking the Network " +"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " +"York: Amacom, 2002), (reviewing his original view but expressing skepticism) " +"with Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" +"quote> working paper, June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis is " +"extremely valuable in estimating the effect of file-sharing technology. In " +"my view, however, he underestimates the costs of the legal system. See, for " +"example, <citetitle>Rethinking</citetitle>, 174–76. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bÃ¸r fÃ¥ " +"ros for sin nÃ¸ye gjennomgang av data om opphavsrettsbrudd, som fikk ham til " +"Ã¥ stille spÃ¸rsmÃ¥l med sin egen uttalte posisjon—to ganger. I starten " +"forutsa han at nedlasting ville pÃ¥fÃ¸re industrien vesentlig skade. Han " +"endret sÃ¥ sitt syn etter i lys av dataene, og han har siden endret sitt syn " +"pÃ¥ nytt. Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the Network " +"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " +"York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) " +"med Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" +"quote> artikkelutkast, juni 2003, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #86</ulink>. Den nÃ¸ye analysen til Liebowitz er " +"ekstremt verdifull i sin estimering av effekten av fildelingsteknologi. " +"Etter mitt syn underestimerer han forÃ¸vrig kostnaden til det juridiske " +"system. Se, for eksempel, <citetitle>Rethinking</citetitle>, 174–76. " +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 "" +"Ãkonomer er forventet Ã¥ vÃ¦re gode til Ã¥ forstÃ¥ utgifter og inntekter. Men " +"som oftest antar Ã¸konomene uten peiling pÃ¥ hvordan det juridiske systemet " +"egentlig fungerer, at transaksjonskostnaden i det juridiske systemet er lav." +"<placeholder type=\"footnote\" id=\"0\"/> De ser et system som har " +"eksistert i hundrevis av Ã¥r, og de antar at det fungerer slik grunnskolens " +"samfunnsfagsundervisning lÃ¦rte dem at det fungerer." + +#. PAGE BREAK 310 +#. type: Content of: <book><chapter><section><section><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 det juridiske systemet fungerer ikke. Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, det " +"fungerer kun for de med mest ressurser. Det er ikke fordi systemet er " +"korrupt. Jeg tror overhodet ikke vÃ¥rt juridisk system (pÃ¥ fÃ¸deralt nivÃ¥, i " +"hvert fall) er korrupt. Jeg mener ganske enkelt at pÃ¥ grunn av at kostnadene " +"med vÃ¥rt juridiske systemet er sÃ¥ hÃ¥rreisende hÃ¸yt vil en praktisk talt " +"aldri oppnÃ¥ rettferdighet." + +#. type: Content of: <book><chapter><section><section><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 forstyrrer fri kultur pÃ¥ mange vis. En advokats tid " +"faktureres hos de stÃ¸rste firmaene for mer enn $400 pr. time. Hvor mye tid " +"bÃ¸r en slik advokat bruke pÃ¥ Ã¥ lese sakene nÃ¸ye, eller undersÃ¸ke obskure " +"rettskilder. Svaret er i Ã¸kende grad: svÃ¦rt lite. Jussen er avhengig av " +"nÃ¸ye formulering og utvikling av doktrine, men nÃ¸ye formulering og utvikling " +"av doktrine er avhengig av nÃ¸yaktig arbeid. Men nÃ¸yaktig arbeid koster for " +"mye, bortsett fra i de mest hÃ¸yprofilerte og kostbare sakene." + +#. type: Content of: <book><chapter><section><section><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 "" +"Kostbarheten, klomsetheten og tilfeldigheten til dette systemet hÃ¥ner vÃ¥r " +"tradisjon. Og advokater, sÃ¥vel som akademikere, bÃ¸r se det som sin plikt Ã¥ " +"endre hvordan loven praktiseres— eller bedre, endre loven slik at den " +"fungerer. Det er galt at systemet fungerer godt bare for den Ã¸verste 1-" +"prosenten av klientene. Det kan gjÃ¸res radikalt mer effektivt, og billig, " +"og dermed radikalt mer rettferdig." + +#. type: Content of: <book><chapter><section><section><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 inntil en slik reform er gjennomfÃ¸rt, bÃ¸r vi som samfunn holde lover " +"unna omrÃ¥der der vi vet den bare vil skade. Og det er nettopp det loven " +"altfor ofte vil gjÃ¸re hvis for mye av vÃ¥r kultur er lovregulert." + +#. type: Content of: <book><chapter><section><section><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 pÃ¥ de fantastiske tingene ditt barn kan gjÃ¸re eller lage med digital " +"teknologi—filmen, musikken, web-siden, bloggen. Eller tenk pÃ¥ de " +"fantastiske tingene ditt fellesskap kunne fÃ¥ til med digital teknologi—" +"en wiki, oppsetting av lÃ¥ve, kampanje til Ã¥ endre noe. Tenk pÃ¥ alle de " +"kreative tingene, og tenk deretter pÃ¥ kald sirup helt inn i maskinene. Dette " +"er hva et hvert regime som krever tillatelser fÃ¸rer til. Dette er " +"virkeligheten slik den var i Brezhnevs Russland." + +#. PAGE BREAK 311 +#. type: Content of: <book><chapter><section><section><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: <quote>Will it do good?</quote> When challenged about the " +"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>" +msgstr "" +"Loven bÃ¸r regulere i visse omrÃ¥der av kulturen—men det bÃ¸r regulere " +"kultur bare der reguleringen bidrar positivt. Likevel tester advokater " +"sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk " +"spÃ¸rsmÃ¥let: <quote>vil det bidra positivt?</quote>. NÃ¥r de blir utfordret " +"om det utvidede rekkevidden til loven, er advokat-svaret, <quote>Hvorfor " +"ikke?</quote>" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"We should ask, <quote>Why?</quote> Show me why your regulation of culture is " +"needed. Show me how it does good. And until you can show me both, keep your " +"lawyers away." +msgstr "" +"Vi burde spÃ¸rre: <quote>Hvorfor?</quote>. Vis meg hvorfor din regulering av " +"kultur er nÃ¸dvendig og vis meg hvordan reguleringen bidrar positivt. FÃ¸r du " +"kan vise meg begge, holde advokatene din unna." + +#. type: Content of: <book><chapter><title> +msgid "NOTES" +msgstr "Notater" + +#. type: Content of: <book><chapter><para> +msgid "" +"Throughout this text, there are references to links on the World Wide Web. " +"As anyone who has tried to use the Web knows, these links can be highly " +"unstable. I have tried to remedy the instability by redirecting readers to " +"the original source through the Web site associated with this book. For each " +"link below, you can go to http://free-culture.cc/notes and locate the " +"original source by clicking on the number after the # sign. If the original " +"link remains alive, you will be redirected to that link. If the original " +"link has disappeared, you will be redirected to an appropriate reference for " +"the material." +msgstr "" +"I denne teksten er det referanser til lenker pÃ¥ verdensveven. Og som alle " +"som har forsÃ¸kt Ã¥ bruke nettet vet, sÃ¥ vil disse lenkene vÃ¦re svÃ¦rt " +"ustabile. Jeg har forsÃ¸kt Ã¥ motvirke denne ustabiliteten ved Ã¥ omdirigere " +"lesere til den originale kilden gjennom en nettside som hÃ¸rer til denne " +"boken. For hver lenke under, sÃ¥ kan du gÃ¥ til http://free-culture.cc/notes " +"og finne den originale kilden ved Ã¥ klikke pÃ¥ nummeret etter #-tegnet. Hvis " +"den originale lenken fortsatt er i live, sÃ¥ vil du bli omdirigert til den " +"lenken. Hvis den originale lenken har forsvunnet, sÃ¥ vil du bli omdirigert " +"til en passende referanse til materialet." + +#. type: Content of: <book><chapter><title> +msgid "ACKNOWLEDGMENTS" +msgstr "Takk til" + +#. type: Content of: <book><chapter><para> +msgid "" +"This book is the product of a long and as yet unsuccessful struggle that " +"began when I read of Eric Eldred's war to keep books free. Eldred's work " +"helped launch a movement, the free culture movement, and it is to him that " +"this book is dedicated." +msgstr "" +"Denne boken er produktet av en lang og sÃ¥ langt mislykket kamp som begynte " +"da jeg leste om Eric Eldreds krig for Ã¥ sÃ¸rge for at bÃ¸ker forble frie. " +"Eldreds innsats bidro til Ã¥ lansere en bevegelse, fri kultur-bevegelsen, og " +"denne boken er tilegnet ham." + +#. 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 pÃ¥ ulike steder fra venner og akademikere, inkludert " +"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose og " +"Kathleen Sullivan. Og jeg fikk korreksjoner og veiledning fra mange " +"fantastiske studenter ved Stanford Law School og Stanford University. Det " +"inkluderer Andrew B. Coan, John Eden, James P. Fellers, Christopher " +"Guzelian, Erica Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian-" +"Link, Ohad Mayblum, Alina Ng og Erica Platt. Jeg er sÃ¦rlig takknemlig " +"overfor Catherine Crump og Harry Surden, som hjalp til med Ã¥ styre deres " +"forskning og til Laura Lynch, som briljant hÃ¥ndterte hÃ¦ren de samlet, samt " +"bidro med sitt egen kritisk blikk pÃ¥ 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 Ã¥ forstÃ¥ lovene i Japan, sÃ¥ vel som Japans kultur. " +"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med " +"forundersÃ¸kelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto " +"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro " +"Yonezawa. Jeg er ogsÃ¥ takknemlig til professor Nobuhiro Nakayama og Tokyo " +"University Business Law Center, som ga meg muligheten til Ã¥ bruke tid i " +"Japan, og Tadashi Shiraishi og Kiyokazu Yamagami for deres generÃ¸se 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, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> " +"and Richard Yanco. (I apologize if I have missed anyone; with computers come " +"glitches, and a crash of my e-mail system meant I lost a bunch of great " +"replies.)" +msgstr "" +"Dette er de tradisjonelle former for hjelp som akademikere regelmessig " +"trekker pÃ¥. Men i tillegg til dem, har Internett gjort det mulig Ã¥ motta rÃ¥d " +"og korrigering fra mange som jeg har aldri mÃ¸tt. Blant de som har svart med " +"svÃ¦rt nyttig rÃ¥d etter forespÃ¸rsler om boken pÃ¥ bloggen min er Dr. Muhammed " +"Al-Ubaydli, David Gerstein og Peter Dimauro, I tillegg en lang liste med de " +"som hadde spesifikke idÃ©er om mÃ¥ter Ã¥ utvikle mine argumenter pÃ¥. De " +"inkluderte Richard Bondi, Steven Cherry, David Coe, Nik Cubrilovic, Bob " +"Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, Jeremy Hunsinger, " +"Vaughn Iverson, John Karabaic, Jeff Keltner, James Lindenschmidt, K. L. " +"Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred " +"Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, " +"Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, " +"Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, " +"<quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> og Richard " +"Yanco. (jeg beklager hvis jeg gikk glipp av noen, med datamaskiner kommer " +"feil og en krasj i e-postsystemet mitt gjorde at jeg mistet en haug med " +"flotte svar.)" + +#. 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 har begge lest hele boken i utkast, og " +"hver av dem har bidratt med svÃ¦rt nyttige korreksjoner og rÃ¥d. Michael hjalp " +"meg Ã¥ se mer tydelig betydningen av regulering for avledede verker . Og " +"Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er " +"delvis inspirert av Stallmans, er han ikke enig med meg pÃ¥ vesentlige steder " +"i denne boken." + +#. type: Content of: <book><chapter><para> +msgid "" +"Finally, and forever, I am thankful to Bettina, who has always insisted that " +"there would be unending happiness away from these battles, and who has " +"always been right. This slow learner is, as ever, grateful for her perpetual " +"patience and love." +msgstr "" +"Til slutt, og for evig, er jeg Bettina takknemlig, som alltid har insistert " +"pÃ¥ at det ville vÃ¦re endelÃ¸s lykke utenfor disse kampene, og som alltid har " +"hatt rett. Denne trege eleven er som alltid takknemlig for hennes " +"evigvarende tÃ¥lmodighet og kjÃ¦rlighet."

From: Petter Reinholdtsen Date: Sun, 16 Dec 2012 07:39:27 +0000 (+0100) Subject: Undo changes to line ending done by commit from Kirill, and merge his changes. X-Git-Tag: edition-2015-10-10~1037 X-Git-Url: https://pere.pagekite.me/gitweb/text-free-culture-lessig.git/commitdiff_plain/19197aec7b883ef17e75b51e5d55acb3eaf09243?ds=sidebyside;hp=--cc Undo changes to line ending done by commit from Kirill, and merge his changes. --- 19197aec7b883ef17e75b51e5d55acb3eaf09243 diff --cc freeculture.nb.po index 2d52206,a7613bb..06bd2ce --- a/freeculture.nb.po +++ b/freeculture.nb.po @@@ -1,28589 -1,28569 +1,28570 @@@ -# Copyright (C) 2012 Free Software Foundation, Inc. -# This file is distributed under the same license as the PACKAGE package. -# -# Translators: -# Petter Reinholdtsen , 2012. -# Anders Hagen Jarmund , 2012. -# Kirill Miazine , 2012. -msgid "" -msgstr "" -"Project-Id-Version: Free Culture by Lawrence Lessig\n" -"POT-Creation-Date: 2012-12-01 10:48+0100\n" -"PO-Revision-Date: 2012-08-29 11:14+0200\n" -"Last-Translator: Petter Reinholdtsen \n" -"Language-Team: Norwegian BokmÃ¥l \n" -"Language: nb\n" -"MIME-Version: 1.0\n" -"Content-Type: text/plain; charset=UTF-8\n" -"Content-Transfer-Encoding: 8bit\n" -"X-Generator: Lokalize 1.0\n" -"Plural-Forms: nplurals=2; plural=n != 1;\n" - -#. type: Content of the copy entity -msgid "Â©" -msgstr "Â©" - -#. type: Attribute 'lang' of: -msgid "en" -msgstr "nb" - -#. type: Content of: -msgid "Free Culture" -msgstr "Fri kultur" - -#. type: Content of: <book><bookinfo> -msgid "<abbrev>\"freeculture\"</abbrev>" -msgstr "<abbrev>\"frikultur\"</abbrev>" - -#. type: Content of: <book><bookinfo><subtitle> -msgid "" -"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL " -"CREATIVITY" -msgstr "" -"Hvordan store medieaktÃ¸rer bruker teknologi og jussen til Ã¥ begrense " -"kulturen og kontrollere kreativiteten" - -#. type: Content of: <book><bookinfo> -msgid "<pubdate>2004-03-25</pubdate>" -msgstr "<pubdate>2004-03-25</pubdate>" - -#. type: Content of: <book><bookinfo><releaseinfo> -msgid "Version 2004-02-10" -msgstr "Versjon 2004-02-10" - -#. type: Content of: <book><bookinfo><authorgroup><author><firstname> -msgid "Lawrence" -msgstr "Lawrence" - -#. type: Content of: <book><bookinfo><authorgroup><author><surname> -msgid "Lessig" -msgstr "Lessig" - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Intellectual property—United States." -msgstr "Immaterielle rettigheter—USA." - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Mass media—United States." -msgstr "Massemedia—USA." - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Technological innovations—United States." -msgstr "Teknologiske nyvinninger—USA." - -#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> -msgid "Art—United States." -msgstr "Kunst—USA." - -#. type: Content of: <book><bookinfo><publisher><address> -#, no-wrap -msgid "<city>New York</city>" -msgstr "<city>New York</city>" - -#. type: Content of: <book><bookinfo> -msgid "" -"<publisher> <publishername>The Penguin Press</publishername> <placeholder " -"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> " -"<holder>Lawrence Lessig</holder> </copyright>" -msgstr "" - -#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject> -msgid "" -"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " -"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " -"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" -"\"/> </imageobject>" -msgstr "" -"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " -"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " -"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" -"\"/> </imageobject>" - -#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase> -msgid "Creative Commons, Some rights reserved" -msgstr "Creative Commons, noen rettigheter forbeholdt" - -#. type: Content of: <book><bookinfo><legalnotice><para> -msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" -msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" - -#. type: Content of: <book><bookinfo><legalnotice><para> -msgid "" -"This version of <citetitle>Free Culture</citetitle> is licensed under a " -"Creative Commons license. This license permits non-commercial use of this " -"work, so long as attribution is given. For more information about the " -"license, click the icon above, or visit <ulink url=\"http://creativecommons." -"org/licenses/by-nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</" -"ulink>" -msgstr "" -"Denne versjonen av <citetitle>Fri kultur</citetitle> er lisensiert under en " -"Creative Commons-lisens. Denne lisensen tillater ikke-kommersiell " -"utnyttelse av verket dersom opphavsmannen er navngitt. For mer informasjon " -"om lisensen, klikk pÃ¥ ikonet over eller besÃ¸k <ulink url=\"http://" -"creativecommons.org/licenses/by-nc/1.0/\">http://creativecommons.org/" -"licenses/by-nc/1.0/</ulink>" - -#. type: Content of: <book><bookinfo><abstract><title> -msgid "ABOUT THE AUTHOR" -msgstr "Om forfatteren" - -#. type: Content of: <book><bookinfo><abstract><para> -msgid "" -"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" -"ulink>), professor of law and a John A. Wilson Distinguished Faculty Scholar " -"at Stanford Law School, is founder of the Stanford Center for Internet and " -"Society and is chairman of the Creative Commons (<ulink url=\"http://" -"creativecommons.org\">http://creativecommons.org</ulink>). The author of " -"The Future of Ideas (Random House, 2001) and Code: And Other Laws of " -"Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the " -"Public Library of Science, the Electronic Frontier Foundation, and Public " -"Knowledge. He was the winner of the Free Software Foundation's Award for the " -"Advancement of Free Software, twice listed in BusinessWeek's <quote>e.biz 25," -"</quote> and named one of Scientific American's <quote>50 visionaries.</" -"quote> A graduate of the University of Pennsylvania, Cambridge University, " -"and Yale Law School, Lessig clerked for Judge Richard Posner of the U.S. " -"Seventh Circuit Court of Appeals." -msgstr "" -"Lawrense Lessig (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" -"ulink>) er professor i rettsvitenskep og er John A. Wilson Distinguished " -"Faculty Scholar ved Stanford Law School. Han er stifteren av Stanford Center " -"for Internet and Society og styreleder i Creative Commons (<ulink url=" -"\"http://creativecommons.org\">http://creativecommons.org</ulink>). " -"Forfatteren har gitt ut The Future of Ideas (Random House, 2001) og Code: " -"And other Laws of Cyberspace (Basic Books, 1999), og er medlem av styrene i " -"Public Library of Science, the Electronic Frontier Foundation, og Public " -"Knowledge. Han har vunnet Free Software Foundation's Award for the " -"Advancement of Free Software, to ganger vÃ¦rt oppfÃ¸rt i BusinessWeeks " -"<quote>e.biz 25,</quote> og omtalt som en av Scientific Americans <quote>50 " -"visjonÃ¦rer</quote>. Etter utdanning ved University of Pennsylvania, " -"Cambridge University, og Yale Law School, assisterte Lessig dommer Richard " -"Posner ved U.S. Seventh Circuit Court of Appeals." - -# -# -# -#. testing different ways to tag the cover page -#. <imageobject remap="s" role="front"> -#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> -#. </imageobject> -#. <imageobject remap="xs" role="front-small"> -#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> -#. </imageobject> -#. <imageobject remap="cs" role="thumbnail"> -#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> -#. </imageobject> -#. type: Content of: <book><bookinfo><mediaobject> -msgid "" -"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/" -"cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>" -msgstr "" - -#. LCCN from -#. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page -#. -#. type: Content of: <book><bookinfo> -msgid "" -" <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn" -"\">1-59420-006-8</biblioid> <biblioid class=\"libraryofcongress" -"\">2003063276</biblioid>" -msgstr "" - -#. type: Content of: <book><dedication><para> -msgid "You can buy a copy of this book by clicking on one of the links below:" -msgstr "" -"Du kan kjÃ¸pe et eksemplar av denne boken ved Ã¥ klikke pÃ¥ en av lenkene " -"nedenfor:" - -#. type: Content of: <book><dedication><itemizedlist><listitem><para> -msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" -msgstr "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" - -#. type: Content of: <book><dedication><itemizedlist><listitem><para> -msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" -msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" - -#. type: Content of: <book><dedication><itemizedlist><listitem><para> -msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" -msgstr "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" - -#. type: Content of: <book><dedication><para> -msgid "ALSO BY LAWRENCE LESSIG" -msgstr "Andre bÃ¸ker av Lawrence Lessig" - -#. type: Content of: <book><dedication><para> -msgid "The Future of Ideas: The Fate of the Commons in a Connected World" -msgstr "The Future of Ideas: The Fate of the Commons in a Connected World" - -#. type: Content of: <book><dedication><para> -msgid "Code: And Other Laws of Cyberspace" -msgstr "Code: And Other Laws of Cyberspace" - -#. type: Content of: <book><colophon><para> -msgid "" -"THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " -"New York, New York" -msgstr "" -"The Penguin Press, medlem av Penguin Group (USA) Inc. 375 Hudson Street " -"New York, Yew Uork, USA" - -#. type: Content of: <book><colophon><para> -msgid "Copyright © Lawrence Lessig. All rights reserved." -msgstr "" -"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter forbeholdt." - -#. type: Content of: <book><colophon><para> -msgid "" -"Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</" -"quote> <citetitle>The New York Times</citetitle>, January 16, 2003. " -"Copyright © 2003 by The New York Times Co. Reprinted with permission." -msgstr "" -"Utdrag fra redaktÃ¸rartikkel <quote>The Coming of Copyright Perpetuity,</" -"quote> <citetitle>The New York Times</citetitle>, 16. januar 2003. " -"Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med tillatelse." - -#. type: Content of: <book><colophon><para> -msgid "" -"Cartoon in <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> by Paul " -"Conrad, copyright Tribune Media Services, Inc. All rights reserved. " -"Reprinted with permission." -msgstr "" -"Humortegningen i <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> er " -"laget av Paul Conrad. Opphavsretten tilhÃ¸rer Tribune Media Services, " -"Inc. Alle rettigheter forbeholdt. Gjengitt med tillatelse." - -#. type: Content of: <book><colophon><para> -msgid "" -"Diagram in <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " -"courtesy of the office of FCC Commissioner, Michael J. Copps." -msgstr "" -"Diagrammet i <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " -"kommer fra kontoret til FCC-kommisjonÃ¦ren, Michael J. Copps." - -#. type: Content of: <book><colophon><para> -msgid "Library of Congress Cataloging-in-Publication Data" -msgstr "Cataloging-in-Publication-data til Library of Congress" - -#. type: Content of: <book><colophon><para> -msgid "" -"Lessig, Lawrence. Free culture : how big media uses technology and the law " -"to lock down culture and control creativity / Lawrence Lessig." -msgstr "" - -#. type: Content of: <book><colophon><para> -#, mtrans, fuzzy -msgid "p. cm." -msgstr "s. cm." - -#. type: Content of: <book><colophon><para> -msgid "Includes index." -msgstr "Inkluderer register." - -#. type: Content of: <book><colophon><para> -msgid "ISBN 1-59420-006-8 (hardcover)" -msgstr "ISBN 1-59420-006-8 (Innbundet bok)" - -#. type: Content of: <book><colophon><para> -msgid "" -"1. Intellectual property—United States. 2. Mass media—United " -"States." -msgstr "1. Immaterielle rettigheter—USA. 2. Massemedia—SA." - -#. type: Content of: <book><colophon><para> -msgid "" -"3. Technological innovations—United States. 4. Art—United " -"States. I. Title." -msgstr "" -"3. Teknologiske nyvinninger—USA. 4. Kunst—USA. I. Tittel." - -#. type: Content of: <book><colophon><para> -msgid "KF2979.L47" -msgstr "KF2979.l47" - -#. type: Content of: <book><colophon><para> -msgid "343.7309'9—dc22" -msgstr "343.7309'9—dc22" - -#. type: Content of: <book><colophon><para> -msgid "This book is printed on acid-free paper." -msgstr "Denne boken er trykt pÃ¥ syrefritt papir." - -#. type: Content of: <book><colophon><para> -msgid "Printed in the United States of America" -msgstr "Trykt i USA" - -#. type: Content of: <book><colophon><para> -msgid "1 3 5 7 9 10 8 6 4" -msgstr "1 3 5 7 9 10 8 6 4" - -#. type: Content of: <book><colophon><para> -msgid "Designed by Marysarah Quinn" -msgstr "Utformet av Marysarah Quinn" - -#. type: Content of: <book><colophon><para> -msgid "&translationblock;" -msgstr "" -"Oversatt til bokmÃ¥l av Petter Reinholdtsen, Anders Hagen Jarmund og Kirill " -"Miazine. Takk til Ralph Amissah for hjelp med registeroppfÃ¸ringene. " -"Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" -"petterreinholdtsen/free-culture-lessig\">tilgjengelig fra GitHub</ulink>. " -"Rapporter feil med oversettelsen via GitHub." - -#. type: Content of: <book><colophon><para> -#, mtrans, fuzzy -msgid "" -"Without limiting the rights under copyright reserved above, no part of this " -"publication may be reproduced, stored in or introduced into a retrieval " -"system, or transmitted, in any form or by any means (electronic, mechanical, " -"photocopying, recording or otherwise), without the prior written permission " -"of both the copyright owner and the above publisher of this book." -msgstr "" -"Ingen " -"del av denne publikasjonen kan bli gjengitt, lagret i eller innfÃ¸rt i et " -"gjenfinningssystem, eller i noen form eller pÃ¥ noen mÃ¥te overfÃ¸rt " -"(bl.a. elektronisk, mekanisk, fotokopiering, innspilling), uten " -"skriftlig tillatelse fra bÃ¥de innehaveren av opphavsretten og utgiveren " -"av denne boken." - -#. type: Content of: <book><colophon><para> -#, mtrans, fuzzy -msgid "" -"The scanning, uploading, and distribution of this book via the Internet or " -"via any other means without the permission of the publisher is illegal and " -"punishable by law. Please purchase only authorized electronic editions and " -"do not participate in or encourage electronic piracy of copyrighted " -"materials. Your support of the author's rights is appreciated." -msgstr "" -"den skanning, laste opp og distribusjon av denne boken via Internett eller " -"via andre midler uten tillatelse fra utgiveren er ulovlig og straffbart ved " -"lov. kjÃ¸pe bare godkjente elektroniske versjoner og ikke delta i eller " -"oppmuntre elektronisk sjÃ¸rÃ¸ver av opphavsrettsbeskyttet materiale. din " -"stÃ¸tte av forfatterens rettigheter er verdsatt." - -#. type: Content of: <book><dedication><para> -msgid "" -"To Eric Eldred—whose work first drew me to this cause, and for whom it " -"continues still." -msgstr "" -"Til Eric Eldred — hvis arbeid fÃ¸rst trakk meg til denne saken, og for " -"hvem saken fortsetter." - -#. type: Content of: <book><lot><title> -msgid "List of figures" -msgstr "Figuroversikt" - -#. type: Content of: <book><preface><title> -msgid "PREFACE" -msgstr "Forord" - -#. type: Content of: <book><preface><indexterm><primary> -msgid "Pogue, David" -msgstr "Pogue, David" - -#. type: Content of: <book><preface><para> -msgid "" -"<emphasis role=\"bold\">At the end</emphasis> of his review of my first " -"book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David " -"Pogue, a brilliant writer and author of countless technical and computer-" -"related texts, wrote this:" -msgstr "" -"<emphasis role=\"bold\">I slutten av</emphasis> sin gjennomgang av min " -"fÃ¸rste bok <citetitle>Code: And Other Laws of Cyberspace</citetitle>, skrev " -"David Pogue, en glimrende skribent og forfatter av utallige tekniske og " -"datarelaterte tekster, dette:" - -#. type: Content of: <book><preface><blockquote><para><footnote><para> -msgid "" -"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " -"York Times</citetitle>, 30 January 2000." -msgstr "" -"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " -"York Times</citetitle>, 30. januar 2000." - -#. type: Content of: <book><preface><blockquote><para> -msgid "" -"Unlike actual law, Internet software has no capacity to punish. It doesn't " -"affect people who aren't online (and only a tiny minority of the world " -"population is). And if you don't like the Internet's system, you can always " -"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I motsetning til rettslige lover, har ikke Internett-programvare " -"evnen til Ã¥ straffe. Den pÃ¥virker ikke folk som ikke er online (og " -"bare en svÃ¦rt liten minoritet av verdens befolkning er online). Og hvis du " -"ikke liker systemet med Internett, kan du alltid skru av modemet." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><preface><para> -msgid "" -"Pogue was skeptical of the core argument of the book—that software, or " -"<quote>code,</quote> functioned as a kind of law—and his review " -"suggested the happy thought that if life in cyberspace got bad, we could " -"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a " -"switch and be back home. Turn off the modem, unplug the computer, and any " -"troubles that exist in <emphasis>that</emphasis> space wouldn't " -"<quote>affect</quote> us anymore." -msgstr "" -"Pogue var skeptisk til bokens hovedpoeng — at " -"programvare, eller <quote>kode</quote>, fungerte som en slags lov — " -"og foreslo i sin anmeldelse den lykkelige tanken at hvis tilvÃ¦relsen i cyberspace " -"ble slett, kan vi alltid, liksom pÃ¥ magisk vis, slÃ¥ over en bryter og " -"vÃ¦re hjemme igjen. Skru av modemet, koble fra datamaskinen, og eventuelle " -"problemer som finnes <emphasis>den</emphasis> virkeligheten ville ikke " -"<quote>pÃ¥virke</quote> oss mer." - -#. PAGE BREAK 12 -#. type: Content of: <book><preface><para> -msgid "" -"Pogue might have been right in 1999—I'm skeptical, but maybe. But " -"even if he was right then, the point is not right now: <citetitle>Free " -"Culture</citetitle> is about the troubles the Internet causes even after the " -"modem is turned off. It is an argument about how the battles that now rage " -"regarding life on-line have fundamentally affected <quote>people who aren't " -"online.</quote> There is no switch that will insulate us from the Internet's " -"effect." -msgstr "" -"Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " -"Men selv om han hadde rett da, er ikke argumentet gyldig lenger. " -"<citetitle>Fri kultur</citetitle> er om problemene Internett forÃ¥rsaker selv " -"etter at modemet er slÃ¥tt av. Den er et argument om hvordan slagene som nÃ¥ " -"ukjempes om livet online fundamentalt pÃ¥virker <quote>folk som ikke er " -"pÃ¥logget.</quote> Det finnes ingen bryter som kan isolere oss fra " -"Internettets pÃ¥virkning." - -#. type: Content of: <book><preface><para> -msgid "" -"But unlike <citetitle>Code</citetitle>, the argument here is not much about " -"the Internet itself. It is instead about the consequence of the Internet to " -"a part of our tradition that is much more fundamental, and, as hard as this " -"is for a geek-wanna-be to admit, much more important." -msgstr "" -"Men i motsetning til boken <citetitle>Code</citetitle>, er tema her " -"ikke sÃ¥ mye Internett i seg selv. Istedet er boken om konsekvensen av " -"Internett for en del av vÃ¥r tradisjon som er mye mer grunnleggende, og " -"uansett hvor hardt dette er for en geek-wanna-be Ã¥ innrÃ¸mme, mye viktigere." - -#. type: Content of: <book><preface><para><footnote><para> -msgid "" -"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " -"(Joshua Gay, ed. 2002)." -msgstr "" -"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " -"(Joshua Gay, red. 2002)." - -#. type: Content of: <book><preface><para> -msgid "" -"That tradition is the way our culture gets made. As I explain in the pages " -"that follow, we come from a tradition of <quote>free culture</quote>—" -"not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase " -"from the founder of the free software movement<placeholder type=\"footnote\" " -"id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> " -"<quote>free markets,</quote> <quote>free trade,</quote> <quote>free " -"enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</" -"quote> A free culture supports and protects creators and innovators. It does " -"this directly by granting intellectual property rights. But it does so " -"indirectly by limiting the reach of those rights, to guarantee that follow-" -"on creators and innovators remain <emphasis>as free as possible</emphasis> " -"from the control of the past. A free culture is not a culture without " -"property, just as a free market is not a market in which everything is free. " -"The opposite of a free culture is a <quote>permission culture</quote>—" -"a culture in which creators get to create only with the permission of the " -"powerful, or of creators from the past." -msgstr "" -"Den tradisjonen er mÃ¥ten vÃ¥r kultur blir laget pÃ¥. Som jeg vil forklare i " -"sidene som fÃ¸lger, kommer vi fra en tradisjon av <quote>fri kultur</" -"quote>—ikke <quote>fri</quote> som i <quote>fri bar</quote> (for Ã¥ " -"lÃ¥ne et uttrykk fra stifteren av fri programvarebevegelsen<placeholder type=" -"\"footnote\" id=\"0\"/>), men <quote>fri</quote> som i <quote>talefrihet</" -"quote>, <quote>fritt marked</quote>, <quote>frihandel</quote>, <quote>fri " -"konkurranse</quote>, <quote>fri vilje</quote> og <quote>frie valg</quote>. " -"En fri kultur stÃ¸tter og beskytter skapere og oppfinnere. Dette gjÃ¸r den " -"direkte ved Ã¥ tildele immaterielle rettigheter. Men det gjÃ¸r den indirekte " -"ved Ã¥ begrense rekkevidden for disse rettighetene, for Ã¥ garantere at neste " -"generasjon skapere og oppfinnere forblir <emphasis>sÃ¥ fri som mulig</" -"emphasis> fra kontroll fra fortiden. En fri kultur er ikke en kultur uten " -"eierskap, like lite som et fritt marked er et marked der alt er gratis. Det " -"motsatte av fri kultur er <quote>tillatelseskultur</quote>—en kultur " -"der skapere kun kan skape med tillatelse fra de mektige, eller fra skaperne " -"fra fortiden." - -#. type: Content of: <book><preface><para> -msgid "" -"If we understood this change, I believe we would resist it. Not <quote>we</" -"quote> on the Left or <quote>you</quote> on the Right, but we who have no " -"stake in the particular industries of culture that defined the twentieth " -"century. Whether you are on the Left or the Right, if you are in this sense " -"disinterested, then the story I tell here will trouble you. For the changes " -"I describe affect values that both sides of our political culture deem " -"fundamental." -msgstr "" -"Hvis vi forsto denne endringen, sÃ¥ tror jeg vi ville stÃ¥ imot den. Ikke " -"<quote>vi</quote> pÃ¥ venstresiden eller <quote>dere</quote> pÃ¥ hÃ¸yresiden, " -"men vi som ikke har investert i den spesifikke kulturindustrien som har " -"definert det tjuende Ã¥rhundre. Enten du er pÃ¥ venstre eller hÃ¸yresiden, hvis " -"du i denne forstand ikke har interesser, vil historien jeg forteller her gi " -"deg problemer. For endringene jeg beskriver pÃ¥virker verdier som begge sider " -"av vÃ¥r politiske kultur anser som grunnleggende." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "power, concentration of" -msgstr "makt, konsentrasjon av" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "CodePink Women in Peace" -msgstr "codePink-kvinner i fred" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Safire, William" -msgstr "Safire, William" - -#. type: Content of: <book><preface><indexterm><primary> -msgid "Stevens, Ted" -msgstr "Stevens, Ted" - -#. type: Content of: <book><preface><para> -msgid "" -"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " -"the FCC considered changes in media ownership rules that would relax limits " -"on media concentration, an extraordinary coalition generated more than " -"700,000 letters to the FCC opposing the change. As William Safire described " -"marching <quote>uncomfortably alongside CodePink Women for Peace and the " -"National Rifle Association, between liberal Olympia Snowe and conservative " -"Ted Stevens,</quote> he formulated perhaps most simply just what was at " -"stake: the concentration of power. And as he asked," -msgstr "" -"Vi sÃ¥ et glimt av dette tverrpolitiske raseri pÃ¥ forsommeren i 2003. Da FCC " -"vurderte endringer i reglene for medieeierskap som ville slakke pÃ¥ " -"begrensningene rundt mediekonsentrasjon, sendte en ekstraordinÃ¦r koalisjon " -"mer enn 700 000 brev til FCC for Ã¥ motsette seg endringen. Mens William " -"Safire beskrev Ã¥ marsjere <quote>ubehagelig sammen med CodePink Women for " -"Peace and the National Rifle Association, mellom liberale Olympia Snowe og " -"konservative Ted Stevens</quote>, formulerte han kanskje det enkleste " -"uttrykket for hva som var pÃ¥ spill: konsentrasjonen av makt. SÃ¥ spurte han:" - -#. type: Content of: <book><preface><blockquote><para><footnote><para> -msgid "" -"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " -"Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " -"Times</citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><preface><blockquote><para> -msgid "" -"Does that sound unconservative? Not to me. The concentration of power—" -"political, corporate, media, cultural—should be anathema to " -"conservatives. The diffusion of power through local control, thereby " -"encouraging individual participation, is the essence of federalism and the " -"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"HÃ¸res dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av " -"makt—politisk, selskapsmessig, pressemessig, kulturelt—bÃ¸r vÃ¦re " -"bannlyst av konservative. Spredningen av makt gjennom lokal kontroll, og " -"derigjennom oppmuntre til individuell deltagelse, er essensen i fÃ¸deralismen " -"og det stÃ¸rste uttrykk for demokrati.<placeholder type=\"footnote\" id=\"0\"/" -">" - -#. type: Content of: <book><preface><para> -msgid "" -"This idea is an element of the argument of <citetitle>Free Culture</" -"citetitle>, though my focus is not just on the concentration of power " -"produced by concentrations in ownership, but more importantly, if because " -"less visibly, on the concentration of power produced by a radical change in " -"the effective scope of the law. The law is changing; that change is altering " -"the way our culture gets made; that change should worry you—whether or " -"not you care about the Internet, and whether you're on Safire's left or on " -"his right." -msgstr "" -"Denne idÃ©en er et element i argumentet til <citetitle>Fri kultur</" -"citetitle>, selv om min fokus ikke bare er pÃ¥ konsentrasjonen av makt som " -"fÃ¸lger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " -"synlig, pÃ¥ konsentrasjonen av makt som er resultat av en radikal endring i " -"det effektive virkeomrÃ¥det til loven. Loven er i endring, og endringen " -"forandrer pÃ¥ hvordan vÃ¥r kultur blir skapt. Den endringen bÃ¸r bekymre " -"deg—Uansett om du bryr deg om Internett eller ikke, og uansett om du " -"er til venstre for Safires eller til hÃ¸yre." - -#. type: Content of: <book><preface><para> -msgid "" -"<emphasis role=\"strong\">The inspiration</emphasis> for the title and for " -"much of the argument of this book comes from the work of Richard Stallman " -"and the Free Software Foundation. Indeed, as I reread Stallman's own work, " -"especially the essays in <citetitle>Free Software, Free Society</citetitle>, " -"I realize that all of the theoretical insights I develop here are insights " -"Stallman described decades ago. One could thus well argue that this work is " -"<quote>merely</quote> derivative." -msgstr "" -"<emphasis role=\"strong\">Inspirasjonen</emphasis> til tittelen og mye av " -"argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free " -"Software Foundation. Faktisk, da jeg leste Stallmans egne tekster pÃ¥ nytt, " -"spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " -"innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " -"som Stallman beskrev for tiÃ¥r siden. Man kan dermed godt argumentere for at " -"dette verket <quote>kun</quote> er et avledet verk." - -#. PAGE BREAK 14 -#. type: Content of: <book><preface><para> -msgid "" -"I accept that criticism, if indeed it is a criticism. The work of a lawyer " -"is always derivative, and I mean to do nothing more in this book than to " -"remind a culture about a tradition that has always been its own. Like " -"Stallman, I defend that tradition on the basis of values. Like Stallman, I " -"believe those are the values of freedom. And like Stallman, I believe those " -"are values of our past that will need to be defended in our future. A free " -"culture has been our past, but it will only be our future if we change the " -"path we are on right now. Like Stallman's arguments for free software, an " -"argument for free culture stumbles on a confusion that is hard to avoid, and " -"even harder to understand. A free culture is not a culture without property; " -"it is not a culture in which artists don't get paid. A culture without " -"property, or in which creators can't get paid, is anarchy, not freedom. " -"Anarchy is not what I advance here." -msgstr "" -"Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat " -"er alltid avledede verker, og jeg mener ikke Ã¥ gjÃ¸re noe mer i denne boken " -"enn Ã¥ minne en kultur om en tradisjon som alltid har vÃ¦rt deres egen. Som " -"Stallman forsvarer jeg denne tradisjonen pÃ¥ grunnlag av verdier. Som " -"Stallman tror jeg dette er verdiene til frihet. Og som Stallman, tror jeg " -"dette er verdier fra vÃ¥r fortid som mÃ¥ forsvares i vÃ¥r fremtid. En fri " -"kultur har vÃ¦rt vÃ¥r fortid, men vil bare vÃ¦re vÃ¥r fremtid hvis vi endrer " -"retningen vi fÃ¸lger akkurat nÃ¥. PÃ¥ samme mÃ¥te som Stallmans argumenter for " -"fri programvare, treffer argumenter for en fri kultur pÃ¥ forvirring som er " -"vanskelig Ã¥ unngÃ¥, og enda vanskeligere Ã¥ forstÃ¥. En fri kultur er ikke en " -"kultur uten eierskap. Det er ikke en kultur der kunstnere ikke fÃ¥r betalt. " -"En kultur uten eierskap eller en der skaperne ikke kan fÃ¥ betalt, er anarki, " -"ikke frihet. Anarki er ikke hva jeg fremmer her." - -#. type: Content of: <book><preface><para> -msgid "" -"Instead, the free culture that I defend in this book is a balance between " -"anarchy and control. A free culture, like a free market, is filled with " -"property. It is filled with rules of property and contract that get enforced " -"by the state. But just as a free market is perverted if its property becomes " -"feudal, so too can a free culture be queered by extremism in the property " -"rights that define it. That is what I fear about our culture today. It is " -"against that extremism that this book is written." -msgstr "" -"I stedet er den frie kulturen som jeg forsvarer i denne boken en balanse " -"mellom anarki og kontroll. En fri kultur, i likhet med et fritt marked, er " -"fylt med eierskap. Den er fylt med regler for eierskap og kontrakter som " -"blir hÃ¥ndhevet av staten. Men pÃ¥ samme mÃ¥te som det frie markedet blir " -"pervertert hvis dets eierskap blir fÃ¸ydalt, sÃ¥ kan en fri kultur bli Ã¸delagt " -"av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg " -"frykter om vÃ¥r kultur i dag. Det er som motpol til denne ekstremismen at " -"denne boken er skrevet." - -#. type: Content of: <book><chapter><title> -msgid "INTRODUCTION" -msgstr "Introduksjon" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Wright brothers" -msgstr "Wright-brÃ¸drene" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">On December 17</emphasis>, 1903, on a windy North " -"Carolina beach for just shy of one hundred seconds, the Wright brothers " -"demonstrated that a heavier-than-air, self-propelled vehicle could fly. The " -"moment was electric and its importance widely understood. Almost " -"immediately, there was an explosion of interest in this newfound technology " -"of manned flight, and a gaggle of innovators began to build upon it." -msgstr "" -"<emphasis role=\"strong\">Den 17. desember</emphasis> 1903, pÃ¥ en vindfylt " -"strand i Nord-Carolina i sÃ¥vidt under hundre sekunder, demonstrerte Wright-" -"brÃ¸drene at et selvdrevet fartÃ¸y tyngre enn luft kunne fly. Ãyeblikket var " -"elektrisk, og dets betydning ble alment forstÃ¥tt. Interessen for denne nye " -"teknologien som muliggjorde bemannet luftfart eksploderte nesten " -"umiddelbart, og en hÃ¦rskare av oppfinnere begynte Ã¥ bygge videre pÃ¥ den." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "air traffic, land ownership vs." -msgstr "lufttrafikk, landeierskap mot" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "land ownership, air traffic and" -msgstr "landeierskap, lufttrafikk og" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "property rights" -msgstr "eiendomsrettigheter" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "air traffic vs." -msgstr "lufttrafikk mot" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " -"Hackensack, N.J.: Rothman Reprints, 1969), 18." -msgstr "" -"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " -"Hackensack, N.J.: Rothman Reprints, 1969), 18." - -#. type: Content of: <book><chapter><para> -msgid "" -"At the time the Wright brothers invented the airplane, American law held " -"that a property owner presumptively owned not just the surface of his land, " -"but all the land below, down to the center of the earth, and all the space " -"above, to <quote>an indefinite extent, upwards.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how best " -"to interpret the idea that rights in land ran to the heavens. Did that mean " -"that you owned the stars? Could you prosecute geese for their willful and " -"regular trespass?" -msgstr "" -"Da Wright-brÃ¸drene fant opp flymaskinen, hevdet loven i USA at en grunneier " -"ble antatt Ã¥ eie ikke bare overflaten pÃ¥ omrÃ¥det sitt, men ogsÃ¥ alt landet " -"under bakken, helt ned til senterpunktet i jorda, og alt volumet over " -"bakken, <quote>i ubestemt grad, oppover</quote>.<placeholder type=\"footnote" -"\" id=\"0\"/> I mange Ã¥r undret lÃ¦rde over hvordan en best skulle tolke " -"idÃ©en om at eiendomsretten gikk helt til himmelen. BetÃ¸d dette at du eide " -"stjernene? Kunne en dÃ¸mme gjess for at de regelmessig og med vilje tok seg " -"inn pÃ¥ annen manns eiendom?" - -#. type: Content of: <book><chapter><para> -msgid "" -"Then came airplanes, and for the first time, this principle of American " -"law—deep within the foundations of our tradition, and acknowledged by " -"the most important legal thinkers of our past—mattered. If my land " -"reaches to the heavens, what happens when United flies over my field? Do I " -"have the right to banish it from my property? Am I allowed to enter into an " -"exclusive license with Delta Airlines? Could we set up an auction to decide " -"how much these rights are worth?" -msgstr "" -"SÃ¥ kom flymaskiner, og for fÃ¸rste gang hadde dette prinsippet i lovverket i " -"USA—dypt nede i grunnlaget for vÃ¥r tradisjon og akseptert av de " -"viktigste juridiske tenkerne i vÃ¥r fortid—en betydning. Hvis min " -"eiendom rekker til himmelen, hva skjer nÃ¥r United flyr over mitt omrÃ¥de? " -"Har jeg rett til Ã¥ nekte dem Ã¥ bruke min eiendom? Har jeg mulighet til Ã¥ " -"inngÃ¥ en eksklusiv avtale med Delta Airlines? Kan vi gjennomfÃ¸re en auksjon " -"for Ã¥ finne ut hvor mye disse rettighetene er verdt?" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Causby, Thomas Lee" -msgstr "Causby, Thomas Lee" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Causby, Tinie" -msgstr "Causby, Tinie" - -#. type: Content of: <book><chapter><para> -msgid "" -"In 1945, these questions became a federal case. When North Carolina farmers " -"Thomas Lee and Tinie Causby started losing chickens because of low-flying " -"military aircraft (the terrified chickens apparently flew into the barn " -"walls and died), the Causbys filed a lawsuit saying that the government was " -"trespassing on their land. The airplanes, of course, never touched the " -"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " -"said, their land reached to <quote>an indefinite extent, upwards,</quote> " -"then the government was trespassing on their property, and the Causbys " -"wanted it to stop." -msgstr "" -"I 1945 ble disse spÃ¸rsmÃ¥lene en fÃ¸deral sak. Da bÃ¸ndene Thomas Lee og Tinie " -"Causby i Nord Carolina begynte Ã¥ miste kyllinger pÃ¥ grunn av lavtflygende " -"militÃ¦re fly (vettskremte kyllinger flÃ¸y tilsynelatende i lÃ¥veveggene og " -"dÃ¸de), saksÃ¸kte Causbyene regjeringen for Ã¥ trenge seg inn pÃ¥ deres eiendom. " -"Flyene rÃ¸rte selvfÃ¸lgelig aldri overflaten pÃ¥ Causbys' eiendom. Men hvis det " -"stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg " -"<quote>i ubestemt grad, oppover,</quote> sÃ¥ hadde regjeringen trengt seg inn " -"pÃ¥ deres eiendom, og Causbys Ã¸nsket Ã¥ sette en stopper for dette." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Douglas, William O." -msgstr "Douglas, William O." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Supreme Court, U.S." -msgstr "HÃ¸yesterett, USA" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on airspace vs. land rights" -msgstr "om luftrom mot landrettigheter" - -#. 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 " -"<quote>taking</quote> of property without compensation. The Court " -"acknowledged that <quote>it is ancient doctrine that common law ownership of " -"the land extended to the periphery of the universe.</quote> But Justice " -"Douglas had no patience for ancient doctrine. In a single paragraph, " -"hundreds of years of property law were erased. As he wrote for the Court," -msgstr "" -"HÃ¸yesterett gikk med pÃ¥ Ã¥ ta opp Causbys sak. Kongressen hadde vedtatt at " -"luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig " -"rakk til himmelen, da kunne muligens kongressens vedtak ha vÃ¦rt i strid med " -"grunnlovens forbud mot Ã¥ <quote>ta</quote> eiendom uten kompensasjon. " -"Retten erkjente at <quote>det er gammel doktrine etter sedvane at en eiendom " -"rakk til utkanten av universet.</quote>, men dommer Douglas hadde ikke " -"tÃ¥lmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble hundrevis " -"av Ã¥r med eiendomslovgivningen strÃ¸ket. Som han skrev pÃ¥ vegne av retten," - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "" -"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " -"there could be a <quote>taking</quote> if the government's use of its land " -"effectively destroyed the value of the Causbys' land. This example was " -"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) " -"Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</" -"quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " -"also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " -"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne vÃ¦re " -"Ã¥ <quote>ta</quote> hvis regjeringens bruk av sitt land reelt sett hadde " -"Ã¸delagt verdien av eiendomen til Causby. Dette eksemplet ble foreslÃ¥tt for " -"meg i Keith Aokis flotte stykke, <quote>(intellectual) Property and " -"Sovereignty: Notes Toward a cultural Geography of Authorship</quote>, " -"<citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. Se ogsÃ¥ " -"Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " -"Foundation Press (1984)), 1112–13. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"[The] doctrine has no place in the modern world. The air is a public " -"highway, as Congress has declared. Were that not true, every " -"transcontinental flight would subject the operator to countless trespass " -"suits. Common sense revolts at the idea. To recognize such private claims to " -"the airspace would clog these highways, seriously interfere with their " -"control and development in the public interest, and transfer into private " -"ownership that to which only the public has a just claim.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"[Denne] doktrinen har ingen plass i den moderne verden. Luften er en " -"offentlig motorvei, slik kongressen har erklÃ¦rt. Hvis det ikke var " -"tilfelle, ville hver eneste transkontinentale flyrute utsette operatÃ¸rene " -"for utallige sÃ¸ksmÃ¥l om inntrenging pÃ¥ annen manns eiendom. IdÃ©en er i " -"strid med sunn fornuft. Ã anerkjenne slike private krav til luftrommet " -"ville blokkere disse motorveiene, seriÃ¸st forstyrre muligheten til kontroll " -"og utvikling av dem i fellesskapets interesse og overfÃ¸re til privat " -"eierskap det som kun fellesskapet har et rimelig krav til.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "<quote>Common sense revolts at the idea.</quote>" -msgstr "<quote>IdÃ©en er i strid med sunn fornuft.</quote>" - -#. 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: <quote>Common sense revolts at the idea." -"</quote> But whether it takes pages or a few words, it is the special genius " -"of a common law system, as ours is, that the law adjusts to the technologies " -"of the time. And as it adjusts, it changes. Ideas that were as solid as rock " -"in one age crumble in another." -msgstr "" -"Det er hvordan loven vanligvis fungerer. Ikke ofte like brÃ¥tt eller " -"utÃ¥lmodig, men til slutt er dette hvordan loven fungerer. Det var ikke " -"stilen til Douglas Ã¥ utbrodere. Andre dommere ville ha skrevet mange flere " -"sider fÃ¸r de nÃ¥dde sin konklusjon, men for Douglas holdt det med en enkel " -"linje: <quote>IdÃ©en er i strid med sunn fornuft.</quote>. Men uansett om " -"det tar flere sider eller kun noen fÃ¥ ord, sÃ¥ er det en genial egenskap med " -"et rettspraksis-system, slik som vÃ¥rt er, at loven tilpasser seg til " -"aktuelle teknologiene. Og mens den tilpasser seg, sÃ¥ endres den. IdÃ©er som " -"var solide som fjell i en tidsalder knuses i en annen." - -#. 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 <quote>what seemed reasonable</quote> given the technology " -"that the Wrights had produced. They could stand on their farms, dead " -"chickens in hand, and shake their fists at these newfangled technologies all " -"they wanted. They could call their representatives or even file a lawsuit. " -"But in the end, the force of what seems <quote>obvious</quote> to everyone " -"else—the power of <quote>common sense</quote>—would prevail. " -"Their <quote>private interest</quote> would not be allowed to defeat an " -"obvious public gain." -msgstr "" -"Eller, det er hvordan ting skjer nÃ¥r det ikke er noen mektige pÃ¥ andre siden " -"av endringen. Causbyene var bare bÃ¸nder. Og selv om det uten tvil var " -"mange som dem som var lei av den Ã¸kende trafikken i luften (og en hÃ¥per ikke " -"for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden " -"finne det svÃ¦rt hardt Ã¥ samles for Ã¥ stoppe idÃ©en, og teknologien, som " -"Wright-brÃ¸drene hadde fÃ¸rt til verden. Wright-brÃ¸drene spyttet flymaskiner " -"inn i den teknologiske meme-dammen. IdÃ©en spredte seg deretter som et virus " -"i en kyllingfarm. Causbyene i verden fant seg selv omringet av <quote>det " -"synes rimelig</quote> gitt teknologien som Wright-brÃ¸drene hadde produsert. " -"De kunne stÃ¥ pÃ¥ sine gÃ¥rder, med dÃ¸de kyllinger i hendene, og heve " -"knyttneven mot disse nye teknologiene sÃ¥ mye de ville. De kunne ringe sine " -"representanter eller til og med saksÃ¸ke. Men nÃ¥r alt kom til alt, ville " -"kraften i det som virket <quote>Ã¥penbart</quote> for alle andre—makten " -"til <quote>sunn fornuft</quote>—ville vinne frem. Deres " -"<quote>personlige interesser</quote> ville ikke fÃ¥ lov til Ã¥ nedkjempe en " -"Ã¥penbar fordel for fellesskapet." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Armstrong, Edwin Howard" -msgstr "Armstrong, Edwin Howard" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Bell, Alexander Graham" -msgstr "Bell, Alexander Graham" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Edison, Thomas" -msgstr "Edison, Thomas" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Faraday, Michael" -msgstr "Faraday, Michael" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "radio" -msgstr "radio" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "FM spectrum of" -msgstr "FM-spektrum for" - -#. PAGE BREAK 19 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> is one of " -"America's forgotten inventor geniuses. He came to the great American " -"inventor scene just after the titans Thomas Edison and Alexander Graham " -"Bell. But his work in the area of radio technology was perhaps the most " -"important of any single inventor in the first fifty years of radio. He was " -"better educated than Michael Faraday, who as a bookbinder's apprentice had " -"discovered electric induction in 1831. But he had the same intuition about " -"how the world of radio worked, and on at least three occasions, Armstrong " -"invented profoundly important technologies that advanced our understanding " -"of radio." -msgstr "" -"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> er en av USAs " -"glemte oppfinnergenier. Han dukket opp pÃ¥ oppfinnerscenen etter titaner som " -"Thomas Edison og Alexander Graham Bell. Alle hans bidrag pÃ¥ omrÃ¥det " -"radioteknologi gjÃ¸r han til kanskje den viktigste av alle enkeltoppfinnere i " -"de fÃ¸rste femti Ã¥rene av radio. Han var bedre utdannet enn Michael Faraday, " -"som var bokbinderlÃ¦rling da han oppdaget elektrisk induksjon i 1831. Men " -"han hadde like god intuisjon om hvordan radioverden virket, og ved minst tre " -"anledninger, fant Armstrong opp svÃ¦rt viktig teknologier som brakte vÃ¥r " -"forstÃ¥else av radio et hopp videre." - -#. type: Content of: <book><chapter><para> -msgid "" -"On the day after Christmas, 1933, four patents were issued to Armstrong for " -"his most significant invention—FM radio. Until then, consumer radio " -"had been amplitude-modulated (AM) radio. The theorists of the day had said " -"that frequency-modulated (FM) radio could never work. They were right about " -"FM radio in a narrow band of spectrum. But Armstrong discovered that " -"frequency-modulated radio in a wide band of spectrum would deliver an " -"astonishing fidelity of sound, with much less transmitter power and static." -msgstr "" -"Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for " -"hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde " -"forbrukerradioer vÃ¦rt amplitude-modulert (AM) radio. Tidens teoretikere " -"hadde sagt at frekvens-modulert (FM) radio. De hadde rett nÃ¥r det gjelder " -"et smalt bÃ¥nd av spektrumet. Men Armstrong oppdaget at frekvens-modulert " -"radio i et vidt bÃ¥nd i spektrumet leverte en forblÃ¸ffende gjengivelse av " -"lyd, med mye mindre senderstyrke og stÃ¸y." - -#. 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: <quote>This is amateur station W2AG at Yonkers, New " -"York, operating on frequency modulation at two and a half meters.</quote>" -msgstr "" -"Den 5. november 1935 demonstrerte han teknologien pÃ¥ et mÃ¸te hos institutt " -"for radioingeniÃ¸rer ved Empire State-bygningen i New York City. Han vred " -"radiosÃ¸keren over en rekke AM-stasjoner, inntil radioen lÃ¥ste seg mot en " -"kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt " -"stille, som om den var dÃ¸d, og sÃ¥, med en klarhet ingen andre i rommet noen " -"gang hadde hÃ¸rt fra et elektrisk apparat, produserte det lyden av en " -"opplesers stemme: <quote>Dette er amatÃ¸rstasjon W2AG ved Yonkers, New York, " -"som opererer pÃ¥ frekvensmodulering ved to og en halv meter.</quote>" - -#. type: Content of: <book><chapter><para> -msgid "The audience was hearing something no one had thought possible:" -msgstr "Publikum hÃ¸rte noe ingen hadde trodd var mulig:" - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "" -"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" -"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." -msgstr "" -"Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" -"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"A glass of water was poured before the microphone in Yonkers; it sounded " -"like a glass of water being poured. … A paper was crumpled and torn; " -"it sounded like paper and not like a crackling forest fire. … Sousa " -"marches were played from records and a piano solo and guitar number were " -"performed. … The music was projected with a live-ness rarely if ever " -"heard before from a radio <quote>music box.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hÃ¸rtes ut som " -"et glass som ble fylt opp. … Et papir ble krÃ¸llet og revet opp, og " -"det hÃ¸rtes ut som papir og ikke som en sprakende skogbrann. … Sousa-" -"marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble " -"utfÃ¸rt. … Musikken ble presentert med en livaktighet som sjeldent om " -"noen gang fÃ¸r hadde vÃ¦rt hÃ¸rt fra en radio-<quote>musikk-boks</quote>." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "RCA" -msgstr "RCA" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "media" -msgstr "media" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "ownership concentration in" -msgstr "eierskapskonsentrasjon i" - -#. 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 vÃ¥r egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye " -"bedre radioteknologi. Men pÃ¥ tidspunktet for hans oppfinnelse, jobbet " -"Armstrong for RCA. RCA var den dominerende aktÃ¸ren i det da dominerende AM-" -"radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men " -"stasjonene i de store byene var alle eid av en liten hÃ¥ndfull selskaper." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Sarnoff, David" -msgstr "Sarnoff, David" - -#. type: Content of: <book><chapter><para> -msgid "" -"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " -"Armstrong discover a way to remove static from AM radio. So Sarnoff was " -"quite excited when Armstrong told him he had a device that removed static " -"from <quote>radio.</quote> But when Armstrong demonstrated his invention, " -"Sarnoff was not pleased." -msgstr "" -"Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter Ã¥ fÃ¥ " -"Armstrong til Ã¥ oppdage en mÃ¥te Ã¥ fjerne stÃ¸yen fra AM-radio. SÃ¥ Sarnoff var " -"ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet " -"stÃ¸y fra <quote>radio.</quote>. Men da Armstrong demonstrerte sin " -"oppfinnelse, var ikke Sarnoff fornÃ¸yd." - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "" -"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " -"First Electronic Church of America, at www.webstationone.com/fecha, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." -msgstr "" -"Se <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " -"fÃ¸rste elektroniske kirke i USA, hos www.webstationone.com/fecha, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #1</" -"ulink>." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"I thought Armstrong would invent some kind of a filter to remove static from " -"our AM radio. I didn't think he'd start a revolution— start up a whole " -"damn new industry to compete with RCA.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Jeg trodde Armstrong ville finne opp et slags filter for Ã¥ fjerne skurring " -"fra AM-radioen vÃ¥r. Jeg trodde ikke han skulle starte en revolusjon — " -"starte en hel forbannet ny industri i konkurranse med RCA.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "FM radio" -msgstr "FM-radio" - -#. 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 RCAs AM-herredÃ¸mme, sÃ¥ selskapet lanserte en " -"kampanje for Ã¥ kvele FM-radio. Mens FM kan ha vÃ¦rt en overlegen teknologi, " -"var Sarnoff en overlegen taktiker. En forfatter beskrev det slik," - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Lessing, Lawrence" -msgstr "Lessing, Lawrence" - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "Lessing, 226." -msgstr "Lessing, 226." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"The forces for FM, largely engineering, could not overcome the weight of " -"strategy devised by the sales, patent, and legal offices to subdue this " -"threat to corporate position. For FM, if allowed to develop unrestrained, " -"posed … a complete reordering of radio power … and the " -"eventual overthrow of the carefully restricted AM system on which RCA had " -"grown to power.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Kreftene til fordel for FM, i hovedsak ingeniÃ¸rfaglige, kunne ikke overvinne " -"tyngden til strategien utviklet av avdelingene for salg, patenter og juss " -"for Ã¥ undertrykke denne trusselen til selskapets posisjon. For FM utgjorde, " -"hvis det fikk utvikle seg uten begrensninger … en komplett endring i " -"maktforholdene rundt radio … og muligens fjerningen av det nÃ¸ye " -"begrensede AM-systemet som var grunnlaget for RCA stigning til makt." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "FCC" -msgstr "FCC" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on FM radio" -msgstr "om FM-radio" - -#. type: Content of: <book><chapter><para> -msgid "" -"RCA at first kept the technology in house, insisting that further tests were " -"needed. When, after two years of testing, Armstrong grew impatient, RCA " -"began to use its power with the government to stall FM radio's deployment " -"generally. In 1936, RCA hired the former head of the FCC and assigned him " -"the task of assuring that the FCC assign spectrum in a way that would " -"castrate FM—principally by moving FM radio to a different band of " -"spectrum. At first, these efforts failed. But when Armstrong and the nation " -"were distracted by World War II, RCA's work began to be more successful. " -"Soon after the war ended, the FCC announced a set of policies that would " -"have one clear effect: FM radio would be crippled. As Lawrence Lessing " -"described it," -msgstr "" -"RCA holdt fÃ¸rst teknologien innomhus, og insistere pÃ¥ at det var nÃ¸dvendig " -"med ytterligere tester. Da Armstrong, etter to Ã¥r med testing, ble " -"utÃ¥lmodig, begynte RCA Ã¥ bruke sin makt hos myndighetene til holde tilbake " -"den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere " -"lederen av FCC og ga ham oppgaven med Ã¥ sikre at FCC tilordnet " -"radiospekteret pÃ¥ en mÃ¥te som ville kastrere FM—hovedsakelig ved Ã¥ " -"flytte FM-radio til et annet band i spekteret. I fÃ¸rste omgang lyktes ikke " -"disse forsÃ¸kene. Men mens Armstrong og nasjonen var distrahert av andre " -"verdenskrig, begynte RCAs arbeid Ã¥ bÃ¦re frukter. Like etter at krigen var " -"over, annonserte FCC et sett med avgjÃ¸relser som ville ha en klar effekt: FM-" -"radio ville bli forkrÃ¸plet.Lawrence lessing beskrevet det slik," - -#. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "Lessing, 256." -msgstr "Lessing, 256." - -#. type: Content of: <book><chapter><blockquote><para> -msgid "" -"The series of body blows that FM radio received right after the war, in a " -"series of rulings manipulated through the FCC by the big radio interests, " -"were almost incredible in their force and deviousness.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en " -"serie med avgjÃ¸relser manipulert gjennom FCC av de store radiointeressene, " -"var nesten utrolige i deres kraft og underfundighet.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "AT&T" -msgstr "AT&T" - -#. type: Content of: <book><chapter><para> -msgid "" -"To make room in the spectrum for RCA's latest gamble, television, FM radio " -"users were to be moved to a totally new spectrum band. The power of FM radio " -"stations was also cut, meaning FM could no longer be used to beam programs " -"from one part of the country to another. (This change was strongly " -"supported by AT&T, because the loss of FM relaying stations would mean " -"radio stations would have to buy wired links from AT&T.) The spread of " -"FM radio was thus choked, at least temporarily." -msgstr "" -"For Ã¥ gjÃ¸re plass i spektrumet for RCAs nyeste satsingsomrÃ¥de, televisjon, " -"skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet. " -"Sendestyrken til FM-radioene ble ogsÃ¥ redusert, og gjorde at FM ikke lenger " -"kunne brukes for Ã¥ sende programmer fra en del av landet til en annen. " -"(Denne endringen ble sterkt stÃ¸ttet av AT&T, pÃ¥ grunn av at fjerningen " -"av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nÃ¸dt " -"til Ã¥ kjÃ¸pe kablede linker fra AT&T.) Spredningen av FM-radio var " -"dermed kvalt, i hvert fall midlertidig." - -#. type: Content of: <book><chapter><para> -msgid "" -"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " -"patents. After incorporating FM technology into the emerging standard for " -"television, RCA declared the patents invalid—baselessly, and almost " -"fifteen years after they were issued. It thus refused to pay him royalties. " -"For six years, Armstrong fought an expensive war of litigation to defend the " -"patents. Finally, just as the patents expired, RCA offered a settlement so " -"low that it would not even cover Armstrong's lawyers' fees. Defeated, " -"broken, and now broke, in 1954 Armstrong wrote a short note to his wife and " -"then stepped out of a thirteenth-story window to his death." -msgstr "" -"Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. " -"Etter Ã¥ ha bakt FM-teknologi inn i den nye standarden for TV, erklÃ¦rte RCS " -"patentene ugyldige—uten grunn og nesten femten Ã¥r etter at de ble " -"utstedet. De nektet dermed Ã¥ betale ham for bruken av patentene. I seks Ã¥r " -"kjempet Armstrong en dyr sÃ¸ksmÃ¥lskrig for Ã¥ forsvare patentene sine. Til " -"slutt, samtidig som patentene utlÃ¸p, tilbÃ¸d RCA et forlik sÃ¥ lavt at det " -"ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nÃ¥ blakk, " -"skrev Armstrong i 1954 en kort beskjed til sin kone, fÃ¸r han gikk ut av et " -"vindu i trettende etasje og falt i dÃ¸den." - -#. PAGE BREAK 22 -#. type: Content of: <book><chapter><para> -msgid "" -"This is how the law sometimes works. Not often this tragically, and rarely " -"with heroic drama, but sometimes, this is how it works. From the beginning, " -"government and government agencies have been subject to capture. They are " -"more likely captured when a powerful interest is threatened by either a " -"legal or technical change. That powerful interest too often exerts its " -"influence within the government to get the government to protect it. The " -"rhetoric of this protection is of course always public spirited; the reality " -"is something different. Ideas that were as solid as rock in one age, but " -"that, left to themselves, would crumble in another, are sustained through " -"this subtle corruption of our political process. RCA had what the Causbys " -"did not: the power to stifle the effect of technological change." -msgstr "" -"Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden " -"med heltemodig drama, men noen ganger er det slik det virker. Fra starten " -"har myndigheter og myndighetsorganer blitt tatt til fange. Det er mer " -"sannsynlig at de blir fanget nÃ¥r en mektig interesse er truet av enten en " -"juridisk eller teknologisk endring. Denne mektige interessen utÃ¸ver for " -"ofte sin innflytelse hos myndighetene til Ã¥ fÃ¥ myndighetene til Ã¥ beskytte " -"den. Retorikken for denne beskyttelsen er naturligvis alltid med fokus pÃ¥ " -"fellesskapets beste. Realiteten er noe annet. IdÃ©er som kan vÃ¦re solide " -"som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i " -"en annen, er viderefÃ¸rt gjennom denne subtile korrupsjonen i vÃ¥r politiske " -"prosess. RCA hadde hva Causby-ene ikke hadde: Makten til Ã¥ undertrykke " -"effekten av en teknologisk endring." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Internet" -msgstr "internet" - -#. type: Content of: <book><chapter><section><indexterm><secondary> -msgid "development of" -msgstr "utviklingen av" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " -"Internet Access and the Digital Divide,</quote> Pew Internet and American " -"Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #2</ulink>." -msgstr "" -"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " -"Internet Access and the Digital Divide,</quote> Pew Internet and American " -"Life Project, 15. april 2003: 6, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #2</ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">There's no</emphasis> single inventor of the " -"Internet. Nor is there any good date upon which to mark its birth. Yet in a " -"very short time, the Internet has become part of ordinary American life. " -"According to the Pew Internet and American Life Project, 58 percent of " -"Americans had access to the Internet in 2002, up from 49 percent two years " -"before.<placeholder type=\"footnote\" id=\"0\"/> That number could well " -"exceed two thirds of the nation by the end of 2004." -msgstr "" -"<emphasis role=\"strong\">Det er ingen</emphasis> enkeltoppfinner av " -"Internet. Ei heller er det en god dato som kan brukes til Ã¥ markere nÃ¥r det " -"ble fÃ¸dt. Likevel har Internettet i lÃ¸pet av svÃ¦rt kort tid blitt en del av " -"vanlige amerikaneres liv. I fÃ¸lge the Pew Internet and American Life-" -"prosjektet, har 58 prosent av amerikanerne hatt tilgang til Internettet i " -"2002, opp fra 49 prosent to Ã¥r tidligere.<placeholder type=\"footnote\" id=" -"\"0\"/> Det tallet kan uten problemer passere to tredjedeler av nasjonen ved " -"utgangen av 2004." - -#. type: Content of: <book><chapter><para> -msgid "" -"As the Internet has been integrated into ordinary life, it has changed " -"things. Some of these changes are technical—the Internet has made " -"communication faster, it has lowered the cost of gathering data, and so on. " -"These technical changes are not the focus of this book. They are important. " -"They are not well understood. But they are the sort of thing that would " -"simply go away if we all just switched the Internet off. They don't affect " -"people who don't use the Internet, or at least they don't affect them " -"directly. They are the proper subject of a book about the Internet. But this " -"is not a book about the Internet." -msgstr "" -"Etter hvert som Internett er blitt integrert inn i det vanlige liv har ting " -"blitt endret. Noen av disse endringene er teknisk—Internettet har " -"gjort kommunikasjon raskere, det har redusert kostnaden med Ã¥ samle inn " -"data, og sÃ¥ videre. Disse tekniske endringene er ikke fokus for denne " -"boken. De er viktige. De er ikke godt forstÃ¥tt. Men de er den type ting " -"som ganske enkelt ville blir borte hvis vi alle bare slo av Internettet. De " -"pÃ¥virker ikke folk som ikke bruker Internettet, eller i det miste pÃ¥virker " -"det ikke dem direkte. De er et godt tema for en bok om Internettet. Men " -"dette er ikke en bok om Internettet." - -#. type: Content of: <book><chapter><para> -msgid "" -"Instead, this book is about an effect of the Internet beyond the Internet " -"itself: an effect upon how culture is made. My claim is that the Internet " -"has induced an important and unrecognized change in that process. That " -"change will radically transform a tradition that is as old as the Republic " -"itself. Most, if they recognized this change, would reject it. Yet most " -"don't even see the change that the Internet has introduced." -msgstr "" -"I stedet er denne boken om effekten av Internettet ut over internettet i seg " -"selv. En effekt pÃ¥ hvordan kultur blir skapt. Min pÃ¥stand er at " -"Internettet har fÃ¸rt til en viktig og ukjent endring i denne prosessen. " -"Denne endringen vil forandre en tradisjon som er like gammel som republikken " -"selv. De fleste, hvis de la merke til denne endringen, ville avvise den. " -"Men de fleste legger ikke engang merke til denne endringen som Internettet " -"har introdusert." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Barlow, Joel" -msgstr "Barlow, Joel" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "culture" -msgstr "kultur" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "commercial vs. noncommercial" -msgstr "kommersiell vs. ikke-kommersiell" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Webster, Noah" -msgstr "Webster, Noah" - -#. 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 " -"<quote>commercial culture</quote> I mean that part of our culture that is " -"produced and sold or produced to be sold. By <quote>noncommercial culture</" -"quote> I mean all the rest. When old men sat around parks or on street " -"corners telling stories that kids and others consumed, that was " -"noncommercial culture. When Noah Webster published his <quote>Reader,</" -"quote> or Joel Barlow his poetry, that was commercial culture." -msgstr "" -"Vi kan fÃ¥ en fÃ¸lelse av denne endringen ved Ã¥ skille mellom kommersiell og " -"ikke-kommersiell kultur, ved Ã¥ knytte lovens reguleringer til hver av dem. " -"Med <quote>kommersiell kultur</quote> mener jeg den delen av vÃ¥r kultur som " -"er produsert og solgt eller produsert for Ã¥ bli solgt. Med <quote>ikke-" -"kommersiell kultur</quote> mener jeg alt det andre. Da gamle menn satt rundt " -"i parker eller pÃ¥ gatehjÃ¸rner og fortalte historier som unger og andre " -"lyttet til, sÃ¥ var det ikke-kommersiell kultur. Da Noah Webster publiserte " -"sin <quote>Reader</quote>, eller Joel Barlow sin poesi, sÃ¥ var det " -"kommersiell kultur." - -#. 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 <quote>free.</" -"quote> The ordinary ways in which ordinary individuals shared and " -"transformed their culture—telling stories, reenacting scenes from " -"plays or TV, participating in fan clubs, sharing music, making tapes—" -"were left alone by the law." -msgstr "" -"Fra historisk tid, og for omtrent hele vÃ¥r tradisjon, har ikke-kommersiell " -"kultur i hovedsak ikke vÃ¦rt regulert. SelvfÃ¸lgelig, hvis din historie var " -"utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. " -"Men loven var aldri direkte interessert i skapingen eller spredningen av " -"denne form for kultur, og lot denne kulturen vÃ¦re <quote>fri</quote>. Den " -"vanlige mÃ¥ten som vanlige individer delte og formet deres kultur—" -"historiefortelling, formidling av scener fra teater eller TV, delta i fan-" -"klubber, deling av musikk, laging av kassetter—ble ikke styrt av " -"lovverket." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "copyright infringement lawsuits" -msgstr "sÃ¸ksmÃ¥l om krenkelse av opphavsrett" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "commercial creativity as primary purpose of" -msgstr "kommersiell kreativitet som hovedformÃ¥l for" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Brandeis, Louis D." -msgstr "Brandeis, Louis D." - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"This is not the only purpose of copyright, though it is the overwhelmingly " -"primary purpose of the copyright established in the federal constitution. " -"State copyright law historically protected not just the commercial interest " -"in publication, but also a privacy interest. By granting authors the " -"exclusive right to first publication, state copyright law gave authors the " -"power to control the spread of facts about them. See Samuel D. Warren and " -"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 " -"(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Dette er ikke det eneste formÃ¥let med opphavsrett, men det er helt klart " -"hovedformÃ¥let med opphavsretten slik den er etablert i fÃ¸deral grunnlov. " -"Ãndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle " -"interesse nÃ¥r det gjaldt publikasjoner, men ogsÃ¥ personverninteresser. Ved " -"Ã¥ gi forfattere eneretten til Ã¥ publisere fÃ¸rst, ga delstatenes " -"Ã¥ndsverkslovene forfatterne makt til Ã¥ kontrollere spredningen av fakta om " -"seg selv. Se Samuel D. Warren og Louis Brandeis, <quote>The Right to " -"Privacy</quote>, Harvard Law Review 4 (1890): 193, 198–200. " -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"The focus of the law was on commercial creativity. At first slightly, then " -"quite extensively, the law protected the incentives of creators by granting " -"them exclusive rights to their creative work, so that they could sell those " -"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " -"id=\"0\"/> This is also, of course, an important part of creativity and " -"culture, and it has become an increasingly important part in America. But in " -"no sense was it dominant within our tradition. It was instead just one part, " -"a controlled part, balanced with the free." -msgstr "" -"Fokuset pÃ¥ loven var kommersiell kreativitet. I starten forsiktig, etter " -"hvert betraktelig, beskytter loven insentivet til skaperne ved Ã¥ tildele dem " -"en eksklusiv rett til deres kreative verker, slik at de kan selge disse " -"eksklusive rettighetene pÃ¥ en kommersiell markedsplass.<placeholder type=" -"\"footnote\" id=\"0\"/> Dette er ogsÃ¥, naturligvis, en viktig del av " -"kreativitet og kultur, og det har blitt en viktigere og viktigere del i " -"USA. Men det var pÃ¥ ingen mÃ¥te dominerende i vÃ¥r tradisjon. Det var i " -"stedet bare en del, en kontrollert del, balansert mot det frie." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "free culture" -msgstr "fri kultur" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "permission culture vs." -msgstr "tillatelseskultur mot" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "permission culture" -msgstr "tillatelseskultur" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "free culture vs." -msgstr "fri kultur mot" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Litman, Jessica" -msgstr "Litman, Jessica" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " -"Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " -"Prometheus bÃ¸ker, 2001), kap. 13. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"This rough divide between the free and the controlled has now been erased." -"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " -"this erasure and, pushed by big media, the law has now affected it. For the " -"first time in our tradition, the ordinary ways in which individuals create " -"and share culture fall within the reach of the regulation of the law, which " -"has expanded to draw within its control a vast amount of culture and " -"creativity that it never reached before. The technology that preserved the " -"balance of our history—between uses of our culture that were free and " -"uses of our culture that were only upon permission—has been undone. " -"The consequence is that we are less and less a free culture, more and more a " -"permission culture." -msgstr "" -"Denne grove inndelingen mellom den frie og den kontrollerte har nÃ¥ blitt " -"fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internettet har satt " -"scenen for denne fjerningen, og pressen frem av store medieaktÃ¸rer har loven " -"nÃ¥ pÃ¥virket det. For fÃ¸rste gang i vÃ¥r tradisjon, har de vanlige mÃ¥tene som " -"individer skaper og deler kultur havnet innen rekekvidde for reguleringene " -"til loven, som har blitt utvidet til Ã¥ dra inn i sitt kontrollomrÃ¥de den " -"enorme mengden kultur og kreativitet som den aldri tidligere har nÃ¥dd over. " -"Teknologien som tok vare pÃ¥ den historiske balansen—mellom bruken av " -"den delen av kulturen vÃ¥r som var fri og bruken av vÃ¥r kultur som krevde " -"tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre " -"en fri kultur, og mer og mer en tillatelseskultur." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "protection of artists vs. business interests" -msgstr "beskyttelse av kunstnere vs. forretningsinteresser" - -#. type: Content of: <book><chapter><para> -msgid "" -"This change gets justified as necessary to protect commercial creativity. " -"And indeed, protectionism is precisely its motivation. But the protectionism " -"that justifies the changes that I will describe below is not the limited and " -"balanced sort that has defined the law in the past. This is not a " -"protectionism to protect artists. It is instead a protectionism to protect " -"certain forms of business. Corporations threatened by the potential of the " -"Internet to change the way both commercial and noncommercial culture are " -"made and shared have united to induce lawmakers to use the law to protect " -"them. It is the story of RCA and Armstrong; it is the dream of the Causbys." -msgstr "" -"Denne endringen blir rettferdiggjort som nÃ¸dvendig for Ã¥ beskytte " -"kommersiell kreativitet. Og ganske riktig, proteksjonisme er nÃ¸yaktig det " -"som motiverer endringen. Men proteksjonismen som rettferdiggjÃ¸r endringene " -"som jeg skal beskrive lenger ned er ikke den begrensede og balanserte typen " -"som har definert loven tidligere. Dette er ikke en proteksjonisme for Ã¥ " -"beskytte artister. Det er i stedet en proteksjonisme for Ã¥ beskytte " -"bestemte forretningsformer. Selskaper som er truet av potensialet til " -"Internettet for Ã¥ endre mÃ¥ten bÃ¥de kommersiell og ikke-kommersiell kultur " -"blir skapt og delt, har samlet seg for Ã¥ fÃ¥ lovgiverne til Ã¥ bruke loven for " -"Ã¥ beskytte selskapene. Dette er historien om RCA og Armstrong, og det er " -"drÃ¸mmen til Causbyene." - -#. type: Content of: <book><chapter><para> -msgid "" -"For the Internet has unleashed an extraordinary possibility for many to " -"participate in the process of building and cultivating a culture that " -"reaches far beyond local boundaries. That power has changed the marketplace " -"for making and cultivating culture generally, and that change in turn " -"threatens established content industries. The Internet is thus to the " -"industries that built and distributed content in the twentieth century what " -"FM radio was to AM radio, or what the truck was to the railroad industry of " -"the nineteenth century: the beginning of the end, or at least a substantial " -"transformation. Digital technologies, tied to the Internet, could produce a " -"vastly more competitive and vibrant market for building and cultivating " -"culture; that market could include a much wider and more diverse range of " -"creators; those creators could produce and distribute a much more vibrant " -"range of creativity; and depending upon a few important factors, those " -"creators could earn more on average from this system than creators do " -"today—all so long as the RCAs of our day don't use the law to protect " -"themselves against this competition." -msgstr "" -"For Internettet har sluppet lÃ¸s en ekstraordinÃ¦r mulighet for mange til Ã¥ " -"delta i prosessen med Ã¥ bygge og kultivere en kultur som rekker lagt utenfor " -"lokale grenselinjer. Den makten har endret markedsplassen for Ã¥ lage og " -"kultivere kultur generelt, og den endringen truer i neste omgang etablerte " -"innholdsindustrier. Internettet er dermed for industriene som bygget og " -"distribuerte innhold i det tjuende Ã¥rhundret hva FM-radio var for AM-radio, " -"eller hva traileren var for jernbaneindustrien i det nittende Ã¥rhundret: " -"begynnelsen pÃ¥ slutten, eller i hvert fall en markant endring. Digitale " -"teknologier, knyttet til Internettet, kunne produsere et mye mer " -"konkurransedyktig og levende marked for Ã¥ bygge og kultivere kultur. Dette " -"markedet kunne inneholde en mye videre og mer variert utvalg av skapere. " -"Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av " -"kreativitet. Og avhengig av noen fÃ¥ viktige faktorer, sÃ¥ kunne disse " -"skaperne tjenere mer i snitt fra dette systemet enn skaperne gjÃ¸r i " -"dag—sÃ¥ lenge RCA-ene av i dag ikke bruker loven til Ã¥ beskytte dem " -"selv mot denne konkurransen." - -#. type: Content of: <book><chapter><para> -msgid "" -"Yet, as I argue in the pages that follow, that is precisely what is " -"happening in our culture today. These modern-day equivalents of the early " -"twentieth-century radio or nineteenth-century railroads are using their " -"power to get the law to protect them against this new, more efficient, more " -"vibrant technology for building culture. They are succeeding in their plan " -"to remake the Internet before the Internet remakes them." -msgstr "" -"Likevel, som jeg argumenterer for i sidene som fÃ¸lger, er dette nÃ¸yaktig det " -"som skjer i vÃ¥r kultur i dag. Dette som er dagens ekvivalenter til tidlig " -"tjuende Ã¥rhundres radio og nittende Ã¥rhundres jernbaner bruker deres makt " -"til Ã¥ fÃ¥ loven til Ã¥ beskytte dem mot dette nye, mer effektive, mer levende " -"teknologi for Ã¥ bygge kultur. De lykkes i deres plan om Ã¥ gjÃ¸re om " -"Internettet fÃ¸r internettet gjÃ¸r om pÃ¥ dem." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Valenti, Jack" -msgstr "Valenti, Jack" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on creative property rights" -msgstr "om kreative eiendomsrettigheter" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " -"York Times</citetitle>, 17 January 2002." -msgstr "" -"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " -"York Times</citetitle>, 17. januar 2002." - -#. type: Content of: <book><chapter><para> -msgid "" -"It doesn't seem this way to many. The battles over copyright and the " -"Internet seem remote to most. To the few who follow them, they seem mainly " -"about a much simpler brace of questions—whether <quote>piracy</quote> " -"will be permitted, and whether <quote>property</quote> will be protected. " -"The <quote>war</quote> that has been waged against the technologies of the " -"Internet—what Motion Picture Association of America (MPAA) president " -"Jack Valenti calls his <quote>own terrorist war</quote><placeholder type=" -"\"footnote\" id=\"0\"/>—has been framed as a battle about the rule of " -"law and respect for property. To know which side to take in this war, most " -"think that we need only decide whether we're for property or against it." -msgstr "" -"Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og " -"Internettet er fjernt for de fleste. For de fÃ¥ som fÃ¸lger dem, virker de i " -"hovedsak Ã¥ handle om et enklere sett med spÃ¸rsmÃ¥l—hvorvidt " -"<quote>piratvirksomhet</quote> vil bli akseptert, og hvorvidt " -"<quote>eiendomsretten</quote> vil bli beskyttet. <quote>Krigen</quote> som " -"har blitt erklÃ¦rt mot teknologiene til Internettet—det presidenten for " -"Motion Picture Association of America (MPAA) Jack Valenti kaller sin " -"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/" -">—har blitt rammet inn som en kamp om Ã¥ fÃ¸lge loven og respektere " -"eiendomsretten. For Ã¥ vite hvilken side vi bÃ¸r ta i denne krigen, de fleste " -"tenker at vi kun trenger Ã¥ bestemme om hvorvidt vi er for eiendomsrett eller " -"mot den." - -#. 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 <quote>creative property.</" -"quote> I believe that <quote>piracy</quote> is wrong, and that the law, " -"properly tuned, should punish <quote>piracy,</quote> whether on or off the " -"Internet." -msgstr "" -"Hvis dette virkelig var alternativene, sÃ¥ ville jeg vÃ¦re enig med Jack " -"Valenti og innholdsindustrien. Jeg tror ogsÃ¥ pÃ¥ eiendomsretten, og spesielt " -"pÃ¥ viktigheten av hva Mr. Valenti sÃ¥ pent kaller <quote>kreativ " -"eiendomsrett</quote>. Jeg tror at <quote>piratvirksomhet</quote> er galt, " -"og at loven, riktig innstilt, bÃ¸r straffe <quote>piratvirksomhet</quote>, " -"bÃ¥de pÃ¥ og utenfor Internettet." - -#. 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 <quote>pirates</quote> will also rid our " -"culture of values that have been integral to our tradition from the start." -msgstr "" -"Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spÃ¸rsmÃ¥l " -"og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner Ã¥ " -"legge merke til denne endringen, sÃ¥ vil krigen for Ã¥ befri verden fra " -"Internettets <quote>pirater</quote> ogsÃ¥ fjerne verdier fra vÃ¥r kultur som " -"har vÃ¦rt integrert til vÃ¥r tradisjon helt fra starten." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Constitution, U.S." -msgstr "Grunnloven i USA" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "First Amendment to" -msgstr "FÃ¸rste tillegg til" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "copyright law" -msgstr "Ã¥ndsverkslov" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "as protection of creators" -msgstr "som beskyttelse for skapere" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "First Amendment" -msgstr "FÃ¸rste grunnlovstillegg" - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Netanel, Neil Weinstock" -msgstr "Netanel, Neil Weinstock" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " -"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " -"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" -"\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"These values built a tradition that, for at least the first 180 years of our " -"Republic, guaranteed creators the right to build freely upon their past, and " -"protected creators and innovators from either state or private control. The " -"First Amendment protected creators against state control. And as Professor " -"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " -"copyright law, properly balanced, protected creators against private " -"control. Our tradition was thus neither Soviet nor the tradition of patrons. " -"It instead carved out a wide berth within which creators could cultivate and " -"extend our culture." -msgstr "" -"Disse verdiene bygget en tradisjon som, for i hvert fall de fÃ¸rste 180 Ã¥rene " -"av vÃ¥r republikk, garanterte skaperne rettigheten til Ã¥ bygge fritt pÃ¥ deres " -"fortid, og beskyttet skaperne og innovatÃ¸rene fra bÃ¥de statlig og privat " -"kontroll. Det fÃ¸rste grunnlovstillegget beskyttet skaperne fra statlig " -"kontroll. Og som professor Neil Netanel kraftfylt argumenterer,<placeholder " -"type=\"footnote\" id=\"0\"/> Ã¥ndsverkslov, skikkelig balansert, beskyttet " -"skaperne mot privat kontroll. VÃ¥r tradisjon var dermed hverken Sovjet eller " -"tradisjonen til velgjÃ¸rere. I stedet skar det ut en bred manÃ¸vreringsrom " -"hvor skapere kunne kultivere og utvide vÃ¥r kultur." - -#. type: Content of: <book><chapter><para> -msgid "" -"Yet the law's response to the Internet, when tied to changes in the " -"technology of the Internet itself, has massively increased the effective " -"regulation of creativity in America. To build upon or critique the culture " -"around us one must ask, Oliver Twist–like, for permission first. " -"Permission is, of course, often granted—but it is not often granted to " -"the critical or the independent. We have built a kind of cultural nobility; " -"those within the noble class live easily; those outside it don't. But it is " -"nobility of any form that is alien to our tradition." -msgstr "" -"Likevel har lovens respons til Internettet, nÃ¥r det knyttes sammen til " -"endringer i teknologien i Internettet selv, fÃ¸rt til massiv Ã¸kting av den " -"effektive reguleringen av kreativitet i USA. For Ã¥ bygge pÃ¥ eller kritisere " -"kulturen rundt oss mÃ¥ en spÃ¸rre, som Oliver Twist, om tillatelse fÃ¸rst. " -"Tillatelse er, naturligvis, ofte innvilget—men det er ikke ofte " -"innvilget til den kritiske eller den uavhengige. Vi har bygget en slags " -"kulturell adel. De innen dette adelskapet har et enkelt liv, mens de pÃ¥ " -"utsiden har det ikke. Men det er adelskap i alle former som er fremmed for " -"vÃ¥r tradisjon." - -#. type: Content of: <book><chapter><para> -msgid "" -"The story that follows is about this war. Is it not about the " -"<quote>centrality of technology</quote> to ordinary life. I don't believe in " -"gods, digital or otherwise. Nor is it an effort to demonize any individual " -"or group, for neither do I believe in a devil, corporate or otherwise. It is " -"not a morality tale. Nor is it a call to jihad against an industry." -msgstr "" -"Historien som fÃ¸lger er om denne krigen. Er det ikke om <quote>betydningen " -"av teknologi</quote> i vanlig liv. Jeg tror ikke pÃ¥ guder, hverken digitale " -"eller andre typer. Det er heller ikke et forsÃ¸k pÃ¥ Ã¥ demonisere noen " -"individer eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig " -"eller pÃ¥ annen mÃ¥te. Det er ikke en moralsk historie. Ei heller er det et " -"rop om hellig krig mot en industri." - -#. type: Content of: <book><chapter><para> -msgid "" -"It is instead an effort to understand a hopelessly destructive war inspired " -"by the technologies of the Internet but reaching far beyond its code. And by " -"understanding this battle, it is an effort to map peace. There is no good " -"reason for the current struggle around Internet technologies to continue. " -"There will be great harm to our tradition and culture if it is allowed to " -"continue unchecked. We must come to understand the source of this war. We " -"must resolve it soon." -msgstr "" -"Det er i stedet et forsÃ¸k pÃ¥ Ã¥ forstÃ¥ en hÃ¥plÃ¸st Ã¸deleggende krig som er " -"inspirert av teknologiene til Internettet, men som rekker lang utenfor dens " -"kode. Og ved Ã¥ forstÃ¥ denne kampen er den en innsats for Ã¥ finne veien til " -"fred. Det er ingen god grunn for Ã¥ fortsette dagens batalje rundt Internett-" -"teknologiene. Det vil vÃ¦re til stor skade for vÃ¥r tradisjon og kultur hvis " -"den fÃ¥r lov til Ã¥ fortsette ukontrollert. Vi mÃ¥ forstÃ¥ kilden til denne " -"krigen. Vi mÃ¥ finne en lÃ¸sning snart." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "intellectual property rights" -msgstr "immaterielle rettigheter" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">Like the Causbys'</emphasis> battle, this war is, " -"in part, about <quote>property.</quote> The property of this war is not as " -"tangible as the Causbys', and no innocent chicken has yet to lose its life. " -"Yet the ideas surrounding this <quote>property</quote> are as obvious to " -"most as the Causbys' claim about the sacredness of their farm was to them. " -"We are the Causbys. Most of us take for granted the extraordinarily powerful " -"claims that the owners of <quote>intellectual property</quote> now assert. " -"Most of us, like the Causbys, treat these claims as obvious. And hence we, " -"like the Causbys, object when a new technology interferes with this " -"property. It is as plain to us as it was to them that the new technologies " -"of the Internet are <quote>trespassing</quote> upon legitimate claims of " -"<quote>property.</quote> It is as plain to us as it was to them that the law " -"should intervene to stop this trespass." -msgstr "" -"<emphasis role=\"strong\">Lik Causbyenes</emphasis> kamp er denne krigen, " -"delvis, om <quote>eiendomsrett</quote>. Eiendommen i denne krigen er ikke " -"like hÃ¥ndfast som den til Causbyene, og ingen uskyldige kyllinger har sÃ¥ " -"langt mistet livet. Likevel er idÃ©ene rundt denne <quote>eiendomsretten</" -"quote> like Ã¥penbare for de fleste som Causbyenes krav om ukrenkeligheten " -"til deres bondegÃ¥rd var for dem. De fleste av oss tar for gitt de uvanlig " -"mektige krav som eierne av <quote>immaterielle rettigheter</quote> nÃ¥ " -"hevder. De fleste av oss, som Causbyene, behandler disse kravene som " -"Ã¥penbare. Og dermed protesterer vi, som Causbyene,, nÃ¥r ny teknologi griper " -"inn i denne eiendomsretten. Det er sÃ¥ klart for oss som det var fro dem at " -"de nye teknologiene til Internettet <quote>tar seg til rette</quote> mot " -"legitime krav til <quote>eiendomsrett</quote>. Det er like klart for oss " -"som det var for dem at loven skulle ta affÃ¦re for Ã¥ stoppe denne " -"inntrengingen i annen manns eiendom." - -#. PAGE BREAK 27 -#. type: Content of: <book><chapter><para> -msgid "" -"And thus, when geeks and technologists defend their Armstrong or Wright " -"brothers technology, most of us are simply unsympathetic. Common sense does " -"not revolt. Unlike in the case of the unlucky Causbys, common sense is on " -"the side of the property owners in this war. Unlike the lucky Wright " -"brothers, the Internet has not inspired a revolution on its side." -msgstr "" -"Og dermed, nÃ¥r nerder og teknologer forsvarer sin tids Armstrong og Wright-" -"brÃ¸denes teknologi, fÃ¥r de lite sympati fra de fleste av oss. Sunn fornuft " -"gjÃ¸r ikke opprÃ¸r. I motsetning til saken til de uheldige Causbyene, er sunn " -"fornuft pÃ¥ samme side som eiendomseierne i denne krigen. I motsetning til " -"hos de heldige Wright-brÃ¸drene, har Internettet ikke inspirert en revolusjon " -"til fordel for seg." - -#. 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 " -"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet " -"there has never been a time when the concentration of power to control the " -"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as " -"it is now." -msgstr "" -"Mitt hÃ¥p er Ã¥ skyve denne sunne fornuften videre. Jeg har blitt stadig mer " -"overrasket over kraften til denne idÃ©en om immaterielle rettigheter og, mer " -"viktig, dets evne til Ã¥ slÃ¥ av kritisk tanke hos lovmakere og innbyggere. " -"Det har aldri fÃ¸r i vÃ¥r historie vÃ¦rt sÃ¥ mye av vÃ¥r <quote>kultur</quote> " -"som har vÃ¦rt <quote>eid</quote> enn det er nÃ¥. Og likevel har aldri fÃ¸r " -"konsentrasjonen av makt til Ã¥ kontrollere <emphasis>bruken</emphasis> av " -"kulturen vÃ¦rt mer akseptert uten spÃ¸rsmÃ¥l enn det er nÃ¥." - -#. 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 "" -"GÃ¥ten er, hvorfor det? Er det fordi vi fÃ¥tt en innsikt i sannheten om " -"verdien og betydningen av absolutt eierskap over idÃ©er og kultur? Er det " -"fordi vi har oppdaget at vÃ¥r tradisjon med Ã¥ avvise slike absolutte krav var " -"feil?" - -#. type: Content of: <book><chapter><para> -msgid "" -"Or is it because the idea of absolute property over ideas and culture " -"benefits the RCAs of our time and fits our own unreflective intuitions?" -msgstr "" -"Eller er det pÃ¥ grunn av at idÃ©er om absolutt eierskap over idÃ©er og kultur " -"gir fordeler til RCA-ene i vÃ¥r tid, og passer med vÃ¥r ureflekterte intuisjon?" - -#. type: Content of: <book><chapter><para> -msgid "" -"Is the radical shift away from our tradition of free culture an instance of " -"America correcting a mistake from its past, as we did after a bloody war " -"with slavery, and as we are slowly doing with inequality? Or is the radical " -"shift away from our tradition of free culture yet another example of a " -"political system captured by a few powerful special interests?" -msgstr "" -"Er denne radikale endringen vekk fra vÃ¥r tradisjon om fri kultur en " -"forekomst av USA som korrigerer en feil fra sin fortid, slik vi gjorde det " -"etter en blodig krig mot slaveri, og slik vi sakte gjÃ¸r det mot " -"forskjellsbehandling? Eller er denne radikale endringen vekk fra vÃ¥r " -"tradisjon med fri kultur nok et eksempel pÃ¥ at vÃ¥rt politiske system er " -"fanget av noen fÃ¥ mektige sÃ¦rinteresser?" - -#. 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 "" -"FÃ¸rer sunn fornuft til det ekstreme i dette spÃ¸rsmÃ¥let pÃ¥ grunn av at sunn " -"fornuft faktisk tror pÃ¥ dette ekstreme? Eller stÃ¥r sunn fornuft i stillhet " -"i mÃ¸tet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer " -"mektige siden har sikret seg at det har et mye mer mektig synspunkt?" - -#. PAGE BREAK 28 -#. type: Content of: <book><chapter><para> -msgid "" -"I don't mean to be mysterious. My own views are resolved. I believe it was " -"right for common sense to revolt against the extremism of the Causbys. I " -"believe it would be right for common sense to revolt against the extreme " -"claims made today on behalf of <quote>intellectual property.</quote> What " -"the law demands today is increasingly as silly as a sheriff arresting an " -"airplane for trespass. But the consequences of this silliness will be much " -"more profound." -msgstr "" -"Jeg forsÃ¸ker ikke Ã¥ vÃ¦re mystisk. Mine egne synspunkter er klare. Jeg mener " -"det var riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r mot ekstremismen til " -"Causbyene. Jeg mener det ville vÃ¦re riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r " -"mot de ekstreme krav som gjÃ¸res i dag pÃ¥ vegne av <quote>immaterielle " -"rettigheter</quote>. Det som loven krever i dag er mer Ã¥ mer like dumt som " -"om lensmannen skulle arrestere en flymaskin for Ã¥ trenge inn pÃ¥ annen manns " -"eiendom. Men konsekvensene av den nye dumskapen vil bli mye mer " -"dyptgripende." - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role=\"strong\">The struggle</emphasis> that rages just now " -"centers on two ideas: <quote>piracy</quote> and <quote>property.</quote> My " -"aim in this book's next two parts is to explore these two ideas." -msgstr "" -"<emphasis role=\"strong\">Basketaket</emphasis> som pÃ¥gÃ¥r akkurat nÃ¥ " -"senterer seg rundt to idÃ©er: <quote>piratvirksomhet</quote> og " -"<quote>eiendom</quote>. Mitt mÃ¥l med denne bokens neste to deler er Ã¥ " -"utforske disse to idÃ©ene." - -#. type: Content of: <book><chapter><para> -msgid "" -"My method is not the usual method of an academic. I don't want to plunge you " -"into a complex argument, buttressed with references to obscure French " -"theorists—however natural that is for the weird sort we academics have " -"become. Instead I begin in each part with a collection of stories that set a " -"context within which these apparently simple ideas can be more fully " -"understood." -msgstr "" -"Metoden min er ikke den vanlige metoden for en akademiker. Jeg Ã¸nsker ikke " -"Ã¥ plÃ¸ye deg inn i et komplisert argument, steinsatt med referanser til " -"obskure franske teoretikere—uansett hvor naturlig det har blitt for " -"den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del " -"med en samling historier som etablerer en sammenheng der disse " -"tilsynelatende enkle idÃ©ene kan bli fullt ut forstÃ¥tt." - -#. 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 <quote>something new,</quote> is destroying " -"something very old. Rather than understanding the changes the Internet might " -"permit, and rather than taking time to let <quote>common sense</quote> " -"resolve how best to respond, we are allowing those most threatened by the " -"changes to use their power to change the law—and more importantly, to " -"use their power to change something fundamental about who we have always " -"been." -msgstr "" -"De to delene setter opp kjernen i pÃ¥standen til denne boken: at mens " -"Internettet faktisk har produsert noe fantastisk og nytt, bidrar vÃ¥re " -"myndigheter, presset av store medieaktÃ¸rer for Ã¥ mÃ¸te dette <quote>noe nytt</" -"quote> til Ã¥ Ã¸delegge noe som er svÃ¦rt gammelt. I stedet for Ã¥ forstÃ¥ " -"endringene som Internettet kan gjÃ¸re mulig, og i stedet for Ã¥ ta den tiden " -"som trengs for Ã¥ la <quote>sunn fornuft</quote> finne ut hvordan best svare " -"pÃ¥ utfordringen, sÃ¥ lar vi de som er mest truet av endringene bruke sin makt " -"til Ã¥ endre loven—og viktigere, Ã¥ bruke sin makt til Ã¥ endre noe " -"fundamentalt om hvordan vi alltid har fungert." - -#. type: Content of: <book><chapter><para> -msgid "" -"We allow this, I believe, not because it is right, and not because most of " -"us really believe in these changes. We allow it because the interests most " -"threatened are among the most powerful players in our depressingly " -"compromised process of making law. This book is the story of one more " -"consequence of this form of corruption—a consequence to which most of " -"us remain oblivious." -msgstr "" -"Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi " -"de fleste av oss tror pÃ¥ disse endringene. Vi tillater det pÃ¥ grunn av at " -"de interessene som er mest truet er blant de mest mektige aktÃ¸rene i vÃ¥r " -"deprimerende kompromitterte prosess for Ã¥ utforme lover. Denne boken er " -"historien om nok en konsekvens for denne type korrupsjon—en konsekvens " -"for de fleste av oss forblir ukjent med." - -#. type: Content of: <book><part><title> -msgid "<quote>PIRACY</quote>" -msgstr "<quote>Piratvirksomhet</quote>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "English" -msgstr "Engelsk" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Mansfield, William Murray, Lord" -msgstr "Mansfield, William Murray, Lord" - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "music publishing" -msgstr "musikkpublisering" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "sheet music" -msgstr "noteark" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role=\"strong\">Since the inception</emphasis> of the law " -"regulating creative property, there has been a war against <quote>piracy.</" -"quote> The precise contours of this concept, <quote>piracy,</quote> are hard " -"to sketch, but the animating injustice is easy to capture. As Lord " -"Mansfield wrote in a case that extended the reach of English copyright law " -"to include sheet music," -msgstr "" -"<emphasis role=\"strong\">Helt siden</emphasis> loven begynte Ã¥ regulere " -"kreative eierrettigheter, har det vÃ¦rt en krig mot <quote>piratvirksomhet</" -"quote>. De presise konturene av dette konseptet, <quote>piratvirksomhet</" -"quote>, har vÃ¦rt vanskelig Ã¥ tegne opp, men bildet av urettferdighet er " -"enkelt Ã¥ beskrive. Som Lord Mansfield skrev i en sak som utvidet " -"rekkevidden for engelsk Ã¥ndsverkslov til Ã¥ inkludere noteark," - -#. f1 -#. type: Content of: <book><part><partintro><blockquote><para><footnote><para> -msgid "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777) (Mansfield)." -msgstr "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777) (Mansfield)." - -#. type: Content of: <book><part><partintro><blockquote><para> -msgid "" -"A person may use the copy by playing it, but he has no right to rob the " -"author of the profit, by multiplying copies and disposing of them for his " -"own use.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"En person kan bruke kopien til Ã¥ spille den, men han har ingen rett til Ã¥ " -"robbe forfatteren for profitten, ved Ã¥ lage flere kopier og distribuere " -"etter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "efficient content distribution on" -msgstr "effektiv innholdsdistribusjon pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "peer-to-peer (p2p) file sharing" -msgstr "peer-to-peer(p2p)-fildeling" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "efficiency of" -msgstr "effektiviteten til" - -#. PAGE BREAK 31 -#. type: Content of: <book><part><partintro><para> -msgid "" -"Today we are in the middle of another <quote>war</quote> against " -"<quote>piracy.</quote> The Internet has provoked this war. The Internet " -"makes possible the efficient spread of content. Peer-to-peer (p2p) file " -"sharing is among the most efficient of the efficient technologies the " -"Internet enables. Using distributed intelligence, p2p systems facilitate the " -"easy spread of content in a way unimagined a generation ago." -msgstr "" -"I dag er vi midt inne i en annen <quote>krig</quote> mot " -"<quote>piratvirksomhet</quote>. Internettet har fremprovosert denne krigen. " -"Internettet gjÃ¸r det mulig Ã¥ effektivt spre innhold. Peer-to-peer (p2p) " -"fildeling er blant det mest effektive av de effektive teknologier " -"Internettet muliggjÃ¸r. Ved Ã¥ bruke distribuert intelligens, kan p2p-systemer " -"muliggjÃ¸re enkel spredning av innhold pÃ¥ en mÃ¥te som ingen forestilte seg " -"for en generasjon siden." - -#. type: Content of: <book><part><partintro><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 <quote>rob the author of the profit.</quote>" -msgstr "" -"Denne effektiviteten respekterer ikke de tradisjonelle skillene i " -"opphavsretten. Nettverket skiller ikke mellom deling av " -"opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det " -"vÃ¦rt deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne " -"delingen har i sin tur ansporet til krigen, pÃ¥ grunn av at eiere av " -"opphavsretter frykter delingen vil <quote>frata forfatteren overskuddet.</" -"quote>" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The warriors have turned to the courts, to the legislatures, and " -"increasingly to technology to defend their <quote>property</quote> against " -"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is " -"being raised to believe that <quote>property</quote> should be <quote>free.</" -"quote> Forget tattoos, never mind body piercing—our kids are becoming " -"<emphasis>thieves</emphasis>!" -msgstr "" -"Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig stÃ¸rre " -"grad til teknologi for Ã¥ forsvare sin <quote>eiendom</quote> mot denne " -"<quote>piratvirksomheten</quote>. En generasjon amerikanere, advarer " -"krigerne, blir oppdratt til Ã¥ tro at <quote>eiendom</quote> skal vÃ¦re " -"<quote>gratis</quote>. Glem tatoveringer, ikke tenk pÃ¥ kroppspiercing—" -"vÃ¥re barn blir <emphasis>tyver</emphasis>!" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"There's no doubt that <quote>piracy</quote> is wrong, and that pirates " -"should be punished. But before we summon the executioners, we should put " -"this notion of <quote>piracy</quote> in some context. For as the concept is " -"increasingly used, at its core is an extraordinary idea that is almost " -"certainly wrong." -msgstr "" -"Det er ingen tvil om at <quote>piratvirksomhet</quote> er galt, og at " -"pirater bÃ¸r straffes. Men fÃ¸r vi roper pÃ¥ bÃ¸dlene, bÃ¸r vi sette dette " -"<quote>piratvirksomhets</quote>-begrepet i en sammenheng. For mens begrepet " -"blir mer og mer brukt, har det i sin kjerne en ekstraordinÃ¦r idÃ© som nesten " -"helt sikkert er feil." - -#. type: Content of: <book><part><partintro><para> -msgid "The idea goes something like this:" -msgstr "IdÃ©en hÃ¸res omtrent slik ut:" - -#. type: Content of: <book><part><partintro><blockquote><para> -msgid "" -"Creative work has value; whenever I use, or take, or build upon the creative " -"work of others, I am taking from them something of value. Whenever I take " -"something of value from someone else, I should have their permission. The " -"taking of something of value from someone else without permission is wrong. " -"It is a form of piracy." -msgstr "" -"Kreativt arbeid har verdi. NÃ¥r jeg bruker, eller tar, eller bygger pÃ¥ det " -"kreative arbeidet til andre, sÃ¥ tar jeg noe fra dem som har verdi. NÃ¥r jeg " -"tar noe av verdi fra noen andre, bÃ¸r jeg fÃ¥ tillatelse fra dem. Ã ta noe " -"som har verdi fra andre uten tillatelse er galt. Det er en form for " -"piratvirksomhet." - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "ASCAP" -msgstr "ASCAP" - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "Dreyfuss, Rochelle" -msgstr "Dreyfuss, Rochelle" - -#. type: Content of: <book><part><partintro><indexterm><primary> -msgid "Girl Scouts" -msgstr "Jentespeidere" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "creative property" -msgstr "kreativ eiendel" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "<quote>if value, then right</quote> theory of" -msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien om" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "<quote>if value, then right</quote> theory" -msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien" - -#. f2 -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " -"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" -"citetitle> 65 (1990): 397." -msgstr "" -"Se Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " -"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" -"citetitle> 65 (1990): 397." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Zittrain, Jonathan" -msgstr "Zittrain, Jonathan" - -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," -"</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; " -"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of " -"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" -"citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," -"</quote> <citetitle>Wall Street Journal</citetitle>, 21. august 1996, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #3</" -"ulink>; Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle " -"of Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" -"citetitle>, 24. november 2002. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"This view runs deep within the current debates. It is what NYU law professor " -"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> " -"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —" -"if there is value, then someone must have a right to that value. It is the " -"perspective that led a composers' rights organization, ASCAP, to sue the " -"Girl Scouts for failing to pay for the songs that girls sang around Girl " -"Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was " -"<quote>value</quote> (the songs) so there must have been a <quote>right</" -"quote>—even against the Girl Scouts." -msgstr "" -"Dette synet gÃ¥r dypt i de pÃ¥gÃ¥ende debattene. Det er hva jussprofessor " -"Rochelle Dreyfuss ved NYU kritiserer som <quote>hvis verdi, sÃ¥ rettighet</" -"quote>-teorien for kreative eierrettigheter <placeholder type=\"footnote\" " -"id=\"0\"/>—hvis det finnes verdi, sÃ¥ mÃ¥ noen ha rettigheten til denne " -"verdien. Det er perspektivet som fikk komponistenes rettighetsorganisasjon, " -"ASCAP, til Ã¥ saksÃ¸ke jentespeiderne for Ã¥ ikke betale for sangene som " -"jentene sagt rundt jentespeidernes leirbÃ¥l.<placeholder type=\"footnote\" id=" -"\"1\"/> Det fantes <quote>verdi</quote> (sangene), sÃ¥ det mÃ¥tte ha vÃ¦rt en " -"<quote>rettighet</quote>—til og med mot jentespeiderne." - -#. PAGE BREAK 32 -#. type: Content of: <book><part><partintro><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 <quote>if value, then right</quote> " -"theory of creative property has never been America's theory of creative " -"property. It has never taken hold within our law." -msgstr "" -"Denne idÃ©en er helt klart en mulig forstÃ¥else om hvordan kreative " -"eierrettigheter bÃ¸r virke. Det er helt klart et mulig design for et " -"lovsystem som beskytter kreative eierrettigheter. Men teorien om " -"<quote>hvis verdi, sÃ¥ rettighet</quote> for kreative eierrettigheter har " -"aldri vÃ¦rt USAs teori for kreative eierrettigheter. It har aldri stÃ¥tt rot " -"i vÃ¥rt lovverk." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on republishing vs. transformation of original work" -msgstr "pÃ¥ gjenpublisering vs. endring av opprinnelig verk" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "creativity" -msgstr "kreativitet" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "legal restrictions on" -msgstr "juridiske begrensninger pÃ¥" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"Instead, in our tradition, intellectual property is an instrument. It sets " -"the groundwork for a richly creative society but remains subservient to the " -"value of creativity. The current debate has this turned around. We have " -"become so concerned with protecting the instrument that we are losing sight " -"of the value." -msgstr "" -"I vÃ¥r tradisjon har immaterielle rettigheter i stedet vÃ¦rt et instrument. " -"Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt " -"til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi " -"har blitt sÃ¥ opptatt av Ã¥ beskytte instrumentet at vi mister verdien av syne." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The source of this confusion is a distinction that the law no longer takes " -"care to draw—the distinction between republishing someone's work on " -"the one hand and building upon or transforming that work on the other. " -"Copyright law at its birth had only publishing as its concern; copyright law " -"today regulates both." -msgstr "" -"Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om " -"Ã¥ markere—skillet mellom Ã¥ gjenpublisere noens verk pÃ¥ den ene siden, " -"og bygge pÃ¥ og gjÃ¸re om verket pÃ¥ den andre. Da opphavsretten kom var det " -"kun publisering som ble berÃ¸rt. Opphavsretten i dag regulerer begge." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"Before the technologies of the Internet, this conflation didn't matter all " -"that much. The technologies of publishing were expensive; that meant the " -"vast majority of publishing was commercial. Commercial entities could bear " -"the burden of the law—even the burden of the Byzantine complexity that " -"copyright law has become. It was just one more expense of doing business." -msgstr "" -"FÃ¸r teknologiene til Internettet dukket opp, betÃ¸d ikke denne begrepsmessige " -"sammenblandingen mye. Teknologiene for Ã¥ publisere var kostbare, som betÃ¸d " -"at det meste av publisering var kommersiell. Kommersielle aktÃ¸rer kunne " -"hÃ¥ndtere byrden pÃ¥lagt av loven—til og med byrden som den bysantiske " -"kompleksiteten som Ã¥ndsverksloven har blitt. Det var bare nok en kostnad " -"ved Ã¥ drive forretning." - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "creativity impeded by" -msgstr "kreativitet hindret av" - -#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> -msgid "Florida, Richard" -msgstr "Florida, Richard" - -#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> -msgid "Rise of the Creative Class, The (Florida)" -msgstr "Rise of the Creative Class, The (Florida)" - -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " -"Books, 2002), Richard Florida documents a shift in the nature of labor " -"toward a labor of creativity. His work, however, doesn't directly address " -"the legal conditions under which that creativity is enabled or stifled. I " -"certainly agree with him about the importance and significance of this " -"change, but I also believe the conditions under which it will be enabled are " -"much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " -"type=\"indexterm\" id=\"1\"/>" -msgstr "" -"I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " -"Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " -"kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " -"vilkÃ¥r som kreativiteten blir muliggjort eller hindret under. Jeg er helt " -"klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " -"tror ogsÃ¥ at vilkÃ¥rene som disse endringene blir aktivert under er mye " -"vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"But with the birth of the Internet, this natural limit to the reach of the " -"law has disappeared. The law controls not just the creativity of commercial " -"creators but effectively that of anyone. Although that expansion would not " -"matter much if copyright law regulated only <quote>copying,</quote> when the " -"law regulates as broadly and obscurely as it does, the extension matters a " -"lot. The burden of this law now vastly outweighs any original benefit—" -"certainly as it affects noncommercial creativity, and increasingly as it " -"affects commercial creativity as well. Thus, as we'll see more clearly in " -"the chapters below, the law's role is less and less to support creativity, " -"and more and more to protect certain industries against competition. Just at " -"the time digital technology could unleash an extraordinary range of " -"commercial and noncommercial creativity, the law burdens this creativity " -"with insanely complex and vague rules and with the threat of obscenely " -"severe penalties. We may be seeing, as Richard Florida writes, the " -"<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id=" -"\"0\"/> Unfortunately, we are also seeing an extraordinary rise of " -"regulation of this creative class." -msgstr "" -"Men da Internettet dukket opp, forsvant denne naturlige begrensningen til " -"lovens virkeomrÃ¥de. Loven kontrollerer ikke bare kreativiteten til " -"kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om " -"utvidelsen ikke ville bety stort hvis Ã¥ndsverksloven kun regulerte " -"<quote>kopiering</quote>, sÃ¥ betyr utvidelsen mye nÃ¥r loven regulerer sÃ¥ " -"bredt og obskurt som den gjÃ¸r. Byrden denne loven gir oppveier nÃ¥ langt " -"fordelene den ga da den ble vedtatt—helt klart slik den pÃ¥virker ikke-" -"kommersiell kreativitet, og i stadig stÃ¸rre grad slik den pÃ¥virker " -"kommersiell kreativitet. Dermed, slik vi ser klarere i kapitlene som " -"fÃ¸lger, er lovens rolle mindre og mindre Ã¥ stÃ¸tte kreativitet, og mer og mer " -"Ã¥ beskytte enkelte industrier mot konkurranse. Akkurat pÃ¥ tidspunktet da " -"digital teknologi kunne sluppet lÃ¸s en ekstraordinÃ¦r mengde med kommersiell " -"og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med " -"sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde " -"straffer. Vi ser kanskje, som Richard Florida skriver, <quote>Fremveksten " -"av den kreative klasse</quote><placeholder type=\"footnote\" id=\"0\"/> " -"Dessverre ser vi ogsÃ¥ en ekstraordinÃ¦r fremvekst av reguleringer av denne " -"kreative klassen." - -#. type: Content of: <book><part><partintro><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 <quote>piracy.</quote>" -msgstr "" -"Disse byrdene gir ingen mening i vÃ¥r tradisjon. Vi bÃ¸r begynne med Ã¥ forstÃ¥ " -"den tradisjonen litt mer, og ved Ã¥ plassere dagens slag om oppfÃ¸rsel med " -"merkelappen <quote>piratvirksomhet</quote> i sin rette sammenheng." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER ONE: Creators" -msgstr "Kapittel en: Skaperne" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "animated cartoons" -msgstr "animasjonsfilmer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "cartoon films" -msgstr "tegnefilmer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "films" -msgstr "filmer" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "animated" -msgstr "animerte" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Steamboat Willie" -msgstr "Steamboat Willie" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Mickey Mouse" -msgstr "Mikke Mus" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role=\"strong\">In 1928</emphasis>, a cartoon character was born. " -"An early Mickey Mouse made his debut in May of that year, in a silent flop " -"called <citetitle>Plane Crazy</citetitle>. In November, in New York City's " -"Colony Theater, in the first widely distributed cartoon synchronized with " -"sound, <citetitle>Steamboat Willie</citetitle> brought to life the character " -"that would become Mickey Mouse." -msgstr "" -"<emphasis role=\"strong\">I 1928</emphasis> ble en tegnefilmfigur fÃ¸dt. En " -"tidlig Mikke Mus debuterte i mai dette Ã¥ret, i en stille flopp ved navn " -"<citetitle>Plane Crazy</citetitle>. I november, i Colony teateret i New " -"York City, ble den fÃ¸rste vidt distribuerte tegnefilmen med synkronisert " -"lyd, <citetitle>Steamboat Willy</citetitle>, vist frem med figuren som " -"skulle bli til Mikke Mus." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Disney, Walt" -msgstr "Disney, Walt" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Synchronized sound had been introduced to film a year earlier in the movie " -"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " -"the technique and mix sound with cartoons. No one knew whether it would work " -"or, if it did work, whether it would win an audience. But when Disney ran a " -"test in the summer of 1928, the results were unambiguous. As Disney " -"describes that first experiment," -msgstr "" -"Film med synkronisert lyd hadde blitt introdusert et Ã¥r tidligere i filmen " -"<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til Ã¥ " -"kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " -"ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " -"for det. Men da Disney gjorde en test sommeren 1928, var resultatet " -"entydig. Som Disney beskriver dette fÃ¸rste eksperimentet," - -#. PAGE BREAK 35 -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"A couple of my boys could read music, and one of them could play a mouth " -"organ. We put them in a room where they could not see the screen and " -"arranged to pipe their sound into the room where our wives and friends were " -"going to see the picture." -msgstr "" -"Et par av guttene mine kunne lese noteark, og en av dem kunne spille " -"munnspill. Vi stappet dem inn i et rom hvor de ikke kunne se skjermen, og " -"gjorde det slik at lyden de spilte ble sendt videre til et rom hvor vÃ¥re " -"koner og venner var plassert for Ã¥ se pÃ¥ bildet." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The boys worked from a music and sound-effects score. After several false " -"starts, sound and action got off with the gun. The mouth organist played the " -"tune, the rest of us in the sound department bammed tin pans and blew slide " -"whistles on the beat. The synchronization was pretty close." -msgstr "" -"Guttene brukte et note- og lydeffekt-ark. Etter noen dÃ¥rlige oppstarter, " -"kom endelig lyd og handling i gang med et smell. Munnspilleren spilte " -"melodien, og resten av oss i lydavdelingen slamret pÃ¥ tinnkasseroller og " -"blÃ¥ste pÃ¥ slide-flÃ¸yte til rytmen. Synkroniseringen var nesten helt riktig." - -#. f1 -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -msgid "" -"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " -"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." -msgstr "" -"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " -"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The effect on our little audience was nothing less than electric. They " -"responded almost instinctively to this union of sound and motion. I thought " -"they were kidding me. So they put me in the audience and ran the action " -"again. It was terrible, but it was wonderful! And it was something new!" -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Effekten pÃ¥ vÃ¥rt lille publikum var intet mindre enn elektrisk. De reagerte " -"nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de " -"tullet med meg. SÃ¥ de puttet meg i publikum og satte igang pÃ¥ nytt. Det " -"var grufullt, men det var fantastisk. Og det var noe nytt!<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Iwerks, Ub" -msgstr "Iwerks, Ub" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Disney's then partner, and one of animation's most extraordinary talents, Ub " -"Iwerks, put it more strongly: <quote>I have never been so thrilled in my " -"life. Nothing since has ever equaled it.</quote>" -msgstr "" -"Disneys davÃ¦rende partner, og en av animasjonsverdenens mest ekstraordinÃ¦re " -"talenter, Ub Iwerks, uttalte det sterkere: <quote>Jeg har aldri vÃ¦rt sÃ¥ " -"begeistret i hele mitt liv. Ingenting annet har noen sinne vÃ¦rt like bra.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Disney had created something very new, based upon something relatively new. " -"Synchronized sound brought life to a form of creativity that had " -"rarely—except in Disney's hands—been anything more than filler " -"for other films. Throughout animation's early history, it was Disney's " -"invention that set the standard that others struggled to match. And quite " -"often, Disney's great genius, his spark of creativity, was built upon the " -"work of others." -msgstr "" -"Disney hadde laget noe helt nyt, basert pÃ¥ noe relativt nytt. Synkronisert " -"lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " -"Disneys hender—vÃ¦rt noe annet en fyllstoff for andre filmer. Gjennom " -"animasjonens tidligere historie var det Disneys oppfinnelse som satte " -"standarden som andre mÃ¥tte sloss for Ã¥ oppfylle. Og ganske ofte var Disneys " -"store geni, hans gnist av kreativitet, bygget pÃ¥ arbeidet til andre." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Keaton, Buster" -msgstr "Keaton, Buster" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Steamboat Bill, Jr." -msgstr "Steamboat Bill, Jr." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This much is familiar. What you might not know is that 1928 also marks " -"another important transition. In that year, a comic (as opposed to cartoon) " -"genius created his last independently produced silent film. That genius was " -"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." -msgstr "" -"Dette er kjent stoff. Det du kanskje ikke vet er at 1928 ogsÃ¥ markerer en " -"annen viktig overgang. I samme Ã¥r laget et komedie-geni (i motsetning til " -"tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " -"Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Keaton was born into a vaudeville family in 1895. In the era of silent film, " -"he had mastered using broad physical comedy as a way to spark uncontrollable " -"laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " -"classic of this form, famous among film buffs for its incredible stunts. " -"The film was classic Keaton—wildly popular and among the best of its " -"genre." -msgstr "" -"Keaton ble fÃ¸dt inn i en vauderville-familie i 1895. I stumfilm-Ã¦raen hadde " -"han mestret bruken av bredpenslet fysisk komedie pÃ¥ en mÃ¥te som tente " -"ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" -"citetitle>. var en klassiker av denne typen, berÃ¸mt blant film-elskere for " -"sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " -"populÃ¦r og blant de beste i sin sjanger." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "derivative works" -msgstr "avledede verker" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "piracy vs." -msgstr "piratvirksomhet vs." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "piracy" -msgstr "piratvirksomhet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "derivative work vs." -msgstr "avledede verk vas." - -#. f2 -#. type: Content of: <book><part><chapter><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 <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill," -"</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</" -"quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and " -"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the " -"Straw,</quote> was already in the public domain. Letter from David Smith to " -"Harry Surden, 10 July 2003, on file with author." -msgstr "" -"Jeg er takknemlig overfor David Gerstein og hans nÃ¸yaktige historie, " -"beskrevet pÃ¥ <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " -"I fÃ¸lge Dave Smith ved the Disney Archives, betalte Disney for Ã¥ bruke " -"musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " -"<quote>Steamboat Bill,</quote> <quote>The Simpleton</quote> (Delille), " -"<quote>Mischief Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</" -"quote> (Baron), og <quote>Gawky Rube</quote> (Lakay). En sjette sang, " -"<quote>The Turkey in the Straw,</quote> var allerede allemannseie. Brev fra " -"David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til " -"forfatteren." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " -"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " -"Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" -"\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " -"It is not just from the invention of synchronized sound in <citetitle>The " -"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " -"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " -"inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat " -"Willie, and then from Steamboat Willie, Mickey Mouse." -msgstr "" -"<citetitle>Steamboat Bill, Jr</citetitle>. kom fÃ¸r Disneys tegnefilm " -"Steamboat Willie. Det er ingen tilfeldighet at titlene er sÃ¥ like. " -"Steamboat Willie er en direkte tegneserieparodi av Steamboat Bill," -"<placeholder type=\"footnote\" id=\"0\"/> og begge bygger pÃ¥ en felles sang " -"som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i " -"<citetitle>The Jazz Singer</citetitle> at vi fÃ¥r <citetitle>Steamboat " -"Willie</citetitle>. Det er ogsÃ¥ fra Buster Keatons nyskapning Steamboat " -"Bill, Jr., som igjen var inspirert av sangen <quote>Steamboat Bill</quote>, " -"at vi fÃ¥r Steamboat Willie. Og fra Steamboat Willie fÃ¥r vi sÃ¥ Mikke Mus." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "by transforming previous works" -msgstr "ved Ã¥ endre tidligere verker" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Disney, Inc." -msgstr "Disney, Inc." - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse " -"that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink url=" -"\"http://free-culture.cc/notes/\">link #5</ulink>." -msgstr "" -"Han var ogsÃ¥ tilhenger av allmannseiet. Se Chris Sprigman, <quote>The Mouse " -"that Ate the Public Domain,</quote> Findlaw, 5. mars 2002, fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #5</ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This <quote>borrowing</quote> was nothing unique, either for Disney or for " -"the industry. Disney was always parroting the feature-length mainstream " -"films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many " -"others. Early cartoons are filled with knockoffs—slight variations on " -"winning themes; retellings of ancient stories. The key to success was the " -"brilliance of the differences. With Disney, it was sound that gave his " -"animation its spark. Later, it was the quality of his work relative to the " -"production-line cartoons with which he competed. Yet these additions were " -"built upon a base that was borrowed. Disney added to the work of others " -"before him, creating something new out of something just barely old." -msgstr "" -"Denne <quote>lÃ¥ningen</quote> var ikke unik, hverken for Disney eller for " -"industrien. Disney apet alltid etter full-lengde massemarkedsfilmene rundt " -"ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " -"Tidlige tegnefilmer er stappfulle av etterapninger—smÃ¥ variasjoner " -"over suksessfulle temaer, gamle historier fortalt pÃ¥ nytt. NÃ¸kkelen til " -"suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " -"gnisten til hans animasjoner. Senere var det kvaliteten pÃ¥ hans arbeide " -"relativt til de masseproduserte tegnefilmene som han konkurrerte med. " -"Likevel var disse bidragene bygget pÃ¥ toppen av fundamentet som var lÃ¥nt. " -"Disney bygget pÃ¥ arbeidet til andre som kom fÃ¸r han, og skapte noe nytt ut " -"av noe som bare var litt gammelt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Grimm fairy tales" -msgstr "Grimm-eventyr" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Sometimes this borrowing was slight. Sometimes it was significant. Think " -"about the fairy tales of the Brothers Grimm. If you're as oblivious as I " -"was, you're likely to think that these tales are happy, sweet stories, " -"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " -"well, for us, grim. It is a rare and perhaps overly ambitious parent who " -"would dare to read these bloody, moralistic stories to his or her child, at " -"bedtime or anytime." -msgstr "" -"Noen ganger var lÃ¥ningen begrenset, og noen ganger var den betydelig. Tenkt " -"pÃ¥ eventyrene til brÃ¸drene Grimm. Hvis du er like ubevisst som jeg var, sÃ¥ " -"tror du sannsynlighvis at disse fortellingene er glade, sÃ¸te historier som " -"passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " -"for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiÃ¸se " -"foreldre som ville vÃ¥ge Ã¥ lese disse blodige moralistiske historiene til " -"sine barn, ved leggetid eller hvilken som helst annet tidspunkt." - -#. PAGE BREAK 37 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Disney took these stories and retold them in a way that carried them into a " -"new age. He animated the stories, with both characters and light. Without " -"removing the elements of fear and danger altogether, he made funny what was " -"dark and injected a genuine emotion of compassion where before there was " -"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " -"of Disney work drawing upon the work of others is astonishing when set " -"together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" -"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " -"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " -"<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" -"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " -"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " -"(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" -"citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " -"<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " -"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" -"—not to mention a recent example that we should perhaps quickly " -"forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " -"cases, Disney (or Disney, Inc.) ripped creativity from the culture around " -"him, mixed that creativity with his own extraordinary talent, and then " -"burned that mix into the soul of his culture. Rip, mix, and burn." -msgstr "" -"Disney tok disse historiene og fortalte dem pÃ¥ nytt pÃ¥ en mÃ¥te som fÃ¸rte dem " -"inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. " -"Uten Ã¥ fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " -"mÃ¸rkt og satte inn en ekte fÃ¸lelse av medfÃ¸lelse der det fÃ¸r var frykt. Og " -"ikke bare med verkene av brÃ¸drene Grimm. Faktisk er katalogen over Disney-" -"arbeid som baserer seg pÃ¥ arbeidet til andre ganske forblÃ¸ffende nÃ¥r den " -"blir samlet: <citetitle>SnÃ¸hvit</citetitle> (1937), <citetitle>Fantasia</" -"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " -"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " -"<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" -"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " -"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " -"(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " -"<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " -"(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " -"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" -"—for ikke Ã¥ nevne et nylig eksempel som vi bÃ¸r kanskje glemme raskt, " -"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " -"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " -"med kreativiteten fra sitt eget ekstraordinÃ¦re talent, og deretter brent " -"denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." - -#. type: Content of: <book><part><chapter><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 <quote>Disney creativity,</quote> though that would be a bit " -"misleading. It is, more precisely, <quote>Walt Disney creativity</" -"quote>—a form of expression and genius that builds upon the culture " -"around us and makes it something different." -msgstr "" -"Dette er en type kreativitet. Det er en kreativitet som vi bÃ¸r huske pÃ¥ og " -"feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " -"denne typen. Vi trenger ikke gÃ¥ sÃ¥ langt for Ã¥ anerkjenne dens betydning. " -"Vi kan kalle dette <quote>Disney-kreativitet</quote>, selv om det vil vÃ¦re " -"litt misvisende. Det er mer presist <quote>Walt Disney-kreativitet</" -"quote>—en uttrykksform og genialitet som bygger pÃ¥ kulturen rundt oss " -"og omformer den til noe annet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "copyright" -msgstr "opphavsrett" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "duration of" -msgstr "varighet til" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "public domain" -msgstr "allemannseie (public domain)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "defined" -msgstr "definert" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "traditional term for conversion to" -msgstr "tradisjonell frist for konvertering til" - -#. f4 -#. type: Content of: <book><part><chapter><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 <quote>average</" -"quote> term by determining the weighted average of total registrations for " -"any particular year, and the proportion renewing. Thus, if 100 copyrights " -"are registered in year 1, and only 15 are renewed, and the renewal term is " -"28 years, then the average term is 32.2 years. For the renewal data and " -"other relevant data, see the Web site associated with this book, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>." -msgstr "" -"Inntil 1976 ga Ã¥ndsverksloven en forfatter to mulige verneperioder: en " -"initiell periode, og en fornyingsperiode. Jeg har beregnet " -"<quote>gjennomsnittlig</quote> vernetid ved Ã¥ finne vektet gjennomsnitt av " -"de totale registreringer for et gitt Ã¥r, og andelen fornyinger. Hvis 100 " -"opphavsretter ble registrert i Ã¥r 1, bare 15 av dem ble fornyet, og " -"fornyingsvernetiden er 28 Ã¥r, sÃ¥ er gjennomsnittlig vernetid 32,2 Ã¥r. " -"Fornyingsdata og andre relevante data ligger pÃ¥ nettsidene tilknyttet denne " -"boka, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #6</" -"ulink>." - -#. type: Content of: <book><part><chapter><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 <quote>exclusive " -"right</quote> to control certain uses of the work. To use this copyrighted " -"work in limited ways required the permission of the copyright owner." -msgstr "" -"I 1928 var kulturen som Disney fritt kunne trekke veksler pÃ¥ relativt " -"fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske " -"levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve " -"Ã¥r—for den lille delen av kreative verk som faktisk var " -"opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at " -"i tredve Ã¥r, i gjennomsnitt, hadde forfattere eller kreative verks " -"opphavsrettighetsinnehaver en <quote>eksklusiv rett</quote> til a " -"kontrollere bestemte typer bruk av verket. For Ã¥ bruke disse " -"opphavsrettsbeskyttede verkene pÃ¥ de begrensede mÃ¥tene krevde tillatelse fra " -"opphavsrettsinnehaveren." - -#. type: Content of: <book><part><chapter><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 <quote>lawyer-free zone.</quote> " -"Thus, most of the content from the nineteenth century was free for Disney to " -"use and build upon in 1928. It was free for anyone— whether connected " -"or not, whether rich or not, whether approved or not—to use and build " -"upon." -msgstr "" -"NÃ¥r opphavsrettens vernetid er over, faller et verk i det fri og blir " -"allemannseie. Ingen tillatelse trengs da for Ã¥ bygge pÃ¥ eller bruke dette " -"verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en " -"<quote>advokat-fri sone</quote>. Det meste av innhold fra det nittende " -"Ã¥rhundre var dermed fritt tilgjengelig for Disney Ã¥ bruke eller bygge pÃ¥ i " -"1928. Det var tilgjengelig for enhver—uansett om de hadde " -"forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller " -"ikke—til Ã¥ bruke og bygge videre pÃ¥." - -#. PAGE BREAK 38 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is the ways things always were—until quite recently. For most of " -"our history, the public domain was just over the horizon. From until 1978, " -"the average copyright term was never more than thirty-two years, meaning " -"that most culture just a generation and a half old was free for anyone to " -"build upon without the permission of anyone else. Today's equivalent would " -"be for creative work from the 1960s and 1970s to now be free for the next " -"Walt Disney to build upon without permission. Yet today, the public domain " -"is presumptive only for content from before the Great Depression." -msgstr "" -"Dette er slik det alltid har vÃ¦rt—inntil ganske nylig. For " -"mesteparten av vÃ¥r historie, har allemannseiet vÃ¦rt like over horisonten. " -"Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer " -"enn trettito Ã¥r, som gjorde at det meste av kultur fra en og en halv " -"generasjon tidligere var tilgjengelig for enhver Ã¥ bygge pÃ¥ uten tillatelse " -"fra noen. Tilsvarende for i dag ville vÃ¦re at kreative verker fra 1960- og " -"1970-tallet nÃ¥ ville vÃ¦re fritt tilgjengelig for de neste Walt Disney Ã¥ " -"bygge pÃ¥ uten tillatelse. Men i dag er allemannseie presumtivt kun for " -"innhold fra fÃ¸r mellomkrigstiden." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role=\"strong\">Of course</emphasis>, Walt Disney had no monopoly " -"on <quote>Walt Disney creativity.</quote> Nor does America. The norm of free " -"culture has, until recently, and except within totalitarian nations, been " -"broadly exploited and quite universal." -msgstr "" -"<emphasis role=\"strong\">Walt Disney</emphasis> hadde selvfÃ¸lgelig ikke " -"monopol pÃ¥ <quote>Walt Disney-kreativitet</quote>. Det har heller ikke " -"USA. Normen med fri kultur har, inntil nylig, og unntatt i totalitÃ¦re " -"nasjoner, vÃ¦rt bredt utnyttet og svÃ¦rt universell." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "comics, Japanese" -msgstr "tegneserier, japanske" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Japanese comics" -msgstr "Japanske tegneserier" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "manga" -msgstr "manga" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Consider, for example, a form of creativity that seems strange to many " -"Americans but that is inescapable within Japanese culture: <citetitle>manga</" -"citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " -"percent of publications are comics, and 30 percent of publication revenue " -"derives from comics. They are everywhere in Japanese society, at every " -"magazine stand, carried by a large proportion of commuters on Japan's " -"extraordinary system of public transportation." -msgstr "" -"Vurder for eksempel en form for kreativitet som synes underlig for mange " -"amerikanere, men som er overalt i japansk kultur: <citetitle>manga</" -"citetitle>, eller tegneserier. Japanerne er fanatiske nÃ¥r det gjelder " -"tegneserier. Over 40 prosent av publikasjoner er tegneserier, og 30 prosent " -"av publikasjonsomsetningen stammer fra tegneserier. De er over alt i det " -"japanske samfunnet, tilgjengelig fra ethvert tidsskriftsutsalg, og i hendene " -"pÃ¥ en stor andel av pendlere pÃ¥ Japans ekstraordinÃ¦re system for offentlig " -"transport." - -#. type: Content of: <book><part><chapter><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 <quote>graphic novels</quote> tell. For the Japanese, manga cover " -"every aspect of social life. For us, comics are <quote>men in tights.</" -"quote> And anyway, it's not as if the New York subways are filled with " -"readers of Joyce or even Hemingway. People of different cultures distract " -"themselves in different ways, the Japanese in this interestingly different " -"way." -msgstr "" -"Amerikanere har en tendens til Ã¥ se ned pÃ¥ denne formen for kultur. Det er " -"et lite attraktivt kjennetegn hos oss. Vi misforstÃ¥r sannsynligvis mye " -"rundt manga, pÃ¥ grunn av at fÃ¥ av oss noen gang har lest noe som ligner pÃ¥ " -"historiene i disse <quote>grafiske historiene</quote> forteller. For en " -"japaner dekker manga ethvert aspekt ved det sosiale liv. For oss er " -"tegneserier <quote>menn i strÃ¸mpebukser</quote>. Og uansett er det ikke " -"slik at T-banen i New York er full av folk som leser Joyse eller Hemingway " -"for den saks skyld. Folk i ulike kulturer skiller seg ut pÃ¥ forskjellig " -"mÃ¥ter, og japanerne pÃ¥ dette interessante viset." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But my purpose here is not to understand manga. It is to describe a variant " -"on manga that from a lawyer's perspective is quite odd, but from a Disney " -"perspective is quite familiar." -msgstr "" -"Men mitt formÃ¥l her er ikke Ã¥ forstÃ¥ manga. Det er Ã¥ beskrive en variant av " -"manga som fra en advokats perspektiv er ganske merkelig, men som fra en " -"Disneys perspektiv er ganske godt kjent." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "doujinshi comics" -msgstr "doujinshi-tegneserier" - -#. PAGE BREAK 39 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " -"also comics, but they are a kind of copycat comic. A rich ethic governs the " -"creation of doujinshi. It is not doujinshi if it is <emphasis>just</" -"emphasis> a copy; the artist must make a contribution to the art he copies, " -"by transforming it either subtly or significantly. A doujinshi comic can " -"thus take a mainstream comic and develop it differently—with a " -"different story line. Or the comic can keep the character in character but " -"change its look slightly. There is no formula for what makes the doujinshi " -"sufficiently <quote>different.</quote> But they must be different if they " -"are to be considered true doujinshi. Indeed, there are committees that " -"review doujinshi for inclusion within shows and reject any copycat comic " -"that is merely a copy." -msgstr "" -"Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er ogsÃ¥ " -"tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer " -"de som skaper doujinshi. Det er ikke doujinshi hvis det <emphasis>bare</" -"emphasis> er en kopi. Kunstneren mÃ¥ gjÃ¸re et bidrag til kunsten han " -"kopierer ved Ã¥ omforme det enten subtilt eller betydelig. En doujinshi-" -"tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en " -"annen retning—med en annen historie-linje. Eller tegneserien kan " -"beholde figuren som seg selv men endre litt pÃ¥ utseendet. Det er ingen " -"bestemt formel for hva som gjÃ¸r en doujinshi tilstrekkelig " -"<quote>forskjellig</quote>. Men de mÃ¥ vÃ¦re forskjellige hvis de skal anses " -"som ekte doujinshi. Det er faktisk komiteer som gÃ¥r igjennom doujinshi for " -"Ã¥ bli med pÃ¥ messer, og avviser etterapninger som bare er en kopi." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These copycat comics are not a tiny part of the manga market. They are huge. " -"More than 33,000 <quote>circles</quote> of creators from across Japan " -"produce these bits of Walt Disney creativity. More than 450,000 Japanese " -"come together twice a year, in the largest public gathering in the country, " -"to exchange and sell them. This market exists in parallel to the mainstream " -"commercial manga market. In some ways, it obviously competes with that " -"market, but there is no sustained effort by those who control the commercial " -"manga market to shut the doujinshi market down. It flourishes, despite the " -"competition and despite the law." -msgstr "" -"Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det " -"er enorme. Mer en 33 000 <quote>sirkler</quote> av skapere over hele Japan " -"som produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 " -"japanere samles to ganger i Ã¥ret, i den stÃ¸rste offentlige samlingen i " -"langet, for Ã¥ bytte og selge dem. Dette markedet er parallelt med det " -"kommersielle massemarkeds-manga-markedet. PÃ¥ noen mÃ¥ter konkurrerer det " -"Ã¥penbart med det markedet, men det er ingen vedvarende innsats fra de som " -"kontrollerer det kommersielle manga-markedet for Ã¥ stenge doujinshi-" -"markedet. Det blomstrer, pÃ¥ tross av konkurransen og til tross for loven." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "Japanese" -msgstr "Japansk" - -#. type: Content of: <book><part><chapter><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 " -"<quote>derivative works.</quote> There is no general practice by doujinshi " -"artists of securing the permission of the manga creators. Instead, the " -"practice is simply to take and modify the creations of others, as Walt " -"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both " -"Japanese and American law, that <quote>taking</quote> without the permission " -"of the original copyright owner is illegal. It is an infringement of the " -"original copyright to make a copy or a derivative work without the original " -"copyright owner's permission." -msgstr "" -"Den mest gÃ¥tefulle egenskapen med doujinshi-markedet, for de som har " -"juridisk trening i hvert fall, er at det overhodet tillates Ã¥ eksistere. " -"Under japansk Ã¥ndsverkslov, som i hvert fall pÃ¥ dette omrÃ¥det (pÃ¥ papiret) " -"speiler USAs Ã¥ndsverkslov, er doujinshi-markedet ulovlig. Doujinshi er helt " -"klart <quote>avledede verk</quote>. Det er ingen generell praksis hos " -"doujinshi-kunstnere for Ã¥ sikre seg tillatelse hos manga-skaperne. I stedet " -"er praksisen ganske enkelt Ã¥ ta og endre det andre har laget, slik Walt " -"Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>. For bÃ¥de " -"japansk og USAs lov, er Ã¥ <quote>ta</quote> uten tillatelse fra den " -"opprinnelige opphavsrettsinnehaver ulovlig. Det er et brudd pÃ¥ " -"opphavsretten til det opprinnelige verket Ã¥ lage en kopi eller et avledet " -"verk uten tillatelse fra den opprinnelige rettighetsinnehaveren." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Winick, Judd" -msgstr "Winick, Judd" - -#. f5 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" -"citetitle> (New York: Perennial, 2000)." -msgstr "" -"For en utmerket historie, se Scott McCloud, <citetitle>Reinventing Comics</" -"citetitle> (New York: Perennial, 2000)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet this illegal market exists and indeed flourishes in Japan, and in the " -"view of many, it is precisely because it exists that Japanese manga " -"flourish. As American graphic novelist Judd Winick said to me, <quote>The " -"early days of comics in America are very much like what's going on in Japan " -"now. … American comics were born out of copying each other. … " -"That's how [the artists] learn to draw—by going into comic books and " -"not tracing them, but looking at them and copying them</quote> and building " -"from them.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og " -"etter manges syn er det nettopp fordi det eksisterer at japansk manga " -"blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, <quote>I " -"amerikansk tegneseriers fÃ¸rste dager var det ganske likt det som foregÃ¥r i " -"Japan i dag. … Amerikanske tegneserier kom til verden ved Ã¥ kopiere " -"hverandre. … Det er slik [kunstnerne] lÃ¦rer Ã¥ tegne—ved Ã¥ se i " -"tegneseriebÃ¸ker og ikke fÃ¸lge streken, men ved Ã¥ se pÃ¥ dem og kopiere dem</" -"quote> og bygge basert pÃ¥ dem.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Superman comics" -msgstr "Supermann-tegneserier" - -#. type: Content of: <book><part><chapter><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, <quote>there are these rules and you " -"have to stick to them.</quote> There are things Superman <quote>cannot</" -"quote> do. <quote>As a creator, it's frustrating having to stick to some " -"parameters which are fifty years old.</quote>" -msgstr "" -"Amerikanske tegneserier nÃ¥ er ganske annerledes, forklarer Winick, delvis pÃ¥ " -"grunn av de juridiske problemene med Ã¥ tilpasse tegneserier slik doujinshi " -"fÃ¥r lov til. Med for eksempel Supermann, fortalte Winick meg, <quote>er det " -"en rekke regler, og du mÃ¥ fÃ¸lge dem</quote>. Det er ting som Supermann " -"<quote>ikke kan</quote> gjÃ¸re. <quote>For en som lager tegneserier er det " -"frustrerende Ã¥ mÃ¥tte begrense seg til noen parameter som er femti Ã¥r gamle.</" -"quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Mehra, Salil" -msgstr "Mehra, Salil" - -#. f6 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " -"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " -"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]" -"here might be a collective economic rationality that would lead manga and " -"anime artists to forgo bringing legal actions for infringement. One " -"hypothesis is that all manga artists may be better off collectively if they " -"set aside their individual self-interest and decide not to press their legal " -"rights. This is essentially a prisoner's dilemma solved.</quote>" -msgstr "" -"Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " -"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " -"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>det " -"kan vÃ¦re en kollektiv Ã¸konomisk rasjonalitet som fÃ¥r manga- og anime-" -"kunstnere til ikke Ã¥ saksÃ¸ke for opphavsrettsbrudd. Ãn hypotese er at alle " -"manga-kunstnere kan vÃ¦re bedre stilt hvis de setter sin individuelle " -"egeninteresse til side og bestemmer seg for ikke Ã¥ forfÃ¸lge sine juridiske " -"rettigheter. Dette er essensielt en lÃ¸sning pÃ¥ fangens dilemma.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The norm in Japan mitigates this legal difficulty. Some say it is precisely " -"the benefit accruing to the Japanese manga market that explains the " -"mitigation. Temple University law professor Salil Mehra, for example, " -"hypothesizes that the manga market accepts these technical violations " -"because they spur the manga market to be more wealthy and productive. " -"Everyone would be worse off if doujinshi were banned, so the law does not " -"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det " -"nettopp er den oppsamlede fordelen i det japanske mangamarkedet som " -"forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple " -"University hypnotiserer for eksempel med at manga-markedet aksepterer disse " -"teoretiske bruddene fordi de fÃ¥r mangamarkedet til Ã¥ bli rikere og mer " -"produktivt. Alle ville fÃ¥ det verre hvis doujinshi ble bannlyst, sÃ¥ loven " -"bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 " -"<quote>free taking</quote> by the doujinshi culture?" -msgstr "" -"Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, " -"er at mekanismen som produserer denne <quote>hold hendene borte</quote>-" -"responsen ikke er forstÃ¥tt. Det kan godt vÃ¦re at markedet som helhet gjÃ¸r " -"det bedre hvis doujinshi tillates i stedet for Ã¥ bannlyse den, men det " -"forklarer likevel ikke hvorfor individuelle opphavsrettsinnehavere ikke " -"saksÃ¸ker. Hvis loven ikke har et generelt unntak for doujinshi, og det " -"finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksÃ¸kt " -"doujinshi-kunstnere, hvorfor er det ikke et mer generelt mÃ¸nster for Ã¥ " -"blokkere denne <quote>frie takingen</quote> hos doujinshi-kulturen?" - -#. type: Content of: <book><part><chapter><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. <quote>We don't have enough lawyers,</quote> he " -"told me one afternoon. There <quote>just aren't enough resources to " -"prosecute cases like this.</quote>" -msgstr "" -"Jeg var fire nydelige mÃ¥neder i Japan, og jeg stilte dette spÃ¸rsmÃ¥l sÃ¥ ofte " -"som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et " -"stÃ¸rre japansk advokatfirma. <quote>Vi har ikke nok advokater</quote>, " -"fortalte han meg en ettermiddag. Det er <quote>bare ikke nok ressurser til " -"Ã¥ tiltale tilfeller som dette</quote>." - -#. PAGE BREAK 41 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is a theme to which we will return: that regulation by law is a " -"function of both the words on the books and the costs of making those words " -"have effect. For now, focus on the obvious question that is begged: Would " -"Japan be better off with more lawyers? Would manga be richer if doujinshi " -"artists were regularly prosecuted? Would the Japanese gain something " -"important if they could end this practice of uncompensated sharing? Does " -"piracy here hurt the victims of the piracy, or does it help them? Would " -"lawyers fighting this piracy help their clients or hurt them?" -msgstr "" -"Dette er et tema vi kommer tilbake til: at lovens regulering bÃ¥de er en " -"funksjon av ordene i bÃ¸kene, og kostnadene med Ã¥ fÃ¥ disse ordene til Ã¥ ha " -"effekt. Akkurat nÃ¥ er det endel Ã¥penbare spÃ¸rsmÃ¥l som presser seg frem: " -"Ville Japan gjÃ¸re det bedre med flere advokater? Ville manga vÃ¦re rikere " -"hvis doujinshi-kunstnere ble regelmessig rettsforfulgt? Ville Japan vinne " -"noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? " -"Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? " -"Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, " -"eller skade dem?" - -#. type: Content of: <book><part><chapter><para> -msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment." -msgstr "<emphasis role='strong'>La oss ta</emphasis> et Ã¸yeblikks pause." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"If you're like I was a decade ago, or like most people are when they first " -"start thinking about these issues, then just about now you should be puzzled " -"about something you hadn't thought through before." -msgstr "" -"Hvis du er som meg et tiÃ¥r tilbake, eller som folk flest nÃ¥r de fÃ¸rst " -"begynner Ã¥ tenke pÃ¥ disse temaene, da bÃ¸r du omtrent nÃ¥ vÃ¦re rÃ¥dvill om noe " -"du ikke hadde tenkt igjennom fÃ¸r." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Vaidhyanathan, Siva" -msgstr "Vaidhyanathan, Siva" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> The term <citetitle>intellectual " -"property</citetitle> is of relatively recent origin. See Siva Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " -"University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of " -"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. The term " -"accurately describes a set of <quote>property</quote> rights—" -"copyright, patents, trademark, and trade-secret—but the nature of " -"those rights is very different." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Begrepet <citetitle>immateriell " -"eiendom</citetitle> er av relativ ny opprinnelse. Se See Siva Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " -"University Press, 2001). Se ogsÃ¥ Lawrence Lessig, <citetitle>The Future of " -"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. Begrepet " -"presist beskriver et sett med <quote>eiendoms</quote>-rettigheter—" -"opphavsretter, patenter, varemerker og forretningshemmeligheter—men " -"egenskapene til disse rettighetene er svÃ¦rt forskjellige." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"We live in a world that celebrates <quote>property.</quote> I am one of " -"those celebrants. I believe in the value of property in general, and I also " -"believe in the value of that weird form of property that lawyers call " -"<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/" -"> A large, diverse society cannot survive without property; a large, " -"diverse, and modern society cannot flourish without intellectual property." -msgstr "" -"Vi lever i en verden som feirer <quote>eiendom</quote>. Jeg er en av de som " -"feierer. Jeg tror pÃ¥ verdien av eiendom generelt, og jeg tror ogsÃ¥ pÃ¥ " -"verdien av den sÃ¦re formen for eiendom som advokater kaller " -"<quote>immateriell eiendom</quote>.<placeholder type=\"footnote\" id=\"0\"/> " -"Et stort og variert samfunn kan ikke overleve uten eiendom, og et moderne " -"samfunn kan ikke blomstre uten immaterielle eierrettigheter." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But it takes just a second's reflection to realize that there is plenty of " -"value out there that <quote>property</quote> doesn't capture. I don't mean " -"<quote>money can't buy you love,</quote> but rather, value that is plainly " -"part of a process of production, including commercial as well as " -"noncommercial production. If Disney animators had stolen a set of pencils " -"to draw Steamboat Willie, we'd have no hesitation in condemning that taking " -"as wrong— even though trivial, even if unnoticed. Yet there was " -"nothing wrong, at least under the law of the day, with Disney's taking from " -"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the " -"taking from Keaton because Disney's use would have been considered " -"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms " -"because the Grimms' work was in the public domain." -msgstr "" -"Men det tar bare noen sekunders refleksjon for Ã¥ innse at det er masse av " -"verdi der ute som <quote>eiendom</quote> ikke dekker. Jeg mener ikke " -"<quote>kjÃ¦rlighet kan ikke kjÃ¸pes med penger</quote> men heller, at en verdi " -"som ganske enkelt er del av produksjonsprosessen, bÃ¥de for kommersiell og " -"ikke-kommersiell produksjon. Hvis Disneys animatÃ¸rer hadde stjÃ¥let et sett " -"med blyanter for Ã¥ tegne Steamboat Willie, vi ville ikke nÃ¸lt med Ã¥ dÃ¸mme " -"det som galt—selv om det er trivielt og selv om det ikke blir " -"oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at " -"Disney tok fra Buster Keaton eller fra Grimm-brÃ¸drene. Det var intet galt " -"med Ã¥ ta fra Keaton, fordi Disneys bruk ville blitt ansett som " -"<quote>rimelig</quote>. Det var intet galt med Ã¥ ta fra brÃ¸drene Grimm " -"fordi deres verker var allemannseie." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "derivative works based on" -msgstr "avledede verker basert pÃ¥" - -#. PAGE BREAK 42 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Thus, even though the things that Disney took—or more generally, the " -"things taken by anyone exercising Walt Disney creativity—are valuable, " -"our tradition does not treat those takings as wrong. Some things remain free " -"for the taking within a free culture, and that freedom is good." -msgstr "" -"Dermed, selv om de tingene som Disney tok—eller mer generelt, tingene " -"som blir tatt av enhver som utÃ¸ver Walt Disney-kreativitet—er " -"verdifulle, sÃ¥ anser ikke vÃ¥r tradisjon det som galt Ã¥ ta disse tingene. " -"Noen ting forblir frie til Ã¥ bli tatt i en fri kultur og denne friheten er " -"bra." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The same with the doujinshi culture. If a doujinshi artist broke into a " -"publisher's office and ran off with a thousand copies of his latest " -"work—or even one copy—without paying, we'd have no hesitation in " -"saying the artist was wrong. In addition to having trespassed, he would have " -"stolen something of value. The law bans that stealing in whatever form, " -"whether large or small." -msgstr "" -"Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brÃ¸t " -"seg inn pÃ¥ kontoret til en forlegger, og stakk av med tusen kopier av hans " -"siste verk—eller bare en kopi—uten Ã¥ betale, sÃ¥ ville vi uten Ã¥ " -"nÃ¸le si at kunstneren har gjort noe galt. I tillegg til Ã¥ ha trengt seg inn " -"pÃ¥ andres eiendom, ville han ha stjÃ¥let noe av verdi. Loven forbyr stjeling " -"i enhver form, uansett hvor stort eller lite som blir tatt." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet there is an obvious reluctance, even among Japanese lawyers, to say that " -"the copycat comic artists are <quote>stealing.</quote> This form of Walt " -"Disney creativity is seen as fair and right, even if lawyers in particular " -"find it hard to say why." -msgstr "" -"Likevel er det en Ã¥penbar motvilje, selv blant japanske advokater, for Ã¥ si " -"at etterapende tegneseriekunstnere <quote>stjeler</quote>. Denne formen for " -"Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt " -"advokater synes det er vanskelig Ã¥ forklare hvorfor." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Shakespeare, William" -msgstr "Shakespeare, William" - -#. type: Content of: <book><part><chapter><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. (<quote>Excuse me, Professor Einstein, but may " -"I have permission to use your theory of relativity to show that you were " -"wrong about quantum physics?</quote>) Acting companies perform adaptations " -"of the works of Shakespeare without securing permission from anyone. (Does " -"<emphasis>anyone</emphasis> believe Shakespeare would be better spread " -"within our culture if there were a central Shakespeare rights clearinghouse " -"that all productions of Shakespeare must appeal to first?) And Hollywood " -"goes through cycles with a certain kind of movie: five asteroid films in the " -"late 1990s; two volcano disaster films in 1997." -msgstr "" -"Det er det same med tusen eksempler som dukker opp over alt med en gang en " -"begynner Ã¥ se etter dem. Forskerne bygger pÃ¥ arbeidet til andre forskere " -"uten Ã¥ spÃ¸rre eller betale for privilegiet. (<quote>Unnskyld meg, professor " -"Einstein, men kan jeg fÃ¥ tillatelse til Ã¥ bruke din relativitetsteori til Ã¥ " -"vise at du tok feil om kvantefysikk?</quote>) Teatertropper viser frem " -"bearbeidelser av verkene til Shakespeare uten Ã¥ sikre seg noen tillatelser. " -"(Er det <emphasis>noen</emphasis> som tror at Shakespeare ville vÃ¦rt mer " -"spredt i vÃ¥r kultur om det var et sentralt rettighetsklareringskontor for " -"Shakespeare som alle som laget Shakespeare-produksjoner mÃ¥tte appellere til " -"fÃ¸rst?) Og Hollywood gÃ¥r igjennom sykluser med en bestemt type filmer: fem " -"astroidefilmer i slutten av 1990-tallet, to vulkankatastrofefilmer i 1997." - -#. PAGE BREAK 43 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Creators here and everywhere are always and at all times building upon the " -"creativity that went before and that surrounds them now. That building is " -"always and everywhere at least partially done without permission and without " -"compensating the original creator. No society, free or controlled, has ever " -"demanded that every use be paid for or that permission for Walt Disney " -"creativity must always be sought. Instead, every society has left a certain " -"bit of its culture free for the taking—free societies more fully than " -"unfree, perhaps, but all societies to some degree." -msgstr "" -"Skapere her og overalt har alltid og til alle tider bygd pÃ¥ kreativiteten " -"som eksisterte fÃ¸r og som omringer dem nÃ¥. Denne byggingen er alltid og " -"overalt i det minste delvis gjort uten tillatelse og uten Ã¥ kompensere den " -"opprinnelige skaperen. Intet samfunn, fritt eller kontrollert, har noen " -"gang krevd at enhver bruk skulle bli betalt for eller at tillatelse for Walt " -"Disney-kreativitet alltid mÃ¥tte skaffes. Istedet har ethvert samfunn latt " -"en bestemt bit av sin kultur vÃ¦re fritt tilgjengelig for alle Ã¥ ta—" -"frie samfunn muligens i stÃ¸rre grad enn ufrie, men en viss grad i alle " -"samfunn." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The hard question is therefore not <emphasis>whether</emphasis> a culture is " -"free. All cultures are free to some degree. The hard question instead is " -"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and " -"how broadly, is the culture free for others to take and build upon? Is that " -"freedom limited to party members? To members of the royal family? To the top " -"ten corporations on the New York Stock Exchange? Or is that freedom spread " -"broadly? To artists generally, whether affiliated with the Met or not? To " -"musicians generally, whether white or not? To filmmakers generally, whether " -"affiliated with a studio or not?" -msgstr "" -"Det vanskelige spÃ¸rsmÃ¥let er derfor ikke <emphasis>om</emphasis> en kultur " -"er fri. Alle kulturer er frie til en viss grad. Det vanskelige spÃ¸rsmÃ¥let " -"er i stedet <quote><emphasis>hvor</emphasis> fri er denne kulturen er?</" -"quote> Hvor mye og hvor bredt, er kulturen fritt tilgjengelig for andre Ã¥ " -"ta, og bygge pÃ¥? Er den friheten begrenset til partimedlemmer? Til " -"medlemmer av kongefamilien? Til de ti stÃ¸rste selskapene pÃ¥ New York-" -"bÃ¸rsen? Eller er at frihet bredt tilgjengelig? Til kunstnere generelt, " -"uansett om de er tilknyttet til nasjonalmuseet eller ikke? Til musikere " -"generelt, uansett om de er hvite eller ikke? Til filmskapere generelt, " -"uansett om de er tilknyttet et studio eller ikke?" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Free cultures are cultures that leave a great deal open for others to build " -"upon; unfree, or permission, cultures leave much less. Ours was a free " -"culture. It is becoming much less so." -msgstr "" -"Frie kulturer er kulturer som etterlater mye Ã¥pent for andre Ã¥ bygge pÃ¥. " -"Ufrie, eller tillatelse-kulturer etterlater mye mindre. VÃ¥r var en fri " -"kultur. Den er pÃ¥ tur til Ã¥ bli mindre fri." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER TWO: <quote>Mere Copyists</quote>" -msgstr "Kapittel to: <quote>Kun etter-apere</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Daguerre, Louis" -msgstr "Daguerre, Louis" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "camera technology" -msgstr "kamerateknologi" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "photography" -msgstr "fotografering" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented the " -"first practical technology for producing what we would call " -"<quote>photographs.</quote> Appropriately enough, they were called " -"<quote>daguerreotypes.</quote> The process was complicated and expensive, " -"and the field was thus limited to professionals and a few zealous and " -"wealthy amateurs. (There was even an American Daguerre Association that " -"helped regulate the industry, as do all such associations, by keeping " -"competition down so as to keep prices up.)" -msgstr "" -"<emphasis role='strong'>I 1839</emphasis> fant Louis Daguerre opp den fÃ¸rste " -"praktiske teknologien for Ã¥ produsere det vi ville kalle <quote>fotografier</" -"quote>. Rimelig nok ble de kalt <quote>daguerreotyper</quote>. Prosessen " -"var komplisert og kostbar, og feltet var dermed begrenset til profesjonelle " -"og noen fÃ¥ ivrige og velstÃ¥ende amatÃ¸rer. (Det var til og med en amerikansk " -"Daguerre-forening som hjalp til med Ã¥ regulere industrien, slik alle slike " -"foreninger gjÃ¸r, ved Ã¥ holde konkurransen ned slik at prisene var hÃ¸ye.)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Talbot, William" -msgstr "Talbot, William" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet despite high prices, the demand for daguerreotypes was strong. This " -"pushed inventors to find simpler and cheaper ways to make <quote>automatic " -"pictures.</quote> William Talbot soon discovered a process for making " -"<quote>negatives.</quote> But because the negatives were glass, and had to " -"be kept wet, the process still remained expensive and cumbersome. In the " -"1870s, dry plates were developed, making it easier to separate the taking of " -"a picture from its developing. These were still plates of glass, and thus it " -"was still not a process within reach of most amateurs." -msgstr "" -"Men til tross for hÃ¸ye priser var etterspÃ¸rselen etter daguerreotyper " -"sterk. Dette inspirerte oppfinnere til Ã¥ finne enklere og billigere mÃ¥ter Ã¥ " -"lage <quote>automatiske bilder</quote>. William Talbot oppdaget snart en " -"prosess for Ã¥ lage <quote>negativer</quote>. Men da negativene var av " -"glass, og mÃ¥tte holdes fuktige, forble prosessen kostbar og tung. PÃ¥ 1870-" -"tallet ble tÃ¸rrplater utviklet, noe som gjorde det enklere Ã¥ skille det Ã¥ ta " -"et bilde fra Ã¥ fremkalle det. Det var fortsatt plater av glass, og dermed " -"var det fortsatt ikke en prosess som var innenfor rekkevidden til de fleste " -"amatÃ¸rer." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Eastman, George" -msgstr "Eastman, George" - -#. PAGE BREAK 45 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The technological change that made mass photography possible didn't happen " -"until 1888, and was the creation of a single man. George Eastman, himself an " -"amateur photographer, was frustrated by the technology of photographs made " -"with plates. In a flash of insight (so to speak), Eastman saw that if the " -"film could be made to be flexible, it could be held on a single spindle. " -"That roll could then be sent to a developer, driving the costs of " -"photography down substantially. By lowering the costs, Eastman expected he " -"could dramatically broaden the population of photographers." -msgstr "" -"Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke " -"fÃ¸r i 1888, og det var takket vÃ¦re en eneste mann. George Eastman, selv en " -"amatÃ¸rfotograf, var frustrert over den plate-baserte fotografi-teknologien. " -"I et lysglimt av innsikt (for Ã¥ si det slik), forsto Eastman at hvis filmen " -"kunne gjÃ¸res bÃ¸yelig, sÃ¥ kunne den holdes pÃ¥ en enkel rull. Denne rullen " -"kunne sÃ¥ sendes til en fremkaller, og senke kostnadene til fotografering " -"vesentlig. Ved Ã¥ redusere kostnadene, forventet Eastman at han dramatisk " -"kunne utvide andelen fotografer." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Kodak cameras" -msgstr "Kodak-kamera" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Kodak Primer, The (Eastman)" -msgstr "Kodak Primer, The (Eastman)" - -#. f1 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " -"Johns Hopkins University Press, 1975), 112." -msgstr "" -"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " -"Johns Hopkins University Press, 1975), 112." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Eastman developed flexible, emulsion-coated paper film and placed rolls of " -"it in small, simple cameras: the Kodak. The device was marketed on the basis " -"of its simplicity. <quote>You press the button and we do the rest.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> As he described in " -"<citetitle>The Kodak Primer</citetitle>:" -msgstr "" -"Eastman utviklet bÃ¸yelig, emulsjons-belagt papirfilm og plasserte ruller med " -"dette i smÃ¥, enkle kameraer: Kodaken. Enheten ble markedsfÃ¸r med grunnlag " -"dens enkelhet. <quote>Du trykker pÃ¥ knappen og vi fikser resten.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> Som han beskrev det i " -"<citetitle>The Kodak Primer</citetitle>:" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Coe, Brian" -msgstr "Coe, Brian" - -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " -"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " -"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The principle of the Kodak system is the separation of the work that any " -"person whomsoever can do in making a photograph, from the work that only an " -"expert can do. … We furnish anybody, man, woman or child, who has " -"sufficient intelligence to point a box straight and press a button, with an " -"instrument which altogether removes from the practice of photography the " -"necessity for exceptional facilities or, in fact, any special knowledge of " -"the art. It can be employed without preliminary study, without a darkroom " -"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan " -"utfÃ¸re nÃ¥r en tar fotografier, fra arbeidet som kun en ekspert kan gjÃ¸re. " -"… Vi utstyrte alle, menn, kvinner og barn, som hadde tilstrekkelig " -"intelligens til Ã¥ peke en boks i riktig retning og trykke pÃ¥ en knapp, med " -"et instrument som helt fjernet fra praksisen med Ã¥ fotografere " -"nÃ¸dvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell " -"kunnskap om kunstarten. Det kan tas i bruk uten forutgÃ¥ende studier, uten " -"et mÃ¸rkerom og uten kjemikalier.<placeholder type=\"footnote\" id=\"0\"/>" - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Jenkins, 177." -msgstr "Jenkins, 177." - -#. f4 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Based on a chart in Jenkins, p. 178." -msgstr "Basert pÃ¥ et diagram i Jenkins, s. 178." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For $25, anyone could make pictures. The camera came preloaded with film, " -"and when it had been used, the camera was returned to an Eastman factory, " -"where the film was developed. Over time, of course, the cost of the camera " -"and the ease with which it could be used both improved. Roll film thus " -"became the basis for the explosive growth of popular photography. Eastman's " -"camera first went on sale in 1888; one year later, Kodak was printing more " -"than six thousand negatives a day. From 1888 through 1909, while industrial " -"production was rising by 4.7 percent, photographic equipment and material " -"sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> " -"Eastman Kodak's sales during the same period experienced an average annual " -"increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"For $25 kunne alle ta bilder. Det var allerede film i kameraet, og nÃ¥r det " -"var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble " -"fremkalt. Etter hvert, naturligvis, ble bÃ¥de kostnaden til kameraet og hvor " -"enkelt et var Ã¥ bruke forbedret. Film pÃ¥ rull ble dermed grunnlaget for en " -"eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut " -"for salg i 1888, og et Ã¥r senere trykket Kodak mer enn seks tusen negativer " -"om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 " -"prosent, Ã¸kte salget av fotografisk utstyr og materiale med 11 prosent." -"<placeholder type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak i samme " -"periode opplevde en Ã¥rlig vekst pÃ¥ over 17 prosent.<placeholder type=" -"\"footnote\" id=\"1\"/>" - -#. f5 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Coe, 58." -msgstr "Coe, 58." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The real significance of Eastman's invention, however, was not economic. It " -"was social. Professional photography gave individuals a glimpse of places " -"they would never otherwise see. Amateur photography gave them the ability to " -"record their own lives in a way they had never been able to do before. As " -"author Brian Coe notes, <quote>For the first time the snapshot album " -"provided the man on the street with a permanent record of his family and its " -"activities. … For the first time in history there exists an authentic " -"visual record of the appearance and activities of the common man made " -"without [literary] interpretation or bias.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke " -"Ã¸konomisk. Den var sosial. Profesjonell fotografering ga individer et " -"glimt av steder de ellers aldri ville se. AmatÃ¸rfotografering ga dem " -"muligheten til Ã¥ arkivere deres liv pÃ¥ en mÃ¥te som de aldri hadde vÃ¦rt i " -"stand til tidligere. Som forfatter Brian Coe skriver, <quote>For fÃ¸rste " -"gang tilbÃ¸d fotoalbumet mannen i gata et permanent arkiv over hans familie " -"og dens aktiviteter. … For fÃ¸rste gang i historien fantes det en " -"autentisk visuell oppfÃ¸ring av utseende og aktivitet til vanlige mennesker " -"laget uten [skrivefÃ¸r] tolkning eller forutinntatthet.</quote><placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "democracy" -msgstr "demokrati" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in technologies of expression" -msgstr "i teknologier for Ã¥ uttrykke seg" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "expression, technologies of" -msgstr "uttrykke seg, teknologier for Ã¥" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "democratic" -msgstr "demokratisk" - -#. type: Content of: <book><part><chapter><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 <quote>quality</quote>; professionals would discount it as irrelevant. " -"But watch a child study how best to frame a picture and you get a sense of " -"the experience of creativity that the Kodak enabled. Democratic tools gave " -"ordinary people a way to express themselves more easily than any tools could " -"have before." -msgstr "" -"PÃ¥ denne mÃ¥ten var Kodak-kameraet og film uttrykksteknologier. Blyanten og " -"malepenselen var selvfÃ¸lgelig ogsÃ¥ en uttrykksteknologi. Men det tok Ã¥revis " -"med trening fÃ¸r de kunne bli brukt nyttig og effektiv av amatÃ¸rer. Med " -"Kodaken var uttrykk mulig mye raskere og enklere. BarriÃ¨ren for Ã¥ uttrykke " -"seg var senket. Snobber ville fnyse over <quote>kvaliteten</quote>, " -"profesjonelle ville avvise den som irrelevant. Men se et barn studere " -"hvordan best velge bildemotiv og du fÃ¥r fÃ¸lelsen av hva slags " -"kreativitetserfaring som Kodaken muliggjorde. Demokratiske verktÃ¸y ga " -"vanlige folk en mÃ¥te Ã¥ uttrykke dem selv pÃ¥ enklere enn noe annet verktÃ¸y " -"kunne ha gjort fÃ¸r." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "permissions" -msgstr "tillatelser" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "photography exempted from" -msgstr "fotografering som ikke trenger" - -#. f6 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " -"<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " -"<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " -"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " -"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." -msgstr "" -"For illustrerende saker, se for eksempel, <citetitle>Pavesich</citetitle> " -"mot <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " -"<citetitle>Foster-Milburn Co</citetitle>. mot <citetitle>Chinn</citetitle>, " -"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mot " -"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"What was required for this technology to flourish? Obviously, Eastman's " -"genius was an important part. But also important was the legal environment " -"within which Eastman's invention grew. For early in the history of " -"photography, there was a series of judicial decisions that could well have " -"changed the course of photography substantially. Courts were asked whether " -"the photographer, amateur or professional, required permission before he " -"could capture and print whatever image he wanted. Their answer was no." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet " -"var Ã¥penbart en viktig del. Men den juridiske miljÃ¸et som Eastmans " -"oppfinnelse vokste i var ogsÃ¥ viktig. For tidlig i historien til " -"fotografering, var det en rekke av rettsavgjÃ¸relser som godt kunne ha endret " -"kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, " -"amatÃ¸r eller profesjonell, mÃ¥tte ha tillatelse fÃ¸r han kunne fange og trykke " -"hvilket som helst bilde han Ã¸nsket. Svaret var nei.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "images, ownership of" -msgstr "bilder, eierskap til" - -#. PAGE BREAK 47 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The arguments in favor of requiring permission will sound surprisingly " -"familiar. The photographer was <quote>taking</quote> something from the " -"person or building whose photograph he shot—pirating something of " -"value. Some even thought he was taking the target's soul. Just as Disney was " -"not free to take the pencils that his animators used to draw Mickey, so, " -"too, should these photographers not be free to take images that they thought " -"valuable." -msgstr "" -"Argumentene til fordel for Ã¥ kreve tillatelser vil hÃ¸res overraskende kjent " -"ut. Fotografen <quote>tok</quote> noe fra personen eller bygningen som ble " -"fotografert—rÃ¸vet til seg noe av verdi. Noen trodde til og med at han " -"tok mÃ¥lets sjel. PÃ¥ samme mÃ¥te som Disney ikke var fri til Ã¥ ta blyantene " -"som hans animatÃ¸rer brukte til Ã¥ tegne Mikke, sÃ¥ skulle heller ikke disse " -"fotografene vÃ¦re fri til Ã¥ ta bilder som de fant verdi i." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Warren, Samuel D." -msgstr "Warren, Samuel D." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> " -"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" -"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Samuel D. Warren og Louis D. Brandeis, <quote>The Right to Privacy</quote>, " -"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" -"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"On the other side was an argument that should be familiar, as well. Sure, " -"there may be something of value being used. But citizens should have the " -"right to capture at least those images that stand in public view. (Louis " -"Brandeis, who would become a Supreme Court Justice, thought the rule should " -"be different for images from private spaces.<placeholder type=\"footnote\" " -"id=\"0\"/>) It may be that this means that the photographer gets something " -"for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " -"Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " -"to capture an image without compensating the source." -msgstr "" -"PÃ¥ den andre siden var et argument som ogsÃ¥ bÃ¸r bÃ¸r vÃ¦re kjent. Joda, det " -"var kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til Ã¥ " -"fange i hvert fall de bildene som var tatt av offentlig omrÃ¥de. (Louis " -"Brandeis, som senere ble hÃ¸yesterettsjustitiarus, mente regelen skulle vÃ¦re " -"annerledes for bilder tatt av private omrÃ¥der.<placeholder type=\"footnote\" " -"id=\"0\"/>) Det kan vÃ¦re at dette betyr at fotografen fÃ¥r noe for " -"ingenting. PÃ¥ samme mÃ¥te som Disney kunne hente inspirasjon fra " -"<citetitle>Steamboat Bill, Jr</citetitle>. eller Grimm-brÃ¸drene, sÃ¥ burde " -"fotografene stÃ¥ fritt til Ã¥ fange et bilde uten Ã¥ kompensere kilden." - -#. f8 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> " -"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William " -"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</" -"citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. " -"<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 " -"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." -msgstr "" -"Se Melville B. Nimmer, <quote>The Right of Publicity</quote>, <citetitle>Law " -"and Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " -"<quote>Privacy</quote>, <citetitle>California Law Review</citetitle> 48 " -"(1960) 398–407; <citetitle>White</citetitle> mot <citetitle>Samsung " -"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " -"sert. nektet, 508 U.S. 951 (1993)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Fortunately for Mr. Eastman, and for photography in general, these early " -"decisions went in favor of the pirates. In general, no permission would be " -"required before an image could be captured and shared with others. Instead, " -"permission was presumed. Freedom was the default. (The law would eventually " -"craft an exception for famous people: commercial photographers who snap " -"pictures of famous people for commercial purposes have more restrictions " -"than the rest of us. But in the ordinary case, the image can be captured " -"without clearing the rights to do the capturing.<placeholder type=\"footnote" -"\" id=\"0\"/>)" -msgstr "" -"Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse " -"tidligere avgjÃ¸relsene i favÃ¸r av piratene. Generelt ble det ikke nÃ¸dvendig " -"Ã¥ sikre seg tillatelse fÃ¸r et bilde kunne tas og deles med andre. I stedet " -"var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven " -"ga etter en stund et unntak for berÃ¸mte personer: kommersielle fotografer " -"som tok bilder av berÃ¸mte personer for kommersielle formÃ¥l har flere " -"begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet " -"fanges uten Ã¥ klarere rettighetene for a fange det.<placeholder type=" -"\"footnote\" id=\"0\"/>)" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Napster" -msgstr "Napster" - -#. type: Content of: <book><part><chapter><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 " -"<quote>theft</quote> committed by the photographer. Just as Napster " -"benefited from the copyright infringements committed by Napster users, Kodak " -"would be benefiting from the <quote>image-right</quote> infringement of its " -"photographers. We could imagine the law then requiring that some form of " -"permission be demonstrated before a company developed pictures. We could " -"imagine a system developing to demonstrate that permission." -msgstr "" -"Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven " -"hadde slÃ¥tt ut den andre veien. Hvis den hadde vÃ¦rt mot fotografen, da " -"ville fotografen mÃ¥ttet dokumentere at tillatelse var pÃ¥ plass. Kanskje " -"Eastman Kodak ogsÃ¥ mÃ¥tte ha dokumentert at tillatelse var gitt, fÃ¸r de " -"utviklet filmen som bildene ble fanget pÃ¥. Tross alt, hvis tillatelse ikke " -"var gitt, da ville Eastman Kodak ha nytt fordeler fra <quote>tyveriet</" -"quote> begÃ¥tt av fotografer. PÃ¥ samme mÃ¥te som Napster nÃ¸t fordeler fra " -"opphavsrettsbrudd utfÃ¸rt av Napster-brukere, sÃ¥ ville Kodak nytt fordeler " -"fra <quote>bilde-rettighets</quote>-brudd til deres fotografer. Vi kan " -"forestille oss at loven da krevede at en form for tillatelse ble vist frem " -"fÃ¸r et selskap fremkalte bildene. Vi kan forestille oss et system bli " -"utviklet for Ã¥ legge frem slike tillatelser." - -#. PAGE BREAK 48 -#. type: Content of: <book><part><chapter><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." -msgstr "" -"Men selv om vi kan tenke oss dette godkjenningssystemet, sÃ¥ vil det vÃ¦re " -"svÃ¦rt vanskelig Ã¥ se hvordan fotografering skulle ha blomstret slik det " -"gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. " -"Fotografering ville eksistert. Det ville ha Ã¸kt sin betydning over tid. " -"Profesjonelle ville ha fortsatt Ã¥ bruke teknologien slik de gjorde—" -"siden profesjonelle enklere kunne hÃ¥ndtert byrdene pÃ¥lagt dem av " -"godkjenningssystemet. Men spredningen av fotografering til vanlige folk " -"villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det " -"ville uten tvil aldri vÃ¦rt realisert en slik vekst i demokratisk " -"uttrykksteknologi." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "digital cameras" -msgstr "digitale kamera" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Just Think!" -msgstr "" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>If you drive</emphasis> through San Francisco's " -"Presidio, you might see two gaudy yellow school buses painted over with " -"colorful and striking images, and the logo <quote>Just Think!</quote> in " -"place of the name of a school. But there's little that's <quote>just</quote> " -"cerebral in the projects that these busses enable. These buses are filled " -"with technologies that teach kids to tinker with film. Not the film of " -"Eastman. Not even the film of your VCR. Rather the <quote>film</quote> of " -"digital cameras. Just Think! is a project that enables kids to make films, " -"as a way to understand and critique the filmed culture that they find all " -"around them. Each year, these busses travel to more than thirty schools and " -"enable three hundred to five hundred children to learn something about media " -"by doing something with media. By doing, they think. By tinkering, they " -"learn." -msgstr "" -"<emphasis role='strong'>Hvis du kjÃ¸rer</emphasis> gjennom omrÃ¥det Presidio i " -"San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med " -"fargefulle og iÃ¸ynefallende bilder, og logoen <quote>Just Think!</quote> i " -"stedet for navnet pÃ¥ en skole. Men det er lite som er <quote>bare</quote> " -"mentalt i prosjektene som disse bussene muliggjÃ¸r. Disse bussene er fylt " -"med teknologi som lÃ¦rer unger Ã¥ fikle med film. Ikke filmen til Eastman. " -"Ikke en gang filmen i din videospiller. I stedet er det snakk om " -"<quote>filmen</quote> til digitale kamera. Just Think! er et prosjekt som " -"gjÃ¸r det mulig for unger Ã¥ lage filmer, som en mÃ¥te Ã¥ forstÃ¥ og kritisere " -"den filmede kulturen som de finner over alt rundt seg. Hvert Ã¥r besÃ¸ker " -"disse bussene mer enn tredve skoler og gir mellom tre hundre og fire hundre " -"barn muligheten til Ã¥ lÃ¦re noe om media ved Ã¥ gjÃ¸re noe med media. Ved Ã¥ " -"gjÃ¸re, sÃ¥ tenker de. Ved Ã¥ fikle, sÃ¥ lÃ¦rer de." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "education" -msgstr "utdanning" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in media literacy" -msgstr "i mediekompetanse" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "media literacy" -msgstr "mediekompetanse" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "media literacy and" -msgstr "mediekompetanse og" - -#. f9 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " -"Software You Need to Create Digital Multimedia Presentations,</quote> " -"cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #7</ulink>." -msgstr "" -"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " -"Software You Need to Create Digital Multimedia Presentations,</quote> " -"cadalyst, februar 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/" -"notes/\">link #7</ulink>." - -#. type: Content of: <book><part><chapter><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, <quote>Five years ago, a good real-time digital video " -"editing system cost $25,000. Today you can get professional quality for $595." -"</quote><placeholder type=\"footnote\" id=\"0\"/> These buses are filled " -"with technology that would have cost hundreds of thousands just ten years " -"ago. And it is now feasible to imagine not just buses like this, but " -"classrooms across the country where kids are learning more and more of " -"something teachers call <quote>media literacy.</quote>" -msgstr "" -"Disse bussene er ikke billige, men teknologien de har med seg blir billigere " -"og billigere. Kostnaden til et hÃ¸ykvalitets digitalt videosystem har falt " -"dramatisk. Som en analytiker omtalte det, <quote>for fem Ã¥r siden kostet et " -"godt sanntids redigerinssystem for digital video $25 000. I dag kan du " -"fÃ¥ profesjonell kvalitet for $595.</quote><placeholder type=\"footnote\" id=" -"\"0\"/> Disse bussene er fylt med teknologi som ville kostet hundre-tusenvis " -"av dollar for bare ti Ã¥r siden. Og det er nÃ¥ mulig Ã¥ forestille seg ikke " -"bare slike busser, men klasserom rundt om i landet hvor unger kan lÃ¦re mer " -"og mer av det lÃ¦rerne kaller <quote>medie-skrivefÃ¸re</quote> eller " -"<quote>mediekompetanse</quote>." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Yanofsky, Dave" -msgstr "Yanofsky, Dave" - -#. PAGE BREAK 49 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of " -"Just Think!, puts it, <quote>is the ability … to understand, analyze, " -"and deconstruct media images. Its aim is to make [kids] literate about the " -"way media works, the way it's constructed, the way it's delivered, and the " -"way people access it.</quote>" -msgstr "" -"<quote>Media-skrivefÃ¸re,</quote> eller <quote>mediekompetanse</quote> som " -"administrerende direktÃ¸r Dave Yanofsky i Just Think!, sier det, <quote>er " -"evnen til … Ã¥ forstÃ¥, analysere og dekonstruere mediebilder. Dets mÃ¥l " -"er Ã¥ gjÃ¸re [unger] i stand til Ã¥ forstÃ¥ hvordan mediene fungerer, hvordan de " -"er konstruert, hvordan de blir levert, og hvordan folk bruker dem</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This may seem like an odd way to think about <quote>literacy.</quote> For " -"most people, literacy is about reading and writing. Faulkner and Hemingway " -"and noticing split infinitives are the things that <quote>literate</quote> " -"people know about." -msgstr "" -"Dette kan virke som en litt rar mÃ¥te Ã¥ tenke pÃ¥ <quote>skrivefÃ¸r</quote>. " -"For de fleste handler skrivefÃ¸r Ã¥ kunne lese og skrive. <quote>SkrivefÃ¸re</" -"quote> folk kjenner ting som Faulkner, Hemingway og Ã¥ kjenne igjen delte " -"infinitiver." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "advertising" -msgstr "markedsfÃ¸ring" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "commercials" -msgstr "reklameinnslag" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "television" -msgstr "televisjon" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "advertising on" -msgstr "markedsfÃ¸ring pÃ¥" - -#. f10 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " -"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " -"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May " -"1997, B6." -msgstr "" -"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " -"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " -"Family and TV Study</quote>, <citetitle>Denver Post</citetitle>, 25. mai " -"1997, B6." - -#. type: Content of: <book><part><chapter><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 <quote>grammar</quote> of media. For just as there is a " -"grammar for the written word, so, too, is there one for media. And just as " -"kids learn how to write by writing lots of terrible prose, kids learn how to " -"write media by constructing lots of (at least at first) terrible media." -msgstr "" -"Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-" -"reklamer i Ã¥ret, eller generelt mellom 20 000 og 45 000 reklameinnslag," -"<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ er det mer og mer viktig Ã¥ " -"forstÃ¥ <quote>grammatikken</quote> til media. For pÃ¥ samme mÃ¥te som det er " -"en grammatikk for det skrevne ord, sÃ¥ er det ogsÃ¥ en for media. Og akkurat " -"slik som unger lÃ¦rer Ã¥ skrive ved Ã¥ skrive masse grusom prosa, sÃ¥ lÃ¦rer " -"unger Ã¥ skrive media ved Ã¥ konstruere masse (i hvert fall i begynnelsen) " -"grusom media." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"A growing field of academics and activists sees this form of literacy as " -"crucial to the next generation of culture. For though anyone who has written " -"understands how difficult writing is—how difficult it is to sequence " -"the story, to keep a reader's attention, to craft language to be " -"understandable—few of us have any real sense of how difficult media " -"is. Or more fundamentally, few of us have a sense of how media works, how it " -"holds an audience or leads it through a story, how it triggers emotion or " -"builds suspense." -msgstr "" -"Et voksende felt av akademikere og aktivister ser denne formen for " -"skrivefÃ¸re som avgjÃ¸rende for den neste generasjonen av kultur. For selv om " -"de som har skrevet forstÃ¥r hvor vanskelig det er Ã¥ skrive—hvor " -"vanskelig det er Ã¥ bestemme rekkefÃ¸lge i historien, Ã¥ holde pÃ¥ " -"oppmerksomheten hos leseren, Ã¥ forme sprÃ¥ket slik at det er forstÃ¥elig—" -"sÃ¥ har fÃ¥ av oss en reell fÃ¸lelse av hvor vanskelig medier er. Eller mer " -"fundamentalt, de fÃ¦rreste av oss har en fÃ¸lelse for hvordan media fungerer, " -"hvordan det holder et publikum eller leder leseren gjennom historien, " -"hvordan det utlÃ¸ser fÃ¸lelser eller bygger opp spenningen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"It took filmmaking a generation before it could do these things well. But " -"even then, the knowledge was in the filming, not in writing about the film. " -"The skill came from experiencing the making of a film, not from reading a " -"book about it. One learns to write by writing and then reflecting upon what " -"one has written. One learns to write with images by making them and then " -"reflecting upon what one has created." -msgstr "" -"Det tok filmkusten en generasjon fÃ¸r den kunne gjÃ¸re disse tingene bra. Men " -"selv da, sÃ¥ var kunnskapen i filmingen, ikke i Ã¥ skrive om filmen. " -"Ferdigheten kom fra erfaring med Ã¥ lage en film, ikke fra Ã¥ lese en bok om " -"den. En lÃ¦rer Ã¥ skrive ved Ã¥ skrive, og deretter reflektere over det en har " -"skrevet. En lÃ¦rer Ã¥ skrive med bilder ved Ã¥ lage dem, og deretter " -"reflektere over det en har laget." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Daley, Elizabeth" -msgstr "Daley, Elizabeth" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Crichton, Michael" -msgstr "Crichton, Michael" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Barish, Stephanie" -msgstr "Barish, Stephanie" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" -msgstr "" -"Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" - -#. f12 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, " -"4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." -msgstr "" -"Se Scott Steinberg, <quote>Crichton Gets Medieval on PCs</quote>, E!online, " -"4. november 2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #8</ulink>; <quote>Timeline</quote>, 22. november 2000, tilgjengelig " -"fra <ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." - -#. type: Content of: <book><part><chapter><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 <quote>the " -"placement of objects, color, … rhythm, pacing, and texture.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an " -"interactive space where a story is <quote>played</quote> as well as " -"experienced, that grammar changes. The simple control of narrative is lost, " -"and so other techniques are necessary. Author Michael Crichton had mastered " -"the narrative of science fiction. But when he tried to design a computer " -"game based on one of his works, it was a new craft he had to learn. How to " -"lead people through a game without their feeling they have been led was not " -"obvious, even to a wildly successful author.<placeholder type=\"footnote\" " -"id=\"1\"/>" -msgstr "" -"Denne gramatikken har endret seg etter hvert som media har endret seg. Da " -"det kun var film, som Elizabeth Daley, administrerende direktÃ¸r ved " -"Universitetet i SÃ¸r-Califorias Anneberg-senter for kommunkasjon og rektor " -"ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om " -"<quote>plasseringen av objekter, farger, … rytme, skritt og tekstur</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som " -"datamaskiner Ã¥pner opp et interaktivt rom hvor en historie blir " -"<quote>spillt</quote> i tillegg til opplevd, endrer gramatikken seg. Den " -"enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre " -"teknikker nÃ¸dvendig. Forfatter Michael Crichton hadde mestret " -"fortellerstemmen til science fiction. Men da han forsÃ¸kte Ã¥ lage et " -"dataspill basert pÃ¥ et av sine verk, sÃ¥ var det et nytt hÃ¥ndverk han mÃ¥tte " -"lÃ¦re. Det var ikke Ã¥penbart hvordan en leder folk gjennom et spill uten at " -"de far fÃ¸lelsen av Ã¥ ha blitt ledet, selv for en enormt vellykket forfatter." -"<placeholder type=\"footnote\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "computer games" -msgstr "dataspill" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This skill is precisely the craft a filmmaker learns. As Daley describes, " -"<quote>people are very surprised about how they are led through a film. [I]t " -"is perfectly constructed to keep you from seeing it, so you have no idea. If " -"a filmmaker succeeds you do not know how you were led.</quote> If you know " -"you were led through a film, the film has failed." -msgstr "" -"Akkurat denne ferdigheten er hÃ¥ndverket en lÃ¦rer til de som lager filmer. " -"Som Daley skriver, <quote>folk er svÃ¦rt overrasket over hvordan de blir " -"ledet gjennom en film. Den er perfekt konstruert for Ã¥ hindre deg fra Ã¥ se " -"det, sÃ¥ du aner det ikke. Hvis en som lager filmer lykkes sÃ¥ vet du ikke at " -"du har vÃ¦rt ledet.</quote> Hvis du vet at du ble ledet igjennom en film, sÃ¥ " -"har filmen feilet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet the push for an expanded literacy—one that goes beyond text to " -"include audio and visual elements—is not about making better film " -"directors. The aim is not to improve the profession of filmmaking at all. " -"Instead, as Daley explained," -msgstr "" -"Likevel er innsatsen for Ã¥ utvide skrivefÃ¸ren—til en som gÃ¥r ut over " -"tekst til Ã¥ ta med lyd og visuelle elementer—handler ikke om Ã¥ lage " -"bedre filmregissÃ¸rer. MÃ¥let er ikke Ã¥ forbedre filmyrket i det hele tatt. " -"I stedet, som Daley forklarer," - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"From my perspective, probably the most important digital divide is not " -"access to a box. It's the ability to be empowered with the language that " -"that box works in. Otherwise only a very few people can write with this " -"language, and all the rest of us are reduced to being read-only." -msgstr "" -"Fra mitt perspektiv er antagelig det viktigste digitale skillet ikke om en " -"har tilgang til en boks eller ikke. Det er evnen til Ã¥ ha kontroll over " -"sprÃ¥ket som boksen bruker. I motsatt fall er det bare noen fÃ¥ som kan " -"skrive i dette sprÃ¥ket, og alle oss andre er redusert til Ã¥ ikke kunne " -"skrive." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. " -"Couch potatoes. Consumers. This is the world of media from the twentieth " -"century." -msgstr "" -"<quote>ikke kunne skrive.</quote> Passive mottakerne av kultur produsert " -"andre steder. Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende " -"Ã¥rhundre." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Intervju med Daley og Barish. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. f31 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "Ibid." -msgstr "ibid." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The twenty-first century could be different. This is the crucial point: It " -"could be both read and write. Or at least reading and better understanding " -"the craft of writing. Or best, reading and understanding the tools that " -"enable the writing to lead or mislead. The aim of any literacy, and this " -"literacy in particular, is to <quote>empower people to choose the " -"appropriate language for what they need to create or express.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students " -"<quote>to communicate in the language of the twenty-first century.</" -"quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Det tjuefÃ¸rste Ã¥rhundret kan bli annerledes. Dette er et kritisk punkt: Det " -"kan bli bÃ¥de lesing og skriving. Eller i det minste lesing og bedre " -"forstÃ¥else for hÃ¥ndverket Ã¥ skrive. Eller det beste, lesing og forstÃ¥ " -"verktÃ¸yene som gir skriving mulighet til Ã¥ veilede eller villede. MÃ¥let med " -"enhver skrivefÃ¸rhet, og denne skrivefÃ¸rheten spesielt, er Ã¥ <quote>gi folket " -"myndighet til Ã¥ velge det sprÃ¥ket som passer for det de trenger Ã¥ lage eller " -"uttrykke</quote>.<placeholder type=\"footnote\" id=\"0\"/> Det gir studenter " -"mulighet <quote>til Ã¥ kommunisere i sprÃ¥ket til det tjuefÃ¸rste Ã¥rhundret</" -"quote>.<placeholder type=\"footnote\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As with any language, this language comes more easily to some than to " -"others. It doesn't necessarily come more easily to those who excel in " -"written language. Daley and Stephanie Barish, director of the Institute for " -"Multimedia Literacy at the Annenberg Center, describe one particularly " -"poignant example of a project they ran in a high school. The high school " -"was a very poor inner-city Los Angeles school. In all the traditional " -"measures of success, this school was a failure. But Daley and Barish ran a " -"program that gave kids an opportunity to use film to express meaning about " -"something the students know something about—gun violence." -msgstr "" -"Som det alle andre sprÃ¥k, lÃ¦res dette sprÃ¥ket lettere for noen enn for " -"andre. Det kommer ikke nÃ¸dvendigvis lettere for de som gjÃ¸r det godt " -"skriftlig. Daley og Stephanie Barish, direktÃ¸r for Institutt for Multimedia-" -"skrivefÃ¸re ved Annenberg-senteret, beskriver et spesielt sterkt eksempel fra " -"et prosjekt de gjennomfÃ¸rte i en videregÃ¥ende skole. Den videregÃ¥ende " -"skolen var en veldig fattig skole i den indre byen i Los Angeles. Etter " -"alle tradisjonelle mÃ¥leenheter for suksess var denne skolen en fiasko. Men " -"Daley og Barish gjennomfÃ¸rte et program som ga ungene en mulighet til Ã¥ " -"bruke film til Ã¥ uttrykke sine meninger om noe som studentene visste noe " -"om—vÃ¥pen-relatert vold." - -#. type: Content of: <book><part><chapter><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 " -"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> " -"said Barish. They were working harder than in any other class to do what " -"education should be about—learning how to express themselves." -msgstr "" -"Klassen mÃ¸ttes fredag ettermiddag, og skapte et relativt nytt problem for " -"skolen. Mens utfordringen i de fleste klasser var Ã¥ fÃ¥ ungene til Ã¥ dukke " -"opp, var utfordringen for denne klassen Ã¥ holde dem unna. <quote>Ungene " -"dukket opp 06:00, og dro igjen 05:00 pÃ¥ natta</quote>, sa Barish. De jobbet " -"hardere enn i noen annen klasse for Ã¥ gjÃ¸re det utdanning burde handle " -"om—Ã¥ lÃ¦re hvordan de skulle uttrykke seg." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Using whatever <quote>free web stuff they could find,</quote> and relatively " -"simple tools to enable the kids to mix <quote>image, sound, and text,</" -"quote> Barish said this class produced a series of projects that showed " -"something about gun violence that few would otherwise understand. This was " -"an issue close to the lives of these students. The project <quote>gave them " -"a tool and empowered them to be able to both understand it and talk about it," -"</quote> Barish explained. That tool succeeded in creating expression—" -"far more successfully and powerfully than could have been created using only " -"text. <quote>If you had said to these students, `you have to do it in text,' " -"they would've just thrown their hands up and gone and done something else,</" -"quote> Barish described, in part, no doubt, because expressing themselves in " -"text is not something these students can do well. Yet neither is text a form " -"in which <emphasis>these</emphasis> ideas can be expressed well. The power " -"of this message depended upon its connection to this form of expression." -msgstr "" -"Ved Ã¥ bruke hva som helst av <quote>fritt tilgjengelig web-stoff de kunne " -"finne</quote>, og relativt enkle verktÃ¸y som gjorde det mulig for ungene Ã¥ " -"blande <quote>bilde, lyd og tekst</quote>, sa Barish at denne klassen " -"produserte en serie av prosjekter som viste noe om vÃ¥pen-basert vold som fÃ¥ " -"ellers ville forstÃ¥. Dette var et tema veldig nÃ¦rt livene til disse " -"studentene. Prosjektet <quote>ga dem et verktÃ¸y og bemyndiget dem slik at " -"de bÃ¥de ble i stand til Ã¥ forstÃ¥ det og snakke om det</quote>, forklarer " -"Barish. Dette verktÃ¸yet lyktes med Ã¥ skape uttrykk—mye mer vellykket " -"og kraffylt enn noe som hadde blitt laget ved Ã¥ kun bruke tekst. " -"<quote>Hvis du hadde sagt til disse studentene at 'du mÃ¥ gjÃ¸re dette i " -"tekstform', sÃ¥ hadde de bare kastet hendene i vÃ¦ret og gÃ¥tt og gjort noe " -"annet</quote>, forklarer Barish. Delvis, uten tvil, fordi Ã¥ uttrykke seg " -"selv i tekstform ikke er noe disse studentene gjÃ¸r godt. Heller ikke er " -"tekstform en form som kan uttrykke <emphasis>disse</emphasis> idÃ©ene godt. " -"Kraften i denne meldingen avhenger av dens forbindelse med denne for for " -"uttrykk." - -#. PAGE BREAK 52 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>But isn't education about teaching kids to write?</quote> I asked. In " -"part, of course, it is. But why are we teaching kids to write? Education, " -"Daley explained, is about giving students a way of <quote>constructing " -"meaning.</quote> To say that that means just writing is like saying teaching " -"writing is only about teaching kids how to spell. Text is one part—and " -"increasingly, not the most powerful part—of constructing meaning. As " -"Daley explained in the most moving part of our interview," -msgstr "" -"<quote>Men handler ikke utdanning om Ã¥ lÃ¦re unger Ã¥ skrive?</quote> spurte " -"jeg. Jo delvis, naturligvis. Men hvorfor lÃ¦rer vi unger Ã¥ skrive? " -"Utdanning, forklarer Daley, handler om Ã¥ gi studentene en mÃ¥te Ã¥ " -"<quote>konstruere mening</quote>. Ã si at det kun betyr skriving er som Ã¥ " -"si at Ã¥ lÃ¦re bort skriving kun handler om Ã¥ lÃ¦re ungene Ã¥ stave. " -"Tekstforming er bare en del—og i stÃ¸rre grad ikke den kraftigste " -"delen—for Ã¥ konstruere mening. Som Daley forklarte i den mest rÃ¸rende " -"delen av vÃ¥rt intervju," - -#. type: Content of: <book><part><chapter><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, <quote>Johnny, you're illiterate. Nothing you " -"can do matters.</quote> Well, Johnny then has two choices: He can dismiss " -"you or he [can] dismiss himself. If his ego is healthy at all, he's going to " -"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things " -"that you can do, let's talk about this issue. Play for me music that you " -"think reflects that, or show me images that you think reflect that, or draw " -"for me something that reflects that.</quote> Not by giving a kid a video " -"camera and … saying, <quote>Let's go have fun with the video camera " -"and make a little movie.</quote> But instead, really help you take these " -"elements that you understand, that are your language, and construct meaning " -"about the topic.…" -msgstr "" -"Det du Ã¸nsker er Ã¥ gi disse studentene en mÃ¥te Ã¥ konstruere mening. Hvis alt " -"du gir dem er tekst, sÃ¥ kommer de ikke til Ã¥ gjÃ¸re det. Fordi de kan ikke. " -"Du vet, du har Johnny som kan se pÃ¥ en video, han kan spille pÃ¥ et TV-spill, " -"han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen " -"din, og han kan gjÃ¸re alle mulige andre ting. Men han kan ikke lese teksten " -"din. SÃ¥ Jonny kommer pÃ¥ skolen og du sier <quote>Johnny, du er analfabet. " -"Ingenting du gjÃ¸r betyr noe</quote>. Vel, da har Johnny to valg: Han kan " -"avvise deg eller han kan avvise seg selv. Hvis han har et sunt ego sÃ¥ vil " -"han avvise deg. Men hvis du i stedet sier, <quote>Vel, med alle disse " -"tingene som du kan gjÃ¸re, la oss snakke om dette temaet. Spill musikk til " -"meg som du mener reflekterer over temaet, eller vis meg bilder som du mener " -"reflekterer over temaet, eller tegn noe til meg som reflektere temaet</" -"quote>. Ikke ved Ã¥ gi en unge et videokamera og … si <quote>La oss " -"dra Ã¥ ha det morsomt med videokameraet og lage en liten film</quote>. Men " -"istedet, virkelig hjelpe deg Ã¥ ta disse elementene som du forstÃ¥r, som er " -"ditt sprÃ¥k, og konstruer mening om temaet.…" - -#. type: Content of: <book><part><chapter><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, " -"<quote>I need to explain this and I really need to write something.</quote> " -"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, " -"6, 7, 8 times, till they got it right." -msgstr "" -"Dette bemyndiger enormt. Og det som skjer til slutt, selvfÃ¸lgelig, som det " -"har skjedd i alle disse klassene, er at de stopper opp nÃ¥r de treffer " -"faktumet <quote>jeg trenger Ã¥ forklare dette, og da trenger jeg virkelig Ã¥ " -"skrive noe</quote>. Og som en av lÃ¦rerne fortalte Stephanie, de vil skrive " -"om avsnittet 5, 6, 7, 8 ganger, helt til det blir riktig." - -#. PAGE BREAK 53 -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"Because they needed to. There was a reason for doing it. They needed to say " -"something, as opposed to just jumping through your hoops. They actually " -"needed to use a language that they didn't speak very well. But they had come " -"to understand that they had a lot of power with this language." -msgstr "" -"Fordi de trengte det. Det var en grunn til Ã¥ gjÃ¸re det. De trengte Ã¥ si " -"noe, i motsetning til Ã¥ kun danse etter din pipe. De trengte faktisk Ã¥ " -"bruke det sprÃ¥ket de ikke hÃ¥ndterte veldig bra. Men de hadde begynt Ã¥ " -"forstÃ¥ at de hadde mye gjennomslagskraft med dette sprÃ¥ket." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "September 11, 2001, terrorist attacks of" -msgstr "11. september 2001, terrorangrep den" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "World Trade Center" -msgstr "World Trade Center" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "news coverage" -msgstr "nyhetsdekning" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>When two planes</emphasis> crashed into the World " -"Trade Center, another into the Pentagon, and a fourth into a Pennsylvania " -"field, all media around the world shifted to this news. Every moment of just " -"about every day for that week, and for weeks after, television in " -"particular, and media generally, retold the story of the events we had just " -"witnessed. The telling was a retelling, because we had seen the events that " -"were described. The genius of this awful act of terrorism was that the " -"delayed second attack was perfectly timed to assure that the whole world " -"would be watching." -msgstr "" -"<emphasis role='strong'>Da to fly</emphasis> krasjet inn i World Trade " -"Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i " -"Pennsylvania, snudde alle medier verden rundt seg til denne nyheten. " -"Ethvert moment for omtreng hver eneste dag den uka, og ukene som fulgte " -"gjenfortalte TV spesielt, men media generelt, historien om disse hendelsene " -"som vi nettopp hadde vÃ¦rt vitne til. Genialiteten i denne forferdelige " -"terrorhandlingen var at det forsinkede andre-angrepet var perfekt tidsatt " -"for Ã¥ sikre at hele verden ville vÃ¦re der for Ã¥ se pÃ¥." - -#. type: Content of: <book><part><chapter><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 <quote>balance,</quote> and " -"seriousness. This was news choreographed in the way we have increasingly " -"come to expect it, <quote>news as entertainment,</quote> even if the " -"entertainment is tragedy." -msgstr "" -"Disse gjenfortellingene ga en Ã¸kende familiÃ¦r fÃ¸lelse. Det var musikk " -"spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers " -"over skjermen. Det var en formel for intervjuer. Det var <quote>balanse</" -"quote> og seriÃ¸sitet. Dette var nyheter koreaografert slik vi i stadig " -"stÃ¸rre grad forventer det, <quote>nyheter som underholdning</quote>, selv om " -"underholdningen er en tragedie." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "ABC" -msgstr "ABC" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "CBS" -msgstr "CBS" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But in addition to this produced news about the <quote>tragedy of September " -"11,</quote> those of us tied to the Internet came to see a very different " -"production as well. The Internet was filled with accounts of the same " -"events. Yet these Internet accounts had a very different flavor. Some people " -"constructed photo pages that captured images from around the world and " -"presented them as slide shows with text. Some offered open letters. There " -"were sound recordings. There was anger and frustration. There were attempts " -"to provide context. There was, in short, an extraordinary worldwide barn " -"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber " -"Rights</citetitle>, around a news event that had captured the attention of " -"the world. There was ABC and CBS, but there was also the Internet." -msgstr "" -"Men i tillegg til disse produserte nyhetene om <quote>tragedien 11. " -"september</quote>, kunne de av oss som er knyttet til Internettet i tillegg " -"se en svÃ¦rt annerledes produksjon. Internettet er fullt av fortellinger om " -"de samme hendelsene. Men disse internet-fortellingene hadde en veldig " -"annerledes smak. Noen folk konstruerte foto-sider som fanget bilder fra " -"hele verden og presenterte dem som lysbildepresentasjoner med tekst. Noen " -"tilbÃ¸d Ã¥pne brev. Det var lydopptak. Det var sinne og frustrasjon. Det " -"var forsÃ¸k pÃ¥ Ã¥ tilby en sammenheng. Det var, kort og godt, en " -"ekstraordinÃ¦r verdensomspennende lÃ¥vebygging, slik Mike Godwin bruker " -"begrepet i hans bok <citetitle>Cyber Rights</citetitle>, rundt en " -"nyhetshendelse som hadde fanget oppmerksomheten til hele verden. Det var " -"ABC og CBS, men det var ogsÃ¥ Internettet." - -#. PAGE BREAK 54 -#. type: Content of: <book><part><chapter><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 <quote>Just Think!</quote> bus, the visual images could be mixed with " -"sound or text." -msgstr "" -"Det er ikke sÃ¥ enkelt som at jeg Ã¸nsker Ã¥ lovprise Internettet—selv om " -"jeg mener at folkene som stÃ¸tter denne formen for tale bÃ¸r lovprises. Jeg " -"Ã¸nsker i stedet Ã¥ peke pÃ¥ viktigheten av denne formen for tale. For pÃ¥ " -"samme mÃ¥te som en Kodak, gjÃ¸r Internettet folk i stand til Ã¥ fange bilder. " -"Og pÃ¥ samme mÃ¥te som med en film laget av en av studentene pÃ¥ <quote>Just " -"Think!</quote>-bussen, kan visuelle bilder bli blandet med lyd og tekst." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But unlike any technology for simply capturing images, the Internet allows " -"these creations to be shared with an extraordinary number of people, " -"practically instantaneously. This is something new in our tradition—" -"not just that culture can be captured mechanically, and obviously not just " -"that events are commented upon critically, but that this mix of captured " -"images, sound, and commentary can be widely spread practically " -"instantaneously." -msgstr "" -"Men i motsetning til en hvilken som helst teknologi for Ã¥ enkelt fange " -"bilder, tillater Internettet at en nesten umiddelbart deler disse " -"kreasjonene med et ekstraordinÃ¦rt antall menesker. Dette er noe nytt i vÃ¥r " -"tradisjon—ikke bare kan kultur fanges inn mekanisk, og Ã¥penbart heller " -"ikke at hendelser blir kommentert kritisk, men at denne blandingen av " -"bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "blogs (Web-logs)" -msgstr "blogger (Web-logger)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "blogs on" -msgstr "blogger om" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Web-logs (blogs)" -msgstr "Web-logger (blogger)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"September 11 was not an aberration. It was a beginning. Around the same " -"time, a form of communication that has grown dramatically was just beginning " -"to come into public consciousness: the Web-log, or blog. The blog is a kind " -"of public diary, and within some cultures, such as in Japan, it functions " -"very much like a diary. In those cultures, it records private facts in a " -"public way—it's a kind of electronic <citetitle>Jerry Springer</" -"citetitle>, available anywhere in the world." -msgstr "" -"11. september var ikke et avvik. Det var en start. Omtrent pÃ¥ samme tid, " -"begynte en form for kommunkasjon som hadde vokst dramatisk Ã¥ komme inn i " -"offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig " -"dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en " -"dagbok. I disse kulturene registrerer den private fakta pÃ¥ en offentlig " -"mÃ¥te—det er en slags elektronisk <citetitle>Jerry Springer</" -"citetitle>, tilgjengelig overalt i verden." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "political discourse" -msgstr "politisk diskusjon" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "public discourse conducted on" -msgstr "offentlig diskusjon gjennomfÃ¸rt pÃ¥" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But in the United States, blogs have taken on a very different character. " -"There are some who use the space simply to talk about their private life. " -"But there are many who use the space to engage in public discourse. " -"Discussing matters of public import, criticizing others who are mistaken in " -"their views, criticizing politicians about the decisions they make, offering " -"solutions to problems we all see: blogs create the sense of a virtual public " -"meeting, but one in which we don't all hope to be there at the same time and " -"in which conversations are not necessarily linked. The best of the blog " -"entries are relatively short; they point directly to words used by others, " -"criticizing with or adding to them. They are arguably the most important " -"form of unchoreographed public discourse that we have." -msgstr "" -"Men i USA har blogger inntatt en svÃ¦rt annerledes karakter. Det er noen som " -"bruker denne plassen til Ã¥ snakke om sitt private liv. Men det er mange som " -"bruker denne plassen til Ã¥ delta i offentlig debatt. Diskuterer saker med " -"offentlig interesse, kritiserer andre som har feil synspunkt, kritisere " -"politigere for avgjÃ¸relser de tar, tilbyr lÃ¸sninger pÃ¥ problemer vi alle " -"ser. Blogger skaper en fÃ¸lelse av et virtuelt offentlig mÃ¸te, men et hvor " -"vi ikke alle hÃ¥per Ã¥ vÃ¦re tilstede pÃ¥ samme tid og hvor konversasjonene ikke " -"nÃ¸dvendigvis er koblet sammen. De beste av bloggoppfÃ¸ringene er relativt " -"korte. De peker direkte til ord bruk av andre, kritiserer dem eller bidrar " -"til dem. Det kan argumenteres for at de er den viktigste form for " -"ukoreografert offentlig debatt som vi har." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "elections" -msgstr "valg" - -#. PAGE BREAK 55 -#. type: Content of: <book><part><chapter><para> -msgid "" -"That's a strong statement. Yet it says as much about our democracy as it " -"does about blogs. This is the part of America that is most difficult for " -"those of us who love America to accept: Our democracy has atrophied. Of " -"course we have elections, and most of the time the courts allow those " -"elections to count. A relatively small number of people vote in those " -"elections. The cycle of these elections has become totally professionalized " -"and routinized. Most of us think this is democracy." -msgstr "" -"Dette er en sterk uttalelse. Likevel sier den like mye om vÃ¥rt demokrati " -"som den sier om blogger. Dette er delen av USA som det er mest vanskelig " -"for oss som elsker USA Ã¥ akseptere: vÃ¥rt demokrati har svunnet hen. Vi har " -"naturligvis valg, og mesteparten av tiden tillater domstolene at disse " -"valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. " -"Syklusen med disse valgene har blitt totalt profesjonalisert og " -"rutinepreget. De fleste av oss tenker pÃ¥ dette som demokrati." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Tocqueville, Alexis de" -msgstr "Tocqueville, Alexis de" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "public discourse in" -msgstr "offentlig diskusjon i" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "jury system" -msgstr "jurysystem" - -#. f15 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" -"citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " -"16." -msgstr "" -"Se for eksempel Alexis de Tocqueville, <citetitle>Democracy in America</" -"citetitle>, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. " -"16." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But democracy has never just been about elections. Democracy means rule by " -"the people, but rule means something more than mere elections. In our " -"tradition, it also means control through reasoned discourse. This was the " -"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" -"century French lawyer who wrote the most important account of early " -"<quote>Democracy in America.</quote> It wasn't popular elections that " -"fascinated him—it was the jury, an institution that gave ordinary " -"people the right to choose life or death for other citizens. And most " -"fascinating for him was that the jury didn't just vote about the outcome " -"they would impose. They deliberated. Members argued about the <quote>right</" -"quote> result; they tried to persuade each other of the <quote>right</quote> " -"result, and in criminal cases at least, they had to agree upon a unanimous " -"result for the process to come to an end.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket " -"styrer, og Ã¥ styre betyr noe mer enn kun valg. I vÃ¥r tradisjon betyr det " -"ogsÃ¥ kontroll gjennom gjennomtenkt meningsbrytning. Dette var idÃ©en som " -"fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-" -"advokaten som skrev den viktigste historien om det tidlige " -"<quote>demokratiet i Amerika</quote>. Det var ikke allmenn stemmerett som " -"fascinerte han—det var juryen, en institusjon som ga vanlige folk " -"retten til Ã¥ velge liv eller dÃ¸d fÃ¸r andre borgere. Og det som fascinerte " -"han mest var at juryen ikke bare stemte over hvilket resultat de ville legge " -"frem. De diskuterte. Medlemmene argumenterte om hva som var <quote>riktig</" -"quote> resultat, de forsÃ¸kte Ã¥ overbevise hverandre om <quote>riktig</" -"quote>resultat, og i hvert fall i kriminalsaker mÃ¥tte de bli enige om et " -"enstemmig resultat for at prosessen skulle avsluttes.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. f16 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> " -"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." -msgstr "" -"Bruce Ackerman og James Fishkin, <quote>Deliberation Day</quote>, " -"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet even this institution flags in American life today. And in its place, " -"there is no systematic effort to enable citizen deliberation. Some are " -"pushing to create just such an institution.<placeholder type=\"footnote\" id=" -"\"0\"/> And in some towns in New England, something close to deliberation " -"remains. But for most of us for most of the time, there is no time or place " -"for <quote>democratic deliberation</quote> to occur." -msgstr "" -"Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det " -"ingen systematisk innsats for Ã¥ muliggjÃ¸re borger-diskusjon. Noen gjÃ¸r en " -"innsats for Ã¥ lage en slik institusjon.<placeholder type=\"footnote\" id=" -"\"0\"/> Og i noen landsbyer i New England er det noe i nÃ¦rheten av diskusjon " -"igjen. Men for de fleste av oss mesteparten av tiden, er det ingen tid og " -"sted for Ã¥ gjennomfÃ¸re <quote>demokratisk diskusjon</quote>." - -#. f17 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " -"University Press, 2001), 65–80, 175, 182, 183, 192." -msgstr "" -"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " -"University Press, 2001), 65–80, 175, 182, 183, 192." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"More bizarrely, there is generally not even permission for it to occur. We, " -"the most powerful democracy in the world, have developed a strong norm " -"against talking about politics. It's fine to talk about politics with people " -"you agree with. But it is rude to argue about politics with people you " -"disagree with. Political discourse becomes isolated, and isolated discourse " -"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " -"our friends want to hear, and hear very little beyond what our friends say." -msgstr "" -"Mer merkelig er at en generelt sett ikke engang har aksept for at det skal " -"skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm " -"mot Ã¥ diskutere politikk. Det er greit Ã¥ diskutere politikk med folk du er " -"enig med, men det er uhÃ¸flig Ã¥ diskutere politikk med folk du er uenig med. " -"Politisk debatt blir isolert, og isolert diskusjon blir mer ekstrem." -"<placeholder type=\"footnote\" id=\"0\"/> Vi sier det vÃ¥re venner vil hÃ¸re, " -"og hÃ¸rer veldig lite utenom hva vÃ¥re venner sier." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "e-mail" -msgstr "epost" - -#. PAGE BREAK 56 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Enter the blog. The blog's very architecture solves one part of this " -"problem. People post when they want to post, and people read when they want " -"to read. The most difficult time is synchronous time. Technologies that " -"enable asynchronous communication, such as e-mail, increase the opportunity " -"for communication. Blogs allow for public discourse without the public ever " -"needing to gather in a single public place." -msgstr "" -"SÃ¥ kommer bloggen. Selve bloggens arkitektur lÃ¸ser en del av dette " -"problemet. Folk publiserer det de Ã¸nsker Ã¥ publisere, og folk leser det de " -"Ã¸nsker Ã¥ lese. Det vanskeligste tiden er synkron tid. Teknologier som " -"muliggjÃ¸r asynkron kommunasjons, slik som epost, Ã¸ker muligheten for " -"kommunikasjon. Blogger gjÃ¸r det mulig med offentlig debatt uten at folket " -"noen gang trenger Ã¥ samle seg pÃ¥ et enkelt offentlig sted." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But beyond architecture, blogs also have solved the problem of norms. " -"There's no norm (yet) in blog space not to talk about politics. Indeed, the " -"space is filled with political speech, on both the right and the left. Some " -"of the most popular sites are conservative or libertarian, but there are " -"many of all political stripes. And even blogs that are not political cover " -"political issues when the occasion merits." -msgstr "" -"Men i tillegg til arkitektur, har blogger ogsÃ¥ lÃ¸st problemet med normer. " -"Det er (ennÃ¥) ingen norm i blogg-sfÃ¦ren om Ã¥ ikke snakke om politikk. " -"SfÃ¦ren er faktisk fylt med politiske innlegg, bÃ¥de pÃ¥ hÃ¸yre- og " -"venstresiden. Noen av de mest populÃ¦re stedene er konservative eller " -"libertarianske, men det er mange av alle politiske farger. Til og med " -"blogger som ikke er politiske dekker politiske temaer nÃ¥r anledningen krever " -"det." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Dean, Howard" -msgstr "Dean, Howard" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The significance of these blogs is tiny now, though not so tiny. The name " -"Howard Dean may well have faded from the 2004 presidential race but for " -"blogs. Yet even if the number of readers is small, the reading is having an " -"effect." -msgstr "" -"Betydningene av disse bloggene er liten nÃ¥, men ikke ubetydelig. Navnet " -"Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett " -"fra hos noen fÃ¥ blogger. Men selv om antallet lesere er lavt, sÃ¥ har det Ã¥ " -"lese dem en effekt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Lott, Trent" -msgstr "Lott, Trent" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Thurmond, Strom" -msgstr "Thurmond, Strom" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "blog pressure on" -msgstr "blogg-press pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "news events on" -msgstr "nyhetsinnslag pÃ¥" - -#. f18 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</" -"quote> New York Times, 16 January 2003, G5." -msgstr "" -"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot</" -"quote>, New York Times, 16. januar 2003, G5." - -#. type: Content of: <book><part><chapter><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 " -"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially " -"praising Thurmond's segregationist policies, he calculated correctly that " -"this story would disappear from the mainstream press within forty-eight " -"hours. It did. But he didn't calculate its life cycle in blog space. The " -"bloggers kept researching the story. Over time, more and more instances of " -"the same <quote>misspeaking</quote> emerged. Finally, the story broke back " -"into the mainstream press. In the end, Lott was forced to resign as senate " -"majority leader.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"En direkte effekt er pÃ¥ historier som hadde en annerledes livssyklus i de " -"store mediene. Trend Lott-affÃ¦ren er et eksempel. Da Logg <quote>sa feil</" -"quote> pÃ¥ en fest for senator Storm Thurmond, og essensielt lovpriste " -"segregeringspolitikken til Thurmond, regnet han ganske riktig med at " -"historien ville forsvinne fra de store mediene i lÃ¸pet av fÃ¸rtiÃ¥tte timer. " -"Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfÃ¦ren. " -"Bloggerne fortsatte Ã¥ undersÃ¸ke historien. Etter hvert dukket flere og " -"flere tilfeller av tilsvarende <quote>feiluttalelser</quote> opp. SÃ¥ dukket " -"historien opp igjen hos de store mediene. Lott ble til slutt tvunget til Ã¥ " -"trekke seg som leder for senatets flertall.<placeholder type=\"footnote\" id=" -"\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "commercial imperatives of" -msgstr "kommersielle imperativer av" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This different cycle is possible because the same commercial pressures don't " -"exist with blogs as with other ventures. Television and newspapers are " -"commercial entities. They must work to keep attention. If they lose " -"readers, they lose revenue. Like sharks, they must move on." -msgstr "" -"Denne annerledes syklusen er mulig pÃ¥ grunn av at et tilsvarende kommersielt " -"press ikke eksisterer hos blogger slik det gjÃ¸r hos andre kanaler. " -"Televisjon og aviser er kommersielle aktÃ¸rer. De mÃ¥ arbeide for Ã¥ holde pÃ¥ " -"oppmerksomheten. Hvis de mister lesere, sÃ¥ mister de inntekter. Som haier, " -"mÃ¥ de bevege seg videre." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "peer-generated rankings on" -msgstr "node-generert rangeringer av" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But bloggers don't have a similar constraint. They can obsess, they can " -"focus, they can get serious. If a particular blogger writes a particularly " -"interesting story, more and more people link to that story. And as the " -"number of links to a particular story increases, it rises in the ranks of " -"stories. People read what is popular; what is popular has been selected by a " -"very democratic process of peer-generated rankings." -msgstr "" -"Men bloggere har ikke tilsvarende begrensninger. De kan bli opphengt, de " -"kan fokusere, de kan bli seriÃ¸se. Hvis en bestemt blogger skriver en " -"spesielt interessant historie, sÃ¥ vil flere og flere folk lenke til den " -"historien. Og etter hvert som antallet lenker til en bestemt historie Ã¸ker, " -"sÃ¥ stiger den i rangeringen for historier. Folk leser det som er populÃ¦rt, " -"og hva som er populÃ¦rt har blitt valgt gjennom en svÃ¦rt demokratisk prosess " -"av likemanns-generert rangering. " - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "journalism" -msgstr "journalistikk" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Winer, Dave" -msgstr "Winer, Dave" - -#. PAGE BREAK 57 -#. type: Content of: <book><part><chapter><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 <quote>conflict of interest.</quote> <quote>I think " -"you have to take the conflict of interest</quote> out of journalism, Winer " -"told me. <quote>An amateur journalist simply doesn't have a conflict of " -"interest, or the conflict of interest is so easily disclosed that you know " -"you can sort of get it out of the way.</quote>" -msgstr "" -"Det er ogsÃ¥ en annen mÃ¥te, hvor blogger har en annen syklus enn de store " -"mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en " -"programvareutvikler i mange tiÃ¥r fortalte meg, er en annen forskjell " -"fravÃ¦ret av finansiell <quote>interessekonflikt</quote>. <quote>Jeg tror du " -"mÃ¥ ta interessekonflikten</quote> ut av journalismen, fortalte Winer meg. " -"<quote>En amatÃ¸rjournalist har ganske enkelt ikke interessekonflikt, eller " -"interessekonflikten er sÃ¥ enkelt Ã¥ avslÃ¸re at du liksom vet du kan rydde den " -"av veien.</quote>" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "CNN" -msgstr "CNN" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Iraq war" -msgstr "Irak-krigen" - -#. f19 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Telephone interview with David Winer, 16 April 2003." -msgstr "Telefonintervju med David Winer, 16. april 2003." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These conflicts become more important as media becomes more concentrated " -"(more on this below). A concentrated media can hide more from the public " -"than an unconcentrated media can—as CNN admitted it did after the Iraq " -"war because it was afraid of the consequences to its own employees." -"<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " -"coherent account. (In the middle of the Iraq war, I read a post on the " -"Internet from someone who was at that time listening to a satellite uplink " -"with a reporter in Iraq. The New York headquarters was telling the reporter " -"over and over that her account of the war was too bleak: She needed to offer " -"a more optimistic story. When she told New York that wasn't warranted, they " -"told her that <emphasis>they</emphasis> were writing <quote>the story.</" -"quote>)" -msgstr "" -"Disse konfliktene blir mer viktig etter hvert som mediene blir mer " -"konsentrert (mer om dette under). Konsentrerte medier kan skjule mer fra " -"offentligheten enn ikke-konsentrerte medier kan—slik CNN innrÃ¸mte at " -"de gjorde etter Irak-krigen fordi de var rett for konsekvensene for sine " -"egne ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger ogsÃ¥ Ã¥ " -"opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste " -"jeg en melding pÃ¥ Internet fra noen som pÃ¥ det tidspunktet lyttet pÃ¥ " -"satellitt-forbindelsen til en reporter i Irak. New York-hovedkvarteret ba " -"reporteren gang pÃ¥ gang at hennes rapport om krigen var for trist: Hun mÃ¥tte " -"tilby en mer optimistisk historie. NÃ¥r hun fortalte New York at det ikke var " -"grunnlag for det, fortalte de henne at det var <emphasis>dem</emphasis> som " -"skrev <quote>historien</quote>.)" - -#. f20 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " -"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 " -"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, " -"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>." -msgstr "" -"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " -"Information Online</quote>, <citetitle>New York Times</citetitle>, 2 februar " -"2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but " -"Strong Overall</quote>, Online Journalism Review, 2. februar 2003, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #10</" -"ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Blog space gives amateurs a way to enter the debate—<quote>amateur</" -"quote> not in the sense of inexperienced, but in the sense of an Olympic " -"athlete, meaning not paid by anyone to give their reports. It allows for a " -"much broader range of input into a story, as reporting on the Columbia " -"disaster revealed, when hundreds from across the southwest United States " -"turned to the Internet to retell what they had seen.<placeholder type=" -"\"footnote\" id=\"0\"/> And it drives readers to read across the range of " -"accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, " -"Winer says, are <quote>communicating directly with our constituency, and the " -"middle man is out of it</quote>—with all the benefits, and costs, that " -"might entail." -msgstr "" -"Blogg-sfÃ¦ren gir amatÃ¸rer en mÃ¥te Ã¥ bli med i debatten—<quote>amatÃ¸r</" -"quote> ikke i betydningen uerfaren, men i betydningen til en Olympisk atlet, " -"det vil si ikke betalt av noen for Ã¥ komme med deres rapport. Det tillater " -"en mye bredere rekke av innspill til en historie, slik rapporteringen " -"Columbia-katastrofen avdekket, nÃ¥r hundrevis fra hele sÃ¸rvest-USA vendte seg " -"til Internettet for Ã¥ gjenfortelle hva de hadde sett.<placeholder type=" -"\"footnote\" id=\"0\"/> Og det fÃ¥r lesere til Ã¥ lese pÃ¥ tvers av en rekke " -"fortellinger og <quote>triangulere</quote>, som Winer formulerer det, " -"sannheten. Blogger, sier Winer, <quote>kommunserer direkte med vÃ¥r " -"velgermasse, og mellommannen er fjernet</quote>— med alle de fordeler " -"og ulemper det kan fÃ¸re med seg." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Olafson, Steve" -msgstr "Olafson, Steve" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" -"\"indexterm\" id=\"3\"/> See Michael Falcone, <quote>Does an Editor's Pencil " -"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29 September " -"2003, C4. (<quote>Not all news organizations have been as accepting of " -"employees who blog. Kevin Sites, a CNN correspondent in Iraq who started a " -"blog about his reporting of the war on March 9, stopped posting 12 days " -"later at his bosses' request. Last year Steve Olafson, a <citetitle>Houston " -"Chronicle</citetitle> reporter, was fired for keeping a personal Web log, " -"published under a pseudonym, that dealt with some of the issues and people " -"he was covering.</quote>)" -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" -"\"indexterm\" id=\"3\"/> Se Michael Falcone, <quote>Does an Editor's Pencil " -"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29. september " -"2003, C4. (<quote>Ikke alle nyhetsorganisasjoner har hatt like stor aksept " -"for ansatte som blogger. Kevin Sites, en CNN-korrespondent i Irak som " -"startet en blogg om sin rapportering av krigen 9. mars, stoppet Ã¥ publisere " -"12 dager senere pÃ¥ forespÃ¸rsel fra sine sjefer. I fjor fikk Steve Olafson, " -"en <citetitle>Houston Chronicle</citetitle>-reporter, sparken for Ã¥ ha hatt " -"en personlig web-logg, publisert under pseudonym, som handlet om noen av " -"temaene og folkene som han dekket.</quote>)" - -#. PAGE BREAK 58 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Winer is optimistic about the future of journalism infected with blogs. " -"<quote>It's going to become an essential skill,</quote> Winer predicts, for " -"public figures and increasingly for private figures as well. It's not clear " -"that <quote>journalism</quote> is happy about this—some journalists " -"have been told to curtail their blogging.<placeholder type=\"footnote\" id=" -"\"0\"/> But it is clear that we are still in transition. <quote>A lot of " -"what we are doing now is warm-up exercises,</quote> Winer told me. There is " -"a lot that must mature before this space has its mature effect. And as the " -"inclusion of content in this space is the least infringing use of the " -"Internet (meaning infringing on copyright), Winer said, <quote>we will be " -"the last thing that gets shut down.</quote>" -msgstr "" -"Winer er optimistisk nÃ¥r det gjelder en journalistfremtid infisert av " -"blogger. <quote>Det kommer til Ã¥ bli en nÃ¸dvendig ferdighet</quote>, spÃ¥r " -"Winer, for offentlige aktÃ¸rer og ogsÃ¥ i stÃ¸rre grad for private aktÃ¸rer. " -"Det er ikke klart at <quote>journalismen</quote> er glad for dette—" -"noen journalister har blitt bedt om Ã¥ kutte ut sin blogging.<placeholder " -"type=\"footnote\" id=\"0\"/> Men det er klart at vi fortsatt er i en " -"overgangsfase. <quote>Mye av det vi gjÃ¸r nÃ¥ er oppvarmingsÃ¸velser</quote>, " -"fortalte Winer meg. Det er mye som mÃ¥ modne fÃ¸r dette omrÃ¥det har sin modne " -"effekt. Og etter som inkludering av innhold i dette omrÃ¥det er det omrÃ¥det " -"med minst opphavsrettsbrudd pÃ¥ Internettet, sa Wiener at <quote>vi vil vÃ¦re " -"den siste tingen som blir skutt ned</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This speech affects democracy. Winer thinks that happens because <quote>you " -"don't have to work for somebody who controls, [for] a gatekeeper.</quote> " -"That is true. But it affects democracy in another way as well. As more and " -"more citizens express what they think, and defend it in writing, that will " -"change the way people understand public issues. It is easy to be wrong and " -"misguided in your head. It is harder when the product of your mind can be " -"criticized by others. Of course, it is a rare human who admits that he has " -"been persuaded that he is wrong. But it is even rarer for a human to ignore " -"when he has been proven wrong. The writing of ideas, arguments, and " -"criticism improves democracy. Today there are probably a couple of million " -"blogs where such writing happens. When there are ten million, there will be " -"something extraordinary to report." -msgstr "" -"Slik tale pÃ¥virker demokratiet. Winer mener dette skjer fordi <quote>du " -"trenger ikke jobber for noen som kontrollerer, [for] en portvokter</quote>. " -"Det er sant. Men det pÃ¥virker demokratiet ogsÃ¥ pÃ¥ en annen mÃ¥te. Etter " -"hvert som flere og flere borgere uttrykker hva de mener, og forsvarer det " -"skriftlig, sÃ¥ vil det endre hvordan folk forstÃ¥r offentlige temaer. Det er " -"enkelt Ã¥ ha feil og vÃ¦re pÃ¥ villspor i hodet ditt. Det er vanskeligere nÃ¥r " -"resultatet fra dine tanker kan bli kritisert av andre. Det er selvfÃ¸lgelig " -"et sjeldent menneske som innrÃ¸mmer at han ble overtalt til Ã¥ innse at han " -"tok feil. Men det er mer sjeldent for et menneske Ã¥ ignorere at noen har " -"bevist at han tok feil. Ã skrive ned idÃ©er, argumenter og kritikk forbedrer " -"demokratiet. I dag er det antagelig et par millioner blogger der det " -"skrives pÃ¥ denne mÃ¥ten. NÃ¥r det er ti millioner, sÃ¥ vil det vÃ¦re noe " -"ekstraordinÃ¦rt Ã¥ rapportere." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Brown, John Seely" -msgstr "Brown, John Seely" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>John Seely Brown</emphasis> is the chief scientist " -"of the Xerox Corporation. His work, as his Web site describes it, is " -"<quote>human learning and … the creation of knowledge ecologies for " -"creating … innovation.</quote>" -msgstr "" -"<emphasis role='strong'>John Seely Brown</emphasis> er sjefsforsker ved " -"Xerox Corporation. Hans arbeid, i fÃ¸lge hans eget nettsted, er " -"<quote>menneskelig lÃ¦ring og … Ã¥ skape kunnskapsÃ¸kologier for Ã¥ skape " -"… innovasjon</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Brown thus looks at these technologies of digital creativity a bit " -"differently from the perspectives I've sketched so far. I'm sure he would be " -"excited about any technology that might improve democracy. But his real " -"excitement comes from how these technologies affect learning." -msgstr "" -"Brown ser dermed pÃ¥ disse teknologiene for digital kreativitet litt " -"annerledes enn fra perspektivene jeg har skissert opp sÃ¥ langt. Jeg er " -"sikker pÃ¥ at han blir begeistret for enhver teknologi som kan forbedre " -"demokratiet. Men det han virkelig blir begeistret over er hvordan disse " -"teknologiene pÃ¥virker lÃ¦ring." - -#. PAGE BREAK 59 -#. type: Content of: <book><part><chapter><para> -msgid "" -"As Brown believes, we learn by tinkering. When <quote>a lot of us grew up,</" -"quote> he explains, that tinkering was done <quote>on motorcycle engines, " -"lawnmower engines, automobiles, radios, and so on.</quote> But digital " -"technologies enable a different kind of tinkering—with abstract ideas " -"though in concrete form. The kids at Just Think! not only think about how a " -"commercial portrays a politician; using digital technology, they can take " -"the commercial apart and manipulate it, tinker with it to see how it does " -"what it does. Digital technologies launch a kind of bricolage, or " -"<quote>free collage,</quote> as Brown calls it. Many get to add to or " -"transform the tinkering of many others." -msgstr "" -"Brown tror vi lÃ¦rer med Ã¥ fikle. Da <quote>mange av oss vokste opp</quote>, " -"forklarer han, ble fiklingen gjort <quote>pa motorsykkelmotorer, " -"gressklippermotorer, biler, radioer og sÃ¥ videre</quote>. Men digitale " -"teknologier muliggjÃ¸r en annen type fikling—med abstrakte idÃ©er i sin " -"konkrete form. Ungene i Just Think! tenker ikke bare pÃ¥ hvordan et " -"reklameinnslag fremstiller en politiker. Ved Ã¥ bruke digital teknologi kan " -"de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og " -"se hvordan det blir gjort. Digitale teknologier setter igang en slags " -"*bricolage* eller <quote>fritt tilgjengelig sammenstilling</quote>, som " -"Brown kaller det. Mange fÃ¥r mulighet til Ã¥ legge til pÃ¥ eller endre pÃ¥ " -"fiklingen til mange andre." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The best large-scale example of this kind of tinkering so far is free " -"software or open-source software (FS/OSS). FS/OSS is software whose source " -"code is shared. Anyone can download the technology that makes a FS/OSS " -"program run. And anyone eager to learn how a particular bit of FS/OSS " -"technology works can tinker with the code." -msgstr "" -"Det beste eksemplet i stÃ¸rre skala sÃ¥ langt pÃ¥ denne typen fikling er fri " -"programvare og Ã¥pen kildekode (FS/OSS). FS/OSS er programvare der " -"kildekoden deles ut. Alle kan laste ned teknologien som fÃ¥r et FS/OSS-" -"program til Ã¥ fungere. Og enhver som har lyst til Ã¥ lÃ¦re hvordan en bestemt " -"bit av FS/OSS-teknologi fungerer kan fikle med koden." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This opportunity creates a <quote>completely new kind of learning platform,</" -"quote> as Brown describes. <quote>As soon as you start doing that, you " -"… unleash a free collage on the community, so that other people can " -"start looking at your code, tinkering with it, trying it out, seeing if they " -"can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open " -"source becomes a major apprenticeship platform.</quote>" -msgstr "" -"Denne muligheten gir en <quote>helt ny type lÃ¦ringsplattform</quote>, i " -"fÃ¸lge Brown. <quote>SÃ¥ snart du begynner Ã¥ gjÃ¸re dette, sÃ¥ … slipper " -"du lÃ¸s en fritt tilgjengelig sammenstilling til fellesskapet, slik at andre " -"folk kan begynne Ã¥ se pÃ¥ koden din, fikle med den, teste den, se om de kan " -"forbedre den</quote>. Og hver innsats er et slags lÃ¦retid. <quote>Ãpen " -"kildekode blir en stor lÃ¦rlingsplatform.</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In this process, <quote>the concrete things you tinker with are abstract. " -"They are code.</quote> Kids are <quote>shifting to the ability to tinker in " -"the abstract, and this tinkering is no longer an isolated activity that " -"you're doing in your garage. You are tinkering with a community platform. " -"… You are tinkering with other people's stuff. The more you tinker " -"the more you improve.</quote> The more you improve, the more you learn." -msgstr "" -"I denne prosessen, <quote>er de konkrete tingene du fikler med abstrakte. De " -"er kildekode</quote>. Unger <quote>endres til Ã¥ fÃ¥ evnen til Ã¥ fikle med " -"det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du " -"gjÃ¸r i garasjen din. Du fikler med en fellesskapsplatform. … Du " -"fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer du.</" -"quote> Jo mer du forbedrer, jo mer lÃ¦rer du." - -#. type: Content of: <book><part><chapter><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, " -"<quote>the Web [is] the first medium that truly honors multiple forms of " -"intelligence.</quote> Earlier technologies, such as the typewriter or word " -"processors, helped amplify text. But the Web amplifies much more than text. " -"<quote>The Web … says if you are musical, if you are artistic, if you " -"are visual, if you are interested in film … [then] there is a lot you " -"can start to do on this medium. [It] can now amplify and honor these " -"multiple forms of intelligence.</quote>" -msgstr "" -"Denne sammen tingen skjer ogsÃ¥ med innhold. Og det skjer pÃ¥ samme " -"samarbeidende mÃ¥te nÃ¥r dette innholdet er del av nettet. Som Brown " -"formulerer det, <quote>nettet er det fÃ¸rste medium som virkelig tar hensyn " -"til flere former for intelligens</quote>. Tidligere teknologier, slik som " -"skrivemaskin eller tekstbehandling, hjelper med Ã¥ fremme tekst. Men nettet " -"fremmer mye mer enn tekst. <quote>Nettet … si hvis du er musikalsk, " -"hvis du er kunstnerisk, hvis du er visuell, hvis du er interessert i film " -"…da er det en masse du kan gÃ¥ igang med pÃ¥ dette mediet. Det kan " -"fremme og ta hensyn til alle disse formene for intelligens.</quote>" - -#. PAGE BREAK 60 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " -"Think! teach: that this tinkering with culture teaches as well as creates. " -"It develops talents differently, and it builds a different kind of " -"recognition." -msgstr "" -"Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lÃ¦rer " -"bort: at denne fiklingen med kultur lÃ¦rer sÃ¥vel som den skaper. Den utvikler " -"talenter litt anderledes, og den bygger en annen type gjenkjenning." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " -"we'll see through the course of this book, that freedom is increasingly " -"highly contested. While there's no doubt that your father had the right to " -"tinker with the car engine, there's great doubt that your child will have " -"the right to tinker with the images she finds all around. The law and, " -"increasingly, technology interfere with a freedom that technology, and " -"curiosity, would otherwise ensure." -msgstr "" -"Likevel er friheten til Ã¥ fikle med disse objektene ikke garantert. Faktisk, " -"som vi vil se i lÃ¸pet av denne boken, er den friheten i stadig stÃ¸rre grad " -"omstridt. Mens det ikke er noe tvil om at din far hadde rett til Ã¥ fikle " -"med bilmotoren, sÃ¥ er det stor tvil om dine barn vil ha retten til Ã¥ fikle " -"med bilder som hun finner over alt. Loven, og teknologi i stadig stÃ¸rre " -"grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre." - -#. f22 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See, for example, Edward Felten and Andrew Appel, <quote>Technological " -"Access Control Interferes with Noninfringing Scholarship,</quote> " -"<citetitle>Communications of the Association for Computer Machinery</" -"citetitle> 43 (2000): 9." -msgstr "" -"Se for eksempel, Edward Felten og Andrew Appel, <quote>Technological Access " -"Control Interferes with Noninfringing Scholarship,</quote> " -"<citetitle>Communications of the Association for Computer Machinery</" -"citetitle> 43 (2000): 9." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These restrictions have become the focus of researchers and scholars. " -"Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a " -"powerful argument in favor of the <quote>right to tinker</quote> as it " -"applies to computer science and to knowledge in general.<placeholder type=" -"\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " -"fundamental. It is about the learning that kids can do, or can't do, because " -"of the law." -msgstr "" -"Disse begresningene har blitt fokusen for forskere og akademikere. Professor " -"Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"property-i\"/>) har utviklet et kraftfylt " -"argument til fordel for <quote>retten til Ã¥ fikle</quote> slik det gjÃ¸res i " -"informatikk og til kunnskap generelt.<placeholder type=\"footnote\" id=\"0\"/" -"> Men bekymringen til Brown er tidligere, og mer fundamentalt. Det handler " -"om hva slags lÃ¦ring unger kan fÃ¥, eller ikke kan fÃ¥, pÃ¥ grunn av loven." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>This is where education in the twenty-first century is going,</quote> " -"Brown explains. We need to <quote>understand how kids who grow up digital " -"think and want to learn.</quote>" -msgstr "" -"<quote>Dette er dit utviklingen av utdanning i det tjuefÃ¸rste Ã¥rhundret er " -"pÃ¥ vei</quote>, forklarer Brown. Vi mÃ¥ <quote>forstÃ¥ hvordan unger som " -"vokser opp digitalt tenker og Ã¸nsker Ã¥ lÃ¦re</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Yet,</quote> as Brown continued, and as the balance of this book will " -"evince, <quote>we are building a legal system that completely suppresses the " -"natural tendencies of today's digital kids. … We're building an " -"architecture that unleashes 60 percent of the brain [and] a legal system " -"that closes down that part of the brain.</quote>" -msgstr "" -"<quote>Likevel</quote>, fortsatte Brown, og som balansen i denne boken vil " -"fÃ¸re bevis for, <quote>bygger vi et juridisk system som fullstendig " -"undertrykker den naturlige tendensen i dagens digitale unger. … We " -"bygger en arkitektur som frigjÃ¸r 60 prosent av hjernen [og] et juridisk " -"system som stenger ned den delen av hjernen</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"We're building a technology that takes the magic of Kodak, mixes moving " -"images and sound, and adds a space for commentary and an opportunity to " -"spread that creativity everywhere. But we're building the law to close down " -"that technology." -msgstr "" -"Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige " -"bilder og lyd, og legger inn plass for kommentarer og en mulighet til Ã¥ spre " -"denne kreativiteten over alt. Men vi bygger loven for Ã¥ stenge ned denne " -"teknologien." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet " -"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " -"quipped to me in a rare moment of despondence." -msgstr "" -"<quote>Ikke mÃ¥ten Ã¥ drive en kultur pÃ¥</quote>, sa Brewster Kahle, som vi " -"mÃ¸tte i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors" -"\"/>, kommenterte til meg i et sjeldent Ã¸yeblikk av nedstemthet." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER THREE: Catalogs" -msgstr "Kapittel tre: Kataloger" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Jordan, Jesse" -msgstr "Jordan, Jesse" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "RPI" -msgstr "RPI" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Rensselaer Polytechnic Institute (RPI)" -msgstr "Rensselaer Polytechnic Institute (RPI)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "computer network search engine of" -msgstr "datanettverksÃ¸kemotor ved" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "search engines" -msgstr "sÃ¸kemotorer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "university computer networks, p2p sharing on" -msgstr "universitetdatanettverk, p2p-fildeling pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "search engines used on" -msgstr "sÃ¸kemotorer brukt pÃ¥" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan of " -"Oceanside, New York, enrolled as a freshman at Rensselaer Polytechnic " -"Institute, in Troy, New York. His major at RPI was information technology. " -"Though he is not a programmer, in October Jesse decided to begin to tinker " -"with search engine technology that was available on the RPI network." -msgstr "" -"<emphasis role='strong'>HÃ¸sten 2001</emphasis>, ble Jesse Jordan fra " -"Oceanside, New York, innrullert som fÃ¸rsteÃ¥rsstudent ved Rensselaer " -"Polytechnic Institute, i Troy, New York. Hans studieprogram ved RPI var " -"informasjonsteknologi. Selv om han ikke var en programmerer, bestemte Jesse " -"seg i oktober Ã¥ begynne Ã¥ fikle med en sÃ¸kemotorteknologi som var " -"tilgjengelig pÃ¥ RPI-nettverket." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"RPI is one of America's foremost technological research institutions. It " -"offers degrees in fields ranging from architecture and engineering to " -"information sciences. More than 65 percent of its five thousand " -"undergraduates finished in the top 10 percent of their high school class. " -"The school is thus a perfect mix of talent and experience to imagine and " -"then build, a generation for the network age." -msgstr "" -"RPI er en av Amerikas fremste teknologiske forskningsinstitusjoner. De " -"tilbyr grader innen omrÃ¥der som gÃ¥r fra arkitektur og ingeniÃ¸rfag til " -"informasjonsvitenskap. Mer enn 65 prosent av de fem tusen " -"laveregradsstudentene fullfÃ¸rte blant de 10 prosent beste i deres klasse pÃ¥ " -"videregÃ¥ende. Skolen er dermed en perfekt blanding av talent og erfaring " -"for Ã¥ se for seg og deretter bygge, en generasjon tilpasset nettverksalderen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"RPI's computer network links students, faculty, and administration to one " -"another. It also links RPI to the Internet. Not everything available on the " -"RPI network is available on the Internet. But the network is designed to " -"enable students to get access to the Internet, as well as more intimate " -"access to other members of the RPI community." -msgstr "" -"RPIs data-nettverk kobler studenter, forelesere og administrasjon sammen. " -"Det kobler ogsÃ¥ RPI til Internettet. Ikke alt som er tilgjengelig pÃ¥ RPI-" -"nettet er tilgjengelig pÃ¥ Internettet. Men nettverket er utformet for Ã¥ gi " -"alle studentene mulighet til Ã¥ bruke Internettet, i tillegg til mer direkte " -"tilgang til andre medlemmer i RPI-fellesskapet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Google" -msgstr "Google" - -#. PAGE BREAK 62 -#. type: Content of: <book><part><chapter><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 <quote>intranet</quote> search engines, search engines that search " -"within the network of a particular institution, is to provide users of that " -"institution with better access to material from that institution. " -"Businesses do this all the time, enabling employees to have access to " -"material that people outside the business can't get. Universities do it as " -"well." -msgstr "" -"SÃ¸kemotorer er et mÃ¥l pa hvor nÃ¦rt et nettverk oppleves Ã¥ vÃ¦re. Google " -"brakte Internettet mye nÃ¦rmere oss alle ved en utrolig forbedring av " -"kvaliteten pÃ¥ sÃ¸k i nettverket. Spesialiserte sÃ¸kemotorer kan gjÃ¸re dette " -"enda bedre. IdÃ©en med <quote>intranett</quote>-sÃ¸kemotorer, sÃ¸kemotorer som " -"kun sÃ¸ker internt i nettverket til en bestemt institusjon, er Ã¥ tilby " -"brukerne i denne institusjonen bedre tilgang til materiale fra denne " -"institusjonen. Bedrifter gjÃ¸r dette hele tiden, ved Ã¥ gi ansatte mulighet " -"til Ã¥ fÃ¥ tak i materiale som folk pÃ¥ utsiden av bedriften ikke kan fÃ¥ tak i. " -"Universitetet gjÃ¸r ogsÃ¥ dette." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Microsoft" -msgstr "Microsoft" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "network file system of" -msgstr "nettverksfilsystemet til" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These engines are enabled by the network technology itself. Microsoft, for " -"example, has a network file system that makes it very easy for search " -"engines tuned to that network to query the system for information about the " -"publicly (within that network) available content. Jesse's search engine was " -"built to take advantage of this technology. It used Microsoft's network file " -"system to build an index of all the files available within the RPI network." -msgstr "" -"Disse motorene blir muliggjort av nettverksteknologien selv. For eksempel " -"har Microsoft et nettverksfilsystem som gjÃ¸r det veldig enkelt for " -"sÃ¸kemotorer tilpasset det nettverket Ã¥ spÃ¸rre systemet etter informasjon om " -"det offentlig (innen nettverket) tilgjengelige innholdet. SÃ¸kemotoren til " -"Jesse var bygget for Ã¥ dra nytte av denne teknologien. Den brukte " -"Microsofts nettverksfilsystem for Ã¥ bygge en indeks over alle filene " -"tilgjengelig inne i RPI-nettverket." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's wasn't the first search engine built for the RPI network. Indeed, " -"his engine was a simple modification of engines that others had built. His " -"single most important improvement over those engines was to fix a bug within " -"the Microsoft file-sharing system that could cause a user's computer to " -"crash. With the engines that existed before, if you tried to access a file " -"through a Windows browser that was on a computer that was off-line, your " -"computer could crash. Jesse modified the system a bit to fix that problem, " -"by adding a button that a user could click to see if the machine holding the " -"file was still on-line." -msgstr "" -"Jesse sin var ikke den fÃ¸rste sÃ¸kemotoren bygget for RPI-nettverket. Hans " -"motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans " -"viktigste enkeltforbedring i forhold til disse motorene var Ã¥ fikse en feil " -"i Microsofts fildelings-system som fikk en brukers datamaskin til Ã¥ krasje. " -"Med motorene som hadde eksistert tidligere, hvis du forsÃ¸kte Ã¥ koble deg ved " -"hjelp av Windows-utforskeren til en fil som var pÃ¥ en datamaskin som ikke " -"var pÃ¥ nett, sÃ¥ ville din datamaskin krasje. Jesse endret systemet litt for " -"Ã¥ fikse det problemet, ved Ã¥ legge til en knapp som en bruker kunne klikke " -"pÃ¥ for Ã¥ se om maskinen som hadde filen fortsatt var pÃ¥ nett." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's engine went on-line in late October. Over the following six months, " -"he continued to tweak it to improve its functionality. By March, the system " -"was functioning quite well. Jesse had more than one million files in his " -"directory, including every type of content that might be on users' computers." -msgstr "" -"Motoren til Jesse kom pa nett i slutten av oktober. I lÃ¸pet av de fÃ¸lgende " -"seks mÃ¥nedene fortsatte han Ã¥ justere den for Ã¥ forbedre dens " -"funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn " -"en million filer i sin katalog, inkludert alle mulige typer innhold som " -"fantes pÃ¥ brukernes datamaskiner." - -#. PAGE BREAK 63 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Thus the index his search engine produced included pictures, which students " -"could use to put on their own Web sites; copies of notes or research; copies " -"of information pamphlets; movie clips that students might have created; " -"university brochures—basically anything that users of the RPI network " -"made available in a public folder of their computer." -msgstr "" -"Dermed inneholdt indeksen som hans sÃ¸kemotor produserte bilder, som " -"studentene kunne bruke til Ã¥ legge inn pÃ¥ sine egne nettsider, kopier av " -"notater og forskning, kopier av informasjonshefter, filmklipp som studentene " -"kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som " -"brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe pÃ¥ sine " -"datamaskiner." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "tinkering as means of" -msgstr "fikling som metode for" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But the index also included music files. In fact, one quarter of the files " -"that Jesse's search engine listed were music files. But that means, of " -"course, that three quarters were not, and—so that this point is " -"absolutely clear—Jesse did nothing to induce people to put music files " -"in their public folders. He did nothing to target the search engine to these " -"files. He was a kid tinkering with a Google-like technology at a university " -"where he was studying information science, and hence, tinkering was the aim. " -"Unlike Google, or Microsoft, for that matter, he made no money from this " -"tinkering; he was not connected to any business that would make any money " -"from this experiment. He was a kid tinkering with technology in an " -"environment where tinkering with technology was precisely what he was " -"supposed to do." -msgstr "" -"Men indeksen inneholdt ogsÃ¥ musikkfiler. Faktisk var en fjerdedel av filene " -"som Jesses sÃ¸kemotor inneholdt musikkfiler. Men det betyr, naturligvis, at " -"tre fjerdedeler ikke var det, og—slik at dette poenget er helt " -"klart—Jesse gjorde ingenting for Ã¥ fÃ¥ folk til Ã¥ plassere musikkfiler " -"i deres fellesmapper. Han gjorde ingenting for Ã¥ sikte sÃ¸kemotoren mot " -"disse filene. Han var en ungdom som fiklet med Google-lignende teknologi " -"ved et universitet der han studerte informasjonsvitenskap, og dermed var " -"fiklingen mÃ¥let. I motsetning til Google, eller Microsoft for den saks " -"skyld, tjente han ingen penger pÃ¥ denne fiklingen. Han var ikke knyttet til " -"noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en " -"ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi " -"var nÃ¸yaktig hva han var ment Ã¥ gjÃ¸re." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "in recording industry" -msgstr "i plateindustri" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "against student file sharing" -msgstr "mot student-fildeling" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "recording industry" -msgstr "plateindustrien" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "copyright infringement lawsuits of" -msgstr "sÃ¸ksmÃ¥l om opphavsrettbrudd fra" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Recording Industry Association of America (RIAA)" -msgstr "Recording Industry Association of America (RIAA)" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "copyright infringement lawsuits filed by" -msgstr "stevning i sak om om krenkelse av opphavsrett tatt ut av" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " -"dean informed Jesse that the Recording Industry Association of America, the " -"RIAA, would be filing a lawsuit against him and three other students whom he " -"didn't even know, two of them at other universities. A few hours later, " -"Jesse was served with papers from the suit. As he read these papers and " -"watched the news reports about them, he was increasingly astonished." -msgstr "" -"Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved " -"RPI. Lederen fortalte Jesse at Foreningen for musikkindustri i USA, RIAA, " -"ville levere inn et sÃ¸ksmÃ¥l mot han og tre andre studenter som han ikke en " -"gang kjente, to av dem pÃ¥ andre universiteter. Noen fÃ¥ timer senere ble " -"Jesse forkynt sÃ¸ksmÃ¥let og fikk overlevert dokumentene. Mens han leste " -"disse dokumentene og sÃ¥ pÃ¥ nyhetsrapportene om den, ble han stadig mer " -"forbauset." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>It was absurd,</quote> he told me. <quote>I don't think I did " -"anything wrong. … I don't think there's anything wrong with the " -"search engine that I ran or … what I had done to it. I mean, I hadn't " -"modified it in any way that promoted or enhanced the work of pirates. I just " -"modified the search engine in a way that would make it easier to use</" -"quote>—again, a <emphasis>search engine</emphasis>, which Jesse had " -"not himself built, using the Windows filesharing system, which Jesse had not " -"himself built, to enable members of the RPI community to get access to " -"content, which Jesse had not himself created or posted, and the vast " -"majority of which had nothing to do with music." -msgstr "" -"<quote>Det var absurd</quote>, fortalte han meg. <quote>Jeg mener at jeg " -"ikke gjorde noe galt. … Jeg mener det ikke er noe galt med " -"sÃ¸kemotoren som jeg kjÃ¸rte eller … hva jeg hadde gjort med den. Jeg " -"mener, jeg hadde ikke endret den pÃ¥ noen mÃ¥te som fremmet eller forbedret " -"arbeidet til pirater. Jeg endret kun sÃ¸kemotoren slik at den ble enklere Ã¥ " -"bruke</quote>—igjen, en <emphasis>sÃ¸kemotor</emphasis>, som Jesse ikke " -"hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse ikke " -"hadde bygd selv, for Ã¥ gjÃ¸re det mulig for medlemmer av RPI-fellesskapet Ã¥ " -"fÃ¥ tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig, " -"og der det store flertall av dette ikke hadde noe Ã¥ gjÃ¸re med musikk." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "exaggerated claims of" -msgstr "overdrevne pÃ¥stander om" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "statutory damages of" -msgstr "lovbestemte skader for" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "individual defendants intimidated by" -msgstr "de enkelte saksÃ¸kte skremt av" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "statutory damages" -msgstr "lovbestemte skader" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "intimidation tactics of" -msgstr "skremselstaktikker til" - -#. PAGE BREAK 64 -#. type: Content of: <book><part><chapter><para> -msgid "" -"But the RIAA branded Jesse a pirate. They claimed he operated a network and " -"had therefore <quote>willfully</quote> violated copyright laws. They " -"demanded that he pay them the damages for his wrong. For cases of " -"<quote>willful infringement,</quote> the Copyright Act specifies something " -"lawyers call <quote>statutory damages.</quote> These damages permit a " -"copyright owner to claim $150,000 per infringement. As the RIAA alleged more " -"than one hundred specific copyright infringements, they therefore demanded " -"that Jesse pay them at least $15,000,000." -msgstr "" -"Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og " -"dermed <quote>med vilje</quote> hadde brutt Ã¥ndsverkslovene. De krevde at " -"han betalte dem skadeerstatning for det han hadde gjort galt. I saker med " -"<quote>krenkelser med vilje</quote>, spesifiserer Ã¥ndsverksloven noe som " -"advokater kaller <quote>lovbestemte skader</quote>. Disse skadene tillater " -"en opphavsrettighetseier Ã¥ kreve $150 000 per krenkelse. Etter som " -"RIAA pÃ¥sto det var mer enn et hundre spesifikke opphavsrettskrenkelser, " -"krevde de dermed at Jesse betalte dem minst $15 000 000." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Michigan Technical University" -msgstr "Michigan Technical University" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Princeton University" -msgstr "Princeton University" - -#. f1 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " -"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media " -"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." -msgstr "" -"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " -"Alleges $97.8 Billion in Damages</quote>, <citetitle>Professional Media " -"Group LCC</citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443." - -#. type: Content of: <book><part><chapter><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 " -"<quote>damages</quote> that the RIAA claimed it was entitled to. If you " -"added up the claims, these four lawsuits were asking courts in the United " -"States to award the plaintiffs close to $100 <emphasis>billion</" -"emphasis>—six times the <emphasis>total</emphasis> profit of the film " -"industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Lignende sÃ¸ksmÃ¥l ble gjort mot tre andre studenter: en annen student ved " -"RPI, en ved Michegan Technical University og en ved Princeton. Deres " -"situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige " -"detaljer, var hovedpoenget nÃ¸yaktig det samme: store krav om " -"<quote>erstatning</quote> som RIAA pÃ¥sto de hadde rett pÃ¥. Hvis du summerte " -"opp disse kravene, ba disse fire sÃ¸ksmÃ¥lene domstolene i USA Ã¥ tildele " -"saksÃ¸kerne nesten $100 <emphasis>milliarder</emphasis>—seks ganger det " -"<emphasis>totale</emphasis> overskuddet til filmindustrien i 2001." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse called his parents. They were supportive but a bit frightened. An " -"uncle was a lawyer. He began negotiations with the RIAA. They demanded to " -"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " -"other employment. They demanded $12,000 to dismiss the case." -msgstr "" -"Jesse kontaktet sine foreldre. De stÃ¸ttet ham, men var litt skremt. En " -"onkel var advokat. Han startet forhandlinger med RIAA. De krevde Ã¥ fÃ¥ vite " -"hvor mye penger Jesse hadde. Jesse hadde spart opp $12 000 fra " -"sommerjobber og annet arbeid. De krevde 12 000 for Ã¥ trekke saken." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Oppenheimer, Matt" -msgstr "Oppenheimer, Matt" - -#. type: Content of: <book><part><chapter><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, <quote>You don't want to " -"pay another visit to a dentist like me.</quote>) And throughout, the RIAA " -"insisted it would not settle the case until it took every penny Jesse had " -"saved." -msgstr "" -"RIAA ville at Jesse skulle innrÃ¸mme at han hadde gjort noe galt. Han " -"nektet. De ville ha han til Ã¥ godta en kjennelse som i praksis ville gjÃ¸re " -"det umulig for han Ã¥ arbeide i mange omrÃ¥der innen teknologi for resten av " -"hans liv. Han nektet. De fikk han til Ã¥ forstÃ¥ at denne prosessen med Ã¥ " -"bli saksÃ¸kt ikke kom til Ã¥ bli hyggelig. (Som faren til Jesse refererte til " -"meg, fortalte sjefsadvokaten pÃ¥ saken, Matt Oppenheimer, <quote>Du Ã¸nsker " -"ikke et tannlegebesÃ¸k hos meg flere ganger</quote>) Og gjennom det hele " -"insisterte RIAA at de ikke ville inngÃ¥ forlik fÃ¸r de hadde tatt hver eneste " -"Ã¸re som Jesse hadde spart opp." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "legal system, attorney costs in" -msgstr "juridisk system, advokatkostnader i" - -#. PAGE BREAK 65 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's family was outraged at these claims. They wanted to fight. But " -"Jesse's uncle worked to educate the family about the nature of the American " -"legal system. Jesse could fight the RIAA. He might even win. But the cost of " -"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " -"he won, he would not recover that money. If he won, he would have a piece of " -"paper saying he had won, and a piece of paper saying he and his family were " -"bankrupt." -msgstr "" -"Familien til Jessie ble opprÃ¸rt over disse pÃ¥standene. De Ã¸nsket Ã¥ kjempe. " -"Men onkelen til Jessie gjorde en innsats for Ã¥ lÃ¦re familien om hvordan det " -"amerikanske juridiske systemet fungerte. Jesse kunne sloss mot RIAA. Han " -"kunne til og med vinne. Men kostnaden med Ã¥ loss mot et sÃ¸ksmÃ¥l som dette, " -"ble Jesse fortalt, ville vÃ¦re minst $250 000. Hvis han vant ville han " -"ikke fÃ¥ tilbake noen av de pengene. Hvis han vant, sÃ¥ ville han ha en bit " -"papir som sa at han vant, og en bit papir som sa at han og hans familie var " -"konkurs." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " -"$12,000 and a settlement." -msgstr "" -"SÃ¥ Jesse hadde et mafia-lignende valg: $250 000 og en sjanse til Ã¥ " -"vinne, eller $12 000 og et forlik." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "artists" -msgstr "artister" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "recording industry payments to" -msgstr "musikkindustriens betaling til" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "artist remuneration in" -msgstr "artisthonorar i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "lobbying power of" -msgstr "lobbymakten til" - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Occupational Employment Survey, U.S. Dept. of Labor (2001) " -"(27–2042—Musicians and Singers). See also National Endowment for " -"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." -msgstr "" -"Occupational Employment Survey, U.S. Dept. of Labor (2001) " -"(27–2042—Musikere og Sangere). Se ogsÃ¥ National Endowment for " -"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</" -"quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." -msgstr "" -"Douglas Lichtman kommer med et relatert poeng i <quote>KaZaA and Punishment," -"</quote> <citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The recording industry insists this is a matter of law and morality. Let's " -"put the law aside for a moment and think about the morality. Where is the " -"morality in a lawsuit like this? What is the virtue in scapegoatism? The " -"RIAA is an extraordinarily powerful lobby. The president of the RIAA is " -"reported to make more than $1 million a year. Artists, on the other hand, " -"are not well paid. The average recording artist makes $45,900.<placeholder " -"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " -"and direct policy. So where is the morality in taking money from a student " -"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Musikkindustrien insisterer at dette er et spÃ¸rsmÃ¥l om lov og moral. La oss " -"legge loven til side for et Ã¸yeblikk og tenke pÃ¥ moralen. Hvor er moralen i " -"et sÃ¸ksmÃ¥l som dette? Hva er dyden i Ã¥ skape offerlam. RIAA er en spesielt " -"mektig lobby. Presidenten i RIAA tjener i fÃ¸lge rapporter mer enn $1 " -"million i Ã¥ret. Artister, pÃ¥ den andre siden, fÃ¥r ikke godt betalt. Den " -"gjennomsnittlige innspillingsartist tjener $45 900.<placeholder type=" -"\"footnote\" id=\"0\"/> Det er utallige mÃ¥ter som RIAA kan bruke for Ã¥ " -"pÃ¥virke og styre politikken. SÃ¥ hva er det moralske i Ã¥ ta penger fra en " -"student for Ã¥ drive en sÃ¸kemotor?<placeholder type=\"footnote\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " -"case against him was then dismissed. And with this, this kid who had " -"tinkered a computer into a $15 million lawsuit became an activist:" -msgstr "" -"23. juni overfÃ¸rte Jesse alle sine oppsparte midler til advokaten som jobbet " -"for RIAA. Saken mot ham ble trukket. Og med dette, ble unggutten som hadde " -"fiklet med en datamaskin og blitt saksÃ¸kt for 15 millioner dollar en " -"aktivist:" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"I was definitely not an activist [before]. I never really meant to be an " -"activist. … [But] I've been pushed into this. In no way did I ever " -"foresee anything like this, but I think it's just completely absurd what the " -"RIAA has done." -msgstr "" -"Jeg var definitivt ikke en aktivist [tidligere]. Jeg mente egentlig aldri Ã¥ " -"vÃ¦re en aktivist. … [men] jeg har blitt skjÃ¸vet inn i dette. Jeg " -"forutsÃ¥ over hodet ikke noe slik som dette, men jeg tror det er bare helt " -"absurd det RIAA har gjort." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Jesse's parents betray a certain pride in their reluctant activist. As his " -"father told me, Jesse <quote>considers himself very conservative, and so do " -"I. … He's not a tree hugger. … I think it's bizarre that they " -"would pick on him. But he wants to let people know that they're sending the " -"wrong message. And he wants to correct the record.</quote>" -msgstr "" -"Foreldrene til Jesse avslÃ¸rer en viss stolthet over deres motvillige " -"aktivist. Som hans far fortalte meg, Jesse <quote>anser seg selv for Ã¥ vÃ¦re " -"konservativ, og det samme gjÃ¸r jeg. … Han er ingen treklemmer. " -"… Jeg synes det er sÃ¦rt at de ville lage brÃ¥k med ham. Men han " -"Ã¸nsker Ã¥ la folk vite at de sender feil budskap. Og han Ã¸nsker Ã¥ korrigere " -"rullebladet.</quote>" - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER FOUR: <quote>Pirates</quote>" -msgstr "Kapittel fire: <quote>Pirater</quote>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in development of content industry" -msgstr "i utviklingen av innholdsindustri" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>If <quote>piracy</quote> means</emphasis> using the " -"creative property of others without their permission—if <quote>if " -"value, then right</quote> is true—then the history of the content " -"industry is a history of piracy. Every important sector of <quote>big media</" -"quote> today—film, records, radio, and cable TV—was born of a " -"kind of piracy so defined. The consistent story is how last generation's " -"pirates join this generation's country club—until now." -msgstr "" -"<emphasis role='strong'>Hvis <quote>piratvirksomhet</quote> betyr</emphasis> " -"Ã¥ bruke den kreative eiendommen til andre uten deres tillatelse—hvis " -"<quote>hvis verdi, sÃ¥ rettighet</quote> er sant—da er historien om " -"innholdsindustrien en historie om piratvirksomhet. Hver eneste viktige " -"sektor av <quote>store medier</quote> i dag—film, plater, radio og " -"kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den " -"konsekvente fortellingen er at forrige generasjon pirater blir del av denne " -"generasjonens borgerskap—inntil nÃ¥." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Film" -msgstr "Film" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro " -"for pointing me to this extraordinary history. See also Siva Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 87–93, which details " -"Edison's <quote>adventures</quote> with copyright and patent." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Jeg er takknemlig til Peter " -"DiMauro for Ã¥ ha pekt meg i retning av denne ekstraordinÃ¦re historien. Se " -"ogsÃ¥ Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " -"87–93, som forteller detaljer om Edisons <quote>eventyr</quote> med " -"opphavsrett og patent." - -#. PAGE BREAK 67 -#. type: Content of: <book><part><chapter><section><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 <quote>trust,</quote> the " -"Motion Pictures Patents Company, and were based on Thomas Edison's creative " -"property—patents. Edison formed the MPPC to exercise the rights this " -"creative property gave him, and the MPPC was serious about the control it " -"demanded." -msgstr "" -"Filmindustrien i Hollywood var bygget av flyktende pirater.<placeholder type=" -"\"footnote\" id=\"0\"/> Skapere og regissÃ¸rer migrerte fra Ã¸stkysten til " -"California tidlig i det tjuende Ã¥rhundret delvis for Ã¥ slippe unna " -"kontrollene som patenter ga oppfinneren av det Ã¥ lage filmer, Thomas " -"Edison. Disse kontrollene be utÃ¸vet gjennom et monopol-<quote>kartell</" -"quote>, The Motion Pictures Patents company, og var basert pÃ¥ Thomas Edisons " -"kreative eierrettigheter—patenter. Edison stiftet MPPC for Ã¥ utÃ¸ve " -"rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriÃ¸st " -"med kontrollen de krevde." - -#. type: Content of: <book><part><chapter><section><para> -msgid "As one commentator tells one part of the story," -msgstr "Som en kommentator forteller en del av historien," - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"A January 1909 deadline was set for all companies to comply with the " -"license. By February, unlicensed outlaws, who referred to themselves as " -"independents protested the trust and carried on business without submitting " -"to the Edison monopoly. In the summer of 1909 the independent movement was " -"in full-swing, with producers and theater owners using illegal equipment and " -"imported film stock to create their own underground market." -msgstr "" -"En tidsfrist ble satt til januar 1909 for alle selskaper Ã¥ komme i samsvar " -"med lisensen. NÃ¥r februar kom, protesterte de ulisensierte fredlÃ¸se, som " -"refererte til seg selv som uavhengige, mot kartellet og fortsatte sin " -"forretningsvirksomhet uten Ã¥ bÃ¸ye seg for Edisons monopol. Sommeren 1909 " -"var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som " -"brukte ulovlig utstyr og importerte filmlager for Ã¥ opprette sitt eget " -"undergrunnsmarked." - -#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> -msgid "Fox, William" -msgstr "Fox, William" - -#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> -msgid "General Film Company" -msgstr "General Film Company" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Picker, Randal C." -msgstr "Picker, Randal C." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "broadcast flag" -msgstr "kringkastingsflagg" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " -"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " -"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion " -"Picture Patents Company vs. the Independent Outlaws,</quote> available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a " -"discussion of the economic motive behind both these limits and the limits " -"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison " -"to the Broadcast Flag: Mechanisms of Consent and Refusal and the " -"Propertization of Copyright</quote> (September 2002), University of Chicago " -"Law School, James M. Olin Program in Law and Economics, Working Paper No. " -"159. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " -"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) og " -"utvidede tekster lagt ut pÃ¥ <quote>The Edison Movie Monopoly: The Motion " -"Picture Patents Company vs. the Independent Outlaws</quote>, tilgjengelig " -"fra <ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For en " -"diskusjon om det Ã¸konomiske motivet bak begge disse begresningene, og " -"begresningene pÃ¥lagt av Victor pÃ¥ fonografer, se Randal C. Picker, " -"<quote>From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal " -"and the Propertization of Copyright</quote> (september 2002), University of " -"Chicago Law School, James M. Olin Program in Law and Economics, Working " -"Paper No. 159. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"With the country experiencing a tremendous expansion in the number of " -"nickelodeons, the Patents Company reacted to the independent movement by " -"forming a strong-arm subsidiary known as the General Film Company to block " -"the entry of non-licensed independents. With coercive tactics that have " -"become legendary, General Film confiscated unlicensed equipment, " -"discontinued product supply to theaters which showed unlicensed films, and " -"effectively monopolized distribution with the acquisition of all U.S. film " -"exchanges, except for the one owned by the independent William Fox who " -"defied the Trust even after his license was revoked.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Med et land som sÃ¥ en kolossal Ã¸kning i antall billige kinoer, sÃ¥kalte " -"nickelodeons, reagerte patentselskapet pÃ¥ bevegelsen av uavhengige med Ã¥ " -"stifte et hardhendt datterselskap ved navn General Film Company for Ã¥ " -"blokkere innfÃ¸ringen av ulisensierte uavhengige. Med tvangstaktikker som " -"har blitt legendariske, konfiskerte General Film ulisensiert utstyr, stoppet " -"varelevering til kinoer som viste ulisensiert fil, og effektivt " -"monopoliserte distribusjon ved Ã¥ kjÃ¸pe opp alle USAs filmsentraler, med " -"unntak av den ene som var eid av den uavhengige William Fox som motsto " -"kartellet selv etter at hans lisens var trukket tilbake.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. f3 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents " -"Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/" -"\">link #12</ulink>." -msgstr "" -"Marc Wanamaker, <quote>The First Studios</quote>, <citetitle>The Silents " -"Majority</citetitle>, arkivert pÃ¥ <ulink url=\"http://free-culture.cc/notes/" -"\">link #12</ulink>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The Napsters of those days, the <quote>independents,</quote> were companies " -"like Fox. And no less than today, these independents were vigorously " -"resisted. <quote>Shooting was disrupted by machinery stolen, and " -"`accidents' resulting in loss of negatives, equipment, buildings and " -"sometimes life and limb frequently occurred.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. " -"California was remote enough from Edison's reach that filmmakers there could " -"pirate his inventions without fear of the law. And the leaders of Hollywood " -"filmmaking, Fox most prominently, did just that." -msgstr "" -"Napsterne i de dager, de <quote>uavhengige</quote>, var selskaper som Fox. " -"Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet. " -"<quote>Opptak ble avbrutt av stjÃ¥let maskineri, og 'uhell' som fÃ¸rte til " -"tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde ofte." -"</quote><placeholder type=\"footnote\" id=\"0\"/> Dette fikk de uavhengige " -"til Ã¥ flykte til Ã¸stkysten. California var fjernt nok fra Edisons " -"innflytelse til at filmskaperne der kunne rÃ¸ve hans nyvinninger uten Ã¥ " -"frykte loven. Og lederne blant Hollywoods filmskapere, Fox mest " -"fremtredende, gjorde akkurat dette." - -#. PAGE BREAK 68 -#. type: Content of: <book><part><chapter><section><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 <quote>limited</quote> monopoly (just seventeen years at that time), " -"by the time enough federal marshals appeared, the patents had expired. A new " -"industry had been born, in part from the piracy of Edison's creative " -"property." -msgstr "" -"California vokste naturligvis raskt, og effektiv hÃ¥ndhevelse av fÃ¸derale " -"lover spredte seg til slutt vestover. Men fordi patenter tildeler " -"patentinnehaveren et i sannhet <quote>begrenset</quote> monopol (kun sytten " -"Ã¥r pÃ¥ den tiden), sÃ¥ patentene var utgÃ¥tt fÃ¸r nok fÃ¸derale lovmenn dukket " -"opp. En ny industri var fÃ¸dt, delvis fra piratvirksomhet mot Edison's " -"kreative rettigheter." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Recorded Music" -msgstr "Innspilt musikk" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on music recordings" -msgstr "om musikkinnspillinger" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The record industry was born of another kind of piracy, though to see how " -"requires a bit of detail about the way the law regulates music." -msgstr "" -"Musikkindustrien ble fÃ¸dt av en annen type piratvirksomhet, dog for Ã¥ forstÃ¥ " -"hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer " -"musikk." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Fourneaux, Henri" -msgstr "Fourneaux, Henri" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Russel, Phil" -msgstr "Russel, Phil" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"At the time that Edison and Henri Fourneaux invented machines for " -"reproducing music (Edison the phonograph, Fourneaux the player piano), the " -"law gave composers the exclusive right to control copies of their music and " -"the exclusive right to control public performances of their music. In other " -"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy " -"Mose,</quote> the law said I would have to pay for the right to get a copy " -"of the musical score, and I would also have to pay for the right to perform " -"it publicly." -msgstr "" -"PÃ¥ den tiden da Edison og Henri Fourneaux fant opp maskiner for Ã¥ " -"reprodusere musikk (Edison fonografen, Fourneaux det automatiske pianoet), " -"gav loven komponister eksklusive rettigheter til Ã¥ kontrollere kopier av " -"deres musikk og eksklusive rettigheter til Ã¥ kontrollere fremfÃ¸ringer av " -"deres musikk. Med andre ord, i 1900, hvis jeg Ã¸nsket et kopi av Phil " -"Russels populÃ¦re lÃ¥t <quote>Happy Mose</quote>, sa loven at jeg mÃ¥tte betale " -"for rettigheten til Ã¥ fÃ¥ en kopi av notearkene, og jeg mÃ¥tte ogsÃ¥ betale for " -"Ã¥ ha rett til Ã¥ fremfÃ¸re det offentlig." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Beatles" -msgstr "Beatles" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But what if I wanted to record <quote>Happy Mose,</quote> using Edison's " -"phonograph or Fourneaux's player piano? Here the law stumbled. It was clear " -"enough that I would have to buy any copy of the musical score that I " -"performed in making this recording. And it was clear enough that I would " -"have to pay for any public performance of the work I was recording. But it " -"wasn't totally clear that I would have to pay for a <quote>public " -"performance</quote> if I recorded the song in my own house (even today, you " -"don't owe the Beatles anything if you sing their songs in the shower), or if " -"I recorded the song from memory (copies in your brain are not—" -"yet— regulated by copyright law). So if I simply sang the song into a " -"recording device in the privacy of my own home, it wasn't clear that I owed " -"the composer anything. And more importantly, it wasn't clear whether I owed " -"the composer anything if I then made copies of those recordings. Because of " -"this gap in the law, then, I could effectively pirate someone else's song " -"without paying its composer anything." -msgstr "" -"Men hva hvis jeg Ã¸nsket Ã¥ spille inn <quote>Happy Mose</quote> ved hjelp av " -"Edisons fonograf eller Fourneaux automatiske piano? Her snublet loven. Det " -"var klart nok at jeg mÃ¥tte kjÃ¸pe en kopi av notene som jeg fremfÃ¸rte nÃ¥r jeg " -"gjorde innspillingen. Og det var klart nok at jeg mÃ¥tte betale for enhver " -"offentlig fremfÃ¸relse av verket jeg spilte inn. Men det var ikke helt klart " -"at jeg mÃ¥tte betale for en <quote>offentlig fremfÃ¸ring</quote> hvis jeg " -"spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til " -"Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte " -"inn sangen fra hukommelsen (kopier i din hjerne er ikke—ennÃ¥—" -"regulert av Ã¥ndsverksloven). SÃ¥ hvis jeg ganske enkelt sang sangen inn i et " -"innspillingsapparat i mitt eget hjem, sÃ¥ var det ikke klart at jeg skyldte " -"komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte " -"komponisten noe hvis jeg sÃ¥ laget kopier av disse innspillingene. PÃ¥ grunn " -"av dette hullet i loven, sa kunne jeg i effekt rÃ¸ve noen andres sang uten Ã¥ " -"betale dets komponist noe." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Kittredge, Alfred" -msgstr "Kittredge, Alfred" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The composers (and publishers) were none too happy about this capacity to " -"pirate. As South Dakota senator Alfred Kittredge put it, <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til " -"Ã¥ rÃ¸ve. Som Senator Alfred Kittredge fra SÃ¸r-Dakota formulerte det," -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 <citetitle>Legislative History of the Copyright Act</" -"citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." -"J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Endre og slÃ¥ sammen lovforslag om Ã¥ respektere opphavsretten: HÃ¸ring om S. " -"6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59, 1. " -"sess. (1906) (uttalelse til senator Alfred B. Kittredge fra SÃ¸r-Dakota, " -"formann), gjengitt i <citetitle>Legislative History of the 1909 Copyright " -"Act</citetitle>, E. Fulton Brylawski og Abe Goldman, red. (South " -"Hackensack, N.J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Imagine the injustice of the thing. A composer writes a song or an opera. A " -"publisher buys at great expense the rights to the same and copyrights it. " -"Along come the phonographic companies and companies who cut music rolls and " -"deliberately steal the work of the brain of the composer and publisher " -"without any regard for [their] rights.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Forestill dere denne urettferdigheten. En komponist skriver en sang eller " -"en opera. En utgiver kjÃ¸per til et hÃ¸y sum rettighetene til denne, og " -"registrerer opphavsretten til den. SÃ¥ kommer de fonografiske selskapene og " -"selskapene som skjÃ¦rer musikk-ruller og med vitende og vilje stjeler " -"arbeidet som kommer fra hjernen til komponisten og utgiveren uten Ã¥ bry seg " -"om [deres] rettigheter.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Sousa, John Philip" -msgstr "Sousa, John Philip" - -#. f5 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " -"Nathan Burkan, attorney for the Music Publishers Association)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra " -"Nathan Burkan, advokat for the Music Publishers Association)." - -#. f6 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " -"Nathan Burkan, attorney for the Music Publishers Association)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra " -"Nathan Burkan, advokat for the Music Publishers Association)." - -#. f7 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " -"John Philip Sousa, composer)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra " -"John Philip Sousa, komponist)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The innovators who developed the technology to record other people's works " -"were <quote>sponging upon the toil, the work, the talent, and genius of " -"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the " -"<quote>music publishing industry</quote> was thereby <quote>at the complete " -"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> " -"As John Philip Sousa put it, in as direct a way as possible, <quote>When " -"they make money out of my pieces, I want a share of it.</quote><placeholder " -"type=\"footnote\" id=\"2\"/>" -msgstr "" -"InnovatÃ¸rene som utviklet teknologien for Ã¥ spille inn andres arbeide " -"<quote>snyltet pÃ¥ innsatsen, arbeidet, talentet og geniet til amerikanske " -"komponister</quote>,<placeholder type=\"footnote\" id=\"0\"/> og " -"<quote>musikkpubliseringsindistrien</quote> var dermed <quote>fullstendig i " -"denne piratens vold</quote>.<placeholder type=\"footnote\" id=\"1\"/> Som " -"John Philip Sousa formulerte det, sÃ¥ direkte som det kan sies, <quote>nÃ¥r de " -"tjener penger pÃ¥ mine stykker, sÃ¥ vil jeg ha en andel</quote>.<placeholder " -"type=\"footnote\" id=\"2\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "American Graphophone Company" -msgstr "American Graphophone Company" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "player pianos" -msgstr "automatiske piano" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Congress, U.S." -msgstr "Kongressen i USA" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on copyright laws" -msgstr "om Ã¥ndsverkslover" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on recording industry" -msgstr "om innspillingenindustri" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "statutory licenses in" -msgstr "lovbestemte lisenser i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "statutory license system in" -msgstr "lovbestemte lisenssystemer i" - -#. f8 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " -"(statement of Albert Walker, representative of the Auto-Music Perforating " -"Company of New York)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " -"(uttalelse fra Albert Walker, representant for the Auto-Music Perforating " -"Company of New York)." - -#. f9 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared " -"memorandum of Philip Mauro, general patent counsel of the American " -"Graphophone Company Association)." -msgstr "" -"To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt " -"innlegg fra Philip Mauro, sjefspatentrÃ¥dgiver for the American Graphophone " -"Company Association)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"These arguments have familiar echoes in the wars of our day. So, too, do the " -"arguments on the other side. The innovators who developed the player piano " -"argued that <quote>it is perfectly demonstrable that the introduction of " -"automatic music players has not deprived any composer of anything he had " -"before their introduction.</quote> Rather, the machines increased the sales " -"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " -"innovators argued, the job of Congress was <quote>to consider first the " -"interest of [the public], whom they represent, and whose servants they are.</" -"quote> <quote>All talk about `theft,'</quote> the general counsel of the " -"American Graphophone Company wrote, <quote>is the merest claptrap, for there " -"exists no property in ideas musical, literary or artistic, except as defined " -"by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Disse argumentene hÃ¸res omtrent ut som argumentene fra vÃ¥re dager. Det samme " -"gjÃ¸r argumentene fra den andre siden. Oppfinnerne som utviklet det " -"automatiske pianoet argumenterte med at <quote>det er fullt mulig Ã¥ vise at " -"introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist " -"noe han hadde fÃ¸r det ble introdusert.</quote> I stedet Ã¸kte maskinene " -"salget av noteark.<placeholder type=\"footnote\" id=\"0\"/> Uansett, " -"argumenterte oppfinnerne, jobben til kongressen var <quote>Ã¥ fÃ¸rst vurdere " -"interessen til [folket], som de representerte, og som de skal tjene.</" -"quote>. <quote>Alt snakk om <quote>tyveri</quote></quote>, skrev " -"sjefsjuristen til American Graphophone Company, <quote>er kun nonsens, for " -"det finnes ingen eiendom i musikalske idÃ©er, skriftlig eller kunstnerisk, " -"unntatt det som er definert i loven.</quote><placeholder type=\"footnote\" " -"id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "cover songs" -msgstr "coverlÃ¥ter" - -#. PAGE BREAK 70 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The law soon resolved this battle in favor of the composer <emphasis>and</" -"emphasis> the recording artist. Congress amended the law to make sure that " -"composers would be paid for the <quote>mechanical reproductions</quote> of " -"their music. But rather than simply granting the composer complete control " -"over the right to make mechanical reproductions, Congress gave recording " -"artists a right to record the music, at a price set by Congress, once the " -"composer allowed it to be recorded once. This is the part of copyright law " -"that makes cover songs possible. Once a composer authorizes a recording of " -"his song, others are free to record the same song, so long as they pay the " -"original composer a fee set by the law." -msgstr "" -"Loven lÃ¸ste snart denne kampen i favÃ¸r av <emphasis>bÃ¥de</emphasis> " -"komponisten og innspillingsartisten. Kongressen endret loven slik at " -"komponisten fikk betalt for den <quote>mekaniske reproduksjonen</quote> av " -"deres musikk. Men i stedet for Ã¥ ganske enkelt gi komponisten full kontroll " -"over rettigheten til Ã¥ lage mekaniske reproduksjoner, ga kongressen " -"innspillingsartister rett en til Ã¥ spille inn musikk, til en pris satt av " -"kongressen, sÃ¥ snart komponisten har tillatt at den ble spilt inn en gang. " -"Det er denne delen av Ã¥ndsverksloven som gjÃ¸r cover-lÃ¥ter mulig. SÃ¥ snart " -"en komponist tillater en innspilling av hans sang, har andre mulighet til Ã¥ " -"spille inn samme sang, sÃ¥ lenge de betaler den originale komponisten et " -"gebyr fastsatt av loven." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "compulsory license" -msgstr "tvangslisens" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "statutory licenses" -msgstr "lovbestemte lisenser" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"American law ordinarily calls this a <quote>compulsory license,</quote> but " -"I will refer to it as a <quote>statutory license.</quote> A statutory " -"license is a license whose key terms are set by law. After Congress's " -"amendment of the Copyright Act in 1909, record companies were free to " -"distribute copies of recordings so long as they paid the composer (or " -"copyright holder) the fee set by the statute." -msgstr "" -"Amerikansk lov kaller dette vanligvis en <quote>tvangslisens</quote>, men " -"jeg vil referere til dette som en <quote>lovbestemt lisens</quote>. En " -"lovbestemt lisens er en lisens hvis nÃ¸kkelvilkÃ¥r er bestemt i lovverket. " -"Etter kongressens endring av Ã¥ndsverksloven i 1909, sto plateselskapene " -"fritt til Ã¥ distribuere kopier av innspillinger sÃ¥ lenge som de betalte " -"komponisten (eller opphavsrettsinnehaveren) gebyret spesifisert i lovverket." - -#. type: Content of: <book><chapter><section><section><para><indexterm><primary> -msgid "Grisham, John" -msgstr "Grisham, John" - -#. type: Content of: <book><part><chapter><section><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 Ã¥ndsverksloven. NÃ¥r John Grisham skriver en roman sÃ¥ " -"kan en utgiver kun utgi denne romanen hvis Grisham gir utgiveren tillatelse " -"til det. Grisham stÃ¥r fritt til Ã¥ kreve hvilken som helst betaling for den " -"tillatelsen. Prisen for Ã¥ publisere Grisham er dermed bestemt av Grisham og " -"Ã¥ndsverksloven sier at du ikke har tillatelse til Ã¥ bruke Grishams verker " -"med mindre du har tillatelse fra Grisham." - -#. f10 -#. type: Content of: <book><part><chapter><section><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 " -"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " -"Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " -"Reprints, 1976)." -msgstr "" -"Endring i Ã¥ndsverksloven: HÃ¸ring om S. 2499, S.2900, H.R. 243, og H.R. 11794 " -"foran (felles)-komiteen om patenter, 60. kongr., 1. sess., 217 (1908) " -"(uttalelse fra senator Reed Smooth, formann), gjengitt i " -"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " -"Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman " -"Reprints, 1976)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But the law governing recordings gives recording artists less. And thus, in " -"effect, the law <emphasis>subsidizes</emphasis> the recording industry " -"through a kind of piracy—by giving recording artists a weaker right " -"than it otherwise gives creative authors. The Beatles have less control over " -"their creative work than Grisham does. And the beneficiaries of this less " -"control are the recording industry and the public. The recording industry " -"gets something of value for less than it otherwise would pay; the public " -"gets access to a much wider range of musical creativity. Indeed, Congress " -"was quite explicit about its reasons for granting this right. Its fear was " -"the monopoly power of rights holders, and that that power would stifle " -"follow-on creativity.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Men loven som styrer innspillinger gir innspillingsartisten mindre. Og " -"dermed er effekten at loven <emphasis>subsidierer</emphasis> " -"musikkindustrien med et slags piratvirksomhet—ved Ã¥ gi " -"innspillingsartister en svakere rettighet enn de gir kreative forfattere. " -"The Beatles har mindre kontroll over deres kreative verker enn Grisham har. " -"Og de som nyter godt av at de har mindre kontroll er musikkindustrien og " -"folket. Musikkindustrien fÃ¥r noe av verdi for mindre enn de ellers mÃ¥tte " -"betalt, og folket fÃ¥r tilgang til en stÃ¸rre mengde musikalsk kreativitet. " -"Kongressen var faktisk svÃ¦rt eksplisitt i sine grunner for Ã¥ dele ut denne " -"rettigheten. Den fryktet monopolmakten til rettighetsinnehaverne, og at " -"denne makten skulle kvele pÃ¥fÃ¸lgende kreativitet.<placeholder type=\"footnote" -"\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 vÃ¦rt ganske stille om dette i det siste, har de " -"historisk vÃ¦rt hÃ¸ylytte tilhengere av den lovbestemte lisensen for " -"innspillinger. Som det sto i en rapport fra 1967 utgitt av House Committee " -"on the Judiciary:" - -#. f11 -#. type: Content of: <book><part><chapter><section><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 "" -"Endring av Ã¥ndsverksloven: Rapport som fÃ¸lger H.R. 2512, House Committee on " -"the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967). " -"Jeg er takknemlig til Glenn Brown for Ã¥ ha gjort meg oppmerksom pÃ¥ denne " -"rapporten." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"the record producers argued vigorously that the compulsory license system " -"must be retained. They asserted that the record industry is a half-billion-" -"dollar business of great economic importance in the United States and " -"throughout the world; records today are the principal means of disseminating " -"music, and this creates special problems, since performers need unhampered " -"access to musical material on nondiscriminatory terms. Historically, the " -"record producers pointed out, there were no recording rights before 1909 and " -"the 1909 statute adopted the compulsory license as a deliberate anti-" -"monopoly condition on the grant of these rights. They argue that the result " -"has been an outpouring of recorded music, with the public being given lower " -"prices, improved quality, and a greater choice.<placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"plateprodusentene argumenterte energisk for at tvangslisens-systemet mÃ¥tte " -"bevares. De tok utgangspunkt i at musikkindustrien er et forretningsomrÃ¥de " -"pÃ¥ en halv milliard dollar som er veldig viktig for Ã¸konomien i USA og " -"resten av verden. Plater er i dag den viktigste mÃ¥ten Ã¥ spre musikk, og " -"dette fÃ¸rer til spesielle problemer, siden utÃ¸vere trenger uhindret tilgang " -"til musikalsk materiale pÃ¥ ikke-diskriminerende vilkÃ¥r. Plateprodusentene " -"pekte pÃ¥ at historisk var det ingen innspillingsrettigheter fÃ¸r 1909 og 1909-" -"endringen i lovverket vedtok tvangslisensen som en gjennomtenkt mekanisme " -"for Ã¥ unngÃ¥ monopol da de tildelte disse rettighetene. De argumenterer med " -"at resultatet har vÃ¦rt at det har strÃ¸mmet pÃ¥ med innspilt musikk, at folket " -"har fÃ¥tt lavere priser, bedre kvalitet og flere valg.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"By limiting the rights musicians have, by partially pirating their creative " -"work, the record producers, and the public, benefit." -msgstr "" -"Ved Ã¥ begrense rettighetene musikere hadde, ved Ã¥ delvis rÃ¸ve deres kreative " -"verk, fikk innspillingsprodusentene, og folket, fordeler." - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Radio" -msgstr "Radio" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "radio broadcast and" -msgstr "radiokringkasting og" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Radio was also born of piracy." -msgstr "Radio kom ogsÃ¥ fra piratvirksomhet." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Hand, Learned" -msgstr "Hand, Learned" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " -"the beginning, record companies printed <quote>Not Licensed for Radio " -"Broadcast</quote> and other messages purporting to restrict the ability to " -"play a record on a radio station. Judge Learned Hand rejected the argument " -"that a warning attached to a record might restrict the rights of the radio " -"station. See <citetitle>RCA Manufacturing Co</citetitle>. v. " -"<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also " -"Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of " -"Consent and Refusal and the Propertization of Copyright,</quote> " -"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" -msgstr "" -"Se 17 <citetitle>United States Code</citetitle>, seksjon 106 og 110. I " -"begynnelsen skrev noen plateselskaper <quote>Ikke lisensiert for " -"radiokringkasting</quote> og andre meldinger som ga inntrykk av Ã¥ begrense " -"muligheten til Ã¥ spille en plate pÃ¥ en radiostasjon. Dommer Learned Hand " -"avviste argumentet om at en advarsel klistret pÃ¥ en plate kunne begrense " -"rettighetene til radiostasjonen. Se <citetitle>RCA Manufacturing Co</" -"citetitle>. mot <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. " -"1940). Se ogsÃ¥ Randal C. Picker, <quote>From Edison to the Broadcast Flag: " -"Mechanisms of Consent and Refusal and the Propertization of Copyright</" -"quote>, <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " -"281. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"When a radio station plays a record on the air, that constitutes a " -"<quote>public performance</quote> of the composer's work.<placeholder type=" -"\"footnote\" id=\"0\"/> As I described above, the law gives the composer (or " -"copyright holder) an exclusive right to public performances of his work. " -"The radio station thus owes the composer money for that performance." -msgstr "" -"NÃ¥r en radiostasjon spiller en plate pÃ¥ luften, sÃ¥ utgjÃ¸r dette en " -"<quote>offentlig fremfÃ¸ring</quote> av komponistens verk.<placeholder type=" -"\"footnote\" id=\"0\"/> Som jeg beskrev over, gir loven komponisten (eller " -"opphavsrettsinnehaveren) en eksklusiv rett til offentlige fremfÃ¸ringer av " -"hans verk. Radiostasjonen skylder dermed komponisten penger for denne " -"fremfÃ¸ringen." - -#. type: Content of: <book><part><chapter><para><indexterm><primary> -msgid "Lovett, Lyle" -msgstr "Lovett, Lyle" - -#. PAGE BREAK 72 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But when the radio station plays a record, it is not only performing a copy " -"of the <emphasis>composer's</emphasis> work. The radio station is also " -"performing a copy of the <emphasis>recording artist's</emphasis> work. It's " -"one thing to have <quote>Happy Birthday</quote> sung on the radio by the " -"local children's choir; it's quite another to have it sung by the Rolling " -"Stones or Lyle Lovett. The recording artist is adding to the value of the " -"composition performed on the radio station. And if the law were perfectly " -"consistent, the radio station would have to pay the recording artist for his " -"work, just as it pays the composer of the music for his work. <placeholder " -"type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Men nÃ¥r en radiostasjon spiller en plage, sÃ¥ fremfÃ¸rer det ikke bare et " -"eksemplar av <emphasis>komponistens</emphasis> verk. Radiostasjonen " -"fremfÃ¸rer ogsÃ¥ et eksemplar av <emphasis>innspillingsartistens</emphasis> " -"verk. Det er en ting Ã¥ fÃ¥ <quote>Happy Birthday</quote> sunget pÃ¥ radio av " -"det lokale barnekoret. Det er noe ganske annet Ã¥ fÃ¥ det sunget av Rolling " -"Stones eller Lyle Lovett. Innspillingsartisten legger til verdi pÃ¥ " -"komposisjonen fremfÃ¸rt pÃ¥ radiostasjonen. Og hvis loven var fullstendig " -"konsistent, sÃ¥ burde radiostasjonen ogsÃ¥ vÃ¦rt nÃ¸dt til Ã¥ betale " -"innspillingsartisten for hans verk, pÃ¥ samme mÃ¥ten som den betaler " -"komponisten av musikken for hans verk. <placeholder type=\"indexterm\" id=" -"\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 gjÃ¸r den ikke. I fÃ¸lge loven som styrer radiofremfÃ¸ringer, trenger " -"ikke radiostasjonen Ã¥ betale noe til innspillingsartisten. Radiostasjonen " -"trenger kun Ã¥ betale komponisten. Radiostasjonen fÃ¥r dermed noe uten Ã¥ " -"betale. Den fÃ¥r fremfÃ¸re innspillingsartistens verk gratis, selv om den mÃ¥ " -"betale komponisten noe for privilegiet det er Ã¥ spille sangen." - -#. type: Content of: <book><part><chapter><para><indexterm><primary> -msgid "Madonna" -msgstr "Madonna" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This difference can be huge. Imagine you compose a piece of music. Imagine " -"it is your first. You own the exclusive right to authorize public " -"performances of that music. So if Madonna wants to sing your song in public, " -"she has to get your permission." -msgstr "" -"Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke " -"musikk. Se for deg at det er ditt fÃ¸rste stykke. Du eier de eksklusive " -"rettighetene til Ã¥ godkjenne offentlig fremfÃ¸ring av den musikken. SÃ¥ hvis " -"Madonna Ã¸nsker Ã¥ synge din sang offentlig, mÃ¥ hun fÃ¥ din tillatelse." - -#. type: Content of: <book><part><chapter><section><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 <quote>protected</quote> right. " -"The radio station thus gets to <emphasis>pirate</emphasis> the value of " -"Madonna's work without paying her anything." -msgstr "" -"Tenkt deg videre at hun synger din sang, og at hun liker den veldig godt. " -"Hun bestemmer seg deretter for Ã¥ spille inn sangen din, og den blir en " -"populÃ¦r hitlÃ¥t. Med vÃ¥r lov vil du fÃ¥ litt penger hver gang en radiostasjon " -"spiller din sang. Men Madonna fÃ¥r ingenting, fortsett fra de indirekte " -"effektene fra salg av hennes CD-er. Den offentlige fremfÃ¸ringen av hennes " -"innspilling er ikke en <quote>beskyttet</quote> rettighet. Radiostasjonen " -"fÃ¥r dermed <emphasis>rÃ¸ve</emphasis> verdien av Madonnas arbeid uten Ã¥ " -"betale henne noen ting." - -#. type: Content of: <book><part><chapter><section><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 "" -"Uten tvil kan en argumentere at, totalt sett, tjener innspillingsartistene " -"pÃ¥ dette. I snitt er reklamen de fÃ¥r verdt mer enn fremfÃ¸ringsrettighetene " -"de frasier seg. Kanskje. Men selv om det er slik, sÃ¥ gir loven vanligvis " -"skaperen retten til Ã¥ gjÃ¸re dette valget. Ved Ã¥ gjÃ¸re valget for ham eller " -"henne, gir loven radiostasjonen rett til Ã¥ ta noe uten Ã¥ betale." - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Cable TV" -msgstr "Kabel-TV" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cable television" -msgstr "kabel-TV" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Cable TV was also born of a kind of piracy." -msgstr "Kabel-TV kom ogsÃ¥ fra en form for piratvirksomhet." - -#. PAGE BREAK 73 -#. type: Content of: <book><part><chapter><section><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-TV-grÃ¼ndere fÃ¸rst begynte Ã¥ koble opp fellesskap med kabel-TV i " -"1948, nektet de fleste Ã¥ betale kringkasterne for innholdet som de sendte " -"videre til sine kunder. Selv da kabelselskapene begynte Ã¥ selge tilgang til " -"TV-kringkastinger, nektet de Ã¥ betale for det de solgte. Kabelselskapene " -"Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster " -"noen gang gjorde—Napster tok aldri betalt for innholdet som det ble " -"mulig for andre Ã¥ gi bort." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Anello, Douglas" -msgstr "Anello, Douglas" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Burdick, Quentin" -msgstr "Burdick, Quentin" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Hyde, Rosel H." -msgstr "Hyde, Rosel H." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV: Hearing on S. 1006 Before the " -"Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee " -"on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. " -"Hyde, chairman of the Federal Communications Commission). <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Endring i Ã¥ndsverksloven—Kabel-TV: HÃ¸ring om S. 1006 foran " -"underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on " -"the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde, " -"styreleder i den fÃ¸derale kommunikasjonskommisjonen.<placeholder type=" -"\"indexterm\" id=\"0\"/>" - -#. f14 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, " -"general counsel of the National Association of Broadcasters)." -msgstr "" -"Endring i Ã¥ndsverksloven—Kabel-TV, 116 (uttalelse fra Douglas A. " -"Anello, sjefsjuristen i Nasjonalforeningen for kringkastere)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Broadcasters and copyright owners were quick to attack this theft. Rosel " -"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair " -"and potentially destructive competition.</quote><placeholder type=\"footnote" -"\" id=\"0\"/> There may have been a <quote>public interest</quote> in " -"spreading the reach of cable TV, but as Douglas Anello, general counsel to " -"the National Association of Broadcasters, asked Senator Quentin Burdick " -"during testimony, <quote>Does public interest dictate that you use somebody " -"else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another " -"broadcaster put it," -msgstr "" -"Kringkastere og opphavsrettsinnehavere var raske til Ã¥ angripe dette " -"tyveriet. Rosel Hyde, styreleder i FCC, sÃ¥ praksisen som en slags " -"<quote>urettferdig og potensielt Ã¸deleggende konkurranse</quote>." -"<placeholder type=\"footnote\" id=\"0\"/> Det kan ha vÃ¦rt en " -"<quote>offentlig interesse</quote> i Ã¥ Ã¸ke spredningen til kabel-TV, men som " -"Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte " -"senator Quentin Burdick under sitt vitnemÃ¥l, <quote>Dikterer offentlig " -"interesse at du kan bruke noen andres eiendom?</quote><placeholder type=" -"\"footnote\" id=\"1\"/> Som en annen kringkaster formulerte det," - -#. f15 -#. type: Content of: <book><part><chapter><section><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 "" -"Endring i Ã¥ndsverksloven—Kabel-TV, 126 (uttalelse fra Ernest W. " -"Jennes, sjefsjurist ved Association of Maximum Service Telecasters, Inc.). " - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"The extraordinary thing about the CATV business is that it is the only " -"business I know of where the product that is being sold is not paid for." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste " -"selskapene jeg vet om hvor produktet som blir solgt ikke er betalt for." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Again, the demand of the copyright holders seemed reasonable enough:" -msgstr "Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:" - -#. f16 -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -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 "" -"Endring i Ã¥ndsverksloven—Kabel-TV, 169 (felles uttalelse fra Arthur " -"B. Krim, president i United Artists Corp. og John Sinn, president i United " -"Artists Television Inc.)." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"All we are asking for is a very simple thing, that people who now take our " -"property for nothing pay for it. We are trying to stop piracy and I don't " -"think there is any lesser word to describe it. I think there are harsher " -"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Alt vi ber om er en veldig enkel ting, at folk som tar vÃ¥r eiendom gratis " -"betaler for den. Vi forsÃ¸ker Ã¥ stoppe piratvirksomhet og jeg kan ikke tenke " -"pÃ¥ et svakere ord for Ã¥ beskrive det. Jeg tror det er sterkere ord som " -"ville passe.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Heston, Charlton" -msgstr "Heston, Charlton" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV, 209 (statement of Charlton Heston, " -"president of the Screen Actors Guild). <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Copyright Law Revision—CATV, 209 (uttalelse fra Charlton Heston, " -"president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president " -"Charlton Heston said, who were <quote>depriving actors of compensation.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Disse var <quote>gratispassasjerer</quote>, sa presidenten Charlton Heston i " -"Screen Actor's Guild, som <quote>tok lÃ¸nna fra skuespillerne</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But again, there was another side to the debate. As Assistant Attorney " -"General Edwin Zimmerman put it," -msgstr "" -"Men igjen, det er en annen side i debatten. Som assisterende justisminister " -"Edwin Zimmerman sa det," - -#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> -msgid "Zimmerman, Edwin" -msgstr "Zimmerman, Edwin" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, " -"acting assistant attorney general). <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, " -"fungerende assisterende justisministeren). <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Our point here is that unlike the problem of whether you have any copyright " -"protection at all, the problem here is whether copyright holders who are " -"already compensated, who already have a monopoly, should be permitted to " -"extend that monopoly. … The question here is how much compensation " -"they should have and how far back they should carry their right to " -"compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" -msgstr "" -"VÃ¥rt poeng her er ikke problemet med om hvorvidt du over hode har " -"opphavsrettsbeskyttelse. Problemet her er hvorvidt opphavsrettsinnehavere " -"som allerede blir kompensert, som allerede har et monopol, skal fÃ¥ lov til Ã¥ " -"utvide dette monopolet. … SpÃ¸rsmÃ¥let er hvor mye kompensasjon de bÃ¸r " -"ha, og hvor langt de kan strekke sin rett pÃ¥ kompensasjon.<placeholder type=" -"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Copyright owners took the cable companies to court. Twice the Supreme Court " -"held that the cable companies owed the copyright owners nothing." -msgstr "" -"Opphavsrettinnehaverne tok kabelselskapene til retten. HÃ¸yesterett fant to " -"ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"It took Congress almost thirty years before it resolved the question of " -"whether cable companies had to pay for the content they <quote>pirated.</" -"quote> In the end, Congress resolved this question in the same way that it " -"resolved the question about record players and player pianos. Yes, cable " -"companies would have to pay for the content that they broadcast; but the " -"price they would have to pay was not set by the copyright owner. The price " -"was set by law, so that the broadcasters couldn't exercise veto power over " -"the emerging technologies of cable. Cable companies thus built their empire " -"in part upon a <quote>piracy</quote> of the value created by broadcasters' " -"content." -msgstr "" -"Det tok kongressen nesten tredve Ã¥r fÃ¸r den fikk lÃ¸st spÃ¸rsmÃ¥let om hvorvidt " -"kabel-TV-selskapene mÃ¥tte betale for innholdet de <quote>rÃ¸vet</quote>. Til " -"slutt lÃ¸ste kongressen dette spÃ¸rsmÃ¥let pÃ¥ samme mÃ¥te som den hadde lÃ¸st " -"spÃ¸rsmÃ¥let om platespillere og automatiske pianoer. Ja, kabel-TV-selskapene " -"mÃ¥tte betale for innholdet som de kringkastet, men prisen de mÃ¥tte betale " -"ble ikke satt av opphavsrettsinnehaveren. Prisen ble fastsatt ved lov, slik " -"at kringkasterne ikke kunne utÃ¸ve vetomakt over den nye teknologien kabel-" -"TV. Kabel-TV-selskapene bygde dermed deres imperium delvis ved Ã¥ " -"<quote>rÃ¸ve</quote> verdien skapt av kringkasternes innhold." - -#. f19 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See, for example, National Music Publisher's Association, <citetitle>The " -"Engine of Free Expression: Copyright on the Internet—The Myth of Free " -"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #13</ulink>. <quote>The threat of piracy—the use of " -"someone else's creative work without permission or compensation—has " -"grown with the Internet.</quote>" -msgstr "" -"Se for eksempel National Music Publisher's Association, <citetitle>The " -"Engine of Free Expression: Copyright on the Internet—The Myth of Free " -"Information</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #13</ulink>. <quote>Trusselen fra piratvirksomhet—" -"bruken av noen andres kreative verker uten tillatelse eller " -"kompensasjons—har vokst med Internettet.</quote>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>These separate stories</emphasis> sing a common " -"theme. If <quote>piracy</quote> means using value from someone else's " -"creative property without permission from that creator—as it is " -"increasingly described today<placeholder type=\"footnote\" id=\"0\"/> " -"— then <emphasis>every</emphasis> industry affected by copyright today " -"is the product and beneficiary of a certain kind of piracy. Film, records, " -"radio, cable TV. … The list is long and could well be expanded. Every " -"generation welcomes the pirates from the last. Every generation—until " -"now." -msgstr "" -"<emphasis role='strong'>Disse separate historiene</emphasis> synger en " -"felles melodi. Hvis <quote>piratvirksomhet</quote> betyr Ã¥ bruke verdien " -"fra noen andres kreative eiendom uten tillatelse fra dets skaper—slik " -"det stadig oftere beskrives i dag<placeholder type=\"footnote\" id=\"0\"/> " -"—da er <emphasis>enhver</emphasis> industri pÃ¥virket av opphavsrett i " -"dag produktet og de som har nytt godt av ulike former for piratvirksomhet. " -"Film, plater, radio, kabel-TV. … Listen er lang og kunne vÃ¦rt " -"lengre. Hver generasjon Ã¸nsker piratene fra den forrige velkommen. Hver " -"generasjon—inntil nÃ¥." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER FIVE: <quote>Piracy</quote>" -msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>There is piracy</emphasis> of copyrighted material. " -"Lots of it. This piracy comes in many forms. The most significant is " -"commercial piracy, the unauthorized taking of other people's content within " -"a commercial context. Despite the many justifications that are offered in " -"its defense, this taking is wrong. No one should condone it, and the law " -"should stop it." -msgstr "" -"Det rÃ¸ves opphavsrettsbeskyttet materiale. Massevis. Og denne " -"piratvirksomheten antar mange former. Den mest betydningsfulle er " -"kommersiell piratvirksomhet, det Ã¥ ta andres innhold uten lov i en " -"kommersiell setting. PÃ¥ tross av de mange forklaringer om hvorfor dette er " -"greit som fremfÃ¸res i dets forsvar, sÃ¥ er dette galt. Ingen bÃ¸r gÃ¥ god for " -"det, og loven bÃ¸r stoppe det." - -#. PAGE BREAK 76 -#. type: Content of: <book><part><chapter><para> -msgid "" -"But as well as copy-shop piracy, there is another kind of <quote>taking</" -"quote> that is more directly related to the Internet. That taking, too, " -"seems wrong to many, and it is wrong much of the time. Before we paint this " -"taking <quote>piracy,</quote> however, we should understand its nature a bit " -"more. For the harm of this taking is significantly more ambiguous than " -"outright copying, and the law should account for that ambiguity, as it has " -"so often done in the past." -msgstr "" -"Men pÃ¥ samme mÃ¥te som med piratvirksomheten til kopierings-firma, sÃ¥ " -"<quote>tas</quote> det pÃ¥ en annen mÃ¥te som er mer direkte relatert til " -"Internettet. Denne mÃ¥ten Ã¥ ta pÃ¥ virker galt for mante, og det er galt mye " -"av tiden. FÃ¸r vi kaller det Ã¥ ta pÃ¥ denne mÃ¥ten for <quote>piratvirksomhet</" -"quote>, bÃ¸r vi dog forstÃ¥ dets natur litt mer. For skaden som denne formen " -"for Ã¥ ta gjÃ¸r er betydelig mer tvetydig enn direkte kopiering, og loven bÃ¸r " -"ta hensyn til denne tvetydigheten, slik den har gjort ofte tidligere. " - -#. type: Content of: <book><part><chapter><section><title> -msgid "Piracy I" -msgstr "Piratvirksomhet I" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Asia, commercial piracy in" -msgstr "Asia, kommersiell piratvirksomhet i" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "CDs" -msgstr "CDer" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "foreign piracy of" -msgstr "utenlands piratvirksomhet mot" - -#. f1 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See IFPI (International Federation of the Phonographic Industry), " -"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " -"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk," -"</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11." -msgstr "" -"Se IFPI (International Federation of the Phonographic Industry), " -"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " -"juli 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #14</ulink>. Se ogsÃ¥ Ben Hunt, <quote>Companies Warned on Music " -"Piracy Risk</quote>, <citetitle>Financial Times</citetitle>, 14. februar " -"2003, 11." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"All across the world, but especially in Asia and Eastern Europe, there are " -"businesses that do nothing but take others people's copyrighted content, " -"copy it, and sell it—all without the permission of a copyright owner. " -"The recording industry estimates that it loses about $4.6 billion every year " -"to physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out " -"to one in three CDs sold worldwide). The MPAA estimates that it loses $3 " -"billion annually worldwide to piracy." -msgstr "" -"Over hele verden, men spesielt i Asia og Ãst-Europa, er det selskaper som " -"ikke gjÃ¸r annet enn Ã¥ ta andre folks opphavsrettsbeskyttede innhold, " -"kopierer det og selger det—alt dette uten tillatelse fra " -"opphavsrettseieren. Musikkindustrien estimerer at de taper rundt $4,6 " -"milliarder hvert Ã¥r pÃ¥ fysisk piratvirksomhet <placeholder type=\"footnote\" " -"id=\"0\"/> (det blir ca. en av tre CD-er solgt pÃ¥ verdensbasis). MPAA " -"estimerer at de taper $3 milliarder pÃ¥ verdensbasis pÃ¥ piratvirksomhet." - -#. type: Content of: <book><part><chapter><section><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 enkelt og greit piratvirksomhet. Ingenting i argumentet i denne " -"boken, og heller ikke i argumentet til de fleste folkene som omtaler temaet " -"i denne boken, bÃ¸r trekke i tvil dette enkle poenget: Slik piratvirksomhet " -"er galt." - -#. type: Content of: <book><part><chapter><section><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 "" -"Hvilket ikke er Ã¥ si at unnskyldninger og begrunnelser ikke kan lages for " -"det. Vi kan, for eksempel, minne oss selv om at for de fÃ¸rste hundre Ã¥rene " -"USA har vÃ¦rt republikk, respekterte ikke USA utenlandske " -"opphavsrettigheter. Vi ble pÃ¥ en mÃ¥te skapt som en piratnasjon. Det kan " -"dermed synes hyklersk for oss Ã¥ insistere sÃ¥ sterkt at andre utviklingsland " -"skal behandle som galt det vi, for de fÃ¸rste hundre Ã¥rene vi eksisterte, " -"behandlet som riktig." - -#. type: Content of: <book><part><chapter><section><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 "" -"Denne unnskyldningen er ikke veldig vektig. Teknisk sett forbÃ¸d ikke vÃ¥rt " -"lovverk Ã¥ ta utenlandske verker. Det begrenset seg eksplisitt til " -"amerikanske verker. Dermed brÃ¸t de amerikanske forleggerne som publiserte " -"utenlandske verker uten tillatelse fra de utenlandske forfattere noen " -"regler. Kopierings-selskapene i Asia bryter derimot loven i Asia. Loven i " -"Asia beskytter utenlandsk opphavsrett, og aktiviteten til kopierings-" -"selskapene bryter den loven. SÃ¥ det at piratvirksomheten er galt er ikke " -"bare moralsk galt, men juridisk galt. Og ikke bare galt i fÃ¸lge " -"internasjonal lovgiving, men ogsÃ¥ juridisk galt etter lokal lovgiving." - -#. PAGE BREAK 77 -#. type: Content of: <book><part><chapter><section><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 "" -"Joda, disse reglene har i praksis blitt pÃ¥tvunget disse landene. Intet land " -"kan vÃ¦re del av verdensÃ¸konomien og velge Ã¥ ikke beskytte opphavsrett " -"internasjonalt. Vi ble kanskje skapt som en piratnasjon, men vi tillater " -"ingen annen nasjon Ã¥ ha en tilsvarende barndom." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "agricultural patents" -msgstr "landbrukspatenter" - -#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary> -msgid "Drahos, Peter" -msgstr "Drahos, Peter" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Peter Drahos with John Braithwaite, Information Feudalism: " -"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " -"Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " -"Property Rights (TRIPS) agreement obligates member nations to create " -"administrative and enforcement mechanisms for intellectual property rights, " -"a costly proposition for developing countries. Additionally, patent rights " -"may lead to higher prices for staple industries such as agriculture. Critics " -"of TRIPS question the disparity between burdens imposed upon developing " -"countries and benefits conferred to industrialized nations. TRIPS does " -"permit governments to use patents for public, noncommercial uses without " -"first obtaining the patent holder's permission. Developing nations may be " -"able to use this to gain the benefits of foreign patents at lower prices. " -"This is a promising strategy for developing nations within the TRIPS " -"framework. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" -msgstr "" -"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " -"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " -"10–13, 209. Avtalen om handelsrelaterte aspektene av immaterielle " -"rettigheter (TRIPS) forplikter medlemsnasjonene til Ã¥ fÃ¥ pÃ¥ plass " -"administrative og hÃ¥ndhevingsmekanismer for immaterielle rettigheter, " -"hvilket er et kostbar forslag for utviklingsland. I tillegg kan " -"patentrettigheter fÃ¸re til hÃ¸yere priser for grunnleggende industrier som " -"landbruk. Kritikerne av TRIPS stiller spÃ¸rsmÃ¥l om avviket mellom " -"belastningen den legger pÃ¥ utviklingland og fordelene den gir til " -"industrialiserte land. TRIPS tillater myndigheter Ã¥ bruke patenter til ikke-" -"kommersielle formÃ¥l som kommer folket til gode uten Ã¥ fÃ¸rst fÃ¥ tillatelse " -"fra patentinnehaveren. Utviklingsland kan vÃ¦re i stand til Ã¥ bruke dette " -"til Ã¥ fÃ¥ fordelene fra utenlandske patenter til lavere priser. Dette er en " -"lovende strategi for utviklingsland innenfor TRIPS-rammeverket. <placeholder " -"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"If a country is to be treated as a sovereign, however, then its laws are its " -"laws regardless of their source. The international law under which these " -"nations live gives them some opportunities to escape the burden of " -"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " -"view, more developing nations should take advantage of that opportunity, but " -"when they don't, then their laws should be respected. And under the laws of " -"these nations, this piracy is wrong." -msgstr "" -"Men likevel, hvis et land skal behandles som selvstendig da er landets lover " -"landets lover, uavhengig av deres kilde. De internasjonale lovene som disse " -"landene lever under gir dem noen muligheter til Ã¥ slippe unna byrden til " -"immaterielle rettighetslover.<placeholder type=\"footnote\" id=\"0\"/> Etter " -"mitt syn burde flere utviklingsland utnytte den muligheten, men nÃ¥r de ikke " -"gjÃ¸r det bÃ¸r deres lover likevel respekteres. Og i fÃ¸lge lovene i disse " -"landene, er piratvirksomhet galt." - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Liebowitz, Stan" -msgstr "Liebowitz, Stan" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"For an analysis of the economic impact of copying technology, see Stan " -"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " -"Amacom, 2002), 144–90. <quote>In some instances … the impact of " -"piracy on the copyright holder's ability to appropriate the value of the " -"work will be negligible. One obvious instance is the case where the " -"individual engaging in pirating would not have purchased an original even if " -"pirating were not an option.</quote> Ibid., 149. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"For en analyse av den Ã¸konomiske effekten av kopieringsteknologi, se Stan " -"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " -"Amacom, 2002), 144–190. <quote>I noen tilfeller … vil effekten " -"av piratvirksomhet pÃ¥ opphavsrettsinnehaverens mulighet til Ã¥ nyte godt av " -"verdien av verket vil vÃ¦re neglisjerbart. Et Ã¥penbart tilfelle er der " -"individet som tar nyter godt av piratvirksomheten ikke ville ha kjÃ¸pt " -"originalen selv om piratvirksomhet ikke var en mulighet.</quote> Ibid., " -"149. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Alternatively, we could try to excuse this piracy by noting that in any " -"case, it does no harm to the industry. The Chinese who get access to " -"American CDs at 50 cents a copy are not people who would have bought those " -"American CDs at $15 a copy. So no one really has any less money than they " -"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Alternativt, sÃ¥ kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten ved Ã¥ " -"legge merke til at det uansett ikke skader industrien. Kineserne som fÃ¥r " -"tilgang til amerikanske CDer for 50 cent pr. utgave er ikke folk som ville " -"kjÃ¸pt disse CDene for #15 per utgave. SÃ¥ ingen har egentlig noe mindre " -"penger enn de ellers ville hatt.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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, <quote>You wouldn't go into " -"Barnes & Noble and take a book off of the shelf without paying; why " -"should it be any different with on-line music?</quote> The difference is, of " -"course, that when you take a book from Barnes & Noble, it has one less " -"book to sell. By contrast, when you take an MP3 from a computer network, " -"there is not one less CD that can be sold. The physics of piracy of the " -"intangible are different from the physics of piracy of the tangible." -msgstr "" -"Dette er ofte riktig (selv om jeg har venner som har kjÃ¸pt flere tusen " -"piratkopierte DVDer og som helt klart har nok penger til Ã¥ betale for " -"innholdet de har tatt), og det begrenser til en hvis grad skaden forÃ¥rsaket " -"av Ã¥ ta pÃ¥ denne mÃ¥ten. Ekstremister i denne debatten elsker Ã¥ si, " -"<quote>Du ville ikke gÃ¥ inn pÃ¥ Barnes & Noble og ta en bok fra hyllen " -"der uten Ã¥ betale. Hvorfor skulle det vÃ¦re noe annerledes med musikk pÃ¥ " -"nettet?</quote> Forskjellen er, naturligvis, at nÃ¥r du tar en bok fra Barnes " -"& Noble sÃ¥ er det en mindre bok som kan selges. Dette er forskjellig " -"fra nÃ¥r du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD " -"som kan selges. Fysikken til rÃ¸ving av det uhÃ¥ndgripelige er forskjellig " -"fra fysikken til rÃ¸ving av det hÃ¥ndgripelige." - -#. PAGE BREAK 78 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This argument is still very weak. However, although copyright is a property " -"right of a very special sort, it <emphasis>is</emphasis> a property right. " -"Like all property rights, the copyright gives the owner the right to decide " -"the terms under which content is shared. If the copyright owner doesn't want " -"to sell, she doesn't have to. There are exceptions: important statutory " -"licenses that apply to copyrighted content regardless of the wish of the " -"copyright owner. Those licenses give people the right to <quote>take</quote> " -"copyrighted content whether or not the copyright owner wants to sell. But " -"where the law does not give people the right to take content, it is wrong to " -"take that content even if the wrong does no harm. If we have a property " -"system, and that system is properly balanced to the technology of a time, " -"then it is wrong to take property without the permission of a property " -"owner. That is exactly what <quote>property</quote> means." -msgstr "" -"Dette er likevel et veldig dÃ¥rlig argument. For selv om opphavsretten er en " -"eiendomsrett av en veldig spesiell type, sÃ¥ <emphasis>er</emphasis> det en " -"eiendomsrett. PÃ¥ samme mÃ¥te som med alle eiendomsretter gir opphavsretten " -"eieren retten til Ã¥ bestemme vilkÃ¥rene for nÃ¥r innholdet blir delt. Hvis " -"opphavsrettseieren ikke Ã¸nsker Ã¥ selge, sÃ¥ mÃ¥ hun ikke det. Det finnes " -"unntak: viktige lovbestemte lisenser som gjelder for opphavsrettsbeskyttet " -"innhold uavhengig av Ã¸nsket til opphavsrettseieren. Disse lisensene gir " -"folk retten til Ã¥ <quote>ta</quote> opphavsrettsbeskyttet innhold uavhengig " -"av om opphavsrettseieren Ã¸nsker Ã¥ selge eller ikke. Men der loven ikke gir " -"folk retten til Ã¥ ta innhold, sÃ¥ er det galt Ã¥ ta det innholdet selv om det " -"ikke gjÃ¸r noen skade Ã¥ gjÃ¸re dette gale. Hvis vi har et eiendomssystem og " -"det systemet er skikkelig balansert opp mot teknologien i tiden, sÃ¥ er det " -"galt Ã¥ ta eiendom uten tillatelse fra eiendomseieren. Det er nÃ¸yaktig hva " -"<quote>eiendom</quote> betyr." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "in Asia" -msgstr "i Asia" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "free software/open-source software (FS/OSS)" -msgstr "fri programvare/Ã¥pen kildekode-programvare (FS/OSS)" - -#. type: Content of: <book><chapter><section><section><para><indexterm><primary> -msgid "GNU/Linux operating system" -msgstr "GNU/Linux-operativsystemet" - -#. type: Content of: <book><chapter><section><section><para><indexterm><primary> -msgid "Linux operating system" -msgstr "Linux-operativsystemet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "competitive strategies of" -msgstr "konkurransemessige strategier for" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Windows" -msgstr "Windows" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "international software piracy of" -msgstr "internasjonal piratkopiering av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "Windows operating system of" -msgstr "Windows-operativsystemet til" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Finally, we could try to excuse this piracy with the argument that the " -"piracy actually helps the copyright owner. When the Chinese <quote>steal</" -"quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft " -"loses the value of the software that was taken. But it gains users who are " -"used to life in the Microsoft world. Over time, as the nation grows more " -"wealthy, more and more people will buy software rather than steal it. And " -"hence over time, because that buying will benefit Microsoft, Microsoft " -"benefits from the piracy. If instead of pirating Microsoft Windows, the " -"Chinese used the free GNU/Linux operating system, then these Chinese users " -"would not eventually be buying Microsoft. Without piracy, then, Microsoft " -"would lose." -msgstr "" -"Til slutt kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten med argumentet " -"om at piratvirksomheten faktisk hjelper opphavsrettseieren. NÃ¥r kineserne " -"<quote>stjeler</quote> Windows, sÃ¥ gjÃ¸r det kineserne avhengig av " -"Microsoft. Microsoft mister verdien til programvaren som ble tatt, men det " -"vinner brukere som er vant til livet i Microsoft-verdenen. Over tid, etter " -"hvert som nasjonen blir mer velstÃ¥ende, vil flere og flere folk kjÃ¸pe " -"programvare is stedet for Ã¥ stjele den. Og dermed vil det over tid, pÃ¥ " -"grunn av at disse kjÃ¸pene kommer Microsoft til gode, vil Microsoft tjene pÃ¥ " -"piratvirksomheten. Hvis kineserne i stedet for Ã¥ piratkopiere Windows, " -"brukte det fritt tilgjengelige operativsystemet GNU/Linux, sÃ¥ ville disse " -"kinesiske brukerne ikke til slutt kjÃ¸pe Microsoft. Uten piratvirksomheten " -"ville dermed Microsoft tape." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "law" -msgstr "loven" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "databases of case reports in" -msgstr "databaser med saksrapporter om" - -#. type: Content of: <book><part><chapter><section><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 "" -"Det er ogsÃ¥ noe sant i dette argumentet. Ã gjÃ¸re folk avhengig er en god " -"strategi. Mange selskaper praktiserer det. Noen gjÃ¸r det godt pÃ¥ grunn av " -"det. Juss-studenter, for eksempel, fÃ¥r gratis tilgang til de to stÃ¸rste " -"juridiske databasene. Begge selskapenes markedsfÃ¸rer dette i hÃ¥p om at " -"studentene vil bli sÃ¥ vant til deres tjenester at de vil Ã¸nske Ã¥ bruke deres " -"tjeneste og ikke konkurrentens nÃ¥r de blir advokater (og mÃ¥ betale hÃ¸y " -"abonnementsavgift)." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Netscape" -msgstr "Netscape" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Internet Explorer" -msgstr "Internet Exporer" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Still, the argument is not terribly persuasive. We don't give the alcoholic " -"a defense when he steals his first beer, merely because that will make it " -"more likely that he will buy the next three. Instead, we ordinarily allow " -"businesses to decide for themselves when it is best to give their product " -"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " -"give its product away, as it did, for example, with Internet Explorer to " -"fight Netscape. A property right means giving the property owner the right " -"to say who gets access to what—at least ordinarily. And if the law " -"properly balances the rights of the copyright owner with the rights of " -"access, then violating the law is still wrong." -msgstr "" -"Likevel er ikke dette argumentet spesielt overbevistende. Vi gir ikke " -"alkoholikeren et forsvar nÃ¥r han stjeler sin fÃ¸rste Ã¸l, kun pÃ¥ grunn av at " -"det vil gjÃ¸re det mer sannsynlig at han vil betale for de tre neste. I " -"stedet lar vi vanligvis bedrifter bestemme selv nÃ¥r det er best for dem Ã¥ gi " -"bort deres produkter. Hvis Microsoft frykter konkurransen fra GNU/Linux, sÃ¥ " -"kan Microsoft gi bort produktet sitt, slik de for eksempel gjorde med " -"Internet Explorer for Ã¥ bekjempe Netscape. En eiendomsrett betyr Ã¥ la " -"eiendomseieren ha retten til Ã¥ si hvem som fÃ¥r tilgang til hva—i hvert " -"fall vanligvis. Og hvis loven ordentlig balanserer rettighetene til " -"opphavsrettighetseieren med rettighetene for tilgang, sÃ¥ er det Ã¥ bryte " -"loven fortsatt galt." - -#. PAGE BREAK 79 -#. type: Content of: <book><part><chapter><section><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, selv om jeg forstÃ¥r dragningen mot disse begrunnelsene for " -"piratvirksomhet, og helt klart ser motivasjonen, sÃ¥ er konklusjonen etter " -"mitt syn til slutt, at disse forsÃ¸kene pÃ¥ Ã¥ begrunne kommersiell " -"piratvirksomhet ganske enkelt ikke holder. Denne typen piratvirksomhet er " -"krampaktig og ganske enkelt galt. Den endrer ikke innholdet den stjeler, " -"den endrer ikke markedet den konkurrerer i. Den gir kun noen tilgang til noe " -"som loven sier at han ikke skulle hatt. Ingenting har endret for Ã¥ skape " -"tvil om loven. Denne formen for piratvirksomhet er rett ut galt." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But as the examples from the four chapters that introduced this part " -"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> " -"is. Or at least, not all <quote>piracy</quote> is wrong if that term is " -"understood in the way it is increasingly used today. Many kinds of " -"<quote>piracy</quote> are useful and productive, to produce either new " -"content or new ways of doing business. Neither our tradition nor any " -"tradition has ever banned all <quote>piracy</quote> in that sense of the " -"term." -msgstr "" -"Men som eksemplene fra de fire kapitlene som introduserte denne delen " -"foreslÃ¥r, selv om noe piratvirksomhet helt klart er galt, er ikke all " -"<quote>piratvirksomhet</quote> galt. Eller i det minste er ikke all " -"<quote>piratvirksomhet</quote> galt hvis uttrykket skal forstÃ¥s slik det i " -"stadig stÃ¸rre grad blir brukt i dag. Mange typer <quote>piratvirksomhet</" -"quote> er nyttig og produktivt, enten for Ã¥ produsere nytt innhold eller nye " -"mÃ¥ter Ã¥ drive forretninger. Hverken vÃ¥r tradisjon eller noen annen " -"tradisjon har noen sinne bannlyst all <quote>piratvirksomhet</quote> i den " -"betydningen av uttrykket." - -#. type: Content of: <book><part><chapter><section><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 ikke er reist noen spÃ¸rsmÃ¥l pÃ¥ grunn av den nyeste " -"piratvirksomhetsbekymringen, peer-to-peer-fildeling. Men det betyr at vi " -"trenger Ã¥ forstÃ¥ skaden i peer-to-peer-deling litt mer fÃ¸r vi dÃ¸mmer den til " -"galgen med anklager om piratvirksomhet." - -#. type: Content of: <book><part><chapter><section><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) pÃ¥ samme mÃ¥te som det opprinnelige Hollywood, rÃ¸mmer p2p-fildeling " -"fra en altfor kontrollerende industri og (2) pÃ¥ samme mÃ¥te som den " -"opprinnelige innspillingsindustrien, ganske enkelt utnytter den nye mÃ¥ter Ã¥ " -"spre innhold pÃ¥, men (3) til forskjell fra kabel-TV er det ingen som selger " -"innholdet som blir delt med p2p-tjenester." - -#. type: Content of: <book><part><chapter><section><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 skiller p2p-deling fra virkelig piratvirksomhet. " -"Forskjellen bÃ¸r fÃ¥ oss til Ã¥ finne en mÃ¥te Ã¥ beskytte kunstnerne mens vi " -"gjÃ¸r det mulig for denne delingen Ã¥ overleve." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Piracy II" -msgstr "Piratvirksomhet II" - -#. f4 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777)." -msgstr "" -"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " -"1274 (1777)." - -#. PAGE BREAK 80 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The key to the <quote>piracy</quote> that the law aims to quash is a use " -"that <quote>rob[s] the author of [his] profit.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> This means we must determine whether and how much " -"p2p sharing harms before we know how strongly the law should seek to either " -"prevent it or find an alternative to assure the author of his profit." -msgstr "" -"NÃ¸kkelen til <quote>piratvirksomheten</quote> som loven tar sikte pÃ¥ Ã¥ " -"skvise er den bruken som <quote>frata forfatteren overskuddet</quote>." -"<placeholder type=\"footnote\" id=\"0\"/> Dette betyr vi mÃ¥ avgjÃ¸re hvorvidt " -"og hvor mye p2p-deling skader fÃ¸r vi vet hvor sterkt loven bÃ¸r sÃ¸ke Ã¥ enten " -"hindre det eller finne et alternativ for Ã¥ sikre forfatteren hans overskudd." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "innovation" -msgstr "innovasjon" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Fanning, Shawn" -msgstr "Fanning, Shawn" - -#. type: Content of: <book><part><chapter><section><para><indexterm><primary> -msgid "Christensen, Clayton M." -msgstr "Christensen, Clayton M." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> See Clayton M. Christensen, " -"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " -"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " -"2000). Professor Christensen examines why companies that give rise to and " -"dominate a product area are frequently unable to come up with the most " -"creative, paradigm-shifting uses for their own products. This job usually " -"falls to outside innovators, who reassemble existing technology in inventive " -"ways. For a discussion of Christensen's ideas, see Lawrence Lessig, " -"<citetitle>Future</citetitle>, 89–92, 139. <placeholder type=" -"\"indexterm\" id=\"1\"/>" -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Se Clayton M. Christensen, " -"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " -"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " -"2000). Professor Christensen undersÃ¸ker hvorfor selskaper som gir opphav " -"til og dominerer et produktomrÃ¥de ofte ikke er i stand til Ã¥ komme opp med " -"de mest kreative, paradigmeskiftende mÃ¥tene Ã¥ bruke deres egne produkter " -"pÃ¥. Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter " -"sammen eksisterende teknologi pÃ¥ nyskapende mÃ¥ter. For en diskusjon om " -"Christensens idÃ©er, se Lawrence Lessig, <citetitle>Future</citetitle>, " -"89–92, 139. <placeholder type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Peer-to-peer sharing was made famous by Napster. But the inventors of the " -"Napster technology had not made any major technological innovations. Like " -"every great advance in innovation on the Internet (and, arguably, off the " -"Internet as well<placeholder type=\"footnote\" id=\"0\"/>), Shawn Fanning " -"and crew had simply put together components that had been developed " -"independently." -msgstr "" -"Peer-to-peer-deling ble gjort berÃ¸mt av Napster. Men oppfinnerne av Napster-" -"teknologien hadde ikke gjort noen store teknologiske nyskapninger. Som " -"ethvert stort steg i nyskapningen pÃ¥ Internettet (og, kan det argumenteres " -"for, utenfor Internettet<placeholder type=\"footnote\" id=\"0\"/>) hadde " -"Shawn Fanning og hans bemanning ganske enkelt satt sammen deler som hadde " -"blitt utviklet uavhengig av hverandre." - -#. f6 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</" -"quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, " -"A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</" -"citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " -"Secures New Financing,</quote> <citetitle>San Francisco Chronicle</" -"citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> " -"<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, " -"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" -"citetitle>, 26 July 2002, 18." -msgstr "" -"Se Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare</" -"quote>, <citetitle>San Francisco Chronicle</citetitle>, 24. september 2002, " -"A1; <quote>Rock 'n' Roll Suicide</quote>, <citetitle>New Scientist</" -"citetitle>, 6. juli 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " -"Secures New Financing</quote>, <citetitle>San Francisco Chronicle</" -"citetitle>, 23. mai 2003, C1; <quote>Napster's Wake-Up Call,</quote> " -"<citetitle>Economist</citetitle>, 24. juni 2000, 23; John Naughton, " -"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" -"citetitle>, 26. juli 2002, 18." - -#. type: Content of: <book><part><chapter><section><para> -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 "" -"Resultatet var en eksplosjon. Etter lansering i juli 1999, samlet Napster " -"over 10 millioner brukere i lÃ¸pet av ni mÃ¥neder. Etter atten mÃ¥neder var " -"det nesten 80 millioner registrerte brukere av systemet.<placeholder type=" -"\"footnote\" id=\"0\"/> Rettsaker skjÃ¸t Napster raskt ned, men andre " -"tjenester dukket opp for Ã¥ overta plassen. (Kazaa er for tiden den mest " -"populÃ¦re p2p-tjenesten. Den skryter av over 100 millioner medlemmer.) " -"Disse tjenestene har en anderledes arkitektur selv om de ikke er veldig " -"forskjellige i funksjon: Hver av dem gjÃ¸r det mulig for brukerne Ã¥ gjÃ¸re " -"innhold tilgjengelig til et ubegrenset antall andre brukere. Med et p2p-" -"system kan du dele dine favorittsanger med dine beste venner— eller " -"dine 20 000 beste venner." - -#. f7 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " -"Distribution</citetitle> (September 2002), reporting that 28 percent of " -"Americans aged twelve and older have downloaded music off of the Internet " -"and 30 percent have listened to digital music files stored on their " -"computers." -msgstr "" -"Se Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " -"Distribution</citetitle> (september 2002), som rapporterer at 28 prosent av " -"amerikanere eldre enn tolv Ã¥r hadde lastet musikk ned fra Internettet og 30 " -"prosent hadde lyttet til digitale musikkfiler lagred pÃ¥ sine datamaskiner." - -#. f8 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " -"<citetitle>New York Times</citetitle>, 6 June 2003, A1." -msgstr "" -"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " -"<citetitle>New York Times</citetitle>, 6. juni 2003, A1." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"According to a number of estimates, a huge proportion of Americans have " -"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " -"estimated that 60 million Americans had downloaded music—28 percent of " -"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " -"by the NPD group quoted in <citetitle>The New York Times</citetitle> " -"estimated that 43 million citizens used file-sharing networks to exchange " -"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " -"majority of these are not kids. Whatever the actual figure, a massive " -"quantity of content is being <quote>taken</quote> on these networks. The " -"ease and inexpensiveness of file-sharing networks have inspired millions to " -"enjoy music in a way that they hadn't before." -msgstr "" -"I fÃ¸lge en rekke estimater har en stor andel av amerikanere testet " -"fildelings-teknologi. En studie av Ipsos-Insight i september 2002 estimerte " -"at 60 millioner amerikanere har lastet ned musikk—28 prosent av " -"amerikanerne over 12.<placeholder type=\"footnote\" id=\"0\"/> En " -"spÃ¸rreundersÃ¸kelse fra NPD-gruppen sitert i <citetitle>The New York Times</" -"citetitle> estimerte at 43 millioner innbyggere brukte fildelingsnettverk " -"for Ã¥ utveksle innhold i mai 2003.<placeholder type=\"footnote\" id=\"1\"/> " -"De aller fleste av dem er ikke unger. Uansett hva de egentlige tallene er, " -"en massiv mengde innhold blir <quote>tatt</quote> pÃ¥ disse nettverkene. " -"Enkelheten og den lave kostnaden til fildelingsnettverkene har inspirert " -"millioner til Ã¥ nyte musikk pÃ¥ mÃ¥ter de ikke fÃ¸r hadde gjort." - -#. type: Content of: <book><part><chapter><section><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 "" -"Noe av denne nytelsen involverer brudd pÃ¥ opphavsretten. Noe av den gjÃ¸r " -"det ikke. Og selv for den delen som teknisk sett er brudd pÃ¥ opphavsretten " -"er det Ã¥ beregne den faktiske skaden pÃ¥fÃ¸rt opphavsrettseierne mer " -"komplisert enn en skulle tro. Vurder—litt mer nÃ¸ye enn de polariserte " -"stemmene i denne debatten vanligvis gjÃ¸r—de ulike typer deling som " -"fildeling muliggjÃ¸r, og hva slags skader de innebÃ¦rer." - -#. PAGE BREAK 81 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"File sharers share different kinds of content. We can divide these different " -"kinds into four types." -msgstr "" -"Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i " -"fire typer." - -#. A. -#. type: Content of: <book><part><chapter><section><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 delingsnettverk som erstatninger for Ã¥ kjÃ¸pe " -"innhold. Dermed vil disse i stedet for Ã¥ kjÃ¸pe den nÃ¥r en ny Madonna-CD " -"blir gitt ut, ganske enkelt ta den. Vi kan diskutere om alle som tar den " -"ville ha kjÃ¸pt den hvis deling ikke gjorde den gratis tilgjengelig. De " -"fleste ville sannsynligvis ikke det, men det er Ã¥penbart noen som ville " -"det. Den siste gruppen er mÃ¥let for kategori A: Brukere som laster ned i " -"stedet for Ã¥ kjÃ¸pe." - -#. B. -#. type: Content of: <book><part><chapter><section><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 delingsnettverk til Ã¥ teste musikk fÃ¸r de kjÃ¸per " -"den. For eksempel kan noen sende en en MP3 til en av sine venner med en " -"artist han aldri har hÃ¸rt om. Denne vennen kjÃ¸per sÃ¥ CDer av denne " -"artisten. Dette er en slags mÃ¥lrettet reklame som har stor suksessrate. " -"Hvis en venn som anbefaler albumet ikke har noen fordeler av Ã¥ gi en dÃ¥rlig " -"anbefaling, sÃ¥ kan en forvente at anbefalingene faktisk vil vÃ¦re ganske " -"gode. Totaleffekten av denne delingen kan Ã¸ke mengden musikk som blir kjÃ¸pt." - -#. C. -#. type: Content of: <book><part><chapter><section><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 <quote>recalling</quote> old songs. She was astonished at the " -"range and mix of content that was available.) For content not sold, this is " -"still technically a violation of copyright, though because the copyright " -"owner is not selling the content anymore, the economic harm is zero—" -"the same harm that occurs when I sell my collection of 1960s 45-rpm records " -"to a local collector." -msgstr "" -"Det er mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " -"opphavsrettsbeskyttet innhold som ikke lenger er til salgs, eller som de " -"ikke ville ha kjÃ¸pt pÃ¥ grunn av at transaksjonskostnadene pÃ¥ nettet er for " -"hÃ¸ye. Denne bruken av delingsnettverk er blant det mange finner mest " -"givende. Sanger som var del av din barndom men som har forsvunnet fra " -"markedsplassen dukker magisk opp igjen pÃ¥ nettet. (En venn fortalte meg at " -"da hun oppdaget Napster, tilbrakte hun en hel helg med <quote>Ã¥ mimre</" -"quote> over gamle sanger. Hun var overrasket over omfanget og variasjonen i " -"innhold som var tilgjengelig. For innhold som ikke blir solgt, sÃ¥ er dette " -"fortsatt teknisk sett brudd pÃ¥ opphavsretten, selv om pÃ¥ grunn av at " -"opphavsrettseieren ikke selger innholdet lenger sÃ¥ er den Ã¸konomiske skaden " -"null—den samme skaden som inntreffer nÃ¥r jeg selger min samling med 45-" -"rpm grammofonplater fra 1960-tallet til en lokal samler." - -#. PAGE BREAK 82 -#. D. -#. type: Content of: <book><part><chapter><section><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 er det mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " -"innhold som ikke er opphavsrettsbeskyttet eller der opphavsrettseieren " -"Ã¸nsker Ã¥ gi det bort." - -#. type: Content of: <book><part><chapter><section><para> -msgid "How do these different types of sharing balance out?" -msgstr "Hvordan balanserer disse ulike delingstypene?" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " -"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " -"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Let's start with some simple but important points. From the perspective of " -"the law, only type D sharing is clearly legal. From the perspective of " -"economics, only type A sharing is clearly harmful.<placeholder type=" -"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " -"Type C sharing is illegal, yet good for society (since more exposure to " -"music is good) and harmless to the artist (since the work is not otherwise " -"available). So how sharing matters on balance is a hard question to " -"answer—and certainly much more difficult than the current rhetoric " -"around the issue suggests." -msgstr "" -"La oss starte med noen enkle men viktige poeng. Fra lovens perspektiv er " -"det kun type-D-deling som helt klart er lovlig. Fra et Ã¸konomisk perspektiv " -"er det kun type-A-deling som helt klart forÃ¥rsaker skade.<placeholder type=" -"\"footnote\" id=\"0\"/> Type-B-deling er ulovlig men gir klare fordeler. " -"Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til " -"musikk er bra) og skadelig for artistene (siden verket ellers ikke er " -"tilgjengelig. SÃ¥ det er vanskelig Ã¥ avgjÃ¸re hvordan deling kommer ut totalt " -"sett—og helt klart mye vanskeligere enn den gjeldende retorikken rundt " -"temaet foreslÃ¥r." - -#. type: Content of: <book><part><chapter><section><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 <quote>theft</quote> that is <quote>devastating</" -"quote> the industry." -msgstr "" -"Hvorvidt deling er skadelig totalt sett er mye avhengig av hvor skadelig " -"type-A-deling er. Slik Edison klaget over Hollywood, komponister klaget " -"over pianoruller, plateartister klaget over radio og kringkastere klaget " -"over kabel-TV, klager musikkindustrien over at type-A-deling er en slags " -"<quote>tyveri</quote> som vil <quote>Ã¸delegge</quote> industrien." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cassette recording" -msgstr "kassettopptak" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "VCRs" -msgstr "Videospillere/opptakere" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> See Cap Gemini Ernst & Young, " -"<citetitle>Technology Evolution and the Music Industry's Business Model " -"Crisis</citetitle> (2003), 3. This report describes the music industry's " -"effort to stigmatize the budding practice of cassette taping in the 1970s, " -"including an advertising campaign featuring a cassette-shape skull and the " -"caption <quote>Home taping is killing music.</quote> At the time digital " -"audio tape became a threat, the Office of Technical Assessment conducted a " -"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " -"had taped music to a cassette format. U.S. Congress, Office of Technology " -"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the " -"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing " -"Office, October 1989), 145–56." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Se Cap Gemini Ernst & Young, " -"<citetitle>Technology Evolution and the Music Industry's Business Model " -"Crisis</citetitle> (2003), 3. Denne rapporten beskriver musikkindustriens " -"innsats for Ã¥ stigmatisere den voksende praksis med Ã¥ ta opp pÃ¥ kassett pÃ¥ " -"1970-tallet, inkludert en reklamekampanje med en kasse-formet hodeskalle og " -"uttrykket <quote>Home taping is killing music</quote>. PÃ¥ det tidspunktet " -"som digitale lydkassetter ble en trussel, utfÃ¸rte the Office of Technical " -"Assessment en spÃ¸rreundersÃ¸kelse om forbrukeroppfÃ¸rsel. I 1988 hadde 40 " -"prosent av forbrukerne eldre enn ti tatt opp musikk pÃ¥ et kassettformat. U." -"S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home " -"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " -"D.C.: U.S. Government Printing Office, oktober 1989), 145–56." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"While the numbers do suggest that sharing is harmful, how harmful is harder " -"to reckon. It has long been the recording industry's practice to blame " -"technology for any drop in sales. The history of cassette recording is a " -"good example. As a study by Cap Gemini Ernst & Young put it, " -"<quote>Rather than exploiting this new, popular technology, the labels " -"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels " -"claimed that every album taped was an album unsold, and when record sales " -"fell by 11.4 percent in 1981, the industry claimed that its point was " -"proved. Technology was the problem, and banning or regulating technology was " -"the answer." -msgstr "" -"Mens disse tallene jo foreslÃ¥r at deling er skadelig, sÃ¥ er det vanskeligere " -"Ã¥ finne ut hvor skadelig det er. Det har lenge vÃ¦rt praksis for " -"platebransjen Ã¥ skylde pÃ¥ teknologi for all nedgang i salg. Historien til " -"kassettopptak er et godt eksempel. Som et studie av Cap Gemini Ernst & " -"Young formulerer det: <quote>I stedet for Ã¥ utforske denne nye populÃ¦re " -"teknologien, sloss selskapene imot den.</quote><placeholder type=\"footnote" -"\" id=\"0\"/> Selskapene pÃ¥sto at hvert album som ble tatt opp pÃ¥ kassett " -"var et album som ikke ble solgt, og da platesalget falt med 11,4 prosent i " -"1981, pÃ¥sto industrien at dets poeng var bevist. Teknologien var problemet, " -"og forbud eller regulering av teknologien var svaret." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MTV" -msgstr "MTV" - -#. f11 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." -msgstr "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Yet soon thereafter, and before Congress was given an opportunity to enact " -"regulation, MTV was launched, and the industry had a record turnaround. " -"<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' " -"… was not the fault of the tapers—who did not [stop after MTV " -"came into being]—but had to a large extent resulted from stagnation in " -"musical innovation at the major labels.</quote><placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"Ikke lenge etterpÃ¥, og fÃ¸r kongressen fikk muligheten til Ã¥ innfÃ¸re " -"reguleringer, ble MTV lansert, og industrien fikk et rekordoppsving. " -"<quote>Til slutt</quote>, konkluderte Cap Gemini, <quote>var ikke " -"<quote>krisen</quote> … forÃ¥rsaket av de som tok opp pÃ¥ kassett—" -"som ikke [sluttet etter at MTV dukket opp]—men hadde i stor grad vÃ¦rt " -"resultatet av en stagnasjon i musikknyskapningen hos de store selskapene.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 <emphasis>how</" -"emphasis> harmful type A sharing is, and how beneficial the other types of " -"sharing are." -msgstr "" -"Men det at industrien har tatt feil fÃ¸r betyr ikke at de tar feil i dag. " -"For Ã¥ evaluere den virkelige trusselen som p2p-deling representerer for " -"industrien spesielt, og samfunnet generelt—eller i hvert fall det " -"samfunnet som arvet tradisjonen som ga oss filmindustrien, plateindustrien, " -"radioindustrien, kabel-TV og videospilleren—sÃ¥ er ikke spÃ¸rsmÃ¥let kun " -"om type-A-deling er skadelig. SpÃ¸rsmÃ¥let er ogsÃ¥ <emphasis>hvor</emphasis> " -"skadelig type-A-deling er, og hvor nyttige de andre typene deling er." - -#. type: Content of: <book><part><chapter><section><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 " -"<quote>net harm</quote> to the industry as a whole is the amount by which " -"type A sharing exceeds type B. If the record companies sold more records " -"through sampling than they lost through substitution, then sharing networks " -"would actually benefit music companies on balance. They would therefore have " -"little <emphasis>static</emphasis> reason to resist them." -msgstr "" -"Vi gÃ¥r igang med Ã¥ svare pÃ¥ dette spÃ¸rsmÃ¥let ved Ã¥ fokusere pÃ¥ netto skade, " -"sett fra industrien som helhet, som delingsnettverkene forÃ¥rsaker. " -"<quote>Netto skade</quote> for industrien som helhet er verdien av type-A-" -"deling som overgÃ¥r type B. Hvis plateselskapene solgte flere plater som " -"resultat av at folk testet musikken enn de taper gjennom at en lar vÃ¦re Ã¥ " -"kjÃ¸pe, sÃ¥ har delingsnettverkene totalt sett faktisk vÃ¦rt til fordel for " -"musikkselskapene. De ville dermed ha liten <emphasis>*static*</emphasis> " -"grunn til Ã¥ motarbeide dem." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "sales levels of" -msgstr "salgsnivÃ¥ for" - -#. type: Content of: <book><part><chapter><section><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 vÃ¦re riktig? Kan industrien som helhet Ã¸ke i omfang pÃ¥ grunn av " -"fildeling? Selv om det kan hÃ¸res rart ut, sÃ¥ foreslÃ¥r faktisk salgstall for " -"CD-er at det ikke er langt unna sannheten." - -#. f12 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Recording Industry Association of America, <citetitle>2002 Yearend " -"Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #15</ulink>. A later report indicates even greater losses. See " -"Recording Industry Association of America, <citetitle>Some Facts About Music " -"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit " -"shipments of recorded music have fallen by 26 percent from 1.16 billion " -"units in to 860 million units in 2002 in the United States (based on units " -"shipped). In terms of sales, revenues are down 14 percent, from $14.6 " -"billion in to $12.6 billion last year (based on U.S. dollar value of " -"shipments). The music industry worldwide has gone from a $39 billion " -"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " -"dollar value of shipments).</quote>" -msgstr "" -"Se Recording Industry Association of America, <citetitle>2002 Yearend " -"Statistics</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/" -"notes/\">link #15</ulink>. En senere rapport indikerer enda stÃ¸rre tap. Se " -"Recording Industry Association of America, <citetitle>Some Facts About Music " -"Piracy</citetitle>, 25. juni 2003, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #16</ulink>: <quote>I de siste fire Ã¥rene har " -"antall utsendinger av enheter innspilt musikk falt med 26 prosent fra 1,16 " -"milliarder enheter til 860 millioner enheter i 2002 i USA (basert pÃ¥ antall " -"utsendt). I salg er omsetning redusert med 14 prosent, fra $14,6 milliarder " -"til $12,6 milliarder siste Ã¥r (basert pÃ¥ US dollar-verdi for utsendingene). " -"Musikkindustrien pÃ¥ verdensbasis har gÃ¥tt ned fra Ã¥ vÃ¦re en $39 milliarders " -"industri i 2000 til Ã¥ bli en $32 milliarders industri i 2002 (basert pÃ¥ US " -"dollarverdi for utsendinger.</quote>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Black, Jane" -msgstr "Black, Jane" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, " -"13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Jane Black, <quote>Big Music's Broken Record</quote>, BusinessWeek online, " -"13. februar 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " -"million to 803 million units; revenues fell 6.7 percent.<placeholder type=" -"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " -"RIAA blames Internet piracy for the trend, though there are many other " -"causes that could account for this drop. SoundScan, for example, reports a " -"more than 20 percent drop in the number of CDs released since 1999. That no " -"doubt accounts for some of the decrease in sales. Rising prices could " -"account for at least some of the loss. <quote>From 1999 to 2001, the average " -"price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder " -"type=\"footnote\" id=\"1\"/> Competition from other forms of media could " -"also account for some of the decline. As Jane Black of " -"<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film " -"<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could " -"get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote" -"\" id=\"2\"/>" -msgstr "" -"I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882 " -"millioner til 803 millioner enheter, og inntektene hadde falt 6,7 prosent." -"<placeholder type=\"footnote\" id=\"0\"/> Dette bekrefter en trend fra de " -"siste Ã¥rene. RIAA skylder pÃ¥ piratvirksomhet pÃ¥ Internett for denne " -"trenden, selv om det er mange andre Ã¥rsaker som kan forklare denne " -"reduksjonen. SoundScan rapporterte for eksempel om en reduksjon pÃ¥ over 20 " -"prosent siden 1999 nÃ¥r det gjelder antall CD-er er gitt ut Dette er uten " -"tvil Ã¥rsaken til noe av nedgangen i salget. Stigende priser kan ogsÃ¥ ha " -"bidratt til noe av tapet. <quote>Fra 1999 til 201 steg den gjennomsnittlige " -"prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.</quote><placeholder " -"type=\"footnote\" id=\"1\"/> Konkurranse fra andre typer media kan ogsÃ¥ " -"forklare noe av nedgangen. Som Jane Black i <citetitle>BusinessWeek</" -"citetitle> kommenterer, <quote>Lydsporet for filmen <citetitle>High " -"Fidelity</citetitle> har en listepris pÃ¥ $19,98. Du kan fÃ¥ hele filmen [pÃ¥ " -"DVD] for $19,99.</quote><placeholder type=\"footnote\" id=\"2\"/>" - -#. PAGE BREAK 84 -#. type: Content of: <book><part><chapter><section><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 har rett, at all nedgangen i CD-salg er forÃ¥rsaket " -"av deling pÃ¥ Internett. Her er hvor det skurrer: I samme periode som RIAA " -"estimerer at 803 milloner CDer ble solgt, estimerer RIAA at 2,1 milliarder " -"CD-er ble lastet ned gratis. Dermed selv om 2,6 ganger det totale antallet " -"CDer ble lastet ned gratis, sÃ¥ falt salgsinntektene med kun 6,7 prosent." - -#. type: Content of: <book><part><chapter><section><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, <quote>What's the difference between downloading a " -"song and stealing a CD?</quote>—but their own numbers reveal the " -"difference. If I steal a CD, then there is one less CD to sell. Every taking " -"is a lost sale. But on the basis of the numbers the RIAA provides, it is " -"absolutely clear that the same is not true of downloads. If every download " -"were a lost sale—if every use of Kazaa <quote>rob[bed] the author of " -"[his] profit</quote>—then the industry would have suffered a 100 " -"percent drop in sales last year, not a 7 percent drop. If 2.6 times the " -"number of CDs sold were downloaded for free, and yet sales revenue dropped " -"by just 6.7 percent, then there is a huge difference between " -"<quote>downloading a song and stealing a CD.</quote>" -msgstr "" -"Det er for mange ulike ting som skjer samtidig til Ã¥ forklare disse tallene " -"med sikkerhet, men en konklusjon er uunngÃ¥elig: Musikkindustrien spÃ¸r " -"stadig, <quote>Hva er forskjellen mellom Ã¥ laste ned en sang og Ã¥ stjele en " -"CD?</quote>—men deres egne tall avslÃ¸rer forskjellen. Hvis jeg " -"stjeler en CD, sÃ¥ er det en mindre CD Ã¥ selge. Hvert eneste som blir tatt " -"er et tapt salg. Men basert pÃ¥ tallene som RIAA gjÃ¸r tilgjengelig, sÃ¥ er " -"det helt klart at det samme ikke er sant for nedlastinger. Hvis hver " -"nedlasting var et tapt salg—hvis hver bruk av Kazaa <quote>fratok " -"forfatteren overskuddet</quote>—da skulle industrien vÃ¦rt pÃ¥fÃ¸rt 100 " -"prosent reduksjon i salg i fjor, ikke e 7 prosents nedgang. Hvis 2,6 ganger " -"antallet solgte CDer ble lastet ned gratis, og salgsinntektene kun ble " -"redusert med 6,7 prosent, sÃ¥ er det en stor forskjell mellom Ã¥ <quote>laste " -"ned en sang og Ã¥ stjele en CD</quote>." - -#. type: Content of: <book><part><chapter><section><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 "" -"Dette er skadene—pÃ¥stÃ¥tte og muligens overdrevende men, la oss anta at " -"de er reelle. Hva er fordelene? Fildeling pÃ¥fÃ¸rer muligens kostnader for " -"plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene?" - -#. f15 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"By one estimate, 75 percent of the music released by the major labels is no " -"longer in print. See Online Entertainment and Copyright Law—Coming " -"Soon to a Digital Device Near You: Hearing Before the Senate Committee on " -"the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of " -"the Future of Music Coalition), available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #18</ulink>." -msgstr "" -"Et estimat forteller at 75 prosent av musikken gitt ut av de store " -"plateselskapene ikke lenger trykkes opp. Se Online Entertainment and " -"Copyright Law—Coming Soon to a Digital Device Near You: HÃ¸ring foran " -"the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001) " -"(forberedt innlegg av the Future of Music Coalition), tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #18</ulink>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"One benefit is type C sharing—making available content that is " -"technically still under copyright but is no longer commercially available. " -"This is not a small category of content. There are millions of tracks that " -"are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/" -"> And while it's conceivable that some of this content is not available " -"because the artist producing the content doesn't want it to be made " -"available, the vast majority of it is unavailable solely because the " -"publisher or the distributor has decided it no longer makes economic sense " -"<emphasis>to the company</emphasis> to make it available." -msgstr "" -"En fordel er type-C-deling—Ã¥ gjÃ¸re innhold tilgjengelig som teknisk " -"sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt " -"tilgjengelig. Dette er ikke en liten kategori med innhold Det er millioner " -"av spor som ikke lenger er kommersielt tilgjengelig.<placeholder type=" -"\"footnote\" id=\"0\"/> Og mens det kan tenkes at noe av dette innholdet " -"ikke er tilgjengelig fordi artisten som laget innholdet ikke Ã¸nsker at det " -"blir gjort tilgjengelig, sÃ¥ er det meste av dette utilgjengelig kun fordi " -"forlaget eller distributÃ¸ren har bestemt at det ikke lenger gir Ã¸konomisk " -"mening <emphasis>for selskapet</emphasis> Ã¥ gjÃ¸re det tilgjengelig." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "books" -msgstr "bÃ¸ker" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "resales of" -msgstr "bruktsalg av" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good " -"estimates of the number of used record stores in existence, in 2002, there " -"were 7,198 used book dealers in the United States, an increase of 20 percent " -"since 1993. See Book Hunter Press, <citetitle>The Quiet Revolution: The " -"Expansion of the Used Book Market</citetitle> (2002), available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " -"accounted for $260 million in sales in 2002. See National Association of " -"Recording Merchandisers, <quote>2002 Annual Survey Results,</quote> " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Mens det ikke finnes noen gode " -"estimater over antallet bruktplatebutikker, sÃ¥ var det i 2002 7 7198 " -"bruktbokhandler i USA, en Ã¸kning pÃ¥ 20 prosent siden 1993. Se Book Hunter " -"Press, <citetitle>The Quiet Revolution: The Expansion of the Used Book " -"Market</citetitle> (2002), tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #19</ulink>. Brukte plater utgjorde $260 millioner i salg " -"i 2002. Se National Association of Recording Merchandisers, <quote>2002 " -"Annual Survey Results</quote>, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #20</ulink>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In real space—long before the Internet—the market had a simple " -"response to this problem: used book and record stores. There are thousands " -"of used book and used record stores in America today.<placeholder type=" -"\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " -"content they buy. And under American copyright law, when they buy and sell " -"this content, <emphasis>even if the content is still under copyright</" -"emphasis>, the copyright owner doesn't get a dime. Used book and record " -"stores are commercial entities; their owners make money from the content " -"they sell; but as with cable companies before statutory licensing, they " -"don't have to pay the copyright owner for the content they sell." -msgstr "" -"I den virkelige verden—lenge fÃ¸r Internettet—hadde markedet et " -"enkelt svar pÃ¥ dette problemet: bruktbok- og bruktplate-butikker. Det er " -"tusenvis av butikker for brukte bÃ¸ker og plater i Amerika i dag.<placeholder " -"type=\"footnote\" id=\"0\"/> Disse butikkene kjÃ¸per innhold fra eierne og " -"selger sÃ¥ videre innholdet de kjÃ¸pte. Og i fÃ¸lge amerikansk Ã¥ndsverkslov, " -"nÃ¥r de kjÃ¸per og selger dette innholdet, <emphasis>selv om innholdet " -"fortsatt er vernet av Ã¥ndsverksloven</emphasis>, sÃ¥ fÃ¥r ikke " -"opphavsrettseieren et Ã¸re. Bruktbok- og bruktplatebutikkene er kommersielle " -"aktÃ¸rer. Deres eiere tjener penger pÃ¥ innholdet de selger, men pÃ¥ samme " -"mÃ¥te som med kabel-TV-selskapene fÃ¸r lovbestemt lisensiering mÃ¥ de ikke " -"betale opphavsrettseierene for innholdet de selger." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Bernstein, Leonard" -msgstr "Bernstein, Leonard" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "out of print" -msgstr "utsolgt fra forlaget" - -#. type: Content of: <book><part><chapter><section><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 <quote>Two Love Songs,</quote> I still have it. That " -"difference would matter economically if the owner of the copyright were " -"selling the record in competition to my sharing. But we're talking about the " -"class of content that is not currently commercially available. The Internet " -"is making it available, through cooperative sharing, without competing with " -"the market." -msgstr "" -"Type-C-deling har dermed veldig mye til felles med bruktbok- og " -"bruktplatebutikker. Det er naturligvis ogsÃ¥ veldig forskjellig, fordi " -"personen som gjÃ¸r innhold tilgjengelig tjener ikke penger pÃ¥ Ã¥ gjÃ¸re " -"innholdet tilgjengelig. Det er naturligvis ogsÃ¥ forskjellig fra i den " -"virkelige verden ved at nÃ¥r jeg selger en plate sÃ¥ har jeg den ikke lenger, " -"mens pÃ¥ nettet nÃ¥r jeg deler min 1949-plate av Bernsteins <quote>Two Love " -"Songs</quote> med noen, sa har jeg den fortsatt. Denne forskjellen betyr noe " -"Ã¸konomisk hvis eieren av opphavsretten selger platen i konkurranse med min " -"deling. Men vi snakker om den klassen av innhold som nÃ¥ ikke er kommersielt " -"tilgjengelig. Internettet gjÃ¸r det tilgjengelig, gjennom samarbeidende " -"deling, uten Ã¥ konkurrere med markedet." - -#. type: Content of: <book><part><chapter><section><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 vÃ¦re, nÃ¥r alle faktorer vurderes, at det ville vÃ¦rt bedre om " -"opphavsrettseieren fikk noe fra denne handelen. Men det at det kunne vÃ¦rt " -"bedre fÃ¸rer ikke til at det ville vÃ¦rt en god ide Ã¥ forby bruktbokbutikker. " -"Eller sagt pÃ¥ en annen mÃ¥te, hvis du tror type-C-deling burde vÃ¦rt stoppet, " -"mener du ogsÃ¥ at biblioteker og bruktbokhandler ogsÃ¥ burde vÃ¦rt stengt?" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "free on-line releases of" -msgstr "gratis online-utgivelser av" - -#. PAGE BREAK 86 -#. type: Content of: <book><part><chapter><section><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, <citetitle>Down and Out in the Magic " -"Kingdom</citetitle>, both free on-line and in bookstores on the same day. " -"His (and his publisher's) thinking was that the on-line distribution would " -"be a great advertisement for the <quote>real</quote> book. People would read " -"part on-line, and then decide whether they liked the book or not. If they " -"liked it, they would be more likely to buy it. Doctorow's content is type D " -"content. If sharing networks enable his work to be spread, then both he and " -"society are better off. (Actually, much better off: It is a great book!)" -msgstr "" -"Til slutt, og kanskje mest viktig, muliggjÃ¸r fildelingsnettverk type-D-" -"deling—delingen av innhold som opphavsrettseierne Ã¸nsker Ã¥ fÃ¥ delt " -"eller der det ikke er vert etter Ã¥ndsverksloven. Denne delingen er klart " -"til fordel for forfattere og samfunnet. Science fiction-forfatteren Cory " -"Doctorow, for eksempel, utga sin fÃ¸rste roman, <citetitle>Down and Out in " -"the Magic Kingdom</citetitle>, bÃ¥de fritt tilgjengelig pÃ¥ nettet og i " -"bokhandler pÃ¥ samme dag. Han (og hans forlag) mente at distribusjon pÃ¥ " -"nettet ville vÃ¦re flott markedsfÃ¸ring for den <quote>ekte</quote> boken. " -"Folk ville lese deler pÃ¥ nettet, og sÃ¥ bestemme seg for om de likte boken " -"eller ikke. Hvis de likte den, sÃ¥ var det mer sannsynlig at de kjÃ¸pte den. " -"Doctorows innhold er type-D-innhold. Hvis delingsnettverkene gjÃ¸r det mulig " -"Ã¥ spre hans verk, sÃ¥ kommer bÃ¥de han og samfunnet bedre ut. (Faktisk sÃ¥ " -"kommer de mye bedre ut: det er en god bok!)" - -#. type: Content of: <book><part><chapter><section><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 for allemannseide verk: Denne delingen gagner samfunnet " -"uten noen juridisk skade mot forfattere i det hele tatt. Hvis innsats for Ã¥ " -"lÃ¸se problemet med type-A-deling Ã¸delegger muligheten for type-D-deling, sÃ¥ " -"mister vi noe viktig for Ã¥ beskytte type-A-innhold." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The point throughout is this: While the recording industry understandably " -"says, <quote>This is how much we've lost,</quote> we must also ask, " -"<quote>How much has society gained from p2p sharing? What are the " -"efficiencies? What is the content that otherwise would be unavailable?</" -"quote>" -msgstr "" -"Poenget med alt dette er: Selv om plateindustrien forstÃ¥elig nok sier, " -"<quote>Dette er hvor mye vi har tapt</quote>, sÃ¥ mÃ¥ vi ogsÃ¥ spÃ¸rre oss " -"<quote>hvor mye har samfunnet fÃ¥tt igjen fra p2p-deling? Hva gjÃ¸r oss mer " -"effektive? Hva er innholdet som ellers ville vÃ¦re utilgjengelig?</quote>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"For unlike the piracy I described in the first section of this chapter, much " -"of the <quote>piracy</quote> that file sharing enables is plainly legal and " -"good. And like the piracy I described in chapter <xref xrefstyle=\"select: " -"labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a " -"new way of spreading content caused by changes in the technology of " -"distribution. Thus, consistent with the tradition that gave us Hollywood, " -"radio, the recording industry, and cable TV, the question we should be " -"asking about file sharing is how best to preserve its benefits while " -"minimizing (to the extent possible) the wrongful harm it causes artists. The " -"question is one of balance. The law should seek that balance, and that " -"balance will be found only with time." -msgstr "" -"For til forskjell fra piratvirksomheten jeg beskrev i fÃ¸rste seksjon av " -"dette kapittelet, er mye av <quote>piratvirksomheten</quote> som fildeling " -"gjÃ¸r mulig klart lovlig og bra. Og i likhet med piratvirksomheten jeg " -"beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"pirates" -"\"/>, sÃ¥ er mye av denne piratvirksomheten motivert av de nye mÃ¥tene Ã¥ spre " -"innhold pÃ¥ som er forÃ¥rsaket av endringer i distribusjonsteknologien. " -"Dermed, konsistent med tradisjonen som ga oss Hollywood, radio, " -"plateindustrien og kabel-TV, er spÃ¸rsmÃ¥let vi bÃ¸r stille om fildeling om " -"hvordan vi best kan bevare dets fordeler mens vi minimerer (sÃ¥ langt det er " -"mulig) de uÃ¸nskede skadene de pÃ¥fÃ¸rer kunstnere. SpÃ¸rsmÃ¥let er et om " -"balanse. Loven bÃ¸r strebe etter den balansen, og den balansen blir funnet " -"kun etter en tid." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<quote>But isn't the war just a war against illegal sharing? Isn't the " -"target just what you call type A sharing?</quote>" -msgstr "" -"<quote>Men er ikke krigen bare en krig mot ulovlig deling? Er ikke " -"angrepsmÃ¥let bare det du kaller type-A-deling?</quote>" - -#. f17 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " -"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " -"account of the litigation and its toll on Napster, see Joseph Menn, " -"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" -"citetitle> (New York: Crown Business, 2003), 269–82." -msgstr "" -"Se referat fra forhandlingene, In Re: Napster Copyright Litigation ved 34-35 " -"(N.D. Cal., 11. juli 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #21</" -"ulink>. For en oppsummering av sÃ¸ksmÃ¥let og dets effekt pÃ¥ Napster, se " -"Joseph Menn, <citetitle>All the Rave: The Rise and Fall of Shawn Fanning's " -"Napster</citetitle> (New York: Crown Business, 2003), 269–82." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"You would think. And we should hope. But so far, it is not. The effect of " -"the war purportedly on type A sharing alone has been felt far beyond that " -"one class of sharing. That much is obvious from the Napster case itself. " -"When Napster told the district court that it had developed a technology to " -"block the transfer of 99.4 percent of identified infringing material, the " -"district court told counsel for Napster 99.4 percent was not good enough. " -"Napster had to push the infringements <quote>down to zero.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"En skulle tro det. Og vi bÃ¸r hÃ¥pe pÃ¥ det. Men sÃ¥ langt er det ikke " -"tilfelle. Effekten som krigen som pÃ¥stÃ¥s Ã¥ kun vÃ¦re mot type-A-deling har " -"blitt kjent langt uten den klassen med deling. Det er Ã¥penbart fra Napster-" -"saken selv. Da Napster fortalte *district*-retten at den hadde utviklet " -"teknologi som ville blokkere for 99,4 prosent av identifisert " -"opphavsrettsbrytende materiale, fortalte *district*-retten advokatene til " -"Napster at 99,4 prosent var ikke godt nok. Napster mÃ¥tte fÃ¥ " -"opphavsrettsbruddene <quote>ned til null</quote>.<placeholder type=\"footnote" -"\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 ikke er godt nok, sÃ¥ er dette en krig mot " -"fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd. Det er ikke " -"mulig Ã¥ sikre at et p2p-system brukes 100 prosent av tiden i henhold til " -"loven, like lite som det er mulig Ã¥ sikre at 100 prosent av videospillere " -"eller 100 prosent av kopimaskiner eller 100 prosent av hÃ¥ndvÃ¥pen blir brukt " -"i henhold til loven. Ingen toleranse betyr ingen p2p. Rettens avgjÃ¸relser " -"betyr at vi som samfunn mÃ¥ miste fordelene med p2p, selv for de fullstendig " -"lovlige og fordelaktige bruksomrÃ¥dene som de tjener, kun for Ã¥ sikre at de " -"ikke er brudd pÃ¥ opphavsretten forÃ¥rsaket av p2p." - -#. type: Content of: <book><part><chapter><section><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 har ikke vÃ¦rt vÃ¥r historie. Det har ikke gitt oss " -"innholdsindustrien som vi kjenner i dag. Historien til amerikansk lovgiving " -"har vÃ¦rt en prosess om balanse. Etter hvert som nye teknologier endret " -"mÃ¥ten innhold ble spredt sÃ¥ har loven justert seg, etter litt tid, til Ã¥ " -"mÃ¸te den nye teknologien. I denne justeringen har loven forsÃ¸kt Ã¥ sikre " -"legitime rettigheter til skaperne mens den beskytter nyskapning. Noen gang " -"har det gitt mer rettigheter til skaperne, og noen ganger mindre." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "composers, copyright protections of" -msgstr "komponister, opphavsrettsbeskyttelser for" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "music recordings played on" -msgstr "musikkinnspillinger spillt pÃ¥" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "copyright protections in" -msgstr "opphavsrettbeskyttelser i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "composer's rights vs. producers' rights in" -msgstr "komponistens rettigheter versus produsentenes rettigheter i" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"So, as we've seen, when <quote>mechanical reproduction</quote> threatened " -"the interests of composers, Congress balanced the rights of composers " -"against the interests of the recording industry. It granted rights to " -"composers, but also to the recording artists: Composers were to be paid, but " -"at a price set by Congress. But when radio started broadcasting the " -"recordings made by these recording artists, and they complained to Congress " -"that their <quote>creative property</quote> was not being respected (since " -"the radio station did not have to pay them for the creativity it broadcast), " -"Congress rejected their claim. An indirect benefit was enough." -msgstr "" -"Dermed, slik vi har sett, nÃ¥r <quote>mekanisk reprodusjon</quote> truet " -"interessene til komponister, balanserte kongressen rettighetene til " -"komponistene mot interessene til plateindustrien. Den ga rettigheter til " -"komponistene, men ogsÃ¥ til plateartistene: Komponistene skulle fÃ¥ betalt, " -"men til en pris satt av kongressen. Men da radio begynte kringkasting av " -"platene laget av disse plateartistene, og de klaget til kongressen om at " -"deres <quote>kreative eiendom</quote> ikke ble respektert (siden en " -"radiostasjon ikke mÃ¥tte betale dem for kreativiteten den kringkastet), da " -"avviste kongressen kravet. En indirekte fordel var nok." - -#. type: Content of: <book><part><chapter><section><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 fulgte samme mÃ¸nster som plater. Da retten avviste kravet om at " -"kabel-TV-kringkasterne mÃ¥tte betale for innholdet de videre-kringkastet, sÃ¥ " -"svarte kongressen med Ã¥ gi kringkasterne rett til betaling, men pÃ¥ et nivÃ¥ " -"fastsatt av loven. De ga pÃ¥ samme mÃ¥te kabel-TV-selskapene rett til " -"innholdet, sÃ¥ lenge de betalte den lovbestemte prisen." - -#. PAGE BREAK 88 -#. type: Content of: <book><part><chapter><section><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 <emphasis>compensation</emphasis> " -"without giving the past (broadcasters) control over the future (cable)." -msgstr "" -"Dette kompromisset, pÃ¥ samme mÃ¥te som kompromisset som pÃ¥virket plater og " -"automatiske piano, oppnÃ¥dde to mÃ¥l—faktisk de to sentrale mÃ¥lene i " -"enhver opphavsrettslovgiving. For det fÃ¸rste, sikret loven at nye " -"oppfinnere ville ha friheten til Ã¥ utvikle nye mÃ¥ter Ã¥ levere innhold pÃ¥. " -"For det andre, sikret loven at opphavsrettsinnehaverne ville fÃ¥ betalt for " -"innholdet som ble distribuert. En frykt var at hvis kongressen ganske " -"enkelt krevde at kabel-TV-selskapene mÃ¥te betale opphavsrettsinnehaverne " -"uansett hva de krevde for sitt innhold, sÃ¥ ville opphavsrettsinnehaverne " -"knyttet til kringkastere bruke sin makt til Ã¥ hemme denne nye teknologien " -"kabel-TV. Men hvis kongressen hadde tillat kabel-TV Ã¥ bruke kringkasternes " -"innhold uten Ã¥ betale, sÃ¥ ville den gitt urettferdig subsidiering til kabel-" -"TV. Dermed valgte kongressen en sti som ville sikre <emphasis>kompensasjon</" -"emphasis> uten Ã¥ gi fortiden (kringkasterne) kontroll over fremtiden (kabel-" -"TV)." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Betamax" -msgstr "Betamax" - -#. type: Content of: <book><part><chapter><section><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 <quote>record</quote> button, the device could " -"be used to record copyrighted movies and shows. Sony was therefore " -"benefiting from the copyright infringement of its customers. It should " -"therefore, Disney and Universal claimed, be partially liable for that " -"infringement." -msgstr "" -"Samme Ã¥r som kongressen valgte denne balansen, gikk to store produsenter og " -"distributÃ¸rer av filminnhold til sak mot en annen teknologi, videospiller/" -"opptakeren som Sony hadde produsert, Betamax. Disneys og Universals pÃ¥stand " -"mot Sony var relativt enkelt: Sony produserte en enhet, pÃ¥sto Disney og " -"Universal, som gjorde det mulig for forbrukere Ã¥ gjennomfÃ¸re " -"opphavsrettsbrudd. PÃ¥ grunn av at enheten Sony hadde laget hadde en " -"<quote>opptaks-knapp</quote>, kunne enheten bli brukt til Ã¥ ta opp " -"opphavsrettsbeskyttede filmer og programmer. Sony hadde derfor fordel av " -"opphavsrettsbruddene til sine kunder og skulle derfor, pÃ¥sto Disney og " -"Universal, vÃ¦re delvis ansvarlig or disse bruddene." - -#. PAGE BREAK 89 -#. type: Content of: <book><part><chapter><section><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 <quote>copy me</quote> signal on the line. It " -"was clear that there were many television shows that did not grant anyone " -"permission to copy. Indeed, if anyone had asked, no doubt the majority of " -"shows would not have authorized copying. And in the face of this obvious " -"preference, Sony could have designed its system to minimize the opportunity " -"for copyright infringement. It did not, and for that, Disney and Universal " -"wanted to hold it responsible for the architecture it chose." -msgstr "" -"Det er noe i pÃ¥standene til Disney og Universal. Sony valgte Ã¥ utforme sin " -"maskin slik at det var veldig enkelt Ã¥ ta opp TV-programmer. De kunne ha " -"bygget maskinen slik at den blokkerte eller hindret enhver direkte kopiering " -"fra en TV-kringkasting. Eller sÃ¥ kunne de muligens ha bygget maskinen slik " -"at det kun var mulig Ã¥ kopiere hvis det var et spesielt <quote>kopier meg</" -"quote>-signal pÃ¥ linjen. Det var klart at det var mange TV-programmer som " -"ikke ga noen tillatelse til Ã¥ kopiere. Faktisk ville en, hvis en spurte, " -"uten tvil fÃ¥tt beskjed fra flertallet av programmer at de ikke tillot " -"kopiering. Og i mÃ¸tet med denne Ã¥penbare Ã¸nsket, kunne Sony ha utformet " -"systemet sitt for Ã¥ minimere muligheten for opphavsrettsbrudd. Det gjorde " -"de ikke, og pÃ¥ grunn av dette ville Disney og Universal holde dem ansvarlig " -"for arkitekturen de valgte." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on VCR technology" -msgstr "pÃ¥ videospiller-teknologi" - -#. f18 -#. type: Content of: <book><part><chapter><section><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 "" -"Copyright Infringements (Audio and Video Recorders): hÃ¸ring om S. 1758 foran " -"the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459 " -"(1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association " -"of America, Inc.)." - -#. f19 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "Copyright Infringements (Audio and Video Recorders), 475." -msgstr "Copyright Infringements (Audio and Video Recorders), 475." - -#. f20 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " -"of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." -msgstr "" -"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " -"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." - -#. f21 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack " -"Valenti)." -msgstr "" -"Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra " -"Jack Valenti)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"MPAA president Jack Valenti became the studios' most vocal champion. Valenti " -"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, " -"30, 40 million of these VCRs in the land, we will be invaded by millions of " -"`tapeworms,' eating away at the very heart and essence of the most precious " -"asset the copyright owner has, his copyright.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> <quote>One does not have to be trained in " -"sophisticated marketing and creative judgment,</quote> he told Congress, " -"<quote>to understand the devastation on the after-theater marketplace caused " -"by the hundreds of millions of tapings that will adversely impact on the " -"future of the creative community in this country. It is simply a question of " -"basic economics and plain common sense.</quote><placeholder type=\"footnote" -"\" id=\"1\"/> Indeed, as surveys would later show, 45 percent of VCR owners " -"had movie libraries of ten videos or more<placeholder type=\"footnote\" id=" -"\"2\"/> — a use the Court would later hold was not <quote>fair.</" -"quote> By <quote>allowing VCR owners to copy freely by the means of an " -"exemption from copyright infringement without creating a mechanism to " -"compensate copyright owners,</quote> Valenti testified, Congress would " -"<quote>take from the owners the very essence of their property: the " -"exclusive right to control who may use their work, that is, who may copy it " -"and thereby profit from its reproduction.</quote><placeholder type=\"footnote" -"\" id=\"3\"/>" -msgstr "" -"MPAA-presidenten Jack Valenti ble studioenes mest synlige forkjemper. " -"Valenti kalte videospillerne for <quote>bendelormer</quote> (engelsk: " -"tapeworm). Han advarte om at <quote>nÃ¥r det er 20, 30, 40 millioner av " -"disse videospillerne i landet, vil vi bli invadert av millioner av " -"<quote>bendelormer</quote> som spiser i vei i hjertet og essensen til den " -"mest verdifulle eiendelen som opphavsrettseieren har, hans opphavsrett</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/> <quote>En mÃ¥ ikke vÃ¦re " -"opplÃ¦rt i sofistikert markedsfÃ¸ring eller kreativ vurdering</quote>, " -"fortalte han kongressen, <quote>for Ã¥ forstÃ¥ Ã¸deleggelsen av etter-kino-" -"markedet forÃ¥rsaket av de hundrevis av millioner opptak som vil seriÃ¸st " -"pÃ¥virke fremtiden til det kreative miljÃ¸et i dette landet. Det er ganske " -"enkelt et spÃ¸rsmÃ¥l om grunnleggende Ã¸konomi og enkel sunn fornuft.</" -"quote><placeholder type=\"footnote\" id=\"1\"/> Og ganske riktig, slik " -"spÃ¸rreundersÃ¸kelser senere ville vise, 45 prosent av videospillereierne " -"hadde filmbiblioteker som inneholdt ti filmer eller mer.<placeholder type=" -"\"footnote\" id=\"2\"/> — en bruk som retten senere ville avgjÃ¸re ikke " -"var <quote>rettferdig</quote>. Ved Ã¥ <quote>tillate videospillereierne Ã¥ " -"kopiere fritt ved hjelp av et unntak fra brudd pÃ¥ opphavsrettsloven uten Ã¥ " -"lage en mekanisme for Ã¥ kompensere opphavsrettseierne</quote>, forklarte " -"Valenti, sÃ¥ ville kongressen <quote>ta fra eierne selve essensen i deres " -"eiendom: den eksklusive retten til a kontrollere hvem som kan bruke deres " -"verker, det vil si, hvem som kan kopiere det og dermed nyte godt at dets " -"reproduksjon</quote>.<placeholder type=\"footnote\" id=\"3\"/>" - -#. f22 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " -"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." -msgstr "" -"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " -"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." - -#. type: Content of: <book><part><chapter><section><para><indexterm><primary> -msgid "Kozinski, Alex" -msgstr "Kozinski, Alex" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"It took eight years for this case to be resolved by the Supreme Court. In " -"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " -"its jurisdiction—leading Judge Alex Kozinski, who sits on that court, " -"refers to it as the <quote>Hollywood Circuit</quote>—held that Sony " -"would be liable for the copyright infringement made possible by its " -"machines. Under the Ninth Circuit's rule, this totally familiar " -"technology—which Jack Valenti had called <quote>the Boston Strangler " -"of the American film industry</quote> (worse yet, it was a " -"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)" -"—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Det tok Ã¥tte Ã¥r fÃ¸r denne saken ble avgjort av hÃ¸yesterett. I mellomtiden " -"hadde den niende appellsirkel, som har Hollywood i sin jurisdiksjon—" -"den ledende dommeren Alex Kozinski, som er medlem i den domstolen, referer " -"til den som <quote>Hollywood-sirkelen</quote>—fant at Sony mÃ¥tte " -"holdes ansvarlig for de opphavsrettsbruddene som ble muliggjort med deres " -"maskiner. I fÃ¸lge niende sirkels regel var denne kjente teknologien—" -"som Jack Valenti hadde omtalt som <quote>Boston-kveleren for amerikansk " -"filmindustri</quote> (verre enn dette, det var en <emphasis>japansk</" -"emphasis> Boston-kveler for amerikansk filmindustri)— var en ulovlig " -"teknologi.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. PAGE BREAK 90 -#. type: Content of: <book><part><chapter><section><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 hÃ¸yesterett omstÃ¸tte avgjÃ¸relsen til niende appellsirkel. Og i sin " -"avgjÃ¸relse formulerte domstolen klart sin forstÃ¥else av nÃ¥r og om domstoler " -"burde intervenere i slike konflikter. Som retten skrev," - -#. f23 -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." -msgstr "" -"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Sound policy, as well as history, supports our consistent deference to " -"Congress when major technological innovations alter the market for " -"copyrighted materials. Congress has the constitutional authority and the " -"institutional ability to accommodate fully the varied permutations of " -"competing interests that are inevitably implicated by such new technology." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Fornuftig policy, og vÃ¥r historie, stÃ¸tter vÃ¥r konsistente henvisning til " -"kongressen nÃ¥r store teknologiske nyvinninger endrer markedet for " -"opphavsrettsbeskyttet materiale. Kongressen har den konstituelle " -"autoriteten og institusjonsevnen til Ã¥ ta fullt hensyn til de forskjellige " -"sammensetningene av konkurrerende interesser som uunngÃ¥elig blir involvert " -"av slik ny teknologi.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 " -"<quote>taking</quote> notwithstanding. If we put these cases together, a " -"pattern is clear:" -msgstr "" -"Kongressen ble bedt om Ã¥ svare pÃ¥ avgjÃ¸relsen fra HÃ¸yesterett. Men pÃ¥ samme " -"mÃ¥te som med appellen fra plateartistene om radiokringkastinger, ignorerte " -"kongressen denne forespÃ¸rselen. Kongressen var overbevist om at Amerikansk " -"film fikk nok, pÃ¥ tross av at det her ble <quote>tatt</quote>. Hvis vi " -"samler disse saken, trer et mÃ¸nster frem:" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "CASE" -msgstr "Tilfelle" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "WHOSE VALUE WAS <quote>PIRATED</quote>" -msgstr "Hvems verdi ble <quote>rÃ¸vet</quote>" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "RESPONSE OF THE COURTS" -msgstr "Responsen til domstolene" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "RESPONSE OF CONGRESS" -msgstr "Responsen til Kongressen" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Recordings" -msgstr "Innspillinger" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Composers" -msgstr "Komponister" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "No protection" -msgstr "Ingen beskyttelse" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Statutory license" -msgstr "Lovbestemt lisens" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Recording artists" -msgstr "Plateartister" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "N/A" -msgstr "" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Nothing" -msgstr "Ingenting" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Broadcasters" -msgstr "Kringkastere" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "VCR" -msgstr "Videospiller / opptaker" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Film creators" -msgstr "Filmskapere" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"These are the most important instances in our history, but there are other " -"cases as well. The technology of digital audio tape (DAT), for example, was " -"regulated by Congress to minimize the risk of piracy. The remedy Congress " -"imposed did burden DAT producers, by taxing tape sales and controlling the " -"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " -"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " -"4237, codified at 17 U.S.C. Â§1001. Again, however, this regulation did not " -"eliminate the opportunity for free riding in the sense I've described. See " -"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From " -"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law " -"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" " -"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Dette er de viktigste forekomstene i vÃ¥r historie, men det er ogsÃ¥ andre " -"tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT) " -"regulert av kongressen for Ã¥ minimere risikoen for piratkopiering. " -"Medisinen som kongressen valgte pÃ¥fÃ¸rte en belastning for DAT-produsenter, " -"ved Ã¥ legge en skatt pÃ¥ kassettsalg og ved Ã¥ kontrollere DAT-teknologien. Se " -"Audio Home Recording Act fra 1992 (overskrift 17 i <citetitle>United States " -"Code</citetitle>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S." -"C. Â§1001. Igjen eliminerte heller ikke denne regulereringen muligheten for " -"gratispassasjerer slik jeg har beskrevet. Se Lessig <citetitle>Future</" -"citetitle>, 71. Se ogsÃ¥ Picker, <quote>From Edison to the Broadcast Flag,</" -"quote> <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " -"293–96. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In each case throughout our history, a new technology changed the way " -"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " -"case, throughout our history, that change meant that someone got a " -"<quote>free ride</quote> on someone else's work." -msgstr "" -"I hvert tilfelle gjennom vÃ¥r historie har ny teknologi endret hvordan " -"innhold ble distribuert.<placeholder type=\"footnote\" id=\"0\"/> I hvert " -"tilfelle, gjennom hele vÃ¥r historie, har den endringen fÃ¸rt til at noen ble " -"<quote>gratispassasjer</quote> pÃ¥ noen andres verk." - -#. PAGE BREAK 91 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In <emphasis>none</emphasis> of these cases did either the courts or " -"Congress eliminate all free riding. In <emphasis>none</emphasis> of these " -"cases did the courts or Congress insist that the law should assure that the " -"copyright holder get all the value that his copyright created. In every " -"case, the copyright owners complained of <quote>piracy.</quote> In every " -"case, Congress acted to recognize some of the legitimacy in the behavior of " -"the <quote>pirates.</quote> In each case, Congress allowed some new " -"technology to benefit from content made before. It balanced the interests at " -"stake." -msgstr "" -"I <emphasis>ingen</emphasis> av disse tilfellene eliminerte domstolene og " -"kongressen alle gratispassasjerer. I <emphasis>ingen</emphasis> av disse " -"tilfellene insisterte domstolene og kongressen at loven skulle sikre at " -"opphavsrettsinnehaveren skulle fÃ¥ all verdi som hans opphavsrett hadde " -"skapt. I hvert tilfelle klaget opphavsrettseieren om " -"<quote>piratvirksomhet</quote>. I hvert tilfelle valgte kongressen Ã¥ ta " -"hensyn til noe av legitimiteten til oppfÃ¸rselen hos <quote>piratene</" -"quote>. I hvert tilfelle tillot kongressen noe ny teknologi a ha fordel av " -"innhold laget tidligere. Den balanserte interessene pÃ¥ spill." - -#. type: Content of: <book><part><chapter><section><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 "" -"NÃ¥r du tenker over disse eksemplene, og de andre eksemplene som utgjÃ¸r de " -"fÃ¸rste fire kapittelene i denne avdelingen, sÃ¥ gir denne balansen mening. " -"Var Walt Disney en pirat? Ville doujinshi vÃ¦re bedre hvis skaperne mÃ¥tte be " -"om tillatelse? BÃ¸r verktÃ¸y som gjÃ¸r det mulig for andre Ã¥ fange og spre " -"bilder som en mÃ¥te Ã¥ kultivere og kritisere vÃ¥r kultur vÃ¦re bedre hvis den " -"var regulert? Er det virkelig riktig at a bygge en sÃ¸kemotor bÃ¸r eksponere " -"deg for krav om $15 millioner i erstatning. Ville det ha vÃ¦rt bedre om " -"Edison hadde kontrollert all film? Burde et hvert cover-band mÃ¥tte hyre inn " -"en advokat for Ã¥ fÃ¥ tillatelse til Ã¥ spille inn en sang?" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on balance of interests in copyright law" -msgstr "om interesseavveininger i opphavsrettslovgivning" - -#. f25 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." -msgstr "" -"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " -"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"We could answer yes to each of these questions, but our tradition has " -"answered no. In our tradition, as the Supreme Court has stated, copyright " -"<quote>has never accorded the copyright owner complete control over all " -"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> " -"Instead, the particular uses that the law regulates have been defined by " -"balancing the good that comes from granting an exclusive right against the " -"burdens such an exclusive right creates. And this balancing has historically " -"been done <emphasis>after</emphasis> a technology has matured, or settled " -"into the mix of technologies that facilitate the distribution of content." -msgstr "" -"Vi kunne svart ja pÃ¥ hvert av disse spÃ¸rsmÃ¥lene, men vÃ¥r tradisjon har svart " -"nei. I vÃ¥r tradisjon, som hÃ¸yesterett uttalte har opphavsretten " -"<quote>aldri gitt opphavsrettseieren fullstendig kontroll over all mulig " -"bruk av hans verk</quote>.<placeholder type=\"footnote\" id=\"0\"/> I stedet " -"har de spesifikke bruksomrÃ¥der som loven regulerer vÃ¦rt definert ved Ã¥ " -"balansere de goder som kommer fra Ã¥ dele ut en eksklusiv rettighet mot " -"ulempene en slik eksklusiv rettighet skaper. Og denne balanseringen har " -"historisk vÃ¦rt gjort <emphasis>etter</emphasis> at teknologien har modnet, " -"eller landet pÃ¥ en blanding av teknologier som bidrar til distribusjonen av " -"innhold." - -#. type: Content of: <book><part><chapter><section><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 <quote>stealing</quote> from artists. But neither should the law " -"become a tool to entrench one particular way in which artists (or more " -"accurately, distributors) get paid. As I describe in some detail in the last " -"chapter of this book, we should be securing income to artists while we allow " -"the market to secure the most efficient way to promote and distribute " -"content. This will require changes in the law, at least in the interim. " -"These changes should be designed to balance the protection of the law " -"against the strong public interest that innovation continue." -msgstr "" -"Vi burde gjÃ¸re det samme i dag. Teknologien pÃ¥ Internettet endrer seg " -"raskt. MÃ¥ten folk kobler seg til Internettet (trÃ¥dbasert eller trÃ¥dlÃ¸st) " -"endrer seg veldig raskt. Uten tvil bÃ¸r ikke nettverket bli et verktÃ¸y for " -"<quote>stjeling</quote> fra kunstnere. Men loven bÃ¸r heller ikke bli et " -"verktÃ¸y for Ã¥ tvinge igjennom en bestemt mÃ¥te som kunstnere (eller mer " -"korrekt, distributÃ¸rer) fÃ¥r betalt. Som jeg beskriver i litt detalj i det " -"siste kapittelet i denne boken, bÃ¸r vi sikre inntekter til kunstnere mens vi " -"tillater markedet Ã¥ fÃ¥ pÃ¥ plass den mest effektive mÃ¥ten Ã¥ fremme og " -"distribuere innhold. Dette vil kreve endringer i loven, i hvert fall i en " -"mellomperiode. Disse endringene burde utformes slik at de balanserer " -"beskyttelsen gitt i loven mot den sterke folkeinteressen for at nyskapning " -"fortsetter." - -#. f26 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " -"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 " -"September 2003, C3." -msgstr "" -"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " -"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22. " -"september 2003, C3." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This is especially true when a new technology enables a vastly superior mode " -"of distribution. And this p2p has done. P2p technologies can be ideally " -"efficient in moving content across a widely diverse network. Left to " -"develop, they could make the network vastly more efficient. Yet these " -"<quote>potential public benefits,</quote> as John Schwartz writes in " -"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the " -"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Dette er spesielt riktig nÃ¥r en ny teknologi muliggjÃ¸r en svÃ¦rt overlegen " -"mÃ¥te Ã¥ distribuere pÃ¥. Og dette har p2p gjort. P2p-teknologier kan vÃ¦re " -"ideelt effektivt for Ã¥ flytte innhold pÃ¥ tvers av et stort og variert " -"nettverk. Utviklet videre sÃ¥ kan de gjÃ¸re nettverkene mye mer effektivt. " -"Likevel kan disse <quote>potensielle fordelene for folket</quote>, som John " -"Schwartz skriver i <citetitle>The New York Times</citetitle>, <quote>bli " -"forsinket av p2p-kampen</quote>.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about " -"<quote>balance,</quote> the copyright warriors raise a different argument. " -"<quote>All this hand waving about balance and incentives,</quote> they say, " -"<quote>misses a fundamental point. Our content,</quote> the warriors insist, " -"<quote>is our <emphasis>property</emphasis>. Why should we wait for Congress " -"to `rebalance' our property rights? Do you have to wait before calling the " -"police when your car has been stolen? And why should Congress deliberate at " -"all about the merits of this theft? Do we ask whether the car thief had a " -"good use for the car before we arrest him?</quote>" -msgstr "" -"<emphasis role='strong'>Men nÃ¥r noen</emphasis> begynner Ã¥ snakke om " -"<quote>balanse</quote>, kommer opphavsrettskrigerne med et annet argument. " -"<quote>All denne varme luften om balanse og insentiver</quote>, sier de, " -"<quote>gÃ¥r glipp av det fundamentale poenget. VÃ¥rt innhold</quote>, " -"insisterer krigerne, <quote>er vÃ¥r <emphasis>eiendom</emphasis>. Hvorfor " -"burde vi vente pÃ¥ at kongressen skal finne en ny balanse for vÃ¥re " -"eiendomsretter? MÃ¥ vi vente fÃ¸r vi kontakter politiet nÃ¥r bilen vÃ¥r har " -"blitt stjÃ¥let? Og hvorfor burde kongressen i det hele tatt debattere nytten " -"av dette tyveriet? SpÃ¸r vi dem om biltyven hadde god bruk for bilen fÃ¸r vi " -"arresterer han?</quote>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. " -"<quote>And it should be protected just as any other property is protected.</" -"quote>" -msgstr "" -"<quote>Det er <emphasis>vÃ¥r eiendom</emphasis>,</quote> insisterer krigerne. " -"<quote>og den bÃ¸r vÃ¦re beskyttet pÃ¥ samme mÃ¥te som all annen eiendom er " -"beskyttet.</quote>" - -#. type: Content of: <book><part><title> -msgid "<quote>PROPERTY</quote>" -msgstr "<quote>Eiendom</quote>" - -#. PAGE BREAK 94 -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role='strong'>The copyright warriors</emphasis> are right: A " -"copyright is a kind of property. It can be owned and sold, and the law " -"protects against its theft. Ordinarily, the copyright owner gets to hold out " -"for any price he wants. Markets reckon the supply and demand that partially " -"determine the price she can get." -msgstr "" -"<emphasis role='strong'>Opphavsretts-krigerne</emphasis> har rett: " -"Opphavsretten er en type eiendom. Den kan eies og selges, og loven beskytter " -"mot at den blir stjÃ¥let. Vanligvis, kan opphavsrettseieren be om hvilken som " -"helst pris som han Ã¸nsker. Markeder bestemmer tilbud og etterspÃ¸rsel som i " -"hvert tilfelle bestemmer prisen hun kan fÃ¥." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"But in ordinary language, to call a copyright a <quote>property</quote> " -"right is a bit misleading, for the property of copyright is an odd kind of " -"property. Indeed, the very idea of property in any idea or any expression " -"is very odd. I understand what I am taking when I take the picnic table you " -"put in your backyard. I am taking a thing, the picnic table, and after I " -"take it, you don't have it. But what am I taking when I take the good " -"<emphasis>idea</emphasis> you had to put a picnic table in the " -"backyard—by, for example, going to Sears, buying a table, and putting " -"it in my backyard? What is the thing I am taking then?" -msgstr "" -"Men i vanlig sprÃ¥k er det Ã¥ kalle opphavsrett for en <quote>eiendoms</quote>-" -"rett litt misvisende, for eiendommen i opphavsretten er en merkelig type " -"eiendom. Selve idÃ©en om eierrettigheter til en idÃ© eller et uttrykk er " -"nemlig veldig merkelig. Jeg forstÃ¥r hva jeg tar nÃ¥r jeg tar en piknik-bord " -"som du plasserte i din bakhage. Jeg tar en ting, piknik-bordet, og etter at " -"jeg tar det har ikke du det. Men hva tar jeg nÃ¥r jeg tar den gode " -"<emphasis>idÃ©en</emphasis> som du hadde om Ã¥ plassere piknik-bordet i " -"bakhagen—ved Ã¥ for eksempel dra til butikken Sears, kjÃ¸pe et bord, og " -"plassere det i min egen bakhage? Hva er tingen jeg tar da?" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Jefferson, Thomas" -msgstr "Jefferson, Thomas" - -#. f1 -#. type: Content of: <book><part><partintro><para><footnote><para> -msgid "" -"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " -"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " -"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." -msgstr "" -"Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i " -"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " -"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The point is not just about the thingness of picnic tables versus ideas, " -"though that's an important difference. The point instead is that in the " -"ordinary case—indeed, in practically every case except for a narrow " -"range of exceptions—ideas released to the world are free. I don't take " -"anything from you when I copy the way you dress—though I might seem " -"weird if I did it every day, and especially weird if you are a woman. " -"Instead, as Thomas Jefferson said (and as is especially true when I copy the " -"way someone else dresses), <quote>He who receives an idea from me, receives " -"instruction himself without lessening mine; as he who lights his taper at " -"mine, receives light without darkening me.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Poenget er ikke bare om hvorvidt piknik-bord og idÃ©er er ting, selv om det " -"er en viktig forskjell. Poenget er istedet at i det vanlige tilfelle—" -"faktisk i praktisk talt ethvert tilfelle unntatt en begrenset rekke med " -"unntak—er idÃ©er sluppet ut i verden frie. Jeg tar ingenting fra deg " -"nÃ¥r jeg kopierer mÃ¥ten du kler deg—selv om det ville se sÃ¦rt ut hvis " -"jeg gjorde det hver dag, og spesielt sÃ¦rt hvis du er en kvinne. Istedet, " -"som Thomas Jefferson sa (og det er spesielt sant nÃ¥r jeg kopierer hvordan " -"noen andre kler seg), <quote>Den som mottar en idÃ© fra meg, fÃ¥r selv " -"informasjon uten Ã¥ ta noe fra meg, pÃ¥ samme mÃ¥te som den som tenner sitt lys " -"fra min veike fÃ¥r lys uten Ã¥ forlate meg i mÃ¸rket</quote>.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><indexterm><secondary> -msgid "intangibility of" -msgstr "ubegripelighet av" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"The exceptions to free use are ideas and expressions within the reach of the " -"law of patent and copyright, and a few other domains that I won't discuss " -"here. Here the law says you can't take my idea or expression without my " -"permission: The law turns the intangible into property." -msgstr "" -"Unntakene til fri bruk er idÃ©er og uttrykk innenfor dekningsomrÃ¥det til " -"loven om patent og opphavsrett, og noen fÃ¥ andre omrÃ¥der som jeg ikke vil " -"diskutere her. Her sier loven at du ikke kan ta min idÃ© eller uttrykk uten " -"min tillatelse: Loven gjÃ¸r det immaterielle til eiendom. " - -#. f2 -#. type: Content of: <book><part><partintro><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, " -"<quote>What Is Property? Putting the Pieces Back Together,</quote> " -"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241." -msgstr "" -"Slik de juridiske realistene lÃ¦rte bort amerikansk lov, var alle " -"eiendomsretter immaterielle. En eiendomsrett er ganske enkelt den retten " -"som et individ har mot verden til Ã¥ gjÃ¸re eller ikke gjÃ¸re visse ting som er " -"eller ikke er knyttet til et fysisk objekt. Retten i seg selv er " -"immateriell, selv om objektet som det er (metafysisk) knyttet til er " -"materielt. Se Adam Mossoff, <quote>What Is Property? Putting the Pieces " -"Back Together,</quote> <citetitle>Arizona Law Review</citetitle> 45 (2003): " -"373, 429 n. 241." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"But how, and to what extent, and in what form—the details, in other " -"words—matter. To get a good sense of how this practice of turning the " -"intangible into property emerged, we need to place this <quote>property</" -"quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Men hvordan, og i hvilken utstrekning, og i hvilken form—detaljene, " -"med andre ord—betyr noe. For Ã¥ fÃ¥ en god forstÃ¥else om hvordan denne " -"praksis om Ã¥ gjÃ¸re det immaterielle om til eiendom vokste frem, trenger vi Ã¥ " -"plassere denne <quote>eiendom</quote> i sin rette sammenheng.<placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><partintro><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 <quote>copyright material " -"is property</quote> in context. Where did the idea come from? What are its " -"limits? How does it function in practice? After these stories, the " -"significance of this true statement—<quote>copyright material is " -"property</quote>— will be a bit more clear, and its implications will " -"be revealed as quite different from the implications that the copyright " -"warriors would have us draw." -msgstr "" -"Min strategi for Ã¥ gjÃ¸re dette er den samme som min strategi i den " -"foregÃ¥ende del. Jeg tilbyr fire historier som bidrar til Ã¥ plassere " -"<quote>opphavsrettsmateriale er eiendom</quote> i sammenheng. Hvor kom " -"idÃ©en fra? Hva er dens begrensninger? Hvordan fungerer dette i praksis. " -"Etter disse historiene vil betydningen til dette sanne utsagnet—" -"<quote>opphavsrettsmateriale er eiendom</quote>— bli litt mer klart, " -"og dets implikasjoner vil bli avslÃ¸rt som ganske forskjellig fra " -"implikasjonene som opphavsrettskrigerne vil at vi skal forstÃ¥." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER SIX: Founders" -msgstr "Kapittel seks: Grunnleggerne" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "English copyright law developed for" -msgstr "Engelsk Ã¥ndsverkslov utviklet for" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "England, copyright laws developed in" -msgstr "England, Ã¥ndsverkslov utviklet i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "United Kingdom" -msgstr "Storbritannia" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "history of copyright law in" -msgstr "historie av opphavsrettslovgivning i" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Branagh, Kenneth" -msgstr "Branagh, Kenneth" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Henry V" -msgstr "Henry V" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Romeo and Juliet (Shakespeare)" -msgstr "Romeo og Julie (Shakespeare)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>William Shakespeare</emphasis> wrote " -"<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first " -"published in 1597. It was the eleventh major play that Shakespeare had " -"written. He would continue to write plays through 1613, and the plays that " -"he wrote have continued to define Anglo-American culture ever since. So " -"deeply have the works of a sixteenth-century writer seeped into our culture " -"that we often don't even recognize their source. I once overheard someone " -"commenting on Kenneth Branagh's adaptation of Henry V: <quote>I liked it, " -"but Shakespeare is so full of clichÃ©s.</quote>" -msgstr "" -"<emphasis role='strong'>William Shakespeare</emphasis> skrev " -"<citetitle>Romeo og Julie</citetitle> i 1595. Skuespillet ble fÃ¸rst utgitt i " -"1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han " -"fortsatte Ã¥ skrive skuespill helt til 1613, og stykkene han skrev har " -"fortsatt Ã¥ definere angloamerikansk kultur siden. SÃ¥ dypt har verkene av en " -"1500-talls forfatter sunket inn i vÃ¥r kultur at vi ofte ikke engang kjenner " -"kilden. Jeg overhÃ¸rte en gang noen som kommentere Kenneth Branaghs utgave av " -"Henry V: <quote>Jeg likte det, men Shakespeare er sÃ¥ full av klisjeer.</" -"quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Conger" -msgstr "Conger" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Tonson, Jacob" -msgstr "Tonson, Jacob" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Jonson, Ben" -msgstr "Jonson, Ben" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Dryden, John" -msgstr "Dryden, John" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Jacob Tonson is typically remembered for his associations with " -"prominent eighteenth-century literary figures, especially John Dryden, and " -"for his handsome <quote>definitive editions</quote> of classic works. In " -"addition to <citetitle>Romeo and Juliet</citetitle>, he published an " -"astonishing array of works that still remain at the heart of the English " -"canon, including collected works of Shakespeare, Ben Jonson, John Milton, " -"and John Dryden. See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> " -"<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets " -"litterÃ¦re storheter, spesielt John Dryden, og for hans kjekke<quote>ferdige " -"versjoner</quote> av klassiske verk. I tillegg til <citetitle>Romeo og " -"Julie</citetitle>, utga han en utrolig rekke liste av verk som ennÃ¥ er " -"hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben " -"Jonson, John Milton, og John Dryden. Se Keith Walker: <quote>Jacob Tonson, " -"Bookseller</quote>, <citetitle>American Scholar</citetitle> 61:3 (1992): 424-Â" -"31." - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" -"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." -msgstr "" -"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" -"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." - -#. PAGE BREAK 97 -#. type: Content of: <book><part><chapter><para> -msgid "" -"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " -"written, the <quote>copy-right</quote> for the work was still thought by " -"many to be the exclusive right of a single London publisher, Jacob Tonson." -"<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a " -"small group of publishers called the Conger<placeholder type=\"footnote\" id=" -"\"1\"/> who controlled bookselling in England during the eighteenth century. " -"The Conger claimed a perpetual right to control the <quote>copy</quote> of " -"books that they had acquired from authors. That perpetual right meant that " -"no one else could publish copies of a book to which they held the " -"copyright. Prices of the classics were thus kept high; competition to " -"produce better or cheaper editions was eliminated." -msgstr "" -"I 1774, nesten 180 Ã¥r etter at <citetitle>Romeo og Julie</citetitle> ble " -"skrevet, mente mange at <quote>opphavsretten</quote> kun tilhÃ¸rte Ã©n eneste " -"utgiver i London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> " -"Tonson var den mest fremstÃ¥ende av en liten gruppe utgivere kalt <quote>the " -"Conger</quote><placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte " -"boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde " -"en evigvarende rett over <quote>kopier</quote> av bÃ¸ker de hadde fÃ¥tt av " -"forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere " -"kopier av disse bÃ¸kene. Slik ble prisen pÃ¥ klassiske bÃ¸ker holdt oppe; alle " -"konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "British Parliament" -msgstr "Britiske parlamentet, det" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "renewability of" -msgstr "fornyelsesevnen til" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Statute of Anne (1710)" -msgstr "Statute of Anne (1710)" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> As Siva Vaidhyanathan nicely " -"argues, it is erroneous to call this a <quote>copyright law.</quote> See " -"Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Som Siva Vaidhyanathan sÃ¥ pent " -"argumenterer, er det feilaktige Ã¥ kalle dette en <quote>Ã¥ndsverkslov</" -"quote>. Se Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " -"40." - -#. type: Content of: <book><part><chapter><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 " -"<quote>copyright</quote> act. Known as the Statute of Anne, the act stated " -"that all published works would get a copyright term of fourteen years, " -"renewable once if the author was alive, and that all works already published " -"by 1710 would get a single term of twenty-one additional years.<placeholder " -"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</" -"citetitle> should have been free in 1731. So why was there any issue about " -"it still being under Tonson's control in 1774?" -msgstr "" -"Men altsÃ¥, det er noe spennende med Ã¥ret 1774 for alle som vet litt om " -"opphavsretts-lovgivning. Det mest kjente Ã¥ret for opphavsrett er 1710, da " -"det britiske parlamentet vedtok den fÃ¸rste loven. Denne loven er kjent som " -"<quote>Statute of Anne</quote> og sa at alle publiserte verk skulle vÃ¦re " -"beskyttet i fjorten Ã¥r, en periode som kunne fornyes Ã©n gang dersom " -"forfatteren ennÃ¥ levde, og at alle verk publisert i eller fÃ¸r 1710 skulle ha " -"en ekstraperiode pÃ¥ 22 tilleggsÃ¥r.<placeholder type=\"footnote\" id=\"0\"/> " -"PÃ¥ grunn av denne loven, sÃ¥ skulle <citetitle>Romeo og Julie</citetitle> ha " -"falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over " -"verket i 1774?" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "common vs. positive" -msgstr "felles vs. positive" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "positive law" -msgstr "positiv rett" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Licensing Act (1662)" -msgstr "Licensing Act (1662)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The reason is that the English hadn't yet agreed on what a <quote>copyright</" -"quote> was—indeed, no one had. At the time the English passed the " -"Statute of Anne, there was no other legislation governing copyrights. The " -"last law regulating publishers, the Licensing Act of 1662, had expired in " -"1695. That law gave publishers a monopoly over publishing, as a way to make " -"it easier for the Crown to control what was published. But after it " -"expired, there was no positive law that said that the publishers, or " -"<quote>Stationers,</quote> had an exclusive right to print books." -msgstr "" -"Ãrsaken var ganske enkelt at engelskmennene ennÃ¥ ikke hadde bestemt hva " -"opphavsrett innebar -- faktisk hadde ingen i verden det. PÃ¥ den tiden da " -"engelskmennene vedtok <quote>Statute of Anne</quote>, var det ingen annen " -"lovgivning om opphavsrett. Den siste loven som regulerte utgivere var " -"lisensieringsloven av 1662, utlÃ¸pt i 1695. At loven ga utgiverne monopol " -"over publiseringen, noe som gjorde det enklere for kronen Ã¥ kontrollere hva " -"ble publisert. Men etter at det har utlÃ¸pt, var det ingen positiv lov som sa " -"at utgiverne hadde en eksklusiv rett til Ã¥ trykke bÃ¸ker." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "common law" -msgstr "sedvanerett" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"There was no <emphasis>positive</emphasis> law, but that didn't mean that " -"there was no law. The Anglo-American legal tradition looks to both the words " -"of legislatures and the words of judges to know the rules that are to govern " -"how people are to behave. We call the words from legislatures " -"<quote>positive law.</quote> We call the words from judges <quote>common law." -"</quote> The common law sets the background against which legislatures " -"legislate; the legislature, ordinarily, can trump that background only if it " -"passes a law to displace it. And so the real question after the licensing " -"statutes had expired was whether the common law protected a copyright, " -"independent of any positive law." -msgstr "" -"At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " -"det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de " -"til lover skapt av politikere (det lovgivende statsorgen)og til lover " -"(prejudikater) skapt av domstolene for Ã¥ bestemme hvordan folket skal leve. " -"Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " -"dommerne sedvanerett.<quote>Common law</quote> angir bakgrunnen for de " -"lovgivendes lovgivning; retten til lovgiving, vanligvis kan trumfe at " -"bakgrunnen bare hvis det gÃ¥r gjennom en lov til Ã¥ forskyve den. Og sÃ¥ var " -"det virkelige spÃ¸rsmÃ¥let etter lisensiering lover hadde utlÃ¸pt om felles lov " -"beskyttet opphavsretten, uavhengig av lovverket positiv." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Scottish publishers" -msgstr "Skotske utgivere" - -#. PAGE BREAK 98 -#. type: Content of: <book><part><chapter><para> -msgid "" -"This question was important to the publishers, or <quote>booksellers,</" -"quote> as they were called, because there was growing competition from " -"foreign publishers. The Scottish, in particular, were increasingly " -"publishing and exporting books to England. That competition reduced the " -"profits of the Conger, which reacted by demanding that Parliament pass a law " -"to again give them exclusive control over publishing. That demand ultimately " -"resulted in the Statute of Anne." -msgstr "" -"Dette spÃ¸rsmÃ¥let var viktig for utgiverne eller <quote>bokselgere</quote>, " -"som de ble kalt, fordi det var Ã¸kende konkurranse fra utenlandske utgivere, " -"SÃ¦rlig fra Skottland hvor publiseringen og eksporten av bÃ¸ker til England " -"hadde Ã¸kt veldig. Denne konkurransen reduserte fortjenesten til <quote>The " -"Conger</quote>, som derfor krevde at parlamentet igjen skulle vedta en lov " -"for Ã¥ gi dem eksklusiv kontroll over publisering. Dette kravet resulterte i " -"<quote>Statute of Anne</quote>." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "as narrow monopoly right" -msgstr "som smal monopolrett" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Statute of Anne granted the author or <quote>proprietor</quote> of a " -"book an exclusive right to print that book. In an important limitation, " -"however, and to the horror of the booksellers, the law gave the bookseller " -"that right for a limited term. At the end of that term, the copyright " -"<quote>expired,</quote> and the work would then be free and could be " -"published by anyone. Or so the legislature is thought to have believed." -msgstr "" -"<quote>Statute of Anne</quote> ga forfatteren eller <quote>eieren</quote> av " -"en bok en eksklusiv rett til Ã¥ publisere denne boken. Men det var, til " -"bokhandlernes forferdelse en viktig begrensning, nemlig hvor lenge denne " -"retten skulle vare. Etter dette gikk trykkeretten bort og verket falt i det " -"fri og kunne trykkes av hvem som helst. Det var ihvertfall det lovgiverne " -"hadde tenkt." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Now, the thing to puzzle about for a moment is this: Why would Parliament " -"limit the exclusive right? Not why would they limit it to the particular " -"limit they set, but why would they limit the right <emphasis>at all?</" -"emphasis>" -msgstr "" -"Men nÃ¥ det mest interessante med dette: Hvorfor ville parlamentet begrense " -"trykkeretten? SpÃ¸rsmÃ¥let er ikke hvorfor de bestemte seg for denne perioden, " -"men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For the booksellers, and the authors whom they represented, had a very " -"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " -"That play was written by Shakespeare. It was his genius that brought it into " -"the world. He didn't take anybody's property when he created this play " -"(that's a controversial claim, but never mind), and by his creating this " -"play, he didn't make it any harder for others to craft a play. So why is it " -"that the law would ever allow someone else to come along and take " -"Shakespeare's play without his, or his estate's, permission? What reason is " -"there to allow someone else to <quote>steal</quote> Shakespeare's work?" -msgstr "" -"Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " -"krav. Ta <citetitle>Romeo og Julie</citetitle> som et eksempel: Skuespillet " -"ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " -"verden. Han krenket ikke noens rett da han skrev dette verket (det er en " -"kontroversiell pÃ¥standen, men det er ikke relevant), og med sin egen rett " -"skapte han verket, han gjorde det ikke noe vanskeligere for andre til Ã¥ lage " -"skuespill. SÃ¥ hvorfor skulle loven tillate at noen annen kunne komme og ta " -"Shakespeares verk uten hans, eller hans arvingers, tillatelse? Hvilke " -"grunner finnes for Ã¥ tillate at noen <quote>stjeler</quote> Shakespeares " -"verk?" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The answer comes in two parts. We first need to see something special about " -"the notion of <quote>copyright</quote> that existed at the time of the " -"Statute of Anne. Second, we have to see something important about " -"<quote>booksellers.</quote>" -msgstr "" -"Svaret er todel. FÃ¸rst mÃ¥ vi se pÃ¥ noe spesielt med oppfatningen av " -"opphavsrett som fantes pÃ¥ tidspunktet da <quote>Statute of Anne</quote> ble " -"vedtatt. Deretter mÃ¥ vi se pÃ¥ noe spesielt med bokhandlerne." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "usage restrictions attached to" -msgstr "bruksbegrensninger knyttet til" - -#. PAGE BREAK 99 -#. type: Content of: <book><part><chapter><para> -msgid "" -"First, about copyright. In the last three hundred years, we have come to " -"apply the concept of <quote>copyright</quote> ever more broadly. But in " -"1710, it wasn't so much a concept as it was a very particular right. The " -"copyright was born as a very specific set of restrictions: It forbade others " -"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right " -"to use a particular machine to replicate a particular work. It did not go " -"beyond that very narrow right. It did not control any more generally how a " -"work could be <emphasis>used</emphasis>. Today the right includes a large " -"collection of restrictions on the freedom of others: It grants the author " -"the exclusive right to copy, the exclusive right to distribute, the " -"exclusive right to perform, and so on." -msgstr "" -"FÃ¸rst om opphavsretten. I de siste tre hundre Ã¥r har vi kommet til Ã¥ bruke " -"begrepet <quote>copyright</quote> i stadig videre forstand. Men i 1710 var " -"det ikke sÃ¥ mye et konsept som det var en bestemt rett. Opphavsretten ble " -"fÃ¸dt som et svÃ¦rt spesifikt sett med begrensninger: den forbÃ¸d andre Ã¥ " -"reprodusere en bok. I 1710 var <quote>kopi-rett</quote> en rett til Ã¥ bruke " -"en bestemt maskin til Ã¥ replikere en bestemt arbeid. Den gikk ikke utover " -"dette svÃ¦rt smale formÃ¥let. Den kontrollerte ikke mer generelt hvordan et " -"verk kunne <emphasis>brukes</emphasis>. Idag inkluderer retten en stor " -"samling av restriksjoner pÃ¥ andres frihet: den gir forfatteren eksklusiv " -"rett til Ã¥ kopiere, eksklusiv rett til Ã¥ distribuere, eksklusiv rett til Ã¥ " -"fremfÃ¸re, og sÃ¥ videre." - -#. type: Content of: <book><part><chapter><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 " -"<quote>copy-right</quote> was only an exclusive right to print—no " -"less, of course, but also no more." -msgstr "" -"SÃ¥ selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, " -"betydde det under den opprinnelige betydningen av begrepet at ingen kunne " -"trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den " -"ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne " -"fremfÃ¸res, om verket kunne oversettes eller om Kenneth Branagh ville hatt " -"lov til Ã¥ lage filmer. <quote>Kopi-retten</quote> var bare en eksklusiv rett " -"til Ã¥ trykke--ikke noe mindre, selvfÃ¸lgelig, men heller ikke mer." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Henry VIII, King of England" -msgstr "Henry VIII, Konge av England" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "monopoly, copyright as" -msgstr "monopol, opphavsrett som" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Statute of Monopolies (1656)" -msgstr "Statute of Monopolis (1656)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Even that limited right was viewed with skepticism by the British. They had " -"had a long and ugly experience with <quote>exclusive rights,</quote> " -"especially <quote>exclusive rights</quote> granted by the Crown. The English " -"had fought a civil war in part about the Crown's practice of handing out " -"monopolies—especially monopolies for works that already existed. King " -"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to " -"print playing cards. The English Parliament began to fight back against this " -"power of the Crown. In 1656, it passed the Statute of Monopolies, limiting " -"monopolies to patents for new inventions. And by 1710, Parliament was eager " -"to deal with the growing monopoly in publishing." -msgstr "" -"Selv denne begrensede retten ble mÃ¸tt med skepsis av britene. De hadde hatt " -"en lang og stygg erfaring med <quote>eksklusive rettigheter</quote>, " -"spesielt <quote>enerett</quote> gitt av kronen. Engelskmennene hadde " -"utkjempet en borgerkrig delvis mot kronens praksis med Ã¥ dele ut monopoler--" -"spesielt monopoler for verk som allerede eksisterte. Kong Henrik VIII hadde " -"gitt patent til Ã¥ trykke Bibelen og monopol til Darcy for Ã¥ lage spillkort. " -"Det engelske parlamentet begynte Ã¥ kjempe tilbake mot denne makten hos " -"kronen. I 1656 ble <quote>Statute of Monopolis</quote> vedtatt for Ã¥ " -"begrense monopolene pÃ¥ patenter for nye oppfinnelser. Og i 1710 var " -"parlamentet ivrig etter Ã¥ hÃ¥ndtere det voksende monopolet pÃ¥ publisering." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was " -"naturally viewed as a right that should be limited. (However convincing the " -"claim that <quote>it's my property, and I should have it forever,</quote> " -"try sounding convincing when uttering, <quote>It's my monopoly, and I should " -"have it forever.</quote>) The state would protect the exclusive right, but " -"only so long as it benefited society. The British saw the harms from " -"specialinterest favors; they passed a law to stop them." -msgstr "" -"Dermed ble <quote>kopi-retten</quote>, nÃ¥r den sees pÃ¥ som en monopolrett, " -"en rettighet som bÃ¸r vÃ¦re begrenset. (Uansett hvor overbevisende pÃ¥standen " -"om at <quote>det er min eiendom, og jeg skal ha for alltid,</quote> prÃ¸v " -"hvor overbevisende det er nÃ¥r men sier <quote>det er mitt monopol, og jeg " -"skal ha det for alltid.</quote>) Staten ville beskytte eneretten, men bare " -"sÃ¥ lenge det gavnet samfunnet. Britene sÃ¥ skadene sÃ¦rinteressene kunne " -"skape; de vedtok en lov for Ã¥ stoppe dem." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Milton, John" -msgstr "Milton, John" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "booksellers, English" -msgstr "bokselgere, Engelske" - -#. f4 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " -"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." -msgstr "" -"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " -"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Second, about booksellers. It wasn't just that the copyright was a monopoly. " -"It was also that it was a monopoly held by the booksellers. Booksellers " -"sound quaint and harmless to us. They were not viewed as harmless in " -"seventeenth-century England. Members of the Conger were increasingly seen as " -"monopolists of the worst kind—tools of the Crown's repression, selling " -"the liberty of England to guarantee themselves a monopoly profit. The " -"attacks against these monopolists were harsh: Milton described them as " -"<quote>old patentees and monopolizers in the trade of book-selling</quote>; " -"they were <quote>men who do not therefore labour in an honest profession to " -"which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. " -"Det var ogsÃ¥ et monopol holdt av bokhandlerne. En bokhandler hÃ¸res greie og " -"ufarlige ut for oss, men slik var det ikke i syttenhundretallets England. " -"Medlemmene i <quote>the Conger</quote> ble av en voksende mengde sett pÃ¥ som " -"monopolister av verste sort - et verktÃ¸y for kronens undertrykkelse, de " -"solgte Englands frihet mot Ã¥ vÃ¦re garantert en monopolskinntekt. Men " -"monopolistene ble kvast kritisert: Milton beskrev dem som <quote>gamle " -"patentholdere og monopolister i bokhandlerkunsten</quote>; de var " -"<quote>menn som derfor ikke hadde et Ã¦rlig arbeide hvor utdanning er " -"nÃ¸dvendig.</quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Enlightenment" -msgstr "opplysningstiden" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "knowledge, freedom of" -msgstr "kunnskap, frihet for" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Many believed the power the booksellers exercised over the spread of " -"knowledge was harming that spread, just at the time the Enlightenment was " -"teaching the importance of education and knowledge spread generally. The " -"idea that knowledge should be free was a hallmark of the time, and these " -"powerful commercial interests were interfering with that idea." -msgstr "" -"Mange trodde at den makten bokhandlerne utÃ¸vde over spredning av kunnskap, " -"var til skade for selve spredningen, men pÃ¥ dette tidspunktet viste " -"Opplysningen viktigheten av utdannelse og kunnskap for alle. idÃ©en om at " -"kunnskap burde vÃ¦re gratis er et kjennetegn for tiden, og disse kraftige " -"kommersielle interesser forstyrret denne idÃ©en." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"To balance this power, Parliament decided to increase competition among " -"booksellers, and the simplest way to do that was to spread the wealth of " -"valuable books. Parliament therefore limited the term of copyrights, and " -"thereby guaranteed that valuable books would become open to any publisher to " -"publish after a limited time. Thus the setting of the term for existing " -"works to just twenty-one years was a compromise to fight the power of the " -"booksellers. The limitation on terms was an indirect way to assure " -"competition among publishers, and thus the construction and spread of " -"culture." -msgstr "" -"For Ã¥ balansere denne makten, besluttet Parlamentet Ã¥ Ã¸ke konkurransen blant " -"bokhandlerne, og den enkleste mÃ¥ten Ã¥ gjÃ¸re det pÃ¥, var Ã¥ spre mengden av " -"verdifulle bÃ¸ker. Parlamentet begrenset derfor begrepet om opphavsrett, og " -"garantert slik at verdifulle bÃ¸ker ville bli frie for alle utgiver Ã¥ " -"publisere etter en begrenset periode. Slik ble det Ã¥ gi eksisterende verk en " -"periode pÃ¥ tjueen Ã¥r et kompromiss for Ã¥ bekjempe bokhandlernes makt. " -"Begrensninger med dato var en indirekte mÃ¥te Ã¥ skape konkurranse mellom " -"utgivere, og slik en skapelse og spredning av kultur." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in perpetuity" -msgstr "for evig" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"When 1731 (1710 + 21) came along, however, the booksellers were getting " -"anxious. They saw the consequences of more competition, and like every " -"competitor, they didn't like them. At first booksellers simply ignored the " -"Statute of Anne, continuing to insist on the perpetual right to control " -"publication. But in 1735 and 1737, they tried to persuade Parliament to " -"extend their terms. Twenty-one years was not enough, they said; they needed " -"more time." -msgstr "" -"NÃ¥r 1731 (1710+21) kom, ble bokhandlerne engstelige. De sÃ¥ konsekvensene av " -"mer konkurranse, og som alle konkurrenter, likte de det ikke. FÃ¸rst " -"ignorerte bokhandlere ganske enkelt <quote>Statute of Anne</quote>, og " -"fortsatte Ã¥ kreve en evigvarende rett til Ã¥ kontrollere publiseringen. Men i " -"1735 og 1737 de prÃ¸vde Ã¥ tvinge Parlamentet til Ã¥ utvide periodene. Tjueen " -"Ã¥r var ikke nok, sa de; de trengte mer tid." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Parliament rejected their requests. As one pamphleteer put it, in words that " -"echo today," -msgstr "" -"Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennÃ¥ " -"idag," - -#. f5 -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -msgid "" -"A Letter to a Member of Parliament concerning the Bill now depending in the " -"House of Commons, for making more effectual an Act in the Eighth Year of the " -"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " -"Vesting the Copies of Printed Books in the Authors or Purchasers of such " -"Copies, during the Times therein mentioned (London, 1735), in Brief Amici " -"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " -"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." -msgstr "" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"I see no Reason for granting a further Term now, which will not hold as well " -"for granting it again and again, as often as the Old ones Expire; so that " -"should this Bill pass, it will in Effect be establishing a perpetual " -"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " -"great Cramp to Trade, a Discouragement to Learning, no Benefit to the " -"Authors, but a general Tax on the Publick; and all this only to increase the " -"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Jeg ser ingen grunn til Ã¥ gi en utvidet perioden nÃ¥ som ikke ville kunne gi " -"utvidelser om igjen og om igjen, sÃ¥ fort de gamle utgÃ¥r; sÃ¥ dersom dette " -"lovforslaget blir vedtatt, vil effekten vÃ¦re: at et evig monopol blir skapt, " -"et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for " -"forfatterne, men en stor avgift for folket; og alt dette kun for Ã¥ Ã¸ke " -"bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>property</quote> and " -"use it without his permission. The Statute of Anne, the booksellers argued, " -"didn't change that. Therefore, just because the protections of the Statute " -"of Anne expired, that didn't mean the protections of the common law expired: " -"Under the common law they had the right to ban the publication of a book, " -"even if its Statute of Anne copyright had expired. This, they argued, was " -"the only way to protect authors." -msgstr "" -"Etter Ã¥ ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke " -"saker. Deres argument var enkelt og direkte: <quote>Statute of Anne</quote> " -"ga forfatterne en viss beskyttelse gjennom positiv loven, men denne " -"beskyttelsen var ikke ment som en erstatning for felles lov. Istedet var de " -"ment Ã¥ supplere felles lov. IfÃ¸lge sedvanerett var det galt Ã¥ ta en annen " -"persons kreative eiendom og bruke den uten hans tillatelse. <quote>Statute " -"of Anne</quote>, hevdet bokhandlere, endret ikke dette faktum. Derfor " -"betydde ikke det at beskyttelsen gitt av <quote>Statute of Anne</quote> " -"utlÃ¸p, at beskyttelsen fra sedvaneretten utlÃ¸p: IfÃ¸lge sedvaneretten hadde " -"de rett til Ã¥ fordÃ¸mme publiseringen av en bok, selv fÃ¸lgelig om " -"<quote>Statute of Anne</quote> sa at de var falt i det fri. Dette, mente de, " -"var den eneste mÃ¥ten Ã¥ beskytte forfatterne." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Patterson, Raymond" -msgstr "Patterson, Raymond" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use," -"</quote> <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " -"wonderfully compelling account, see Vaidhyanathan, 37–48." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use</" -"quote>, <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " -"fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48." - -#. type: Content of: <book><part><chapter><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, <quote>The publishers " -"… had as much concern for authors as a cattle rancher has for cattle." -"</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care " -"squat for the rights of the author. His concern was the monopoly profit " -"that the author's work gave." -msgstr "" -"Dette var et godt argument, og hadde stÃ¸tte fra flere av den tidens ledende " -"jurister. Det viste ogsÃ¥ en ekstraordinÃ¦r chutzpah. Inntil da, som " -"jusprofessor Raymond Pattetson har sagt, <quote>var utgiverne … like " -"bekymret for forfatterne som en gjeter for sine lam.</quote><placeholder " -"type=\"footnote\" id=\"0\"/> Bokselgerne brydde seg ikke det spor om " -"forfatternes rettigheter. Deres bekymring var den monopolprofitten " -"forfatterens verk ga." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Donaldson, Alexander" -msgstr "Donaldson, Alexander" - -#. f7 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For a compelling account, see David Saunders, <citetitle>Authorship and " -"Copyright</citetitle> (London: Routledge, 1992), 62–69." -msgstr "" -"For en fascinerende fremstilling, se David Saunders, <citetitle>Authorship " -"and Copyright</citetitle> (London: Routledge, 1992), 62–69." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The booksellers' argument was not accepted without a fight. The hero of " -"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " -"type=\"footnote\" id=\"0\"/>" -msgstr "" -"Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne " -"kampen var den skotske bokselgeren Alexander Donaldson.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Boswell, James" -msgstr "Boswell, James" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Erskine, Andrew" -msgstr "Erskine, Andrew" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Rose, Mark" -msgstr "Rose, Mark" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " -"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " -"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. f9 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Ibid., 93." -msgstr "Ibid., 93." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Donaldson was an outsider to the London Conger. He began his career in " -"Edinburgh in 1750. The focus of his business was inexpensive reprints " -"<quote>of standard works whose copyright term had expired,</quote> at least " -"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> " -"Donaldson's publishing house prospered and became <quote>something of a " -"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor " -"Mark Rose writes, was <quote>the young James Boswell who, together with his " -"friend Andrew Erskine, published an anthology of contemporary Scottish poems " -"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" -"Donaldson var en fremmed for Londons <quote>the Conger</quote>. Han startet " -"in karriere i Edinburgh i 1750. Hans forretningsidÃ© var billige kopier av " -"standardverk falt i det fri, ihvertfall fri ifÃ¸lge <quote>Statute of Anne</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/> Donaldsons forlag vokste og " -"ble <quote>et sentrum for litterÃ¦re skotter.</quote> <quote>Blant dem,</" -"quote> skriver professor Mark Rose, var <quote>den unge James Boswell som, " -"sammen med sin venn Andrew Erskine, publiserte en hel antologi av skotsk " -"samtidspoesi sammen med Donaldson.</quote><placeholder type=\"footnote\" id=" -"\"1\"/>" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " -"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting " -"Borwell)." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " -"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (der Borwell " -"blir sitert)." - -#. type: Content of: <book><part><chapter><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 <quote>of the most popular English books, in defiance of the " -"supposed common law right of Literary Property.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to 50 " -"percent, and he rested his right to compete upon the ground that, under the " -"Statute of Anne, the works he was selling had passed out of protection." -msgstr "" -"Da Londons bokselgere prÃ¸vde Ã¥ fÃ¥ stengt Donaldsons butikk i Skottland, sÃ¥ " -"flyttet han butikken til London. Her solgte han billige utgaver av <quote>de " -"mest populÃ¦re, engelske bÃ¸ker, i kamp mot sedvanerettens rett til litterÃ¦r " -"eiendom.</quote> <placeholder type=\"footnote\" id=\"0\"/> BÃ¸kene hans var " -"mellom 30% og 50% billigere enn <quote>the Conger</quote>s, og han baserte " -"sin rett til denne konkurransen pÃ¥ at bÃ¸kene, takket vÃ¦re <quote>Statute of " -"Anne</quote>, var falt i det fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Millar v. Taylor" -msgstr "Millar mot taylor" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The London booksellers quickly brought suit to block <quote>piracy</quote> " -"like Donaldson's. A number of actions were successful against the " -"<quote>pirates,</quote> the most important early victory being " -"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>." -msgstr "" -"Londons bokselgere begynte straks Ã¥ slÃ¥ ned mot <quote>pirater</quote> som " -"Donaldson. Flere tiltak var vellykkede, den viktigste var den tidlig seieren " -"i kampen mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</" -"citetitle>." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Thomson, James" -msgstr "Thomson, James" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Seasons, The (Thomson)" -msgstr "Seasons, The (Thomson)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Taylor, Robert" -msgstr "Taylor, Robert" - -#. f11 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law " -"Review</citetitle> 29 (1983): 1152." -msgstr "" -"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright</quote>, <citetitle>Wayne Law " -"Review</citetitle> 29 (1983): 1152." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Millar was a bookseller who in 1729 had purchased the rights to James " -"Thomson's poem <quote>The Seasons.</quote> Millar complied with the " -"requirements of the Statute of Anne, and therefore received the full " -"protection of the statute. After the term of copyright ended, Robert Taylor " -"began printing a competing volume. Millar sued, claiming a perpetual common " -"law right, the Statute of Anne notwithstanding.<placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"Millar var en bokhandler som i 1729 hadde kjÃ¸pt opp rettighetene til James " -"Thomsons dikt <quote>The Seasons</quote>. Millar hadde da full beskyttelse " -"gjennom <quote>Statute of Anne</quote>, men etter at denne beskyttelsen var " -"utlÃ¸pt, begynte Robert Taylor Ã¥ trykke et konkurrerende bind. Millar gikk " -"til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva " -"<quote>Statute of Anne</quote> sa.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>pirates.</quote> Mansfield's answer was " -"yes: The common law would bar Taylor from reprinting Thomson's poem without " -"Millar's permission. That common law rule thus effectively gave the " -"booksellers a perpetual right to control the publication of any book " -"assigned to them." -msgstr "" -"Til moderne juristers forblÃ¸ffelse, var en av, ikke bare datidens, men en av " -"de stÃ¸rste dommere i engelsk historie, Lord Mansfield, enig med " -"bokhandlerne. Uansett hvilken beskyttelse <quote>Statute of Anne</quote> gav " -"bokhandlerne, sÃ¥ sa han at den ikke fortrengte noe fra sedvaneretten. " -"SpÃ¸rsmÃ¥let var hvorvidt sedvaneretten beskyttet forfatterne mot " -"<quote>pirater</quote>. Mansfield svar var ja: Sedvaneretten nektet Taylor Ã¥ " -"reprodusere Thomsons dikt uten Millars tillatelse. Slik gav sedvaneretten " -"bokselgerne en evig publiseringsrett til bÃ¸ker solgt til dem." - -#. PAGE BREAK 103 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Considered as a matter of abstract justice—reasoning as if justice " -"were just a matter of logical deduction from first principles—" -"Mansfield's conclusion might make some sense. But what it ignored was the " -"larger issue that Parliament had struggled with in 1710: How best to limit " -"the monopoly power of publishers? Parliament's strategy was to offer a term " -"for existing works that was long enough to buy peace in 1710, but short " -"enough to assure that culture would pass into competition within a " -"reasonable period of time. Within twenty-one years, Parliament believed, " -"Britain would mature from the controlled culture that the Crown coveted to " -"the free culture that we inherited." -msgstr "" -"Ser man pÃ¥ det som et spÃ¸rsmÃ¥l innen abstrakt jus - dersom man resonnere som " -"om rettferdighet bare var logisk deduksjon fra de fÃ¸rste bud - kunne " -"Mansfields konklusjon gitt mening. Men den oversÃ¥ det Parlamentet hadde " -"kjempet for i 1710: Hvordan man pÃ¥ best mulig vis kunne innskrenke " -"utgivernes monopolmakt. Parlamentets strategi hadde vÃ¦rt Ã¥ kjÃ¸pe fred " -"gjennom Ã¥ tilby en beskyttelsesperiode ogsÃ¥ for eksisterende verk, men " -"perioden mÃ¥tte vÃ¦re sÃ¥ kort at kulturen ble utsatt for konkurranse innen " -"rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under " -"kronen, inn i en fri og Ã¥pen kultur." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The fight to defend the limits of the Statute of Anne was not to end there, " -"however, and it is here that Donaldson enters the mix." -msgstr "" -"Kampen for Ã¥ forsvare <quote>Statute of Anne</quote>s begrensninger sluttet " -"uansett ikke der, for nÃ¥ kommer Donaldson." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Beckett, Thomas" -msgstr "Beckett, Thomas" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "House of Lords" -msgstr "Overhuset, det britiske" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "House of Lords vs." -msgstr "Overhuset, det britiske mot" - -#. f12 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Ibid., 1156." -msgstr "Ibid., 1156." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Millar died soon after his victory, so his case was not appealed. His estate " -"sold Thomson's poems to a syndicate of printers that included Thomas Beckett." -"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " -"unauthorized edition of Thomson's works. Beckett, on the strength of the " -"decision in <citetitle>Millar</citetitle>, got an injunction against " -"Donaldson. Donaldson appealed the case to the House of Lords, which " -"functioned much like our own Supreme Court. In February of 1774, that body " -"had the chance to interpret the meaning of Parliament's limits from sixty " -"years before." -msgstr "" -"Millar dÃ¸de kort tid etter sin seier. Boet hans solgte rettighetene over " -"Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." -"<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " -"utgave av Thomsons verk. Etter avgjÃ¸relsen i <citetitle>Millar</citetitle>-" -"saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " -"Overhuset, som da fungerte som en slags hÃ¸yesterett. I februar 1774 hadde " -"dette organet muligheten til Ã¥ tolke Parlamentets mening med utlÃ¸psdatoen " -"fra seksti Ã¥r fÃ¸r." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Donaldson v. Beckett" -msgstr "Donaldson mot beckett" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " -"<citetitle>Beckett</citetitle> drew an enormous amount of attention " -"throughout Britain. Donaldson's lawyers argued that whatever rights may have " -"existed under the common law, the Statute of Anne terminated those rights. " -"After passage of the Statute of Anne, the only legal protection for an " -"exclusive right to control publication came from that statute. Thus, they " -"argued, after the term specified in the Statute of Anne expired, works that " -"had been protected by the statute were no longer protected." -msgstr "" -"Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" -"citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " -"advokater mente at selv om det fÃ¸r fantes en del rettigheter i " -"sedvaneretten, sÃ¥ var disse fortrengt av <quote>Statute of Anne</quote>. " -"Etter at <quote>Statute of Anne</quote> var blitt vedtatt, skulle den eneste " -"lovlige beskyttelse for trykkerett kom derfra. Og derfor, mente de, i trÃ¥d " -"med vilkÃ¥rene i <quote>Statute of Anne</quote>, falle i det fri sÃ¥ fort " -"beskyttelsesperioden var over." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The House of Lords was an odd institution. Legal questions were presented to " -"the House and voted upon first by the <quote>law lords,</quote> members of " -"special legal distinction who functioned much like the Justices in our " -"Supreme Court. Then, after the law lords voted, the House of Lords generally " -"voted." -msgstr "" -"Overhuset var en merkelig institusjon. Juridiske spÃ¸rsmÃ¥l ble presentert for " -"huset, og ble fÃ¸rst stemt over av <quote>juslorder</quote>, medlemmer av en " -"spesiell rettslig gruppe som fungerte nesten slik som justiariusene i vÃ¥r " -"HÃ¸yesterett. Deretter, etter at <quote>juslordene</quote> hadde stemt, " -"stemte resten av Overhuset." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "English legal establishment of" -msgstr "den engelske juridiske etableringen av" - -#. PAGE BREAK 104 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The reports about the law lords' votes are mixed. On some counts, it looks " -"as if perpetual copyright prevailed. But there is no ambiguity about how the " -"House of Lords voted as whole. By a two-to-one majority (22 to 11) they " -"voted to reject the idea of perpetual copyrights. Whatever one's " -"understanding of the common law, now a copyright was fixed for a limited " -"time, after which the work protected by copyright passed into the public " -"domain." -msgstr "" -"Rapportene om juslordene stemmer er uenige. PÃ¥ enkelte punkter ser det ut " -"som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om " -"hvordan resten av Overhuset stemte. Med en majoritet pÃ¥ to mot en (22 mot " -"11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man " -"hadde tolket sedvaneretten, var nÃ¥ kopiretten begrenset til en periode, og " -"etter denne ville verket falle i det fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Bacon, Francis" -msgstr "Bacon, Francis" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Bunyan, John" -msgstr "Bunyan, John" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Johnson, Samuel" -msgstr "Johnson, Samuel" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</" -"citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a " -"public domain in England. Before 1774, there was a strong argument that " -"common law copyrights were perpetual. After 1774, the public domain was " -"born. For the first time in Anglo-American history, the legal control over " -"creative works expired, and the greatest works in English history—" -"including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—" -"were free of legal restraint." -msgstr "" -"<quote>Ã falle i det fri</quote>. FÃ¸r rettssaken <citetitle>Donaldson</" -"citetitle> mot <citetitle>Beckett</citetitle> var det ingen klar oppfatning " -"om hva Ã¥ falle i det fri innebar. FÃ¸r 1774 var det jo en allmenn oppfatning " -"om at kopiretten var evigvarende. Men etter 1774 ble Public Domain fÃ¸dt. For " -"fÃ¸rste gang i angloamerikansk historie var den lovlige beskyttelsen av et " -"verk utgÃ¥tt, og de stÃ¸rste verk i engelsk historie - inkludert Shakespeare, " -"Bacon, Milton, Johnson og Bunyan - var frie." - -#. f13 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "Rose, 97." -msgstr "Rose, 97." - -#. type: Content of: <book><part><chapter><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 <quote>pirate publishers</quote> did their work, people celebrated " -"the decision in the streets. As the <citetitle>Edinburgh Advertiser</" -"citetitle> reported, <quote>No private cause has so much engrossed the " -"attention of the public, and none has been tried before the House of Lords " -"in the decision of which so many individuals were interested.</quote> " -"<quote>Great rejoicing in Edinburgh upon victory over literary property: " -"bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Vi kan knapt forestille oss det, men denne avgjÃ¸relsen fra Overhuset fyrte " -"opp under en svÃ¦rt populÃ¦r og politisk reaksjon. I Skottland, hvor de fleste " -"piratutgiverne hadde holdt til, ble avgjÃ¸relsen feiret i gatene. Som " -"<citetitle>Edinburgh Advertiser</citetitle> skrev <quote>Ingen privatsak har " -"noen gang fÃ¥tt slik oppmerksomhet fra folket, og ingen sak som har blitt " -"prÃ¸vet i Overhuset har interessert sÃ¥ mange enkeltmennesker.</quote> " -"<quote>Stor glede i Edinburgh etter seieren over litterÃ¦r eiendom: bÃ¥l og " -"*illuminations*.</quote><placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In London, however, at least among publishers, the reaction was equally " -"strong in the opposite direction. The <citetitle>Morning Chronicle</" -"citetitle> reported:" -msgstr "" -"I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " -"motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"By the above decision … near 200,000 pounds worth of what was " -"honestly purchased at public sale, and which was yesterday thought property " -"is now reduced to nothing. The Booksellers of London and Westminster, many " -"of whom sold estates and houses to purchase Copy-right, are in a manner " -"ruined, and those who after many years industry thought they had acquired a " -"competency to provide for their families now find themselves without a " -"shilling to devise to their successors.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Gjennom denne avgjÃ¸relsen … er verdier til nesten 200 000 pund, som " -"er blitt Ã¦rlig kjÃ¸pt gjennom allment salg, og som i gÃ¥r var eiendom, er nÃ¥ " -"redusert til ingenting. Bokselgerne i London og Westminster, mange av dem " -"har solgt hus og eiendom for Ã¥ kjÃ¸pe kopirettigheter, er med ett ruinerte, " -"og mange som gjennom mange Ã¥r har opparbeidet kompetanse for Ã¥ brÃ¸dfÃ¸ " -"familien, sitter nÃ¥ uten en shilling til sine.<placeholder type=\"footnote\" " -"id=\"0\"/>" - -#. PAGE BREAK 105 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Ruined</quote> is a bit of an exaggeration. But it is not an " -"exaggeration to say that the change was profound. The decision of the House " -"of Lords meant that the booksellers could no longer control how culture in " -"England would grow and develop. Culture in England was thereafter " -"<emphasis>free</emphasis>. Not in the sense that copyrights would not be " -"respected, for of course, for a limited time after a work was published, the " -"bookseller had an exclusive right to control the publication of that book. " -"And not in the sense that books could be stolen, for even after a copyright " -"expired, you still had to buy the book from someone. But <emphasis>free</" -"emphasis> in the sense that the culture and its growth would no longer be " -"controlled by a small group of publishers. As every free market does, this " -"free market of free culture would grow as the consumers and producers chose. " -"English culture would develop as the many English readers chose to let it " -"develop— chose in the books they bought and wrote; chose in the memes " -"they repeated and endorsed. Chose in a <emphasis>competitive context</" -"emphasis>, not a context in which the choices about what culture is " -"available to people and how they get access to it are made by the few " -"despite the wishes of the many." -msgstr "" -"<quote>Ruinert</quote> er en overdrivelse. Men det er ingen overdrivelse Ã¥ " -"si at endringen var stor. Vedtaket fra Overhuset betydde at bokhandlerne " -"ikke lenger kunnen kontrollere hvordan kulturen i England ville vokse og " -"utvikle seg. Kulturen i England var etter dette <emphasis>fri</emphasis>. " -"Ikke i den betydning at kopiretten ble ignorert, for utgiverne hadde i en " -"begrenset periode rett over trykkingen. Og heller ikke i den betydningen at " -"bÃ¸ker kunne stjeles, for selv etter at boken var falt i det fri, sÃ¥ mÃ¥tte " -"den kjÃ¸pes. Men <emphasis>fri</emphasis> i betydningen at kulturen og dens " -"vekst ikke lenger var kontrollert av en liten gruppe utgivere. Som alle frie " -"markeder, ville dette markedet vokse og utvikle seg etter tilbud og " -"etterspÃ¸rsel. Den engelske kulturen ble nÃ¥ formet slik flertallet Englands " -"lesere ville at det skulle formes - gjennom valget av hva de kjÃ¸pte og " -"skrev, gjennom valget av memer de gjentok og beundret. Valg i en " -"<emphasis>konkurrerende sammenheng</emphasis>, ikke der hvor valgene var om " -"hvilken kultur som skulle vÃ¦re tilgjengelig for folket og hvor deres tilgang " -"til den ble styrt av noen fÃ¥, pÃ¥ tros av flertallets Ã¸nsker." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"At least, this was the rule in a world where the Parliament is antimonopoly, " -"resistant to the protectionist pleas of publishers. In a world where the " -"Parliament is more pliant, free culture would be less protected." -msgstr "" -"Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " -"holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett Ã¥ " -"pÃ¥virke, vil den frie kultur vÃ¦re mindre beskyttet." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER SEVEN: Recorders" -msgstr "Kapittel sju: Innspillerne" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "fair use and" -msgstr "rimelig bruk og" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "documentary film" -msgstr "dokumentarfilm" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Else, Jon" -msgstr "Else, Jon" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "fair use" -msgstr "rimelig bruk" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in documentary film" -msgstr "i dokumentarfilm" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "fair use of copyrighted material in" -msgstr "rimelig bruk av opphavsrettsbeskyttet materiale i" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best known " -"for his documentaries and has been very successful in spreading his art. He " -"is also a teacher, and as a teacher myself, I envy the loyalty and " -"admiration that his students feel for him. (I met, by accident, two of his " -"students at a dinner party. He was their god.)" -msgstr "" -"<emphasis role='strong'>Jon Else</emphasis> er en filmskaper. Han er mest " -"kjent for sine dokumentarer og har pÃ¥ ypperlig vis klart Ã¥ spre sin kunst. " -"Han er ogsÃ¥ en lÃ¦rer, som meg selv, og jeg misunner den lojaliteten og " -"beundringen hans studenter har for ham. (Ved et uhell mÃ¸tte jeg to av hans " -"studenter i et middagsselskap og han var deres Gud.)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Else worked on a documentary that I was involved in. At a break, he told me " -"a story about the freedom to create with film in America today." -msgstr "" -"Else arbeidet med en dokumentarfilm hvor ogsÃ¥ jeg var involvert. I en pause " -"sÃ¥ fortalte han meg om hvordan det kunne vÃ¦re Ã¥ skape film i dagens Amerika." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Wagner, Richard" -msgstr "Wagner, Richard" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "San Francisco Opera" -msgstr "San Francisco Opera" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " -"focus was stagehands at the San Francisco Opera. Stagehands are a " -"particularly funny and colorful element of an opera. During a show, they " -"hang out below the stage in the grips' lounge and in the lighting loft. They " -"make a perfect contrast to the art on the stage." -msgstr "" -"I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var pÃ¥ " -"scenearbeidere pÃ¥ San Francisco Opera. Scenearbeiderne er spesielt morsomme " -"og fargerike innslag i en opera. I lÃ¸pet av forestillingen oppholder de seg " -"blant publikum og pÃ¥ lysloftet. De er en perfekt kontrast til kunsten pÃ¥ " -"scenen." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Simpsons, The" -msgstr "Simpsons, The" - -#. PAGE BREAK 107 -#. type: Content of: <book><part><chapter><para> -msgid "" -"During one of the performances, Else was shooting some stagehands playing " -"checkers. In one corner of the room was a television set. Playing on the " -"television set, while the stagehands played checkers and the opera company " -"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " -"this touch of cartoon helped capture the flavor of what was special about " -"the scene." -msgstr "" -"Under en forestilling, filmet Else noen scenearbeidere som spilte dam. I et " -"hjÃ¸rne av rommet stod det et fjernsynsapparat. PÃ¥ fjernsynet, mens " -"forestillingen pÃ¥gikk, mens scenearbeiderne spilte dam og operakompaniet " -"spilte Wagner, gikk <citetitle>The Simpsons</citetitle>. Slik Else sÃ¥ det, " -"sÃ¥ hjalp dette tegnefilm-innslaget med Ã¥ fange det spesielle med scenen." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "multiple copyrights associated with" -msgstr "flere opphavsrettigheter knyttet" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Years later, when he finally got funding to complete the film, Else " -"attempted to clear the rights for those few seconds of <citetitle>The " -"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " -"of course, to use copyrighted material you need the permission of the " -"copyright owner, unless <quote>fair use</quote> or some other privilege " -"applies." -msgstr "" -"SÃ¥ noen Ã¥r senere, da han endelig hadde fÃ¥tt ordnet den siste " -"finansieringen, ville Else skaffe rettigheter til Ã¥ bruke disse fÃ¥ sekundene " -"med <citetitle>The Simpson</citetitle>. For disse fÃ¥ sekundene var selvsagt " -"beskyttet av opphavsretten, og for Ã¥ bruke beskyttet materiale mÃ¥ man ha " -"tillatelse fra eieren, dersom det ikke er <quote>rimelig bruk</quote> eller " -"det foreligger spesielle avtaler." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Gracie Films" -msgstr "Gracie Films" - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "Groening, Matt" -msgstr "Groening, Matt" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " -"to get permission. Groening approved the shot. The shot was a four-and-a-" -"halfsecond image on a tiny television set in the corner of the room. How " -"could it hurt? Groening was happy to have it in the film, but he told Else " -"to contact Gracie Films, the company that produces the program." -msgstr "" -"Else kontaktet <citetitle>Simpson</citetitle>-skaper Matt Groenings kontor " -"for Ã¥ fÃ¥ tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om " -"fire og et halvt sekund pÃ¥ et lite fjernsyn, bakerst i et hjÃ¸rne av rommet. " -"Hvordan kunne det skade? Groening var glad for Ã¥ fÃ¥ ha det med i filmen, men " -"han ba Else om Ã¥ kontakte Gracie Films, firmaet som produserer programmet." - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "Fox (film company)" -msgstr "Fox (filmselskap)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Gracie Films was okay with it, too, but they, like Groening, wanted to be " -"careful. So they told Else to contact Fox, Gracie's parent company. Else " -"called Fox and told them about the clip in the corner of the one room shot " -"of the film. Matt Groening had already given permission, Else said. He was " -"just confirming the permission with Fox." -msgstr "" -"Gracie Films sa ogsÃ¥ at det var greit, men de, slik som Groening, Ã¸nsket Ã¥ " -"vÃ¦re forsiktige, og ba Else om Ã¥ kontakte Fox, konsernet som eide Gracie. Og " -"Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i " -"hjÃ¸rnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt " -"sin tillatelse, sa Else. Han ville bare fÃ¥ det avklart med Fox." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Then, as Else told me, <quote>two things happened. First we discovered " -"… that Matt Groening doesn't own his own creation—or at least " -"that someone [at Fox] believes he doesn't own his own creation.</quote> And " -"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to " -"use this four-point-five seconds of … entirely unsolicited " -"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>" -msgstr "" -"Deretter, fortalte Else: <quote>skjedde to ting. FÃ¸rst oppdaget vi … " -"at Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos " -"Fox] trodde at han ikke eide sitt eget verk.</quote> Som det andre krevde " -"Fox <quote>ti tusen dollar i lisensavgift for disse fire og et halvt " -"sekundene med … fullstendig tilfeldig <citetitle>Simpson</citetitle> " -"som var i et hjÃ¸rne i ett opptak.</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Herrera, Rebecca" -msgstr "Herrera, Rebecca" - -#. type: Content of: <book><part><chapter><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, <quote>There must be some mistake here. … We're asking for " -"your educational rate on this.</quote> That was the educational rate, " -"Herrera told Else. A day or so later, Else called again to confirm what he " -"had been told." -msgstr "" -"Ellers var sikker pÃ¥ at det var en feil. Han fikk tak i noen som han trodde " -"var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at " -"<quote>det mÃ¥ vÃ¦re en feil her … Vi ber deg om en utdanningssats pÃ¥ " -"dette.</quote> Og de hadde fÃ¥tt utdanningssats, fortalte Herrera. Kort tid " -"etter ringte Else igjen for Ã¥ fÃ¥ dette bekreftet." - -#. PAGE BREAK 108 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>I wanted to make sure I had my facts straight,</quote> he told me. " -"<quote>Yes, you have your facts straight,</quote> she said. It would cost " -"$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner " -"of a shot in a documentary film about Wagner's Ring Cycle. And then, " -"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you " -"over to our attorneys.</quote> As an assistant to Herrera told Else later " -"on, <quote>They don't give a shit. They just want the money.</quote>" -msgstr "" -"<quote>Jeg mÃ¥tte vÃ¦re sikker pÃ¥ at jeg hadde riktige opplysninger foran meg</" -"quote>, sa han. <quote>Ja, du har riktige opplysninger</quote>, sa hun. Det " -"ville koste $10 000 Ã¥ bruke dette lille klippet av <citetitle>The Simpson</" -"citetitle>, plassert bakerst i et hjÃ¸rne i en scene i en dokumentar om " -"Wagners Ring Cycle. Som om det ikke var nok, forblÃ¸ffet Herrera Else med Ã¥ " -"si <quote>Og om du siterer meg, vil du hÃ¸re fra vÃ¥re advokater.</quote> En " -"av Herreras assistenter fortalte Else at <quote>De bryr seg ikke i det hele " -"tatt. Alt de vil ha er pengene.</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Day After Trinity, The" -msgstr "Day After Trinity, The" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Else didn't have the money to buy the right to replay what was playing on " -"the television backstage at the San Francisco Opera. To reproduce this " -"reality was beyond the documentary filmmaker's budget. At the very last " -"minute before the film was to be released, Else digitally replaced the shot " -"with a clip from another film that he had worked on, <citetitle>The Day " -"After Trinity</citetitle>, from ten years before." -msgstr "" -"Men Else hadde ikke penger til Ã¥ kjÃ¸pe lisens for klippet. SÃ¥ Ã¥ gjenskape " -"denne delen av virkeligheten, lÃ¥ langt utenfor hans budsjett. Like fÃ¸r " -"dokumentaren skulle slippes, redigerte Else inn et annet klipp pÃ¥ " -"fjernsynet, et klipp fra en av hans andre filmer <citetitle>The Day After " -"Trinity</citetitle> fra ti Ã¥r tidligere." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"There's no doubt that someone, whether Matt Groening or Fox, owns the " -"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " -"property. To use that copyrighted material thus sometimes requires the " -"permission of the copyright owner. If the use that Else wanted to make of " -"the <citetitle>Simpsons</citetitle> copyright were one of the uses " -"restricted by the law, then he would need to get the permission of the " -"copyright owner before he could use the work in that way. And in a free " -"market, it is the owner of the copyright who gets to set the price for any " -"use that the law says the owner gets to control." -msgstr "" -"Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier " -"rettighetene til <citetitle>The Simpsons</citetitle>. Rettighetene er deres " -"eiendom. For Ã¥ bruke beskyttet materiale, kreves det ofte at men fÃ¥r " -"tillatelse fra eieren eller eierne. Dersom Else Ã¸nsket Ã¥ bruke " -"<citetitle>The Simpsons</citetitle> til noe hvor loven gir verket " -"beskyttelse, sÃ¥ mÃ¥ han innhente tillatelse fra eieren fÃ¸r han kan bruke det. " -"Og i et fritt marked er det eieren som bestemmer hvor mye han/hun vil ta for " -"hvilken som helst bruk (hvor loven krever tillatelse fra eier)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For example, <quote>public performance</quote> is a use of <citetitle>The " -"Simpsons</citetitle> that the copyright owner gets to control. If you take a " -"selection of favorite episodes, rent a movie theater, and charge for tickets " -"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then " -"you need to get permission from the copyright owner. And the copyright owner " -"(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. " -"That's her right, as set by the law." -msgstr "" -"For eksempel <quote>offentlig fremvisning</quote> av <citetitle>The Simpson</" -"citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du " -"velger ut dine favorittepisoder, leier en kinosal og selger billetter til " -"<quote>Mine <citetitle>Simpson</citetitle>-favoritter</quote>, sÃ¥ mÃ¥ du ha " -"tillatelse fra rettighetsinnehaveren (eieren). Og eieren kan (med rette, " -"slik jeg ser det) kreve hvor mye han vil; $10 eller $1 000 000. " -"Det er hans rett ifÃ¸lge loven." - -#. f1 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"For an excellent argument that such use is <quote>fair use,</quote> but that " -"lawyers don't permit recognition that it is <quote>fair use,</quote> see " -"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory " -"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file " -"with author), University of Chicago Law School, 5 August 2003." -msgstr "" -"Ãnsker du Ã¥ lese en flott redegjÃ¸relse om hvordan dette er <quote>fair use</" -"quote>, og hvordan advokatene ikke anerkjenner det, sÃ¥ les Richard A. Posner " -"og William F. Patry, <quote>Fair Use and Statutory Reform in the Wake of " -"<citetitle>Eldred</citetitle> </quote> (utkast arkivert hos forfatteren), " -"University of Chicago Law School, 5. august 2003." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But when lawyers hear this story about Jon Else and Fox, their first thought " -"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's " -"use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" -"citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" -"citetitle>—and fair use does not require the permission of anyone." -msgstr "" -"Men nÃ¥r jurister hÃ¸rer denne historien om Jon Else og Fox, sÃ¥ er deres " -"fÃ¸rste tanke <quote>rimelig bruk</quote>.<placeholder type=\"footnote\" id=" -"\"0\"/> Elses bruk av 4,5 sekunder med et indirekte klipp av en " -"<citetitle>Simpsons</citetitle>-episode er et klart eksempel pÃ¥ " -"<quote>rimelig bruk</quote> av <citetitle>The Simpsons</citetitle>— og " -"<quote>rimelig bruk</quote> krever ingen tillatelse fra noen." - -#. PAGE BREAK 109 -#. type: Content of: <book><part><chapter><para> -msgid "" -"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's " -"his reply:" -msgstr "" -"SÃ¥ jeg spurte Else om hvorfor han ikke bare stolte pÃ¥ <quote>fair use</" -"quote>. Og her er hans svar:" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "legal intimidation tactics against" -msgstr "juridiske trusler taktikk mot" - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " -"gulf between what lawyers find irrelevant in some abstract sense, and what " -"is crushingly relevant in practice to those of us actually trying to make " -"and broadcast documentaries. I never had any doubt that it was " -"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't " -"rely on the concept in any concrete way. Here's why:" -msgstr "" -"<citetitle>Simpsons</citetitle>-fiaskoen lÃ¦rte meg om hvor stor avstand det " -"var mellom det jurister ikke finner relevant pÃ¥ en abstrakt mÃ¥te, og hva som " -"er knusende relevant pÃ¥ en konkret mÃ¥te for oss som prÃ¸ver Ã¥ lage og " -"kringkaste dokumentarer. Jeg tvilte aldri pÃ¥ at dette helt klart var " -"<quote>rimelig bruk</quote>, men jeg kunne ikke stole pÃ¥ konseptet pÃ¥ noen " -"konkret mÃ¥te. Og dette er grunnen:" - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -#, mtrans, fuzzy -msgid "Errors and Omissions insurance" -msgstr "feil og utelatelser forsikring" - -#. 1. -#. type: Content of: <book><part><chapter><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 <quote>visual cue " -"sheet</quote> listing the source and licensing status of each shot in the " -"film. They take a dim view of <quote>fair use,</quote> and a claim of " -"<quote>fair use</quote> can grind the application process to a halt." -msgstr "" -"FÃ¸r vÃ¥re filmer kan kringkastes, krever nettverket at vi kjÃ¸per en " -"<quote>Errors and Omissions</quote>-forsikring. Den krever en detaljert " -"<quote>visual cue sheet</quote> med alle kilder og lisens-status pÃ¥ alle " -"scener i filmen. De har et smalt syn pÃ¥ <quote>fair use</quote>, og Ã¥ pÃ¥stÃ¥ " -"at noe er nettopp det kan forsinke, og i verste fall stoppe, prosessen." - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "Lucas, George" -msgstr "Lucas, George" - -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> -msgid "<citetitle>Star Wars</citetitle>" -msgstr "<citetitle>Star Wars</citetitle>" - -#. 2. -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> -msgid "" -"I probably never should have asked Matt Groening in the first place. But I " -"knew (at least from folklore) that Fox had a history of tracking down and " -"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " -"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " -"usage. So I decided to play by the book, thinking that we would be granted " -"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " -"a documentary producer working to exhaustion on a shoestring, the last thing " -"I wanted was to risk legal trouble, even nuisance legal trouble, and even to " -"defend a principle." -msgstr "" -"Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste " -"(ihvertfall fra rykter) at Fox tidligere hadde brukt Ã¥ jakte pÃ¥ og stoppe " -"ulisensiert bruk av <citetitle>The Simpsons</citetitle>, pÃ¥ samme mÃ¥te som " -"George Lucas var veldig ivrig pÃ¥ Ã¥ forfÃ¸lge bruken av <citetitle>Star Wars</" -"citetitle>. SÃ¥ jeg bestemte meg for Ã¥ fÃ¸lge boka, og trodde at vi kulle fÃ¥ " -"til en gratis, i alle fall rimelig, avtale for fire sekunders bruk av " -"<citetitle>The Simpsons</citetitle>. Som en dokumentarskaper, arbeidende pÃ¥ " -"randen av utryddelse, var det siste jeg Ã¸nsket en juridisk strid, selv for Ã¥ " -"forsvare et prinsipp." - -#. 3. -#. PAGE BREAK 110 -#. type: Content of: <book><part><chapter><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 <quote>depose and litigate you to within an inch of your life,</quote> " -"regardless of the merits of my claim. He made clear that it would boil down " -"to who had the bigger legal department and the deeper pockets, me or them." -msgstr "" -"Jeg snakket faktisk med en av dine kolleger pÃ¥ Stanford Law School … " -"som bekreftet at dette var rimelig bruk. Han bekreftet ogsÃ¥ at Fox ville " -"<quote>depose and litigate you to within an inch of your life</quote>, " -"uavhengig av sannheten i mine krav. Han gjorde det klart at alt ville koke " -"ned til hvem som hadde flest jurister og dypest lommer, jeg eller dem." - -#. 4. -#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> -msgid "" -"The question of fair use usually comes up at the end of the project, when we " -"are up against a release deadline and out of money." -msgstr "" -"SpÃ¸rsmÃ¥let om <quote>fair use</quote> dukker om regel opp helt mot slutten " -"av prosjektet, nÃ¥r vi nÃ¦rmer oss siste frist og er tomme for penger." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In theory, fair use means you need no permission. The theory therefore " -"supports free culture and insulates against a permission culture. But in " -"practice, fair use functions very differently. The fuzzy lines of the law, " -"tied to the extraordinary liability if lines are crossed, means that the " -"effective fair use for many types of creators is slight. The law has the " -"right aim; practice has defeated the aim." -msgstr "" -"I teorien betyr <quote>fair use</quote> at du ikke trenger tillatelse. " -"Teorien stÃ¸tter derfor den frie kultur og arbeider mot tillatelseskulturen. " -"Men i praksis fungerer <quote>fair use</quote> helt annerledes. Men de " -"uklare linjene i lovverket, samt de fryktelige konsekvensene dersom man tar " -"feil, gjÃ¸r at mange kunstnere ikke stoler pÃ¥ <quote>fair use</quote>. Loven " -"har en svÃ¦rt god hensikt, men praksisen har ikke fulgt opp." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This practice shows just how far the law has come from its eighteenth-" -"century roots. The law was born as a shield to protect publishers' profits " -"against the unfair competition of a pirate. It has matured into a sword that " -"interferes with any use, transformative or not." -msgstr "" -"Dette eksempelet viser hvor langt denne loven har kommet fra sine " -"syttenhundretalls rÃ¸tter. Loven som skulle beskytte utgiverne mot " -"urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned pÃ¥ " -"_all_ bruk, transformativ* eller ikke." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER EIGHT: Transformers" -msgstr "Kapittel Ã¥tte: Omformerne" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Allen, Paul" -msgstr "Allen, Paul" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Alben, Alex" -msgstr "Alben, Alex" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer working " -"at Starwave, Inc. Starwave was an innovative company founded by Microsoft " -"cofounder Paul Allen to develop digital entertainment. Long before the " -"Internet became popular, Starwave began investing in new technology for " -"delivering entertainment in anticipation of the power of networks." -msgstr "" -"<emphasis role='strong'>I 1993</emphasis> var Alex Alben en jurist som " -"arbeidet hos Starwave Inc. Starwave var et innovativt firma grunnlagt av " -"Paul Allen, som ogsÃ¥ hadde vÃ¦rt med pÃ¥ Ã¥ grunnlegge Microsoft.Starwaves mÃ¥l " -"var Ã¥ utvikle digital underholdning. Lenge fÃ¸r Internett ble superpopulÃ¦rt, " -"forsket Starwave pÃ¥ ny teknologi for Ã¥ levere underholdning uten nettverk." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "retrospective compilations on" -msgstr "retrospektiv samleplater pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "CD-ROMs, film clips used in" -msgstr "CD-ROMer, filmklipp brukt i" - -#. type: Content of: <book><part><chapter><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 var veldig interessert i ny teknologi. Han var fascinert av det " -"voksende markedet for CD-ROM-teknologi—ikke for Ã¥ distribuere film, " -"men for Ã¥ gjÃ¸re ting med filmen som fÃ¸r ville vÃ¦rt svÃ¦rt vanskelig. I 1993 " -"lanserte han idÃ©en om Ã¥ utvikle et produkt for Ã¥ vise retrospectives* rundt " -"verkene av en bestemt kunstner. Den fÃ¸rste skuespilleren som ble valgt, var " -"Clint Eastwood. IdÃ©en var Ã¥ vise alle Eastwoods verker, sammen med klipp fra " -"filmene hans og intervjuer av personer som hadde vÃ¦rt viktige i hans " -"karriere." - -#. type: Content of: <book><part><chapter><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 "" -"PÃ¥ den tiden hadde Eastwood lagd over femti filmer, bÃ¥de som skuespiller og " -"som regissÃ¸r. Alben begynte med en serie intervjuer med Eastwood, hvor tema " -"var hans karriere. Siden Starwave produserte disse intervjuene, kunne de " -"fritt ha dem med pÃ¥ CD-en." - -#. PAGE BREAK 112 -#. type: Content of: <book><part><chapter><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 "" -"Men det alene hadde ikke blitt noe interessant produkt, sÃ¥ Starwave Ã¸nsket Ã¥ " -"legge til litt innhold fra noen av Eastwoods filmer, noen plakater, manus og " -"andre ting som kunne knyttes til filmene hans. Mesteparten av Eastwoods " -"karriere hadde foregÃ¥tt hos Warner Brothers og det var relativt enkelt Ã¥ fÃ¥ " -"tillatelse for det materialet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Then Alben and his team decided to include actual film clips. <quote>Our " -"goal was that we were going to have a clip from every one of Eastwood's " -"films,</quote> Alben told me. It was here that the problem arose. <quote>No " -"one had ever really done this before,</quote> Alben explained. <quote>No one " -"had ever tried to do this in the context of an artistic look at an actor's " -"career.</quote>" -msgstr "" -"Deretter Ã¸nsket Alben og hans team Ã¥ bruke noen faktiske klipp fra aktuelle " -"filmer. <quote>VÃ¥rt mÃ¥l var Ã¥ ha et klipp fra alle Eastwoods filmer</quote> " -"fortalte Alben meg. Det var her problemene startet. <quote>Ingen hadde " -"noensinne gjort dette fÃ¸r</quote>, forklarte Alben. <quote>Ingen hadde prÃ¸vd " -"Ã¥ presentere et slikt kunstnerisk overblikk over en skuespillers karriere.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " -"<quote>Well, what will it take?</quote>" -msgstr "" -"Alben tok idÃ©en videre til Michael Slade, leder for Starwave. Slade spurte " -"<quote>Vel, hvor mye vil det kreve?</quote>" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary> -#, mtrans, fuzzy -msgid "publicity rights on images of" -msgstr "publisitet rettigheter pÃ¥ bilder av" - -#. type: Content of: <book><part><chapter><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 <quote>Rip, Mix, Burn</quote> " -"creativity, as this chapter evinces. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Teknisk sett var rettighetene som Alben mÃ¥tte klarere i hovedsak de om " -"publisitet—rettigheten en artist har til Ã¥ kontrollere den " -"kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster " -"ogsÃ¥ <quote>rip, miks, brenn</quote>-kreativiteten slik dette kapittelet " -"demonstrerer. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Alben replied, <quote>Well, we're going to have to clear rights from " -"everyone who appears in these films, and the music and everything else that " -"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for " -"it.</quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Alben svarte, <quote>Tja, vi mÃ¥ innhente tillatelse fra alle som opptrer i " -"disse filmene, for musikken og for alt annet som er i disse filmklippene.</" -"quote> Slade svarte <quote>Flott! GjÃ¸r det.</quote><placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 forstod hva det innebar Ã¥ innhente " -"disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav pÃ¥ " -"royalties for bruk av sin film. Men CD-ROM hadde ikke vÃ¦rt spesifisert i " -"skuespillernes kontrakter, sÃ¥ ingen visste helt hva Starwave skulle gjÃ¸re." - -#. type: Content of: <book><part><chapter><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 om hvordan han lÃ¸ste problemet. Med en tydelig stolthet som " -"overskygget hvor bisarr historien var, sÃ¥ fortalte han hva de gjorde:" - -#. type: Content of: <book><part><chapter><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 <quote>Make my day</quote> clip from <citetitle>Dirty " -"Harry</citetitle>. But you then need to get the guy on the ground who's " -"wiggling under the gun and you need to get his permission. And then you " -"have to decide what you are going to pay him." -msgstr "" -"SÃ¥ vi dro og fant frem filmene og gjorde noen kunstneriske beslutninger om " -"hvilke klipp som skulle vÃ¦re med. Selvsagt skulle vi bruke <quote>Make my " -"day</quote>-scenen fra Dirty Harry. Men da mÃ¥tte vi oppsÃ¸ke den personen som " -"ligger pÃ¥ bakken under gevÃ¦ret og fÃ¥ hans tillatelse. Og sÃ¥ mÃ¥tte vi " -"bestemme hva han skulle fÃ¥ betalt." - -#. PAGE BREAK 113 -#. type: Content of: <book><part><chapter><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 bestemte at det ville vÃ¦re rettferdig hvis vi tilbydde dem en dagspiller-" -"sats for retten til Ã¥ bruke klippet. Vi snakker tross alt om et klipp pÃ¥ " -"under et minutt, men satsen for Ã¥ bruke klippet pÃ¥ CD-ROM lÃ¥ pÃ¥ den tiden pÃ¥ " -"$600. SÃ¥ vi mÃ¥tte identifisere personene - noen var vanskelig Ã¥ " -"identifisere, siden det ofte er vanskelig Ã¥ vite hvem som er skuespilleren " -"og hvem som er stuntmannen i Eastwoods filmer. Og deretter samlet vi oss en " -"gjeng og begynte Ã¥ ringe rundt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Sutherland, Donald" -msgstr "Sutherland, Donald" - -#. type: Content of: <book><part><chapter><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, <quote>Hey, can I pay " -"you $600 or maybe if you were in two films, you know, $1,200?</quote> And " -"they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</" -"quote> And some of course were a bit difficult (estranged ex-wives, in " -"particular). But eventually, Alben and his team had cleared the rights to " -"this retrospective CD-ROM on Clint Eastwood's career." -msgstr "" -"Noen skuespillere var glade for Ã¥ kunne hjelpe — Donald Sutherland " -"fulgte for eksempel opp saken personlig for Ã¥ sÃ¸rge for at alt var greit. " -"Andre brydde seg mest om pengene. Alben kunne spÃ¸rre <quote>Hei, kan jeg " -"betale deg $600, eller hvis du var i to filmer $1200?</quote> Og de kunne " -"svare <quote>Er det sant? Jeg vil svÃ¦rt gjerne ha $1200.</quote> Og noen " -"kunne vÃ¦re litt vanskelige av seg (sÃ¦rlig krevende eks-koner). Men til slutt " -"greide Alben og hans team Ã¥ gjÃ¸re rede for alle rettighetene til CD-en om " -"Clint Eastwoods karriere." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"It was one <emphasis>year</emphasis> later—<quote>and even then we " -"weren't sure whether we were totally in the clear.</quote>" -msgstr "" -"Det gÃ¥tt ett <emphasis>Ã¥r</emphasis> <quote>og selv da var vi ikke sikre pÃ¥ " -"om alt var helt klart.</quote>" - -#. type: Content of: <book><part><chapter><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 stolt av arbeidet sitt. Prosjektet var det fÃ¸rste av sitt slag, og " -"fÃ¸rste gang han hadde hÃ¸rt om et team som hadde tatt pÃ¥ seg sÃ¥ mye arbeid " -"for Ã¥ gi ut en *retrospective*." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"Everyone thought it would be too hard. Everyone just threw up their hands " -"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the " -"music, there's the screenplay, there's the director, there's the actors.</" -"quote> But we just broke it down. We just put it into its constituent parts " -"and said, <quote>Okay, there's this many actors, this many directors, " -"… this many musicians,</quote> and we just went at it very " -"systematically and cleared the rights." -msgstr "" -"Alle hadde trodd det skulle bli for vanskelig. De hadde kastet hendene i " -"vÃ¦ret og sagt <quote>Oi, en film. Det er sÃ¥ mange rettigheter; det er " -"musikk, det er scenekusten, det er skuespillere, det er regissÃ¸rer.</quote> " -"Men vi gjorde det! Vi tok delen fra hverandre og sa <quote>okei, det er sÃ¥ " -"mange skuespillere, sÃ¥ mange regissÃ¸rer ... sÃ¥ mange musikere</quote>, sÃ¥ " -"gikk vi systematisk igjennom det og fikk tak i rettighetene." - -#. PAGE BREAK 114 -#. type: Content of: <book><part><chapter><para> -msgid "" -"And no doubt, the product itself was exceptionally good. Eastwood loved it, " -"and it sold very well." -msgstr "" -"Og produktet ble uten tvil sÃ¦rdeles godt. Eastwood elsket det og det solgte " -"veldig godt." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Drucker, Peter" -msgstr "Drucker, Peter" - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"U.S. Department of Commerce Office of Acquisition Management, " -"<citetitle>Seven Steps to Performance-Based Services Acquisition</" -"citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#22</ulink>." -msgstr "" -"U.S. Department of Commerce Office of Acquisition Management, " -"<citetitle>Seven Steps to Performance-Based Services Acquisition</" -"citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #22</ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But I pressed Alben about how weird it seems that it would have to take a " -"year's work simply to clear rights. No doubt Alben had done this " -"efficiently, but as Peter Drucker has famously quipped, <quote>There is " -"nothing so useless as doing efficiently that which should not be done at all." -"</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " -"Alben, that this is the way a new work has to be made?" -msgstr "" -"Men jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt Ã¥r " -"bare Ã¥ fÃ¥ orden pÃ¥ rettigheter. Alben hadde gjort det hele svÃ¦rt effektivt, " -"men som Peter Drucker sÃ¥ berÃ¸mmelig har sagt <quote>Det er ikke noe som er " -"sÃ¥ ubrukelig Ã¥ gjÃ¸re effektivt enn det som egentlig ikke gjÃ¸res i det hele " -"tatt.</quote><placeholder type=\"footnote\" id=\"0\"/> Var det noe fornuft i " -"at det var slik et nye verk skulle skapes, spurte jeg Alben." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For, as he acknowledged, <quote>very few … have the time and " -"resources, and the will to do this,</quote> and thus, very few such works " -"would ever be made. Does it make sense, I asked him, from the standpoint of " -"what anybody really thought they were ever giving rights for originally, " -"that you would have to go clear rights for these kinds of clips?" -msgstr "" -"For, som han innrÃ¸mmet, <quote>veldig fÃ¥ ... har tid og ressurser, og ikke " -"minst vilje til Ã¥ gjÃ¸re dette</quote>, og veldig fÃ¥ slike verk har blitt " -"lagd, Gir det noen mening, spurte jeg ham, ********* at du mÃ¥ gjÃ¸re alt " -"dette for Ã¥ fÃ¥ rett til Ã¥ bruke disse klippene?" - -#. type: Content of: <book><part><chapter><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. NÃ¥r en skuespiller gjengir en forestilling i en film, fÃ¥r " -"han eller hun veldig godt betalt … Og derfor, nÃ¥r 30 sekunder av " -"denne forestillingen blir brukt i et nytt produkt som er et tilbakeblikk pÃ¥ " -"noens karriere, sÃ¥ tror jeg ikke at den personen … burde fÃ¥ " -"kompensasjon for det." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Or at least, is this <emphasis>how</emphasis> the artist should be " -"compensated? Would it make sense, I asked, for there to be some kind of " -"statutory license that someone could pay and be free to make derivative use " -"of clips like this? Did it really make sense that a follow-on creator would " -"have to track down every artist, actor, director, musician, and get explicit " -"permission from each? Wouldn't a lot more be created if the legal part of " -"the creative process could be made to be more clean?" -msgstr "" -"Eller er det kanskje <emphasis>slik</emphasis> en kunstner burde fÃ¥ " -"kompensasjon? Gir det noen mening, spurte jeg, om det var en form for " -"lovbestemt lisens som noen kan betale og fritt videreutvikle og bearbeide " -"klipp som disse? Ga det virkelig mening at en videreutviklende skaper " -"skulle mÃ¥tte spore opp hver eneste artist, skuespiller, regissÃ¸r, musiker og " -"fÃ¥ eksplisitt tillatelse fra hver av dem. Ville ikke mye mer bli laget hvis " -"den juridiske delen av den kreative prosessen kunne gjÃ¸res enklere." - -#. PAGE BREAK 115 -#. type: Content of: <book><part><chapter><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, <quote>Oh, I want a hundred minutes of something " -"and I have no idea what it's going to cost me, and a certain number of " -"people are going to hold me up for money,</quote> then it becomes difficult " -"to put one of these things together." -msgstr "" -"Absolutt. Jeg tror at hvis det fantes en form for " -"lisensieringsmekanisme—hvor du ikke risikerte Ã¥ bli offer for " -"forglemmelser eller problematiske ekskoner—ville man kanskje ha sett " -"mange flere av denne typen verk, rett og slett fordi det ikke ville sett sÃ¥ " -"skrekkinngytende ut Ã¥ sette sammen et tilbakeblikk pÃ¥ noens karriere og Ã¥ " -"bruke mange media-illustrasjoner fra dennes karriere. Du ville kunne lage en " -"budsjettpost pÃ¥ dette. Sette opp en kostnad pÃ¥ X dollar til talentet som " -"fremfÃ¸rte. Og det ville vÃ¦re en kjent kostnad. Det er kanskje " -"kjerneproblemet med Ã¥ produsere slike produkter. Hvis man visste at man " -"hadde 100 minutter med film, kunne man si at dette vil koste meg sÃ¥ og sÃ¥ " -"mange dollar, og lage et budsjett rundt det. Deretter kan du skaffe " -"investorer og alt annet som trengs for Ã¥ produsere det. Men dersom man kun " -"kan si <quote>Hm, jeg Ã¸nsker 100 minutter med noe, og jeg aner ikke hvor mye " -"det vil koste meg, og et bestemt antall personer vil kreve penger</quote>, " -"vil det vÃ¦re ganske vanskelig Ã¥ fÃ¥ til slike ting." - -#. type: Content of: <book><part><chapter><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?" -msgstr "" -"Alben jobbet for et stort selskap. Hans selskap var stÃ¸ttet av noen av de " -"rikeste investorene i verden. Derfor hadde han myndighet og ressurser som en " -"gjennomsnittlig webdesigner ikke kunne drÃ¸mme om. SÃ¥ hvis det tok ham et Ã¥r, " -"hvor lang tid ville det ta noen andre? Og hvor mye kreativitet fÃ¥r aldri " -"form pÃ¥ grunn av kostnadene rundt Ã¥ kartlegge og skaffe rettigheter? " - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These costs are the burdens of a kind of regulation. Put on a Republican hat " -"for a moment, and get angry for a bit. The government defines the scope of " -"these rights, and the scope defined determines how much it's going to cost " -"to negotiate them. (Remember the idea that land runs to the heavens, and " -"imagine the pilot purchasing flythrough rights as he negotiates to fly from " -"Los Angeles to San Francisco.) These rights might well have once made " -"sense; but as circumstances change, they make no sense at all. Or at least, " -"a well-trained, regulationminimizing Republican should look at the rights " -"and ask, <quote>Does this still make sense?</quote>" -msgstr "" -"Disse kostnadene er byrdene av en form for regulering. Vi kan prÃ¸ve Ã¥ ta pÃ¥ " -"oss en republikanerhatt og bli sinte for et Ã¸yeblikk. Staten styrer disse " -"rettighetenes dekningsomrÃ¥de, og dekningsomrÃ¥det bestemmer hvor mye det vil " -"koste Ã¥ krenke disse rettighetene. (Husker dere idÃ©en om at en eiendom " -"strakte seg til universets grense? Og se for dere piloten som mÃ¥ betale for " -"Ã¥ krysse eiendommen som han krenker ved Ã¥ fly fra Los Angeles til San " -"Francisco.) Disse rettighetene gav sikkert mening en gang, men nÃ¥ som " -"forholdene har endret seg, er meningen borte. Ihvertfall sÃ¥ burde en " -"veltrenet, reguleringsfiendtlig republikaner se pÃ¥ rettighetene og spÃ¸rre " -"<quote>Gir dette mening nÃ¥?</quote>" - -#. PAGE BREAK 116 -#. type: Content of: <book><part><chapter><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 glimt av gjenkjennelse pÃ¥ dette punktet, men bare noen fÃ¥ " -"ganger. FÃ¸rste gang var pÃ¥ en konferanse for fÃ¸derale dommere i California. " -"Dommerne var samlet for Ã¥ diskutere det Ã¸kende temaet cyber-lov. Jeg ble " -"spurt om Ã¥ sitte i panelet. Harvey Saferstein, en respektert advokat fra et " -"firma i Los Angeles, introduserte en film han og hans venn Robert Fairbank " -"hadde laget for panelet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The video was a brilliant collage of film from every period in the twentieth " -"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " -"episode. The execution was perfect, down to the sixty-minute stopwatch. The " -"judges loved every minute of it." -msgstr "" -"Videoen var en glimrende sammenstilling av filmer fra hver periode i det " -"tjuende Ã¥rhundret, rammet inn rundt idÃ©en om en episode i TV-serien " -"<citetitle>60 Minutes</citetitle>. UtfÃ¸relsen var perfekt, ned til seksti " -"minutter stoppeklokken. Dommerne elsket enhver minutt av den." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Nimmer, David" -msgstr "Nimmer, David" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"When the lights came up, I looked over to my copanelist, David Nimmer, " -"perhaps the leading copyright scholar and practitioner in the nation. He had " -"an astonished look on his face, as he peered across the room of over 250 " -"well-entertained judges. Taking an ominous tone, he began his talk with a " -"question: <quote>Do you know how many federal laws were just violated in " -"this room?</quote>" -msgstr "" -"Da lysene kom pÃ¥, kikket jeg over til min medpaneldeltager, David Nimmer, " -"kanskje den ledende opphavsrettakademiker og utÃ¸ver i nasjonen. Han hadde en " -"forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over " -"250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin " -"tale med et spÃ¸rsmÃ¥l: <quote>Vet dere hvor mange fÃ¸derale lover som nettopp " -"brutt i dette rommet?</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Boies, David" -msgstr "Boies, David" - -#. type: Content of: <book><part><chapter><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 "" -"Og selvsagt hadde ikke disse to briljante talentene gjort hva Alben hadde " -"gjort. De hadde ikke ordnet alle rettighetene til klippene de brukte. Rent " -"teknisk hadde de brutt loven. Men ingen kom til Ã¥ straffeforfÃ¸lge disse to " -"(selv om de viste den for 250 dommere og en gjeng fÃ¸derale marshaller\". Men " -"Nimmer hadde et viktig poeng: Et Ã¥r fÃ¸r noen hadde hÃ¸rt ordet Napster, og to " -"Ã¥r fÃ¸r et annet medlem av panelet, David Boies, ville forsvare Napster for " -"den niende Circuit Court of Appeals, prÃ¸vde Nimmer Ã¥ fÃ¥ dommerne til Ã¥ " -"forstÃ¥ at loven ikke var sÃ¦rlig Ã¥pen for de nye kapasitetene den nye " -"teknologien ville gi. Teknologi betyr at du kan gjÃ¸re fantastiske ting, " -"enkelt. Men du kan ikke nÃ¸dvendigvis gjÃ¸re dem enkelt, lovlig." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"We live in a <quote>cut and paste</quote> culture enabled by technology. " -"Anyone building a presentation knows the extraordinary freedom that the cut " -"and paste architecture of the Internet created—in a second you can " -"find just about any image you want; in another second, you can have it " -"planted in your presentation." -msgstr "" -"Vi lever i en <quote>klippe og lime</quote>-kultur som er muliggjort av " -"dagens teknologi. Alle som lager presentasjoner vet hvilken eksepsjonell " -"frihet Internettets <quote>klippe og lime</quote>-arkitektur gir—pÃ¥ et " -"sekund kan du finne akkurat det bildet du vil ha, og du kan fÃ¥ den inn i " -"presentasjonen din." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Camp Chaos" -msgstr "Camp Chaos" - -#. PAGE BREAK 117 -#. type: Content of: <book><part><chapter><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 " -"dets arkiver, er musikere i stand til Ã¥ sy sammen nye lydmikser som ingen " -"hadde kunnet forestille seg; filmskapere er i stand til Ã¥ lage filmer ut av " -"klipp pÃ¥ datamaskiner rundt om i verden. Et spesielt nettsted i Sverige tar " -"bilder av politikere og blander dem med musikk Ã¥ skape bitende politiske " -"kommentarer. En nettside kalt Camp Chaos har skapt noe av den skarpeste " -"kritikken som finnes mot musikkindustrien, gjennom Ã¥ mikse Flash! og musikk." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"All of these creations are technically illegal. Even if the creators wanted " -"to be <quote>legal,</quote> the cost of complying with the law is impossibly " -"high. Therefore, for the law-abiding sorts, a wealth of creativity is never " -"made. And for that part that is made, if it doesn't follow the clearance " -"rules, it doesn't get released." -msgstr "" -"Men alt dette er rent teknisk ulovlig. Selv om skaperen Ã¸nsket Ã¥ holde seg " -"pÃ¥ rett side av loven, ville kostnadene ved Ã¥ fÃ¸lge loven vÃ¦rt " -"umenneskelige. Derfor vil de som Ã¸nsker Ã¥ fÃ¸lge loven bli hindret i Ã¥ bruke " -"sin kreativitet, og mye blir aldri skapt. Og det som er skapt, vil ikke bli " -"publisert fordi det ikke fÃ¸lger *clearence-rules*." - -#. type: Content of: <book><part><chapter><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 <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, " -"the system could simply make it easy for follow-on creators to compensate " -"artists without requiring an army of lawyers to come along: a rule, for " -"example, that says <quote>the royalty owed the copyright owner of an " -"unregistered work for the derivative reuse of his work will be a flat 1 " -"percent of net revenues, to be held in escrow for the copyright owner.</" -"quote> Under this rule, the copyright owner could benefit from some royalty, " -"but he would not have the benefit of a full property right (meaning the " -"right to name his own price) unless he registers the work." -msgstr "" -"Noen ser synes at denne historien kommer med et forslag til forbedring: La " -"oss fjerne miksen av rettigheter slik at folk fritt kan bygge pÃ¥ vÃ¥r kultur. " -"Fritt Ã¥ legge til eller mikse som de synes det passer. Vi kunne innfÃ¸re " -"dette uten at det ble fritt som i <quote>fri bar</quote>. I stedet kunne " -"systemet gjÃ¸re det lettere for nye kunstnere Ã¥ kompensere den originale " -"artisten uten at det krever en hÃ¦r av jurister. Hva med regler som f. eks. " -"<quote>kompensasjon til en opphavsrettholder for uregistrerte verk vil for " -"avledede verk fÃ¸re 1% av netto overskudd (*to be held in escrow for the " -"copyright owner.*)</quote> Med en slik regel ville opphavsrettholderen fÃ¥ en " -"inntekt, men han vil ikke ha en full eiendomsrett over opphavsretten (som " -"betyr retten til Ã¥ sette sin egen pris) uten Ã¥ ha registrert verket." - -#. type: Content of: <book><part><chapter><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 vil nekte Ã¥ bli med pÃ¥ det? Og hvilke grunner finner for Ã¥ nekte dette? " -"Vi snakker om et verk som ikke blir lagd akkurat nÃ¥, men om det blir lagd " -"under denne planen, vil det skape inntekter for artistene. Hvilke baktanker " -"kan noen ha for motarbeide det?" - -#. PAGE BREAK 118 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In February 2003</emphasis>, DreamWorks studios " -"announced an agreement with Mike Myers, the comic genius of " -"<citetitle>Saturday Night Live</citetitle> and Austin Powers. According to " -"the announcement, Myers and Dream-Works would work together to form a " -"<quote>unique filmmaking pact.</quote> Under the agreement, DreamWorks " -"<quote>will acquire the rights to existing motion picture hits and classics, " -"write new storylines and—with the use of stateof-the-art digital " -"technology—insert Myers and other actors into the film, thereby " -"creating an entirely new piece of entertainment.</quote>" -msgstr "" -"<emphasis role='strong'>I februar 2003</emphasis> kunne DreamWorks studios " -"kunngjÃ¸re at de hadde fÃ¥tt en avtale med komikeren Mike Myers (mannen bak " -"Saturday Night Liva og Austin Powers). IfÃ¸lge kunngjÃ¸ringen skulle " -"DreamWorks og Myers arbeide for Ã¥ skape en <quote>unik filmskaperavtale</" -"quote>. Og under denne avtalen ville DreamWorks <quote>fÃ¥ rett til Ã¥ benytte " -"eksisterende filmklipp, skrive nye storylines* og - med hjelp av *stateof-" -"the-art-teknologi - sette inn Myers og andre skuespillere i filmene, og slik " -"skape et helt nytt stykke underholdning.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The announcement called this <quote>film sampling.</quote> As Myers " -"explained, <quote>Film Sampling is an exciting way to put an original spin " -"on existing films and allow audiences to see old movies in a new light. Rap " -"artists have been doing this for years with music and now we are able to " -"take that same concept and apply it to film.</quote> Steven Spielberg is " -"quoted as saying, <quote>If anyone can create a way to bring old films to " -"new audiences, it is Mike.</quote>" -msgstr "" -"Dette ble kalt <quote>film sampling</quote>, og som Myers forklarte var " -"<quote>film sampling en fantastisk mÃ¥te Ã¥ fÃ¥ ny vri pÃ¥ eksisterende filmer " -"og lar publikum se gamle filmer i et nytt lys. Rap-artister har gjort slikt " -"i en Ã¥rrekke og nÃ¥ kan vi ta det samme konseptet og bruke det pÃ¥ film.</" -"quote> Steven Spielberg er sitert med fÃ¸lgende utsagn <quote>Hvis noen kan " -"klare Ã¥ bringe gamle filmer til et nytt publikum, sÃ¥ er det Mike.</quote>" - -#. type: Content of: <book><part><chapter><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 har rett. Film sampling med Myers ville vÃ¦rt briljant. Men hvis du " -"ikke fÃ¸lger godt med, sÃ¥ vil du overse det forblÃ¸ffende med denne " -"kunngjÃ¸ringen. Siden den aller stÃ¸rste delen av vÃ¥r filmarv fortsetter Ã¥ " -"vÃ¦re regulert av loven, sÃ¥ er den virkelige meningen i DreamWorks " -"kunngjÃ¸ring fÃ¸lgende: Det er Mike Myers og kun Mike Myers som har lov til Ã¥ " -"gjÃ¸re slikt. All generell frihet til Ã¥ fortsette Ã¥ bygge pÃ¥ verdens " -"filmkultur, en frihet som i andre sammenhenger er en selvfÃ¸lge, er et " -"privilegium forbeholdt de morsomme og berÃ¸mte - og antakelig rike." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This privilege becomes reserved for two sorts of reasons. The first " -"continues the story of the last chapter: the vagueness of <quote>fair use.</" -"quote> Much of <quote>sampling</quote> should be considered <quote>fair use." -"</quote> But few would rely upon so weak a doctrine to create. That leads to " -"the second reason that the privilege is reserved for the few: The costs of " -"negotiating the legal rights for the creative reuse of content are " -"astronomically high. These costs mirror the costs with fair use: You either " -"pay a lawyer to defend your fair use rights or pay a lawyer to track down " -"permissions so you don't have to rely upon fair use rights. Either way, the " -"creative process is a process of paying lawyers—again a privilege, or " -"perhaps a curse, reserved for the few." -msgstr "" -"Dette privilegiet er sÃ¥pass reservert av to grunner: FÃ¸rste grunn er en " -"fortsettelse av forrige kapittel, vagheten i <quote>rimelig bruk</quote>. " -"Mye av denne <quote>samplingen</quote> vil nok betraktes som <quote>rimelig " -"bruk</quote>, men ingen vÃ¥ger Ã¥ stole pÃ¥ et sÃ¥ vagt prinsipp. Det leder oss " -"til neste grunn for at privilegiet er forbeholdt fÃ¥: Kostnadene ved Ã¥ krenke " -"opphavsretten ved kreativt gjenbruk er astronomiske. Disse kostnadene " -"speiler kostnaden for <quote>rimelig bruk</quote>: Enten betaler du en " -"jurist til Ã¥ forsvare dine <quote>rimelig bruk</quote>-rettigheter, eller sÃ¥ " -"betaler du en jurist for Ã¥ oppspore og ordne med rettighetene du trenger, " -"slik at du slipper Ã¥ stole pÃ¥ rimelig bruk. I begge tilfeller er den " -"kreative prosessen blitt en prosess med Ã¥ betale jurister—igjen, et " -"privilegium forbeholdt de fÃ¥." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER NINE: Collectors" -msgstr "Kapittel ni: Samlere" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "archives, digital" -msgstr "arkiver, digitale" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "bots" -msgstr "boter" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In April 1996</emphasis>, millions of <quote>bots</" -"quote>—computer codes designed to <quote>spider,</quote> or " -"automatically search the Internet and copy content—began running " -"across the Net. Page by page, these bots copied Internet-based information " -"onto a small set of computers located in a basement in San Francisco's " -"Presidio. Once the bots finished the whole of the Internet, they started " -"again. Over and over again, once every two months, these bits of code took " -"copies of the Internet and stored them." -msgstr "" -"<emphasis role='strong'>I april 1996</emphasis> hadde millioner av " -"<quote>bots</quote> dataprogramkode utformet for Ã¥ <quote>kravle</quote> " -"eller automatisk sÃ¸king pÃ¥ Internettet og kopiering av innhold—gikk i " -"gang over nettet. Side for side kopierte disse botene internet-basert " -"informasjon til et lite sett maskiner plassert i en kjeller i San Franciscos " -"Presidio. Da botene var ferdig med hele Internettet startet de pÃ¥ nytt. " -"Igjen og igjen, en gang hver to mÃ¥neder, tok disse bitene med kode kopier av " -"Internettet og lagret dem." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Way Back Machine" -msgstr "Way Back Machine" - -#. type: Content of: <book><part><chapter><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 <quote>the Way Back Machine,</quote> you could enter a Web " -"page, and see all of its copies going back to 1996, as well as when those " -"pages changed." -msgstr "" -"I oktober 2001 hadde botene samlet mer enn fem Ã¥r med kopier. Og ved en " -"liten kunngjÃ¸ring i Berkeley, Californa, ble arkivene som disse kopiene " -"utgjorde, Internettarkivet, Ã¥pnet for verden. Ved Ã¥ bruke en teknologi ved " -"navn <quote>Way Back machine</quote> kan du skrive inn en nettside og se " -"alle dets kopier helt tilbake til 1996, samt se nÃ¥r disse sidene endret seg." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Orwell, George" -msgstr "Orwell, George" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"This is the thing about the Internet that Orwell would have appreciated. In " -"the dystopia described in <citetitle>1984</citetitle>, old newspapers were " -"constantly updated to assure that the current view of the world, approved of " -"by the government, was not contradicted by previous news reports." -msgstr "" -"Dette er en egenskap med Internettet som Orwell visse satt pris pÃ¥. I den " -"dystre verden beskrevet i <citetitle>1984</citetitle> ble gamle aviser " -"kontinuerlig oppdatert for Ã¥ sikre at gjeldende oppfattning av verden, " -"godkjent av myndighetene, ikke ble motsagt av gamle nyhetsmeldinger." - -#. PAGE BREAK 120 -#. type: Content of: <book><part><chapter><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 arbeidere redigerte konstant fortiden, hvilket gjorde at det " -"aldri var mulig Ã¥ vite om historien du leste i dag var historien som ble " -"trykket den datoen som sto fÃ¸rt opp pÃ¥ papiret." - -#. type: Content of: <book><part><chapter><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 Internettet. Hvis du besÃ¸ker en nettside i dag sÃ¥ har " -"du ingen mÃ¥te Ã¥ vite om innholdte du leser nÃ¥ er det samme som innholdet du " -"leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt " -"vÃ¦r helt annerledes. Internettet er Orwells bibliotek—kontinuerlig " -"oppdatert, uten en pÃ¥litelig hukommelse." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "White House press releases" -msgstr "pressemeldinger fra det hvite hus" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the " -"White House changes its own press releases without notice. A May 13, 2003, " -"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> " -"That was later changed, without notice, to <quote>Major Combat Operations in " -"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det " -"hvite hus endrer sine egne pressemeldinger uten varsel. En pressemelding " -"fra 13. mai 2003 inneholdt <quote>Kampoperasjoner i Irak er over</quote>. " -"Det ble senere endret, uten varsel, til <quote>StÃ¸rre kampoperasjoner i Irak " -"er over</quote>. Epost fra Brewster Kahle, 1. desember 2003." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Until the Way Back Machine, at least. With the Way Back Machine, and the " -"Internet Archive underlying it, you can see what the Internet was. You have " -"the power to see what you remember. More importantly, perhaps, you also have " -"the power to find what you don't remember and what others might prefer you " -"forget.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I hvert fall fÃ¸r Way Back Machine dukket opp. Ved hjelp av Way Back " -"Machine, og Internettarkivet som ligger til grunn for denne, sÃ¥ kan du se " -"hvordan Internettet var. Du har mulighet til Ã¥ se det du husker. Og " -"kanskje viktigere, sÃ¥ har du mulighet til Ã¥ finne det du ikke husker og det " -"andre kanskje fortrekker at du glemmer.<placeholder type=\"footnote\" id=" -"\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "history, records of" -msgstr "historien, arkiv over" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>We take it</emphasis> for granted that we can go " -"back to see what we remember reading. Think about newspapers. If you wanted " -"to study the reaction of your hometown newspaper to the race riots in Watts " -"in 1965, or to Bull Connor's water cannon in 1963, you could go to your " -"public library and look at the newspapers. Those papers probably exist on " -"microfiche. If you're lucky, they exist in paper, too. Either way, you are " -"free, using a library, to go back and remember—not just what it is " -"convenient to remember, but remember something close to the truth." -msgstr "" -"<emphasis role='strong'>Vi tar det</emphasis> for gitt at vi kan gÃ¥ tilbake " -"Ã¥ se det vi husker Ã¥ ha lest. Tenk for eksempel pÃ¥ aviser. Hvis du Ã¸nsker Ã¥ " -"studenere reaksjonene i lokalavisen din om raseopprÃ¸rene i Watts i 1965, " -"eller til vannkanonen til Bull Connor i 1963, sÃ¥ kan du gÃ¥ til ditt lokale " -"bibliotek og se i avisene. Disse artiklene finnes sannsynligvis pÃ¥ " -"microfiche. Hvis du er heldig, sÃ¥ eksisterer de ogsÃ¥ pÃ¥ papir. Uansett, sÃ¥ " -"stÃ¥r du fritt til, ved Ã¥ bruke et bibliotek, Ã¥ gÃ¥ tilbake for Ã¥ huske—" -"ikke bare det som er behagelig Ã¥ huske, men Ã¥ huske noe som er nÃ¦r sannheten." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"It is said that those who fail to remember history are doomed to repeat it. " -"That's not quite correct. We <emphasis>all</emphasis> forget history. The " -"key is whether we have a way to go back to rediscover what we forget. More " -"directly, the key is whether an objective past can keep us honest. Libraries " -"help do that, by collecting content and keeping it, for schoolchildren, for " -"researchers, for grandma. A free society presumes this knowedge." -msgstr "" -"Det sies at de som ikke husker historien er dÃ¸mt til Ã¥ gjenta den. Det er " -"ikke helt riktig. Vi <emphasis>alle</emphasis> glemmer historien. NÃ¸kkelen " -"er hvorvidt vi har en mÃ¥te Ã¥ gÃ¥ tilbake for Ã¥ gjenoppdage det vi har glemt. " -"Helt konkret er nÃ¸kkelen hvorvidt en objektiv fortid kan holde oss Ã¦rlige. " -"Biblioteker bidrar til dette, ved Ã¥ samle innhold og ta vare pÃ¥ det, for " -"skolebarn, for forskere, for bestemor. Et fritt samfunn forutsetter denne " -"kunnskapen." - -#. PAGE BREAK 121 -#. type: Content of: <book><part><chapter><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 "" -"Internettet var en unntak fra denne forutsetningen. FÃ¸r Internettarkivet " -"var det ikke mulig Ã¥ gÃ¥ tilbake. Internettet var i essens et flyktig " -"medium. Og likevel, etter hvert som det ble viktigere og viktigere i Ã¥ " -"forme og reformere samfunnet, sÃ¥ blir det viktigere og viktigere Ã¥ bevare " -"det i en eller annen historisk form. Det er helt sÃ¦rt Ã¥ tenke pÃ¥ at vi har " -"masse arkiver med aviser fra smÃ¥ tettsteder rundt om i hele verden, men det " -"finnes bare en kopi av Internettet—den som blir oppbevart av " -"Internettarkivet." - -#. type: Content of: <book><part><chapter><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 stifter av Internettarkivet. Han var en svÃ¦rt vellykket " -"Internett-entreprenÃ¸r etter at han hadde vÃ¦rt en vellykket data-forsker. PÃ¥ " -"1990-tallet bestemte Kahle seg at han hadde hatt nok suksess som " -"forretningsmann, og at det var pÃ¥ tide Ã¥ lykkes pÃ¥ et annet omrÃ¥de. Derfor " -"lanserte han en serie prosjekter som ble utformet for Ã¥ arkivere menneskelig " -"kunnskap. Internettarkivet var bare det fÃ¸rste av prosjektene til denne " -"*Andrew Carnige* for Internettet. I desember 2002 hadde arkivet over ti " -"milliard sider, og det vokste med omtrent en milliard sider i mÃ¥neden." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Library of Congress" -msgstr "Kongress-biblioteket" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Television Archive" -msgstr "TV-arkivet" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Vanderbilt University" -msgstr "Vanderbilt University" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "libraries" -msgstr "biblioteker" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "archival function of" -msgstr "arkiveringsfunksjonen til" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Way Back Machine is the largest archive of human knowledge in human " -"history. At the end of 2002, it held <quote>two hundred and thirty terabytes " -"of material</quote>—and was <quote>ten times larger than the Library " -"of Congress.</quote> And this was just the first of the archives that Kahle " -"set out to build. In addition to the Internet Archive, Kahle has been " -"constructing the Television Archive. Television, it turns out, is even more " -"ephemeral than the Internet. While much of twentieth-century culture was " -"constructed through television, only a tiny proportion of that culture is " -"available for anyone to see today. Three hours of news are recorded each " -"evening by Vanderbilt University—thanks to a specific exemption in the " -"copyright law. That content is indexed, and is available to scholars for a " -"very low fee. <quote>But other than that, [television] is almost unavailable," -"</quote> Kahle told me. <quote>If you were Barbara Walters you could get " -"access to [the archives], but if you are just a graduate student?</quote> As " -"Kahle put it," -msgstr "" -"Way Back Machine er det stÃ¸rste arkivet over menneskelig kunnskap i " -"menneskehetens historie. Ved slutten av 2002 inneholdt det <quote>to hundre " -"og tredve terrabyte med materiale</quote>—og var <quote>ti ganger " -"stÃ¸rre enn kongressbiblioteket</quote>. Og dette var bare det fÃ¸rste av " -"arkivene som Kahle gikk i gang med Ã¥ bygge. I tillegg til Internettarkivet " -"er Kahle i gang med Ã¥ konstruere TV-arkivet. TV, viser det seg, er enda mer " -"flyktig enn Internettet. Selv om mye av kulturen i det tjuende Ã¥rhundret ble " -"til gjennom fjernsyn, sÃ¥ er bare en liten andel av den kulturen tilgjengelig " -"for de som vil se det i dag. Tre timer med nyheter blir tatt opp hver kveld " -"av Vanderbilt University—takket vÃ¦re et spesifikt unntak i " -"opphavsrettsloven. Det innholdet blir gjort sÃ¸kbart og er tilgjengelig for " -"forskere for en svÃ¦rt lav avgift. <quote>Men bortsett fra det, sÃ¥ er [TV] " -"nesten fullstendig utilgjengelig</quote>, fortalte Kahle meg. <quote>Hvis " -"du er Barbara Walters sÃ¥ kan du fÃ¥ tilgang til [arkivene], men hva hvis du " -"bare er en student?</quote> Som Kahle formulete det," - -#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> -msgid "Quayle, Dan" -msgstr "Quayle, Dan" - -#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> -msgid "60 Minutes" -msgstr "60 Minutes" - -#. PAGE BREAK 122 -#. type: Content of: <book><part><chapter><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 <citetitle>60 Minutes</citetitle> episode that came out " -"after it … it would be almost impossible. … Those materials " -"are almost unfindable. …" -msgstr "" -"Husker du da Dan Quayle snakket med Murphy Brown? Husker du den uvirkelige " -"opplevelsen av samtalen som gikk frem og tilbake mellom en politiker og en " -"fiktig TV-karakter? Hvis du var en student som Ã¸nsket Ã¥ studere dette, og " -"du Ã¸nsket Ã¥ fÃ¥ tak i den originale samtalen som gikk frem og tilbake mellom " -"de to og <citetitle>60 Minutes</citetitle>-episoden som kom ut etter dette " -"… sÃ¥ ville det vÃ¦re nesten umulig … Dette materialet er nesten " -"umulig Ã¥ finne. …" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "newspapers" -msgstr "aviser" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "archives of" -msgstr "arkiver over" - -#. type: Content of: <book><part><chapter><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 slik? Hvor er den delen av kulturen vÃ¥r som er lagret i " -"aviser tilgjengelige til evig tid, mens ikke den delen som er lagret pÃ¥ " -"videobÃ¥nd er det? Hvorfor har vi laget en verden der forskere som forsÃ¸ker " -"a forstÃ¥ effekten av media pÃ¥ Amerika i det nittende Ã¥rhundre har en enklere " -"jobb enn forskere som forsÃ¸ker Ã¥ forstÃ¥ effekten av media pÃ¥ Amerika i det " -"tjuende Ã¥rhundre?" - -#. type: Content of: <book><part><chapter><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 pÃ¥ grunn av loven. Opphavsrettseiere var tidlig i " -"amerikansk opphavsrettslov nÃ¸dt til Ã¥ deponere kopier av sine verk i " -"biblioteker. Disse kopiene skulle bÃ¥de sikre spredning av kunnskap, og " -"sikre at det fantes en kopi av verket tilgjenggelig nÃ¥r vernetiden utlÃ¸p, " -"slik at andre kunne fÃ¥ tilgang til og kopiere verket." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "archive of" -msgstr "arkiv for" - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " -"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" -"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " -"Won't Wait: A History of Film Preservation in the United States</citetitle> " -"( Jefferson, N.C.: McFarland & Co., 1992), 36." -msgstr "" -"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " -"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" -"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " -"Won't Wait: A History of Film Preservation in the United States</citetitle> " -"( Jefferson, N.C.: McFarland & Co., 1992), 36." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These rules applied to film as well. But in 1915, the Library of Congress " -"made an exception for film. Film could be copyrighted so long as such " -"deposits were made. But the filmmaker was then allowed to borrow back the " -"deposits—for an unlimited time at no cost. In 1915 alone, there were " -"more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when " -"the copyrights to films expire, there is no copy held by any library. The " -"copy exists—if it exists at all—in the library archive of the " -"film company.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Disse reglene gjalt ogsÃ¥ for filmer. Men i 1915 gjorde kongressbiblioteket " -"et unntak for film. Filmer kunne bli opphavsrettsbeskyttet sÃ¥ lenge det ble " -"gjort slik deponering. Men filmskaperne fikk sÃ¥ lov til Ã¥ lÃ¥ne tilbake de " -"deponerte filmene—sÃ¥ lenge de ville uten noe kostnad. Bare i 1915 var " -"det mer enn 5475 filmer deponert og <quote>lÃ¥nt tilbake</quote>. Dermed var " -"det ikke noe eksemplar i noe bibliotek nÃ¥r vernetiden til filmen utlÃ¸p. " -"Eksemplaret eksisterer—hvis den finnes i det hele tatt—i " -"arkivbiblioteket til filmselskapet.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>theft.</quote> But as technology enabled " -"capturing, broadcasters relied increasingly upon the law. The law required " -"they make a copy of each broadcast for the work to be <quote>copyrighted.</" -"quote> But those copies were simply kept by the broadcasters. No library had " -"any right to them; the government didn't demand them. The content of this " -"part of American culture is practically invisible to anyone who would look." -msgstr "" -"Det samme er generelt sett sant ogsÃ¥ for TV. Fjernsynssendinger var " -"opprinnelig ikke oppphavsrettsbeskyttet—det fantes ingen mÃ¥te Ã¥ ta opp " -"kringkastinger, sÃ¥ det var ikke noe frykt for <quote>tyveri</quote>. Men " -"etter hvert som teknologien gjorde det mulig Ã¥ ta opp TV-sendinger, baserte " -"kringkastere seg i stÃ¸rre grad pÃ¥ loven. Loven krevde at de laget et " -"eksemplar av hver kringkastingssending for at verk skulle bli " -"<quote>opphavsrettsbeskyttet</quote>. Men disse eksemplarene ble kun lagret " -"hos kringkastingsselskapene. Intet bibliotek hadde noen rettigheter knyttet " -"til dem, og myndighetene gjorde ikke krav pÃ¥ dem. Innholdet fra denne delen " -"av amerikansk kultur er i praksis usynlig for alle som kunne tenke seg Ã¥ se " -"den." - -#. PAGE BREAK 123 -#. type: Content of: <book><part><chapter><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 ivret etter Ã¥ rette pÃ¥ dette. FÃ¸r 11. september 2001 hadde han og " -"hans allierte begynt Ã¥ ta opp TV. De valgte tjue stasjoner rundt om i " -"verden og trykket pÃ¥ opptaksknappen. Etter 11. september jobbet Kahle med " -"et dusin andre og valgte tjue stasjoner verden rundt og 11. oktober 2001 ut " -"alt dekningen derfra for uken rundt 11. september fritt tilgjengelig pÃ¥ " -"nett. Envher kunne se hvordan nyhetsmeldingene verden rundt dekket " -"hendelsene den dagen." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Movie Archive" -msgstr "Movie Archive" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "archive.org" -msgstr "archive.org" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Internet Archive" -msgstr "Internettarkivet" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Duck and Cover film" -msgstr "Dukk og skjul deg-film" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "ephemeral films" -msgstr "flyktige filmer" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Prelinger, Rick" -msgstr "Prelinger, Rick" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Kahle had the same idea with film. Working with Rick Prelinger, whose " -"archive of film includes close to 45,000 <quote>ephemeral films</quote> " -"(meaning films other than Hollywood movies, films that were never " -"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle " -"digitize 1,300 films in this archive and post those films on the Internet to " -"be downloaded for free. Prelinger's is a for-profit company. It sells copies " -"of these films as stock footage. What he has discovered is that after he " -"made a significant chunk available for free, his stock footage sales went up " -"dramatically. People could easily find the material they wanted to use. Some " -"downloaded that material and made films on their own. Others purchased " -"copies to enable other films to be made. Either way, the archive enabled " -"access to this important part of our culture. Want to see a copy of the " -"<quote>Duck and Cover</quote> film that instructed children how to save " -"themselves in the middle of nuclear attack? Go to archive.org, and you can " -"download the film in a few minutes—for free." -msgstr "" -"Kahle hadde samme idÃ© for film. I samarbeid med Rick Relinger, hvis " -"filmarkiv inneholder nesten 45 000 <quote>flyktige filmer</quote> (i " -"betydningen filmer som ikke er Hollywood-filmer, filmer som aldri ble " -"opphavsrettsbeskyttet), etablerte Kahle Filmarkivet. Prelinger lot Kahle " -"digitalisere 1 300 filmer i dette arkivet og publisere disse filmene pÃ¥ " -"Internettet for gratis nedlasting. Prelingers selskap er et kommersielt " -"selskap og selger eksemplarer av disse filmene som klipparkiv. Det han " -"oppdaget etter at han gjorde en anseelig andel gratis tilgjengelig, var at " -"salget av klipparkivmaterialet steg dramatisk. Folk kunne nÃ¥ enkelt finne " -"materialet som de Ã¸nsket Ã¥ bruke. Noen lastet ned materialet og laget " -"filmer pÃ¥ egen hÃ¥nd. Andre kjÃ¸pte kopier for Ã¥ gjÃ¸re det mulig Ã¥ lage andre " -"filmer. Uansett gjorde arkivet det mulig Ã¥ fÃ¥ tilgang til denne viktige " -"delen av vÃ¥r kultur. Vil du se et eksemplar av <quote>Dukk og skjul deg</" -"quote>-filmen som gir barn instrukser om hvordan de skal redde seg selv " -"under et atomangrep? BesÃ¸k archive.org og du kan laste ned filmen pÃ¥ noen " -"fÃ¥ minutter—gratis." - -#. type: Content of: <book><part><chapter><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 "" -"Nok en gang gir Kahle tilgang til en del av vÃ¥r kultur som vi ellers ikke " -"ville fÃ¥tt enkel tilgang til, hvis vi i det hele tatt fikk tilgang. Det er " -"nok en del av det som definerer det tjuende Ã¥rhundret som er tapt i " -"historien. Loven krever ikke at disse eksemplarene oppevares av noen, eller " -"at de skal deponeres for Ã¥ arkiveres av noen. Dermed er det ikke noen enkel " -"mÃ¥te Ã¥ finne dem." - -#. type: Content of: <book><part><chapter><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 "" -"Og nÃ¸kkelen her er tilgang, ikke pris. Kahle Ã¸nsker Ã¥ gjÃ¸re det mulig Ã¥ fÃ¥ " -"ubegrenset tilgang til dette innholdet, men han Ã¸nsker ogsÃ¥ at andre skal ha " -"mulighet til Ã¥ selge tilgang til det. MÃ¥let hans er Ã¥ sikre konkurranse " -"rundt tilgang til denne viktige delen av kuturen vÃ¥r. Ikke i den " -"kommersielle delen av en kreativ eiendoms liv, men i lÃ¸pet av det andre " -"liven som all kreativ eiendom har—et ikke-kommersielt liv." - -#. PAGE BREAK 124 -#. type: Content of: <book><part><chapter><para> -msgid "" -"For here is an idea that we should more clearly recognize. Every bit of " -"creative property goes through different <quote>lives.</quote> In its first " -"life, if the creator is lucky, the content is sold. In such cases the " -"commercial market is successful for the creator. The vast majority of " -"creative property doesn't enjoy such success, but some clearly does. For " -"that content, commercial life is extremely important. Without this " -"commercial market, there would be, many argue, much less creativity." -msgstr "" -"For her er en idÃ© som vi bÃ¸r kjenne bedre. Hver bit av kreativ eiendom gÃ¥r " -"igjennom ulike <quote>liv</quote>. I dens fÃ¸rste liv, hvis skaperen er " -"heldig, blir innholdet solgt. I slike tilfeller er det kommersielle " -"markedet en suksess for skaperen. Det store flertallet av kreativ eiendom " -"nyter ikke slik suksess, men noen gjÃ¸r helt klart dette. For det innholdet " -"er kommersielt liv ekstremt viktig. Uten dette kommersielle markedet hevder " -"mange at det ville vÃ¦rt mindre kreativitet." - -#. type: Content of: <book><part><chapter><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 at det kommersielle livet til kreativ eiendom har tatt slutt, har vÃ¥r " -"tradisjon alltid stÃ¸ttet opp om et andre liv. En avis leverer nyheter hver " -"dag pÃ¥ dÃ¸rkarmen til Amerika. Neste dag blir det brukt til Ã¥ pakke inn fiks " -"eller fylle bokser med skjÃ¸re gaver eller til Ã¥ bygge et arkiv med kunnskap " -"om vÃ¥r historie. Dette er det andre live, der innholdet kan fortsatt " -"informere selv om informasjonen ikke lenger blir solgt." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " -"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " -"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5 " -"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " -"only 2.2 percent were in print in 2002. R. Anthony Reese, <quote>The First " -"Sale Doctrine in the Era of Digital Networks,</quote> <citetitle>Boston " -"College Law Review</citetitle> 44 (2003): 593 n. 51." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " -"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " -"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5. " -"september 1997, ved Metro Lake 1L. For bÃ¸ker publisert mellom 1927 og 1946, " -"var kun 2,2 prosent fortsatt tilgjengelig fra forlaget 2002. R. Anthony " -"Reese, <quote>The First Sale Doctrine in the Era of Digital Networks,</" -"quote> <citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51." -"Dave barns, \"fledgling karriere i antikke bÃ¸ker: woodstock utleier, bar " -"eier starter et nytt kapittel ved Ã¥ innta virksomhet,\" chicago tribune, 5 " -"september 1997, pÃ¥ t lake 1 l. bÃ¸ker publisert mellom 1927 og 1946, bare 2,2 " -"prosent var i Skriv ut i 2002. r. anthony reese, \"den fÃ¸rste salg doktrinen " -"i tid med digitale nettverk,\" boston college lov gÃ¥ gjennom 44 (2003): 593 " -"n. 51." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The same has always been true about books. A book goes out of print very " -"quickly (the average today is after about a year<placeholder type=\"footnote" -"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " -"without the copyright owner getting anything and stored in libraries, where " -"many get to read the book, also for free. Used book stores and libraries are " -"thus the second life of a book. That second life is extremely important to " -"the spread and stability of culture." -msgstr "" -"Det samme har alltid vÃ¦rt tilfelle for bÃ¸ker. En bok blir utsolgt fra " -"forlaget svÃ¦rt raskt (i dag skjer det i snitt etter et Ã¥r<placeholder type=" -"\"footnote\" id=\"0\"/>). Etter at den er utsolgt fra forlaget kan den " -"selges i bruktbokhandler uten at opphavsrettsinnehaveren fÃ¥r noe. Den kan " -"ogsÃ¥ oppbevares i biblioteker, hvor mange fÃ¥r mulighet til Ã¥ lese boken, " -"helt gratis. Bruktbokhandler og biblioteker er dermed det andre livet til en " -"bok. Dette andre livet er ekstremt viktig for spredningen og stabiliteten " -"til kulturen." - -#. type: Content of: <book><part><chapter><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 "" -"Likevel gjelder i stadig mindre grad antagelsen om et stabilt annet liv for " -"kreativ eiendom de viktigste komponentene som utgjÃ¸r populÃ¦rkulturen i det " -"tjuende og tjuefÃ¸rste Ã¥rhundre. For disse—TV, filmer, musikk, radio, " -"Internettet—finnes det ingen garanti for et annet liv. For denne " -"typen kultur, er det som om vi har byttet ut biblioteker med Barnes & " -"Noble-supermarkeder. Med denne kulturen er det ingenting annet tilgjengelig " -"enn det som et visst begrenset marked etterspÃ¸r. Ut over det forsvinner " -"kulturen." - -#. PAGE BREAK 125 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>For most of</emphasis> the twentieth century, it was " -"economics that made this so. It would have been insanely expensive to " -"collect and make accessible all television and film and music: The cost of " -"analog copies is extraordinarily high. So even though the law in principle " -"would have restricted the ability of a Brewster Kahle to copy culture " -"generally, the real restriction was economics. The market made it impossibly " -"difficult to do anything about this ephemeral culture; the law had little " -"practical effect." -msgstr "" -"<emphasis role='strong'>I det meste</emphasis> av det tjuende Ã¥rhundre var " -"det Ã¸konomi som sÃ¸rget for dette. Det ville vÃ¦rt sinnsykt dyrt a samle og " -"gjÃ¸re alt av TV, film og musikk tilgjengelig: Kostnaden for analoge " -"eksemplarer er ekstremt hÃ¸y. SÃ¥ selv om loven i prinsippet ville ha " -"begrenset muligheten for en som Brewster Kahle til Ã¥ kopiere kulturen " -"generelt, sÃ¥ var den reelle begresningen Ã¸konomi. Markedet gjorde det helt " -"umulig Ã¥ gjÃ¸re noe med denne flyktige kulturen. Loven hadde liten praktisk " -"effekt." - -#. type: Content of: <book><part><chapter><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 den viktigste enkeltegenskapen i den digitale revolusjonen er at for " -"fÃ¸rste gang siden biblioteket i Aleksandria er det gjennomfÃ¸rbart Ã¥ tenke " -"seg Ã¥ lage et arkiv som kan holde all kultur som er produsert eller " -"distribuert offentlig. Teknologien gjÃ¸r det mulig Ã¥ forestille seg et arkiv " -"med alle bÃ¸ker som er publisert, og gjÃ¸r det stadig enklere Ã¥ forestille seg " -"et arkiv over alle bevegelige bilder og lyd." - -#. type: Content of: <book><part><chapter><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 for dette potensielle arkivet er noe vi aldri har forstilt oss " -"fÃ¸r. Folk som Brewster Kahle har drÃ¸mt om det opp igjennom historien, men " -"vi er for fÃ¸rste gang ved et punkt der denne drÃ¸mmen er mulig. Som Kahle " -"beskriver det," - -#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary> -msgid "total number of" -msgstr "totalt antall" - -#. type: Content of: <book><part><chapter><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 til at det er omtrent to til tre millioner opptak av musikk. I " -"gjennom hele historien. Det er omtrent hundre tusen kinofilmer utgitt, " -"… og omtrent en til to millioner filmer [distribuert] i lÃ¸pet av det " -"tjuende Ã¥rhundret. Det finnes omtrente tjueseks millioner ulike boktitler. " -"Alt dette vil fÃ¥ plass pÃ¥ datamaskiner som ville fÃ¥ plas i dette rommet og " -"et lite firma villa ha rÃ¥d til det. SÃ¥ vi er ved et vendepunkt i " -"historien. Universell tilgang er mÃ¥let. Og utsikten til Ã¥ fÃ¥ et annet liv " -"basert pÃ¥ dette er … spennende. Det kan bli en av de tingene som " -"menneskeheten ville vÃ¦re mest stolt av. Helt der oppe blant biblioteket i " -"Aleksandria, plassere en mann pÃ¥ mÃ¥nen, og oppfinnelsen av trykkpressen." - -#. PAGE BREAK 126 -#. type: Content of: <book><part><chapter><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. <emphasis>When</emphasis> the commercial " -"life of creative property ends, I don't know. But it does. And whenever it " -"does, Kahle and his archive hint at a world where this knowledge, and " -"culture, remains perpetually available. Some will draw upon it to understand " -"it; some to criticize it. Some will use it, as Walt Disney did, to re-create " -"the past for the future. These technologies promise something that had " -"become unimaginable for much of our past—a future <emphasis>for</" -"emphasis> our past. The technology of digital arts could make the dream of " -"the Library of Alexandria real again." -msgstr "" -"Kahle er ikke den eneste bibliotekaren. Internetarkivet er ikke det eneste " -"arkivet. Men Kahle og Internetarkivet antyder hva fremtiden for biblioteker " -"eller arkiver kunne vÃ¦re. Jeg vet ikke <emphasis>nÃ¥r</emphasis> det " -"kommersielle liven til kreativ eiendom tar slutt. Men det gjÃ¸r det. Og " -"uansett nÃ¥r det skjer, hinter Kahle og hans arkiv om en verden hvor denne " -"kunnskapen, og kulturen, forblir tilgjengelig til evig tid. Noen vil bruke " -"det for Ã¥ forstÃ¥ det. Andre for Ã¥ kritisere det. Noen vil bruke det, slik " -"Walt Disney gjorde, for Ã¥ gjenskape fortiden for fremtiden. Disse " -"teknologiene har lovnaden om noe som hadde blitt umulig Ã¥ tenke seg i store " -"deler av vÃ¥r fortid—en fremtid <emphasis>for</emphasis> vÃ¥r fortid. " -"Teknologien til digital kunst kunne gjÃ¸re drÃ¸mmen om biblioteket i " -"Aleksandria virkelig igjen." - -#. type: Content of: <book><part><chapter><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 <quote>archives,</quote> as warm as the idea of a <quote>library</" -"quote> might seem, the <quote>content</quote> that is collected in these " -"digital spaces is also someone's <quote>property.</quote> And the law of " -"property restricts the freedoms that Kahle and others would exercise." -msgstr "" -"Teknologer har dermed fjernet den Ã¸konomiske kostnaden med Ã¥ bygge et slikt " -"arkiv. Men advokatkostnadene bestÃ¥r. For uansett hvor mye vi Ã¸nsker Ã¥ " -"kalle dette <quote>arkiver</quote>, og uansett hvor koselig idÃ©en om et " -"<quote>bibliotek</quote> kan virke, sÃ¥ er <quote>innholdet</quote> som er " -"samlet i disse digitale omrÃ¥dene ogsÃ¥ noens <quote>eiendom</quote>. Og " -"eiendoms-lover begrenser friheten til folk som Kahle." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER TEN: <quote>Property</quote>" -msgstr "Kapittel ti: <quote>Eiendom</quote>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Johnson, Lyndon" -msgstr "Johnson, Lyndon" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Kennedy, John F." -msgstr "Kennedy, John F." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of " -"the Motion Picture Association of America since 1966. He first came to " -"Washington, D.C., with Lyndon Johnson's administration—literally. The " -"famous picture of Johnson's swearing-in on Air Force One after the " -"assassination of President Kennedy has Valenti in the background. In his " -"almost forty years of running the MPAA, Valenti has established himself as " -"perhaps the most prominent and effective lobbyist in Washington." -msgstr "" -"<emphasis role='strong'>Jack Valenti</emphasis> har vÃ¦rt president for " -"Motion Picture Assication of America siden 1966. Han ankom Washing D.C. med " -"Lyndon Johnson-administrasjonen—bokstavlig talt. PÃ¥ det berÃ¸mte " -"bildet av edsavleggingen til Johnson pÃ¥ Air Force One etter snikmordet pÃ¥ " -"president Kennedy befinner Valenti seg i bakgrunnen. I sine nesten fÃ¸rt Ã¥r " -"som leder av MPAA har Valenti etablert seg som kanskje den mest synlige og " -"effektive lobbyisten i Washington." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Sony Pictures Entertainment" -msgstr "Sony Pictures Entertainment" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "MGM" -msgstr "MGM" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Paramount Pictures" -msgstr "Paramount Pictures" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Twentieth Century Fox" -msgstr "Twentieth Century Fox" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Universal Pictures" -msgstr "Universal Pictures" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Warner Brothers" -msgstr "Warner Brothers" - -#. type: Content of: <book><part><chapter><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 grenen av den internasjonale filmforeningen. Den ble " -"stiftet i 1922 som en handelsforening hvis mÃ¥l var Ã¥ forsvare amerikanske " -"filmer mot Ã¸kende kritikk innenlands. Organisasjonen representerer nÃ¥ ikke " -"bare filmskapere, med ogsÃ¥ produsenter og distributÃ¸rer av underholdning for " -"TV, video og kabel-TV. Styret er satt sammen av styrelederne og " -"presidentene i de syv stÃ¸rste produsentene og distributÃ¸rene for film og TV-" -"programmer i USA: Walt Disney, Sony Pictures Entertainment, MGM, Paramount " -"Pictures, Twentieth Centory Fox, Universal Studios og Warner Brothers." - -#. PAGE BREAK 128 -#. type: Content of: <book><part><chapter><para> -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 den tredje presidenten for MPAA. Ingen president fÃ¸r han har " -"hatt like mye innflytelse over organisasjonen, eller over Washington. " -"Valenti, som kommer fra Texas, har mestret den viktigste politiske " -"enkeltferdighet som trengs av en fra sÃ¸rstatene—evnen til Ã¥ fremstÃ¥ " -"enkel og treg mens en skjuler sitt lynraske intellekt. Valenti spiller " -"fortsatt en enkel og ydmyk man. Men denne mannen, med MBA fra Harward har " -"skrevet fire bÃ¸ker, fullfÃ¸rt videregÃ¥ende skole i en alder av femten Ã¥r og " -"flÃ¸yet mer enn femti kampoppdrag under andre verdenskrig, er ingen Mr. " -"Smith. Da Valenti dro til Washington mestret han byen like godt som en " -"innfÃ¸dt." - -#. type: Content of: <book><part><chapter><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 " -"<quote>creative property.</quote>" -msgstr "" -"Ved Ã¥ forsvare kunstnerisk frihet og ytringsfrihet som vÃ¥r kultur er " -"avhengig av, sÃ¥ har MPAA gjort viktig og positivt arbeide. Ved Ã¥ utarbeide " -"MPAAs klassifiseringsystem har de antagelig unngÃ¥tt betydelig skade pÃ¥ " -"talefriheten. Men det er et aspekt ved organisasjonens mÃ¥l som bÃ¥de er det " -"mest radikale og det viktigste. Dette er organisasjonens innsats, " -"personifisert i alt Valenti gjÃ¸r, for Ã¥ omdefiniere betydningen av " -"<quote>kreativ eiendom</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In 1982, Valenti's testimony to Congress captured the strategy perfectly:" -msgstr "" -"Valentis vitnemÃ¥l i 1982 til kongressen fanget denne strategien perfekt:" - -#. f1 -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. " -"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, " -"Civil Liberties, and the Administration of Justice of the Committee on the " -"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 " -"(testimony of Jack Valenti)." -msgstr "" -"Hjem registrering av opphavsrettslig beskyttet verk: hearings pÃ¥ hr 4783, hr " -"4794, hr 4808, hr 5250, hr 5488 og hr 5705 fÃ¸r subcommittee on domstoler, " -"borgerrettigheter og administrasjonen av rettferdighet av committee on " -"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 " -"(vitnesbyrd om jack valenti)." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"No matter the lengthy arguments made, no matter the charges and the counter-" -"charges, no matter the tumult and the shouting, reasonable men and women " -"will keep returning to the fundamental issue, the central theme which " -"animates this entire debate: <emphasis>Creative property owners must be " -"accorded the same rights and protection resident in all other property " -"owners in the nation</emphasis>. That is the issue. That is the question. " -"And that is the rostrum on which this entire hearing and the debates to " -"follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. PAGE BREAK 129 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The strategy of this rhetoric, like the strategy of most of Valenti's " -"rhetoric, is brilliant and simple and brilliant because simple. The " -"<quote>central theme</quote> to which <quote>reasonable men and women</" -"quote> will return is this: <quote>Creative property owners must be accorded " -"the same rights and protections resident in all other property owners in the " -"nation.</quote> There are no second-class citizens, Valenti might have " -"continued. There should be no second-class property owners." -msgstr "" -"Strategien for denne retorikken, som strategien til det meste av Valentis " -"retorikk, er strÃ¥lende og enkel og strÃ¥lede fordi den er enkel. Det " -"<quote>sentrale temaet</quote> som <quote>fornuftige menn og kvinner</quote> " -"vil komme tilbake til er dette: <quote>Kreative eiendomseiere mÃ¥ fÃ¥ de samme " -"rettigheter og beskyttelse som gis til alle andre eiendomseiere i nasjonen</" -"quote>. Det finnes ikke annenrangs borgere, kunne Valenti fortsatt. Det " -"bÃ¸r ikke finnes noen annenrangs eiendomseiere." - -#. type: Content of: <book><part><chapter><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 <emphasis>anyone</emphasis> who is serious in this debate than this " -"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " -"perhaps the nation's foremost extremist when it comes to the nature and " -"scope of <quote>creative property.</quote> His views have <emphasis>no</" -"emphasis> reasonable connection to our actual legal tradition, even if the " -"subtle pull of his Texan charm has slowly redefined that tradition, at least " -"in Washington." -msgstr "" -"Denne pÃ¥standen har en Ã¥penbar og kraftig intuitiv appell. Den er uttrykt " -"med slik klarhet for Ã¥ gjÃ¸re idÃ©en like Ã¥penbar som oppfatningen om at vi " -"bruker avstemming for Ã¥ velge presidenter. Men faktum er at det ikke er mer " -"ekstreme pÃ¥stander fremmet av <quote>noen</quote> som er seriÃ¸s i denne " -"debatten enn denne pÃ¥standen fra Valenti. Jack Valenti, uansett hvor " -"hyggelig og brilliant han fremstÃ¥r, er kanskje nasjonens fremste ekstremist " -"nÃ¥r det gjelder egenskapene og rekkeviden for <quote>kreativ eiendom</" -"quote>. Hans syn har <emphasis>ingen</emphasis> fornuftig forbindelse til " -"vÃ¥r faktiske juridiske tradisjon, selv om subtile pÃ¥virkning fra hans Texas-" -"sjarm sakte har endret definisjonen pÃ¥ denne tradisjonen, i hvert fall i " -"Washington." - -#. f2 -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a " -"bundle of rights that are sometimes associated with a particular object. " -"Thus, my <quote>property right</quote> to my car gives me the right to " -"exclusive use, but not the right to drive at 150 miles an hour. For the best " -"effort to connect the ordinary meaning of <quote>property</quote> to " -"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property " -"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), " -"26–27." -msgstr "" -"Advokater snakker ikke om <quote>eiendom</quote> som en absolutt ting, men " -"som en samling med rettigheter som noen ganger er knyttet til et bestemt " -"objekt. Dermed gir <quote>eiendomsretten</quote> min til bilen min meg en " -"ekslusiv rett til Ã¥ bruke den, men ikke retten til Ã¥ kjÃ¸re i 200 kilometer i " -"timen. For det beste forsÃ¸ket pÃ¥ Ã¥ knytte den vanlige betydningen av " -"<quote>eiendom</quote> til <quote>advokatsprÃ¥k</quote>, se Bruce Ackerman, " -"<citetitle>Private Property and the Constitution</citetitle> (New Haven: " -"Yale University Press 1977), 26–27." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"While <quote>creative property</quote> is certainly <quote>property</quote> " -"in a nerdy and precise sense that lawyers are trained to understand," -"<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor " -"should it be, that <quote>creative property owners</quote> have been " -"<quote>accorded the same rights and protection resident in all other " -"property owners.</quote> Indeed, if creative property owners were given the " -"same rights as all other property owners, that would effect a radical, and " -"radically undesirable, change in our tradition." -msgstr "" -"Mens <quote>kreativ eiendom</quote> helt klart er <quote>property</quote> pÃ¥ " -"en nerdete og presis mÃ¥te som advokater er trent til Ã¥ forstÃ¥,<placeholder " -"type=\"footnote\" id=\"0\"/> sÃ¥ har det aldri vÃ¦rt tilfelle, og det bÃ¸r det " -"heller ikke vÃ¦re, at <quote>eiere av kreativ eiendom</quote> har fÃ¥tt " -"<quote>tildelt de samme rettigheter og beskyttelser som alle andre " -"eiendomseiere</quote>. Faktisk ville det vÃ¦re en radikal og radikalt " -"uÃ¸nsket endring i vÃ¥r tradisjon hvis eiere av kreativ eiendom ble gitt de " -"samme rettighetene som alle andre eiendomseiere." - -#. type: Content of: <book><part><chapter><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 snakker pÃ¥ vegne av en industri som ikke bryr " -"seg om vÃ¥r tradisjon og verdiene den representerer. Han snakker i stedet " -"for en industri som sloss for Ã¥ gjeninnfÃ¸re tradisjonen som britene gjorde " -"slutt pÃ¥ i 1710. I verden skapt av endringene Valenti foreslÃ¥r, vil noen fÃ¥ " -"mektige aktÃ¸rer utÃ¸ve kraftig kontroll over hvordan vÃ¥r kreative kultur fÃ¥r " -"utvikle seg." - -#. PAGE BREAK 130 -#. type: Content of: <book><part><chapter><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 formÃ¥l med dette kapittelet. Dte fÃ¸rste er Ã¥ overbevise deg om " -"at historisk sett er Valentis pÃ¥stander helt gale. Det andre er Ã¥ " -"overbevise deg om at det ville vÃ¦re forferdelig galt av oss Ã¥ avvise fÃ¥r " -"historie. Vi har alltid behandlet kreative eiendomsretter forskjellig fra " -"rettighetene som hÃ¸rer til alle andre eiendomseiere. De har aldri vÃ¦rt " -"like. Og de bÃ¸r aldri bli like, uansett hvor lite intititivt det kan virke, " -"for Ã¥ gjÃ¸re dem like ville vÃ¦re Ã¥ fundamentalt svekke muligheten for nye " -"skapere til Ã¥ skape. Kreativitet er avhengig av at eierne av kreativitet " -"ikke har perfekt kontroll." - -#. type: Content of: <book><part><chapter><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." -msgstr "" -"Organisasjoner som MPAA, der styret inkluderer de mektigste av den gamle " -"garde, hra liten interesse, pÃ¥ tross av deres retorikk, i Ã¥ sikre at det nye " -"kan erstatte dem. Ingen organisasjon har det. Ingen person har det. (SpÃ¸r " -"for eksempel meg om ansettelsestrygghet.) Men det som er bra for MPA er " -"ikke nÃ¸dvendigvis bra for Amerika. Et samfunn som forsvarer idealene til en " -"fri kultur mÃ¥ ta vare pÃ¥ spesielt muligheten for ny kreativitet til Ã¥ true " -"den gamle." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>To get</emphasis> just a hint that there is " -"something fundamentally wrong in Valenti's argument, we need look no further " -"than the United States Constitution itself." -msgstr "" -"<emphasis role='strong'>For Ã¥ fÃ¥</emphasis> et lite hint om at det er noe " -"fundamentalt galt med Valentis argument trenger vi ikke se lenger en til " -"grunnloven til USA." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The framers of our Constitution loved <quote>property.</quote> Indeed, so " -"strongly did they love property that they built into the Constitution an " -"important requirement. If the government takes your property—if it " -"condemns your house, or acquires a slice of land from your farm—it is " -"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay " -"you <quote>just compensation</quote> for that taking. The Constitution thus " -"guarantees that property is, in a certain sense, sacred. It cannot " -"<emphasis>ever</emphasis> be taken from the property owner unless the " -"government pays for the privilege." -msgstr "" -"Forfatterne av vÃ¥r grunnlov elsket <quote>eiendom</quote>. De elsket de " -"eiendom sÃ¥ sterkt at de bygde inn en viktig forutsetning i grunnloven. Hvis " -"myndigheten tar din eiendom—hvis den kondemnerer huset ditt eller " -"eksproprierer et stykke land fra gÃ¥rden din—sÃ¥ er det et krav, i fÃ¸lge " -"det femte grunnlovstilleggets <quote>beslagleggings-avsnitt</quote>, at du " -"mÃ¥ fÃ¥ <quote>rimelig kompensasjon</quote> hvis noe blir beslaglagt. " -"Grunnloven garanterer dermed at eiendom pÃ¥ en mÃ¥te er urenkelig. Den kan " -"<emphasis>aldri</emphasis> tas fra eiendomseieren med mindre myndighetene " -"betaler for det privilegiet." - -#. PAGE BREAK 131 -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet the very same Constitution speaks very differently about what Valenti " -"calls <quote>creative property.</quote> In the clause granting Congress the " -"power to create <quote>creative property,</quote> the Constitution " -"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> " -"Congress take back the rights that it has granted and set the " -"<quote>creative property</quote> free to the public domain. Yet when " -"Congress does this, when the expiration of a copyright term <quote>takes</" -"quote> your copyright and turns it over to the public domain, Congress does " -"not have any obligation to pay <quote>just compensation</quote> for this " -"<quote>taking.</quote> Instead, the same Constitution that requires " -"compensation for your land requires that you lose your <quote>creative " -"property</quote> right without any compensation at all." -msgstr "" -"Likevel snakker den samme grunnloven svÃ¦rt annerledes om det Valenti " -"kaller <quote>kreativ eiendom</quote>. I *clause* som gir kongressen " -"myndighet til Ã¥ skape <quote>creativ eiendom</quote>, " -"<emphasis>krever</emphasis> grunnloven at kongressen etter en " -"<quote>begrenset tid</quote> tar tilbake rettighetene den har delt ut " -"og lar den <quote>kreative eiendommen</quote> falle i det fri og bli " -"allemannseie. Men nÃ¥r kongressen gjÃ¸r dette, nÃ¥r utlÃ¸pet av " -"vernetiden <quote>tar</quote> din opphavsrett og overleverer den til " -"allemannseiet, sÃ¥ har ikke kongressen noe pÃ¥legg om Ã¥ betale " -"<quote>rimelig kompensasjon</quote> for denne <quote>beslaget</quote>. " -"I stedet krever den samme konstitusjonen som krever kompensasjon nÃ¥r " -"det gjelder landomrÃ¥der at du skal miste din <quote>kreative " -"eiendom</quote> helt uten kompensasjon overhodet." - -#. type: Content of: <book><part><chapter><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 "" -"Grunnloven sier dermed rett frem at disse to formene for eiendom ikke skal " -"tildeles de samme rettighetene. De skal tydelig behandles forskjellig. " -"Valenti ber dermed ikke bare om at vÃ¥r tradisjon skal endres nÃ¥r an " -"argumenterer med at eiere av kreativ eiendom skal fÃ¥ de samme rettighetene " -"som enhver annen eiendomseier. Han argumenterer i effekt for Ã¥ endre " -"grunnloven selv." - -#. type: Content of: <book><part><chapter><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 "" -"Ã argumentere for en endring i grunnlvoen vÃ¥r er ikke nÃ¸dvendigvis galt. " -"Det var mye i vÃ¥r originale grunnlov som helt tydelig var galt. Grunnloven " -"av 1789 *entrenched* slaveri. Den sa at senatorer skulle utnevnes i stedet " -"for Ã¥ bli valgt. Den gjorde det mulig Ã¥ fÃ¥ en valgforsamling som ga like " -"mange stemmer til presidenten og hans egen visepresident (som den gjorde i " -"1800). Grunnlovsforfatterne var uten tvil ekstraordinÃ¦re, men jeg vil vÃ¦re " -"den fÃ¸rste til Ã¥ innrÃ¸mme at de gjorde store feil. Vi har siden avvist noen " -"av disse feilene, og det er uten tvil andre som vi ogsÃ¥ burde avvise. SÃ¥ " -"argumentet mitt er ikke at bare pÃ¥ grunn av at Jefferson gjorde det, sÃ¥ bÃ¸r " -"vi ogsÃ¥ gjÃ¸re det." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Instead, my argument is that because Jefferson did it, we should at least " -"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " -"property types that they were, reject the claim that creative property be " -"given the same rights as all other property? Why did they require that for " -"creative property there must be a public domain?" -msgstr "" -"I stedet er mitt argument at pÃ¥ grunn av at Jefferson gjorde det, bÃ¸r vi i " -"det minste forsÃ¸ke Ã¥ forstÃ¥ <emphasis>hvorfor</emphasis>. Hvorfor avviste " -"grunnlovsforfatterne, som jo var fanatiske eiendomstilhengere, avvise " -"pÃ¥standen om at kreativ eiendom skulle tildeles de samme rettighetene som " -"all annen eiendom? Hvorfor krevde de at for kreativ eiendom mÃ¥ det finnes " -"et allemannseie?" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"To answer this question, we need to get some perspective on the history of " -"these <quote>creative property</quote> rights, and the control that they " -"enabled. Once we see clearly how differently these rights have been " -"defined, we will be in a better position to ask the question that should be " -"at the core of this war: Not <emphasis>whether</emphasis> creative property " -"should be protected, but how. Not <emphasis>whether</emphasis> we will " -"enforce the rights the law gives to creative-property owners, but what the " -"particular mix of rights ought to be. Not <emphasis>whether</emphasis> " -"artists should be paid, but whether institutions designed to assure that " -"artists get paid need also control how culture develops." -msgstr "" -"for Ã¥ besvare dette spÃ¸rsmÃ¥let, trenger vi Ã¥ fÃ¥ noen perspektiv om disse " -"\"kreative eiendom\", og kontrollen som de aktivert historie. NÃ¥r vi ser " -"klart hvor annerledes disse rettighetene er definert, vil vi vÃ¦re i en bedre " -"posisjon til Ã¥ stille spÃ¸rsmÃ¥l som bÃ¸r vÃ¦re kjernen i denne krigen: ikke om " -"kreative egenskapen skal beskyttes, men hvordan. ikke om vi vil hÃ¥ndheve " -"rettigheter gir loven til creative-bolig, men hva bestemt blanding av " -"rettigheter bÃ¸r vÃ¦re. ikke om artister som skal betales, men om " -"institusjoner utformet for Ã¥ forsikre at artister fÃ¥r betalt mÃ¥ du ogsÃ¥ " -"kontrollere hvordan kultur utvikler seg." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "four modalities of constraint on" -msgstr "fire modalitetene for begrensningen pÃ¥" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "regulation" -msgstr "regulering" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "four modalities of" -msgstr "fire modalitetene for" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "as ex post regulation modality" -msgstr "som ex post regulering modality" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "as constraint modality" -msgstr "som betingelse modality" - -#. PAGE BREAK 132 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"To answer these questions, we need a more general way to talk about how " -"property is protected. More precisely, we need a more general way than the " -"narrow language of the law allows. In <citetitle>Code and Other Laws of " -"Cyberspace</citetitle>, I used a simple model to capture this more general " -"perspective. For any particular right or regulation, this model asks how " -"four different modalities of regulation interact to support or weaken the " -"right or regulation. I represented it with this diagram:" -msgstr "" -"Hvis du vil svare pÃ¥ disse spÃ¸rsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " -"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " -"generell mÃ¥te enn smale sprÃ¥ket i loven tillater. i koden og andre lover av " -"cyberspace brukte jeg en enkel modell for Ã¥ fange dette mer generelle " -"perspektivet. for en bestemt rettighet eller regulering, denne modellen spÃ¸r " -"hvordan fire forskjellige modalitetene for regulering samhandler for Ã¥ " -"stÃ¸tte eller svekke hÃ¸yre eller regulering. Jeg representerte det med dette " -"diagrammet:" - -#. type: Content of: <book><part><chapter><figure><title> -#, mtrans, fuzzy -msgid "" -"How four different modalities of regulation interact to support or weaken " -"the right or regulation." -msgstr "" -"Hvordan fire forskjellige modalitetene for regulering samhandle Ã¥ stÃ¸tte " -"eller svekke hÃ¸yre eller regulering." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1331.png\"></graphic>" -msgstr "<graphic fileref=\"images/1331.png\"></graphic>" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"At the center of this picture is a regulated dot: the individual or group " -"that is the target of regulation, or the holder of a right. (In each case " -"throughout, we can describe this either as regulation or as a right. For " -"simplicity's sake, I will speak only of regulations.) The ovals represent " -"four ways in which the individual or group might be regulated— either " -"constrained or, alternatively, enabled. Law is the most obvious constraint " -"(to lawyers, at least). It constrains by threatening punishments after the " -"fact if the rules set in advance are violated. So if, for example, you " -"willfully infringe Madonna's copyright by copying a song from her latest CD " -"and posting it on the Web, you can be punished with a $150,000 fine. The " -"fine is an ex post punishment for violating an ex ante rule. It is imposed " -"by the state. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"midt pÃ¥ dette bildet er et regulert punkt: pÃ¥ personen eller gruppen som er " -"mÃ¥let 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 " -"mÃ¥ter der personen eller gruppen kan reguleres—enten begrenset eller, " -"alternativt, aktivert. loven er den mest Ã¥penbare begrensningen (til " -"advokater, minst). den begrenser ved truende straffene etter faktum Hvis " -"reglene satt pÃ¥ forhÃ¥nd er brutt. sÃ¥ hvis for eksempel du willfully krenke " -"madonna's copyright ved Ã¥ kopiere en sang fra hennes siste CD-ROMen, og " -"bokfÃ¸re det\\/den pÃ¥ weben, kan du bli straffet med en $150.000 fine. fine " -"er en ex post straff for Ã¥ bryte en ex ante regelen. Det er pÃ¥lagt av staten." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "norms, regulatory influence of" -msgstr "normer, reguleringspÃ¥virkning fra" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Norms are a different kind of constraint. They, too, punish an individual " -"for violating a rule. But the punishment of a norm is imposed by a " -"community, not (or not only) by the state. There may be no law against " -"spitting, but that doesn't mean you won't be punished if you spit on the " -"ground while standing in line at a movie. The punishment might not be harsh, " -"though depending upon the community, it could easily be more harsh than many " -"of the punishments imposed by the state. The mark of the difference is not " -"the severity of the rule, but the source of the enforcement." -msgstr "" -"normer er en annen type betingelse. de, ogsÃ¥, straffe en person for Ã¥ bryte " -"en regel. men straffen av en normen er pÃ¥lagt 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 pÃ¥ bakken mens du " -"stÃ¥r i kÃ¸ pÃ¥ en film. straff kan ikke vÃ¦re harde, men avhengig av samfunnet, " -"det kan lett bli mer harde enn mange av straffene pÃ¥lagt av staten. Merk av " -"differansen er ikke av alvorlighetsgraden av regelen, men kilden for " -"hÃ¥ndhevelse." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "market constraints" -msgstr "markedskonsentrasjon" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The market is a third type of constraint. Its constraint is effected through " -"conditions: You can do X if you pay Y; you'll be paid M if you do N. These " -"constraints are obviously not independent of law or norms—it is " -"property law that defines what must be bought if it is to be taken legally; " -"it is norms that say what is appropriately sold. But given a set of norms, " -"and a background of property and contract law, the market imposes a " -"simultaneous constraint upon how an individual or group might behave." -msgstr "" -"markedet er en tredje type betingelse. betingelsen er berÃ¸rt gjennom " -"betingelser: du kan gjÃ¸re x Hvis du betaler y; vil du fÃ¥ betalt m Hvis du " -"gjÃ¸r n. slike betingelser er Ã¥penbart ikke uavhengig av loven eller " -"normer—det er regler som definerer hva mÃ¥ kjÃ¸pes Hvis det er Ã¥ bli " -"tatt lovlig; Det er normer som sier hva selges pÃ¥ riktig mÃ¥te. men gitt et " -"sett av normer og bakgrunn av eiendom og kontrakt lov, markedet pÃ¥legger en " -"samtidige begrensning pÃ¥ hvor en person eller gruppe kan oppfÃ¸re seg." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "architecture, constraint effected through" -msgstr "arkitektur, begrensninger med opphav i" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Finally, and for the moment, perhaps, most mysteriously, " -"<quote>architecture</quote>—the physical world as one finds it—" -"is a constraint on behavior. A fallen bridge might constrain your ability " -"to get across a river. Railroad tracks might constrain the ability of a " -"community to integrate its social life. As with the market, architecture " -"does not effect its constraint through ex post punishments. Instead, also as " -"with the market, architecture effects its constraint through simultaneous " -"conditions. These conditions are imposed not by courts enforcing contracts, " -"or by police punishing theft, but by nature, by <quote>architecture.</quote> " -"If a 500-pound boulder blocks your way, it is the law of gravity that " -"enforces this constraint. If a $500 airplane ticket stands between you and a " -"flight to New York, it is the market that enforces this constraint." -msgstr "" -"til slutt, og for Ã¸yeblikket, kanskje mest mysteriously \"arkitektur\"—" -"den fysiske verden som en finner den—er en begrensning pÃ¥ atferd. en " -"falne bro kan begrense din evne til Ã¥ komme over en elv. Railroad tracks kan " -"begrense evnen til et fellesskap for Ã¥ integrere sin sosiale liv. som med " -"markedet, pÃ¥virker ingen arkitektur betingelsen gjennom ex post straffene. i " -"stedet, ogsÃ¥ som med markedet, arkitektur effekter betingelsen gjennom " -"samtidige forhold. disse betingelsene er pÃ¥lagt ikke av domstolene hÃ¥ndheve " -"kontrakter, eller av politiet straffe tyveri, men av natur, \"arkitektur.\" " -"Hvis en 500-pund kampestein blokkerer deg, det er lov av tyngdekraften som " -"gjennomfÃ¸rer denne betingelsen. Hvis en $500 flybillett stÃ¥r mellom deg og " -"et fly til new york, er det markedet som hÃ¥ndhever denne betingelsen." - -#. PAGE BREAK 134 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"So the first point about these four modalities of regulation is obvious: " -"They interact. Restrictions imposed by one might be reinforced by another. " -"Or restrictions imposed by one might be undermined by another." -msgstr "" -"sÃ¥ det fÃ¸rste punktet om disse fire metoder av regulering er Ã¥penbare: de " -"samhandler. restriksjoner pÃ¥lagt av en kan bli forsterket av en annen. eller " -"restriksjoner pÃ¥lagt av en kan bli undergravd av en annen." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The second point follows directly: If we want to understand the effective " -"freedom that anyone has at a given moment to do any particular thing, we " -"have to consider how these four modalities interact. Whether or not there " -"are other constraints (there may well be; my claim is not about " -"comprehensiveness), these four are among the most significant, and any " -"regulator (whether controlling or freeing) must consider how these four in " -"particular interact." -msgstr "" -"det andre punktet fÃ¸lger direkte: Hvis vi Ã¸nsker Ã¥ forstÃ¥ effektiv friheten " -"som noen har pÃ¥ et gitt Ã¸yeblikk Ã¥ gjÃ¸re noen bestemt ting, vi har til Ã¥ " -"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser " -"(det kan godt vÃ¦re; min pÃ¥stand er ikke om objektivitet), disse fire er " -"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjÃ¸r) " -"mÃ¥ vurdere hvordan disse fire spesielt samhandle." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "driving speed, constraints on" -msgstr "kjÃ¸rehastighet, begrensninger pÃ¥" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "speeding, constraints on" -msgstr "hastighet, begrensning av" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"So, for example, consider the <quote>freedom</quote> to drive a car at a " -"high speed. That freedom is in part restricted by laws: speed limits that " -"say how fast you can drive in particular places at particular times. It is " -"in part restricted by architecture: speed bumps, for example, slow most " -"rational drivers; governors in buses, as another example, set the maximum " -"rate at which the driver can drive. The freedom is in part restricted by the " -"market: Fuel efficiency drops as speed increases, thus the price of gasoline " -"indirectly constrains speed. And finally, the norms of a community may or " -"may not constrain the freedom to speed. Drive at 50 mph by a school in your " -"own neighborhood and you're likely to be punished by the neighbors. The same " -"norm wouldn't be as effective in a different town, or at night." -msgstr "" -"sÃ¥, for eksempel vurdere \"friheten\" Ã¥ kjÃ¸re bil til en hÃ¸y hastighet. at " -"frihet er delvis begrenset av lover: fartsgrenser som sier hvor fort du kan " -"kjÃ¸re spesielt steder pÃ¥ bestemte tidspunkter. Det er delvis begrenset av " -"arkitektur: hastighet stÃ¸t, for eksempel sakte mest rasjonell drivere; " -"GuvernÃ¸rer i busser, som et annet eksempel, angir den maksimale hastigheten " -"som driveren kan kjÃ¸re. frihet er delvis begrenset av markedet: " -"drivstoffeffektivitet drops som farten Ã¸ker, dermed bensinprisen indirekte " -"begrenser hastighet. og endelig normer for et fellesskap kan eller kan ikke " -"begrense friheten til Ã¥ Ã¸ke. kjÃ¸re pÃ¥ 50 mph av en skole i nabolaget ditt " -"eget og du sannsynligvis til Ã¥ bli straffet av naboene. samme normen ville " -"ikke vÃ¦re sÃ¥ effektiv i en annen by, eller om natten." - -#. f3 -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"By describing the way law affects the other three modalities, I don't mean " -"to suggest that the other three don't affect law. Obviously, they do. Law's " -"only distinction is that it alone speaks as if it has a right self-" -"consciously to change the other three. The right of the other three is more " -"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of " -"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " -"Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal " -"Studies</citetitle>, June 1998." -msgstr "" -"ved Ã¥ beskrive hvordan trenger ikke loven pÃ¥virker andre tre metoder, jeg " -"bety Ã¥ foreslÃ¥ at tre andre ikke pÃ¥virker lov. SelvfÃ¸lgelig, de gjÃ¸r. law's " -"eneste forskjellen er at det alene snakker som om den har en rett " -"selvbevisst til Ã¥ endre de andre tre. hÃ¸yre for tre andre uttrykkes mer " -"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new " -"york: grunnleggende bÃ¸ker, 1999): 90Â95; Lawrence lessig, \"den nye chicago " -"skolen,\" journal of Jusstudier, Juni 1998." - -#. PAGE BREAK 135 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The final point about this simple model should also be fairly clear: While " -"these four modalities are analytically independent, law has a special role " -"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " -"other words, sometimes operates to increase or decrease the constraint of a " -"particular modality. Thus, the law might be used to increase taxes on " -"gasoline, so as to increase the incentives to drive more slowly. The law " -"might be used to mandate more speed bumps, so as to increase the difficulty " -"of driving rapidly. The law might be used to fund ads that stigmatize " -"reckless driving. Or the law might be used to require that other laws be " -"more strict—a federal requirement that states decrease the speed " -"limit, for example—so as to decrease the attractiveness of fast " -"driving." -msgstr "" - -#. type: Content of: <book><part><chapter><figure><title> -msgid "Law has a special role in affecting the three." -msgstr "Lovverket har en spesiell rolle i Ã¥ pÃ¥virke disse tre." - -#. type: Content of: <book><part><chapter><figure> -msgid "<graphic fileref=\"images/1361.png\"></graphic>" -msgstr "<graphic fileref=\"images/1361.png\"></graphic>" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "Americans with Disabilities Act (1990)" -msgstr "amerikanerne med funksjonshemminger act (1990)" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Commons, John R." -msgstr "Commons, John R." - -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Some people object to this way of talking about <quote>liberty.</quote> They " -"object because their focus when considering the constraints that exist at " -"any particular moment are constraints imposed exclusively by the government. " -"For instance, if a storm destroys a bridge, these people think it is " -"meaningless to say that one's liberty has been restrained. A bridge has " -"washed out, and it's harder to get from one place to another. To talk about " -"this as a loss of freedom, they say, is to confuse the stuff of politics " -"with the vagaries of ordinary life. I don't mean to deny the value in this " -"narrower view, which depends upon the context of the inquiry. I do, however, " -"mean to argue against any insistence that this narrower view is the only " -"proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come " -"from a long tradition of political thought with a broader focus than the " -"narrow question of what the government did when. John Stuart Mill defended " -"freedom of speech, for example, from the tyranny of narrow minds, not from " -"the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</" -"citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons " -"famously defended the economic freedom of labor from constraints imposed by " -"the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom " -"Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected " -"Essays</citetitle> (London: Routledge: 1997), 62. The Americans with " -"Disabilities Act increases the liberty of people with physical disabilities " -"by changing the architecture of certain public places, thereby making access " -"to those places easier; 42 <citetitle>United States Code</citetitle>, " -"section 12101 (2000). Each of these interventions to change existing " -"conditions changes the liberty of a particular group. The effect of those " -"interventions should be accounted for in order to understand the effective " -"liberty that each of these groups might face. <placeholder type=\"indexterm" -"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" -"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" -msgstr "" -"noen mennesker objektet til denne mÃ¥ten av snakker om \"frihet.\" de " -"objektet fordi deres fokus nÃ¥r de vurderer begrensninger som finnes pÃ¥ et " -"bestemt tidspunkt er begrensninger pÃ¥lagt utelukkende av regjeringen. for " -"eksempel, hvis en storm Ã¸delegger en bro, tror disse folk det er meningslÃ¸st " -"Ã¥ si at en frihet har vÃ¦rt behersket. en bro er vasket ut, og det er " -"vanskeligere for Ã¥ fÃ¥ fra ett sted til et annet. Ã¥ snakke om dette som et " -"tap av frihet, de sier, er Ã¥ forvirre ting av politikk med vagaries av " -"ordinÃ¦rt liv. Jeg trenger ikke bety Ã¥ nekte verdien i denne smalere " -"visningen, som er avhengig av konteksten for henvendelsen. Jeg gjÃ¸r, men " -"mener Ã¥ argumentere mot eventuelle insisterte pÃ¥ 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 " -"spÃ¸rsmÃ¥let om hva regjeringen gjorde nÃ¥r. John stuart mill forsvarte " -"ytringsfriheten, for eksempel fra tyranni av trange sinn, ikke fra frykt for " -"regjeringen rettsforfÃ¸lgelse; John stuart mill, pÃ¥ frihet (indiana: hackett " -"publishing co., 1978), 19. John r. commons forsvarte famously Ã¸konomiske " -"friheten av arbeidskraft fra begrensninger pÃ¥lagt 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 Ã¸ker frihet for personer med " -"funksjonshemninger ved Ã¥ endre arkitekturen i visse offentlige steder, og " -"dermed gjÃ¸r tilgang til de plasserer enklere; 42 united states code, delen " -"12101 (2000). hver av disse intervensjoner for Ã¥ endre eksisterende " -"betingelser, endres frihet Ã¥ en bestemt gruppe. effekten av disse tiltakene " -"bÃ¸r tas med i betraktningen for Ã¥ forstÃ¥ den effektive frihet at hver av " -"disse gruppene kan gjÃ¸re ansiktet." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"These constraints can thus change, and they can be changed. To understand " -"the effective protection of liberty or protection of property at any " -"particular moment, we must track these changes over time. A restriction " -"imposed by one modality might be erased by another. A freedom enabled by one " -"modality might be displaced by another.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><title> -msgid "Why Hollywood Is Right" -msgstr "Hvorfor Hollywood har rett" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "four regulatory modalities on" -msgstr "fire regulatoriske modaliteter pÃ¥" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The most obvious point that this model reveals is just why, or just how, " -"Hollywood is right. The copyright warriors have rallied Congress and the " -"courts to defend copyright. This model helps us see why that rallying makes " -"sense." -msgstr "" -"det mest Ã¥penbare punktet som denne modellen avslÃ¸rer er bare hvorfor eller " -"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og " -"domstolene Ã¥ forsvare copyright. Denne modellen hjelper oss se hvorfor denne " -"samlingspunkt fornuftig." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let's say this is the picture of copyright's regulation before the Internet:" -msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" - -#. type: Content of: <book><part><chapter><section><figure><title> -#, mtrans, fuzzy -msgid "Copyright's regulation before the Internet." -msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" - -#. PAGE BREAK 136 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There is balance between law, norms, market, and architecture. The law " -"limits the ability to copy and share content, by imposing penalties on those " -"who copy and share content. Those penalties are reinforced by technologies " -"that make it hard to copy and share content (architecture) and expensive to " -"copy and share content (market). Finally, those penalties are mitigated by " -"norms we all recognize—kids, for example, taping other kids' records. " -"These uses of copyrighted material may well be infringement, but the norms " -"of our society (before the Internet, at least) had no problem with this form " -"of infringement." -msgstr "" -"Det er balansen mellom lov, normer, markedet og arkitektur. loven begrenser " -"muligheten til Ã¥ kopiere og dele innhold, ved Ã¥ angi strafferammer for de " -"som kopiere og dele innhold. disse straffer er forsterket av teknologier som " -"gjÃ¸r det vanskelig Ã¥ kopiere og dele innhold (arkitektur) og det er dyrt Ã¥ " -"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 vÃ¦re brudd, men normer for " -"vÃ¥rt samfunn (fÃ¸r Internett, minst) hadde ingen problemer med denne form for " -"krenkelse av." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright regulatory balance lost with" -msgstr "opphavsrett regulatoriske balanse mistet med" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "regulatory balance lost in" -msgstr "regulatoriske balanse tapt i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MP3s" -msgstr "MP3-er" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Enter the Internet, or, more precisely, technologies such as MP3s and p2p " -"sharing. Now the constraint of architecture changes dramatically, as does " -"the constraint of the market. And as both the market and architecture relax " -"the regulation of copyright, norms pile on. The happy balance (for the " -"warriors, at least) of life before the Internet becomes an effective state " -"of anarchy after the Internet." -msgstr "" -"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. " -"nÃ¥ begrensningen av arkitektur endres dramatisk, som gjÃ¸r begrensningen av " -"markedet. og som bÃ¥de markedet og arkitektur kan du slappe av med regulering " -"av copyright, normer haug pÃ¥. happy saldoen (for krigere, minst) av livet " -"fÃ¸r Internett blir en effektiv stat av anarchy etter Internett." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "technology" -msgstr "teknologi" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "established industries threatened by changes in" -msgstr "etablert industri truet av endringer i" - -#. PAGE BREAK 137 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Thus the sense of, and justification for, the warriors' response. " -"Technology has changed, the warriors say, and the effect of this change, " -"when ramified through the market and norms, is that a balance of protection " -"for the copyright owners' rights has been lost. This is Iraq after the fall " -"of Saddam, but this time no government is justifying the looting that " -"results." -msgstr "" -"SÃ¥ledes fÃ¸lelse av, og den begrunnelsen for warriors' svar. teknologi er " -"endret, krigere, sier, og effekten av denne endringen, nÃ¥r ramified gjennom " -"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes " -"rettigheter har gÃ¥tt tapt. Dette er Irak etter fallet av saddam, men denne " -"gangen ingen regjering er rettferdiggjÃ¸rende looting resultater." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "effective state of anarchy after the Internet." -msgstr "effektiv tilstand av anarki etter Internettet." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1381.png\"></graphic>" -msgstr "<graphic fileref=\"images/1381.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Commerce, U.S. Department of" -msgstr "handel-setningsdelen i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "as establishment protectionism" -msgstr "som etablering proteksjonistisk" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Neither this analysis nor the conclusions that follow are new to the " -"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce " -"Department (one heavily influenced by the copyright warriors) in 1995, this " -"mix of regulatory modalities had already been identified and the strategy to " -"respond already mapped. In response to the changes the Internet had " -"effected, the White Paper argued (1) Congress should strengthen intellectual " -"property law, (2) businesses should adopt innovative marketing techniques, " -"(3) technologists should push to develop code to protect copyrighted " -"material, and (4) educators should educate kids to better protect copyright." -msgstr "" -"Denne analysen verken konklusjonene som fÃ¸lger er en ny warriors. faktisk i " -"en \"hvitbok\" utarbeidet av commerce department (en sterkt pÃ¥virket av " -"opphavsrett warriors) i 1995, denne blandingen av regulatoriske modaliteter " -"hadde allerede identifisert og strategi for Ã¥ svare allerede tilordnet. svar " -"pÃ¥ endringene Internett hadde berÃ¸rt, hevdet den tekniske beskrivelsen (1) " -"Kongressen bÃ¸r styrke lovgivning for immaterielle, (2) bedrifter skal vedta " -"innovativ markedsfÃ¸ring teknikker, (3) Teknologorganisasjon push for Ã¥ " -"utvikle kode for Ã¥ beskytte opphavsrettsbeskyttet materiale og (4) lÃ¦rere " -"skal utdanne barn Ã¥ bedre beskytte opphavsretten." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "farming" -msgstr "landbruk" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "steel industry" -msgstr "stÃ¥lindustri" - -#. PAGE BREAK 138 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This mixed strategy is just what copyright needed—if it was to " -"preserve the particular balance that existed before the change induced by " -"the Internet. And it's just what we should expect the content industry to " -"push for. It is as American as apple pie to consider the happy life you have " -"as an entitlement, and to look to the law to protect it if something comes " -"along to change that happy life. Homeowners living in a flood plain have no " -"hesitation appealing to the government to rebuild (and rebuild again) when a " -"flood (architecture) wipes away their property (law). Farmers have no " -"hesitation appealing to the government to bail them out when a virus " -"(architecture) devastates their crop. Unions have no hesitation appealing to " -"the government to bail them out when imports (market) wipe out the U.S. " -"steel industry." -msgstr "" -"Dette blandet strategi er bare hva copyright needed—Hvis det var Ã¥ " -"bevare bestemt saldoen som eksisterte fÃ¸r endringen indusert av Internett. " -"og det er akkurat hva vi kan forvente innhold industrien Ã¥ presse for. Det " -"er sÃ¥ amerikanske som eplepai Ã¥ vurdere det lykkelige liv som du har som en " -"rettighet, og for Ã¥ se til lov til Ã¥ beskytte det hvis noe kommer til Ã¥ " -"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nÃ¸le " -"appellere til regjeringen Ã¥ gjenoppbygge (og gjenoppbygging igjen) nÃ¥r en " -"flom (arkitektur) tÃ¸rke bort deres eiendom (lov). bÃ¸nder har ingen nÃ¸le " -"appellere til regjeringen Ã¥ kausjon dem ut nÃ¥r et virus (arkitektur) " -"devastates deres BeskjÃ¦r. fagforeninger har ingen nÃ¸le appellere til " -"regjeringen Ã¥ kausjon dem. NÃ¥r import (markedet) tÃ¸rke ut amerikanske stÃ¥l " -"industrien." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Thus, there's nothing wrong or surprising in the content industry's campaign " -"to protect itself from the harmful consequences of a technological " -"innovation. And I would be the last person to argue that the changing " -"technology of the Internet has not had a profound effect on the content " -"industry's way of doing business, or as John Seely Brown describes it, its " -"<quote>architecture of revenue.</quote>" -msgstr "" -"SÃ¥ledes, det er ingenting galt eller overraskende i innhold bransjens " -"kampanje til Ã¥ beskytte seg fra skadelige konsekvensene av en teknologisk " -"innovasjon. og jeg vil vÃ¦re den siste personen som hevder at den endrede " -"teknologien pÃ¥ Internett ikke har hatt en dyp effekt pÃ¥ innhold bransjens " -"mÃ¥ten Ã¥ drive virksomhet, eller som john seely brown beskriver den, dens " -"\"arkitektur av inntekter.\"" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "railroad industry" -msgstr "jernbaneindustri" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "remote channel changers" -msgstr "Medieskiftere for ekstern kanal" - -#. f5 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</" -"quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of " -"Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak " -"Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But just because a particular interest asks for government support, it " -"doesn't follow that support should be granted. And just because technology " -"has weakened a particular way of doing business, it doesn't follow that the " -"government should intervene to support that old way of doing business. " -"Kodak, for example, has lost perhaps as much as 20 percent of their " -"traditional film market to the emerging technologies of digital cameras." -"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " -"should ban digital cameras just to support Kodak? Highways have weakened the " -"freight business for railroads. Does anyone think we should ban trucks from " -"roads <emphasis>for the purpose of</emphasis> protecting the railroads? " -"Closer to the subject of this book, remote channel changers have weakened " -"the <quote>stickiness</quote> of television advertising (if a boring " -"commercial comes on the TV, the remote makes it easy to surf ), and it may " -"well be that this change has weakened the television advertising market. But " -"does anyone believe we should regulate remotes to reinforce commercial " -"television? (Maybe by limiting them to function only once a second, or to " -"switch to only ten channels within an hour?)" -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "free market, technological changes in" -msgstr "frie marked, teknologiske endringer i" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Brezhnev, Leonid" -msgstr "Brezhnev, Leonid" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Gates, Bill" -msgstr "Gates, Bill" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "market competition" -msgstr "markedskonkurranse" - -#. f6 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " -"1994), 170–71." -msgstr "" -"Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The obvious answer to these obviously rhetorical questions is no. In a free " -"society, with a free market, supported by free enterprise and free trade, " -"the government's role is not to support one way of doing business against " -"others. Its role is not to pick winners and protect them against loss. If " -"the government did this generally, then we would never have any progress. As " -"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " -"patents, <quote>established companies have an interest in excluding future " -"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative " -"to a startup, established companies also have the means. (Think RCA and FM " -"radio.) A world in which competitors with new ideas must fight not only the " -"market but also the government is a world in which competitors with new " -"ideas will not succeed. It is a world of stasis and increasingly " -"concentrated stagnation. It is the Soviet Union under Brezhnev." -msgstr "" -"Det Ã¥penbare svaret pÃ¥ disse Ã¥penbart retoriske spÃ¸rsmÃ¥lene er nei. I et " -"fritt samfunn, med et fritt marked, stÃ¸ttet av frie markedsaktÃ¸rer og fri " -"handel, er ikke myndighetenes rolle Ã¥ stÃ¸tte en bestemt mÃ¥te Ã¥ gjÃ¸re " -"forretninger mot andre mÃ¥ter. Deres rolle er ikke Ã¥ velge vinnere og " -"beskytte dem mot tap. Hvis myndighetene gjorde dette generelt, sÃ¥ ville vi " -"aldri fÃ¥ noen fremgang. Bill Gates, styrelederen i Microsoft, skrev i 1991 " -"i et notat soma kritiserte programvarepatenter at <quote>etablerte selskaper " -"har interesse av Ã¥ eksludere fremtidige konkurrenter</quote>.<placeholder " -"type=\"footnote\" id=\"0\"/> Og i forhold til et nystartet selskap har " -"etablerte selskaper ogsÃ¥ andre virkemidler. (Tenk RCA og FM-radio.) En " -"verden hvor konkurrenter med nye idÃ©er mÃ¥ sloss ikke bare mot markedet men " -"ogsÃ¥ mot myndighetene er en verden hvor konkurrenter med nye idÃ©er ikke vil " -"lykkes. Det er en verden i stillstand og Ã¸kende konsentrert stagnering. " -"Det er sovjetunionen under Brezhnev." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Thus, while it is understandable for industries threatened with new " -"technologies that change the way they do business to look to the government " -"for protection, it is the special duty of policy makers to guarantee that " -"that protection not become a deterrent to progress. It is the duty of policy " -"makers, in other words, to assure that the changes they create, in response " -"to the request of those hurt by changing technology, are changes that " -"preserve the incentives and opportunities for innovation and change." -msgstr "" -"dermed mens det er forstÃ¥elig for bransjer som er truet med nye teknologier " -"som endrer mÃ¥ten de gjÃ¸r forretninger Ã¥ se til regjeringen for beskyttelse, " -"er det en spesiell plikt for beslutningstakere Ã¥ garantere at beskyttelse " -"ikke blir et avskrekkende til fremgang. Det er plikten til " -"beslutningstakere, med andre ord, Ã¥ sikre at endringene de oppretter, svar " -"pÃ¥ forespÃ¸rsel fra de vondt ved Ã¥ endre teknologi, er endringer som bevare " -"insentiver og muligheter for innovasjon og endre." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "speech, freedom of" -msgstr "talefrihet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional guarantee of" -msgstr "konstitusjonelle garanti for" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In the context of laws regulating speech—which include, obviously, " -"copyright law—that duty is even stronger. When the industry " -"complaining about changing technologies is asking Congress to respond in a " -"way that burdens speech and creativity, policy makers should be especially " -"wary of the request. It is always a bad deal for the government to get into " -"the business of regulating speech markets. The risks and dangers of that " -"game are precisely why our framers created the First Amendment to our " -"Constitution: <quote>Congress shall make no law … abridging the " -"freedom of speech.</quote> So when Congress is being asked to pass laws that " -"would <quote>abridge</quote> the freedom of speech, it should ask— " -"carefully—whether such regulation is justified." -msgstr "" -"i sammenheng med lover som regulerer tale—, og som omfatter, " -"tydeligvis, copyright lov—at plikt er enda sterkere. NÃ¥r industrien " -"klagende om hvordan du endrer teknologier ber Kongressen til Ã¥ svare pÃ¥ en " -"mÃ¥te som byrder tale og kreativitet, bÃ¸r beslutningstakere vÃ¦re spesielt " -"skeptisk til forespÃ¸rselen. Det er alltid en dÃ¥rlig deal for regjeringen Ã¥ " -"komme inn i virksomheten av regulerer tale markeder. risikoer og farer av " -"spillet er nÃ¸yaktig hvorfor vÃ¥re underskrev opprettet den fÃ¸rste endringen " -"til vÃ¥r grunnlov: \"Kongressen skal gjÃ¸re ingen lov... abridging friheten " -"til tale.\" sÃ¥ nÃ¥r Kongressen blir bedt om Ã¥ passere lovgivning som ville " -"\"abridge\" ytringsfriheten, det bÃ¸r spÃ¸rre—nÃ¸ye—om slike " -"regulering er begrunnet." - -#. PAGE BREAK 140 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My argument just now, however, has nothing to do with whether the changes " -"that are being pushed by the copyright warriors are <quote>justified.</" -"quote> My argument is about their effect. For before we get to the question " -"of justification, a hard question that depends a great deal upon your " -"values, we should first ask whether we understand the effect of the changes " -"the content industry wants." -msgstr "" -"mitt argument akkurat nÃ¥, men har ingenting Ã¥ gjÃ¸re med om endringene som " -"skyves av opphavsrett krigerne er \"blokkjustert.\" mitt argument er om " -"deres effekt. for fÃ¸r vi komme til spÃ¸rsmÃ¥let om berettigelse, et vanskelig " -"spÃ¸rsmÃ¥l som mye avhenger av verdier, bÃ¸r vi fÃ¸rst be om vi forstÃ¥r effekten " -"av endringene innhold industrien Ã¸nsker." - -#. type: Content of: <book><part><chapter><section><para> -msgid "Here's the metaphor that will capture the argument to follow." -msgstr "Her kommer metaforen som vil forklare argumentet." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MÃ¼ller, Paul Hermann" -msgstr "MÃ¼ller, Paul Hermann" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "DDT" -msgstr "DDT" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "insecticide, environmental consequences of" -msgstr "insektmiddel, miljÃ¸konsekvensene fra" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul " -"Hermann MÃ¼ller 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 kjemikaliet DDT syntesert fÃ¸rste gang. I 1948 vant den " -"sveitsiske kjemikeren Paul Hermann MÃ¼ller nobelprisen for sitt arbeide med Ã¥ " -"demonstrere de insektsdrepende egenskapene til DDT. I lÃ¸pet av 1950-tallet " -"ble insektsmiddelet mye brukt rundt om i verden for Ã¥ drepe sykdomsbÃ¦rende " -"skadedyr. Det ble ogsÃ¥ brukt til Ã¥ Ã¸ke landbruksproduksjon." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"No one doubts that killing disease-carrying pests or increasing crop " -"production is a good thing. No one doubts that the work of MÃ¼ller was " -"important and valuable and probably saved lives, possibly millions." -msgstr "" -"Ingen tviler pÃ¥ at det er en god ting Ã¥ drepe sykdomsbÃ¦rende skadedyr eller " -"Ã¥ Ã¸ke avlingene. Og ingen tviler pÃ¥ at arbeidet til MÃ¼ller var viktig og " -"verdifult, og antagelig sparte liv, kanskje millioner av liv." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Carson, Rachel" -msgstr "Carson, Rachel" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Silent Spring (Carson)" -msgstr "Silent Spring (Carson)" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "environmentalism" -msgstr "environmentalism" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " -"which argued that DDT, whatever its primary benefits, was also having " -"unintended environmental consequences. Birds were losing the ability to " -"reproduce. Whole chains of the ecology were being destroyed." -msgstr "" -"men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " -"dens primÃ¦re fordeler, hadde ogsÃ¥ utilsiktede miljÃ¸messige konsekvenser. " -"fugler var Ã¥ miste muligheten til Ã¥ reprodusere. hele kjeder av Ã¸kologi ble " -"blir Ã¸delagt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"No one set out to destroy the environment. Paul MÃ¼ller 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 Ã¥ Ã¸delegge miljÃ¸et. Paul mÃ¼ller sikkert ikke mÃ¥l Ã¥ skade " -"noen fugler. men arbeidet med Ã¥ lÃ¸se ett sett med problemer produsert et " -"annet sett som i visningen av noen, var langt verre enn problemene som " -"opprinnelig ble angrepet. eller mer nÃ¸yaktig problemer ddt forÃ¥rsaket var " -"verre enn problemer det lÃ¸st, minst nÃ¥r de vurderer den andre, mer " -"miljÃ¸vennlig mÃ¥ten Ã¥ lÃ¸se problemer som ddt var ment Ã¥ lÃ¸se." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Boyle, James" -msgstr "Boyle, James" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "innovative freedom balanced with fair compensation in" -msgstr "nyskapende frihet balansert med rettferdig kompensasjon i" - -#. f7 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See, for example, James Boyle, <quote>A Politics of Intellectual Property: " -"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" -"citetitle> 47 (1997): 87." -msgstr "" -"Se for eksempel James Boyle, <quote>A Politics of Intellectual Property: " -"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" -"citetitle> 47 (1997): 87." - -#. PAGE BREAK 141 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"It is to this image precisely that Duke University law professor James Boyle " -"appeals when he argues that we need an <quote>environmentalism</quote> for " -"culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I " -"want to develop in the balance of this chapter, is not that the aims of " -"copyright are flawed. Or that authors should not be paid for their work. Or " -"that music should be given away <quote>for free.</quote> The point is that " -"some of the ways in which we might protect authors will have unintended " -"consequences for the cultural environment, much like DDT had for the natural " -"environment. And just as criticism of DDT is not an endorsement of malaria " -"or an attack on farmers, so, too, is criticism of one particular set of " -"regulations protecting copyright not an endorsement of anarchy or an attack " -"on authors. It is an environment of creativity that we seek, and we should " -"be aware of our actions' effects on the environment." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My argument, in the balance of this chapter, tries to map exactly this " -"effect. No doubt the technology of the Internet has had a dramatic effect on " -"the ability of copyright owners to protect their content. But there should " -"also be little doubt that when you add together the changes in copyright law " -"over time, plus the change in technology that the Internet is undergoing " -"just now, the net effect of these changes will not be only that copyrighted " -"work is effectively protected. Also, and generally missed, the net effect of " -"this massive increase in protection will be devastating to the environment " -"for creativity." -msgstr "" -"mitt argument, i balanse av dette kapitlet, prÃ¸ver Ã¥ tilordne nÃ¸yaktig denne " -"effekten. teknologi pÃ¥ Internett har ingen tvil hadde en dramatisk effekt pÃ¥ " -"evnen til eiere av opphavsretter Ã¥ beskytte innholdet sitt. men det bÃ¸r ogsÃ¥ " -"vÃ¦re liten tvil om at nÃ¥r du legger sammen endringene i lov om opphavsrett " -"over tid, i tillegg til endringen i teknologi som Internett er under akkurat " -"nÃ¥, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet " -"arbeid effektivt er beskyttet. ogsÃ¥, og generelt savnet, vil netto effekt av " -"denne massive Ã¸kningen i beskyttelse vÃ¦re Ã¸deleggende for miljÃ¸et for " -"kreativitet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In a line: To kill a gnat, we are spraying DDT with consequences for free " -"culture that will be far more devastating than that this gnat will be lost." -msgstr "" -"i en linje: for Ã¥ drepe en mygg, er vi sprÃ¸yting ddt med konsekvenser, for " -"fri kultur som vil vÃ¦re langt mer Ã¸deleggende enn denne mygg, vil gÃ¥ tapt." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Beginnings" -msgstr "Opphav" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "on creative property" -msgstr "pÃ¥ kreative eiendom" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright purpose established in" -msgstr "opphavsrett formÃ¥l som er etablert i" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "Progress Clause of" -msgstr "fremdrift-setningsdelen i" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional purpose of" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional tradition on" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Progress Clause" -msgstr "handel-setningsdelen i" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"America copied English copyright law. Actually, we copied and improved " -"English copyright law. Our Constitution makes the purpose of <quote>creative " -"property</quote> rights clear; its express limitations reinforce the English " -"aim to avoid overly powerful publishers." -msgstr "" -"Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og forbedret " -"engelsk lov om opphavsrett. vÃ¥r grunnlov gjÃ¸r formÃ¥let med \"creative " -"property\" fjerner du rettigheter; uttrykkelig begrensninger forsterke den " -"engelske mÃ¥l Ã¥ unngÃ¥ altfor kraftig utgivere." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "in constitutional Progress Clause" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The power to establish <quote>creative property</quote> rights is granted to " -"Congress in a way that, for our Constitution, at least, is very odd. Article " -"I, section 8, clause 8 of our Constitution states that:" -msgstr "" -"makt til Ã¥ etablere \"kreative\" eiendomsrettigheter gis til Kongressen pÃ¥ " -"en mÃ¥te som for vÃ¥r grunnlov, minst, er veldig rart. artikkel, del 8, 8-" -"setningsdelen i vÃ¥r grunnlov sier at:" - -#. PAGE BREAK 142 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Congress has the power to promote the Progress of Science and useful Arts, " -"by securing for limited Times to Authors and Inventors the exclusive Right " -"to their respective Writings and Discoveries. We can call this the " -"<quote>Progress Clause,</quote> for notice what this clause does not say. It " -"does not say Congress has the power to grant <quote>creative property rights." -"</quote> It says that Congress has the power <emphasis>to promote progress</" -"emphasis>. The grant of power is its purpose, and its purpose is a public " -"one, not the purpose of enriching publishers, nor even primarily the purpose " -"of rewarding authors." -msgstr "" -"Kongressen har makt til Ã¥ fremme utviklingen av vitenskap og nyttig kunst, " -"ved Ã¥ sikre begrenset ganger til forfattere og oppfinnere den eksklusive " -"retten til deres respektive skrifter og funn. Vi kan kalle dette den " -"\"fremgang setningen,\" for Ã¥ se hva denne bestemmelsen ikke si. Det er ikke " -"si Kongressen har makt til Ã¥ gi \"kreative egenskapen rettigheter.\" det " -"stÃ¥r at Kongressen har makt til Ã¥ fremme fremdrift. grant strÃ¸m er formÃ¥let, " -"og formÃ¥let er en offentlig, ikke hensikten med berikende utgivere, eller " -"med hovedsakelig formÃ¥let med givende forfatternes." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "history of American" -msgstr "historie for Amerikansk" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Progress Clause expressly limits the term of copyrights. As we saw in " -"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the " -"English limited the term of copyright so as to assure that a few would not " -"exercise disproportionate control over culture by exercising " -"disproportionate control over publishing. We can assume the framers followed " -"the English for a similar purpose. Indeed, unlike the English, the framers " -"reinforced that objective, by requiring that copyrights extend <quote>to " -"Authors</quote> only." -msgstr "" -"fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. som " -"vi sÃ¥ i kapittel 6, ville engelsk begrenset av copyright Ã¥ forsikre om at " -"noen ikke utÃ¸ve uforholdsmessig kontroll over kultur ved Ã¥ trene " -"uforholdsmessig kontroll over publisering. Vi kan anta underskrev etterfulgt " -"engelsk for lignende formÃ¥l. faktisk, i motsetning til engelsk, underskrev " -"forsterket det mÃ¥let ved Ã¥ kreve at opphavsretten utvide \"til forfattere\" " -"bare." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Senate, U.S." -msgstr "Senatet i USA" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "structural checks and balances of" -msgstr "strukturelle sjekker og Periodenes" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "electoral college" -msgstr "valgkollegiet" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The design of the Progress Clause reflects something about the " -"Constitution's design in general. To avoid a problem, the framers built " -"structure. To prevent the concentrated power of publishers, they built a " -"structure that kept copyrights away from publishers and kept them short. To " -"prevent the concentrated power of a church, they banned the federal " -"government from establishing a church. To prevent concentrating power in the " -"federal government, they built structures to reinforce the power of the " -"states—including the Senate, whose members were at the time selected " -"by the states, and an electoral college, also selected by the states, to " -"select the president. In each case, a <emphasis>structure</emphasis> built " -"checks and balances into the constitutional frame, structured to prevent " -"otherwise inevitable concentrations of power." -msgstr "" -"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " -"design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " -"vil hindre at konsentrert strÃ¸m av utgivere, bygget de en struktur som holdt " -"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at " -"konsentrert strÃ¸m av en kirke, forbudt de den fÃ¸derale regjeringen fra Ã¥ " -"etablere en kirke. Ã¥ hindre konsentrere seg makten i den fÃ¸derale " -"regjeringen, de bygget strukturer for Ã¥ forsterke kraften i USA—" -"inkludert Senatet, der medlemmene var pÃ¥ tiden som er valgt av USA, og en " -"valg college, ogsÃ¥ valgt av USA, Ã¥ velge presidenten. i hvert tilfelle, en " -"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, " -"strukturert for Ã¥ hindre at ellers uunngÃ¥elig konsentrasjoner av makt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I doubt the framers would recognize the regulation we call <quote>copyright</" -"quote> today. The scope of that regulation is far beyond anything they ever " -"considered. To begin to understand what they did, we need to put our " -"<quote>copyright</quote> in context: We need to see how it has changed in " -"the 210 years since they first struck its design." -msgstr "" -"Jeg tviler underskrev ville anerkjenne regulering vi kaller \"copyright\" i " -"dag. omfanget av denne forskriften er langt overgÃ¥r alt de noensinne " -"vurdert. Hvis du vil begynne Ã¥ forstÃ¥ hva de gjorde, vi trenger Ã¥ sette vÃ¥r " -"\"copyright\" i sammenheng: vi trenger Ã¥ se hvordan det har endret i 210 " -"Ã¥rene siden de fÃ¸rst slo sin design." - -#. PAGE BREAK 143 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Some of these changes come from the law: some in light of changes in " -"technology, and some in light of changes in technology given a particular " -"concentration of market power. In terms of our model, we started here:" -msgstr "" -"noen av disse endringene kommer fra loven: noen i lys av endringer i " -"teknologi, og noen i lys av endringer i teknologi gitt en bestemt " -"konsentrasjon av markedets makt. NÃ¥r det gjelder vÃ¥r modell startet vi her:" - -#. type: Content of: <book><part><chapter><section><para> -msgid "We will end here:" -msgstr "Vi kommer til Ã¥ ende opp her:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "<quote>Copyright</quote> today." -msgstr "<quote>Opphavsrett</quote> i dag." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1442.png\"></graphic>" -msgstr "<graphic fileref=\"images/1442.png\"></graphic>" - -#. PAGE BREAK 144 -#. type: Content of: <book><part><chapter><section><para> -msgid "Let me explain how." -msgstr "La meg forklare hvordan." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Law: Duration" -msgstr "Loven: Varighet" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Copyright Act (1790)" -msgstr "Berlin act (1908)" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "common law protections of" -msgstr "komponister, copyright beskyttelse av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "balance of U.S. content in" -msgstr "balanse mellom you.s. innhold i" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Crosskey, William W." -msgstr "Crosskey, William W." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"William W. Crosskey, <citetitle>Politics and the Constitution in the History " -"of the United States</citetitle> (London: Cambridge University Press, 1953), " -"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the " -"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " -"or were supposed by some to have, under the Common Law</emphasis></quote> " -"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"William W. Crosskey, politikk og Grunnloven i historien av USA (London: " -"Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved " -"vanlig implikasjon av\"Ã¸verstkommanderende lov av land\", evigvarende " -"rettigheter som forfattere hadde eller skulle etter noen Ã¥ ha, under felles " -"lov\" (vekt legges til)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"When the first Congress enacted laws to protect creative property, it faced " -"the same uncertainty about the status of creative property that the English " -"had confronted in 1774. Many states had passed laws protecting creative " -"property, and some believed that these laws simply supplemented common law " -"rights that already protected creative authorship.<placeholder type=" -"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " -"domain in the United States in 1790. If copyrights were protected by the " -"common law, then there was no simple way to know whether a work published in " -"the United States was controlled or free. Just as in England, this lingering " -"uncertainty would make it hard for publishers to rely upon a public domain " -"to reprint and distribute works." -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "federal vs. state" -msgstr "fÃ¸derale vs. tilstand" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"That uncertainty ended after Congress passed legislation granting " -"copyrights. Because federal law overrides any contrary state law, federal " -"protections for copyrighted works displaced any state law protections. Just " -"as in England the Statute of Anne eventually meant that the copyrights for " -"all English works expired, a federal statute meant that any state copyrights " -"expired as well." -msgstr "" -"Det usikkerheten tok slutt da kongressen vedtok lovgivning som tildelte " -"opphavsrettigheter. Da fÃ¸deral lov overstyrer medlemsstatenes lov, " -"fortrengte fÃ¸deral beskyttelse av opphavsrettslig beskyttet verk noen staten " -"lov beskyttelse. akkurat som i england betydde Vedtektene for anne til slutt " -"at opphavsretten for alle engelsk arbeider utlÃ¸pt, en fÃ¸derale vedtekter " -"betydde at staten opphavsrettigheter utlÃ¸pt ogsÃ¥." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1790, Congress enacted the first copyright law. It created a federal " -"copyright and secured that copyright for fourteen years. If the author was " -"alive at the end of that fourteen years, then he could opt to renew the " -"copyright for another fourteen years. If he did not renew the copyright, his " -"work passed into the public domain." -msgstr "" -"i 1790 vedtatt Kongressen den fÃ¸rste lov om opphavsrett. den opprettet en " -"fÃ¸derale copyright og sikret at copyright for fjorten Ã¥r. Hvis forfatteren " -"var Live pÃ¥ slutten av at fjorten Ã¥r, kan han velge for Ã¥ fornye " -"opphavsretten for en annen fjorten Ã¥r. Hvis han ikke fornye opphavsretten, " -"bestÃ¥tt hans arbeid i public domain." - -#. f9 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Although 13,000 titles were published in the United States from 1790 to " -"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " -"History of Book Publishing in the United States</citetitle>, vol. 1, " -"<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " -"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " -"twelve were copyrighted under the 1790 act; William J. Maher, " -"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " -"1790 in Historical Context</citetitle>, 7–10 (2002), available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " -"overwhelming majority of works fell immediately into the public domain. Even " -"those works that were copyrighted fell into the public domain quickly, " -"because the term of copyright was short. The initial term of copyright was " -"fourteen years, with the option of renewal for an additional fourteen years. " -"Copyright Act of May 31, 1790, Â§1, 1 stat. 124." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"While there were many works created in the United States in the first ten " -"years of the Republic, only 5 percent of the works were actually registered " -"under the federal copyright regime. Of all the work created in the United " -"States both before 1790 and from 1790 through 1800, 95 percent immediately " -"passed into the public domain; the balance would pass into the pubic domain " -"within twenty-eight years at most, and more likely within fourteen years." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Selv om det ble skapt mange verker i USA i de fÃ¸rste 10 Ã¥rene til " -"republikken, sÃ¥ ble kun 5 prosent av verkene registrert under det fÃ¸derale " -"opphavsrettsregimet. Av alle verker skapt i USA bÃ¥de fÃ¸r 1790 og fra 1790 " -"fram til 1800, sÃ¥ ble 95 prosent Ã¸yeblikkelig allemannseie (public domain). " -"Resten ble allemannseie etter maksimalt 20 Ã¥r, og som oftest etter 14 Ã¥r." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. PAGE BREAK 145 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This system of renewal was a crucial part of the American system of " -"copyright. It assured that the maximum terms of copyright would be granted " -"only for works where they were wanted. After the initial term of fourteen " -"years, if it wasn't worth it to an author to renew his copyright, then it " -"wasn't worth it to society to insist on the copyright, either." -msgstr "" -"Dette fornyelsessystemet var en avgjÃ¸rende del av det amerikanske systemet " -"for opphavsrett. Det sikret at maksimal vernetid i opphavsretten bare ble " -"gitt til verker der det var Ã¸nsket. Etter den fÃ¸rste perioden pÃ¥ fjorten Ã¥r, " -"hvis forfatteren ikke sÃ¥ verdien av Ã¥ fornye sin opphavsrett, var det heller " -"ikke verdt det for samfunnet Ã¥ hÃ¥ndheve opphavsretten." - -#. f10 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Few copyright holders ever chose to renew their copyrights. For instance, of " -"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " -"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " -"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on " -"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), " -"618. For a more recent and comprehensive analysis, see William M. Landes and " -"Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> " -"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, " -"498–501, and accompanying figures." -msgstr "" -"noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " -"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " -"1910. for et Ã¥r etter Ã¥r analyse av opphavsrett fornyelse priser, kan du se " -"barbara a. ringer, \"studere nr. 31: fornyelse av opphavsrett,\" studier pÃ¥ " -"opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. Hvis " -"en nyere og omfattende analyse, se william m landes og richard en. Posner, " -"\"pÃ¥ ubestemt tid fornybar copyright,\" university of chicago lov gÃ¥ gjennom " -"70 (2003): 471, 498Â501 og tilhÃ¸rende tallene." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Fourteen years may not seem long to us, but for the vast majority of " -"copyright owners at that time, it was long enough: Only a small minority of " -"them renewed their copyright after fourteen years; the balance allowed their " -"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. f11 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "See Ringer, ch. 9, n. 2." -msgstr "Se Ringer, kap. 9, n. 2." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Even today, this structure would make sense. Most creative work has an " -"actual commercial life of just a couple of years. Most books fall out of " -"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " -"happens, the used books are traded free of copyright regulation. Thus the " -"books are no longer <emphasis>effectively</emphasis> controlled by " -"copyright. The only practical commercial use of the books at that time is to " -"sell the books as used books; that use—because it does not involve " -"publication—is effectively free." -msgstr "" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright terms extended by" -msgstr "opphavsrett hensikt endret av" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "term extensions in" -msgstr "sikt utvidelser i" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In the first hundred years of the Republic, the term of copyright was " -"changed once. In 1831, the term was increased from a maximum of 28 years to " -"a maximum of 42 by increasing the initial term of copyright from 14 years to " -"28 years. In the next fifty years of the Republic, the term increased once " -"again. In 1909, Congress extended the renewal term of 14 years to 28 years, " -"setting a maximum term of 56 years." -msgstr "" -"i de fÃ¸rste hundre Ã¥r av republikken ble av copyright endret Ã©n gang. i " -"1831, ble begrepet Ã¸kt fra maksimum 28 Ã¥r til maksimalt 42 ved Ã¥ Ã¸ke fÃ¸rste " -"begrepet av opphavsrett fra 14 Ã¥r til 28 Ã¥r. i de neste femti Ã¥rene av " -"Republikken begrepet Ã¸kt igjen. i 1909 utvidet Kongressen begrepet fornyelse " -"av 14 Ã¥r til 28 Ã¥r, angi en maksimal periode pÃ¥ 56 Ã¥r." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)" -msgstr "Sonny bono opphavsrett begrepet filtypen handle (ctea) (1998)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "future patents vs. future copyrights in" -msgstr "fremtidige patenter vs. fremtidige opphavsrettigheter i" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Then, beginning in 1962, Congress started a practice that has defined " -"copyright law since. Eleven times in the last forty years, Congress has " -"extended the terms of existing copyrights; twice in those forty years, " -"Congress extended the term of future copyrights. Initially, the extensions " -"of existing copyrights were short, a mere one to two years. In 1976, " -"Congress extended all existing copyrights by nineteen years. And in 1998, " -"in the Sonny Bono Copyright Term Extension Act, Congress extended the term " -"of existing and future copyrights by twenty years." -msgstr "" -"sÃ¥, begynner i 1962, Kongressen begynte en praksis som har definert " -"opphavsrett siden. elleve ganger i de siste 40 Ã¥rene, har Kongressen utvidet " -"vilkÃ¥rene i eksisterende opphavsrettigheter; to ganger i de fÃ¸rti Ã¥r utvidet " -"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var " -"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to Ã¥r. i " -"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten Ã¥r. " -"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen " -"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue Ã¥r." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "patents" -msgstr "patenter" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "in public domain" -msgstr "i allemannseie (public domain)" - -#. PAGE BREAK 146 -#. type: Content of: <book><part><chapter><section><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 utvidelsene er ganske enkelt Ã¥ skattlegge, eller forsinke, " -"nÃ¥r verk faller i det fri og blir allemannseie. Denne siste utvidelsen " -"betyr at allemannseie vil ha blitt skattlagt for trettivi av femtifem Ã¥r, " -"eller 70 prosent av tiden siden 1962. Dermed vil det i de tjue Ã¥rene etter " -"Sonny Bono-loven, samtidig som en million patenter har blitt allemannseie, " -"ikke vÃ¦re et eneste opphavsrettsbeskyttet verk som har falt i det fri takket " -"vÃ¦re utlÃ¸p av vernetiden i opphavsretten." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The effect of these extensions has been exacerbated by another, little-" -"noticed change in the copyright law. Remember I said that the framers " -"established a two-part copyright regime, requiring a copyright owner to " -"renew his copyright after an initial term. The requirement of renewal meant " -"that works that no longer needed copyright protection would pass more " -"quickly into the public domain. The works remaining under protection would " -"be those that had some continuing commercial value." -msgstr "" -"effekten av disse tilleggene har blitt forverret av en annen, lite merke " -"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt " -"opphavsrett regime, som krever en rettighetsinnehaveren Ã¥ fornye sin " -"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som " -"ikke lenger nÃ¸dvendig opphavsrettsbeskyttelse ville passere raskere i public " -"domain. works gjenvÃ¦rende under beskyttelse vil vÃ¦re de som hadde noen " -"vedvarende kommersiell verdi." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "of natural authors vs. corporations" -msgstr "av naturlige forfattere vs. selskaper" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "corporations" -msgstr "selskaper" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright terms for" -msgstr "opphavsrett vilkÃ¥r for" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The United States abandoned this sensible system in 1976. For all works " -"created after 1978, there was only one copyright term—the maximum " -"term. For <quote>natural</quote> authors, that term was life plus fifty " -"years. For corporations, the term was seventy-five years. Then, in 1992, " -"Congress abandoned the renewal requirement for all works created before " -"1978. All works still under copyright would be accorded the maximum term " -"then available. After the Sonny Bono Act, that term was ninety-five years." -msgstr "" -"USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet " -"etter 1978, var det bare en opphavsrett term—den maksimale " -"betegnelsen. for \"naturlige\" forfattere var dette ordet livet pluss femti " -"Ã¥r. for bedrifter var begrepet sytti-fem Ã¥r. deretter, i 1992, Kongressen " -"forlatt fornyelse kravet for alle arbeider opprettet fÃ¸r 1978. alle fungerer " -"fortsatt under opphavsrett ville substansiell den maksimale betegnelsen " -"deretter tilgjengelig. etter sonny bono loven, at begrepet var fem og nitti " -"Ã¥r." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This change meant that American law no longer had an automatic way to assure " -"that works that were no longer exploited passed into the public domain. And " -"indeed, after these changes, it is unclear whether it is even possible to " -"put works into the public domain. The public domain is orphaned by these " -"changes in copyright law. Despite the requirement that terms be " -"<quote>limited,</quote> we have no evidence that anything will limit them." -msgstr "" -"Denne endringen betydde at amerikansk lov ikke lenger en automatisk mÃ¥te Ã¥ " -"forsikre som fungerer som utnyttes ikke lenger sendes til public domain. og " -"faktisk, etter disse endringene, er det uklart om det er ogsÃ¥ mulig Ã¥ sette " -"fungerer i public domain. public domain er foreldrelÃ¸se av disse endringene " -"i lov om opphavsrett. til tross for kravet om at vilkÃ¥rene vÃ¦re \"begrenset" -"\", har vi ingen bevis for at noe vil begrense dem." - -#. f12 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"These statistics are understated. Between the years 1910 and 1962 (the first " -"year the renewal term was extended), the average term was never more than " -"thirty-two years, and averaged thirty years. See Landes and Posner, " -"<quote>Indefinitely Renewable Copyright,</quote> loc. cit." -msgstr "" -"disse statistikkene er undervurdert. i Ã¥rene 1910 og 1962 (det fÃ¸rste Ã¥ret " -"fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri mer enn " -"tretti-to Ã¥r, og tretti Ã¥r i gjennomsnitt. se landes og posner, \"pÃ¥ " -"ubestemt tid fornybar copyright,\" loc. cit." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The effect of these changes on the average duration of copyright is " -"dramatic. In 1973, more than 85 percent of copyright owners failed to renew " -"their copyright. That meant that the average term of copyright in 1973 was " -"just 32.2 years. Because of the elimination of the renewal requirement, the " -"average term of copyright is now the maximum term. In thirty years, then, " -"the average term has tripled, from 32.2 years to 95 years.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><title> -msgid "Law: Scope" -msgstr "Loven: VirkeomrÃ¥de" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "scope of" -msgstr "omfanget av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The <quote>scope</quote> of a copyright is the range of rights granted by " -"the law. The scope of American copyright has changed dramatically. Those " -"changes are not necessarily bad. But we should understand the extent of the " -"changes if we're to keep this debate in context." -msgstr "" -"<quote>DekningsomrÃ¥det</quote> for opphavsretten er den rekken av " -"rettighetsomrÃ¥der tildelt gjennom lovverket. DekningsomrÃ¥det for amerikansk " -"opphavsrett har endret seg dramatisk. Disse endringene er ikke nÃ¸dvendigvis " -"dÃ¥rlige, men vi bÃ¸r forstÃ¥ omfanget av endringer hvis vi skal forholde oss " -"til sammenhengen i denne debatten." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "historical shift in copyright coverage of" -msgstr "historisk endring i opphavsrettslig dekning av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1790, that scope was very narrow. Copyright covered only <quote>maps, " -"charts, and books.</quote> That means it didn't cover, for example, music or " -"architecture. More significantly, the right granted by a copyright gave the " -"author the exclusive right to <quote>publish</quote> copyrighted works. That " -"means someone else violated the copyright only if he republished the work " -"without the copyright owner's permission. Finally, the right granted by a " -"copyright was an exclusive right to that particular book. The right did not " -"extend to what lawyers call <quote>derivative works.</quote> It would not, " -"therefore, interfere with the right of someone other than the author to " -"translate a copyrighted book, or to adapt the story to a different form " -"(such as a drama based on a published book)." -msgstr "" -"i 1790 var at omfanget svÃ¦rt smale. Copyright dekket bare \"kart, diagrammer " -"og bÃ¸ker.\", 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 pÃ¥ nytt. Endelig, retten som er " -"innvilget av en opphavsrett var en eksklusiv rett til den aktuelle boken. " -"hÃ¸yre ikke strekker seg til det advokater kaller \"avledede works.\" det vil " -"ikke, derfor forstyrre retten av andre enn forfatteren Ã¥ oversette en " -"opphavsrettsbeskyttet bok, eller Ã¥ tilpasse historien til et annet skjema " -"(for eksempel et drama basert pÃ¥ en publiserte bok)." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This, too, has changed dramatically. While the contours of copyright today " -"are extremely hard to describe simply, in general terms, the right covers " -"practically any creative work that is reduced to a tangible form. It covers " -"music as well as architecture, drama as well as computer programs. It gives " -"the copyright owner of that creative work not only the exclusive right to " -"<quote>publish</quote> the work, but also the exclusive right of control " -"over any <quote>copies</quote> of that work. And most significant for our " -"purposes here, the right gives the copyright owner control over not only his " -"or her particular work, but also any <quote>derivative work</quote> that " -"might grow out of the original work. In this way, the right covers more " -"creative work, protects the creative work more broadly, and protects works " -"that are based in a significant way on the initial creative work." -msgstr "" -"Dette, ogsÃ¥, har endret seg dramatisk. mens konturene av copyright i dag er " -"ekstremt vanskelig Ã¥ beskrive bare, i generelle termer, dekker hÃ¸yre nesten " -"ethvert skapende arbeid som er redusert til en hÃ¥ndgripelig form. den dekker " -"musikk sÃ¥ vel som arkitektur, drama og programmer pÃ¥ datamaskinen. Det gir " -"eieren av opphavsretten av det kreative arbeidet ikke bare den eksklusive " -"retten til \"Publiser\" arbeidet, men ogsÃ¥ den etablerte eneretten for " -"kontroll over alle \"Kopier\" av dem som fungerer. og mest betydningsfulle " -"for vÃ¥rt formÃ¥l her, hÃ¸yre gir opphavsrettsinnehaveren-kontroll over ikke " -"bare hans eller hennes bestemt arbeid, men ogsÃ¥ noen \"avledet arbeid\" som " -"kan vokse ut av det opprinnelige arbeidet. pÃ¥ denne mÃ¥ten, hÃ¸yre dekker mer " -"kreativt arbeid, beskytter det kreative arbeidet mer forstand, og beskytter " -"verk som er basert pÃ¥ en betydelig mÃ¥te pÃ¥ det fÃ¸rste skapende arbeidet." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "marking of" -msgstr "merking av" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "formalities" -msgstr "formaliteter" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "registration requirement of" -msgstr "registreringskrav for" - -#. PAGE BREAK 148 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"At the same time that the scope of copyright has expanded, procedural " -"limitations on the right have been relaxed. I've already described the " -"complete removal of the renewal requirement in 1992. In addition to the " -"renewal requirement, for most of the history of American copyright law, " -"there was a requirement that a work be registered before it could receive " -"the protection of a copyright. There was also a requirement that any " -"copyrighted work be marked either with that famous © or the word " -"<emphasis>copyright</emphasis>. And for most of the history of American " -"copyright law, there was a requirement that works be deposited with the " -"government before a copyright could be secured." -msgstr "" -"pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " -"begrensninger til hÃ¸yre 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 fÃ¸r den kan motta beskyttelse av opphavsretten. Det " -"var ogsÃ¥ et krav at opphavsrettsbeskyttet arbeid merkes enten med det " -"berÃ¸mte Â© eller word-copyright. og for de fleste av historien til amerikansk " -"lov om opphavsrett, det var et krav at works settes med regjeringen fÃ¸r " -"opphavsretten som kan sikres." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The reason for the registration requirement was the sensible understanding " -"that for most works, no copyright was required. Again, in the first ten " -"years of the Republic, 95 percent of works eligible for copyright were never " -"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't " -"need copyright, so registration narrowed the regulation of the law to the " -"few that did. The same reasoning justified the requirement that a work be " -"marked as copyrighted—that way it was easy to know whether a copyright " -"was being claimed. The requirement that works be deposited was to assure " -"that after the copyright expired, there would be a copy of the work " -"somewhere so that it could be copied by others without locating the original " -"author." -msgstr "" -"Ã¥rsaken til registreringskrav var fornuftig forstÃ¥elsen om at for de fleste " -"arbeider, ingen opphavsrett var nÃ¸dvendig. igjen, i de fÃ¸rste ti Ã¥rene 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—mÃ¥ten " -"det var lett Ã¥ vite om en copyright ble hevdet. kravet som fungerer vÃ¦re var " -"avsatt Ã¥ sikre at etter at opphavsretten utlÃ¸pt, det ville vÃ¦re en kopi av " -"arbeidet et sted slik at den kan kopieres av andre uten Ã¥ finne den " -"opprinnelige forfatteren." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "European" -msgstr "europeiske" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"All of these <quote>formalities</quote> were abolished in the American " -"system when we decided to follow European copyright law. There is no " -"requirement that you register a work to get a copyright; the copyright now " -"is automatic; the copyright exists whether or not you mark your work with a " -"©; and the copyright exists whether or not you actually make a copy " -"available for others to copy." -msgstr "" -"alle disse \"formaliteter\" ble avskaffet i det amerikanske systemet nÃ¥r vi " -"besluttet Ã¥ fÃ¸lge europeiske lov om opphavsrett. Det er ingen krav at du " -"registrerer et arbeid for Ã¥ fÃ¥ en copyright; opphavsretten nÃ¥ er automatisk; " -"opphavsretten finnes om du merker arbeidet med en Â©; og opphavsretten finnes " -"om du faktisk lage en kopi tilgjengelig for andre Ã¥ kopiere." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Consider a practical example to understand the scope of these differences." -msgstr "" -"La oss se pÃ¥ et praktisk eksempel for Ã¥ forstÃ¥ omfanget av disse " -"forskjellene." - -#. f13 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the " -"Creation of American Literature,</quote> 29 <citetitle>New York University " -"Journal of International Law and Politics</citetitle> 255 (1997), and James " -"Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., " -"1987)." -msgstr "" -"se thomas bender og david sampliner, \"poeter, pirater og etableringen av " -"amerikansk litteratur,\" 29 new york university journal of internasjonal lov " -"og politikk 255 (1997), og james gilraeth, ed., fÃ¸derale opphavsrett " -"records, 1790Â1800 (US g.p.o., 1987)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"If, in 1790, you wrote a book and you were one of the 5 percent who actually " -"copyrighted that book, then the copyright law protected you against another " -"publisher's taking your book and republishing it without your permission. " -"The aim of the act was to regulate publishers so as to prevent that kind of " -"unfair competition. In 1790, there were 174 publishers in the United States." -"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " -"regulation of a tiny proportion of a tiny part of the creative market in the " -"United States—publishers." -msgstr "" -"Hvis du i 1790 skrev en bok og du var en av de fem prosentene som faktisk " -"registrerte opphavsretten for den boken, sÃ¥ ville opphavsrettsloven beskytte " -"deg mot at andre utgivere tok boken din og publiserte den pÃ¥ nytt uten din " -"tillatelse. MÃ¥let med loven var Ã¥ regulere utgivere for Ã¥ hindre denne " -"typen urimelig konkurranse. I 1790 var det 174 utgivere i USA.<placeholder " -"type=\"footnote\" id=\"0\"/> Opphavsrettslovgivingen var dermed en liten " -"regulering av en liten andel av et liten del av det kreative markedet i " -"USA—utgivere." - -#. PAGE BREAK 149 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The act left other creators totally unregulated. If I copied your poem by " -"hand, over and over again, as a way to learn it by heart, my act was totally " -"unregulated by the 1790 act. If I took your novel and made a play based upon " -"it, or if I translated it or abridged it, none of those activities were " -"regulated by the original copyright act. These creative activities remained " -"free, while the activities of publishers were restrained." -msgstr "" -"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet " -"for hÃ¥nd, igjen og igjen, som en mÃ¥te Ã¥ lÃ¦re det ved hjertet, var min " -"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en " -"spiller som er basert pÃ¥ det, eller hvis jeg har oversatt eller utdrag det, " -"var ingen av disse aktivitetene regulert av opprinnelige copyright act. " -"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere " -"var behersket." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Today the story is very different: If you write a book, your book is " -"automatically protected. Indeed, not just your book. Every e-mail, every " -"note to your spouse, every doodle, <emphasis>every</emphasis> creative act " -"that's reduced to a tangible form—all of this is automatically " -"copyrighted. There is no need to register or mark your work. The protection " -"follows the creation, not the steps you take to protect it." -msgstr "" -"i dag historien er svÃ¦rt 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 hÃ¥ndgripelig form—alt dette automatisk beskyttet med " -"kopirettigheter. Det er ikke nÃ¸dvendig Ã¥ registrere deg eller merke arbeidet " -"ditt. beskyttelse fÃ¸lger etablering, ikke trinnene du ta for Ã¥ beskytte den." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"That protection gives you the right (subject to a narrow range of fair use " -"exceptions) to control how others copy the work, whether they copy it to " -"republish it or to share an excerpt." -msgstr "" -"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use " -"unntak) til Ã¥ kontrollere hvordan andre kopierer arbeidet, om de kopiere den " -"til Ã¥ publisere den pÃ¥ nytt, eller for Ã¥ dele et utdrag." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"That much is the obvious part. Any system of copyright would control " -"competing publishing. But there's a second part to the copyright of today " -"that is not at all obvious. This is the protection of <quote>derivative " -"rights.</quote> If you write a book, no one can make a movie out of your " -"book without permission. No one can translate it without permission. " -"CliffsNotes can't make an abridgment unless permission is granted. All of " -"these derivative uses of your original work are controlled by the copyright " -"holder. The copyright, in other words, is now not just an exclusive right to " -"your writings, but an exclusive right to your writings and a large " -"proportion of the writings inspired by them." -msgstr "" -"Det er mye den Ã¥penbare delen. et system av copyright ville styre " -"konkurrerende publisering. men det er en andre del til opphavsretten i dag " -"som er overhodet ikke Ã¥penbart. 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 gjÃ¸re ikke en forkortelse, med mindre tillatelse er gitt. alle disse " -"avledede bruksomrÃ¥dene for det originale arbeidet er styrt av " -"opphavsrettsinnehaveren. opphavsretten, med andre ord, er nÃ¥ ikke bare en " -"eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en stor " -"andel av skrifter som er inspirert av dem." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"It is this derivative right that would seem most bizarre to our framers, " -"though it has become second nature to us. Initially, this expansion was " -"created to deal with obvious evasions of a narrower copyright. If I write a " -"book, can you change one word and then claim a copyright in a new and " -"different book? Obviously that would make a joke of the copyright, so the " -"law was properly expanded to include those slight modifications as well as " -"the verbatim original work." -msgstr "" -"Det er denne derivat hÃ¸yre som vil synes mest bisarre til vÃ¥re underskrev, " -"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne " -"ekspansjonen opprettet for Ã¥ hÃ¥ndtere Ã¥penbare 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 gjÃ¸re en " -"spÃ¸k av opphavsretten, slik loven ble riktig utvidet til Ã¥ omfatte disse smÃ¥ " -"endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal " -"Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Jonathan Zittrain, <quote>The Copyright Cage</quote>, <citetitle>Legal " -"Affairs</citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In preventing that joke, the law created an astonishing power within a free " -"culture—at least, it's astonishing when you understand that the law " -"applies not just to the commercial publisher but to anyone with a computer. " -"I understand the wrong in duplicating and selling someone else's work. But " -"whatever <emphasis>that</emphasis> wrong is, transforming someone else's " -"work is a different wrong. Some view transformation as no wrong at all—" -"they believe that our law, as the framers penned it, should not protect " -"derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> Whether " -"or not you go that far, it seems plain that whatever wrong is involved is " -"fundamentally different from the wrong of direct piracy." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Rubenfeld, Jeb" -msgstr "Rubenfeld, Jeb" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Professor Rubenfeld has presented a powerful constitutional argument about " -"the difference that copyright law should draw (from the perspective of the " -"First Amendment) between mere <quote>copies</quote> and derivative works. " -"See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's " -"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 " -"(2002): 1–60 (see especially pp. 53–59). <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"professor rubenfeld har presentert en kraftig konstitusjonelle argument om " -"forskjellen som lov om opphavsrett bÃ¸r trekke (fra perspektivet til den " -"fÃ¸rste endringen) bare \"Kopier\" og avledede produkter. se jed rubenfeld, " -"\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\" yale law " -"journal 112 (2002): 1Â60 (se spesielt s. 53Â59)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Yet copyright law treats these two different wrongs in the same way. I can " -"go to court and get an injunction against your pirating my book. I can go to " -"court and get an injunction against your transformative use of my book." -"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " -"creative work are treated the same." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This again may seem right to you. If I wrote a book, then why should you be " -"able to write a movie that takes my story and makes money from it without " -"paying me or crediting me? Or if Disney creates a creature called " -"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse " -"toys and be the one to trade on the value that Disney originally created?" -msgstr "" -"Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, sÃ¥ hvorfor skal " -"du kunne skrive en film som tar min historie og gjÃ¸r penger fra det uten Ã¥ " -"betale meg eller kreditering meg? eller hvis disney oppretter en skapning " -"kalt \"Mikke Mus\", hvorfor skal du kunne gjÃ¸re Mikke Mus leker og vÃ¦re en " -"til Ã¥ handle pÃ¥ verdien som disney opprinnelig opprettet?" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"These are good arguments, and, in general, my point is not that the " -"derivative right is unjustified. My aim just now is much narrower: simply to " -"make clear that this expansion is a significant change from the rights " -"originally granted." -msgstr "" -"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat hÃ¸yre " -"er grunnlÃ¸s. meg sikte akkurat nÃ¥ er mye smalere: bare for Ã¥ gjÃ¸re det klart " -"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Law and Architecture: Reach" -msgstr "Lov og arkitektur: Rekkevidde" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copies as core issue of" -msgstr "Kopier som kjernen utgave av" - -#. f16 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"This is a simplification of the law, but not much of one. The law certainly " -"regulates more than <quote>copies</quote>—a public performance of a " -"copyrighted song, for example, is regulated even though performance per se " -"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section " -"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; " -"17 <citetitle>United States Code</citetitle>, section 112(a). But the " -"presumption under the existing law (which regulates <quote>copies;</quote> " -"17 <citetitle>United States Code</citetitle>, section 102) is that if there " -"is a copy, there is a right." -msgstr "" -"Dette er en forenkling av loven, men ikke mye av en. loven absolutt " -"regulerer mer enn \"Kopier\"—en offentlig fremfÃ¸ring av en " -"kopibeskyttet sang, for eksempel er regulert selv om ytelse per se ikke " -"gjÃ¸re en kopi; 17 united states code, delen 106(4). og det sikkert noen " -"ganger regulere ikke en \"kopi\"; 17 united states code, delen 112(a). men " -"antagelse under den eksisterende lov (som regulerer \"Kopier\"; 17 united " -"states code, avsnitt 102) er at hvis det er en kopi, det er rett." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Whereas originally the law regulated only publishers, the change in " -"copyright's scope means that the law today regulates publishers, users, and " -"authors. It regulates them because all three are capable of making copies, " -"and the core of the regulation of copyright law is copies.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "other property rights vs." -msgstr "andre eiendomsretter vs." - -#. PAGE BREAK 151 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<quote>Copies.</quote> That certainly sounds like the obvious thing for " -"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's " -"argument at the start of this chapter, that <quote>creative property</quote> " -"deserves the <quote>same rights</quote> as all other property, it is the " -"<emphasis>obvious</emphasis> that we need to be most careful about. For " -"while it may be obvious that in the world before the Internet, copies were " -"the obvious trigger for copyright law, upon reflection, it should be obvious " -"that in the world with the Internet, copies should <emphasis>not</emphasis> " -"be the trigger for copyright law. More precisely, they should not " -"<emphasis>always</emphasis> be the trigger for copyright law." -msgstr "" -"\"Kopier.\" som absolutt hÃ¸res ut som det Ã¥penbare tingen for opphavsrett Ã¥ " -"regulere. men som med jack valenti argumentet i begynnelsen av dette " -"kapitlet, at \"kreative property\" fortjener \"samme rettigheter\" som alle " -"andre eiendom, det er Ã¥penbart at vi trenger Ã¥ vÃ¦re mest forsiktig med. for " -"mens det kan vÃ¦re opplagt at i verden fÃ¸r Internett, Kopier var Ã¥penbare " -"utlÃ¸ser for opphavsrett, pÃ¥ refleksjon, bÃ¸r det vÃ¦re Ã¥penbart at i verden " -"med Internett, Kopier ikke bÃ¸r vÃ¦re utlÃ¸ser for lov om opphavsrett. mer " -"presist, bÃ¸r de ikke alltid vÃ¦re utlÃ¸ser for lov om opphavsrett." - -#. f17 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Thus, my argument is not that in each place that copyright law extends, we " -"should repeal it. It is instead that we should have a good argument for its " -"extending where it does, and should not determine its reach on the basis of " -"arbitrary and automatic changes caused by technology." -msgstr "" -"SÃ¥ledes, mitt argument er ikke at i hvert sett at lov om opphavsrett " -"utvider, vi bÃ¸r oppheve den. Det er i stedet at vi bÃ¸r ha et godt argument " -"for dens utvidelse der den does, og bÃ¸r ikke avgjÃ¸re sin rekkevidde pÃ¥ " -"grunnlag av vilkÃ¥rlig og automatiske endringer forÃ¥rsaket av teknologi." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This is perhaps the central claim of this book, so let me take this very " -"slowly so that the point is not easily missed. My claim is that the Internet " -"should at least force us to rethink the conditions under which the law of " -"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " -"because it is clear that the current reach of copyright was never " -"contemplated, much less chosen, by the legislators who enacted copyright law." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"We can see this point abstractly by beginning with this largely empty circle." -msgstr "" -"Vi kan se dette poenget helt abstrakt ved Ã¥ starte med denne i hovedsak " -"tomme sirkel." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "All potential uses of a book." -msgstr "Alle potensielle bruksomrÃ¥der for en bok." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1521.png\"></graphic>" -msgstr "<graphic fileref=\"images/1521.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "three types of uses of" -msgstr "tre typer bruk av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright applicability altered by technology of" -msgstr "opphavsrett anvendbarhet endret av teknologien i" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright intent altered by" -msgstr "opphavsrett hensikt endret av" - -#. PAGE BREAK 152 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Think about a book in real space, and imagine this circle to represent all " -"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " -"by copyright law, because the uses don't create a copy. If you read a book, " -"that act is not regulated by copyright law. If you give someone the book, " -"that act is not regulated by copyright law. If you resell a book, that act " -"is not regulated (copyright law expressly states that after the first sale " -"of a book, the copyright owner can impose no further conditions on the " -"disposition of the book). If you sleep on the book or use it to hold up a " -"lamp or let your puppy chew it up, those acts are not regulated by copyright " -"law, because those acts do not make a copy." -msgstr "" -"Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " -"representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene 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 fÃ¸rste salg av en bok, eieren av opphavsretten kan pÃ¥legge uten " -"ytterligere betingelser om tilstanden i boken). Hvis du sove pÃ¥ boken eller " -"bruke den til Ã¥ 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 gjÃ¸r en kopi." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Examples of unregulated uses of a book." -msgstr "Eksempler pÃ¥ uregulert bruk av en bok." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1531.png\"></graphic>" -msgstr "<graphic fileref=\"images/1531.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Obviously, however, some uses of a copyrighted book are regulated by " -"copyright law. Republishing the book, for example, makes a copy. It is " -"therefore regulated by copyright law. Indeed, this particular use stands at " -"the core of this circle of possible uses of a copyrighted work. It is the " -"paradigmatic use properly regulated by copyright regulation (see first " -"diagram on next page)." -msgstr "" -"Ã¥penbart, 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 stÃ¥r bruk i kjernen av denne " -"kretsen av mulige bruksomrÃ¥der for et opphavsrettslig beskyttet verk. Det er " -"paradigmatic bruk riktig regulert av opphavsrett regulering (se fÃ¸rste " -"diagrammet pÃ¥ neste side)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Finally, there is a tiny sliver of otherwise regulated copying uses that " -"remain unregulated because the law considers these <quote>fair uses.</quote>" -msgstr "" -"Til slutt er det en tynn skive av ellers regulert kopierings-bruk som " -"forblir uregluert pÃ¥ grunn av at loven anser dette som <quote>rimelig bruk</" -"quote>." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "" -"Republishing stands at the core of this circle of possible uses of a " -"copyrighted work." -msgstr "" -"Ã gi ut pÃ¥ nytt stÃ¥r i midten av denne sirkelen av mulige bruksomrÃ¥der for " -"et opphavsrettsbeskyttet verk." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1541.png\"></graphic>" -msgstr "<graphic fileref=\"images/1541.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"These are uses that themselves involve copying, but which the law treats as " -"unregulated because public policy demands that they remain unregulated. You " -"are free to quote from this book, even in a review that is quite negative, " -"without my permission, even though that quoting makes a copy. That copy " -"would ordinarily give the copyright owner the exclusive right to say whether " -"the copy is allowed or not, but the law denies the owner any exclusive right " -"over such <quote>fair uses</quote> for public policy (and possibly First " -"Amendment) reasons." -msgstr "" -"disse er bruker at selv innebÃ¦re kopiering, men som det lov behandler som " -"unregulated fordi public policy krever at de forblir unregulated. du er fri " -"til Ã¥ 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 Ã¥ si om kopien er " -"tillatt eller ikke, men loven fornekter eieren av en eksklusiv rett over " -"slike \"fair bruker\" for offentlig politikk (og muligens first endring) " -"grunner." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Unregulated copying considered <quote>fair uses.</quote>" -msgstr "Uregulert kopiering anses som <quote>rimelig bruk</quote>." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1542.png\"></graphic>" -msgstr "<graphic fileref=\"images/1542.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "" -"Uses that before were presumptively unregulated are now presumptively " -"regulated." -msgstr "" -"Bruk som tidligere var antatt Ã¥ ikke vÃ¦re regulert er nÃ¥ antatt Ã¥ vÃ¦re " -"regulert." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1551.png\"></graphic>" -msgstr "<graphic fileref=\"images/1551.png\"></graphic>" - -#. PAGE BREAK 154 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In real space, then, the possible uses of a book are divided into three " -"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that " -"are nonetheless deemed <quote>fair</quote> regardless of the copyright " -"owner's views." -msgstr "" -"i virkelige rommet, deretter mulige bruksomrÃ¥der 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." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on Internet" -msgstr "pÃ¥ internet" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "books on" -msgstr "bÃ¸ker pÃ¥" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "Internet burdens on" -msgstr "Internett byrder pÃ¥" - -#. f18 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"I don't mean <quote>nature</quote> in the sense that it couldn't be " -"different, but rather that its present instantiation entails a copy. Optical " -"networks need not make copies of content they transmit, and a digital " -"network could be designed to delete anything it copies so that the same " -"number of copies remain." -msgstr "" -"Jeg trenger ikke bety \"natur\" i den forstand at det kunne ikke vÃ¦re " -"annerledes, men heller at sin nÃ¥vÃ¦rende objektforekomst innebÃ¦rer en kopi. " -"optisk nettverk ikke trenger lage kopier av innhold de overfÃ¸re, og en " -"digital network kan vÃ¦re utformet for Ã¥ slette noe det kopierer slik at det " -"samme antallet kopier forblir." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Enter the Internet—a distributed, digital network where every use of a " -"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> " -"And because of this single, arbitrary feature of the design of a digital " -"network, the scope of category 1 changes dramatically. Uses that before were " -"presumptively unregulated are now presumptively regulated. No longer is " -"there a set of presumptively unregulated uses that define a freedom " -"associated with a copyrighted work. Instead, each use is now subject to the " -"copyright, because each use also makes a copy—category 1 gets sucked " -"into category 2. And those who would defend the unregulated uses of " -"copyrighted work must look exclusively to category 3, fair uses, to bear the " -"burden of this shift." -msgstr "" - -#. PAGE BREAK 155 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"So let's be very specific to make this general point clear. Before the " -"Internet, if you purchased a book and read it ten times, there would be no " -"plausible <emphasis>copyright</emphasis>-related argument that the copyright " -"owner could make to control that use of her book. Copyright law would have " -"nothing to say about whether you read the book once, ten times, or every " -"night before you went to bed. None of those instances of use—" -"reading— could be regulated by copyright law because none of those " -"uses produced a copy." -msgstr "" -"sÃ¥ la oss vÃ¦re svÃ¦rt spesifikke Ã¥ gjÃ¸re herfra Generelt og fjerner. fÃ¸r " -"Internett, hvis du kjÃ¸pte en bok og Les det ti ganger, ville det ikke " -"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan " -"gjÃ¸re for Ã¥ kontrollere at bruk av hennes bok. lov om opphavsrett har " -"ingenting Ã¥ si om hvorvidt du lese boken en gang, ti ganger eller hver natt " -"fÃ¸r du gikk til sengs. Ingen av disse forekomstene av bruk—" -"lesing—kan reguleres av lov om opphavsrett, fordi ingen av de bruker " -"produsert en kopi." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "e-books" -msgstr "e-bÃ¸ker" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "technological developments and" -msgstr "teknologisk utvikling og" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But the same book as an e-book is effectively governed by a different set of " -"rules. Now if the copyright owner says you may read the book only once or " -"only once a month, then <emphasis>copyright law</emphasis> would aid the " -"copyright owner in exercising this degree of control, because of the " -"accidental feature of copyright law that triggers its application upon there " -"being a copy. Now if you read the book ten times and the license says you " -"may read it only five times, then whenever you read the book (or any portion " -"of it) beyond the fifth time, you are making a copy of the book contrary to " -"the copyright owner's wish." -msgstr "" -"men den samme bok som en e-bok styres effektivt av et annet sett med regler. " -"nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare Ã©n gang, eller " -"bare en gang i mÃ¥neden, sÃ¥ lov om opphavsrett skulle hjelpe eieren av " -"opphavsretten i utÃ¸velse slik grad av kontroll, pÃ¥ grunn av funksjonen " -"tilfeldig i lov om opphavsrett som utlÃ¸ser sin sÃ¸knad pÃ¥ det Ã¥ vÃ¦re en kopi. " -"nÃ¥ 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, gjÃ¸r du en kopi av boken i strid med opphavsrett eierens Ã¸nske." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There are some people who think this makes perfect sense. My aim just now is " -"not to argue about whether it makes sense or not. My aim is only to make " -"clear the change. Once you see this point, a few other points also become " -"clear:" -msgstr "" -"Det er noen folk som tror dette gjÃ¸r perfekt forstand. meg sikte er akkurat " -"nÃ¥ ikke Ã¥ krangle om hvorvidt det er fornuftig eller ikke. min mÃ¥let er bare " -"Ã¥ gjÃ¸re det klart endringen. NÃ¥r du ser dette punktet, bli noen andre " -"punkter ogsÃ¥ klar:" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"First, making category 1 disappear is not anything any policy maker ever " -"intended. Congress did not think through the collapse of the presumptively " -"unregulated uses of copyrighted works. There is no evidence at all that " -"policy makers had this idea in mind when they allowed our policy here to " -"shift. Unregulated uses were an important part of free culture before the " -"Internet." -msgstr "" -"FÃ¸rst gjÃ¸r 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 pÃ¥ " -"alle at beslutningstakere hadde denne idÃ©en i tankene nÃ¥r de tillater vÃ¥r " -"policy her for Ã¥ skifte. unregulated bruker var en viktig del av fri kultur " -"fÃ¸r Internett." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Second, this shift is especially troubling in the context of transformative " -"uses of creative content. Again, we can all understand the wrong in " -"commercial piracy. But the law now purports to regulate <emphasis>any</" -"emphasis> transformation you make of creative work using a machine. " -"<quote>Copy and paste</quote> and <quote>cut and paste</quote> become " -"crimes. Tinkering with a story and releasing it to others exposes the " -"tinkerer to at least a requirement of justification. However troubling the " -"expansion with respect to copying a particular work, it is extraordinarily " -"troubling with respect to transformative uses of creative work." -msgstr "" -"andre, dette skiftet er spesielt troubling i sammenheng med transformative " -"bruk av kreative innholdet. igjen, kan vi alle forstÃ¥ feil i kommersielle " -"piratkopiering. men loven nÃ¥ hensikt Ã¥ regulere alle transformasjoner som du " -"gjÃ¸r 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 Ã¥ minst et krav for justering. " -"troubling utvidelse med hensyn til kopiere et bestemt arbeid, men det er " -"svÃ¦rt troubling med hensyn til transformative bruk av skapende arbeid." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "fair use vs." -msgstr "rettferdig bruk vs." - -#. PAGE BREAK 156 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Third, this shift from category 1 to category 2 puts an extraordinary burden " -"on category 3 (<quote>fair use</quote>) that fair use never before had to " -"bear. If a copyright owner now tried to control how many times I could read " -"a book on-line, the natural response would be to argue that this is a " -"violation of my fair use rights. But there has never been any litigation " -"about whether I have a fair use right to read, because before the Internet, " -"reading did not trigger the application of copyright law and hence the need " -"for a fair use defense. The right to read was effectively protected before " -"because reading was not regulated." -msgstr "" -"tredje, dette skiftet fra Kategori 1 til kategori 2 setter en ekstraordinÃ¦re " -"belastning pÃ¥ kategori 3 (\"fair use\"), som rettferdig bruk aldri fÃ¸r hadde " -"Ã¥ bÃ¦re. Hvis en opphavsrettsinnehaveren nÃ¥ prÃ¸vde Ã¥ kontrollere hvor mange " -"ganger jeg kunne lese en bok pÃ¥ nettet, ville den naturlige reaksjon vÃ¦re Ã¥ " -"hevde at dette er et brudd pÃ¥ mine fair use-rettigheter. men det har aldri " -"vÃ¦rt noen rettssaker jeg ha en rettferdig bruk hÃ¸yre for Ã¥ lese, fordi fÃ¸r " -"Internett, leser ikke utlÃ¸se anvendelsen av lov om opphavsrett og dermed " -"behovet for en rettferdig bruk forsvar. retten til Ã¥ lese var effektivt " -"beskyttet fÃ¸r fordi lesing ikke ble regulert." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This point about fair use is totally ignored, even by advocates for free " -"culture. We have been cornered into arguing that our rights depend upon fair " -"use—never even addressing the earlier question about the expansion in " -"effective regulation. A thin protection grounded in fair use makes sense " -"when the vast majority of uses are <emphasis>unregulated</emphasis>. But " -"when everything becomes presumptively regulated, then the protections of " -"fair use are not enough." -msgstr "" -"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " -"kultur. Vi har vÃ¦rt cornered til kranglet at vÃ¥re rettigheter er avhengige " -"av fair use—adressering aldri selv tidligere spÃ¸rsmÃ¥let om utvidelse i " -"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig nÃ¥r det " -"store flertallet av bruker er unregulated. men nÃ¥r alt blir presumptively " -"regulert, deretter beskyttelse av fair use er ikke nok." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Video Pipeline" -msgstr "video rÃ¸rledningen" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "film industry" -msgstr "filmindustri" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "trailer advertisements of" -msgstr "Trailer reklame av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The case of Video Pipeline is a good example. Video Pipeline was in the " -"business of making <quote>trailer</quote> advertisements for movies " -"available to video stores. The video stores displayed the trailers as a way " -"to sell videos. Video Pipeline got the trailers from the film distributors, " -"put the trailers on tape, and sold the tapes to the retail stores." -msgstr "" -"tilfelle av video rÃ¸rledning er et godt eksempel. video rÃ¸rledningen var i " -"bransjen for Ã¥ gjÃ¸re \"trailer\" reklame for filmer tilgjengelig til video " -"butikker. video butikkene vises tilhengere som en mÃ¥te Ã¥ selge videoer. " -"video rÃ¸rledningen fikk tilhengere fra trevare, sette tilhengere pÃ¥ bÃ¥nd, og " -"solgt kassetter til selge i detalj butikker." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -#, mtrans, fuzzy -msgid "browsing" -msgstr "surfing" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The company did this for about fifteen years. Then, in 1997, it began to " -"think about the Internet as another way to distribute these previews. The " -"idea was to expand their <quote>selling by sampling</quote> technique by " -"giving on-line stores the same ability to enable <quote>browsing.</quote> " -"Just as in a bookstore you can read a few pages of a book before you buy the " -"book, so, too, you would be able to sample a bit from the movie on-line " -"before you bought it." -msgstr "" -"selskapet gjorde dette i omtrent femten Ã¥r. deretter, i 1997, det begynte Ã¥ " -"tenke pÃ¥ Internett som en mÃ¥te Ã¥ distribuere disse forhÃ¥ndsvisninger. idÃ©en " -"var Ã¥ utvide sin \"selger ved prÃ¸vetaking\" teknikk ved Ã¥ gi on-line " -"butikker samme muligheten til Ã¥ aktivere \"surfing.\" akkurat som i en " -"bokhandel du kan lese noen fÃ¥ sider av en bok fÃ¸r du kjÃ¸per boken, sÃ¥, du " -"vil ogsÃ¥ kunne smake litt fra filmen on-line fÃ¸r du kjÃ¸pte den." - -#. PAGE BREAK 157 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1998, Video Pipeline informed Disney and other film distributors that it " -"intended to distribute the trailers through the Internet (rather than " -"sending the tapes) to distributors of their videos. Two years later, Disney " -"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to " -"talk about the matter—he had built a business on distributing this " -"content as a way to help sell Disney films; he had customers who depended " -"upon his delivering this content. Disney would agree to talk only if Video " -"Pipeline stopped the distribution immediately. Video Pipeline thought it " -"was within their <quote>fair use</quote> rights to distribute the clips as " -"they had. So they filed a lawsuit to ask the court to declare that these " -"rights were in fact their rights." -msgstr "" -"i 1998 informert video rÃ¸rledningen disney og andre trevare at det ment Ã¥ " -"distribuere tilhengere gjennom Internett (i stedet for Ã¥ sende bÃ¥ndene) til " -"distributÃ¸rer av deres videoer. to Ã¥r senere, fortalte disney video " -"rÃ¸rledning til Ã¥ stoppe. eieren av video rÃ¸rledningen spurte disney Ã¥ snakke " -"om saken, hadde han bygget en bedrift pÃ¥ distribuere dette innholdet som en " -"mÃ¥te Ã¥ hjelp Selg disney filmer; Han hadde kunder som var avhengig av hans " -"leverer dette innholdet. Disney aksepterer Ã¥ snakke bare hvis video " -"rÃ¸rledningen stoppet fordelingen umiddelbart. video rÃ¸rledningen trodde det " -"var innenfor sine \"fair use\"-rettigheter til Ã¥ distribuere utklippene som " -"de hadde. sÃ¥ de anlagt en sak Ã¥ be retten Ã¥ erklÃ¦re at disse rettighetene " -"var faktisk sine rettigheter." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "willful infringement findings in" -msgstr "willful krenkelse funnene i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "willful infringement" -msgstr "willful krenkelse" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Disney countersued—for $100 million in damages. Those damages were " -"predicated upon a claim that Video Pipeline had <quote>willfully infringed</" -"quote> on Disney's copyright. When a court makes a finding of willful " -"infringement, it can award damages not on the basis of the actual harm to " -"the copyright owner, but on the basis of an amount set in the statute. " -"Because Video Pipeline had distributed seven hundred clips of Disney movies " -"to enable video stores to sell copies of those movies, Disney was now suing " -"Video Pipeline for $100 million." -msgstr "" -"Disney countersued—for $100 millioner i skader. disse skader ble " -"predicated upon et krav at video rÃ¸rledningen hadde \"willfully krenket\" pÃ¥ " -"disney's copyright. NÃ¥r en domstol gjÃ¸r en oppdagelse av willful brudd, kan " -"den prisen skader ikke pÃ¥ grunnlag av den faktiske skaden for eieren av " -"opphavsretten, men pÃ¥ grunnlag av et belÃ¸p som er angitt i vedtektene. fordi " -"video rÃ¸rledningen hadde distribuert syv hundre klipp av disney film Ã¥ " -"aktivere video butikker Ã¥ selge kopier av disse filmene, var disney nÃ¥ suing " -"video rÃ¸rledning for $100 millioner." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Disney has the right to control its property, of course. But the video " -"stores that were selling Disney's films also had some sort of right to be " -"able to sell the films that they had bought from Disney. Disney's claim in " -"court was that the stores were allowed to sell the films and they were " -"permitted to list the titles of the films they were selling, but they were " -"not allowed to show clips of the films as a way of selling them without " -"Disney's permission." -msgstr "" -"Disney har rett til Ã¥ kontrollere sin eiendom, selvfÃ¸lgelig. men video " -"butikkene som solgte Disneys filmer hadde ogsÃ¥ en slags rett til Ã¥ vÃ¦re i " -"stand til Ã¥ selge filmer som de hadde kjÃ¸pt fra disney. disney's krav i " -"domstol var at butikkene ble tillatt Ã¥ selge filmene og de ble tillatt Ã¥ " -"vise titlene pÃ¥ filmene de solgte, men de var ikke lov til Ã¥ vise klipp av " -"filmer som en mÃ¥te Ã¥ selge dem uten disney's tillatelse." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "first-sale doctrine" -msgstr "fÃ¸rste salg doktrine" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Now, you might think this is a close case, and I think the courts would " -"consider it a close case. My point here is to map the change that gives " -"Disney this power. Before the Internet, Disney couldn't really control how " -"people got access to their content. Once a video was in the marketplace, the " -"<quote>first-sale doctrine</quote> would free the seller to use the video as " -"he wished, including showing portions of it in order to engender sales of " -"the entire movie video. But with the Internet, it becomes possible for " -"Disney to centralize control over access to this content. Because each use " -"of the Internet produces a copy, use on the Internet becomes subject to the " -"copyright owner's control. The technology expands the scope of effective " -"control, because the technology builds a copy into every transaction." -msgstr "" -"NÃ¥ kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser det " -"som en Lukk saken. Mitt poeng her er Ã¥ tilordne endringen som gir disney " -"denne makten. fÃ¸r Internett, kunne ikke disney virkelig styre hvordan folk " -"har tilgang til innholdet. NÃ¥r en video var i markedet, ville \"fÃ¸rste-salg " -"doktrine\" gratis selgeren for Ã¥ bruke videoen som han Ã¸nsket, inkludert " -"viser deler av det for Ã¥ skape salg av hele filmen video. men med Internett, " -"blir det mulig for disney Ã¥ sentralisere kontroll over tilgang til dette " -"innholdet. fordi hver bruk av Internett gir en kopi, blir copyrighteieren " -"kontroll en bruk pÃ¥ Internett. teknologien utvider omfanget av effektiv " -"kontroll, fordi teknologien bygger en kopi til hver transaksjon." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Barnes & Noble" -msgstr "Barnes & Noble" - -#. PAGE BREAK 158 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"No doubt, a potential is not yet an abuse, and so the potential for control " -"is not yet the abuse of control. Barnes & Noble has the right to say you " -"can't touch a book in their store; property law gives them that right. But " -"the market effectively protects against that abuse. If Barnes & Noble " -"banned browsing, then consumers would choose other bookstores. Competition " -"protects against the extremes. And it may well be (my argument so far does " -"not even question this) that competition would prevent any similar danger " -"when it comes to copyright. Sure, publishers exercising the rights that " -"authors have assigned to them might try to regulate how many times you read " -"a book, or try to stop you from sharing the book with anyone. But in a " -"competitive market such as the book market, the dangers of this happening " -"are quite slight." -msgstr "" -"ingen tvil, et potensial er ikke et misbruk, og sÃ¥ potensialet for kontroll " -"er ikke ennÃ¥ misbruk av kontroll. Barnes & noble har rett til Ã¥ si du " -"ikke rÃ¸re en bok i deres store; Ã¥ndsverkslovgivningen 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 vÃ¦re (mitt argument " -"sÃ¥ langt ikke selv spÃ¸rsmÃ¥let dette) at konkurransen ville hindre noen " -"lignende fare nÃ¥r det gjelder opphavsrett. sikker, kan utgivere utÃ¸ve " -"rettigheter som forfattere har tildelt dem prÃ¸ver Ã¥ regulere hvor mange " -"ganger du leser en bok, eller prÃ¸v Ã¥ opphÃ¸re du fra deler av boken med noen. " -"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer " -"er ganske liten." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Again, my aim so far is simply to map the changes that this changed " -"architecture enables. Enabling technology to enforce the control of " -"copyright means that the control of copyright is no longer defined by " -"balanced policy. The control of copyright is simply what private owners " -"choose. In some contexts, at least, that fact is harmless. But in some " -"contexts it is a recipe for disaster." -msgstr "" -"igjen, mitt mÃ¥l sÃ¥ langt er ganske enkelt Ã¥ kartlegge endringene som er at " -"dette endret arkitekturen aktiverer. aktivere teknologien Ã¥ hÃ¥ndheve " -"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger " -"definert av balansert policyen. kontroll pÃ¥ opphavsrett er bare hva privat " -"eiere velge. i enkelte sammenhenger, minst, er det faktum harmlÃ¸se. men det " -"er en oppskrift pÃ¥ katastrofe i enkelte sammenhenger." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Architecture and Law: Force" -msgstr "Arkitektur og lov: Makt" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The disappearance of unregulated uses would be change enough, but a second " -"important change brought about by the Internet magnifies its significance. " -"This second change does not affect the reach of copyright regulation; it " -"affects how such regulation is enforced." -msgstr "" -"forsvinningen av unregulated bruker ville vÃ¦re endre nok, men andre viktige " -"endringer forÃ¥rsaket av Internett Ã¸ker sin betydning. denne andre endringen " -"pÃ¥virker ikke rekkevidden av opphavsrett regulering; det pÃ¥virker hvordan " -"slike regulering fremtvinges." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "technology as automatic enforcer of" -msgstr "teknologi som automatisk inndriver av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "copyright enforcement controlled by" -msgstr "opphavsrett hensikt endret av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In the world before digital technology, it was generally the law that " -"controlled whether and how someone was regulated by copyright law. The law, " -"meaning a court, meaning a judge: In the end, it was a human, trained in the " -"tradition of the law and cognizant of the balances that tradition embraced, " -"who said whether and how the law would restrict your freedom." -msgstr "" -"i verden fÃ¸r digital teknologi var det generelt loven som kontrollerte om og " -"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en " -"court, som betyr en dommer: til slutt, det var et menneske, utdannet i " -"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa " -"om og hvordan loven ville begrense friheten." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Casablanca" -msgstr "Casablanca" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Marx Brothers" -msgstr "BrÃ¸drene Marx" - -#. f19 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See David Lange, <quote>Recognizing the Public Domain,</quote> " -"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73." -msgstr "" -"Se David Lange, <quote>Recognizing the Public Domain</quote>, <citetitle>Law " -"and Contemporary Problems</citetitle> 44 (1981): 172–73." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"There's a famous story about a battle between the Marx Brothers and Warner " -"Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" -"citetitle>. Warner Brothers objected. They wrote a nasty letter to the " -"Marxes, warning them that there would be serious legal consequences if they " -"went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Det er en berÃ¸mt historie om en kamp mellom Marx-brÃ¸drene (the Marx " -"Brothers) og Warner Brothers. Marx-brÃ¸drene planla Ã¥ lage en parodi av " -"<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " -"ufint brev til Marx-brÃ¸drene og advarte dem om at det ville fÃ¥ seriÃ¸se " -"juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. See also Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. Se ogsÃ¥ Vaidhyanathan, " -"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"This led the Marx Brothers to respond in kind. They warned Warner Brothers " -"that the Marx Brothers <quote>were brothers long before you were.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " -"owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " -"insisted on trying to control <citetitle>Casablanca</citetitle>, then the " -"Marx Brothers would insist on control over <citetitle>brothers</citetitle>." -msgstr "" -"Dette fikk Marx-brÃ¸drene til Ã¥ svare tilbake med samme mynt. De advarte " -"Warner Brothers om at Marx-brÃ¸drene <quote>var brÃ¸dre lenge fÃ¸r dere var " -"det</quote>.<placeholder type=\"footnote\" id=\"0\"/> Marx-brÃ¸drene eide " -"derfor ordet <citetitle>Brothers</citetitle>, og hvis Warner Brothers " -"insisterte pÃ¥ Ã¥ forsÃ¸ke Ã¥ kontrollere <citetitle>Casablanca</citetitle>, sÃ¥ " -"ville Marx-brÃ¸drene insistere pÃ¥ kontroll over <citetitle>Brothers</" -"citetitle>." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"An absurd and hollow threat, of course, because Warner Brothers, like the " -"Marx Brothers, knew that no court would ever enforce such a silly claim. " -"This extremism was irrelevant to the real freedoms anyone (including Warner " -"Brothers) enjoyed." -msgstr "" -"Det var en absurd og hul trussel, selvfÃ¸lgelig, fordi Warner Brothers, pÃ¥ " -"samme mÃ¥te som Marx-brÃ¸drene, visste at ingen domstol noensinne ville " -"hÃ¥ndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte " -"friheter som alle (inkludert Warner Brothers) nÃ¸t godt av." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"On the Internet, however, there is no check on silly rules, because on the " -"Internet, increasingly, rules are enforced not by a human but by a machine: " -"Increasingly, the rules of copyright law, as interpreted by the copyright " -"owner, get built into the technology that delivers copyrighted content. It " -"is code, rather than law, that rules. And the problem with code regulations " -"is that, unlike law, code has no shame. Code would not get the humor of the " -"Marx Brothers. The consequence of that is not at all funny." -msgstr "" -"PÃ¥ Internett, er det derimot ingen kontroll mot dum regler, fordi pÃ¥ " -"Internett, i Ã¸kende grad, blir regler ikke hÃ¥ndhevet av et menneske, men av " -"en maskin: i Ã¸kende grad reglene om opphavsrett, som tolkes av eieren av " -"opphavsretten fÃ¥ 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 fÃ¥ humor av the marx brothers. Konsekvensen av dette er overhodet " -"ikke morsomt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Adobe eBook Reader" -msgstr "Adobe eBok-leser" - -#. type: Content of: <book><part><chapter><section><para> -msgid "Consider the life of my Adobe eBook Reader." -msgstr "La oss se pÃ¥ livet til min Adobe eBook Reader." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"An e-book is a book delivered in electronic form. An Adobe eBook is not a " -"book that Adobe has published; Adobe simply produces the software that " -"publishers use to deliver e-books. It provides the technology, and the " -"publisher delivers the content by using the technology." -msgstr "" -"En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok " -"som Adobe har publisert. Adobe produserer kun programvaren som utgivere " -"bruker Ã¥ levere e-bÃ¸ker. Den bidrar med teknologien, og utgiveren leverer " -"innholdet ved hjelp av teknologien." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"On the next page is a picture of an old version of my Adobe eBook Reader." -msgstr "" -"pÃ¥ neste er siden et bilde av en gammel versjon av min adobe eBok-leser." - -#. PAGE BREAK 160 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"As you can see, I have a small collection of e-books within this e-book " -"library. Some of these books reproduce content that is in the public domain: " -"<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " -"Some of them reproduce content that is not in the public domain: My own book " -"<citetitle>The Future of Ideas</citetitle> is not yet within the public " -"domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " -"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " -"cover, and then a button at the bottom called Permissions." -msgstr "" -"som du ser, har jeg en liten samling av e-bÃ¸ker i denne e-boken biblioteket. " -"noen av disse bÃ¸kene 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 idÃ©er er ennÃ¥ ikke i public domain. " -"vurdere middlemarch fÃ¸rst. Hvis du klikker pÃ¥ min e-bok-kopi av middlemarch, " -"vil du se en fancy cover og deretter en knapp pÃ¥ bunnen kalt tillatelser." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Picture of an old version of Adobe eBook Reader" -msgstr "Bilde av en gammel versjon av Adobe eBook Reader." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1611.png\"></graphic>" -msgstr "<graphic fileref=\"images/1611.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If you click on the Permissions button, you'll see a list of the permissions " -"that the publisher purports to grant with this book." -msgstr "" -"Hvis du klikker pÃ¥ knappen tillatelser, ser du en liste over tillatelsene " -"som utgiveren hensikt Ã¥ gi med denne boken." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "List of the permissions that the publisher purports to grant." -msgstr "Liste med tillatelser som utgiveren har til hensikt Ã¥ gi." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1612.png\"></graphic>" -msgstr "<graphic fileref=\"images/1612.png\"></graphic>" - -#. PAGE BREAK 161 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"According to my eBook Reader, I have the permission to copy to the clipboard " -"of the computer ten text selections every ten days. (So far, I've copied no " -"text to the clipboard.) I also have the permission to print ten pages from " -"the book every ten days. Lastly, I have the permission to use the Read Aloud " -"button to hear <citetitle>Middlemarch</citetitle> read aloud through the " -"computer." -msgstr "" -"IfÃ¸lge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " -"datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " -"til utklippstavlen.) Jeg har ogsÃ¥ tillatelse til Ã¥ skrive ut ti sider fra " -"boken ti dager. til slutt, jeg har tillatelse til Ã¥ bruke lese hÃ¸yt knapp " -"for Ã¥ hÃ¸re middlemarch lest hÃ¸yt gjennom datamaskinen." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Aristotle" -msgstr "Aristoteles" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "<citetitle>Politics</citetitle>, (Aristotle)" -msgstr "<citetitle>Politikk</citetitle>, (Aristotles)" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Here's the e-book for another work in the public domain (including the " -"translation): Aristotle's <citetitle>Politics</citetitle>." -msgstr "" -"Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): " -"Aristoteles <citetitle>Politikk</citetitle>." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "E-book of Aristotle;s <quote>Politics</quote>" -msgstr "E-bok av Aristoteles <quote>Politikk</quote>" - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1621.png\"></graphic>" -msgstr "<graphic fileref=\"images/1621.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"According to its permissions, no printing or copying is permitted at all. " -"But fortunately, you can use the Read Aloud button to hear the book." -msgstr "" -"i henhold til tillatelsene, ingen utskrift eller kopiering er tillatt i det " -"hele tatt. men heldigvis kan du bruke lese hÃ¸yt knappen for Ã¥ hÃ¸re boken." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "List of the permissions for Aristotle;s <quote>Politics</quote>." -msgstr "Liste med tillatelser for Aristotles "Politikk"." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1622.png\"></graphic>" -msgstr "<graphic fileref=\"images/1622.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Future of Ideas, The (Lessig)" -msgstr "fremtiden for ideer, (lessig)" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Lessig, Lawrence" -msgstr "Lessig, Lawrence" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Finally (and most embarrassingly), here are the permissions for the original " -"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" -msgstr "" -"Endelig (og mest embarrassingly), her er du tillatelsene for den " -"opprinnelige e-bok-versjonen av boken min siste, fremtiden for idÃ©er:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "List of the permissions for <quote>The Future of Ideas</quote>." -msgstr "Liste med tillatelser for <quote>The Future of Ideas</quote>." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1631.png\"></graphic>" -msgstr "<graphic fileref=\"images/1631.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -msgid "No copying, no printing, and don't you dare try to listen to this book!" -msgstr "" -"Ingen kopiering, ingen utskrift, og vÃ¥g ikke Ã¥ prÃ¸ve Ã¥ lytte til denne boken!" - -#. f21 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"In principle, a contract might impose a requirement on me. I might, for " -"example, buy a book from you that includes a contract that says I will read " -"it only three times, or that I promise to read it three times. But that " -"obligation (and the limits for creating that obligation) would come from the " -"contract, not from copyright law, and the obligations of contract would not " -"necessarily pass to anyone who subsequently acquired the book." -msgstr "" -"i prinsippet, kan en kontrakt pÃ¥legge et krav pÃ¥ meg. Jeg kan, for eksempel " -"kjÃ¸pe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den " -"bare tre ganger, eller at jeg lover Ã¥ lese den tre ganger. men at " -"forpliktelse (og grensene for Ã¥ opprette denne plikten) ville komme fra " -"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville " -"ikke nÃ¸dvendigvis gÃ¥ til alle som senere kjÃ¸pt boken." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Now, the Adobe eBook Reader calls these controls <quote>permissions</" -"quote>— as if the publisher has the power to control how you use these " -"works. For works under copyright, the copyright owner certainly does have " -"the power—up to the limits of the copyright law. But for work not " -"under copyright, there is no such copyright power.<placeholder type=" -"\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> " -"says I have the permission to copy only ten text selections into the memory " -"every ten days, what that really means is that the eBook Reader has enabled " -"the publisher to control how I use the book on my computer, far beyond the " -"control that the law would enable." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The control comes instead from the code—from the technology within " -"which the e-book <quote>lives.</quote> Though the e-book says that these are " -"permissions, they are not the sort of <quote>permissions</quote> that most " -"of us deal with. When a teenager gets <quote>permission</quote> to stay out " -"till midnight, she knows (unless she's Cinderella) that she can stay out " -"till 2 A.M., but will suffer a punishment if she's caught. But when the " -"Adobe eBook Reader says I have the permission to make ten copies of the text " -"into the computer's memory, that means that after I've made ten copies, the " -"computer will not make any more. The same with the printing restrictions: " -"After ten pages, the eBook Reader will not print any more pages. It's the " -"same with the silly restriction that says that you can't use the Read Aloud " -"button to read my book aloud—it's not that the company will sue you if " -"you do; instead, if you push the Read Aloud button with my book, the machine " -"simply won't read aloud." -msgstr "" -"kontrollen kommer i stedet fra koden—fra teknologi som e-bok \"liv.\" " -"om e-boken sier at disse er tillatelsene, de er ikke typen \"tillatelser\" " -"som de fleste av oss hÃ¥ndtere. NÃ¥r en tenÃ¥ring blir \"tillatelse\" til Ã¥ " -"vÃ¦re ute til midnatt, vet hun (med mindre hun er cinderella) at hun kan vÃ¦re " -"ute til 2 am, men vil lide en straff hvis hun er fanget. men nÃ¥r adobe eBok " -"reader sier jeg har tillatelse til Ã¥ lage ti Kopier teksten inn i " -"datamaskinens minne, som betyr at etter at jeg har gjort ti eksemplarer, " -"datamaskinen ikke vil gjÃ¸re noe mer. det samme med utskrift begrensninger: " -"eBok-leser ikke skrives ut flere sider etter ti sider. Det er det samme med " -"dum stÃ¸rrelsesbegrensningen som sier at du ikke kan bruke lese hÃ¸yt knappen " -"til Ã¥ lese boken min hÃ¸yt—det er ikke at selskapet vil saksÃ¸ke deg " -"hvis du gjÃ¸r; i stedet, hvis du presse lese hÃ¸yt knappen med min bok, " -"maskinen bare vil ikke lese hÃ¸yt." - -#. PAGE BREAK 163 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"These are <emphasis>controls</emphasis>, not permissions. Imagine a world " -"where the Marx Brothers sold word processing software that, when you tried " -"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from " -"the sentence." -msgstr "" -"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " -"brÃ¸drene solgte tekstbehandling programvare som, da du prÃ¸vde Ã¥ skrive inn " -"\"warner brothers,\" slettet \"brÃ¸dre\" fra setningen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is the future of copyright law: not so much copyright <emphasis>law</" -"emphasis> as copyright <emphasis>code</emphasis>. The controls over access " -"to content will not be controls that are ratified by courts; the controls " -"over access to content will be controls that are coded by programmers. And " -"whereas the controls that are built into the law are always to be checked by " -"a judge, the controls that are built into the technology have no similar " -"built-in check." -msgstr "" -"Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ 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 vÃ¦re kontroller som er kodet av programmerere. og mens " -"kontrollene som er innebygd i loven er alltid skal kontrolleres av en " -"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende " -"innebygde kontroller." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"How significant is this? Isn't it always possible to get around the controls " -"built into the technology? Software used to be sold with technologies that " -"limited the ability of users to copy the software, but those were trivial " -"protections to defeat. Why won't it be trivial to defeat these protections " -"as well?" -msgstr "" -"hvor betydelig er dette? er det ikke alltid mulig Ã¥ komme seg rundt " -"kontrollene som er innebygd i teknologien? programvaren brukes til Ã¥ bli " -"solgt med teknologier som begrenset mulighet til brukere Ã¥ kopiere " -"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke " -"vÃ¦re trivielt Ã¥ beseire slik beskyttelse ogsÃ¥?" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"We've only scratched the surface of this story. Return to the Adobe eBook " -"Reader." -msgstr "" -"Vi har kun sÃ¥vidt berÃ¸rt overflaten til denne historien. La oss gÃ¥ tilbake " -"til Adobe eBook reader." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Alice's Adventures in Wonderland (Carroll)" -msgstr "Alice i Eventyrland (Carroll)" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "e-book restrictions on" -msgstr "ebok-begrensninger pÃ¥" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Early in the life of the Adobe eBook Reader, Adobe suffered a public " -"relations nightmare. Among the books that you could download for free on the " -"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</" -"citetitle>. This wonderful book is in the public domain. Yet when you " -"clicked on Permissions for that book, you got the following report:" -msgstr "" -"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bÃ¸kene " -"som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " -"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennÃ¥ nÃ¥r " -"du klikket pÃ¥ tillatelser for boken, fikk du det fulgte rapporten:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "" -"List of the permissions for <quote>Alice's Adventures in Wonderland</quote>." -msgstr "Liste med tillatelser for <quote>Alice i Eventyrland</quote>." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1641.png\"></graphic>" -msgstr "<graphic fileref=\"images/1641.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Here was a public domain children's book that you were not allowed to copy, " -"not allowed to lend, not allowed to give, and, as the <quote>permissions</" -"quote> indicated, not allowed to <quote>read aloud</quote>!" -msgstr "" -"Her var et frivare barnebok som du ikke var tillatt for Ã¥ kopiere, ikke lov " -"til Ã¥ lÃ¥ne, ikke lov til Ã¥ gi og, som \"tillatelser\" angitt, ikke lov til Ã¥ " -"\"lese hÃ¸yt\"!" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The public relations nightmare attached to that final permission. For the " -"text did not say that you were not permitted to use the Read Aloud button; " -"it said you did not have the permission to read the book aloud. That led " -"some people to think that Adobe was restricting the right of parents, for " -"example, to read the book to their children, which seemed, to say the least, " -"absurd." -msgstr "" -"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si " -"at du ikke var tillatt Ã¥ bruke lese hÃ¸yt knappen; det sa du ikke har " -"tillatelse til Ã¥ lese boken hÃ¸yt. som ledet noen folk Ã¥ tenke at adobe var " -"begrense hÃ¸yre for foreldre, for eksempel Ã¥ lese boken til sine barn, som " -"syntes Ã¥ si mildt, absurd." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Adobe responded quickly that it was absurd to think that it was trying to " -"restrict the right to read a book aloud. Obviously it was only restricting " -"the ability to use the Read Aloud button to have the book read aloud. But " -"the question Adobe never did answer is this: Would Adobe thus agree that a " -"consumer was free to use software to hack around the restrictions built into " -"the eBook Reader? If some company (call it Elcomsoft) developed a program to " -"disable the technological protection built into an Adobe eBook so that a " -"blind person, say, could use a computer to read the book aloud, would Adobe " -"agree that such a use of an eBook Reader was fair? Adobe didn't answer " -"because the answer, however absurd it might seem, is no." -msgstr "" -"Adobe svarte raskt at det var absurd Ã¥ tro at den prÃ¸vde Ã¥ begrense " -"rettigheten til Ã¥ lese en bok hÃ¸yt. Det ble Ã¥penbart bare begrense " -"muligheten til Ã¥ bruke lese hÃ¸yt knappen for Ã¥ fÃ¥ boken lest hÃ¸yt. Men " -"spÃ¸rsmÃ¥let adobe aldri svar er dette: er adobe dermed enig at en forbruker " -"var fri til Ã¥ bruke programvare for Ã¥ banalisere rundt restriksjoner som er " -"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et " -"program for Ã¥ deaktivere teknologiske beskyttelsen som er innebygd i en " -"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til Ã¥ lese " -"boken hÃ¸yt, vil adobe vÃ¦re enig at slik bruk av en eBok-leser var " -"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er " -"ingen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The point is not to blame Adobe. Indeed, Adobe is among the most innovative " -"companies developing strategies to balance open access to content with " -"incentives for companies to innovate. But Adobe's technology enables " -"control, and Adobe has an incentive to defend this control. That incentive " -"is understandable, yet what it creates is often crazy." -msgstr "" -"Poenget er ikke Ã¥ klandre adobe. faktisk, adobe er blant de mest innovative " -"selskapene som utvikler strategier for Ã¥ balansere Ã¥pen tilgang til innhold " -"med insentiver for bedriftene Ã¥ skape noe nytt. men Adobes teknologi gjÃ¸r " -"det mulig for kontroll, og adobe har et insentiv til Ã¥ forsvare denne " -"kontrollen. dette insentiv er forstÃ¥elig, men hva som skaper er ofte gal." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"To see the point in a particularly absurd context, consider a favorite story " -"of mine that makes the same point." -msgstr "" -"Hvis du vil se punktet i en spesielt absurd sammenheng, bÃ¸r du vurdere en " -"favoritt historien om mine som gjÃ¸r det samme punktet." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Aibo robotic dog" -msgstr "Aibo robothund" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "robotic dog" -msgstr "robothund" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Sony" -msgstr "Sony" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "Aibo robotic dog produced by" -msgstr "Aibo robothund produsert av" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo " -"learns tricks, cuddles, and follows you around. It eats only electricity and " -"that doesn't leave that much of a mess (at least in your house)." -msgstr "" -"vurdere robotic hunden gjort av sony kalt \"aibo.\" i aibo lÃ¦rer triks, " -"cuddles, og fÃ¸lger deg. det spiser bare elektrisitet og som ikke la sÃ¥ mye " -"av et rot (i det minste i huset)." - -#. PAGE BREAK 165 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Aibo is expensive and popular. Fans from around the world have set up " -"clubs to trade stories. One fan in particular set up a Web site to enable " -"information about the Aibo dog to be shared. This fan set 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 populÃ¦re. fans fra hele verden har satt opp klubber til " -"handel historier. en vifte spesielt satt opp et webomrÃ¥de slik at " -"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com " -"(og aibohack.com, men de lÃ¸ser til det samme omrÃ¥det), og han gitt " -"informasjon om hvordan du lÃ¦re en aibo Ã¥ gjÃ¸re triks i tillegg til de sony " -"hadde lÃ¦rt det pÃ¥ det omrÃ¥det." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<quote>Teach</quote> here has a special meaning. Aibos are just cute " -"computers. You teach a computer how to do something by programming it " -"differently. So to say that aibopet.com was giving information about how to " -"teach the dog to do new tricks is just to say that aibopet.com was giving " -"information to users of the Aibo pet about how to hack their computer " -"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)." -msgstr "" -"\"lÃ¦re\" har her en spesiell betydning. aibos er bare sÃ¸t datamaskiner. du " -"lÃ¦re en datamaskin hvor Ã¥ gjÃ¸re noe ved programmering det annerledes. sÃ¥ Ã¥ " -"si at aibopet.com var Ã¥ gi informasjon om hvordan du lÃ¦re hunden Ã¥ gjÃ¸re nye " -"triks er bare Ã¥ si at aibopet.com var Ã¥ gi informasjon til brukere av aibo-" -"pet om hvordan Ã¥ hacke datamaskinen \"hund\" slik at den gjÃ¸r nye triks " -"(derfor aibohack.com)." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "hacks" -msgstr "Hacks" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If you're not a programmer or don't know many programmers, the word " -"<citetitle>hack</citetitle> has a particularly unfriendly connotation. " -"Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " -"worse. But to programmers, or coders, as I call them, <citetitle>hack</" -"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " -"means code that enables the program to do something it wasn't originally " -"intended or enabled to do. If you buy a new printer for an old computer, you " -"might find the old computer doesn't run, or <quote>drive,</quote> the " -"printer. If you discovered that, you'd later be happy to discover a hack on " -"the Net by someone who has written a driver to enable the computer to drive " -"the printer you just bought." -msgstr "" -"Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har det " -"ord banalisere en spesielt unfriendly connotation. nonprogrammers banalisere " -"busker eller ugress. nonprogrammers i horror filmer gjÃ¸re enda verre. men " -"programmerere eller coders, som jeg kaller dem, banalisere er et mye mer " -"positiv begrep. banalisere betyr bare kode som gjÃ¸r at programmet til Ã¥ " -"gjÃ¸re noe det ikke var opprinnelig ment eller aktivert Ã¥ gjÃ¸re. Hvis du " -"kjÃ¸per en ny skriver for en gammel datamaskin, kan du finne den gamle " -"datamaskinen ikke kjÃ¸rer, eller \"drive\", skriveren. Hvis du oppdaget at, " -"vil du senere gjerne til Ã¥ oppdage en hack pÃ¥ nettet av noen som har skrevet " -"en driver for Ã¥ aktivere datamaskinen til Ã¥ kjÃ¸re skriveren du nettopp kjÃ¸pt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Some hacks are easy. Some are unbelievably hard. Hackers as a community like " -"to challenge themselves and others with increasingly difficult tasks. " -"There's a certain respect that goes with the talent to hack well. There's a " -"well-deserved respect that goes with the talent to hack ethically." -msgstr "" -"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap " -"liker Ã¥ utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er " -"en viss respekt som gÃ¥r med talent Ã¥ hacke godt. Det er en velfortjent " -"respekt som gÃ¥r med talent Ã¥ hacke etisk." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Aibo fan was displaying a bit of both when he hacked the program and " -"offered to the world a bit of code that would enable the Aibo to dance jazz. " -"The dog wasn't programmed to dance jazz. It was a clever bit of tinkering " -"that turned the dog into a more talented creature than Sony had built." -msgstr "" -"fan aibo var vise litt av begge nÃ¥r han hacket programmet og tilbÃ¸d Ã¥ verden " -"litt kode som ville gjÃ¸re det mulig for aibo Ã¥ danse jazz. hunden var ikke " -"programmert Ã¥ danse jazz. Det var en smart bit av fiksing og triksing som " -"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget." - -#. PAGE BREAK 166 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I've told this story in many contexts, both inside and outside the United " -"States. Once I was asked by a puzzled member of the audience, is it " -"permissible for a dog to dance jazz in the United States? We forget that " -"stories about the backcountry still flow across much of the world. So let's " -"just be clear before we continue: It's not a crime anywhere (anymore) to " -"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " -"be a crime (though we don't have a lot to go on here) to teach your robot " -"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " -"that the owner of aibopet.com thought, <emphasis>What possible problem could " -"there be with teaching a robot dog to dance?</emphasis>" -msgstr "" -"Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " -"NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " -"hunden Ã¥ danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles " -"flyter gjennom store deler av verden. sÃ¥ la oss vÃ¦re klare fÃ¸r vi " -"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) Ã¥ danse jazz. " -"heller ikke er det en forbrytelse Ã¥ lÃ¦re din hunden Ã¥ danse jazz. heller " -"ikke bÃ¸r det vÃ¦re en forbrytelse (selv om vi ikke har mye Ã¥ gÃ¥ pÃ¥ her) Ã¥ " -"lÃ¦re hunden din robot Ã¥ danse jazz. dans jazz er en helt lovlig aktivitet. " -"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det vÃ¦re " -"med undervisning en robot hunden Ã¥ danse?" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "government case against" -msgstr "regjeringen sak mot" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let's put the dog to sleep for a minute, and turn to a pony show— not " -"literally a pony show, but rather a paper that a Princeton academic named Ed " -"Felten prepared for a conference. This Princeton academic is well known and " -"respected. He was hired by the government in the Microsoft case to test " -"Microsoft's claims about what could and could not be done with its own code. " -"In that trial, he demonstrated both his brilliance and his coolness. Under " -"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not " -"about to be bullied into being silent about something he knew very well." -msgstr "" -"La oss sette hunden Ã¥ sove litt, og slÃ¥ til en ponni Vis—ikke " -"bokstavelig talt en ponni show, men heller et papir som en princeton " -"akademiske kalt ed felten forberedt pÃ¥ en konferanse. Denne princeton " -"akademiske er godt kjent og respektert. Han ble ansatt av regjeringen i " -"microsoft-saken til Ã¥ teste Microsofts krav om hva kunne og ikke kunne " -"gjÃ¸res med en egen kode. i denne rettssaken demonstrerte han bÃ¥de hans " -"herlighet og hans coolness. under tung badgering av microsoft advokater, ed " -"felten stÃ¥tt sin bakken. Han var ikke om Ã¥ bli mobba til Ã¥ vÃ¦re stille om " -"noe han visste godt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Electronic Frontier Foundation" -msgstr "Elektronisk forpost-stiftelsen (EFF)" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</" -"quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, " -"<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks," -"</quote> <citetitle>American Prospect</citetitle>, January 2002; " -"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> " -"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 " -"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech " -"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, " -"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic " -"Frontier Foundation, <quote>Frequently Asked Questions about " -"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " -"Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"But Felten's bravery was really tested in April 2001.<placeholder type=" -"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " -"to be submitted at conference. The paper was intended to describe the " -"weakness in an encryption system being developed by the Secure Digital Music " -"Initiative as a technique to control the distribution of music." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The SDMI coalition had as its goal a technology to enable content owners to " -"exercise much better control over their content than the Internet, as it " -"originally stood, granted them. Using encryption, SDMI hoped to develop a " -"standard that would allow the content owner to say <quote>this music cannot " -"be copied,</quote> and have a computer respect that command. The technology " -"was to be part of a <quote>trusted system</quote> of control that would get " -"content owners to trust the system of the Internet much more." -msgstr "" -"sdmi-koalisjonen hadde som mÃ¥l en teknologi for Ã¥ aktivere innholdseiere Ã¥ " -"utÃ¸ve mye bedre kontroll over deres innhold enn Internett, som den " -"opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi hÃ¥pet Ã¥ utvikle " -"en standard som ville tillate innholdseieren Ã¥ si \"denne musikken ikke kan " -"kopieres\", og har en datamaskin respekterer kommandoen. teknologien var Ã¥ " -"vÃ¦re del av et \"klarert system\" av kontroll som ville fÃ¥ innholdseiere kan " -"stole pÃ¥ systemet av Internett mye mer." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"When SDMI thought it was close to a standard, it set up a competition. In " -"exchange for providing contestants with the code to an SDMI-encrypted bit of " -"content, contestants were to try to crack it and, if they did, report the " -"problems to the consortium." -msgstr "" -"NÃ¥r sdmi trodde det var nÃ¦r en standard, satt det opp en konkurranse. i " -"bytte for Ã¥ gi contestants med koden til en sdmi-krypterte bit av innholdet, " -"var contestants Ã¥ prÃ¸ve Ã¥ sprekk det, og hvis de gjorde, kan du rapportere " -"problemer til konsortiet." - -#. PAGE BREAK 167 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Felten and his team figured out the encryption system quickly. He and the " -"team saw the weakness of this system as a type: Many encryption systems " -"would suffer the same weakness, and Felten and his team thought it " -"worthwhile to point this out to those who study encryption." -msgstr "" -"felten og teamet hans funnet ut kryptering systemet raskt. Han og teamet sÃ¥ " -"svakheten av dette systemet som en type: mange kryptering systemer vil lide " -"samme svakhet, og felten og teamet hans trodde det verdt Ã¥ pÃ¥peke dette til " -"de som studerer kryptering." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let's review just what Felten was doing. Again, this is the United States. " -"We have a principle of free speech. We have this principle not just because " -"it is the law, but also because it is a really great idea. A strongly " -"protected tradition of free speech is likely to encourage a wide range of " -"criticism. That criticism is likely, in turn, to improve the systems or " -"people or ideas criticized." -msgstr "" -"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et " -"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er " -"loven, men ogsÃ¥ fordi det er en virkelig god idÃ©. en sterkt beskyttet " -"tradisjon av ytringsfriheten er sannsynlig Ã¥ oppmuntre til et bredt spekter " -"av kritikk. at kritikk er sannsynlig, i sin tur til Ã¥ forbedre systemer " -"eller personer eller idÃ©er kritisert." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"What Felten and his colleagues were doing was publishing a paper describing " -"the weakness in a technology. They were not spreading free music, or " -"building and deploying this technology. The paper was an academic essay, " -"unintelligible to most people. But it clearly showed the weakness in the " -"SDMI system, and why SDMI would not, as presently constituted, succeed." -msgstr "" -"Hva felten og hans kolleger gjorde var publisering en papiret beskriver " -"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og " -"distribusjon av denne teknologien. papiret var en faglige essay, uleselig " -"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi " -"ville ikke, sÃ¥ dag konstituert, lykkes." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"What links these two, aibopet.com and Felten, is the letters they then " -"received. Aibopet.com received a letter from Sony about the aibopet.com " -"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:" -msgstr "" -"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter " -"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. " -"Selv om en jazz-dans hunden er helt lovlig, skrev sony:" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"Your site contains information providing the means to circumvent AIBO-ware's " -"copy protection protocol constituting a violation of the anti-circumvention " -"provisions of the Digital Millennium Copyright Act." -msgstr "" -"nettstedet inneholder informasjon metoder for Ã¥ omgÃ¥ aibo-ware " -"kopibeskyttelse protokollen utgjÃ¸r et brudd pÃ¥ anti-omgÃ¥else bestemmelsene i " -"digital millennium copyright act." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"And though an academic paper describing the weakness in a system of " -"encryption should also be perfectly legal, Felten received a letter from an " -"RIAA lawyer that read:" -msgstr "" -"og selv om en akademisk papiret beskriver svakhet i et system av kryptering " -"bÃ¸r ogsÃ¥ vÃ¦re helt lovlig, felten mottatt et brev fra en riaa advokat som " -"lese:" - -#. PAGE BREAK 168 -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"Any disclosure of information gained from participating in the Public " -"Challenge would be outside the scope of activities permitted by the " -"Agreement and could subject you and your research team to actions under the " -"Digital Millennium Copyright Act (<quote>DMCA</quote>)." -msgstr "" -"enhver formidling av informasjon fra Ã¥ delta i offentlig challenge ville " -"vÃ¦re utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen og " -"kunne utsettes du og din undersÃ¸kelsesgruppen for handlinger under digital " -"millennium copyright act (\"dmca\")." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In both cases, this weirdly Orwellian law was invoked to control the spread " -"of information. The Digital Millennium Copyright Act made spreading such " -"information an offense." -msgstr "" -"i begge tilfeller ble denne nifs orwellian loven startet for Ã¥ kontrollere " -"spredningen av informasjon. digital millennium copyright act gjort sprer seg " -"slik informasjon en krenkelser." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The DMCA was enacted as a response to copyright owners' first fear about " -"cyberspace. The fear was that copyright control was effectively dead; the " -"response was to find technologies that might compensate. These new " -"technologies would be copyright protection technologies— technologies " -"to control the replication and distribution of copyrighted material. They " -"were designed as <emphasis>code</emphasis> to modify the original " -"<emphasis>code</emphasis> of the Internet, to reestablish some protection " -"for copyright owners." -msgstr "" -"dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes fÃ¸rste frykt om " -"cyberspace. frykt var at opphavsrett kontroll var effektivt dÃ¸d; svaret var " -"Ã¥ finne teknologier som kan kompensere. disse nye teknologiene ville vÃ¦re " -"opphavsrettsbeskyttelse teknologier—teknologier for Ã¥ kontrollere " -"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble " -"utviklet som kode for Ã¥ endre den opprinnelige koden for Internett, for Ã¥ " -"gjenopprette noe beskyttelse for eiere av opphavsretter." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The DMCA was a bit of law intended to back up the protection of this code " -"designed to protect copyrighted material. It was, we could say, " -"<emphasis>legal code</emphasis> intended to buttress <emphasis>software " -"code</emphasis> which itself was intended to support the <emphasis>legal " -"code of copyright</emphasis>." -msgstr "" -"dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " -"koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " -"var vi kunne si, Juridisk Lisenstekst ment Ã¥ buttress programvarekode som " -"selv var ment Ã¥ stÃ¸tte Juridisk Lisenstekst av opphavsrett." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But the DMCA was not designed merely to protect copyrighted works to the " -"extent copyright law protected them. Its protection, that is, did not end at " -"the line that copyright law drew. The DMCA regulated devices that were " -"designed to circumvent copyright protection measures. It was designed to ban " -"those devices, whether or not the use of the copyrighted material made " -"possible by that circumvention would have been a copyright violation." -msgstr "" -"men dmca ble ikke utformet for bare Ã¥ beskytte opphavsrettslig beskyttet " -"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si " -"ikke slutten pÃ¥ linjen som trakk av lov om opphavsrett. dmca regulert " -"enheter som ble utviklet for Ã¥ omgÃ¥ opphavsrettsbeskyttelse tiltak. den ble " -"utformet for Ã¥ forby disse enheter, om bruk av opphavsrettslig materiale " -"gjort mulig ved at omgÃ¥else ville ha vÃ¦rt et brudd pÃ¥ opphavsretten." - -#. PAGE BREAK 169 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Aibopet.com and Felten make the point. The Aibo hack circumvented a " -"copyright protection system for the purpose of enabling the dog to dance " -"jazz. That enablement no doubt involved the use of copyrighted material. But " -"as aibopet.com's site was noncommercial, and the use did not enable " -"subsequent copyright infringements, there's no doubt that aibopet.com's hack " -"was fair use of Sony's copyrighted material. Yet fair use is not a defense " -"to the DMCA. The question is not whether the use of the copyrighted material " -"was a copyright violation. The question is whether a copyright protection " -"system was circumvented." -msgstr "" -"aibopet.com og felten gjÃ¸re punktet. det aibo banalisere omgikk et system " -"for opphavsrettsbeskyttelse for Ã¥ aktivere hunden Ã¥ danse jazz. at " -"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men " -"som aibopet.com's omrÃ¥det var ikke-kommersielt, og bruk ikke aktiverte " -"etterfÃ¸lgende opphavsrett infringements, er det ingen tvil om at aibopet.com " -"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. " -"rettferdig bruk er ennÃ¥ ikke krenkelser av dmca. spÃ¸rsmÃ¥let er ikke om bruk " -"av opphavsrettslig materiale var et brudd pÃ¥ opphavsretten. spÃ¸rsmÃ¥let er om " -"et system for opphavsrettsbeskyttelse var omgikk." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The threat against Felten was more attenuated, but it followed the same line " -"of reasoning. By publishing a paper describing how a copyright protection " -"system could be circumvented, the RIAA lawyer suggested, Felten himself was " -"distributing a circumvention technology. Thus, even though he was not " -"himself infringing anyone's copyright, his academic paper was enabling " -"others to infringe others' copyright." -msgstr "" -"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med " -"resonnement. ved Ã¥ publisere en papir som beskriver hvordan et system for " -"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslÃ¥tt, felten " -"selv var distribuere en omgÃ¥else-teknologi. SÃ¥ledes, selv om han ikke var " -"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre " -"til Ã¥ krenke andres opphavsrett." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Rogers, Fred" -msgstr "Rogers, Fred" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Conrad, Paul" -msgstr "Conrad, Paul" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by " -"Paul Conrad. At that time, a court in California had held that the VCR could " -"be banned because it was a copyright-infringing technology: It enabled " -"consumers to copy films without the permission of the copyright owner. No " -"doubt there were uses of the technology that were legal: Fred Rogers, aka " -"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified " -"in that case that he wanted people to feel free to tape Mr. Rogers' " -"Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av " -"paul conrad. pÃ¥ den tiden, en domstol i california hadde holdt at " -"videoopptakeren kan bli utestengt fordi det var en copyright-krenkende " -"teknologi: det aktivert forbrukere til Ã¥ 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 sÃ¥ " -"fall at han Ã¸nsket Ã¥ fremkalle gratis Ã¥ tape mr. rogers' neighborhood." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <citetitle>Sony Corporation of " -"America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., " -"464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the " -"VCR. See James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, " -"and the Onslaught of the VCR</citetitle> (New York: W. W. Norton, 1987), " -"270–71. <placeholder type=\"indexterm\" id=\"1\"/>" -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), 270Â71." - -#. type: Content of: <book><part><chapter><section><blockquote><para> -msgid "" -"Some public stations, as well as commercial stations, program the " -"<quote>Neighborhood</quote> at hours when some children cannot use it. I " -"think that it's a real service to families to be able to record such " -"programs and show them at appropriate times. I have always felt that with " -"the advent of all of this new technology that allows people to tape the " -"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the " -"<quote>Neighborhood</quote> because that's what I produce, that they then " -"become much more active in the programming of their family's television " -"life. Very frankly, I am opposed to people being programmed by others. My " -"whole approach in broadcasting has always been <quote>You are an important " -"person just the way you are. You can make healthy decisions.</quote> Maybe " -"I'm going on too long, but I just feel that anything that allows a person to " -"be more active in the control of his or her life, in a healthy way, is " -"important.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. PAGE BREAK 170 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Even though there were uses that were legal, because there were some uses " -"that were illegal, the court held the companies producing the VCR " -"responsible." -msgstr "" -"Selv om det var bruker som var juridiske, fordi det var noen bruksomrÃ¥der " -"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This led Conrad to draw the cartoon below, which we can adopt to the DMCA. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Dette fÃ¸rte conrad Ã¥ trekke tegneserie nedenfor, som vi kan vedta Ã¥ dmca." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "No argument I have can top this picture, but let me try to get close." -msgstr "" -"ingen argument jeg har kan topp dette bildet, men la meg prÃ¸ve Ã¥ komme nÃ¦r." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The anticircumvention provisions of the DMCA target copyright circumvention " -"technologies. Circumvention technologies can be used for different ends. " -"They can be used, for example, to enable massive pirating of copyrighted " -"material—a bad end. Or they can be used to enable the use of " -"particular copyrighted materials in ways that would be considered fair " -"use—a good end." -msgstr "" -"anticircumvention bestemmelsene i dmca mot opphavsrett omgÃ¥else teknologier. " -"omgÃ¥else teknologiene kan brukes for ulike ender. de kan brukes, for " -"eksempel Ã¥ aktivere massiv pirating av opphavsrettsbeskyttet materiale—" -"en dÃ¥rlig slutt. eller de kan brukes til Ã¥ aktivere bruken av bestemt " -"opphavsrettsbeskyttet materiale pÃ¥ mÃ¥ter som vil anses rimelig bruk—en " -"god slutt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "handguns" -msgstr "hÃ¥ndvÃ¥pen" - -#. PAGE BREAK 171 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"A handgun can be used to shoot a police officer or a child. Most would agree " -"such a use is bad. Or a handgun can be used for target practice or to " -"protect against an intruder. At least some would say that such a use would " -"be good. It, too, is a technology that has both good and bad uses." -msgstr "" -"en pistol kan brukes til Ã¥ skyte en politimann eller et barn. de fleste vil " -"vÃ¦re enige slik bruk er dÃ¥rlig. eller en pistol kan brukes for mÃ¥let " -"praksis, eller for Ã¥ beskytte mot en inntrenger. minst noen vil si at slik " -"bruk ville vÃ¦rt bra. det, ogsÃ¥, er en teknologi som har bÃ¥de gode og dÃ¥rlige " -"bruker." - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "VCR/handgun cartoon." -msgstr "" - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1711.png\"></graphic>" -msgstr "<graphic fileref=\"images/1711.png\"></graphic>" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The obvious point of Conrad's cartoon is the weirdness of a world where guns " -"are legal, despite the harm they can do, while VCRs (and circumvention " -"technologies) are illegal. Flash: <emphasis>No one ever died from copyright " -"circumvention</emphasis>. Yet the law bans circumvention technologies " -"absolutely, despite the potential that they might do some good, but permits " -"guns, despite the obvious and tragic harm they do." -msgstr "" -"den Ã¥penbare punkt conrad's tegneserie er weirdness av en verden der guns er " -"juridisk, til tross for skade som de kan gjÃ¸re, mens videospillere (og " -"omgÃ¥else teknologier) er ulovlig. Flash: ingen noensinne dÃ¸de fra " -"opphavsrett omgÃ¥else. ennÃ¥ forbud lov omgÃ¥else teknologier absolutt, til " -"tross for potensialet som de kan gjÃ¸re noe godt, men tillater vÃ¥pen, til " -"tross for den Ã¥penbare og tragisk skaden de gjÃ¸r." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Aibo and RIAA examples demonstrate how copyright owners are changing the " -"balance that copyright law grants. Using code, copyright owners restrict " -"fair use; using the DMCA, they punish those who would attempt to evade the " -"restrictions on fair use that they impose through code. Technology becomes a " -"means by which fair use can be erased; the law of the DMCA backs up that " -"erasing." -msgstr "" -"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som " -"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter " -"fair use; bruker dmca, straffe de de som vil forsÃ¸ke Ã¥ unngÃ¥ begrensningene " -"pÃ¥ rimelig bruk som de innfÃ¸re gjennom koden. teknologien blir et middel som " -"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " -"controls built into the technology of copy and access protection become " -"rules the violation of which is also a violation of the law. In this way, " -"the code extends the law—increasing its regulation, even if the " -"subject it regulates (activities that would otherwise plainly constitute " -"fair use) is beyond the reach of the law. Code becomes law; code extends the " -"law; code thus extends the control that copyright owners effect—at " -"least for those copyright holders with the lawyers who can write the nasty " -"letters that Felten and aibopet.com received." -msgstr "" -"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " -"for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " -"pÃ¥ loven. pÃ¥ denne mÃ¥ten utvider koden loven—Ã¸ke sin regulering, selv " -"om emnet den regulerer (aktiviteter som ellers tydelig utgjÃ¸r rimelig bruk) " -"er utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode " -"dermed utvider kontrollen som eiere av opphavsretter effekt—minst for " -"de innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene " -"som felten og aibopet.com som er mottatt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There is one final aspect of the interaction between architecture and law " -"that contributes to the force of copyright's regulation. This is the ease " -"with which infringements of the law can be detected. For contrary to the " -"rhetoric common at the birth of cyberspace that on the Internet, no one " -"knows you're a dog, increasingly, given changing technologies deployed on " -"the Internet, it is easy to find the dog who committed a legal wrong. The " -"technologies of the Internet are open to snoops as well as sharers, and the " -"snoops are increasingly good at tracking down the identity of those who " -"violate the rules." -msgstr "" -"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til " -"styrken av copyright's regulering. Dette er enkelt som infringements av " -"loven som kan oppdages. for i motsetning til retorikken felles fÃ¸dselen av " -"cyberspace at pÃ¥ Internett, ingen vet du er en hunden, i Ã¸kende grad er gitt " -"skiftende teknologier som er deployert pÃ¥ Internett, det enkelt Ã¥ finne " -"hunden som har begÃ¥tt en juridisk feil. teknologien av Internett er Ã¥pne for " -"snoops, sÃ¥ vel som brukere, og snoops er stadig gode pÃ¥ sporing ned " -"identiteten til de som bryter reglene." - -#. f24 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal " -"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> " -"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 " -"(1997): 651." -msgstr "" -"for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-" -"fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles " -"underholdning law journal 17 (1997): 651." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " -"club. You gathered every month to share trivia, and maybe to enact a kind of " -"fan fiction about the show. One person would play Spock, another, Captain " -"Kirk. The characters would begin with a plot from a real story, then simply " -"continue it.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Before the Internet, this was, in effect, a totally unregulated activity. " -"No matter what happened inside your club room, you would never be interfered " -"with by the copyright police. You were free in that space to do as you " -"wished with this part of our culture. You were allowed to build on it as you " -"wished without fear of legal control." -msgstr "" -"fÃ¸r 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 Ã¥ gjÃ¸re som du vil. med denne delen " -"av vÃ¥r kultur. du ble tillatt Ã¥ bygge videre pÃ¥ det som du selv Ã¸nsker, uten " -"frykt for juridisk kontroll." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But if you moved your club onto the Internet, and made it generally " -"available for others to join, the story would be very different. Bots " -"scouring the Net for trademark and copyright infringement would quickly find " -"your site. Your posting of fan fiction, depending upon the ownership of the " -"series that you're depicting, could well inspire a lawyer's threat. And " -"ignoring the lawyer's threat would be extremely costly indeed. The law of " -"copyright is extremely efficient. The penalties are severe, and the process " -"is quick." -msgstr "" -"men hvis du har flyttet din klubb til Internett, og gjorde det vanligvis " -"tilgjengelig for andre til Ã¥ delta, historien ville vÃ¦re svÃ¦rt forskjellige. " -"robotsÃ¸keprogrammer scouring nettet for varemerke- og copyright infringement " -"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av " -"eierskap av serien som du som viser, kan ogsÃ¥ inspirere en advokat trussel. " -"og ignorerer den advokat trussel ville vÃ¦re uhyre kostbart faktisk. loven om " -"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er " -"rask." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This change in the effective force of the law is caused by a change in the " -"ease with which the law can be enforced. That change too shifts the law's " -"balance radically. It is as if your car transmitted the speed at which you " -"traveled at every moment that you drove; that would be just one step before " -"the state started issuing tickets based upon the data you transmitted. That " -"is, in effect, what is happening here." -msgstr "" -"Denne endringen i effektiv makt i loven er forÃ¥rsaket av en endring i lett " -"som kan hÃ¥ndheves loven. at endringen ogsÃ¥ skifter loven er balansere " -"radikalt. Det er som om bilen overfÃ¸res hastigheten som du reist pÃ¥ hvert " -"Ã¸yeblikk som du kjÃ¸rte; det ville vÃ¦re bare ett trinn fÃ¸r staten begynte Ã¥ " -"utstede billetter basert pÃ¥ dataene du har overfÃ¸rt. det vil si, hva som " -"skjer her." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Market: Concentration" -msgstr "Marked: Konsentrasjon" - -#. PAGE BREAK 173 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"So copyright's duration has increased dramatically—tripled in the past " -"thirty years. And copyright's scope has increased as well—from " -"regulating only publishers to now regulating just about everyone. And " -"copyright's reach has changed, as every action becomes a copy and hence " -"presumptively regulated. And as technologists find better ways to control " -"the use of content, and as copyright is increasingly enforced through " -"technology, copyright's force changes, too. Misuse is easier to find and " -"easier to control. This regulation of the creative process, which began as a " -"tiny regulation governing a tiny part of the market for creative work, has " -"become the single most important regulator of creativity there is. It is a " -"massive expansion in the scope of the government's control over innovation " -"and creativity; it would be totally unrecognizable to those who gave birth " -"to copyright's control." -msgstr "" -"Slik copyright's varighet har Ã¸kt dramatisk—tredoblet de siste tretti " -"Ã¥rene. og copyright's omfang har Ã¸kt samt—fra regulerer bare utgivere " -"Ã¥ regulere nÃ¥ omtrent alle. og copyright's rekkevidde har endret, som hver " -"handling blir en kopi og dermed presumptively regulert. og som " -"Teknologorganisasjon finne bedre mÃ¥ter Ã¥ kontrollere bruken av innhold, og " -"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft " -"endringer, ogsÃ¥. misbruk er enklere Ã¥ finne og enklere Ã¥ 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 Ã¸kning i " -"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville " -"vÃ¦re helt ugjenkjennelige til de som fÃ¸dte copyright's kontroll." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Still, in my view, all of these changes would not matter much if it weren't " -"for one more change that we must also consider. This is a change that is in " -"some sense the most familiar, though its significance and scope are not well " -"understood. It is the one that creates precisely the reason to be concerned " -"about all the other changes I have described." -msgstr "" -"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det " -"ikke var for en enda en endring som mÃ¥ vi ogsÃ¥ vurdere. Dette er en endring " -"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er " -"godt forstÃ¥tt. Det er den som oppretter nettopp grunnen til Ã¥ vÃ¦re bekymret " -"for alle andre endringer jeg har beskrevet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is the change in the concentration and integration of the media. In " -"the past twenty years, the nature of media ownership has undergone a radical " -"alteration, caused by changes in legal rules governing the media. Before " -"this change happened, the different forms of media were owned by separate " -"media companies. Now, the media is increasingly owned by only a few " -"companies. Indeed, after the changes that the FCC announced in June 2003, " -"most expect that within a few years, we will live in a world where just " -"three companies control more than percent of the media." -msgstr "" -"Dette er endring i konsentrasjon og integrering av media. i de siste tjue " -"Ã¥rene, har natur av media eierskapet gjennomgÃ¥tt en radikal endring, " -"forÃ¥rsaket av endringer i juridiske reglene som styrer media. fÃ¸r denne " -"endringen skjedde, var de ulike formene for media eid av egen media " -"selskapene. media eies nÃ¥, i Ã¸kende grad av bare et par selskaper. faktisk, " -"etter endringene som fcc annonsert i juni 2003, mest forventer at innen fÃ¥ " -"Ã¥r vil vi lever i en verden der bare tre selskaper kontrollere mer enn " -"prosent av media." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"These changes are of two sorts: the scope of concentration, and its nature." -msgstr "" -"Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "BMG" -msgstr "BMG" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "EMI" -msgstr "EMI" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "McCain, John" -msgstr "McCain, John" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Universal Music Group" -msgstr "Universal music group" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "Warner Music Group" -msgstr "Warner music group" - -#. f25 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"FCC Oversight: Hearing Before the Senate Commerce, Science and " -"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement " -"of Senator John McCain)." -msgstr "" -"FCC oversight: hÃ¸ring fÃ¸r Senatet commerce, science and transport komiteen, " -"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)." - -#. f26 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to " -"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002." -msgstr "" -"lynette holloway, \"til tross for en markedsfÃ¸ring blitz cd salg fortsette Ã¥ " -"skyve,\" new york times, 23 desember 2002." - -#. f27 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> " -"<citetitle>Charleston Gazette</citetitle>, 31 May 2003." -msgstr "" -"Molly ivins, \"media konsolidering mÃ¥ stoppes,\" charleston gazette, 31 kan " -"2003." - -#. type: Content of: <book><part><chapter><section><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, " -"<quote>five companies control 85 percent of our media sources.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> The five recording labels of " -"Universal Music Group, BMG, Sony Music Entertainment, Warner Music Group, " -"and EMI control 84.8 percent of the U.S. music market.<placeholder type=" -"\"footnote\" id=\"1\"/> The <quote>five largest cable companies pipe " -"programming to 74 percent of the cable subscribers nationwide.</" -"quote><placeholder type=\"footnote\" id=\"2\"/>" -msgstr "" - -#. PAGE BREAK 174 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The story with radio is even more dramatic. Before deregulation, the " -"nation's largest radio broadcasting conglomerate owned fewer than seventy-" -"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 " -"stations. During that period of consolidation, the total number of radio " -"owners dropped by 34 percent. Today, in most markets, the two largest " -"broadcasters control 74 percent of that market's revenues. Overall, just " -"four companies control 90 percent of the nation's radio advertising revenues." -msgstr "" -"historien med radio er enda mer dramatisk. fÃ¸r dereguleringen, landets " -"stÃ¸rste radio sendinger konglomerat eid fÃ¦rre 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 stÃ¸rste broadcasters 74 prosent av dette " -"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets " -"radio annonsering inntekter." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Newspaper ownership is becoming more concentrated as well. Today, there are " -"six hundred fewer daily newspapers in the United States than there were " -"eighty years ago, and ten companies control half of the nation's " -"circulation. There are twenty major newspaper publishers in the United " -"States. The top ten film studios receive 99 percent of all film revenue. The " -"ten largest cable companies account for 85 percent of all cable revenue. " -"This is a market far from the free press the framers sought to protect. " -"Indeed, it is a market that is quite well protected— by the market." -msgstr "" -"avisen eierskap er i ferd med Ã¥ bli mer konsentrert ogsÃ¥. i dag, er det seks " -"hundre fÃ¦rre daglige aviser i USA enn det var Ã¥tti Ã¥r 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 " -"stÃ¸rste kabelselskaper konto for 85 prosent av alle inntekter for kabel. " -"Dette er et marked langt fra fri presse underskrev sÃ¸kt Ã¥ beskytte. Det er " -"faktisk et marked som er svÃ¦rt godt beskyttet—av markedet." - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Fallows, James" -msgstr "Fallows, James" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Concentration in size alone is one thing. The more invidious change is in " -"the nature of that concentration. As author James Fallows put it in a recent " -"article about Rupert Murdoch, <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"konsentrasjon i stÃ¸rrelse alene er Ã©n ting. mer invidious endringen er i " -"natur at konsentrasjon. som forfatter james fallows sette den i en fersk " -"artikkel om rupert murdoch," - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic " -"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " -"id=\"0\"/>" -msgstr "" -"James Fallows, <quote>The Age of Murdoch</quote>, <citetitle>Atlantic " -"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The pattern with Murdoch is the pattern of modern media. Not just large " -"companies owning many radio stations, but a few companies owning as many " -"outlets of media as possible. A picture describes this pattern better than a " -"thousand words could do:" -msgstr "" -"mÃ¸nsteret med murdoch er mÃ¸nsteret av moderne medier. ikke bare store " -"selskaper Ã¥ eie mange radiostasjoner, men noen selskaper Ã¥ eie sÃ¥ mange " -"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjÃ¸re " -"dette mÃ¸nsteret:" - -#. type: Content of: <book><part><chapter><section><figure><title> -msgid "Pattern of modern media ownership." -msgstr "MÃ¸nster for moderne mediaeierskap." - -#. type: Content of: <book><part><chapter><section><figure> -msgid "<graphic fileref=\"images/1761.png\"></graphic>" -msgstr "<graphic fileref=\"images/1761.png\"></graphic>" - -#. PAGE BREAK 175 -#. type: Content of: <book><part><chapter><section><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 "" -"Betyr denne konsentrasjonen noe? PÃ¥virker det hva som blir laget, eller hva " -"som blir distribuert? Eller er det bare en mer effektiv mÃ¥te Ã¥ produsere og " -"distribuere innhold?" - -#. type: Content of: <book><part><chapter><section><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 "" -"Mitt syn var at konsentrasjonen ikke betÃ¸d noe. Jeg tenkte det ikke var noe " -"mer enn en mer effektiv finansiell struktur. Men nÃ¥, etter Ã¥ ha lest og " -"hÃ¸rt pÃ¥ en haug av skapere prÃ¸ve Ã¥ overbevise meg om det motsatte, har jeg " -"begynt Ã¥ endre mening." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Here's a representative story that begins to suggest how this integration " -"may matter." -msgstr "" -"Her er en representativ historie som kan foreslÃ¥ hvorfor denne integreringen " -"er viktig." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Lear, Norman" -msgstr "Lear, Norman" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "All in the Family" -msgstr "alle i familien" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</" -"citetitle>. He took the pilot to ABC. The network didn't like it. It was too " -"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy " -"than the first. ABC was exasperated. You're missing the point, they told " -"Lear. We wanted less edgy, not more." -msgstr "" -"I 1969 laget Norman Lear en polit for <citetitle>All in the Family</" -"citetitle>. Han tok piloten til ABC, og nettverket likte det ikke. Da sa " -"til Lear at det var for pÃ¥ kanten. GjÃ¸r det om igjen. Lear lagde piloten pÃ¥ " -"nytt, mer pÃ¥ kanten enn den fÃ¸rste. ABC ble fra seg. Du fÃ¥r ikke med deg " -"poenget, fortalte de Lear. Vi vil ha det mindre pÃ¥ kanten, ikke mer." - -#. f29 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum " -"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> " -"St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the " -"Lear story, not included in the prepared remarks, see <ulink url=\"http://" -"free-culture.cc/notes/\">link #29</ulink>)." -msgstr "" - -#. type: Content of: <book><part><chapter><section><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 "" -"I stedet for Ã¥ fÃ¸ye seg, to Lear ganske enkelt serien sin til noen andre. " -"CBS var glad for Ã¥ ha seriene, og ABC kunne ikke stoppe Lear fra Ã¥ gÃ¥ til " -"andre. Opphavsretten som Lear hadde sikret uavhengighet fra nettverk-" -"kontroll.<placeholder type=\"footnote\" id=\"0\"/>" - -#. PAGE BREAK 176 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The network did not control those copyrights because the law forbade the " -"networks from controlling the content they syndicated. The law required a " -"separation between the networks and the content producers; that separation " -"would guarantee Lear freedom. And as late as 1992, because of these rules, " -"the vast majority of prime time television—75 percent of it—was " -"<quote>independent</quote> of the networks." -msgstr "" -"nettverket ikke kontrollere mâÃte av opphavsrettighetene fordi lov forbÃ¸d " -"nettverk fra controlling the content de skal grupperes. loven kreves et " -"skille mellom nettverkene og innhold produsenter; at separasjon ville " -"garantere lear frihet. og sÃ¥ sent som i 1992, pÃ¥ grunn av disse reglene, det " -"store flertallet av prime-time TV—75 prosent av det—var " -"\"uavhengige\" av nettverk." - -#. f30 -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><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. <quote>In 1992, only 15 percent of " -"new series were produced for a network by a company it controlled. Last " -"year, the percentage of shows produced by controlled companies more than " -"quintupled to 77 percent.</quote> <quote>In 1992, 16 new series were " -"produced independently of conglomerate control, last year there was one.</" -"quote><placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime " -"time television was owned by the networks that ran it. <quote>In the ten-" -"year period between 1992 and 2002, the number of prime time television hours " -"per week produced by network studios increased over 200%, whereas the number " -"of prime time television hours per week produced by independent studios " -"decreased 63%.</quote><placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Today, another Norman Lear with another <citetitle>All in the Family</" -"citetitle> would find that he had the choice either to make the show less " -"edgy or to be fired: The content of any show developed for a network is " -"increasingly owned by the network." -msgstr "" -"i dag, en annen norman lear med en annen alle i familien ville finne at han " -"mÃ¥tte velge Ã¥ gjÃ¸re showet mindre irritabel eller sparken: innholdet i et " -"hvilket som helst Vis utviklet for et nettverk er i Ã¸kende grad eid av " -"nettverket." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Diller, Barry" -msgstr "Diller, Barry" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Moyers, Bill" -msgstr "Moyers, Bill" - -#. type: Content of: <book><part><chapter><section><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 Ã¸kt dramatisk, har eierskapet til disse kanalene " -"snevret inn fra fÃ¥ til stadig fÃ¦rre. Som Barry Diller sa til Bill Moyers," - -#. f32 -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with " -"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>." -msgstr "" -"<quote>Barry Diller Takes on Media Deregulation</quote>, <citetitle>Now with " -"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, redigert avskrift " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #31</" -"ulink>." - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This narrowing has an effect on what is produced. The product of such large " -"and concentrated networks is increasingly homogenous. Increasingly safe. " -"Increasingly sterile. The product of news shows from networks like this is " -"increasingly tailored to the message the network wants to convey. This is " -"not the communist party, though from the inside, it must feel a bit like the " -"communist party. No one can question without risk of consequence—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 pÃ¥ 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 Ã¸nsker Ã¥ formidle. Dette er ikke det " -"kommunistiske parten, selv om fra innsiden, mÃ¥ det fÃ¸les litt som det " -"kommunistiske parten. Ingen kan spÃ¸rsmÃ¥let uten risiko for konsekvens—" -"ikke nÃ¸dvendigvis banishment til Sibir, men straff likevel. uavhengige, " -"kritiske, forskjellige visninger er Ã¸dela. Dette er ikke miljÃ¸ for et " -"demokrati." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Clark, Kim B." -msgstr "Clark, Kim B." - -#. f33 -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " -"Revolutionary National Bestseller that Changed the Way We Do Business</" -"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen " -"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. " -"Clark, <quote>The Interaction of Design Hierarchies and Market Concepts in " -"Technological Evolution,</quote> <citetitle>Research Policy</citetitle> 14 " -"(1985): 235–51. For a more recent study, see Richard Foster and Sarah " -"Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to " -"Last Underperform the Market—and How to Successfully Transform Them</" -"citetitle> (New York: Currency/Doubleday, 2001)." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Economics itself offers a parallel that explains why this integration " -"affects creativity. Clay Christensen has written about the " -"<quote>Innovator's Dilemma</quote>: the fact that large traditional firms " -"find it rational to ignore new, breakthrough technologies that compete with " -"their core business. The same analysis could help explain why large, " -"traditional media companies would find it rational to ignore new cultural " -"trends.<placeholder type=\"footnote\" id=\"0\"/> Lumbering giants not only " -"don't, but should not, sprint. Yet if the field is only open to the giants, " -"there will be far too little sprinting. <placeholder type=\"indexterm\" id=" -"\"1\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I don't think we know enough about the economics of the media market to say " -"with certainty what concentration and integration will do. The efficiencies " -"are important, and the effect on culture is hard to measure." -msgstr "" -"Jeg tror ikke vi vet nok om Ã¸konomien i media markedet Ã¥ si med sikkerhet " -"hva konsentrasjon og integrering vil gjÃ¸re. effektiviteten er viktig, og " -"effekten pÃ¥ kultur er vanskelig Ã¥ mÃ¥le." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But there is a quintessentially obvious example that does strongly suggest " -"the concern." -msgstr "men det er en typiske Ã¥penbare eksempel som sterkt at bekymringen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In addition to the copyright wars, we're in the middle of the drug wars. " -"Government policy is strongly directed against the drug cartels; criminal " -"and civil courts are filled with the consequences of this battle." -msgstr "" -"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. " -"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker " -"og sivile domstolene er fylt med konsekvensene av denne kampen." - -#. PAGE BREAK 178 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Let me hereby disqualify myself from any possible appointment to any " -"position in government by saying I believe this war is a profound mistake. I " -"am not pro drugs. Indeed, I come from a family once wrecked by drugs—" -"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 Ã¥ 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 sÃ¥ stor at gjÃ¸re fÃ¸re krig galskap. " -"NÃ¥r du legger til sammen byrdene pÃ¥ det strafferettslige systemet, " -"desperasjon generasjoner av barna som har bare ekte Ã¸konomiske muligheter er " -"som narkotika krigere, queering av konstitusjonelle vern pÃ¥ grunn av " -"konstant overvÃ¥king krever at denne krigen, og, mest dypt total Ã¸deleggelse " -"av juridiske systemer av mange sÃ¸ramerikanske land pÃ¥ grunn av kraften i " -"lokale stoffet cartelsJeg finner det umulig Ã¥ tro at marginal nytte i " -"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse " -"kostnadene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"You may not be convinced. That's fine. We live in a democracy, and it is " -"through votes that we are to choose policy. But to do that, we depend " -"fundamentally upon the press to help inform Americans about these issues." -msgstr "" -"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og " -"det er gjennom stemmer at vi skal velge policyen. men for Ã¥ gjÃ¸re det, vi " -"avhengig fundamentalt pressen for Ã¥ informere amerikanerne om disse " -"problemene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Beginning in 1998, the Office of National Drug Control Policy launched a " -"media campaign as part of the <quote>war on drugs.</quote> The campaign " -"produced scores of short film clips about issues related to illegal drugs. " -"In one series (the Nick and Norm series) two men are in a bar, discussing " -"the idea of legalizing drugs as a way to avoid some of the collateral damage " -"from the war. One advances an argument in favor of drug legalization. The " -"other responds in a powerful and effective way against the argument of the " -"first. In the end, the first guy changes his mind (hey, it's television). " -"The plug at the end is a damning attack on the pro-legalization campaign." -msgstr "" -"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 Ã©n serie (nick og normen-serie) to menn er i en bar, diskuterer " -"idÃ©en om legalizing narkotika som en mÃ¥te Ã¥ unngÃ¥ noen av " -"sikkerhetsstillelse skade fra krigen. en avanserer et argument for narkotika " -"legalization. de andre svarer pÃ¥ en kraftig og effektiv mÃ¥te mot argumentet " -"av fÃ¸rste. til slutt, den fÃ¸rste mann forandrer mening (Hei, det er TV). " -"pluggen pÃ¥ slutten er en damning angrep pÃ¥ pro-legalization kampanjen." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Fair enough. It's a good ad. Not terribly misleading. It delivers its " -"message well. It's a fair and reasonable message." -msgstr "" -"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding " -"godt. Det er en rettferdig og rimelig melding." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But let's say you think it is a wrong message, and you'd like to run a " -"countercommercial. Say you want to run a series of ads that try to " -"demonstrate the extraordinary collateral harm that comes from the drug war. " -"Can you do it?" -msgstr "" -"men la oss si at du tror det er en feil melding, og du Ã¸nsker Ã¥ kjÃ¸re en " -"countercommercial. si du vil kjÃ¸re en rekke annonser som prÃ¸ver Ã¥ " -"demonstrere den ekstraordinÃ¦re sikkerhetsstillelse skaden som kommer fra " -"stoffet krigen. kan du gjÃ¸re det?" - -#. PAGE BREAK 179 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Well, obviously, these ads cost lots of money. Assume you raise the money. " -"Assume a group of concerned citizens donates all the money in the world to " -"help you get your message out. Can you be sure your message will be heard " -"then?" -msgstr "" -"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve " -"penger. Anta at en gruppe av berÃ¸rte borgere donerer alle pengene i verden " -"for Ã¥ hjelpe deg Ã¥ fÃ¥ budskapet. kan du vÃ¦re sikker pÃ¥ at meldingen vil " -"deretter bli hÃ¸rt?" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Comcast" -msgstr "Comcast" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "Marijuana Policy Project" -msgstr "marihuana policy project" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "NBC" -msgstr "NBC" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "WJOA" -msgstr "WJOA" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "WRC" -msgstr "WRC" - -#. type: Content of: <book><part><chapter><section><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 <quote>against [their] " -"policy.</quote> The local NBC affiliate, WRC, rejected the ads without " -"reviewing them. The local ABC affiliate, WJOA, originally agreed to run the " -"ads and accepted payment to do so, but later decided not to run the ads and " -"returned the collected fees. Interview with Neal Levine, 15 October 2003. " -"These restrictions are, of course, not limited to drug policy. See, for " -"example, Nat Ives, <quote>On the Issue of an Iraq War, Advocacy Ads Meet " -"with Rejection from TV Networks,</quote> <citetitle>New York Times</" -"citetitle>, 13 March 2003, C4. Outside of election-related air time there " -"is very little that the FCC or the courts are willing to do to even the " -"playing field. For a general overview, see Rhonda Brown, <quote>Ad Hoc " -"Access: The Regulation of Editorial Advertising on Television and Radio,</" -"quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): " -"449–79, and for a more recent summary of the stance of the FCC and the " -"courts, see <citetitle>Radio-Television News Directors Association</" -"citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872 (D.C. Cir. 1999). " -"Municipal authorities exercise the same authority as the networks. In a " -"recent example from San Francisco, the San Francisco transit authority " -"rejected an ad that criticized its Muni diesel buses. Phillip Matier and " -"Andrew Ross, <quote>Antidiesel Group Fuming After Muni Rejects Ad,</quote> " -"SFGate.com, 16 June 2003, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #32</ulink>. The ground was that the criticism was <quote>too " -"controversial.</quote> <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " -"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=" -"\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/> " -"<placeholder type=\"indexterm\" id=\"6\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"No. You cannot. Television stations have a general policy of avoiding " -"<quote>controversial</quote> ads. Ads sponsored by the government are deemed " -"uncontroversial; ads disagreeing with the government are controversial. " -"This selectivity might be thought inconsistent with the First Amendment, but " -"the Supreme Court has held that stations have the right to choose what they " -"run. Thus, the major channels of commercial media will refuse one side of a " -"crucial debate the opportunity to present its case. And the courts will " -"defend the rights of the stations to be this biased.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -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 vÃ¦re glad for Ã¥ 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 hÃ¥ndfull selskaper kontrollere " -"tilgangen til media, og at hÃ¥ndfull selskaper kommer til Ã¥ bestemme hvilke " -"politiske holdninger som den gjÃ¸r det mulig Ã¥ bli forfremmet pÃ¥ sine " -"kanaler, sÃ¥ i en Ã¥penbare og viktig mÃ¥te, konsentrasjon teller. du kanskje " -"liker posisjoner hÃ¥ndfull selskaper velger. men du bÃ¸r ikke liker en verden " -"der bare en noen kommer til Ã¥ bestemme hvilke problemer med resten av oss fÃ¥ " -"vite om." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Together" -msgstr "Sammen" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"There is something innocent and obvious about the claim of the copyright " -"warriors that the government should <quote>protect my property.</quote> In " -"the abstract, it is obviously true and, ordinarily, totally harmless. No " -"sane sort who is not an anarchist could disagree." -msgstr "" -"Det er noe uskyldig og Ã¥penbar om kravet om opphavsrett warriors at " -"regjeringen bÃ¸r \"beskytte min egenskapen.\" i abstrakt, det er Ã¥penbart " -"sann og, vanligvis helt ufarlig. Ingen forstandig sortering som ikke er en " -"Anarkisten kan uenige." - -#. PAGE BREAK 180 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But when we see how dramatically this <quote>property</quote> 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 <quote>property</quote> rights granted by copyright fundamentally " -"changes the freedom within this culture to cultivate and build upon our " -"past, then we have to ask whether this property should be redefined." -msgstr "" -"men nÃ¥r vi ser hvor dramatisk denne \"property\" er endret—nÃ¥r vi " -"innser hvor den kan nÃ¥ kommunisere med bÃ¥de teknologi og markeder Ã¥ bety at " -"effektiv begrensningen pÃ¥ den frihet Ã¥ dyrke vÃ¥r kultur er dramatisk " -"annerledes—kravet begynner Ã¥ synes mindre uskyldig og Ã¥penbar. gitt " -"(1) den kraftige teknologi til Ã¥ supplere lovens kontroll, og (2) makt " -"konsentrert markeder for Ã¥ svekke muligheten for dissens, hvis strengt " -"hÃ¥ndheve massivt utvidet \"property\"-rettigheter som er gitt av copyright " -"fundamentalt endres frihet i denne kulturen til Ã¥ dyrke og bygge pÃ¥ vÃ¥r " -"fortid, sÃ¥ mÃ¥ vi spÃ¸rre om denne egenskapen skal defineres." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Not starkly. Or absolutely. My point is not that we should abolish copyright " -"or go back to the eighteenth century. That would be a total mistake, " -"disastrous for the most important creative enterprises within our culture " -"today." -msgstr "" -"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bÃ¸r avskaffe " -"copyright eller gÃ¥ tilbake til 1700-tallet. det ville vÃ¦re en totalt feil, " -"katastrofalt for de viktigste kreative bedriftene i vÃ¥r kultur i dag." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But there is a space between zero and one, Internet culture " -"notwithstanding. And these massive shifts in the effective power of " -"copyright regulation, tied to increased concentration of the content " -"industry and resting in the hands of technology that will increasingly " -"enable control over the use of culture, should drive us to consider whether " -"another adjustment is called for. Not an adjustment that increases " -"copyright's power. Not an adjustment that increases its term. Rather, an " -"adjustment to restore the balance that has traditionally defined copyright's " -"regulation—a weakening of that regulation, to strengthen creativity." -msgstr "" -"men det er et mellomrom mellom null og Ã©n, Internett-kultur til tross for. " -"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet " -"til Ã¸kt konsentrasjon av innhold industrien og hvile i hendene pÃ¥ teknologi " -"som i Ã¸kende grad vil aktivere kontroll over bruken av kultur, bÃ¸r kjÃ¸re oss " -"til Ã¥ vurdere om en annen justering kalles for. ikke en justering som Ã¸ker " -"copyright's strÃ¸m. ikke en justering som Ã¸ker sin sikt. snarere en justering " -"for Ã¥ gjenopprette balansen som tradisjonelt har definert copyright's " -"regulering—en svekkelse av den reguleringen, Ã¥ styrke kreativitet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Copyright law has not been a rock of Gibraltar. It's not a set of constant " -"commitments that, for some mysterious reason, teenagers and geeks now flout. " -"Instead, copyright power has grown dramatically in a short period of time, " -"as the technologies of distribution and creation have changed and as " -"lobbyists have pushed for more control by copyright holders. Changes in the " -"past in response to changes in technology suggest that we may well need " -"similar changes in the future. And these changes have to be " -"<emphasis>reductions</emphasis> in the scope of copyright, in response to " -"the extraordinary increase in control that technology and the market enable." -msgstr "" -"lov om opphavsrett har ikke vÃ¦rt en rock of gibraltar. Det er ikke et sett " -"med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " -"geeks nÃ¥ 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 pÃ¥ at vi kan godt trenger " -"lignende endringer i fremtiden. og disse endringene mÃ¥ vÃ¦re reduksjoner i " -"omfanget av opphavsrett, svar pÃ¥ det ekstraordinÃ¦re Ã¸kning i kontrollen som " -"teknologi og markedet aktivere." - -#. PAGE BREAK 181 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"For the single point that is lost in this war on pirates is a point that we " -"see only after surveying the range of these changes. When you add together " -"the effect of changing law, concentrated markets, and changing technology, " -"together they produce an astonishing conclusion: <emphasis>Never in our " -"history have fewer had a legal right to control more of the development of " -"our culture than now</emphasis>." -msgstr "" -"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi " -"ser bare etter kartlegging pÃ¥ rekke disse endringene. NÃ¥r du legger sammen " -"til effekten av Ã¥ endre loven, konsentrert markeder, og endre teknologien, " -"sammen de produserer en forblÃ¸ffende konklusjon: aldri i vÃ¥r historie har " -"fÃ¦rre hadde en lovfestet rett til Ã¥ styre flere av utviklingen av vÃ¥r kultur " -"enn nÃ¥." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan captures a " -"similar point in his <quote>four surrenders</quote> of copyright law in the " -"digital age. See Vaidhyanathan, 159–60." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan fanger et " -"lignende poeng i hans <quote>fire kapitulasjoner</quote> for Ã¥ndsverksloven " -"i den digitale tidsalder. Se Vaidhyanathan, 159–60." - -#. type: Content of: <book><part><chapter><section><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. " -"<emphasis>Never</emphasis> has copyright protected such a wide range of " -"rights, against as broad a range of actors, for a term that was remotely as " -"long. This form of regulation—a tiny regulation of a tiny part of the " -"creative energy of a nation at the founding—is now a massive " -"regulation of the overall creative process. Law plus technology plus the " -"market now interact to turn this historically benign regulation into the " -"most significant regulation of culture that our free society has known." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point " -"can now be briefly stated." -msgstr "Dette har vÃ¦rt en lang kapittel. sitt punkt kan nÃ¥ kort oppgis." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"At the start of this book, I distinguished between commercial and " -"noncommercial culture. In the course of this chapter, I have distinguished " -"between copying a work and transforming it. We can now combine these two " -"distinctions and draw a clear map of the changes that copyright law has " -"undergone. In 1790, the law looked like this:" -msgstr "" -"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell " -"kultur. i lÃ¸pet av dette kapitlet, har jeg skilte mellom kopiere et arbeid " -"og transformerer det. Vi kan nÃ¥ kombinere disse to utmerkelser og tegne en " -"Fjern tilordning av endringene som har gjennomgÃ¥tt en lov om opphavsrett. i " -"1790, loven sÃ¥ ut som dette:" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "PUBLISH" -msgstr "Publisere" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "TRANSFORM" -msgstr "Omforme" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Commercial" -msgstr "Kommersiell" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "©" -msgstr "©" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Free" -msgstr "Fri" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "Noncommercial" -msgstr "Ikke-kommersiell" - -#. PAGE BREAK 182 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The act of publishing a map, chart, and book was regulated by copyright law. " -"Nothing else was. Transformations were free. And as copyright attached only " -"with registration, and only those who intended to benefit commercially would " -"register, copying through publishing of noncommercial work was also free." -msgstr "" -"loven av publisering pÃ¥ 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 Ã¥ gagne " -"kommersielt ville registrere, kopiere gjennom publisering av ikke-" -"kommersielt arbeid var ogsÃ¥ gratis." - -#. type: Content of: <book><part><chapter><section><para> -msgid "By the end of the nineteenth century, the law had changed to this:" -msgstr "" -"PÃ¥ slutten av det nittende Ã¥rhundre hadde loven blitt endret til dette:" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -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 nÃ¥ regulert av lov om opphavsrett—Hvis publisert, som " -"igjen, gitt Ã¸konomien i publisering pÃ¥ tiden, betyr hvis tilbudt " -"kommersielt. men ikke-kommersiell publisering og transformasjon var fortsatt " -"hovedsakelig gratis." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In 1909 the law changed to regulate copies, not publishing, and after this " -"change, the scope of the law was tied to technology. As the technology of " -"copying became more prevalent, the reach of the law expanded. Thus by 1975, " -"as photocopying machines became more common, we could say the law began to " -"look like this:" -msgstr "" -"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne " -"endringen omfanget av loven var knyttet til teknologi. som teknologi med Ã¥ " -"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, " -"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte Ã¥ se " -"slik ut:" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> -msgid "COPY" -msgstr "Kopiere" - -#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> -msgid "©/Free" -msgstr "©/Fri" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The law was interpreted to reach noncommercial copying through, say, copy " -"machines, but still much of copying outside of the commercial market " -"remained free. But the consequence of the emergence of digital technologies, " -"especially in the context of a digital network, means that the law now looks " -"like this:" -msgstr "" -"loven ble tolket for Ã¥ nÃ¥ reklamefrie kopiering gjennom, si, kopimaskiner, " -"men fortsatt mye med Ã¥ kopiere utenfor det kommersielle markedet vÃ¦rt " -"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i " -"sammenheng med en digital network, betyr at loven nÃ¥ ser slik ut:" - -#. PAGE BREAK 183 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Every realm is governed by copyright law, whereas before most creativity was " -"not. The law now regulates the full range of creativity— commercial or " -"not, transformative or not—with the same rules designed to regulate " -"commercial publishers." -msgstr "" -"hver riket er underlagt lov om opphavsrett, mens fÃ¸r de fleste kreativitet " -"ikke var. loven regulerer nÃ¥ hele omfanget av kreativitet—kommersielle " -"eller ikke, transformative eller ikke â med de samme reglene som er utformet " -"for Ã¥ regulere kommersielle utgivere." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Obviously, copyright law is not the enemy. The enemy is regulation that does " -"no good. So the question that we should be asking just now is whether " -"extending the regulations of copyright law into each of these domains " -"actually does any good." -msgstr "" -"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som " -"virker ikke godt. SÃ¥ spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre akkurat nÃ¥ er enten utvide " -"forskrifter om opphavsrett i hver av disse domenene faktisk gjÃ¸r noe bra." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I have no doubt that it does good in regulating commercial copying. But I " -"also have no doubt that it does more harm than good when regulating (as it " -"regulates just now) noncommercial copying and, especially, noncommercial " -"transformation. And increasingly, for the reasons sketched especially in " -"chapters <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> and " -"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, one " -"might well wonder whether it does more harm than good for commercial " -"transformation. More commercial transformative work would be created if " -"derivative rights were more sharply restricted." -msgstr "" -"Jeg har ingen tvil om at den gjÃ¸r bra i regulerer kommersielle kopiering. " -"men jeg har ingen tvil om at det gjÃ¸r mer skade enn bra nÃ¥r regulerer (som " -"den regulerer akkurat nÃ¥) ikke-kommersiell kopiering og, spesielt, ikke-" -"kommersiell transformasjon ogsÃ¥. og i Ã¸kende grad av Ã¥rsaker som skisserte " -"spesielt i kapitlene 7 og 8, en kan vel rart om det gjÃ¸r mer skade enn godt " -"for kommersielle transformasjon. mer kommersielt transformative arbeid vil " -"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "legal realist movement" -msgstr "juridiske realist bevegelse" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"It was the single most important contribution of the legal realist movement " -"to demonstrate that all property rights are always crafted to balance public " -"and private interests. See Thomas C. Grey, <quote>The Disintegration of " -"Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland " -"Pennock and John W. Chapman, eds. (New York: New York University Press, " -"1980). <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for Ã¥ " -"demonstrere at alle eiendomsrettigheter alltid er laget for Ã¥ balansere " -"offentlige og private interesser. se thomas c. grey, \"opplÃ¸sningen av " -"eiendom,\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, Red. " -"(new york: new york university press, 1980)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The issue is therefore not simply whether copyright is property. Of course " -"copyright is a kind of <quote>property,</quote> and of course, as with any " -"property, the state ought to protect it. But first impressions " -"notwithstanding, historically, this property right (as with all property " -"rights<placeholder type=\"footnote\" id=\"0\"/>) has been crafted to " -"balance the important need to give authors and artists incentives with the " -"equally important need to assure access to creative work. This balance has " -"always been struck in light of new technologies. And for almost half of our " -"tradition, the <quote>copyright</quote> did not control <emphasis>at all</" -"emphasis> the freedom of others to build upon or transform a creative work. " -"American culture was born free, and for almost 180 years our country " -"consistently protected a vibrant and rich free culture." -msgstr "" - -#. PAGE BREAK 184 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"We achieved that free culture because our law respected important limits on " -"the scope of the interests protected by <quote>property.</quote> The very " -"birth of <quote>copyright</quote> as a statutory right recognized those " -"limits, by granting copyright owners protection for a limited time only (the " -"story of chapter 6). The tradition of <quote>fair use</quote> is animated by " -"a similar concern that is increasingly under strain as the costs of " -"exercising any fair use right become unavoidably high (the story of chapter " -"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 oppnÃ¥dde at fri kultur fordi vÃ¥r lov respektert viktig begrensninger pÃ¥ " -"omfanget av interessene beskyttet av \"egenskapen.\" svÃ¦rt fÃ¸dselen av " -"\"copyright\" som en lovfestet rett gjenkjennes disse grensene, ved Ã¥ 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 Ã¥ utÃ¸ve noen rettferdig bruk hÃ¸yre " -"bli uunngÃ¥elig hÃ¸y (historien om kapittel 7). legge lovbestemte rettigheter " -"der markeder kan kveler innovasjon er en annen kjent grensen pÃ¥ eiendommen " -"hÃ¸yre at opphavsretten er (kapittel 8). og gi arkiver og biblioteker en bred " -"frihet til Ã¥ samle inn, pÃ¥stander om egenskapen tross, er en avgjÃ¸rende 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 svÃ¦rt forskjellig fra ekstremistgrupper visjonen som dominerer " -"debatten i dag." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Free culture is increasingly the casualty in this war on piracy. In response " -"to a real, if not yet quantified, threat that the technologies of the " -"Internet present to twentieth-century business models for producing and " -"distributing culture, the law and technology are being transformed in a way " -"that will undermine our tradition of free culture. The property right that " -"is copyright is no longer the balanced right that it was, or was intended to " -"be. The property right that is copyright has become unbalanced, tilted " -"toward an extreme. The opportunity to create and transform becomes weakened " -"in a world in which creation requires permission and creativity must check " -"with a lawyer." -msgstr "" -"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar pÃ¥ " -"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 pÃ¥ en mÃ¥te som vil " -"undergrave vÃ¥r tradisjon for fri kultur. eiendommen er copyright ikke lenger " -"rettigheten balansert som det var, eller var ment Ã¥ vÃ¦re. egenskapen akkurat " -"det vil si opphavsrett har blitt ubalansert, skrÃ¥stilt mot en ekstrem. " -"muligheten til Ã¥ opprette og transformere blir svekket i en verden der " -"oppretting krever tillatelse og kreativitet mÃ¥ kontrollere med en advokat." - -#. type: Content of: <book><part><title> -msgid "PUZZLES" -msgstr "NÃ¸tter" - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER ELEVEN: Chimera" -msgstr "Kapittel elleve: Fantasifoster" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "chimeras" -msgstr "fantasifoster/chimera" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Wells, H. G." -msgstr "Wells, H. G." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "<quote>Country of the Blind, The</quote> (Wells)" -msgstr "<quote>Country of the Blind, The</quote> (Wells)" - -#. f1. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See H. G. " -"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " -"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." -msgstr "" -"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). Se H. G. " -"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " -"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In a well-known</emphasis> short story by H. G. " -"Wells, a mountain climber named Nunez trips (literally, down an ice slope) " -"into an unknown and isolated valley in the Peruvian Andes.<placeholder type=" -"\"footnote\" id=\"0\"/> The valley is extraordinarily beautiful, with " -"<quote>sweet water, pasture, an even climate, slopes of rich brown soil with " -"tangles of a shrub that bore an excellent fruit.</quote> But the villagers " -"are all blind. Nunez takes this as an opportunity. <quote>In the Country of " -"the Blind,</quote> he tells himself, <quote>the One-Eyed Man is King.</" -"quote> So he resolves to live with the villagers to explore life as a king." -msgstr "" -"<emphasis role='strong'>I en velkjent</emphasis> novelle av H. G. Wells, " -"snublet en fjellklatrer ved navn Nunez ned en is-skrÃ¥ning inn i en ukjent og " -"isolert dal i de Peruanske Andesfjellene.<placeholder type=\"footnote\" id=" -"\"0\"/> Dalen er utrolig vakker, med <quote>friskt vann, *pasture*, et jevnt " -"klima og sletter med rik brun jord med *tangles* av buskas som bar en " -"utmerket frukt</quote>. Men landsbybeboerne er alle blinde. Nunez ser " -"dette som en mulighet. <quote>I de blindes rike</quote>, forteller han seg " -"selv, <quote>er den enÃ¸yde konge</quote>. SÃ¥ han bestemmer seg for Ã¥ slÃ¥ " -"seg ned hos landsbybeboerne for Ã¥ utforske livet som konge." - -#. type: Content of: <book><part><chapter><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 <quote>blind." -"</quote> They don't have the word <citetitle>blind</citetitle>. They think " -"he's just thick. Indeed, as they increasingly notice the things he can't do " -"(hear the sound of grass being stepped on, for example), they increasingly " -"try to control him. He, in turn, becomes increasingly frustrated. " -"<quote>`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!'</quote>" -msgstr "" -"Ting blir ikke helt som han har planlagt. Han forsÃ¸ker Ã¥ forklare idÃ©en om " -"syn til landsbybeboerne. De forstÃ¥r ikke. Han forteller dem at de er " -"<quote>blind</quote>. De mangler et ord for <citetitle>blind</citetitle>. " -"De tror han bare er treg. Etterhvert som de oppdager tingene ha ikke kan " -"gjÃ¸re (for eksempel hÃ¸re lyden av gress som blir trÃ¥kket pÃ¥), forsÃ¸ker de " -"mer og mer Ã¥ kontrollere ham. Han blir dermed mer og mer frustrert. " -"<quote><quote>Dere forstÃ¥r ikke</quote>, ropte han, i en stemme som var ment " -"Ã¥ vÃ¦re storslÃ¥tt og bestemt, og som skar ut. <quote>Dere er blinde og jeg " -"kan se. La meg vÃ¦re i fred!</quote></quote>" - -#. PAGE BREAK 187 -#. type: Content of: <book><part><chapter><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 <quote>the most beautiful thing in the whole " -"of creation,</quote> understands the beauty of sight. Nunez's description of " -"what he sees <quote>seemed to her the most poetical of fancies, and she " -"listened to his description of the stars and the mountains and her own sweet " -"white-lit beauty as though it was a guilty indulgence.</quote> <quote>She " -"did not believe,</quote> Wells tells us, and <quote>she could only half " -"understand, but she was mysteriously delighted.</quote>" -msgstr "" -"Landsbybeboerne lot han ikke vÃ¦re i fred. Og de ser (for Ã¥ si det slik) " -"ikke det fine i hans spesielle krefter. Ikke en gang det ultimale mÃ¥let for " -"hans hengivenhet, en ung kvinde som for han synes <quote>den vakreste tingen " -"i hele skapelsen</quote>, forstÃ¥r skjÃ¸nnheten i Ã¥ kunne se. Ninez sine " -"beskrivelser av det han ser <quote>virket for henne Ã¥ vÃ¦re de mest poetiske " -"av fantasier, og hun hÃ¸rte pÃ¥ hans beskrivelser av stjernene og fjellene og " -"hennes egen sÃ¸te hvit-lysende skjÃ¸nnhet som om det var en skylding " -"tilfredsstillelse </quote>. <quote>Hun trodde ikke</quote>, forteller Wells " -"oss, og <quote>hun kunne bare halvveis forstÃ¥, men hun var underlig gledet</" -"quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"When Nunez announces his desire to marry his <quote>mysteriously delighted</" -"quote> love, the father and the village object. <quote>You see, my dear,</" -"quote> her father instructs, <quote>he's an idiot. He has delusions. He " -"can't do anything right.</quote> They take Nunez to the village doctor." -msgstr "" -"NÃ¥r Nuez kunngjÃ¸r sitt Ã¸nske om Ã¥ gifte seg med sin <quote>underlig gledet</" -"quote> kjÃ¦rlighet, protesterte faaren og landsbyen. <quote>Du skjÃ¸nner, " -"kjÃ¦re</quote>, instruerer hennes far, <quote>han er en idiot. Han har " -"vrangforestillinger. Han kan ikke gjÃ¸re noe riktig.</quote> De tar Nunez " -"til landsbylegen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"After a careful examination, the doctor gives his opinion. <quote>His brain " -"is affected,</quote> he reports." -msgstr "" -"Etter en nÃ¸ye undersÃ¸kelse gir legen sin vurdering. <quote>Hjernen hans er " -"pÃ¥virket</quote>, rapporterer han." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>What affects it?</quote> the father asks. <quote>Those queer things " -"that are called the eyes … are diseased … in such a way as to " -"affect his brain.</quote>" -msgstr "" -"<quote>Hva pÃ¥virker den?</quote> spÃ¸r faren. <quote>De sÃ¦re tingene som " -"kalles Ã¸yene … er sykelige … pÃ¥ en mÃ¥te som pÃ¥virker hjernen " -"hans.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The doctor continues: <quote>I think I may say with reasonable certainty " -"that in order to cure him completely, all that we need to do is a simple and " -"easy surgical operation—namely, to remove these irritant bodies [the " -"eyes].</quote>" -msgstr "" -"Legen fortsetter: <quote>Jeg tror jeg med rimelig sikkerhet kan si at for Ã¥ " -"kunne helbrede han er alt vi trenger Ã¥ gjÃ¸re en enkel og lett kirurgisk " -"operasjon—nemlig Ã¥ fjerne disse irriterte organene [Ã¸ynene].</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Thank Heaven for science!</quote> says the father to the doctor. They " -"inform Nunez of this condition necessary for him to be allowed his bride. " -"(You'll have to read the original to learn what happens in the end. I " -"believe in free culture, but never in giving away the end of a story.)" -msgstr "" -"<quote>Takk gud for vitenskapen!</quote> sier faren til doktoren. De " -"forteller Nunez om dette kravet som han mÃ¥ oppfylle for Ã¥ fÃ¥ sin brud. (Du " -"fÃ¥r lese originalen for Ã¥ lÃ¦re hvordan historien ender. Jeg tror pÃ¥ fri " -"kultur, men ikke pÃ¥ Ã¥ avslÃ¸re hvordan en historie slutter.)" - -#. PAGE BREAK 188 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>It sometimes</emphasis> happens that the eggs of " -"twins fuse in the mother's womb. That fusion produces a <quote>chimera.</" -"quote> A chimera is a single creature with two sets of DNA. The DNA in the " -"blood, for example, might be different from the DNA of the skin. This " -"possibility is an underused plot for murder mysteries. <quote>But the DNA " -"shows with 100 percent certainty that she was not the person whose blood was " -"at the scene. …</quote>" -msgstr "" -"<emphasis role='strong'>Det skjer</emphasis> noen ganger at eggene til " -"tvillinger sveises sammen i morens livmor. Den sammensveisingen skaper et " -"<quote>fantasifoster/chimera</quote>. Et fantasifoster er en enkelt " -"skapning med to sett med DNA. DNA-et i bloet kan for eksempel vÃ¦re " -"forskjellig fra DNA-et i huden. Denne muligheten er et for lite brukt " -"handling i mordmysterer. <quote>Men DNA-et viser med 100 prosent sikkerhet " -"at hennes blod ikke var det som var pÃ¥ Ã¥stedet. …</quote>" - -#. type: Content of: <book><part><chapter><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 <quote>person</quote> should " -"reflect this reality." -msgstr "" -"FÃ¸r jeg hadde lest om fantasifoster, sÃ¥ ville jeg ha sagt at de var umulig. " -"En enkelt person kan ikke ha to sett med DNA. Selve idÃ©en med DNA er at det " -"er koden til et individ. Likevel er det jo faktisk slik at ikke bare kan to " -"individer ha samme sett med DNA (identiske tvillinger), men en person kan ha " -"to ulike sett med DNA (et fantasifoster). Var forstÃ¥else av en " -"<quote>person</quote> bÃ¸r gjenspeile denne virkeligheten." - -#. type: Content of: <book><part><chapter><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, <quote>the copyright wars,</quote> the more I think we're dealing " -"with a chimera. For example, in the battle over the question <quote>What is " -"p2p file sharing?</quote> both sides have it right, and both sides have it " -"wrong. One side says, <quote>File sharing is just like two kids taping each " -"others' records—the sort of thing we've been doing for the last thirty " -"years without any question at all.</quote> That's true, at least in part. " -"When I tell my best friend to try out a new CD that I've bought, but rather " -"than just send the CD, I point him to my p2p server, that is, in all " -"relevant respects, just like what every executive in every recording company " -"no doubt did as a kid: sharing music." -msgstr "" -"Jo mer jeg arbeider for Ã¥ forstÃ¥ den nÃ¥vÃ¦rende <quote>opphavsrettskrigen</" -"quote> rundt opphavsrett og kultur, som jeg bÃ¥de har kalt urettferdig og " -"ikke urettferdig nok, jo mer tenker jeg at det er et fantasifoster vi " -"snakker om. For eksempel i kampen om spÃ¸rsmÃ¥let <quote>Hva er p2p-fildeling?" -"</quote> har begge sider rett, og begge sider tar feil. En side sier, " -"<quote>fildeling er akkurat som om to unger tar opp hverandres plater pÃ¥ " -"bÃ¥nd—akkurat slik vi har gjort det de siste tredve Ã¥rene uten at noen " -"har stilt spÃ¸rsmÃ¥l ved det i det hele tatt</quote>. Det er riktig, i hvert " -"fall delvis. NÃ¥r jeg ber min beste venn om Ã¥ hÃ¸re pÃ¥ en ny CD jeg har kjÃ¸pt " -"og i stedet for Ã¥ bare sende CDen sÃ¥ peker jeg han til min p2p-tjener, sÃ¥ er " -"det pÃ¥ alle relevante mÃ¥ter akkurat slik enhver leder i ethvert plateselskap " -"uten tvil gjorde som barn: deling av musikk." - -#. type: Content of: <book><part><chapter><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 <quote>friends</" -"quote> beyond recognition to say <quote>my ten thousand best friends</quote> " -"can get access. Whether or not sharing my music with my best friend is what " -"<quote>we have always been allowed to do,</quote> we have not always been " -"allowed to share music with <quote>our ten thousand best friends.</quote>" -msgstr "" -"Men beskrivelsen er ogsÃ¥ delvis uriktig. For nÃ¥r min p2p-tjener er pÃ¥ et " -"p2p-nettverk der enhver kan fÃ¥ tilgang til min musikk, sÃ¥ kan helt klart " -"mine venner fÃ¥ tilgang, men det strekker betydningen av <quote>venner</" -"quote> forbi bristepunktet nÃ¥r en sier <quote>mine ti tusen beste venner</" -"quote> kan fÃ¥ tilgang. Uansett om <quote>vi alltid har hatt lov til</quote> " -"Ã¥ dele min musikk med min beste venner, sÃ¥ har vi ikke alltid hatt lov til Ã¥ " -"dele musikk med <quote>vÃ¥re ti tusen beste venner</quote>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Likewise, when the other side says, <quote>File sharing is just like walking " -"into a Tower Records and taking a CD off the shelf and walking out with it,</" -"quote> that's true, at least in part. If, after Lyle Lovett (finally) " -"releases a new album, rather than buying it, I go to Kazaa and find a free " -"copy to take, that is very much like stealing a copy from Tower. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Tilsvarende, nÃ¥r den andre siden sier, <quote>Fildeling er som Ã¥ gÃ¥ inn hos " -"Tower Records Ã¥ ta en CD fra hylla og gÃ¥ ut av butikken med den</quote>, sÃ¥ " -"er det riktig, i hvert fall delvis. Hvis jeg, etter at Lyle Lovett " -"(endelig) gir ut et nytt album, i stedet for Ã¥ kjÃ¸pe den gÃ¥r pÃ¥ Kazaa og " -"finner et gratis eksemplar jeg kan ta, sÃ¥ er det veldig likt det Ã¥ stjele et " -"eksemplar fra Tower.<placeholder type=\"indexterm\" id=\"0\"/>" - -#. PAGE BREAK 189 -#. type: Content of: <book><part><chapter><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 som Ã¥ sjele fra Tower. Tross alt har Tower Record en " -"mindre CD de kan selge nÃ¥r jeg tar en CD fra Tower. Og nÃ¥r jeg tar en CD " -"fra Tower Records, sÃ¥ fÃ¥r jeg en bit plastik og et omslag, og noe Ã¥ vise " -"frem pÃ¥ hyllene mine. (Og nÃ¥r vi fÃ¸rst er i gang, bÃ¸r vi ogsÃ¥ ta med at nÃ¥r " -"jeg tar en CD fra Tower Records, sÃ¥ er den masimale boten jeg kan pÃ¥rda meg, " -"i hvert fall i fÃ¸lge loven i California, $1 000. I fÃ¸lge RIAA kan jeg, " -"derimot, hvis jeg laster ned en ti-sangs CD, bli ansvarlig for " -"$1 500 000 i erstatning.)" - -#. type: Content of: <book><part><chapter><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 beskrivelsen fra begge sider er feil. Poenget er at " -"begge sider har rett—bÃ¥de som RIAA beskriver det og som Kazaa " -"beskriver det. Det er et fantasifoster. Og i stedet for Ã¥ ganske enkelt " -"benekte det den andre siden hevder, sÃ¥ mÃ¥ vi begynne Ã¥ Ã¥ tenke pÃ¥ hvordan vi " -"kan svare pÃ¥ dette fantasifosteret. Hvilke regler bÃ¸r styre det?" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "ISPs (Internet service providers), user identities revealed by" -msgstr "ISPer (Internet-tilbydere), brukeridentiteter avslÃ¸rt av" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Conyers, John, Jr." -msgstr "Conyers, John, Jr." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Berman, Howard L." -msgstr "Berman, Howard L." - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> For an excellent summary, see the " -"report prepared by GartnerG2 and the Berkman Center for Internet and Society " -"at Harvard Law School, <quote>Copyright and Digital Media in a Post-Napster " -"World,</quote> 27 June 2003, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #33</ulink>. Reps. John Conyers Jr. (D-Mich.) and Howard L. " -"Berman (D-Calif.) have introduced a bill that would treat unauthorized on-" -"line copying as a felony offense with punishments ranging as high as five " -"years imprisonment; see Jon Healey, <quote>House Bill Aims to Up Stakes on " -"Piracy,</quote> <citetitle>Los Angeles Times</citetitle>, 17 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " -"Civil penalties are currently set at $150,000 per copied song. For a recent " -"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " -"the identity of a user accused of sharing more than 600 songs through a " -"family computer, see <citetitle>RIAA</citetitle> v. <citetitle>Verizon " -"Internet Services (In re. Verizon Internet Services)</citetitle>, 240 F. " -"Supp. 2d 24 (D.D.C. 2003). Such a user could face liability ranging as high " -"as $90 million. Such astronomical figures furnish the RIAA with a powerful " -"arsenal in its prosecution of file sharers. Settlements ranging from $12,000 " -"to $17,500 for four students accused of heavy file sharing on university " -"networks must have seemed a mere pittance next to the $98 billion the RIAA " -"could seek should the matter proceed to court. See Elizabeth Young, " -"<quote>Downloading Could Lead to Fines,</quote> redandblack.com, August " -"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #35</" -"ulink>. For an example of the RIAA's targeting of student file sharing, and " -"of the subpoenas issued to universities to reveal student file-sharer " -"identities, see James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to " -"Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8 August 2003, " -"D3, available at <ulink url=\"http://free-culture.cc/notes/\">link #36</" -"ulink>. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" -"\"indexterm\" id=\"2\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><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 "" -"Vi kunne svare ved Ã¥ ganske enkelt late som om det ikke er et " -"fantasifoster. Vi kunne, sammen med RIAA, bestemme at hver eneste fildeling " -"bÃ¸r vÃ¦re en forbrytelse. Vi kan straffeforfÃ¸lge familier for millioner av " -"dollar i skader kun pÃ¥ bakgrunn av at fildelingen skjedde pÃ¥ en av familiens " -"datamaskiner. Og vi kan fÃ¥ universiteter til Ã¥ overvÃ¥ke all datatrafikk for " -"Ã¥ sikre at ingen datamaskin blir brukt til Ã¥ gjennomfÃ¸re denne " -"forbrytelsen. Disse svarene er kanskje ekstreme, men hver av dem har enten " -"blitt foreslÃ¥tt eller er allerede gjennomfÃ¸rt.<placeholder type=\"footnote\" " -"id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 pÃ¥ fildeling slik mange unger oppfÃ¸rer seg som om " -"vi har svart. Vi kan legalisere det fullstendig. Fjern alt ansvar for " -"brudd pÃ¥ opphavsretten, bÃ¥de sivilt og strafferettslig, nÃ¥r en gjÃ¸r " -"opphavsrettsbeskyttet materiale tilgjengelig pÃ¥ nettet. GjÃ¸r fildeling som " -"sladder: regulert av sosiale normer i stedet for med lov, hvis det er " -"regulert i det hele tatt." - -#. type: Content of: <book><part><chapter><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 " -"<emphasis>either</emphasis> extreme would be worse than a reasonable " -"alternative. But I believe the zero-tolerance solution would be the worse " -"of the two extremes." -msgstr "" -"Begge svarene er mulige. Jeg tror hver av dem ville vÃ¦re en tabbe. I stedet " -"for Ã¥ velge en av disse to ekstremene, sÃ¥ bÃ¸r vi velge noe som gjenkjenner " -"sannheten i begge. Og selv om jeg avslutter denne boken med en sksse til et " -"system som gjÃ¸r akkurat det, sÃ¥ er mÃ¥let mitt med neste kapittel Ã¥ vise " -"akkurat hvor grufult det ville vÃ¦re for oss om vi adopterer nulltoleranse-" -"ekstremet. Jeg tror <emphasis>begge</emphasis> ekstremene vil vÃ¦re verre " -"enn et rimelig alternativ. Men jeg tror nulltoleranse-lÃ¸sningen vil vÃ¦re " -"den verste av de to ekstremene." - -#. PAGE BREAK 190 -#. type: Content of: <book><part><chapter><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 "" -"Likevel er nulltoleranse i stadig stÃ¸rre grad vÃ¥re myndigheters politikk. " -"Midt i dette kaoset som Internettet har skapt, finner en ekstraordinÃ¦r *land " -"grab* sted. Retten og teknologien endres til Ã¥ gi innholdsinnehaverne en " -"type kontroll over kulturen vÃ¥r som de aldri har hatt fÃ¸r. Og i denne " -"ekstremiteten vil mange muligheter for nye oppfinnelser og ny kreativitet gÃ¥ " -"tapt." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"I'm not talking about the opportunities for kids to <quote>steal</quote> " -"music. My focus instead is the commercial and cultural innovation that this " -"war will also kill. We have never seen the power to innovate spread so " -"broadly among our citizens, and we have just begun to see the innovation " -"that this power will unleash. Yet the Internet has already seen the passing " -"of one cycle of innovation around technologies to distribute content. The " -"law is responsible for this passing. As the vice president for global public " -"policy at one of these new innovators, eMusic.com, put it when criticizing " -"the DMCA's added protection for copyrighted material," -msgstr "" -"Jeg snakker ikke om mulighetene for unger til Ã¥ <quote>stjele</quote> " -"musikk. Min fokus er i stedet pÃ¥ den kommersielle og kulturelle " -"nyskapningen som denne krigen ogsÃ¥ vil ta knekken pÃ¥. Vi har aldri fÃ¸r sett " -"muligheten til Ã¥ skape spre seg sÃ¥ bredt blant vÃ¥re borgere, og vi har bare " -"sÃ¥ vidt begynt Ã¥ se nyskapingen som denne muligheten vil slippe fri. " -"Likevel har Internettet allerede sett slutten pÃ¥ en generasjon av nyskaping " -"rundt teknologier for Ã¥ distribuere innhold. Loven er ansvarlig for at den " -"forsvant. Som visepresidenten for global offentlig politikk hos en av disse " -"nye oppfinnerne, eMusic.com, formulerte det da han kritiserte hvordan DMCA " -"la til vern for opphavsrettsbeskyttet materiale." - -#. type: Content of: <book><part><chapter><blockquote><para> -msgid "" -"eMusic opposes music piracy. We are a distributor of copyrighted material, " -"and we want to protect those rights." -msgstr "" -"eMusic er imot piratkopiering av musikk. Vi er en distributÃ¸r av " -"opphavsrettsbeskyttet materiale, og vi Ã¸nsker Ã¥ beskytte disse rettighetene." - -#. type: Content of: <book><part><chapter><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 Ã¥ bygge en teknologisk festning som inn interessene til de store " -"plateselskapene er ikke nÃ¸dvendigvis den eneste mÃ¥ten Ã¥ beskytte " -"opphavsrettsinteresser, og heller ikke nÃ¸dvendige den beste. Det er ganske " -"enkelt for tidlig Ã¥ svare pÃ¥ det spÃ¸rsmÃ¥let. Markedskrefter som opererer " -"fritt kan godt gi en helt annen indistri-modell." - -#. f3. -#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital " -"Entertainment on the Internet and Other Media: Hearing Before the " -"Subcommittee on Telecommunications, Trade, and Consumer Protection, House " -"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, " -"vice president, Global Public Policy and Standards, EMusic.com), available " -"in LEXIS, Federal Document Clearing House Congressional Testimony File." -msgstr "" -"WIPO og dmca ett Ã¥r senere: vurdering av forbruker tilgang til digital " -"underholdning pÃ¥ Internett og andre medier: hÃ¸re fÃ¸r 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, " -"fÃ¸derale dokumentet Ã¥ fjerne huset Kongressens vitnesbyrd fil." - -#. type: Content of: <book><part><chapter><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 "" -"Dette er et kritisk poeng. Valgene som industrisektorer gjÃ¸r relatert til " -"disse systemene vil pÃ¥ mange vis direkte forme markedet for digitale media " -"og hvordan digitale medier blir distribuert. Dette pÃ¥virker sÃ¥ hvilke valg " -"som er tilgjengelig for forbrukere, bÃ¥de nÃ¥r det gjelder hvor enkelt de vil " -"vÃ¦re i stand til Ã¥ fÃ¥ tilgang til digitale medier, og utstyret som de vil " -"kreve for Ã¥ gjÃ¸re dette. DÃ¥rlige valg som gjÃ¸res tidlig i dette spillet vil " -"hemme veksten i dette markedet og skade alles interesser.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Vivendi Universal" -msgstr "Vivendi Universal" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In April 2001, eMusic.com was purchased by Vivendi Universal, one of " -"<quote>the major labels.</quote> Its position on these matters has now " -"changed. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"I april 2001 ble eMusic.com kjÃ¸pt opp av Vivendi Universal, et av <quote>de " -"store plateselskapene</quote>. Selskapets holdning i disse saken har nÃ¥ " -"endret seg. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 "" -"Ã nÃ¥ reversere vÃ¥r tolerante tradisjon vil ikke bare knuse piratvirksomhet. " -"Det vil ofre verdier som er viktige for denne kulturen, og det vil drepe " -"muligheter som kan vÃ¦re svÃ¦rt verdifulle." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER TWELVE: Harms" -msgstr "Kapittel tolv: Skader" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to " -"protect <quote>property,</quote> the content industry has launched a war. " -"Lobbying and lots of campaign contributions have now brought the government " -"into this war. As with any war, this one will have both direct and " -"collateral damage. As with any war of prohibition, these damages will be " -"suffered most by our own people." -msgstr "" -"<emphasis role='strong'>Ved Ã¥ bekjempe</emphasis> <quote>piratvirksomhet</" -"quote> for Ã¥ beskytte <quote>eiendom</quote> har innholdsindustrien erklÃ¦rt " -"krig. Lobbyering og mange valgkampbidrag har nÃ¥ dratt myndighetene inn i " -"denne krigen. Og som med enhver krig vil en bÃ¥de ha direkte og utilsiktet " -"Ã¸deleggelse. Og som med enhver forbudskrig, er det mest vÃ¥re egne folk som " -"lider under disse Ã¸deleggelsene." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"My aim so far has been to describe the consequences of this war, in " -"particular, the consequences for <quote>free culture.</quote> But my aim now " -"is to extend this description of consequences into an argument. Is this war " -"justified?" -msgstr "" -"SÃ¥ langt har mÃ¥let mitt vÃ¦rt Ã¥ beskrive konsekvensene av denne krigen, og " -"spesielt konsekvensene for <quote>fri kultur</quote>. Men nÃ¥ er mÃ¥let mitt " -"Ã¥ utvide denne beskrivelsen av konsekvensene til et argument. Er dette en " -"godt begrunnet krig?" - -#. type: Content of: <book><part><chapter><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 <quote>intellectual property</quote> is at its greatest " -"in our history." -msgstr "" -"Etter mitt syn er den ikke det. Det er ingen god grunn nÃ¥, for fÃ¸rste gang, " -"at loven burde forsvare det gamle mot det nye, akkurat nÃ¥r makten til " -"eiendomsretten som kalles <quote>immateriell eiendom</quote> er stÃ¸rre en " -"den noen gang har vÃ¦rt i vÃ¥r historie." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Yet <quote>common sense</quote> does not see it this way. Common sense is " -"still on the side of the Causbys and the content industry. The extreme " -"claims of control in the name of property still resonate; the uncritical " -"rejection of <quote>piracy</quote> still has play." -msgstr "" -"Likevel ser ikke <quote>sunn fornuft</quote> det slik. Sunn fornuft er " -"fortsatt enig med Causby-ene og innholdsindustrien. Det ekstreme krav om " -"kontroll som fremmes pÃ¥ vegne av eiendomsrett aksepteres fortsatt. " -"<quote>Piratvirksomhet</quote> avvises fortsatt ukritisk." - -#. PAGE BREAK 193 -#. type: Content of: <book><part><chapter><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 vÃ¦re mange konsekvenser ved Ã¥ fortsette denne krigen. Jeg Ã¸nsker Ã¥ " -"beskrive kun tre. Alle tre kan sies Ã¥ vÃ¦re utilsiktet. Jeg er ganske " -"sikker pÃ¥ at den tredje er utilsiktet, men jeg er mindre sikker om de fÃ¸rste " -"to. De fÃ¸rste to beskytter de moderne RCA-ene, men det er ingen Howard " -"Armstrong pÃ¥ flankene for Ã¥ sloss mot dagens kulturmonopolister." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Constraining Creators" -msgstr "Legger bÃ¥nd pÃ¥ skaperne" - -#. type: Content of: <book><part><chapter><section><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 Ã¥rene vil vi se en eksplosjon av digitale teknologier. Disse " -"teknologiene vil gjÃ¸re det mulig for nesten hvem som helst Ã¥ lagre og dele " -"innhold. Ã lagre og dele innhold er naturligvis det mennesker har gjort " -"siden historiens begynnelse. Det er slik vi lÃ¦rer og kommuniserer. Men " -"lagring og deling ved hjelp av digital teknologi er annerledes. " -"Gjengivelsen og kraften er forskjellig. Du kunne sende en epost og fortalt " -"noen om en vits du sÃ¥ pÃ¥ Comedy Central, eller du kan sende selve klippet. " -"Du kan skrive et innlegg om inkonsekvenser i argumentene til en politiker " -"som du elsker Ã¥ hate, eller du kan lage en kort film som setter uttalelser " -"mot hverandre. Du kan skrive et dikt som uttrykker din kjÃ¦rlighet, eller du " -"kan veve sammen en trÃ¥d—en nettfletting— av sanger fra dine " -"favorittartister i en collage og gjÃ¸re den tilgjengelig pÃ¥ nettet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This digital <quote>capturing and sharing</quote> is in part an extension of " -"the capturing and sharing that has always been integral to our culture, and " -"in part it is something new. It is continuous with the Kodak, but it " -"explodes the boundaries of Kodak-like technologies. The technology of " -"digital <quote>capturing and sharing</quote> promises a world of " -"extraordinarily diverse creativity that can be easily and broadly shared. " -"And as that creativity is applied to democracy, it will enable a broad range " -"of citizens to use technology to express and criticize and contribute to the " -"culture all around." -msgstr "" -"Denne digitale \"fange inn og dele\" er delvis en utvidelse for Ã¥ registrere " -"og dele det har alltid vÃ¦rt del av vÃ¥r 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\" lÃ¸fter en " -"verden av svÃ¦rt mangfoldig kreativitet som kan enkelt og forstand deles. og " -"sÃ¥ at kreativiteten brukes til demokrati, det vil muliggjÃ¸re et bredt " -"spekter av borgere Ã¥ bruke teknologi for Ã¥ uttrykke og kritisere og bidra " -"til kultur rundt." - -#. PAGE BREAK 194 -#. type: Content of: <book><part><chapter><section><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 Ã¥ gjÃ¸re noe med kultur som " -"bare har vÃ¦rt mulig for enkeltpersoner i smÃ¥ grupper, isolert fra andre " -"grupper. Forestill deg en gammel mann som forteller en historie til en " -"samling med naboer i en liten landsby. Forestill deg sÃ¥ den samme " -"historiefortellingen utvidet til Ã¥ nÃ¥ over hele verden." - -#. type: Content of: <book><part><chapter><section><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 "" -"Likevel er alt dette kun mulig hvis aktiviteten antas Ã¥ vÃ¦re lovlig. I " -"dagens juridiske reguleringsregime er det ikke det. La oss glemme fildeling " -"et Ã¸yeblikk. Tenk pÃ¥ dine fantastiske favorittsteder pÃ¥ nettet. Nettsteder " -"som tilbyr oppsummeringer av handlingen for glemte TV-serier, steder som " -"samler tegneserier fra 1960-tallet, steder som mikser bilde og lyd for Ã¥ " -"kritisere politikere eller bedrifter, steder som samler avisartikler fra " -"smale tema om vitenskap eller kultur. Det er store mengder kreativte verker " -"spredt rundt om pÃ¥ Internettet. Men slik loven er satt sammen i dag er " -"disse verkene antatt Ã¥ vÃ¦re ulovlig." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Worldcom" -msgstr "Worldcom" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "doctors malpractice claims against" -msgstr "legers feilbehandlingsanklager mot" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at " -"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; " -"for details of the settlement, see MCI press release, <quote>MCI Wins U.S. " -"District Court Approval for SEC Settlement</quote> (7 July 2003), available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</" -"citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for " -"detaljer om dette forliket, se pressemelding fra MCI, <quote>MCI Wins U.S. " -"District Court Approval for SEC Settlement</quote> (7. juli 2003), " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #37</" -"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Bush, George W." -msgstr "Bush, George W." - -#. type: Content of: <book><part><chapter><section><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, <quote>Measure Stalls in Senate: `We'll Be " -"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and " -"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #39</ulink>. " -"President Bush has continued to urge tort reform in recent months. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Lovforslaget, som var modellerert etter Califorias *tort reform*-modell, ble " -"vedtatt i Representantenes hus men stoppet i Senatet i juli 2003. For en " -"oversikt, se Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,' " -"Say Tort Reformers</quote>, amednews.com, 28. juli 2003, tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, og " -"<quote>Senate Turns Back Malpractice Caps</quote>, CBSNews.com, 9. juli " -"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " -"#39</ulink>. President Bush har fortsatt Ã¥ argumentere for *tort reform* de " -"siste mÃ¥nedene. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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 "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "art, underground" -msgstr "kunst, undergrunns" - -#. f3. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> " -"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #40</ulink>. For an overview of the " -"exhibition, see <ulink url=\"http://free-culture.cc/notes/\">link #41</" -"ulink>." -msgstr "" -"Se Danit Lidor, <quote>Artists Just Wanna Be Free</quote>, <citetitle>Wired</" -"citetitle>, 7. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #40</ulink>. For en oversikt over utstillingen, se <ulink " -"url=\"http://free-culture.cc/notes/\">link #41</ulink>." - -#. type: Content of: <book><part><chapter><section><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 <quote>pirates.</" -"quote> We make it impossible for businesses to rely upon a public domain, " -"because the boundaries of the public domain are designed to be unclear. It " -"never pays to do anything except pay for the right to create, and hence only " -"those who can pay are allowed to create. As was the case in the Soviet " -"Union, though for very different reasons, we will begin to see a world of " -"underground art—not because the message is necessarily political, or " -"because the subject is controversial, but because the very act of creating " -"the art is legally fraught. Already, exhibits of <quote>illegal art</quote> " -"tour the United States.<placeholder type=\"footnote\" id=\"0\"/> In what " -"does their <quote>illegality</quote> consist? In the act of mixing the " -"culture around us with an expression that is critical or reflective." -msgstr "" -"Konsekvensen av denne juridiske usikkerheten, sammen med desse ekstreme hÃ¸ye " -"straffene, er at en ekstraordinÃ¦r mengde kreativitet aldri vil gjennomfÃ¸res, " -"eller aldri vil gjennomfÃ¸res Ã¥pnelyst. Vi tvinger denne kreative prosessen " -"under jorda ved Ã¥ hevde at de moderne Walt Disney-ene er <quote>pirater</" -"quote>. Vi gjÃ¸r det umulig for bedrifter Ã¥ basere seg pÃ¥ et allemannseie pÃ¥ " -"grunn av at grensene for allemannsienet er laget for Ã¥ vÃ¦re uklare. Det " -"betaler seg aldri Ã¥ gjÃ¸re noe annet enn Ã¥ betale for retten til Ã¥ skape, og " -"dermed vil kun de som kan betale fÃ¥ lov til Ã¥ skape. Slik det var tilfelle " -"i Sovjetunionen, dog av helt andre Ã¥rsaker, sÃ¥ vil vi begynne Ã¥ se en verden " -"av undergrunns-kust—ikke fordi budskapet nÃ¸dvendigvis er politisk, " -"eller fordi temaet er kontroversielt, men pÃ¥ grunn av at selve det Ã¥ skape " -"denne kunsten er juridisk skummelt. Allerede har utstillinger med " -"<quote>ulovlig kunst</quote> vÃ¦rt pÃ¥ turnÃ© i USA.<placeholder type=\"footnote" -"\" id=\"0\"/> Hva bestÃ¥r deres <quote>ulovlighet</quote> i? I det Ã¥ mikse " -"kulturen rundt oss med et uttrykk som er kritisk eller ettertenksomt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Part of the reason for this fear of illegality has to do with the changing " -"law. I described that change in detail in chapter <xref xrefstyle=\"select: " -"labelnumber\" linkend=\"property-i\"/>. But an even bigger part has to do " -"with the increasing ease with which infractions can be tracked. As users of " -"file-sharing systems discovered in 2002, it is a trivial matter for " -"copyright owners to get courts to order Internet service providers to reveal " -"who has what content. It is as if your cassette tape player transmitted a " -"list of the songs that you played in the privacy of your own home that " -"anyone could tune into for whatever reason they chose." -msgstr "" -"en del av Ã¥rsaken til denne frykten for illegality har Ã¥ gjÃ¸re med endring " -"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda " -"stÃ¸rre del har Ã¥ gjÃ¸re med den Ã¸kende enkelt som brudd kan spores. som " -"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell " -"sak for opphavsrett eiere Ã¥ fÃ¥ domstoler Ã¥ bestille Internett-leverandÃ¸rer Ã¥ " -"avslÃ¸re 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><part><chapter><section><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 fÃ¸r i vÃ¥r historie har en maler trengt Ã¥ bekymre seg om hans maleri " -"krenker noen andres verk. Men en moderne maler, som bruker verktÃ¸yene til " -"Photoshop og deler innholdet pÃ¥ nettet, mÃ¥ bekymre seg for dette hele " -"tiden. Bilder er over alt, men de eneste trygge bildene Ã¥ bruke i " -"skapelsesprosessen er de som er kjÃ¸pt fra Corbis eller en annen av " -"bildebutikkene. Og i denne kjÃ¸psprosessen skjer det sensurering. Det er et " -"fritt marked for blyanter. Vi trenger ikke bekymre oss for dets effekt pÃ¥ " -"kreativiteten. Men det er en strengt regulert og monopolisert marked for " -"kulturelle ikoner, retten til Ã¥ kultivere og endre pÃ¥ dem er ikke " -"tilsvarende fritt." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Lawyers rarely see this because lawyers are rarely empirical. As I described " -"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, " -"in response to the story about documentary filmmaker Jon Else, I have been " -"lectured again and again by lawyers who insist Else's use was fair use, and " -"hence I am wrong to say that the law regulates such a use." -msgstr "" -"Advokater ser sjelden dette pÃ¥ grunn av at advokater er sjelden empiriske. " -"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"recorders\"/>, som respons pÃ¥ historien om dokumentarfilmskaper Jon Else, " -"har jeg blitt belÃ¦rt gang pÃ¥ gang av advokater som insisterer pÃ¥ at Elses " -"bruk var rimelig bruk. Og at jeg derfor tok feil nÃ¥r jeg sa at loven " -"regulerer slik bruk." - -#. PAGE BREAK 196 -#. type: Content of: <book><part><chapter><section><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 USA betyr bare en har rett til Ã¥ hyre inn en advokat til " -"Ã¥ forsvare din rett til Ã¥ skape. Og som advokater liker Ã¥ glemme er vÃ¥rt " -"system for Ã¥ forsvare ens rett utrolig dÃ¥rlig—i nÃ¦r sagt enhver " -"sammenheng, men spesielt her. Det koster for mye, det leverer for tregt, og " -"det som blir levert har ofte liten tilknytning til rettferdigheten i det " -"underliggende kravet. Rettssystemet er kanskje tolererbart for de veldig " -"rike. Men for alle andre er det pinlig for en tradisjon som ellers liker Ã¥ " -"vÃ¦re stolt av rettssikkerheten." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Judges and lawyers can tell themselves that fair use provides adequate " -"<quote>breathing room</quote> between regulation by the law and the access " -"the law should allow. But it is a measure of how out of touch our legal " -"system has become that anyone actually believes this. The rules that " -"publishers impose upon writers, the rules that film distributors impose upon " -"filmmakers, the rules that newspapers impose upon journalists— these " -"are the real laws governing creativity. And these rules have little " -"relationship to the <quote>law</quote> with which judges comfort themselves." -msgstr "" -"Dommere og advokater kan fortelle hverandre at rimelig bruk gir " -"tilstrekkelig <quote>pusterom</quote> mellom lovregulering og tilgangen som " -"loven bÃ¸r tillate. Men det viser hvor fjernt vÃ¥rt juridiske system har " -"blitt at noen faktisk kan tro dette. Reglene som utgivere pÃ¥legger " -"forfattere, reglene som filmdistributÃ¸rer pÃ¥legger filmskapere, reglene som " -"aviser pÃ¥legger journalister—dette er de virkelige lovene som styrer " -"kreativitet. Og disse reglene har lite til felles med <quote>loven</quote> " -"som dommerne trÃ¸ster hverandre med." - -#. type: Content of: <book><part><chapter><section><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 <quote>copyright</quote> silence speech and " -"creativity. And in that world, it takes a studied blindness for people to " -"continue to believe they live in a culture that is free." -msgstr "" -"For i en verden som truer med $150 000 i erstatningskrav for et enkelt " -"opphavsrettsbrudd gjort med hensikt, og som krever titusener av dollar bare " -"for Ã¥ forsvare seg mot en pÃ¥stand om Ã¥ ha brutt oppahvsretten, og som aldri " -"vil gi de som er feilaktig anklaget noen av de kostnadene hun ble pÃ¥fÃ¸rt for " -"Ã¥ forsvare sin rett til Ã¥ uttale seg—i den verden, knebler de utrolig " -"vidtrekkende reguleringene som gÃ¥r under navnet <quote>opphavsrett</quote> " -"bÃ¥de tale og kreativitet. Og i den verden kreves det en utstudert blindhet " -"for at noen fortsatt skal tro at de lever i en fri kultur." - -#. type: Content of: <book><part><chapter><section><para> -msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me," -msgstr "" -"Som Jed Horovitz, forretningsmannen som stÃ¥r bak Video Pipelie sa til meg," - -#. PAGE BREAK 197 -#. type: Content of: <book><part><chapter><section><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, <quote>This has been cleared.</quote> You're not even going " -"to get it on PBS without that kind of permission. That's the point at which " -"they control it." -msgstr "" -"Vi mister [kreative] muligheter over alt. Kreative folk blir tvunget til Ã¥ " -"ikke uttrykke seg. Mange tanker kommer aldri ned pÃ¥ papiret. Og mens en " -"masse ting kanskje [fortsatt] blir skapt, sÃ¥ blir det ikke distribuert. " -"Selv om tingene blir laget … sÃ¥ fÃ¥r du ikke distribuert det i de " -"tradisjonelle mediene med mindre du har en liten lapp fra en advokat som " -"sier <quote>dette er blitt klarert</quote>. Du klarer ikke en gang Ã¥ fÃ¥ det " -"pÃ¥ PBS uten slik tillatelse. Det er poenget med den type kontroll de har." - -#. type: Content of: <book><part><chapter><section><title> -msgid "Constraining Innovators" -msgstr "Legger bÃ¥nd pÃ¥ oppfinnere" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "innovation hampered by" -msgstr "nyskapning hemmet av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "industry establishment opposed to" -msgstr "industrien etablering motsetning til" - -#. type: Content of: <book><part><chapter><section><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 i den siste delen var en knasende venstreorientert historie—" -"kreativitet knust, artister fÃ¥r ikke uttrykke seg, bla bla bla. Kanskje " -"slikt ikke overbeviser deg. Kanskje du mener det er nok sÃ¦r kunst der ute, " -"og uttrykk som er kritiske til omtrent alt mulig. Og hvis du tenker slik, " -"sÃ¥ mener du kanskje at det er lite i den historien Ã¥ bekymre deg over." - -#. type: Content of: <book><part><chapter><section><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, " -"<xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> pages into a " -"book like this), then you can see this other aspect by substituting " -"<quote>free market</quote> every place I've spoken of <quote>free culture.</" -"quote> The point is the same, even if the interests affecting culture are " -"more fundamental." -msgstr "" -"Men det er det en fasett med denne historien som over hodet ikke er " -"venstrevridd. Faktisk er det en fasett som kunne vÃ¦rt skrevet av den mest " -"ekstreme ideologiske forkjemper for markedet. hvis du er en av disse (og en " -"svÃ¦rt spesiell en, <xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> sider inn i en bok som denne), sÃ¥ kan du se denne " -"andre fasetten ved Ã¥ bytte inn <quote>fritt marked</quote> hver gang jeg har " -"snakket om <quote>fri kultur</quote>. Poenget er det samme, selv om " -"interessene som pÃ¥virker kultur er mer fundamentale." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The charge I've been making about the regulation of culture is the same " -"charge free marketers make about regulating markets. Everyone, of course, " -"concedes that some regulation of markets is necessary—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 vÃ¦rt Ã¥ gjÃ¸re om regulering av kultur er samme tillegget gratis " -"markedsfÃ¸rere gjÃ¸re om regulerer markeder. enhver, selvfÃ¸lgelig innrÃ¸mme at " -"noen regulering av markeder er nÃ¸dvendig—et minimum, vi trenger " -"reglene for egenskapen og kontrakt og domstolene for Ã¥ hÃ¥ndheve begge. pÃ¥ " -"samme mÃ¥te i denne kultur debatten innrÃ¸mme enhver at minst noen rammen av " -"copyright er ogsÃ¥ nÃ¸dvendig. men begge perspektiver insisterer vehemently at " -"bare fordi noen regulering er bra, ikke det fÃ¸lger at mer regulering er " -"bedre. og begge perspektiver er stadig attuned til mÃ¥tene i hvilke " -"regulering aktiverer bare de kraftige industriene i dag for Ã¥ beskytte seg " -"mot konkurrenter i morgen." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Barry, Hank" -msgstr "Barry, Hank" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "venture capitalists" -msgstr "venture kapitalister" - -#. PAGE BREAK 198 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This is the single most dramatic effect of the shift in regulatory strategy " -"that I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>. The consequence of this massive threat of liability tied " -"to the murky boundaries of copyright law is that innovators who want to " -"innovate in this space can safely innovate only if they have the sign-off " -"from last generation's dominant industries. That lesson has been taught " -"through a series of cases that were designed and executed to teach venture " -"capitalists a lesson. That lesson—what former Napster CEO Hank Barry " -"calls a <quote>nuclear pall</quote> 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 " -"Ã¸nsker Ã¥ skape noe nytt i denne plassen kan trygt innovate bare hvis de har " -"avlogging fra siste generasjon dominerende bransjer. denne leksjonen har " -"lÃ¦rt gjennom en rekke tilfeller som ble utformet og utfÃ¸rt for Ã¥ lÃ¦re " -"venture kapitalister en leksjon. denne leksjonen—hva tidligere napster " -"ceo hank barry kaller en \"kjernefysisk pall\" som har falt over dalen—" -"har blitt lÃ¦rt." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"Consider one example to make the point, a story whose beginning I told in " -"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way " -"that even I (pessimist extraordinaire) would never have predicted." -msgstr "" -"Her er et eksempel for Ã¥ demonstrere dette poenget, en historie jeg fortalte " -"starten av i <citetitle>The Future of Ideas</citetitle> og som har utviklet " -"seg pÃ¥ en mÃ¥te som selv ikke jeg (en ekstraordinÃ¦r pessimist) kunne ha spÃ¥dd." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MP3.com" -msgstr "MP3.com" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "my.mp3.com" -msgstr "my.mp3.com" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Roberts, Michael" -msgstr "Roberts, Michael" - -#. type: Content of: <book><part><chapter><section><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 etablerte Michael Roberts et selskap ved navn MP3.com. MP3.com var " -"ute etter Ã¥ endre pÃ¥ musikkbransjen. MÃ¥let deres var ikke bare Ã¥ bidra til " -"nye mÃ¥ter Ã¥ fÃ¥ tilgang til innhold. MÃ¥let var ogsÃ¥ Ã¥ bidra til nye mÃ¥ter Ã¥ " -"skape innhold. Til forskjell fra de store plateselskapene tilbÃ¸d MP3.com " -"opphavspersonene en arena for Ã¥ distribuere sin kreativitet, uten Ã¥ kreve et " -"eksklusivt engasjement fra opphavspersonene." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "preference data on" -msgstr "preferanse data pÃ¥" - -#. type: Content of: <book><part><chapter><section><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 "" -"Men for Ã¥ fÃ¥ dette systemet til Ã¥ virke, trengte MP3.com en pÃ¥litelig mÃ¥te Ã¥ " -"anbefale musikk til sine brukere. IdÃ©en bak dette alternativet var Ã¥ " -"utnytte musikklytternes eksponerte musikkvalg for Ã¥ anbefale nye artister. " -"Hvis du liker Lyle Lovett, sÃ¥ vil du antagelig nyte Bonnie Raitt. Og sÃ¥ " -"videre." - -#. type: Content of: <book><part><chapter><section><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 "" -"Denne idÃ©en krevde et enkel mÃ¥te Ã¥ samle inn data om hva brukerne " -"foretrekker. MP3.com kom opp med en svÃ¦rt snedig mÃ¥te Ã¥ samle inn data om " -"hva brukerne foretrakk. Januar 2000 lanserte selskapet tjenesten my.mp3." -"com. Ved Ã¥ bruke programvare fra MP3.com logget brukeren inn pÃ¥ en konto og " -"satte sÃ¥ en CD inn i datamaskinen sin. Programvaren ville kjenne igjen CDen " -"og sÃ¥ gi brukeren tilgang til det innholdet. Dermed kunne du hvis du f." -"eks. satte inn en CD av Jill Sobule, fÃ¥ tilgang til den musikken uansett " -"hvor du var—pÃ¥ jobb eller hjemme—sÃ¥ snart du hadde logget inn pÃ¥ " -"konto. Systemet var dermed en slags lÃ¥sbart musikk-skrin." - -#. PAGE BREAK 199 -#. type: Content of: <book><part><chapter><section><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 "" -"Det er ingen tvil om at noen kunne bruke dette systemet til Ã¥ kopiere " -"ulovlig innhold. Men den muligheten eksisterte bÃ¥de fÃ¸r og etter MP3.com. " -"MÃ¥let med my.mpr.com-tjenesten var Ã¥ gi brukere tilgang til deres eget " -"innhold, og som et biprodukt av Ã¥ se hva slags innhold de allerede eide, " -"oppdage hva slags innhold brukerne likte." - -#. type: Content of: <book><part><chapter><section><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 "" -"Men for Ã¥ fÃ¥ dette systemet til Ã¥ fungere, mÃ¥tte MP3.com kopiere 50 000 " -"CD-er til en tjener. (I prinsippet kunne det vÃ¦rt brukerne som lastet opp " -"musikken, men det ville tatt svÃ¦rt mye tid, og det ville gjort at produktet " -"hadde tvilsom kvalitet.) Det kjÃ¸pte derfor 50 000 CDer fra en butikk " -"og gikk igang med Ã¥ kopiere disse CD-ene. Og nok en gang, selskapet ville " -"ikke gi ut innholdet fra disse kopiene til noen andre enn de som kunne " -"bekrefte at de allerede hadde et eksemplar av Cd-en de Ã¸nsket tilgang til. " -"SÃ¥ selv pom dette var 50 000 kopier, sÃ¥ var det 50 000 kopier som " -"ble tilbudt for Ã¥ gi kunder noe de allerede hadde kjÃ¸pt." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "distribution technology targeted in" -msgstr "distribusjon-teknologi mÃ¥l for" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "outsize penalties of" -msgstr "Ã¸kte straffer ved" - -#. type: Content of: <book><part><chapter><section><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 at MP3.com lanserte sin tjeneste anla de fem store " -"plateselskapene, under ledelse av RIAA, sak mot MP3.com. MP3.com inngikk " -"forlik med fire av de fem. Ni mÃ¥neder senere avgjorde en fÃ¸deral dommer at " -"MP3.com hadde vÃ¦rt skyldig i Ã¥ med hensikt ha brutt opphavsretten nÃ¥r det " -"gjalt den femte. Ved Ã¥ anvende loven slik den er utformet nÃ¥ ila dommeren " -"MP3.com en bot pÃ¥ $118 millioner. MP3.com inngikk sÃ¥ et forlik med den " -"gjenstÃ¥ende saksÃ¸ker, Vivendi Universal, og betalte mer enn $54 millioner. " -"Vivendi kjÃ¸pte MP3.com omtrent et Ã¥r senere." - -#. type: Content of: <book><part><chapter><section><para> -msgid "That part of the story I have told before. Now consider its conclusion." -msgstr "Den delen av historien har jeg fortalt fÃ¸r. NÃ¥ kommer konklusjonen." - -#. type: Content of: <book><part><chapter><section><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 kjÃ¸pte MP3.com, snudde Vivendi seg rundt og saksÃ¸kte for " -"pliktforsÃ¸mmelse de advokatene som hadde gitt rÃ¥d om at selskapet i god tro " -"kunne hevde at tjenesten selskapet Ã¸nsket Ã¥ tilby ville bli ansett som " -"lovlig i henhold til opphavsretten. Dette sÃ¸ksmÃ¥let hevdet at det burde ha " -"vÃ¦rt Ã¥penbart at domstolene ville anse denne oppfÃ¸rselen for ulovlig. " -"Dermed forsÃ¸kte dette sÃ¸ksmÃ¥let Ã¥ straffe enhver advokat som vÃ¥get Ã¥ foreslÃ¥ " -"at loven var mindre restrektiv en plateselskapene krevde." - -#. PAGE BREAK 200 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The clear purpose of this lawsuit (which was settled for an unspecified " -"amount shortly after the story was no longer covered in the press) was to " -"send an unequivocal message to lawyers advising clients in this space: It is " -"not just your clients who might suffer if the content industry directs its " -"guns against them. It is also you. So those of you who believe the law " -"should be less restrictive should realize that such a view of the law will " -"cost you and your firm dearly." -msgstr "" -"Den Ã¥penbare hensikten med dette sÃ¸ksmÃ¥let (som ble avsluttet med et forlik " -"for et uspesifisert belÃ¸p like etter at saken ikke lenger fikk " -"pressedekning), var Ã¥ sende en melding som ikke kan misforstÃ¥s til advokater " -"som gir rÃ¥d til klienter pÃ¥ dette omrÃ¥det: Det er ikke bare dine klienter " -"som fÃ¥r lide hvis innholdsindustrien retter sine vÃ¥pen mot dem. Det fÃ¥r " -"ogsÃ¥ du. SÃ¥ de av dere som tror loven burde vÃ¦re mindre restriktiv bÃ¸r " -"innse at et slikt syn pÃ¥ loven vil koste deg og ditt firma dyrt." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "BMW" -msgstr "BMW" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "cars, MP3 sound systems in" -msgstr "biler, MP3-lydsystem i" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Hummer, John" -msgstr "Hummer, John" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Hummer Winblad" -msgstr "Hummer Winblad" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "MP3 players" -msgstr "MP3-spillere" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "venture capital for" -msgstr "risikovillig kapital for" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> -msgid "Needleman, Rafe" -msgstr "Needleman, Rafe" - -#. f4. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> " -"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel " -"argument about the effects on innovation in the distribution of music, see " -"Janelle Brown, <quote>The Music Revolution Will Not Be Digitized,</quote> " -"Salon.com, 1 June 2001, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #42</ulink>. See also Jon Healey, <quote>Online Music " -"Services Besieged,</quote> <citetitle>Los Angeles Times</citetitle>, 28 May " -"2001." -msgstr "" - -#. type: Content of: <book><part><chapter><section><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 <citetitle>Business 2.0</citetitle>, " -"Rafe Needleman describes a discussion with BMW:" -msgstr "" - -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -msgid "" -"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> " -"<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #43</ulink>. I am grateful to Dr. " -"Mohammad Al-Ubaydli for this example. <placeholder type=\"indexterm\" id=" -"\"0\"/>" -msgstr "" -"Rafe Needleman, <quote>Driving in Cars with MP3s</quote>, " -"<citetitle>Business 2.0</citetitle>, 16. juni 2003, tilgjengelig via <ulink " -"url=\"http://free-culture.cc/notes/\">link #43</ulink>. Jeg er takknemlig " -"til Dr. Mohammad Al-Ubaydli for dette eksemplet. <placeholder type=" -"\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -msgid "" -"This is the world of the mafia—filled with <quote>your money or your " -"life</quote> offers, governed in the end not by courts but by the threats " -"that the law empowers copyright holders to exercise. It is a system that " -"will obviously and necessarily stifle new innovation. It is hard enough to " -"start a company. It is impossibly hard if that company is constantly " -"threatened by litigation." -msgstr "" -"Dette er verden til mafiaen—fylt med <quote>penger eller livet</quote>-" -"trusler, som ikke er regulert av domstolene men av trusler som loven gir " -"rettighetsinnehaver mulighet til Ã¥ komme med. Det er et system som Ã¥penbart " -"og nÃ¸dvendigvis vil kvele ny innovasjon. Det er vanskelig nok Ã¥ starte et " -"selskap. Det blir helt umulig hvis selskapet er stadig truet av sÃ¸ksmÃ¥l." - -#. PAGE BREAK 201 -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"The point is not that businesses should have a right to start illegal " -"enterprises. The point is the definition of <quote>illegal.</quote> The law " -"is a mess of uncertainty. We have no good way to know how it should apply to " -"new technologies. Yet by reversing our tradition of judicial deference, and " -"by embracing the astonishingly high penalties that copyright law imposes, " -"that uncertainty now yields a reality which is far more conservative than is " -"right. If the law imposed the death penalty for parking tickets, we'd not " -"only have fewer parking tickets, we'd also have much less driving. The same " -"principle applies to innovation. If innovation is constantly checked by this " -"uncertain and unlimited liability, we will have much less vibrant innovation " -"and much less creativity." -msgstr "" -"Poenget er ikke at virksomheter skal ha lov til Ã¥ starte ulovlig aktivitet. " -"Poenget er definisjonen av <quote>ulovlig</quote>. Loven er et rot av " -"usikkerhet. Vi har ingen god mÃ¥te Ã¥ vite hvordan den bÃ¸r anvendes pÃ¥ nye " -"teknologier. Og likevel, ved Ã¥ reverse vÃ¥r tradisjon for juridisk " -"hensynsfullhet og omfavne det forblÃ¸ffende hÃ¸ye straffenivÃ¥et som pÃ¥legges " -"av opphavsretten, gir denne usikkerheten nÃ¥ en virkelighet som er mye mer " -"konservativ enn det som er rett. Hvis loven pÃ¥la dÃ¸dsstraff for Ã¥ parkere " -"ulovlig, sÃ¥ ville vi ikke bare ha fÃ¦rre ulovlige parkeringer, vi ville ogsÃ¥ " -"ha mye mindre kjÃ¸ring. Det samme prinsippet gjelder for nyskapning. Hvis " -"innovasjon stadig kontrolleres av denne usikre og ubegrensede " -"strafferettsansvaret, sÃ¥ vil vi ha mye mindre levende nyskapning og mye " -"mindre kreativitet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The point is directly parallel to the crunchy-lefty point about fair use. " -"Whatever the <quote>real</quote> law is, realism about the effect of law in " -"both contexts is the same. This wildly punitive system of regulation will " -"systematically stifle creativity and innovation. It will protect some " -"industries and some creators, but it will harm industry and creativity " -"generally. Free market and free culture depend upon vibrant competition. " -"Yet the effect of the law today is to stifle just this kind of competition. " -"The effect is to produce an overregulated culture, just as the effect of too " -"much control in the market is to produce an 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 Ã¥ " -"undertrykke akkurat denne type konkurranse. effekten er Ã¥ produsere en " -"overregulated kultur, akkurat som effekten av for mye kontroll i markedet er " -"Ã¥ produsere en overregulatedregulated markedet." - -#. PAGE BREAK 202 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The building of a permission culture, rather than a free culture, is the " -"first important way in which the changes I have described will burden " -"innovation. A permission culture means a lawyer's culture—a culture in " -"which the ability to create requires a call to your lawyer. Again, I am not " -"antilawyer, at least when they're kept in their proper place. I am certainly " -"not antilaw. But our profession has lost the sense of its limits. And " -"leaders in our profession have lost an appreciation of the high costs that " -"our profession imposes upon others. The inefficiency of the law is an " -"embarrassment to our tradition. And while I believe our profession should " -"therefore do everything it can to make the law more efficient, it should at " -"least do everything it can to limit the reach of the law where the law is " -"not doing any good. The transaction costs buried within a permission culture " -"are enough to bury a wide range of creativity. Someone needs to do a lot of " -"justifying to justify that result." -msgstr "" -"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den fÃ¸rste " -"viktige mÃ¥ten der vil endringene jeg har beskrevet byrden innovasjon. en " -"tillatelse kultur betyr en advokat kultur—en kultur der muligheten til " -"Ã¥ opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke " -"antilawyer, minst nÃ¥r de er holdt i deres riktig sted. Jeg er sikkert ikke " -"antilaw. Men vÃ¥rt yrke har mistet fÃ¸lelsen av sine grenser. og ledere i vÃ¥r " -"profesjon har mistet en styrking av de hÃ¸ye kostnadene som vÃ¥rt yrke " -"pÃ¥legger over andre. ineffektiviteten i loven er en forlegenhet til vÃ¥r " -"tradisjon. og mens jeg tror vÃ¥rt yrke bÃ¸r derfor gjÃ¸re alt den kan for Ã¥ " -"effektivisere loven, det bÃ¸r minst gjÃ¸re alt den kan for Ã¥ begrense " -"rekkevidden av loven der loven ikke gjÃ¸r noe bra. transaksjonskostnader " -"begravde innen en tillatelse kultur er nok Ã¥ begrave et bredt spekter av " -"kreativitet. noen mÃ¥ gjÃ¸re en masse rettferdiggjÃ¸rende for Ã¥ rettferdiggjÃ¸re " -"dette resultatet. Usikkerheten av loven er en byrde pÃ¥ innovasjon. Det er en " -"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen " -"innhold for Ã¥ bruke loven til Ã¥ regulere direkte teknologi pÃ¥ Internett slik " -"at det bedre beskytter innholdet." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>The uncertainty</emphasis> of the law is one burden " -"on innovation. There is a second burden that operates more directly. This is " -"the effort by many in the content industry to use the law to directly " -"regulate the technology of the Internet so that it better protects their " -"content." -msgstr "" -"<emphasis role='strong'>Usikkerheten</emphasis> i loven er en av byrdene som " -"legges pÃ¥ nyskapningen. Det er en annen byrde som virker mer direkte. " -"Dette er effekten fra mange i innholdsindustrien som bruker loven til Ã¥ " -"direkte regulere teknologien pÃ¥ Internettet slik at den beskytter deres " -"innhold bedre." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The motivation for this response is obvious. The Internet enables the " -"efficient spread of content. That efficiency is a feature of the Internet's " -"design. But from the perspective of the content industry, this feature is a " -"<quote>bug.</quote> The efficient spread of content means that content " -"distributors have a harder time controlling the distribution of content. " -"One obvious response to this efficiency is thus to make the Internet less " -"efficient. If the Internet enables <quote>piracy,</quote> then, this " -"response says, we should break the kneecaps of the Internet." -msgstr "" -"motivasjon for dette svaret er Ã¥penbart. Internett gjÃ¸r 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 " -"distributÃ¸rer har en hardere tid kontrollere distribusjon av innhold. ettall " -"Ã¥penbare svaret Ã¥ denne effektiviteten er derfor Ã¥ gjÃ¸re Internett mindre " -"effektivt. Hvis Internett gjÃ¸r at \"piratkopiering\", deretter dette svaret " -"sier, vi bÃ¸r bryte kneecaps av Internett." - -#. f6. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<quote>Copyright and Digital Media in a Post-Napster World,</quote> " -"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law " -"School (2003), 33–35, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #44</ulink>." -msgstr "" - -#. f7. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "GartnerG2, 26–27." -msgstr "GartnerG2, 26–27." - -#. type: Content of: <book><part><chapter><section><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 <quote>broadcast flag</quote> that would be required on any " -"device capable of transmitting digital video (i.e., a computer), and that " -"would disable the copying of any content that is marked with a broadcast " -"flag. Other members of Congress have proposed immunizing content providers " -"from liability for technology they might deploy that would hunt down " -"copyright violators and disable their machines.<placeholder type=\"footnote" -"\" id=\"1\"/>" -msgstr "" - -#. PAGE BREAK 203 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In one sense, these solutions seem sensible. If the problem is the code, why " -"not regulate the code to remove the problem. But any regulation of technical " -"infrastructure will always be tuned to the particular technology of the day. " -"It will impose significant burdens and costs on the technology, but will " -"likely be eclipsed by advances around exactly those requirements." -msgstr "" -"i en forstand synes disse lÃ¸sningene fornuftig. Hvis problemet er koden, " -"hvorfor ikke regulere koden for Ã¥ fjerne problemet. men noen regulering av " -"tekniske infrastruktur vil alltid er stilt inn pÃ¥ bestemt teknologi av " -"dagen. det vil innfÃ¸re betydelig byrder og kostnader pÃ¥ teknologi, men vil " -"trolig vÃ¦re eclipsed av fremskritt rundt akkurat disse kravene." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Intel" -msgstr "Intel" - -#. f8. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> " -"Newsbytes, February 2002 (Entertainment)." -msgstr "" -"se david mcguire, \"tech execs torget off over piratkopiering,\" newsbytes, " -"februar 2002 (underholdning)." - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -msgid "" -"<emphasis role='strong'>There is one</emphasis> more obvious way in which " -"this war has harmed innovation—again, a story that will be quite " -"familiar to the free market crowd." -msgstr "" -"<emphasis role='strong'>Det er en</emphasis> mer Ã¥penbar mÃ¥te som denne " -"krigen har skadet nyskapning—igjen, en historie som vil vÃ¦re ganske " -"familiÃ¦r for de som stÃ¸tter det frie markedet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Copyright may be property, but like all property, it is also a form of " -"regulation. It is a regulation that benefits some and harms others. When " -"done right, it benefits creators and harms leeches. When done wrong, it is " -"regulation the powerful use to defeat competitors." -msgstr "" -"Copyright kanskje eiendom, men som all eiendom, det er ogsÃ¥ en form for " -"regulering. Det er en forordning som fordeler noen og skader andre. NÃ¥r det " -"gjÃ¸res riktig, det fordeler skaperne og skader leeches. NÃ¥r gjort galt, det " -"er regulering kraftig bruk Ã¥ beseire konkurrenter." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Digital Copyright (Litman)" -msgstr "Digital Copyright (Litman)" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: " -"Prometheus Books, 2001). <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" -msgstr "" -"Jessica litman, digitale copyright (amherst, n.y.: prometheus bÃ¸ker, 2001)." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, despite this feature of copyright as regulation, and " -"subject to important qualifications outlined by Jessica Litman in her book " -"<citetitle>Digital Copyright</citetitle>,<placeholder type=\"footnote\" id=" -"\"0\"/> overall this history of copyright is not bad. As chapter 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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But that pattern of deference to new technologies has now changed with the " -"rise of the Internet. Rather than striking a balance between the claims of a " -"new technology and the legitimate rights of content creators, both the " -"courts and Congress have imposed legal restrictions that will have the " -"effect of smothering the new to benefit the old." -msgstr "" -"men dette mÃ¸nsteret av deference til nye teknologier er nÃ¥ endret med " -"veksten av Internett. i stedet for Ã¥ treffe en balanse mellom kravene til en " -"ny teknologi og legitime rettighetene til skapere av innhold, har bÃ¥de " -"domstoler og Kongressen innfÃ¸rt juridiske restriksjoner som vil ha effekten " -"av smothering ny for Ã¥ dra nytte av gamle." - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "radio on" -msgstr "radio pÃ¥" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Grokster, Ltd." -msgstr "Grokster, Ltd." - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> The only circuit court exception " -"is found in <citetitle>Recording Industry Association of America (RIAA)</" -"citetitle> v. <citetitle>Diamond Multimedia Systems</citetitle>, 180 F. 3d " -"1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit " -"reasoned that makers of a portable MP3 player were not liable for " -"contributory copyright infringement for a device that is unable to record or " -"redistribute music (a device whose only copying function is to render " -"portable a music file already stored on a user's hard drive). At the " -"district court level, the only exception is found in <citetitle>Metro-" -"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</" -"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found " -"the link between the distributor and any given user's conduct too attenuated " -"to make the distributor liable for contributory or vicarious infringement " -"liability." -msgstr "" -"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 bÃ¦rbar 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 Ã¥ gjengi bÃ¦rbare en musikkfil som " -"allerede er lagret pÃ¥ brukerens harddisk). pÃ¥ district court-nivÃ¥, 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 distributÃ¸ren og noen gitt bruker 's " -"gjennomfÃ¸re for attenuated Ã¥ gjÃ¸re distributÃ¸ren ansvarlig for krenkelse av " -"medvirkende eller stedfortredende erstatningsansvar." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Tauzin, Billy" -msgstr "Tauzin, Billy" - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -msgid "Hollings, Fritz" -msgstr "Hollings, Fritz" - -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> For example, in July 2002, " -"Representative Howard Berman introduced the Peer-to-Peer Piracy Prevention " -"Act (H.R. 5211), which would immunize copyright holders from liability for " -"damage done to computers when the copyright holders use technology to stop " -"copyright infringement. In August 2002, Representative Billy Tauzin " -"introduced a bill to mandate that technologies capable of rebroadcasting " -"digital copies of films broadcast on TV (i.e., computers) respect a " -"<quote>broadcast flag</quote> that would disable copying of that content. " -"And in March of the same year, Senator Fritz Hollings introduced the " -"Consumer Broadband and Digital Television Promotion Act, which mandated " -"copyright protection technology in all digital media devices. See GartnerG2, " -"<quote>Copyright and Digital Media in a Post-Napster World,</quote> 27 June " -"2003, 33–34, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #44</ulink>. <placeholder type=\"indexterm\" id=\"1\"/> " -"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " -"id=\"3\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"pirates\"/>, when a radio station plays a song, the recording artist " -"doesn't get paid for that <quote>radio performance</quote> unless he or she " -"is also the composer. So, for example if Marilyn Monroe had recorded a " -"version of <quote>Happy Birthday</quote>—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 <quote>Happy Birthday</quote> would get some money, whereas " -"Marilyn Monroe would not." -msgstr "" -"som jeg beskrevet i kapittel 4, nÃ¥r en radiostasjon spiller en sang, fÃ¥r " -"ikke innspillingen artisten betalt for at \"radio ytelse\" med mindre han " -"eller hun er ogsÃ¥ komponisten. sÃ¥, for eksempel hvis marilyn monroe hadde " -"spilt inn en versjon av \"happy birthday\"—for Ã¥ memorialize sin " -"berÃ¸mte opptreden fÃ¸r president kennedy i madison square garden—" -"deretter nÃ¥r denne innspillingen ble spilt pÃ¥ radio, gjeldende opphavsrett " -"eierne av \"happy birthday\" ville fÃ¥ noen penger, mens marilyn monroe ville " -"ikke." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The reasoning behind this balance struck by Congress makes some sense. The " -"justification was that radio was a kind of advertising. The recording artist " -"thus benefited because by playing her music, the radio station was making it " -"more likely that her records would be purchased. Thus, the recording artist " -"got something, even if only indirectly. Probably this reasoning had less to " -"do with the result than with the power of radio stations: Their lobbyists " -"were quite good at stopping any efforts to get Congress to require " -"compensation to the recording artists." -msgstr "" -"begrunnelsen bak denne balansen truffet av Kongressen gjÃ¸r noe fornuftig. " -"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte " -"dermed fordi ved Ã¥ spille musikken hennes, radiostasjonen var Ã¥ gjÃ¸re det " -"mer sannsynlig at hennes poster ville vÃ¦re kjÃ¸pt. dermed Plateartist fikk " -"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre Ã¥ " -"gjÃ¸re med resultatet enn med makten av radiostasjoner: deres lobbyister var " -"ganske god til Ã¥ stoppe enhver innsats for Ã¥ fÃ¥ Kongressen til Ã¥ kreve " -"kompensasjon for artistene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Enter Internet radio. Like regular radio, Internet radio is a technology to " -"stream content from a broadcaster to a listener. The broadcast travels " -"across the Internet, not across the ether of radio spectrum. Thus, I can " -"<quote>tune in</quote> to an Internet radio station in Berlin while sitting " -"in San Francisco, even though there's no way for me to tune in to a regular " -"radio station much beyond the San Francisco metropolitan area." -msgstr "" -"Skriv inn Internett-radio. som vanlige radio er Internett-radio en teknologi " -"Ã¥ direktesende innhold fra en kringkasteren til en lytter. kringkastingen " -"reiser over Internett, ikke pÃ¥ tvers av Eter av radio spectrum. SÃ¥ledes, jeg " -"kan \"stille inn\" til Internett-radiostasjonen i berlin mens du sitter i " -"san francisco, selv om det er ingen mÃ¥te for meg Ã¥ stille inn pÃ¥ en vanlig " -"radiostasjon langt utover san francisco metropolitan area." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This feature of the architecture of Internet radio means that there are " -"potentially an unlimited number of radio stations that a user could tune in " -"to using her computer, whereas under the existing architecture for broadcast " -"radio, there is an obvious limit to the number of broadcasters and clear " -"broadcast frequencies. Internet radio could therefore be more competitive " -"than regular radio; it could provide a wider range of selections. And " -"because the potential audience for Internet radio is the whole world, niche " -"stations could easily develop and market their content to a relatively large " -"number of users worldwide. According to some estimates, more than eighty " -"million users worldwide have tuned in to this new form of radio." -msgstr "" -"Denne funksjonen i arkitekturen av Internett-radio betyr at det er " -"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn " -"til Ã¥ bruke sin datamaskin, mens under den eksisterende arkitekturen for " -"kringkasting, det er en Ã¥penbar grense for hvor mange broadcasters og fjerne " -"kringkastingsfrekvenser. Internett-radio kan derfor vÃ¦re 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 markedsfÃ¸re innholdet til et relativt " -"stort antall brukere over hele verden. IfÃ¸lge noen anslag har mer enn Ã¥tti " -"millioner brukere over hele verden stilt inn pÃ¥ denne nye formen for radio." - -#. PAGE BREAK 205 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Internet radio is thus to radio what FM was to AM. It is an improvement " -"potentially vastly more significant than the FM improvement over AM, since " -"not only is the technology better, so, too, is the competition. Indeed, " -"there is a direct parallel between the fight to establish FM radio and the " -"fight to protect Internet radio. As one author describes Howard Armstrong's " -"struggle to enable FM radio," -msgstr "" -"Internett-radio er dermed til radio hva fm var Ã¥ am. Det er en forbedring " -"potensielt vesentlig stÃ¸rre betydning enn fm-forbedring over am, siden ikke " -"bare er teknologien bedre, sÃ¥, ogsÃ¥, er konkurransen. faktisk er det en " -"direkte parallell mellom kampen for Ã¥ etablere fm-radio og kampen for Ã¥ " -"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp " -"for Ã¥ aktivere fm-radio," - -#. f12. -#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> -#, mtrans, fuzzy -msgid "Lessing, 239." -msgstr "Lessing, 239." - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "Ibid., 229." -msgstr "ibid., 229." - -#. type: Content of: <book><part><chapter><section><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 " -"<quote>vested interests, habits, customs and legislation</quote><placeholder " -"type=\"footnote\" id=\"0\"/> to retard the growth of this competing " -"technology." -msgstr "" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Now the very same claim could be made about Internet radio. For again, there " -"is no technical limitation that could restrict the number of Internet radio " -"stations. The only restrictions on Internet radio are those imposed by the " -"law. Copyright law is one such law. So the first question we should ask is, " -"what copyright rules would govern Internet radio?" -msgstr "" -"nÃ¥ kunne samme kravet gjort om Internett-radio. for pÃ¥ nytt finnes det ingen " -"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de " -"eneste begrensningene pÃ¥ Internett-radio som er pÃ¥lagt av loven. lov om " -"opphavsrett er en slik lov. sÃ¥ det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre er, " -"hvilke opphavsrett regler ville styre Internett-radio?" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on radio" -msgstr "om radio" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "Internet radio hampered by" -msgstr "Internett-radio som er hemmet av" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -msgid "on Internet radio fees" -msgstr "om radio-avgifter pÃ¥ internet" - -#. PAGE BREAK 206 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But here the power of the lobbyists is reversed. Internet radio is a new " -"industry. The recording artists, on the other hand, have a very powerful " -"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet " -"radio in 1995, the lobbyists had primed Congress to adopt a different rule " -"for Internet radio than the rule that applies to terrestrial radio. While " -"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " -"it plays her hypothetical recording of <quote>Happy Birthday</quote> on the " -"air, <emphasis>Internet radio does</emphasis>. Not only is the law not " -"neutral toward Internet radio—the law actually burdens Internet radio " -"more than it burdens terrestrial radio." -msgstr "" -"men her kraften i lobbyister tilbakefÃ¸res. Internett-radio er en ny " -"industri. artister, derimot, har en svÃ¦rt kraftig lobby, riaa. dermed hadde " -"Kongressen vurdert nÃ¥r fenomenet Internett-radio i 1995, lobbyister primed " -"Kongressen Ã¥ adoptere en annen regel for Internett-radio enn regelen som " -"gjelder bakkesendte radio. mens bakkesendte radio ikke trenger Ã¥ betale vÃ¥re " -"hypotetisk marilyn monroe nÃ¥r den spilles hennes hypotetisk innspillingen av " -"\"happy birthday\" pÃ¥ luften, Internett-radio gjÃ¸r. ikke bare er loven ikke " -"nÃ¸ytral mot Internett-radio—loven faktisk byrder Internettradio mer " -"enn det byrder bakkesendte radio." - -#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> -#, mtrans, fuzzy -msgid "CARP (Copyright Arbitration Royalty Panel)" -msgstr "Carp (opphavsrett voldgift royalty-panelet)" - -#. type: Content of: <book><part><chapter><section><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, <quote>Copyright as " -"Entry Policy: The Case of Digital Distribution,</quote> <citetitle>Antitrust " -"Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was not confusion, " -"these are just old-fashioned entry barriers. Analog radio stations are " -"protected from digital entrants, reducing entry in radio and diversity. Yes, " -"this is done in the name of getting royalties to copyright holders, but, " -"absent the play of powerful interests, that could have been done in a media-" -"neutral way.</quote> <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " -"type=\"indexterm\" id=\"1\"/>" -msgstr "" - -#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The burden is not financial only. Under the original rules that were " -"proposed, an Internet radio station (but not a terrestrial radio station) " -"would have to collect the following data from <emphasis>every listening " -"transaction</emphasis>:" -msgstr "" -"byrden er ikke Ã¸konomiske bare. under de opprinnelige reglene som ble " -"foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " -"ville ha til Ã¥ samle inn fÃ¸lgende data fra hver lytting transaksjon:" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "name of the service;" -msgstr "navn pÃ¥ tjenesten," - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "channel of the program (AM/FM stations use station ID);" -msgstr "kanalen til programmet (AM/FM-stasjoner bruker stasjons-ID);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "type of program (archived/looped/live);" -msgstr "type program (fra arkivet/i lÃ¸kke/direkte);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "date of transmission;" -msgstr "dato for sending;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "time of transmission;" -msgstr "tidspunkt for sending;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "time zone of origination of transmission;" -msgstr "tidssone til opprinnelsen for sending;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "" -"numeric designation of the place of the sound recording within the program;" -msgstr "numeriske angivelsen av i stedet for lydopptak programmet;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "duration of transmission (to nearest second);" -msgstr "varigheten av sending (til nÃ¦rmeste sekund):" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "sound recording title;" -msgstr "lydinnspilling-tittel;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "ISRC code of the recording;" -msgstr "ISRC-kode for opptaket;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "" -"release year of the album per copyright notice and in the case of " -"compilation albums, the release year of the album and copy- right date of " -"the track;" -msgstr "" -"gi Ã¥r av albumet per opphavsrett og nÃ¥r det gjelder samlealbum, utgivelsesÃ¥r " -"av albumet og kopi hÃ¸yre datoen for spor;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "featured recording artist;" -msgstr "spillende plateartist;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "retail album title;" -msgstr "tittel pÃ¥ album i butikker;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "recording label;" -msgstr "plateselskap;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "UPC code of the retail album;" -msgstr "UPC-koden for albumet i butikker;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "catalog number;" -msgstr "katalognummer;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "copyright owner information;" -msgstr "informasjon om opphavsrettsinnehaver;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "musical genre of the channel or program (station format);" -msgstr "musikksjanger for kanal eller programmet (stasjonsformat);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "name of the service or entity;" -msgstr "navn pÃ¥ tjenesten eller selskap;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "channel or program;" -msgstr "kanal eller program;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "date and time that the user logged in (in the user's time zone);" -msgstr "datoen og klokkeslettet da brukeren logget pÃ¥ (i brukerens tidssone);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "date and time that the user logged out (in the user's time zone);" -msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -#, mtrans, fuzzy -msgid "time zone where the signal was received (user);" -msgstr "tidssone der signalet ble mottatt (bruker);" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "unique user identifier;" -msgstr "unik bruker-identifikator;" - -#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> -msgid "the country in which the user received the transmissions." -msgstr "landet til brukeren som mottok sendingene." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The Librarian of Congress eventually suspended these reporting requirements, " -"pending further study. And he also changed the original rates set by the " -"arbitration panel charged with setting rates. But the basic difference " -"between Internet radio and terrestrial radio remains: Internet radio has to " -"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does " -"not." -msgstr "" -"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " -"ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " -"voldgift panelet belastet med angivelse av priser. men den grunnleggende " -"forskjellen mellom Internett-radio og bakkesendte radio gjenstÃ¥r: Internett " -"radio har Ã¥ betale en type opphavsrett gebyr som bakkesendte radio ikke." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Why? What justifies this difference? Was there any study of the economic " -"consequences from Internet radio that would justify these differences? Was " -"the motive to protect artists against piracy?" -msgstr "" -"hvorfor? Hva rettferdiggjÃ¸r denne forskjellen? var det noen studier av " -"Ã¸konomiske konsekvensene fra Internett-radio som ville forsvare disse " -"forskjellene? var motivet Ã¥ beskytte kunstnere mot piratkopiering?" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Real Networks" -msgstr "Real Networks" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In a rare bit of candor, one RIAA expert admitted what seemed obvious to " -"everyone at the time. As Alex Alben, vice president for Public Policy at " -"Real Networks, told me," -msgstr "" -"i sjeldne litt candor innrÃ¸mmet Ã©n riaa ekspert hva syntes Ã¥penbar for alle " -"samtidig. som alex alben fortalte visepresident for public policy pÃ¥ real " -"networks, meg:" - -#. PAGE BREAK 208 -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"The RIAA, which was representing the record labels, presented some testimony " -"about what they thought a willing buyer would pay to a willing seller, and " -"it was much higher. It was ten times higher than what radio stations pay to " -"perform the same songs for the same period of time. And so the attorneys " -"representing the webcasters asked the RIAA, … <quote>How do you come " -"up with a rate that's so much higher? Why is it worth more than radio? " -"Because here we have hundreds of thousands of webcasters who want to pay, " -"and that should establish the market rate, and if you set the rate so high, " -"you're going to drive the small webcasters out of business. …</quote>" -msgstr "" -"riaa, som var som representerer plateselskapene, presentert noen vitnesbyrd " -"om hva de tenkte en villig kjÃ¸per betaler til en villig selger, og det var " -"mye hÃ¸yere. Det var ti ganger hÃ¸yere enn hva radiostasjoner betale for Ã¥ " -"utfÃ¸re de samme sangene i samme periode av tid. og sÃ¥ advokater som " -"representerer webcasters spurte riaa... \"hvordan kan du komme opp med en " -"hastighet som er sÃ¥ mye hÃ¸yere? Hvorfor er det verdt mer enn radio? fordi " -"her har vi hundretusener av webcasters som Ã¸nsker Ã¥ betale, og som bÃ¸r " -"etablere markedet rate, og hvis du angir satsen sÃ¥ hÃ¸yt, du kommer til Ã¥ " -"drive smÃ¥ webcasters ut av business.... \"" - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"And the RIAA experts said, <quote>Well, we don't really model this as an " -"industry with thousands of webcasters, <emphasis>we think it should be an " -"industry with, you know, five or seven big players who can pay a high rate " -"and it's a stable, predictable market</emphasis>.</quote> (Emphasis added.)" -msgstr "" -"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med " -"tusenvis av webcasters, vi tror det bÃ¸r vÃ¦re en bransje med, du vet, fem " -"eller sju store spillere som kan betale en hÃ¸y hastighet, og det er en " -"stabil, forutsigbar marked.\" (vekt legges)." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Translation: The aim is to use the law to eliminate competition, so that " -"this platform of potentially immense competition, which would cause the " -"diversity and range of content available to explode, would not cause pain to " -"the dinosaurs of old. There is no one, on either the right or the left, who " -"should endorse this use of the law. And yet there is practically no one, on " -"either the right or the left, who is doing anything effective to prevent it." -msgstr "" -"oversettelse: mÃ¥let er Ã¥ bruke loven til Ã¥ eliminere konkurranse, slik at " -"denne plattformen av potensielt enorme konkurransen, som ville fÃ¸re til " -"mangfoldet og omfanget av innholdet tilgjengelig til Ã¥ eksplodere, ikke " -"ville forÃ¥rsake smerte til dinosaurs av gamle. Det er ingen, enten til hÃ¸yre " -"eller venstre, som bÃ¸r bifaller denne bruken av loven. og ennÃ¥ er det " -"praktisk talt ingen, enten til hÃ¸yre eller venstre, som gjÃ¸r noe effektivt " -"for Ã¥ hindre den." - -#. type: Content of: <book><part><chapter><section><title> -#, mtrans, fuzzy -msgid "Corrupting Citizens" -msgstr "Ã¸delegge borgere" - -#. type: Content of: <book><part><chapter><section><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 "" -"For mye regulering knebler kretiviteten. Den kveler nyskapning. Den gir " -"dinosaurer vetorett over fremtiden. Den kaster bort den ekstraordinÃ¦re " -"muligheten for en demokratisk kreativitet som digital teknologi gjÃ¸r mulig." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"In addition to these important harms, there is one more that was important " -"to our forebears, but seems forgotten today. Overregulation corrupts " -"citizens and weakens the rule of law." -msgstr "" -"i tillegg til disse viktige skadene er det en mer som var viktig for vÃ¥re " -"forfedre, men synes glemt i dag. overregulation skader borgere og svekker " -"rettssikkerhet." - -#. f15. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> " -"Pew Internet and American Life Project (24 April 2001), available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #46</ulink>. The Pew Internet " -"and American Life Project reported that 37 million Americans had downloaded " -"music files from the Internet by early 2001." -msgstr "" - -#. PAGE BREAK 209 -#. type: Content of: <book><part><chapter><section><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 <citetitle>The New York Times</citetitle>, 43 " -"million Americans downloaded music in May 2002.<placeholder type=\"footnote" -"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million " -"Americans is a felony. We thus have a set of rules that transform 20 percent " -"of America into criminals. As the RIAA launches lawsuits against not only " -"the Napsters and Kazaas of the world, but against students building search " -"engines, and increasingly against ordinary users downloading content, the " -"technologies for sharing will advance to further protect and hide illegal " -"use. It is an arms race or a civil war, with the extremes of one side " -"inviting a more extreme response by the other." -msgstr "" - -#. f16. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA Case,</" -"quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business." -msgstr "" -"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" " -"los angeles times, 10 september 2003, business." - -#. type: Content of: <book><part><chapter><section><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 "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "alcohol prohibition" -msgstr "alkohol forbud" - -#. f17. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During " -"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, no. " -"2 (1991): 242." -msgstr "" -"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" " -"amerikanske Ã¸konomiske anmeldelse 81, no. 2 (1991): 242." - -#. f18. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"National Drug Control Policy: Hearing Before the House Government Reform " -"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. " -"Walters, director of National Drug Control Policy)." -msgstr "" -"nasjonale narkotikapolitikken kontroll: hÃ¸re fÃ¸r house government reform " -"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, " -"direktÃ¸r for nasjonale narkotikapolitikken kontroll)." - -#. f19. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax " -"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 " -"(1998): 818 (survey of compliance literature)." -msgstr "" -"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" " -"journal av Ã¸konomiske litteratur 36 (1998): 818 (undersÃ¸kelse av samsvar " -"litteratur)." - -#. type: Content of: <book><part><chapter><section><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 <quote>free society,</" -"quote> but an endless array of ordinary behavior is regulated within our " -"society. And as a result, a huge proportion of Americans regularly violate " -"at least some law." -msgstr "" - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -#, mtrans, fuzzy -msgid "law schools" -msgstr "Jusstudier" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This state of affairs is not without consequence. It is a particularly " -"salient issue for teachers like me, whose job it is to teach law students " -"about the importance of <quote>ethics.</quote> As my colleague Charlie " -"Nesson told a class at Stanford, each year law schools admit thousands of " -"students who have illegally downloaded music, illegally consumed alcohol and " -"sometimes drugs, illegally worked without paying taxes, illegally driven " -"cars. These are kids for whom behaving illegally is increasingly the norm. " -"And then we, as law professors, are supposed to teach them how to behave " -"ethically—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 <quote>normally</quote> entails " -"a certain degree of illegality." -msgstr "" -"denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt " -"fremtredende spÃ¸rsmÃ¥let for lÃ¦rere som meg, hvis jobb er det Ã¥ undervise law " -"studenter om betydningen av \"etikk.\" som min kollega charlie nesson " -"fortalte en klasse ved stanford, hvert Ã¥r lov skoler innrÃ¸mme tusenvis av " -"studentene som har ulovlig lastet ned musikk, ulovlig konsumert alkohol og " -"noen ganger narkotika, ulovlig arbeidet uten Ã¥ betale skatt, ulovlig drevet " -"biler. disse er barna som oppfÃ¸rer seg ulovlig er stadig normen. og deretter " -"vi, som loven professorer, skal lÃ¦re dem hvordan Ã¥ oppfÃ¸re seg etisk—" -"hvordan Ã¥ si nei til bestikkelser, holde klienten midler atskilt eller Ã¦re " -"et krav til Ã¥ avslÃ¸re 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 bÃ¥de normalt og lovlig, siden \"normalt\" innebÃ¦rer en viss grad av " -"illegality." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"The response to this general illegality is either to enforce the law more " -"severely or to change the law. We, as a society, have to learn how to make " -"that choice more rationally. Whether a law makes sense depends, in part, at " -"least, upon whether the costs of the law, both intended and collateral, " -"outweigh the benefits. If the costs, intended and collateral, do outweigh " -"the benefits, then the law ought to be changed. Alternatively, if the costs " -"of the existing system are much greater than the costs of an alternative, " -"then we have a good reason to consider the alternative." -msgstr "" -"response til denne generelle illegality er Ã¥ hÃ¥ndheve loven mer alvorlig " -"eller endre loven. Vi har som et samfunn Ã¥ lÃ¦re hvordan du gjÃ¸r mer " -"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om " -"kostnadene ved loven, bÃ¥de tiltenkte og sikkerhetsstillelse, oppveier " -"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, " -"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet " -"er mye stÃ¸rre enn kostnadene for et alternativ, vi har en god grunn til Ã¥ " -"vurdere alternativet." - -#. PAGE BREAK 211 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My point is not the idiotic one: Just because people violate a law, we " -"should therefore repeal it. Obviously, we could reduce murder statistics " -"dramatically by legalizing murder on Wednesdays and Fridays. But that " -"wouldn't make any sense, since murder is wrong every day of the week. A " -"society is right to ban murder always and everywhere." -msgstr "" -"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bÃ¸r " -"derfor oppheve den. Vi kan selvfÃ¸lgelig redusere mord statistikk dramatisk " -"ved legalizing drap for pÃ¥ onsdager og fredager. men det ville ikke gi noen " -"mening, siden drap er galt hver dag i uken. et samfunn er rett Ã¥ utestenge " -"drap alltid og overalt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My point is instead one that democracies understood for generations, but " -"that we recently have learned to forget. The rule of law depends upon people " -"obeying the law. The more often, and more repeatedly, we as citizens " -"experience violating the law, the less we respect the law. Obviously, in " -"most cases, the important issue is the law, not respect for the law. I don't " -"care whether the rapist respects the law or not; I want to catch and " -"incarcerate the rapist. But I do care whether my students respect the law. " -"And I do care if the rules of law sow increasing disrespect because of the " -"extreme of regulation they impose. Twenty million Americans have come of " -"age since the Internet introduced this different idea of <quote>sharing.</" -"quote> We need to be able to call these twenty million Americans " -"<quote>citizens,</quote> not <quote>felons.</quote>" -msgstr "" -"Mitt poeng er i stedet en som demokratier forstÃ¥tt i generasjoner, men som " -"vi nylig har lÃ¦rt Ã¥ glemme. rettssikkerhet, er avhengig av folk som fÃ¸lge " -"loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve brudd pÃ¥ " -"loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste tilfeller, " -"det viktige spÃ¸rsmÃ¥let er lov, ikke respekt for loven. jeg ikke bryr seg om " -"voldtektsforbryter respekterer loven eller ikke; Jeg Ã¸nsker Ã¥ fange og " -"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer " -"loven. og jeg bryr seg Hvis reglene for loven purke Ã¸kende aktelse pÃ¥ grunn " -"av ekstreme regulering de innfÃ¸re. fem millioner amerikanere har kommet av " -"alder siden Internett innfÃ¸rt denne annen idÃ© om \"deling.\" vi trenger Ã¥ " -"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"When at least forty-three million citizens download content from the " -"Internet, and when they use tools to combine that content in ways " -"unauthorized by copyright holders, the first question we should be asking is " -"not how best to involve the FBI. The first question should be whether this " -"particular prohibition is really necessary in order to achieve the proper " -"ends that copyright law serves. Is there another way to assure that artists " -"get paid without transforming forty-three million Americans into felons? " -"Does it make sense if there are other ways to assure that artists get paid " -"without transforming America into a nation of felons?" -msgstr "" -"NÃ¥r minst fÃ¸rti - tre millioner innbyggere dataoverfÃ¸re innhold fra " -"Internett, og nÃ¥r de bruker verktÃ¸y til Ã¥ kombinere at innhold pÃ¥ mÃ¥ter " -"uautorisert ved innehaver av opphavsrett, det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r " -"spÃ¸rre ikke er hvordan man best kan innebÃ¦re fbi. det fÃ¸rste spÃ¸rsmÃ¥let bÃ¸r " -"vÃ¦re om dette bestemte forbudet er virkelig nÃ¸dvendig for Ã¥ oppnÃ¥ riktig " -"ender som serverer lov om opphavsrett. er det en annen mÃ¥te Ã¥ forsikre at " -"artister fÃ¥r betalt uten Ã¥ transformere fÃ¸rti - tre millioner amerikanere i " -"felons? betyr det fornuftig hvis det finnes andre mÃ¥ter Ã¥ sikre at artister " -"fÃ¥r betalt uten Ã¥ transformere Amerika til en nasjon av felons?" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "This abstract point can be made more clear with a particular example." -msgstr "Denne abstrakte punkt kan gjÃ¸res mer tydelig med en bestemt eksempel." - -#. PAGE BREAK 212 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"We all own CDs. Many of us still own phonograph records. These pieces of " -"plastic encode music that in a certain sense we have bought. The law " -"protects our right to buy and sell that plastic: It is not a copyright " -"infringement for me to sell all my classical records at a used record store " -"and buy jazz records to replace them. That <quote>use</quote> 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 kjÃ¸pt. loven beskytter vÃ¥r " -"rett til Ã¥ kjÃ¸pe og selge den plasten: det er ikke en krenkelse av " -"opphavsrett for meg Ã¥ selge min klassisk poster pÃ¥ en brukte platebutikk og " -"kjÃ¸pe jazz poster hvis du vil erstatte dem. \"Bruk\" av opptak er gratis." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"But as the MP3 craze has demonstrated, there is another use of phonograph " -"records that is effectively free. Because these recordings were made without " -"copy-protection technologies, I am <quote>free</quote> to copy, or " -"<quote>rip,</quote> music from my records onto a computer hard disk. Indeed, " -"Apple Corporation went so far as to suggest that <quote>freedom</quote> was " -"a right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, " -"Burn</quote> capacities of digital technologies." -msgstr "" -"men som mp3-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 Ã¥ kopiere eller \"rip\" musikk fra min poster pÃ¥ en " -"harddisk pÃ¥ datamaskinen. faktisk apple corporation gikk sÃ¥ langt som Ã¥ " -"foreslÃ¥ at \"friheten\" var en rett: i en rekke reklamefilmer, apple " -"godkjent \"rip, mikse, brenne\" kapasiteter digitale teknologier." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "Andromeda" -msgstr "Andromeda" - -#. type: Content of: <book><part><chapter><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "mix technology and" -msgstr "blande teknologi og" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"This <quote>use</quote> of my records is certainly valuable. I have begun a " -"large process at home of ripping all of my and my wife's CDs, and storing " -"them in one archive. Then, using Apple's iTunes, or a wonderful program " -"called Andromeda, we can build different play lists of our music: Bach, " -"Baroque, Love Songs, Love Songs of Significant Others—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 vÃ¥re musikk: bach, " -"barokk, love songs, love songs av betydelige andre—potensialet er " -"uendelige. og ved Ã¥ redusere kostnadene ved Ã¥ blande spillelister, disse " -"teknologier hjelpe bygge en kreativitet med spille lister som selv er " -"uavhengig verdifull. samlinger av sanger er kreative og meningsfull i egen " -"rett." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -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 ogsÃ¥ aktivere fildeling. fildeling truer (eller sÃ¥ innhold " -"industrien mener) evne til skaperne Ã¥ tjene en god avkastning fra sin " -"kreativitet. og dermed mange begynner Ã¥ eksperimentere med teknologier for Ã¥ " -"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere " -"CDer som ikke blir rippet. eller de kan aktivere spion programmer Ã¥ " -"identifisere rippede innhold pÃ¥ folks maskiner." - -#. PAGE BREAK 213 -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If these technologies took off, then the building of large archives of your " -"own music would become quite difficult. You might hang in hacker circles, " -"and get technology to disable the technologies that protect the content. " -"Trading in those technologies is illegal, but maybe that doesn't bother you " -"much. In any case, for the vast majority of people, these protection " -"technologies would effectively destroy the archiving use of CDs. The " -"technology, in other words, would force us all back to the world where we " -"either listened to music by manipulating pieces of plastic or were part of a " -"massively complex <quote>digital rights management</quote> 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 fÃ¥ " -"teknologi for Ã¥ 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 " -"Ã¸delegge arkivering bruk av CDer. teknologi, med andre ord, vil tvinge oss " -"alle tilbake til verden der vi lyttet til musikk ved Ã¥ manipulere stykker av " -"plast eller var del av en svÃ¦rt kompleks \"digital rights management\" " -"systemet." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"If the only way to assure that artists get paid were the elimination of the " -"ability to freely move content, then these technologies to interfere with " -"the freedom to move content would be justifiable. But what if there were " -"another way to assure that artists are paid, without locking down any " -"content? What if, in other words, a different system could assure " -"compensation to artists while also preserving the freedom to move content " -"easily?" -msgstr "" -"Hvis den eneste mÃ¥ten Ã¥ sikre at artister fÃ¥r betalt var eliminering av " -"muligheten til Ã¥ fritt flytte innhold, ville sÃ¥ disse teknologiene Ã¥ " -"forstyrre bevege innhold vÃ¦re forsvarlig. men hva hvis det var en annen mÃ¥te " -"Ã¥ forsikre at kunstnere er betalt, uten Ã¥ lÃ¥se ned innhold? Hva om, med " -"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig " -"som du beholder ogsÃ¥ bevege innhold lett?" - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"My point just now is not to prove that there is such a system. I offer a " -"version of such a system in the last chapter of this book. For now, the only " -"point is the relatively uncontroversial one: If a different system achieved " -"the same legitimate objectives that the existing copyright system achieved, " -"but left consumers and creators much more free, then we'd have a very good " -"reason to pursue this alternative—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 nÃ¥ ikke for Ã¥ bevise at det er et slikt system. Jeg " -"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for " -"nÃ¥, det eneste punktet er den relativt ukontroversiell: Hvis et annet system " -"oppnÃ¥dd mÃ¥lene er samme legitime som eksisterende opphavsretten til systemet " -"oppnÃ¥dd, men forlot forbrukere og skaperne mye mer gratis, sÃ¥ vi ville ha en " -"svÃ¦rt god grunn til Ã¥ forfÃ¸lge denne alternative—nemlig frihet. valg, " -"med andre ord, ville ikke vÃ¦re mellom eiendom og piratkopiering; valget " -"ville vÃ¦re mellom forskjellige eiendom systemer og frihetene hver tillatt." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"I believe there is a way to assure that artists are paid without turning " -"forty-three million Americans into felons. But the salient feature of this " -"alternative is that it would lead to a very different market for producing " -"and distributing creativity. The dominant few, who today control the vast " -"majority of the distribution of content in the world, would no longer " -"exercise this extreme of control. Rather, they would go the way of the horse-" -"drawn buggy." -msgstr "" -"Jeg tror det er en mÃ¥te Ã¥ sikre at kunstnere er betalt uten Ã¥ slÃ¥ fÃ¸rti - " -"tre millioner amerikanere i felons. men funksjonen fremspringende i denne " -"alternativ er at det ville fÃ¸re til en svÃ¦rt forskjellige markedet for " -"produksjon og distribusjon av kreativitet. de dominerende fÃ¥, som i dag " -"kontrollerer det store flertallet av distribusjon av innhold i verden, ville " -"ikke lenger utÃ¸ve denne ekstreme av kontroll. de ville heller gÃ¥ veien for " -"hest trukket buggy." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"Except that this generation's buggy manufacturers have already saddled " -"Congress, and are riding the law to protect themselves against this new form " -"of competition. For them the choice is between fortythree million Americans " -"as criminals and their own survival." -msgstr "" -"bortsett fra at denne generasjon vognen produsenter har allerede saddled " -"Kongressen, og sykle loven for Ã¥ 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><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"It is understandable why they choose as they do. It is not understandable " -"why we as a democracy continue to choose as we do. Jack Valenti is charming; " -"but not so charming as to justify giving up a tradition as deep and " -"important as our tradition of free culture." -msgstr "" -"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " -"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " -"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " -"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur." - -#. type: Content of: <book><part><chapter><section><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>There's one more</emphasis> aspect to this " -"corruption that is particularly important to civil liberties, and follows " -"directly from any war of prohibition. As Electronic Frontier Foundation " -"attorney Fred von Lohmann describes, this is the <quote>collateral damage</" -"quote> that <quote>arises whenever you turn a very large percentage of the " -"population into criminals.</quote> This is the collateral damage to civil " -"liberties generally." -msgstr "" -"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " -"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " -"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " -"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur. Det er en mer " -"aspekt til dette kan fÃ¸re til minnefeil som er spesielt viktig for " -"borgerrettigheter, og fÃ¸lger direkte fra noen krig av forbudet. som " -"electronic frontier foundation advokat fred von sang beskriver, dette er den " -"\"sikkerhetsstillelse skaden\" som \"oppstÃ¥r nÃ¥r du slÃ¥r en veldig stor " -"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse " -"skader pÃ¥ borgerrettigheter vanligvis." - -#. type: Content of: <book><part><chapter><section><indexterm><primary> -msgid "von Lohmann, Fred" -msgstr "von Lohmann, Fred" - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"<quote>If you can treat someone as a putative lawbreaker,</quote> von " -"Lohmann explains," -msgstr "" -"<quote>Hvis du kan behandle noen som en antatt lovbryter</quote>, forklarer " -"von Lohmann," - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"then all of a sudden a lot of basic civil liberty protections evaporate to " -"one degree or another. … If you're a copyright infringer, how can you " -"hope to have any privacy rights? If you're a copyright infringer, how can " -"you hope to be secure against seizures of your computer? How can you hope to " -"continue to receive Internet access? … Our sensibilities change as " -"soon as we think, <quote>Oh, well, but that person's a criminal, a " -"lawbreaker.</quote> Well, what this campaign against file sharing has done " -"is turn a remarkable percentage of the American Internet-using population " -"into <quote>lawbreakers.</quote>" -msgstr "" -"sÃ¥ plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe " -"til en grad eller annen.... Hvis du er en opphavsrett pÃ¥ lovgivningen, " -"hvordan kan du hÃ¥per Ã¥ ha noen personvernet? Hvis du er en opphavsrett pÃ¥ " -"lovgivningen, hvordan kan du hÃ¥per Ã¥ bli sikker mot beslag av datamaskinen? " -"Hvordan kan du hÃ¥per Ã¥ fortsette Ã¥ motta Internett-tilgang? ... vÃ¥r " -"sensibilities endre sÃ¥ snart vi tror, \"oh, vel, men denne personen er en " -"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er " -"Ã¥ slÃ¥ en bemerkelsesverdig prosent av den amerikanske Internett-bruker " -"befolkningen i \"lawbreakers.\"" - -#. type: Content of: <book><part><chapter><section><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 konsekvensen av denne transformeringen av det amerikanske folket til " -"kriminelle er at det blir trivielt, i trÃ¥d med god rettspraksis, og " -"effektivt sett radere ut mye av personvernet som de fleste tar for gitt." - -#. type: Content of: <book><part><chapter><section><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 pÃ¥ Internettet begynte Ã¥ se dette generelt i 2003 da RIAA lanserte " -"sin kampanje for Ã¥ tvinge InternettleverandÃ¸rer til Ã¥ overlevere navnene pÃ¥ " -"kundene som RIAA trodde brÃ¸t opphavsrettloven. Verizon kjempet mot dette " -"kravet og tapte. Men en enkel forespÃ¸rsel til en dommer, og uten Ã¥ gi " -"beskjed til kunden i det hele tatt, blir identiteten til en internetbruker " -"avslÃ¸rt." - -#. f20. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " -"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " -"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, " -"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry " -"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs " -"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</" -"citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording Industry " -"Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September 2003, " -"4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop Fan, " -"Either,</quote> <citetitle>New York Times</citetitle>, 25 September 2003, " -"C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> <citetitle>Toronto " -"Star</citetitle>, 18 September 2003, P7." -msgstr "" -"se frank ahrens, \"riaa's sÃ¸ksmÃ¥l mÃ¸te overrasket over mÃ¥l; enkelt mor i " -"California, 12-Ã¥r gammel jente i ny blant saksÃ¸kte,\"washington post, 10 " -"september 2003, e1; Chris cobbs, \"bekymret foreldre trekke pluggen pÃ¥ filen" -"\"stjele\"; med musikkbransjen cracking ned pÃ¥ Filbytte, er foreldre prÃ¸ver " -"Ã¥ lure programvare fra hjemme-PC Ã¥ unngÃ¥ blir saksÃ¸kte,\"orlando sentinel " -"tribune, 30 august 2003, c1; Jefferson graham, \"innspillingen industri sues " -"foreldre,\" usa today, 15 september 2003, 4 d; John schwartz, \"hun sier hun " -"er ingen musikk pirat. ikke snoop fan, enten,\"new york times, 25 september " -"2003, c1; Margo varadi, \"er brianna en kriminell?\" toronto star, 18 " -"september 2003, p7." - -#. type: Content of: <book><part><chapter><section><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 "" -"RIAA utvidet sÃ¥ denne kampanjen ved Ã¥ annonsere en generell strategi om Ã¥ " -"saksÃ¸ke individuelle brukere av Internettet som blir anklaget for Ã¥ ha " -"lastet ned opphavsrettsbeskyttet musikk fra fildelingssystemer. Men som vi " -"har sett er de potensielle skadene fra slike sÃ¸ksmÃ¥l astronomiske: Hvis en " -"families datamaskin blir brukt til Ã¥ laste ned musikk tilsvarende en enkelt " -"CD, sa kan familien risikere Ã¥ mÃ¥tte betale 2 millioner dollar i " -"erstatning. Dette stoppet ikke RIAA fra Ã¥ saksÃ¸ke et antall av disse " -"familiene, pÃ¥ samme mÃ¥te som de hadde saksÃ¸kt Jesse Jordan.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. f21. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses " -"Some Methods Used,</quote> CNN.com, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #47</ulink>." -msgstr "" -"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" -"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " -"#49</ulink>." - -#. type: Content of: <book><part><chapter><section><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 <quote>fingerprint.</quote>" -msgstr "" -"Selv dette undervurderer spioneringen som blir gjennomfÃ¸rt av RIAA. I en " -"rapport fra CNN sent sist sommer beskriver en strategi som RIAA har adoptert " -"for Ã¥ spore Napster-brukere.<placeholder type=\"footnote\" id=\"0\"/> Ved Ã¥ " -"bruke en sofistikert hashings-algoritme tok RIAA det som effektivt sett er " -"et fingeravtrykk av hver eneste sang i Napster-katalogen. Enhver kopi av " -"disse MP3-ene vil ha samme <quote>fingerprint</quote>." - -#. f22. -#. type: Content of: <book><part><chapter><section><para><footnote><para> -msgid "" -"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</" -"quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; " -"Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry Group " -"Targets File Sharing at Colleges,</quote> <citetitle>Washington Post</" -"citetitle>, 4 April 2003, E1; Elizabeth Armstrong, <quote>Students `Rip, " -"Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science Monitor</" -"citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, " -"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed " -"Over; Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 " -"July 2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on Universities," -"</quote> <citetitle>Internet News</citetitle>, 30 January 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny " -"Evangelista, <quote>Download Warning 101: Freshman Orientation This Fall to " -"Include Record Industry Warnings Against File Sharing,</quote> " -"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; " -"<quote>Raid, Letters Are Weapons at Universities,</quote> <citetitle>USA " -"Today</citetitle>, 26 September 2000, 3D." -msgstr "" - -#. type: Content of: <book><part><chapter><section><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 <quote>cooperating</quote> with the RIAA's " -"espionage, and she hasn't properly protected her content from the network " -"(do you know how to do that yourself ?), then the RIAA will be able to " -"identify your daughter as a <quote>criminal.</quote> And under the rules " -"that universities are beginning to deploy,<placeholder type=\"footnote\" id=" -"\"0\"/> your daughter can lose the right to use the university's computer " -"network. She can, in some cases, be expelled." -msgstr "" -"SÃ¥ se for deg det fÃ¸lgende ikke usannsynlige scenariet: Tenk at en venn gir " -"en CD til din datter—en samling med sanger lik de kasettene du laget " -"som barn. Hverken du eller din datter vet hvor disse sangene kom fra. Men " -"hun kopierer disse sangene inn pÃ¥ datamaskinen sin, og tar sÃ¥ maskinen med " -"seg til universitetet og kobler den pÃ¥ universitetsnettverket. Hvis " -"universitetsnettet <quote>samarbeider</quote> med RIAAs spionering, og hun " -"ikke har beskyttet sitt innhold pÃ¥ riktig vis (vet du selv hvordan du gjÃ¸r " -"dette?), sÃ¥ vil RIAA kunne identifisere din datter som en <quote>kriminell</" -"quote>. Og i henhold til de reglene som universiteter er i gang med Ã¥ rulle " -"ut,<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ kan din datter miste retten " -"til Ã¥ bruke universitetets datanettverk. Hun kan i noen tilfeller bli " -"utvist." - -#. PAGE BREAK 216 -#. type: Content of: <book><part><chapter><section><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 <quote>contraband</" -"quote> as presumptive of guilt. And as any number of college students have " -"already learned, our presumptions about innocence disappear in the middle of " -"wars of prohibition. This war is no different. Says von Lohmann," -msgstr "" -"NÃ¥ har hun selvfÃ¸lgelig rett til Ã¥ forsvare seg selv. Du kan leie inn en " -"advokat til henne (til $300 per time, hvis du er heldig), og hun kan hevde " -"at hun ikke visste noenting om hvor sangene kom fra eller at de kom fra " -"Napster. Og det kan godt hende at universitetet tror henne. Men det kan " -"ogsÃ¥ godt hende at universitetet ikke tror henne. Og som et antall " -"universitetsstudenter allerede har lÃ¦rt, forsvinner vÃ¥r antagelse om Ã¥ vÃ¦re " -"uskylding inntil det motsatte er bevist nÃ¥r en er midt i en forbudskrig. " -"Denne krigen er ikke annerledes. Som von Lohmann sier det," - -#. type: Content of: <book><part><chapter><section><blockquote><para> -#, mtrans, fuzzy -msgid "" -"So when we're talking about numbers like forty to sixty million Americans " -"that are essentially copyright infringers, you create a situation where the " -"civil liberties of those people are very much in peril in a general matter. " -"[I don't] think [there is any] analog where you could randomly choose any " -"person off the street and be confident that they were committing an unlawful " -"act that could put them on the hook for potential felony liability or " -"hundreds of millions of dollars of civil liability. Certainly we all speed, " -"but speeding isn't the kind of an act for which we routinely forfeit civil " -"liberties. Some people use drugs, and I think that's the closest analog, " -"[but] many have noted that the war against drugs has eroded all of our civil " -"liberties because it's treated so many Americans as criminals. Well, I think " -"it's fair to say that file sharing is an order of magnitude larger number of " -"Americans than drug use. … If forty to sixty million Americans have " -"become lawbreakers, then we're really on a slippery slope to lose a lot of " -"civil liberties for all forty to sixty million of them." -msgstr "" -"NÃ¥r vi snakker om tall som fÃ¸rti til seksti millioner amerikanere som i " -"essensen bryter opphavsretten, sÃ¥ skaper du en situasjon der " -"borgerrettighetene til disse folkene er stÃ¥r i fare for Ã¥ forsvinne i " -"praksis. [Jeg] tror [ikke det finnes noen] tilsvarende tilfeller hvor du kan " -"velge en tilfeldig person pÃ¥ gata og vÃ¦re trygg pÃ¥ at de har brutt loven pÃ¥ " -"en mÃ¥te som gjÃ¸r at de risikerer straffedom eller Ã¥ mÃ¥tte betale milloner av " -"dollar i sivil erstatning. Vi kjÃ¸rer alle for fort, men Ã¥ kjÃ¸re for fort er " -"ikke den type handlinger hvor vi pÃ¥ rutine fratar folk borgerrettigheter. " -"Noen folk bruker narkotika, og jeg tror det er den nÃ¦rmeste analogien, [men] " -"mange har kommentert at krigen mot narkotika har radert alle vÃ¥re " -"borgerrettigheter pÃ¥ grunn av at det behandler sÃ¥ mange amerikanere som " -"kriminelle. Jeg tror det er rimelig Ã¥ si at fildeling gjelder en " -"stÃ¸rrelsesorden flere amerikanere enn burk av narkotika. … Hvis fÃ¸rti " -"til seksti millioner amerikanere har blitt lovbrytere, da er vi pÃ¥ en " -"*slippery slope* der vi kan miste borgerrettighetene for alle disse fÃ¸rti " -"til seksti personene." - -#. type: Content of: <book><part><chapter><section><para> -msgid "" -"When forty to sixty million Americans are considered <quote>criminals</" -"quote> under the law, and when the law could achieve the same " -"objective— securing rights to authors—without these millions " -"being considered <quote>criminals,</quote> who is the villain? Americans or " -"the law? Which is American, a constant war on our own people or a concerted " -"effort through our democracy to change our law?" -msgstr "" -"NÃ¥r fÃ¸rti til seksti millioner amerikanere i fÃ¸lge loven anses som " -"<quote>kriminelle</quote>, og nÃ¥r loven kunne oppnÃ¥ det samme mÃ¥let—" -"sikre rettigheter til forfattere— uten at disse millionene anses Ã¥ " -"vÃ¦re <quote>kriminelle</quote>, hvem er det da som er skurken? Amerikanerne " -"eller loven? Hva er amerikansk, en konstant krig mot vÃ¥rt eget folk, eller " -"en felles innsats i vÃ¥rt demokrati for Ã¥ endre loven vÃ¥r?" - -#. type: Content of: <book><part><title> -msgid "BALANCES" -msgstr "Maktfordeling" - -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role='strong'>So here's</emphasis> the picture: You're standing at " -"the side of the road. Your car is on fire. You are angry and upset because " -"in part you helped start the fire. Now you don't know how to put it out. " -"Next to you is a bucket, filled with gasoline. Obviously, gasoline won't put " -"the fire out." -msgstr "" -"<emphasis role='strong'>SÃ¥ her</emphasis> er bildet: Du stÃ¥r pÃ¥ siden av " -"veien. Bilen din er pÃ¥ brann. Du er sint og opprÃ¸rt fordi du delvis bidro " -"til Ã¥ starte brannen. NÃ¥ vet du ikke hvordan du slokker den. Ved siden av " -"deg er en bÃ¸tte, fylt med bensin. Bensin vil Ã¥penbart ikke slukke brannen." - -#. type: Content of: <book><part><partintro><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 "" -"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper " -"hun bÃ¸tta, og fÃ¸r du har hatt sjansen til Ã¥ be henne stoppe—eller fÃ¸r " -"hun forstÃ¥r hvorfor hun bÃ¸r stoppe—er bÃ¸tten i svevet. Bensinen er pÃ¥ " -"tur mot den brennende bilen. Og brannen som bensinen kommer til Ã¥ fyre opp " -"vil straks sette fyr pÃ¥ alt i omgivelsene." - -#. type: Content of: <book><part><partintro><para> -msgid "" -"<emphasis role='strong'>A war</emphasis> 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 "" -"<emphasis role='strong'>En krig</emphasis> om opphavsrett pÃ¥gÃ¥r over " -"alt— og vi fokuserer alle pÃ¥ feil ting. Det er ingen tvil om at " -"dagens teknologier truer eksisterende virksomheter. Uten tvil kan de true " -"artister. Men teknologier endrer seg. Industrien og teknologer har en " -"rekke mÃ¥ter Ã¥ bruke teknologi til Ã¥ beskytte dem selv mot dagens trusler pÃ¥ " -"Internet. Dette er en brann som overlatt til seg selv vil brenne ut." - -#. PAGE BREAK 219 -#. type: Content of: <book><part><partintro><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 "" -"Likevel er ikke besluttningstagere villig til Ã¥ la denne brannen i fred. " -"Ladet med masse penger fra lobbyister er de lystne pÃ¥ Ã¥ gÃ¥ i mellom for Ã¥ " -"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det " -"er ikke den reelle trusselen som denne kulturen stÃ¥r med ansiktet mot. For " -"mens vi ser pÃ¥ denne lille brannen i hjÃ¸rnet er det en massiv endring i " -"hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " - -#. type: Content of: <book><part><partintro><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 "" -"PÃ¥ en eller annen mÃ¥te mÃ¥ vi klare Ã¥ snu oppmerksomheten mot dette mer " -"viktige og fundametale problemet. Vi mÃ¥ finne en mÃ¥te Ã¥ unngÃ¥ Ã¥ helle " -"bensin pÃ¥ denne brannen." - -#. type: Content of: <book><part><partintro><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 funne denne mÃ¥ten ennÃ¥. Istedet synes vi Ã¥ vÃ¦re fanget i en " -"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser pÃ¥ for Ã¥ " -"gjÃ¸re rammen for debatten litt bredere, er det dette enkle sort-hvit-synet " -"som bestÃ¥r. Vi kjÃ¸rer sakte forbi og stirrer pÃ¥ brannen nÃ¥r vi i stedet " -"burde holde Ã¸ynene pÃ¥ veien." - -#. type: Content of: <book><part><partintro><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 vÃ¦rt livet mitt de siste Ã¥rene. Det har ogsÃ¥ vÃ¦rt " -"min falitt. I de to neste kapitlene, beskriver jeg en liten innsats, sÃ¥ " -"langt uten suksess, pÃ¥ Ã¥ finne en mÃ¥te Ã¥ endre fokus pÃ¥ denne debatten. Vi " -"mÃ¥ forstÃ¥ disse mislyktede forsÃ¸kene hvis vi skal forstÃ¥ hva som kreves for " -"Ã¥ lykkes." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER THIRTEEN: Eldred" -msgstr "Kapittel tretten: Eldred" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Eldred, Eric" -msgstr "Eldred, Eric" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Hawthorne, Nathaniel" -msgstr "Hawthorne, Nathaniel" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In 1995</emphasis>, a father was frustrated that his " -"daughters didn't seem to like Hawthorne. No doubt there was more than one " -"such father, but at least one did something about it. Eric Eldred, a retired " -"computer programmer living in New Hampshire, decided to put Hawthorne on the " -"Web. An electronic version, Eldred thought, with links to pictures and " -"explanatory text, would make this nineteenth-century author's work come " -"alive." -msgstr "" -"<emphasis role='strong'>I 1995</emphasis> var en far frustrert over at hans " -"dÃ¸tre ikke syntes Ã¥ like Hawthorne. Det var uten tvil mer enn en slik far, " -"men i hvert fall en gjorde noe med det. Eric Eldred, en pensjonert " -"dataprogrammerer som bodde i New Hampshire, bestemte seg for Ã¥ putte " -"Hawthorne pÃ¥ nettet. En elektronisk versjon, tenkte Eldred, med lenker til " -"bilder og forklarende tekst, ville gjÃ¸re denne nittenhundretalls-" -"forfatterens verk mer levende." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "of public-domain literature" -msgstr "av allemannseid litteratur" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "library of works derived from" -msgstr "bibliotek av verker avledet fra" - -#. type: Content of: <book><part><chapter><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 "" -"Det virket ikke—i hvert fall ikke for hans dÃ¸tre. De fant ikke " -"Hawthorne noe mer interessant enn tidligere. Men Eldreds eksperiment ga " -"opphavet til en hobby, og hobbyen hans ga opphav til et kall: Eldred ville " -"lage et bibliotek over verk i det fri ved Ã¥ scanne disse og gjÃ¸re dem gratis " -"tilgjengelig." - -#. PAGE BREAK 221 -#. type: Content of: <book><part><chapter><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 "" -"Biblioteket til Eldred var ikke bare en kopi av visse verk i det fri, selv " -"om en kopi ville vÃ¦rt av stor verdi for folk rundt om i verden som ikke kan " -"fÃ¥ tilgang til papirutgaver av disse verkene. I stedet laget Eldred " -"avledede verk fra disse allemannseide verkene. PÃ¥ samme mÃ¥te som Disney " -"gjorde Grimm om til historier som var mer tilgjengelige i det tjuende " -"Ã¥rhundret, formet Eldred om pÃ¥ Hawthorne og mange andre til noe mer " -"tilgjengelig—teknisk tilgjengelig—i dag." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Scarlet Letter, The (Hawthorne)" -msgstr "Scarlet Letter, The (Hawthorne)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Eldred's freedom to do this with Hawthorne's work grew from the same source " -"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed " -"into the public domain in 1907. It was free for anyone to take without the " -"permission of the Hawthorne estate or anyone else. Some, such as Dover Press " -"and Penguin Classics, take works from the public domain and produce printed " -"editions, which they sell in bookstores across the country. Others, such as " -"Disney, take these stories and turn them into animated cartoons, sometimes " -"successfully (<citetitle>Cinderella</citetitle>), sometimes not " -"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure " -"Planet</citetitle>). These are all commercial publications of public domain " -"works." -msgstr "" -"Eldreds frihet til Ã¥ gjÃ¸re dette med Hawthornes verk kom fra samme kilde som " -"Disneys. Hawthornes <citetitle>Scarlet Letter</citetitle> hadde falt i det " -"fri i 1907. Alle hadde frihet til Ã¥ ta det uten tillatelse fra boet etter " -"Hawthorne eller noen andre. Noen, slik som Dover Press og Penguin Classics, " -"tar verk som er falt i det fri og lager papirutgaver som de selger i " -"bokhandler rundt om i landet. Andre, slik som Disney, tar disse historiene " -"og gjÃ¸r dem om til tegnefilmer. Noen ganger med suksess " -"((<citetitle>Askepott</citetitle>) og noen ganger uten (<citetitle>Ringeren " -"i Notre Dame</citetitle>, <citetitle>Treasure Planet</citetitle>). Disse er " -"alle kommersielle publiseringer av verk i det fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "pornography" -msgstr "pornografi" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with " -"pornography that is a bit hard to describe, but it's a strong one. One " -"phenomenon that the Internet created was a world of noncommercial " -"pornographers—people who were distributing porn but were not making " -"money directly or indirectly from that distribution. Such a class didn't " -"exist before the Internet came into being because the costs of distributing " -"porn were so high. Yet this new class of distributors got special attention " -"in the Supreme Court, when the Court struck down the Communications Decency " -"Act of 1996. It was partly because of the burden on noncommercial speakers " -"that the statute was found to exceed Congress's power. The same point could " -"have been made about noncommercial publishers after the advent of the " -"Internet. The Eric Eldreds of the world before the Internet were extremely " -"few. Yet one would think it at least as important to protect the Eldreds of " -"the world as to protect noncommercial pornographers." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> Det er en parallell her til " -"pornografi som er litt vanskelig Ã¥ beskrive men som er veldig sterk. Et " -"fenomen som Internettet skapte var en verden av ikke-kommersiell " -"pornografi—folk som distribuerte porno men som ikke tjente penger " -"direkte eller indirekte fra denne distribusjonen. Noe slikt eksisterte ikke " -"fÃ¸r Internettet dukket opp, pÃ¥ grunn av at kostnaden med Ã¥ distribuere porno " -"var sÃ¥ hÃ¸y. Likevel fikk denne nye klassen av distributÃ¸rer spesiell " -"oppmerksomhet fra hÃ¸yesterett, da retten slo ned pÃ¥ Anstendig Kommunikasjons-" -"loven fra 1996. Det var delvis pÃ¥ grunn av byrden pÃ¥ ikke-kommersielle " -"talere at loven ble funnet Ã¥ gÃ¥ ut over kongressens myndighet. Det samme " -"poenget kan sies Ã¥ gjelde for ikke-kommersielle utgivere etter at " -"Internettet dukket opp. Alle Eric Eldred-ene i verden fÃ¸r internettet var " -"ekstremt fÃ¥. Likevel skulle en tro at det er minst like viktig Ã¥ beskytte " -"alle Eldred-ene i verden som det er Ã¥ beskytte ikkekommersielle pornografer." - -#. type: Content of: <book><part><chapter><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 " -"<quote>noncommercial publishing industry,</quote> which before the Internet " -"was limited to people with large egos or with political or social causes. " -"But with the Internet, it includes a wide range of individuals and groups " -"dedicated to spreading culture generally.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Internettet skapte muligheten for ikke-kommersiell publisering av verk i det " -"fri. Eldreds publisering er bare ett eksempel. Det finnes bokstavlig talt " -"tusenvis andre. Hundretusenvis rundt om i verden har oppdaget denne " -"platformen for Ã¥ uttrykke seg og bruker den til Ã¥ dele verk som, i fÃ¸lge " -"loven, kan tas fritt. Dette har skapt det vi kan kalle den " -"<quote>ikkekommersielle utgiverindustrien</quote>, hvilket fÃ¸r Internettet " -"var begrenset til folk med store ego eller med politiske eller sosiale " -"kall. Men med Internettet inkluderer det en lang rekke med individer og " -"grupper som er dedikert til Ã¥ spre kultur generelt.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Frost, Robert" -msgstr "Frost, Robert" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "New Hampshire (Frost)" -msgstr "New Hampshire (Frost)" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " -"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the " -"public domain. Eldred wanted to post that collection in his free public " -"library. But Congress got in the way. As I described in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, in 1998, for the " -"eleventh time in forty years, Congress extended the terms of existing " -"copyrights—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 Hapshire. I 1998 skulle diktsamlingen " -"<citetitle>New Hampshire</citetitle> av Robert Frost falle i det fri. Eldred " -"Ã¸nsket Ã¥ legge den samlingen til i hans fritt tilgjengelige bibliotek. Men " -"kongressen kom i veien. Som jeg beskrev i kapittel <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"property-i\"/>, utvidet kongressen for " -"ellevte gang pÃ¥ fÃ¸rti Ã¥r, vernetiden for eksisterende opphavsrett—" -"denne gang med tjue Ã¥r. Eldred ville ikke stÃ¥ fritt til Ã¥ legge inn verker " -"nyere enn 1923 til sin samlig fÃ¸r 2019. Faktisk vil ikke et eneste " -"opphavsrettsbeskyttet verk falle i det fri fÃ¸r det Ã¥ret (og ikke en gang da, " -"hvis kongressen utvidet vernetiden igjen). Som kontrast ville mer enn en " -"million patenter falle i det fri i samme periode." - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Bono, Mary" -msgstr "Bono, Mary" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "Bono, Sonny" -msgstr "Bono, Sonny" - -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of " -"copyright protection to last forever. I am informed by staff that such a " -"change would violate the Constitution. I invite all of you to work with me " -"to strengthen our copyright laws in all of the ways available to us. As you " -"know, there is also Jack Valenti's proposal for a term to last forever less " -"one day. Perhaps the Committee may look at that next Congress,</quote> 144 " -"Cong. Rec. H9946, 9951-2 (October 7, 1998)." -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/> Hele teksten er: <quote>Sonny [Bono] Ã¸nsket at vernetiden i " -"opphavsretten skulle vare evig. Jeg er informert av ansatte at en slik " -"endring ville vÃ¦re i strid med grunnloven. Jeg inviterer dere alle til Ã¥ " -"jobbe sammen med meg for Ã¥ styrke vÃ¥re opphavsrettslover pÃ¥ alle mÃ¥ter som " -"er tilgjengelig for oss. Som dere vet, er det ogsÃ¥ et forslag fra Jack " -"Valenti om en vernetid som varer evig minus en dag. Kanskje komiteen kan se " -"pÃ¥ i neste periode.</quote> 144 Kongr. Ref. H9946, 9951-2 (7. oktober 1998)." - -#. type: Content of: <book><part><chapter><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 <quote>copyrights should be forever.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Dette var Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA), lagt " -"frem til minne om kongressrepresentant og tidligere musiker Sonny Bony, som " -"i fÃ¸lge hans enke Mari Bony mente at <quote>opphavsreten bÃ¸r vare evig</" -"quote>.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "felony punishment for infringement of" -msgstr "" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "NET (No Electronic Theft) Act (1998)" -msgstr "NET(Nei til Elektronisk Tyveri)-loven (1998)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "No Electronic Theft (NET) Act (1998)" -msgstr "Nei til Elektronisk Tyveri(NET)-loven (1998)" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "felony punishments for" -msgstr "" - -#. type: Content of: <book><part><chapter><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 bestemte seg for Ã¥ sloss mot denne loven. Han valgte fÃ¸rst Ã¥ " -"bekjempe den gjennom sivil ulydighet. I en serie intervjuer annonserte " -"Eldred at han kom til Ã¥ publisere som planlagt, pÃ¥ tross av CTEA. Men pÃ¥ " -"grunn av en annen lov som ble vedtatt i 1998, NET-loven (Nei til Elektronisk " -"Tyveri), sÃ¥ ville det Ã¥ publisere gjÃ¸re Eldred til en kriminell—uanset " -"om noen protesteret eller ikke. Dette var en varlig strategi Ã¥ gjennomfÃ¸re " -"for en handikappet programmerer." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "constitutional powers of" -msgstr "konstitusjonelle formÃ¥let med" - -#. type: Content of: <book><part><chapter><indexterm><secondary> -msgid "Eldred case involvement of" -msgstr "" - -#. type: Content of: <book><part><chapter><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 jeg ble involvert i Eldreds kamp. Jeg var en grunnlovsforsker " -"hvis fÃ¸rste lidenskap var grunnlovstolkning. Og selv om grunnlovskursene " -"aldri fokuserer pÃ¥ <quote>fremme</quote>-delen av grunnloven, sÃ¥ har det at " -"den er forskjellig fra resten alltid slÃ¥tt meg som viktig. Som du vet sier " -"grunnloven fÃ¸lgende," - -#. type: Content of: <book><part><chapter><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 myndighet til Ã¥ fremme utviklingen av vitenskapen…ved " -"Ã¥ sikre forfattere, i et begrenset tidsrom, … eksklusive rettigheter " -"til sine … skrifter. …" - -#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> or " -"<quote>declare War.</quote> But here, the <quote>something</quote> is " -"something quite specific—to <quote>promote … Progress</" -"quote>—through means that are also specific— by <quote>securing</" -"quote> <quote>exclusive Rights</quote> (i.e., copyrights) <quote>for limited " -"Times.</quote>" -msgstr "" -"Som jeg har beskrevet er denne bestemmelsen unik innenfor bestemmelsene som " -"deler ut myndighet i artikkel I, seksjon 8, av vÃ¥r grunnlov. Alle de andre " -"bestemmelsene deler ut myndighet til kongressen ved Ã¥ ganske enkelt si at " -"kongressen har myndighet til Ã¥ gjÃ¸re noe—for eksempel til Ã¥ regulere " -"<quote>handel mellom flere stater</quote> eller <quote>erklÃ¦re krig</" -"quote>. Men her er dette <quote>noe</quote> ganske spesifikt—Ã¥ " -"<quote>fremme utviklingen</quote>—gjennom virkemidler som ogsÃ¥ er " -"ganske spesifikke—ved Ã¥ <quote>sikre</quote> <quote>eksklusive " -"rettigheter</quote> (det vil si opphavsretten) <quote>i et begrenset " -"tidsrom</quote>." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Jaszi, Peter" -msgstr "Jaszi, Peter" - -#. PAGE BREAK 223 -#. type: Content of: <book><part><chapter><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 <quote>limited</quote> will have no practical " -"effect. If every time a copyright is about to expire, Congress has the power " -"to extend its term, then Congress can achieve what the Constitution plainly " -"forbids—perpetual terms <quote>on the installment plan,</quote> as " -"Professor Peter Jaszi so nicely put it." -msgstr "" -"I de siste fÃ¸rti Ã¥rene har kongressen lagt seg pÃ¥ en praksis med Ã¥ utvide " -"eksisterende vernetid i opphavsretten. Det som ga meg hodebry var at hvis " -"kongressen hadde myndighet til Ã¥ utvide eksisterende vernetid, da ville " -"grunnlovens krav om at vernetiden skulle vÃ¦re <quote>begrenset</quote> ikke " -"ha noen praktisk effekt. Hvis kongressen hadde myndighet til Ã¥ utvide " -"vernetiden, hver gang vernetiden holder pÃ¥ Ã¥ gÃ¥ ut, sÃ¥ kunne kongressen " -"oppnÃ¥ det grunnloven tydelig forbyr—evigvarende vernetid <quote>pÃ¥ " -"avbetaling</quote> som professor Peter Jaszi sÃ¥ pent formulerte det." - -#. type: Content of: <book><part><chapter><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 akademiker var min fÃ¸rste reaksjon Ã¥ vende meg til bÃ¸kene. Jeg husker " -"at jeg satt sent pÃ¥ kontoret og sÃ¸kte gjennom nett-databaser etter enhver " -"seriÃ¸s vurdering av spÃ¸rsmÃ¥let. Ingen hadde noen gang utfordret kongressens " -"praksis med Ã¥ utvide eksisterende verneperioder. Den feilen kan vÃ¦re deler " -"av Ã¥rsaken til at kongressen virket sÃ¥ ubekymret i sin praksis. Det, og det " -"faktum at denne praksisen hadde blitt sÃ¥ lukrativ for konressen. Kongressen " -"vet at opphavsrettseiere vil vÃ¦re villig til Ã¥ betale mye penger for Ã¥ se " -"utvidelser i vernetiden for opphavsretten. Og dermed er kongressen ganske " -"fornÃ¸yd med Ã¥ fortsatt kunne fÃ¥ disse lettjente pengene." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"For this is the core of the corruption in our present system of government. " -"<quote>Corruption</quote> not in the sense that representatives are bribed. " -"Rather, <quote>corruption</quote> in the sense that the system induces the " -"beneficiaries of Congress's acts to raise and give money to Congress to " -"induce it to act. There's only so much time; there's only so much Congress " -"can do. Why not limit its actions to those things it must do—and those " -"things that pay? Extending copyright terms pays." -msgstr "" -"For dette er kjernen i korrupsjonen av vÃ¥rt nÃ¥vÃ¦rende styringssystem. " -"<quote>Korrupsjon</quote> ikke i den forstand at representanter blir " -"bestukket. I stedet, <quote>korrupsjon</quote> pÃ¥ den mÃ¥ten at systemet " -"legger opp til at de som har fordeler av det som gjÃ¸res i kongressens skal " -"skaffe og gi penger til kongressen for Ã¥ legge opp til at bestemte ting blir " -"gjort. Det er begresnset med tid, og det er sÃ¥ mye kongressen kan gjÃ¸re. " -"Hvorfor ikke begrense det den gjÃ¸r til de tingene den mÃ¥ gjÃ¸re— og de " -"tingene som betaler seg? Ã utvide vernetiden i opphavsretten betaler seg." - -#. type: Content of: <book><part><chapter><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 Ã¥penbart for deg, vurder fÃ¸lgende: La oss si at du er en av " -"de heldige fÃ¥ opphavsrettseierne hvis opphavsrett fortsetter Ã¥ skaffe penger " -"ett hundre Ã¥r etter at den ble tildelt. Boet etter Robert Frost er et godt " -"eksempel. Frost dÃ¸de i 1963. Hans poesi forsetter Ã¥ vÃ¦rÃ¦ svÃ¦rt verdifull. " -"Dermed har boet etter Robert Frost store fordeler av en utvidelse av " -"opphavsretten, siden ingen utgiver ville betale boet penger hvis diktene " -"Frost skrev kunne gis gratis ut av enhver." - -#. type: Content of: <book><part><chapter><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 "" -"Forestill deg sÃ¥ at boet etter Robert Frost tjener $100 000 hvert Ã¥r " -"fra tre av diktene til Frist. Og forestill deg sÃ¥ at disse diktene snart " -"faller i det fri. Du sitter i styret for boet etter Robert Frost. Din " -"Ã¸konomirÃ¥dgiver kommer til styremÃ¸tet med en veldig dyster rapport:" - -#. PAGE BREAK 224 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Next year,</quote> the adviser announces, <quote>our copyrights in " -"works A, B, and C will expire. That means that after next year, we will no " -"longer be receiving the annual royalty check of $100,000 from the publishers " -"of those works.</quote>" -msgstr "" -"<quote>Neste Ã¥r</quote>, kunngjÃ¸r rÃ¥dgiveren, <quote>vil verkene A, B og C " -"falle i det fri. Det betyr at etter neste Ã¥r vil vi ikke lenger motta den " -"Ã¥rlige vederlags-sjekken pÃ¥ $100 000 fra utgiverne av disse verkene.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>There's a proposal in Congress, however,</quote> she continues, " -"<quote>that could change this. A few congressmen are floating a bill to " -"extend the terms of copyright by twenty years. That bill would be " -"extraordinarily valuable to us. So we should hope this bill passes.</quote>" -msgstr "" -"<quote>Men det er et forslag i kongressen</quote>, forsetter hun, <quote>som " -"kan endre dette. Noen kongressrepresentanter har lansert et lovforslag om Ã¥ " -"utvide vernetiden i opphavsretten med tjue Ã¥r. Det forslaget vil vÃ¦re " -"ekstremt verdifullt for oss. SÃ¥ vi bÃ¸r hÃ¥pe at den loven blir vedtatt.</" -"quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing " -"something about it?</quote>" -msgstr "" -"<quote>HÃ¥pe?</quote>, sier en kollega i styret. <quote>Kan vi ikke gjÃ¸re " -"mer enn det?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could " -"contribute to the campaigns of a number of representatives to try to assure " -"that they support the bill.</quote>" -msgstr "" -"<quote>Vel, jo, selvfÃ¸lgelig</quote>, svarer rÃ¥dgiveren. <quote>Vi kan " -"bidra til valgkampanjene til et antall representanter for Ã¥ forsÃ¸ke Ã¥ sikre " -"at de vil stÃ¸tte lovforslaget.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"You hate politics. You hate contributing to campaigns. So you want to know " -"whether this disgusting practice is worth it. <quote>How much would we get " -"if this extension were passed?</quote> you ask the adviser. <quote>How much " -"is it worth?</quote>" -msgstr "" -"Du hater politikk. Du hater Ã¥ bidra til valgkampanjer. SÃ¥ du Ã¸nsker Ã¥ vite " -"hvorvidt denne motbydelige praksisen er verdt det. <quote>Hvor mye vil vi " -"fÃ¥ hvis denne utvidelsen blir vedtatt?</quote> spÃ¸r du rÃ¥dgiveren. " -"<quote>Hvor mye er det verdt?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Well,</quote> the adviser says, <quote>if you're confident that you " -"will continue to get at least $100,000 a year from these copyrights, and you " -"use the `discount rate' that we use to evaluate estate investments (6 " -"percent), then this law would be worth $1,146,000 to the estate.</quote>" -msgstr "" -"<quote>Vel</quote>, sier rÃ¥dgiveren og fortsetter. <quote>Hvis du er sikker " -"pÃ¥ at du vil fortsette Ã¥ fÃ¥ minst $100 000 i Ã¥ret for disse " -"opphavsrettene, og du bruker samme <quote>diskonteringssats</quote> som vi " -"bruker for Ã¥ vurdere eiendomsinvesteringer (6 prosent), sÃ¥ vil denne loven " -"vÃ¦re verdt $1 146 000 til boet.</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"You're a bit shocked by the number, but you quickly come to the correct " -"conclusion:" -msgstr "" -"Du blir litt sjokkert over tallet, men du kommer raskt frem til riktig " -"konklusjon:" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>So you're saying it would be worth it for us to pay more than " -"$1,000,000 in campaign contributions if we were confident those " -"contributions would assure that the bill was passed?</quote>" -msgstr "" -"<quote>SÃ¥ du sier at det vil vÃ¦re verdt det for oss Ã¥ betale mer enn " -"$1 000 000 i valgkampbidrag hvis vi var trygge pÃ¥ at disse " -"bidragene ville sikre at loven ble vedtatt?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>Absolutely,</quote> the adviser responds. <quote>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.</quote>" -msgstr "" -"<quote>Aboslutt</quote>, svarer rÃ¥dgiveren. <quote>Det er verdt det hvis du " -"bidrar med opp til dagens verdi av inntektene du forventer fra disse " -"opphavsrettene. Hvilket for oss betyr over $1 000 000.</quote>" - -#. PAGE BREAK 225 -#. type: Content of: <book><part><chapter><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 tar raskt poenget—du som medlem av styret og, regner jeg med, du " -"som leser. Hver gang opphavsretten holder pÃ¥ Ã¥ lÃ¸pe ut, har hver eneste " -"mottaker i samme posisjon som boet etter Robert Frost det samme valget: Hvis " -"de bidrar til Ã¥ fÃ¥ en lov vedtatt som utvider opphavsretten sÃ¥ vil de ha " -"stor nytte av den utvidelsen. SÃ¥ hver eneste gang opphavsretten er i ferd " -"med Ã¥ lÃ¸pe ut, sÃ¥ er det en massiv lobbyering for Ã¥ fÃ¥ " -"opphavsrettsvernetiden utvidet." - -#. type: Content of: <book><part><chapter><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 har vi en kongressbasert evighetsmaskin: SÃ¥ lenge lovgiving kan " -"kjÃ¸pes (riktignok indirekte), sÃ¥ vil det vÃ¦re alle insentiver i verden for Ã¥ " -"kjÃ¸pe ytterligere utvidelser av opphavsretten." - -#. f3. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " -"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> " -"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22." -msgstr "" -"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " -"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years</quote>, " -"<citetitle>Chicago Tribune</citetitle>, 17. oktober 1998, 22." - -#. f4. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age,</" -"quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #49</" -"ulink>." -msgstr "" -"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" -"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " -"#49</ulink>." - -#. f5. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> " -"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>." -msgstr "" -"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars</quote>, " -"<citetitle>Congressional Quarterly This Week</citetitle>, 8. august 1990, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #50</" -"ulink>." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"In the lobbying that led to the passage of the Sonny Bono Copyright Term " -"Extension Act, this <quote>theory</quote> about incentives was proved real. " -"Ten of the thirteen original sponsors of the act in the House received the " -"maximum contribution from Disney's political action committee; in the " -"Senate, eight of the twelve sponsors received contributions.<placeholder " -"type=\"footnote\" id=\"0\"/> The RIAA and the MPAA are estimated to have " -"spent over $1.5 million lobbying in the 1998 election cycle. They paid out " -"more than $200,000 in campaign contributions.<placeholder type=\"footnote\" " -"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to " -"reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>" -msgstr "" -"I lobbyeringen som fÃ¸rte til at Sonny Bono utvidelse av opphavsrettsvernetid-" -"loven ble vedtatt ble denne <quote>teorien</quote> om insentiver bevist Ã¥ " -"vÃ¦re riktig. Ti av de tretten originale sponsorene til loven i overhuset " -"mottok maksimalt bidrag fra Disneys politiske handlingskomite. I senatet " -"mottok Ã¥tte av de tolv sponsorene bidrag.<placeholder type=\"footnote\" id=" -"\"0\"/> RIAA og MPAA er estimert Ã¥ ha brukt mer enn $1,5 lobby-millioner i " -"1998-valgperioden. De betalte ut mer enn $200 000 i kampanjebidrag." -"<placeholder type=\"footnote\" id=\"1\"/> Disney er estimert Ã¥ ha bidratt " -"med mer enn $800 000 i gjenvelgelseskampaner den perioden.<placeholder " -"type=\"footnote\" id=\"2\"/>" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>Constitutional law</emphasis> is not oblivious to " -"the obvious. Or at least, it need not be. So when I was considering Eldred's " -"complaint, this reality about the never-ending incentives to increase the " -"copyright term was central to my thinking. In my view, a pragmatic court " -"committed to interpreting and applying the Constitution of our framers would " -"see that if Congress has the power to extend existing terms, then there " -"would be no effective constitutional requirement that terms be " -"<quote>limited.</quote> If they could extend it once, they would extend it " -"again and again and again." -msgstr "" -"konstitusjonelle loven er ikke oblivious til det Ã¥penbare. eller i det " -"minste, det trenger ikke vÃ¦re. sÃ¥ nÃ¥r jeg var vurderer eldred's klage, denne " -"virkeligheten om never-ending insentiver til Ã¥ Ã¸ke opphavsrett begrepet var " -"sentral til min tenkning. i min mening, vil en pragmatisk domstol forpliktet " -"til Ã¥ tolke og bruke Grunnloven av vÃ¥re underskrev se at hvis Kongressen har " -"makt til Ã¥ utvide eksisterende vilkÃ¥r, og det vil vÃ¦re ingen effektiv " -"konstitusjonelle krav at vilkÃ¥rene vÃ¦re \"begrenset.\" Hvis de kunne " -"forlenge det en gang, de ville utvide den igjen og igjen og igjen." - -#. PAGE BREAK 226 -#. type: Content of: <book><part><chapter><para> -msgid "" -"It was also my judgment that <emphasis>this</emphasis> Supreme Court would " -"not allow Congress to extend existing terms. As anyone close to the Supreme " -"Court's work knows, this Court has increasingly restricted the power of " -"Congress when it has viewed Congress's actions as exceeding the power " -"granted to it by the Constitution. Among constitutional scholars, the most " -"famous example of this trend was the Supreme Court's decision in 1995 to " -"strike down a law that banned the possession of guns near schools." -msgstr "" -"Det var ogsÃ¥ min vurdering at <emphasis>denne</emphasis> hÃ¸yesteretten ikke " -"ville tillate kongressen Ã¥ utvide den eksisterende vernetiden. Som alle som " -"kjenner hÃ¸yestretts arbeid vet, har denne retten i stadig stÃ¸rre grad " -"begrenset myndigheten til kongressen nÃ¥r den har vurdert at kongressens " -"vedtak gÃ¥r ut over myndigheten tildelt dem i grunnloven. Blant " -"grunnlovsforskere var det mest berÃ¸mte eksemplet pÃ¥ denne trenden " -"avgjÃ¸relsen fra hÃ¸yesterett i 1995 om Ã¥ slÃ¥ ned pÃ¥ en lov som forbÃ¸d " -"besittelse av vÃ¥pen nÃ¦r skoler." - -#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> (aka <quote>interstate " -"commerce</quote>), the Supreme Court had interpreted that power to include " -"the power to regulate any activity that merely affected interstate commerce." -msgstr "" -"Siden 1937 hadde hÃ¸yesterett tolket kongressens tildelte myndighet svÃ¦rt " -"bredt. SÃ¥ mens grunnloven gir kongressen myndighet til Ã¥ kun regulere " -"<quote>handel mellom stater</quote> (aka <quote>mellomstatlig handel</" -"quote>), sÃ¥ hadde hÃ¸yesterett tolket den myndigheten til Ã¥ inneholde " -"myndigheten til Ã¥ regulere enhver aktivitet som kun berÃ¸rer mellomstatlig " -"handel." - -#. type: Content of: <book><part><chapter><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 "" -"Etter hvert som Ã¸konomien vokste, betÃ¸d denne standarden i stadig stÃ¸rre " -"grad at det ikke var noen grenser for kongressens myndighet til Ã¥ regulere, " -"siden omtrent hver eneste aktivitet, nÃ¥r en vurderte det pÃ¥ nasjonal skala, " -"pÃ¥virker mellomstatlig handel. En grunnlov utformet for Ã¥ begrense " -"kongressens myndighet ble istedet tolket til Ã¥ ikke ha noen grense." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Rehnquist, William H." -msgstr "Rehnquist, William H." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Supreme Court, under Chief Justice Rehnquist's command, changed that in " -"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The " -"government had argued that possessing guns near schools affected interstate " -"commerce. Guns near schools increase crime, crime lowers property values, " -"and so on. In the oral argument, the Chief Justice asked the government " -"whether there was any activity that would not affect interstate commerce " -"under the reasoning the government advanced. The government said there was " -"not; if Congress says an activity affects interstate commerce, then that " -"activity affects interstate commerce. The Supreme Court, the government " -"said, was not in the position to second-guess Congress." -msgstr "" -"HÃ¸yesterett endret, under ledelse av hÃ¸yesterettsjustitiarius " -"Rehnquist, det i <citetitle>United States</citetitle> mot " -"<citetitle>Lopez</citetitle>. Staten hadde argumentert med at Ã¥ bÃ¦re " -"vÃ¥pen nÃ¦r skoler pÃ¥virket mellomstatlig handel. VÃ¥pen nÃ¦r skoler Ã¸ker " -"kriminalitet, kriminalitet reduserte eiendomsverdier, og sÃ¥ videre. I " -"den muntlige argumentasjonen spurte hÃ¸yesterettsjustitiariusen staten " -"om det fantes noen aktivitet som ikke ville pÃ¥virke mellomstatlig " -"handel i henhold til resoneringen som staten fremfÃ¸rte. Staten sa at " -"det fantes ikke. Hvis kongressen sa at en aktivitet pÃ¥virket " -"mellomstatlig handel, sÃ¥ pÃ¥virket den aktiviteten mellomstatlig " -"handel. Staten sa at HÃ¸yesterett ikke var i posisjon til Ã¥ etterprÃ¸ve " -"kongressen." - -#. f6. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U." -"S. 549, 564 (1995)." -msgstr "" -"<citetitle>United States</citetitle> mot <citetitle>Lopez</citetitle>, 514 U." -"S. 549, 564 (1995)." - -#. f7. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 " -"U.S. 598 (2000)." -msgstr "" -"<citetitle>United States</citetitle> mot <citetitle>Morrison</citetitle>, " -"529 U.S. 598 (2000)." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>We pause to consider the implications of the government's arguments,</" -"quote> the Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If " -"anything Congress says is interstate commerce must therefore be considered " -"interstate commerce, then there would be no limit to Congress's power. The " -"decision in <citetitle>Lopez</citetitle> was reaffirmed five years later in " -"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>." -"<placeholder type=\"footnote\" id=\"1\"/>" -msgstr "" - -#. f8. -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"If it is a principle about enumerated powers, then the principle carries " -"from one enumerated power to another. The animating point in the context of " -"the Commerce Clause was that the interpretation offered by the government " -"would allow the government unending power to regulate commerce—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 <quote>limited times</quote> " -"notwithstanding." -msgstr "" -"Hvis det er et prinsipp om nummerert kreftene, deretter bÃ¦rer 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 Ã¥ regulere handel—begrenset til " -"utdanningen handel til tross for. det samme punktet er sant i forbindelse " -"med opphavsrett-setningsdel. her ogsÃ¥, regjeringens tolkning ville tillate " -"regjeringen unending makt til Ã¥ regulere opphavsrett—begrenset til " -"\"begrenset ganger\" til tross for." - -#. PAGE BREAK 227 -#. type: Content of: <book><part><chapter><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 " -"<quote>stopping point</quote> to Congress's power over terms, though the " -"Constitution expressly states that there is such a limit. Thus, the same " -"principle applied to the power to grant copyrights should entail that " -"Congress is not allowed to extend the term of existing copyrights." -msgstr "" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis>If</emphasis>, that is, the principle announced in " -"<citetitle>Lopez</citetitle> stood for a principle. Many believed the " -"decision in <citetitle>Lopez</citetitle> stood for politics—a " -"conservative Supreme Court, which believed in states' rights, using its " -"power over Congress to advance its own personal political preferences. But I " -"rejected that view of the Supreme Court's decision. Indeed, shortly after " -"the decision, I wrote an article demonstrating the <quote>fidelity</quote> " -"in such an interpretation of the Constitution. The idea that the Supreme " -"Court decides cases based upon its politics struck me as extraordinarily " -"boring. I was not going to devote my life to teaching constitutional law if " -"these nine Justices were going to be petty politicians." -msgstr "" -"Det vil si <emphasis>hvis</emphasis> prinsippet annonsert i " -"<citetitle>Lopez</citetitle> sto for et prinsipp. Mange mente " -"avgjÃ¸relsen i <citetitle>Lopez</citetitle> sto for politikk—en " -"konservativ hÃ¸yesterett, som trodde pÃ¥ statenes rettigheter, brukte " -"sin myndighet over kongressen til Ã¥ fremme sine egne personlige " -"politiske preferanser. Men jeg avviste det synet pÃ¥ avgjÃ¸relsen fra " -"hÃ¸yesterett. Jeg hadde til og med skrevet en artikkel like etter " -"avgjÃ¸relsen som demonstrerte hvor <quote>tro mot opphavet</quote> en " -"slik tolking var mot Grunnloven. IdÃ©en om at hÃ¸yesterett avgjorde " -"saker basert pÃ¥ sin politiske overbevisning slo meg som Ã¥ usedvanlig " -"kjedelig. Jeg kom ikke til Ã¥ dedikere mitt liv til Ã¥ lÃ¦re bort " -"grunnlovsjus hvis disse ni dommerne kun skulle vÃ¦re smÃ¥lige " -"politikere." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>Now let's pause</emphasis> for a moment to make sure " -"we understand what the argument in <citetitle>Eldred</citetitle> was not " -"about. By insisting on the Constitution's limits to copyright, obviously " -"Eldred was not endorsing piracy. Indeed, in an obvious sense, he was " -"fighting a kind of piracy—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 "" -"NÃ¥ la oss pause for et Ã¸yeblikk Ã¥ sÃ¸rge for at vi forstÃ¥r hva argumentet i " -"eldred ikke var om. ved Ã¥ insistere pÃ¥ grunnlovens grenser for opphavsrett, " -"var Ã¥penbart eldred ikke stÃ¸ttet piratkopiering. faktisk i en Ã¥penbar " -"forstand kjemper han en form for piratkopiering—piratkopiering av den " -"offentlige sfÃ¦ren. da robert frost skrev hans arbeid og nÃ¥r walt disney " -"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks Ã¥r. pÃ¥ " -"grunn av midlertidige endringer, hadde frost og disney allerede likte " -"monopol sytti-fem Ã¥r for deres arbeid. de hadde fÃ¥tt fordelen av handel som " -"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-" -"seks Ã¥r, de opprettet nytt arbeid. men nÃ¥ disse enhetene bruker deres " -"makt—uttrykt gjennom strÃ¸mmen av lobbyister penger—for Ã¥ fÃ¥ en " -"annen tyve Ã¥rs dollop av monopol. at tyve Ã¥rs Dollop dollop ville bli Hentet " -"fra public domain. Eric eldred var kjemper en piratkopiering som pÃ¥virker " -"oss alle." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Nashville Songwriters Association" -msgstr "Nashville sangforfatterforening" - -#. f9. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Brief of the Nashville Songwriters Association, <citetitle>Eldred</" -"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " -"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #51</ulink>." -msgstr "" -"Orientering fra Nashvillesangforfatterforening, <citetitle>Eldred</" -"citetitle> mot <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " -"01-618), n.10, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #51</ulink>." - -#. type: Content of: <book><part><chapter><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 <quote>legal piracy.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> But it is not piracy when the law allows it; and in " -"our constitutional system, our law requires it. Some may not like the " -"Constitution's requirements, but that doesn't make the Constitution a " -"pirate's charter." -msgstr "" -"Noen folk ser pÃ¥ allemannseiet med forakt. I notatet de sendt til " -"hÃ¸yesterett, skrev Nashville sangforfatterforening at allemannseiet ikke var " -"noe annet enn <quote>lovlig piratvirksomhet</quote>.<placeholder type=" -"\"footnote\" id=\"0\"/> Men det er ikke piratvirksomhet nÃ¥r loven tillater " -"det. Og i vÃ¥rt konstituelle system krever loven dette. Noen liker kanskje " -"ikke kravene i grunnloven vÃ¥r, men det gjÃ¸r ikke grunnloven til en " -"piratkodeks." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"As we've seen, our constitutional system requires limits on copyright as a " -"way to assure that copyright holders do not too heavily influence the " -"development and distribution of our culture. Yet, as Eric Eldred discovered, " -"we have set up a system that assures that copyright terms will be repeatedly " -"extended, and extended, and extended. We have created the perfect storm for " -"the public domain. Copyrights have not expired, and will not expire, so long " -"as Congress is free to be bought to extend them again." -msgstr "" -"som vi har sett, krever systemet vÃ¥rt konstitusjonelle begrensninger pÃ¥ " -"opphavsrett som en mÃ¥te Ã¥ sikre at innehaver av opphavsrett ikke for sterkt " -"pÃ¥virke utviklingen og distribueringen av vÃ¥r kultur. ennÃ¥, som eric eldred " -"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkÃ¥rene vil " -"vÃ¦re gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den " -"perfekte stormen for public domain. opphavsrett er utlÃ¸pt ikke, og utlÃ¸per " -"ikke, sÃ¥ lenge congress er gratis kjÃ¸pes for Ã¥ utvide dem igjen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>It is valuable</emphasis> copyrights that are " -"responsible for terms being extended. Mickey Mouse and <quote>Rhapsody in " -"Blue.</quote> These works are too valuable for copyright owners to ignore. " -"But the real harm to our society from copyright extensions is not that " -"Mickey Mouse remains Disney's. Forget Mickey Mouse. Forget Robert Frost. " -"Forget all the works from the 1920s and 1930s that have continuing " -"commercial value. The real harm of term extension comes not from these " -"famous works. The real harm is to the works that are not famous, not " -"commercially exploited, and no longer available as a result." -msgstr "" -"<emphasis role='strong'>Det er verdifull</emphasis> opphavsrett som er " -"ansvarlig for at verneperioden blir utvidet. Mikke Mus og <quote>Rhapsody " -"in Blue</quote>. Disse verkene er for verdifulle til at opphavsrettseierene " -"kan ignorere dem. Men den egentlige skaden fra opphavsrettsutvidelser for " -"vÃ¥rt samfunn er ikke at Mikke Mus forblir Disneys. Glem Mikke Mus. Glem " -"Robert Frost. Glem alle verk fra tjue-tallet og tredve-tallet som fortsatt " -"har kommersiell verdi. Den egentlige skaden fra utvidelse av vernetiden " -"kommer ikke fra disse berÃ¸mte verkene. Den egenelige skaden er fra de " -"verkene som ikke er berÃ¸mte, ikke kommersielt utnytttet, og dermed heller " -"ikke lenger tilgjengelig." - -#. f10. -#. type: Content of: <book><part><chapter><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, <citetitle>Eldred</citetitle> v. " -"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #52</ulink>." -msgstr "" -"Tallet 2 prosent er en ektrapolering fra en undersÃ¸kelse gjort av " -"kongressens forskningstjeneste, med bakgrunn i de estimerte " -"fornyelsespennene. Se Brief of Petitioners, <citetitle>Eldred</citetitle> " -"mot <citetitle>Ashcroft</citetitle>, 7, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #52</ulink>." - -#. type: Content of: <book><part><chapter><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 "" -"Hvis du ser pÃ¥ arbeider laget i de fÃ¸rste tjue Ã¥rene (1923 til 1942) " -"pÃ¥virket av Sonny Bono utvidelse av opphavsrettsvernetid-loven, sÃ¥ har 2 " -"prosent av disse verkene fortsatt kommersielle verdi. Det var " -"opphavsrettsinnehaverne for disse 2 prosentene som fikk igjennom CTEA. Men " -"loven og dens effekt var ikke begresnet til disse 2 prosentene. Loven " -"utvidet vernetiden til opphavsretten generelt.<placeholder type=\"footnote\" " -"id=\"0\"/>" - -#. PAGE BREAK 229 -#. type: Content of: <book><part><chapter><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 om konsekvensen av denne utvidelsen—praktisk som en " -"forretningsmann, ikke som en advokat ivrig etter mer juridisk arbeide. I " -"1930 ble 10047 bÃ¸ker publisert. I 2000 var 174 av disse bÃ¸kene fortsatt " -"tilgjengelig fra forlaget. La oss anta at du var Brewster Kahle, og du " -"Ã¸nsket Ã¥ gjÃ¸re de resterende 9873 tilgjengelig for verden i ditt iArkiv-" -"prosjekt. Hva ville du mÃ¥tte gjÃ¸re?" - -#. type: Content of: <book><part><chapter><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, fÃ¸rst mÃ¥ du finne ut hvilke av disse 9873 bÃ¸kene som fortsatt er vernet " -"av opphavsretten. Det krever at du gÃ¥r til biblioteket (den informasjonen " -"er ikke tilgjengelig pÃ¥ nettet) og blar igjennom haller med bÃ¸ker mens du " -"kryss-sjekker titler og forfatterne av disse 9873 bÃ¸kene med " -"opphavsrettsregistreringene og fornyingsmeldingene for verker publisert i " -"1930. Dette vil gi en liste med bÃ¸ker som fortsatt er vernet av " -"opphavsretten." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Then for the books still under copyright, you would need to locate the " -"current copyright owners. How would you do that?" -msgstr "" -"SÃ¥ for bÃ¸kerne som fortsatt er vernet av opphavsretten mÃ¥ en finne de " -"nÃ¥vÃ¦rende opphavsrettseiere. Hvordan vil du gjÃ¸re det?" - -#. type: Content of: <book><part><chapter><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 folk tenker at det mÃ¥ vÃ¦re en liste over disse opphavsrettseierne " -"en eller annen plass. Praktiske folk tenker slik. Hvordan kan det vÃ¦re " -"tusener pÃ¥ tusener av monopoler delt ut av myndighetene uten at det i hvert " -"fall finnes en liste?" - -#. type: Content of: <book><part><chapter><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 vÃ¦re et navn fra 1930, og deretter i 1959, " -"for personen som registrerte opphavsretten. Men bare tenkt praktisk rundt " -"hvor utrolig vanskelig det vil vÃ¦re Ã¥ spore opp tusenvis av slike " -"arkivoppfÃ¸ringer—spesielt siden personen som er registrert ikke " -"nÃ¸dvendigvis er den nÃ¥vÃ¦rende eier. Og vi snakker kun om 1930!" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>But there isn't a list of who owns property generally,</quote> the " -"apologists for the system respond. <quote>Why should there be a list of " -"copyright owners?</quote>" -msgstr "" -"<quote>Men det er ikke generelt en liste over hvem som eier eiendom</quote> " -"svarer forsvarerne av systemet. <quote>Hvorfor skulle det finnes en liste " -"over opphavsrettseiere?</quote>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty " -"of lists of who owns what property. Think about deeds on houses, or titles " -"to cars. And where there isn't a list, the code of real space is pretty " -"good at suggesting who the owner of a bit of property is. (A swing set in " -"your backyard is probably yours.) So formally or informally, we have a " -"pretty good way to know who owns what tangible property." -msgstr "" -"Vel, egentlig, nÃ¥r du tenker pÃ¥ det, sÃ¥ <emphasis>finnes</emphasis> det " -"mange lister over hvem som eier hvilken eiendom. Tenk pÃ¥ skjÃ¸ter for hus, " -"eller hvem som eier biler. Og der det ikke finnes en liste, sÃ¥ er koden for " -"den virkelige verden ganske god til Ã¥ foreslÃ¥ hvem som eier en bit eiendom " -"(en huske plassert i bakhagen din er sannsynlig vis din) SÃ¥ formelt eller " -"uformelt har vi en ganske god mÃ¥te Ã¥ vite hvem som eier hvilken hÃ¥ndgripelig " -"eiendom." - -#. PAGE BREAK 230 -#. type: Content of: <book><part><chapter><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 "" -"Dermed: Du vandrer ned en gate og ser et hus. Du kan vite hvem som eier " -"huset ved Ã¥ slÃ¥ opp i kommunehusets register. Hvis du ser en bil, sÃ¥ er det " -"normal et bilskilt som vil knytte eieren til bilen. Hvis du ser en haug med " -"barneleker som ligger pÃ¥ plenen forran et hus, sÃ¥ er det rimelig enkelt Ã¥ " -"finne ut hvem som eier lekene. Og hvis du tilfeldigvis ser en baseball som " -"ligger i grÃ¸fta pÃ¥ siden av veien, sÃ¥ se deg rundt et Ã¸yeblikk etter unger " -"som spiller ball. Hvis du ikke ser noen barn, sÃ¥ ok: her er det en bit " -"eiedom hvis eier vi ikke enkelt kan lokalisere. Dette er unntaket som " -"bekrefter regelen: at vi normalt vet veldig godt hvem som eier hvilken " -"eiendom." - -#. type: Content of: <book><part><chapter><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 "" -"Sammenlig denne historien med immateriell eiendom. Du gÃ¥r inn i et " -"bibliotek. Biblioteket eier bÃ¸kene. Men hvem eier opphavsretten? Som jeg " -"allerede har beskrevet, sÃ¥ finnes det ingen liste med opphavsrettseiere. " -"Det er navnene til forfattere, naturligvis, men deres opphavsrett kan ha " -"blitt overfÃ¸rt, eller blitt arvet til et bo lik bestemors gamle smykker. " -"For Ã¥ vite hvem som eier hva, sÃ¥ mÃ¥ du hyre en privatdetektiv. Det en " -"sitter igjen med er at eieren kan ikke enkelt finnes. Og med et regime som " -"vÃ¥rt, der det er en forbrytelse Ã¥ bruke slik eiendom uten tillatelse fra " -"eiendomseieren, sÃ¥ vil eiendommen ikke bli brukt." - -#. type: Content of: <book><part><chapter><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 "" -"Konsekvensen men gamle bÃ¸ker er at de ikke vil bli digitalisert, og dermed " -"ganske enkelt vil rotne bort pÃ¥ hyller. Men konsekvensen for andre kreative " -"arbeider er mye mer alvorlig." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Agee, Michael" -msgstr "Agee, Michael" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Hal Roach Studios" -msgstr "Hal Roach Studios" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Laurel and Hardy Films" -msgstr "Helan og Halvan-filmene" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Lucky Dog, The" -msgstr "heldig hunden, den" - -#. f11. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"See David G. Savage, <quote>High Court Scene of Showdown on Copyright Law,</" -"quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David " -"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " -"Hears Arguments Today on Striking Down Copyright Extension,</quote> " -"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002." -msgstr "" -"Se David G. Savage, <quote>High Court Scene of Showdown on Copyright Law</" -"quote>, <citetitle>Los Angeles Times</citetitle>, 6. oktober 2002, David " -"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " -"Hears Arguments Today on Striking Down Copyright Extension</quote>, " -"<citetitle>Orlando Sentinel Tribune</citetitle>, 9. oktober 2002." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Consider the story of Michael Agee, chairman of Hal Roach Studios, which " -"owns the copyrights for the Laurel and Hardy films. Agee is a direct " -"beneficiary of the Bono Act. The Laurel and Hardy films were made between " -"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</" -"citetitle>, is currently out of copyright. But for the CTEA, films made " -"after 1923 would have begun entering the public domain. Because Agee " -"controls the exclusive rights for these popular films, he makes a great deal " -"of money. According to one estimate, <quote>Roach has sold about 60,000 " -"videocassettes and 50,000 DVDs of the duo's silent films.</" -"quote><placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Se pÃ¥ historien til Michael Agee, styreleder ved Hal Roach Studios, som eier " -"opphavsrettene for Helan og Halvan-filmene. Agee har dermed direkte fordel " -"av Bono-loven. Helan og Halvan-filmene ble laget mellom 1921 og 1951. Kun " -"en av disse filmene, <citetitle>The Lucky Dog</citetitle>, har sÃ¥ langt falt " -"i det fri. Men hadde det ikke vÃ¦rt for CTEA, ville filmer laget etter 1923 " -"begynt Ã¥ falle i det fri. Da Agee kontrollerer de eksklusive rettighetene " -"for disse populÃ¦re filmene sÃ¥ tjener an en god del penger. I fÃ¸lge et " -"estimat, <quote>har Roach solgt omtrent 60 000 videokassetter og " -"50 000 DVDer av filmene til denne stumfilmduoen.</quote><placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 "" -"Likevel gikk Agee mot CTEA. Hans begrunnelse en sjelden dyd i denne " -"kulturen: uselviskhet. Han argumenterte i sitt innlegg foran hÃ¸yesteretten " -"at Sonny Bono utvidelse av opphavsrettsvernetid-loven vil, hvis den ble " -"stÃ¥ende, Ã¸delegge en hel generasjon med amerikansk film." - -#. PAGE BREAK 231 -#. type: Content of: <book><part><chapter><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 "" -"Argumentet hans er enkelt. En liten brÃ¸kdel av disse verkene har vedvarende " -"kommersiell verdi. Resten—i den grad de overlever i det hele " -"tatt—ligger i et hvelv og samler stÃ¸v. Det kan vÃ¦re vÃ¦re at at noen " -"av disse verkene som nÃ¥ ikke er kommersielt verdifulle vil bli vurdert Ã¥ " -"vÃ¦re verdifulle av eierne av hvelvene. For at det skal skje, mÃ¥ den " -"kommersielle gevinsten fra verkene overstige kostnaden med Ã¥ gjÃ¸re verket " -"tilgjengelig for distribusjon." - -#. f12. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " -"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</" -"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus " -"Curiae filed on behalf of Petitioners by the Internet Archive, " -"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>." -msgstr "" - -#. type: Content of: <book><part><chapter><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 8 mm film.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Vi kan ikke vite gevinsten, men vi vet mye om konstnadene. For det meste av " -"filmhistorien har kostnaden med Ã¥ restaurere film vÃ¦rt veldig hÃ¸y. Digital " -"teknologi har redusert disse konstnadene betydelig. Mens det i 1993 kostet " -"mer enn $10 000 for Ã¥ restaurere en nittiminutters sort-hvit-film, sÃ¥ " -"kan det nÃ¥ koste sÃ¥ lite som $100 a digitalisere en times 8-millimeterfilm." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 "" -"Restaureringsteknologien er ikke den eneste kostnaden, og heller ikke den " -"viktigste. Advokater er ogsÃ¥ en kostnad, og i stadig stÃ¸rre grad, en veldig " -"viktig del. I tillegg til Ã¥ preservere filmen, sÃ¥ mÃ¥ en distributÃ¸r sikre " -"seg rettighetene. Og for Ã¥ sikre seg rettighetene til en film som er vernet " -"av opphavsretten, sÃ¥ mÃ¥ du finne opphavsrettseieren." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't " -"only a single copyright associated with a film; there are many. There isn't " -"a single person whom you can contact about those copyrights; there are as " -"many as can hold the rights, which turns out to be an extremely large " -"number. Thus the costs of clearing the rights to these films is " -"exceptionally high." -msgstr "" -"Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, <emphasis>eiere</emphasis>. Som vi har sett " -"er det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. " -"Det er ikke en enkelt person som du kan kontakte om disse opphavsrettene. " -"Det er like mange som det er opphavsretter knyttet til den, hvilket viser " -"seg kan vÃ¦re et ekstremt hÃ¸yt tall. Dermed blir kostnaden med Ã¥ klarere " -"rettighetene for disse filmene eksepsjonelt hÃ¸y." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>But can't you just restore the film, distribute it, and then pay the " -"copyright owner when she shows up?</quote> Sure, if you want to commit a " -"felony. And even if you're not worried about committing a felony, when she " -"does show up, she'll have the right to sue you for all the profits you have " -"made. So, if you're successful, you can be fairly confident you'll be " -"getting a call from someone's lawyer. And if you're not successful, you " -"won't make enough to cover the costs of your own lawyer. Either way, you " -"have to talk to a lawyer. And as is too often the case, saying you have to " -"talk to a lawyer is the same as saying you won't make any money." -msgstr "" -"<quote>Men kan du ikke bare restaurere filmen, distribuere den, og sÃ¥ betale " -"opphavsrettseieren nÃ¥r hun dukker opp?</quote> Jovisst, hvis du Ã¸nsker Ã¥ " -"gjÃ¸re deg selv til kriminiell. Og selv om du ikke er bekymret over Ã¥ begÃ¥ " -"en forbrytelse, sÃ¥ vil hun nÃ¥r hun dukker opp ha rett til Ã¥ saksÃ¸ke deg for " -"all fortjeneste du har hatt. SÃ¥ hvis du lykkes, sÃ¥ kan du vÃ¦re rimelig " -"sikker pÃ¥ at du fÃ¥r besÃ¸k fra noens advokat. Og hvis du ikke lykkess, sÃ¥ " -"vil du ikke ha tjent nok til Ã¥ dekke konstnaden for din egen advokat. " -"Uansett vil du vÃ¦re nÃ¸dt til Ã¥ snakke med en advokat. Og det Ã¥ si at du mÃ¥ " -"snakke med en advokat er ofte det samme som Ã¥ si at du ikke vil tjene noen " -"penger." - -#. PAGE BREAK 232 -#. type: Content of: <book><part><chapter><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 det hende gevinsten fra Ã¥ gi ut filmen vil overskride " -"disse kostnadene. Men for de aller fleste av dem er det ingen mulighet for " -"at gevinsten vil oppveie de juridiske kostnadene. Dermed vil de aller fleste " -"gamle filmer, argumenterte AGee, ikke bli restaurert og distribuert fÃ¸r " -"opphavsretten lÃ¸per ut." - -#. type: Content of: <book><part><chapter><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 innen opphavsretten for disse filmene er utlÃ¸pt, vil filmen ha gÃ¥tt " -"tapt. Disse filmene ble produsert pÃ¥ nitrat-baserte filmruller, og " -"nitratfilm gÃ¥r i opplÃ¸sning over tid. De vil vÃ¦re borte, og metalleskene " -"der de nÃ¥ blir lagret vil kun inneholde stÃ¸v." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Of all the</emphasis> creative work produced by " -"humans anywhere, a tiny fraction has continuing commercial value. For that " -"tiny fraction, the copyright is a crucially important legal device. For that " -"tiny fraction, the copyright creates incentives to produce and distribute " -"the creative work. For that tiny fraction, the copyright acts as an " -"<quote>engine of free expression.</quote>" -msgstr "" -"<emphasis role='strong'>Av alle de</emphasis> kreative verk produsert av " -"mennesker i verden, sÃ¥ er det kun en liten brÃ¸kdel som fortsetter Ã¥ ha " -"kommersiell verdi. For en liten brÃ¸kdel er opphavsretten en kritisk viktig " -"juridisk mekanisme. For den lille brÃ¸kdelen skaper opphavsretten insentiver " -"til Ã¥ produsere og distribuere kreative verker. For den lille brÃ¸kdelen " -"fungerer opphavsrett som en <quote>motor for uttrykksfrihet</quote>." - -#. type: Content of: <book><part><chapter><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 denne lille brÃ¸kdelen, sÃ¥ er den faktiske tiden som det " -"kreative arbeidet har kommersiellt liv ekstremt kort. Som jeg indikerte " -"tidligere blir de fleste bÃ¸ker utsolgt fra forlaget innen et Ã¥r. Det samme " -"er sant for musikk og film. Kommersiell kultur er som et rovdyr. Den mÃ¥ " -"fortsette Ã¥ bevege seg. Og nÃ¥r et kreativt arbeid ikke lenger fÃ¥r godviljen " -"fra en kommersell distributÃ¸r, sÃ¥ tar det kommersielle livet slutt." - -#. type: Content of: <book><part><chapter><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 "" -"Likevel betyr ikke dette at livet til det kreative arbeidet tar slutt. Vi " -"har ikke biblioteker for Ã¥ konkurrere med Barnes & Noble og vi har ikke " -"filmarkiver fordi vi forventer at folk skal velge mellom Ã¥ tilbringe " -"fredagskvelden med Ã¥ se nye filme eller tilbringe fredagskvelden med Ã¥ se en " -"nyhetsdokumentar fra 1930. Det ikke-kommersielle livet til kulturen er " -"viktig og verdifullt—for underholdning men ogsÃ¥, og viktigere, for " -"kunnskap. For Ã¥ forstÃ¥ hvem vi er, hvor vi kom fra og hvordan vi gjorde de " -"feil vi har gjort, sÃ¥ mÃ¥ vi ha tilgang til denne historien." - -#. PAGE BREAK 233 -#. type: Content of: <book><part><chapter><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 "" -"Opphavsretten i denne sammenhengen utgjÃ¸r ikke en motor for uttrykksfrihet. " -"I denne sammenhengen er det ikke behov for en eksklusiv rettighet. " -"Opphavsretten i denne sammenhengen bidrar ikke positivt." - -#. type: Content of: <book><part><chapter><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 " -"<emphasis>copyright-related use</emphasis> that would be inhibited by an " -"exclusive right. When a book went out of print, you could not buy it from a " -"publisher. But you could still buy it from a used book store, and when a " -"used book store sells it, in America, at least, there is no need to pay the " -"copyright owner anything. Thus, the ordinary use of a book after its " -"commercial life ended was a use that was independent of copyright law." -msgstr "" -"Men for det meste av vÃ¥r historie gjorde den liten skade. For det meste av " -"vÃ¥r historie, nÃ¥r det kommersielle livet til et verk tok slutt, sÃ¥ var det " -"ikke noe <emphasis>opphavsrettsrelatert bruk</emphasis> som ville bli " -"blokkert av en eksklusiv rett. NÃ¥r en bok ble utsolgt fra forlaget, sÃ¥ " -"kunne du ikke kjÃ¸pe det fra et forlag. Men du kunne fortsatt kjÃ¸pe den fra " -"en brukbokhandel. Og nÃ¥r en bruktbokhandel selger den, i hvert fall i " -"Amerika, sÃ¥ er det ikke nÃ¸dvendig Ã¥ betale noe til opphavsrettseieren. " -"Dermed var den vanlige bruken av en bok etter at det kommersielle livet tok " -"slutt en bruk som var uavhengig av opphavsrettslov." - -#. type: Content of: <book><part><chapter><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 praktisk sett sant ogsÃ¥ for film. PÃ¥ grunn av kostnadene med " -"Ã¥ restaurere en film—de egentlige Ã¸konomiske kostnadene, ikke " -"advokatkoastnadene—var sÃ¥ hÃ¸ye, sÃ¥ var det aldri praktisk mulig Ã¥ ta " -"vare pÃ¥ eller restaurere film. Omtrent som med restene etter en flott " -"middag, nÃ¥r den er over sÃ¥ er den over. NÃ¥r det kommersielle livet til en " -"film var over, sÃ¥ kan den ha blitt arkivert en stund, men det var slutten pÃ¥ " -"filmens liv sÃ¥ lenge markedet ikke hadde noe mer Ã¥ tilby." - -#. type: Content of: <book><part><chapter><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, selv om opphavsrettsbeskyttelsen har vÃ¦rt relativt kort for " -"det meste av vÃ¥r historie, sa ville ikke lang opphavsrettsbeskyttelse gjort " -"noe forskjell for arbeider som har mistet sin kommersielle verdi. Lang " -"opphavsrettsbeskyttelse for disse verkene ville ikke forstyrret noe." - -#. type: Content of: <book><part><chapter><para> -msgid "But this situation has now changed." -msgstr "Men denne situasjonen er nÃ¥ endret." - -#. type: Content of: <book><part><chapter><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 veldig viktig konsekvens av fremveksten av digitale teknologier er Ã¥ " -"muliggjÃ¸re arkivet som Brewster Kahle drÃ¸mmer om. Digitale teknologier gjÃ¸r " -"det nÃ¥ mulig Ã¥ ta vare pÃ¥ og gi tilgnag til alle typer kunnskap. NÃ¥r en bok " -"er utsolgt fra forlaget, sÃ¥ kan vi forestille oss Ã¥ digitalisere den og " -"gjÃ¸re den tilgjengelig for alle, til evig tid. NÃ¥r en film ikke lenger er " -"tilgjengelig fra distributÃ¸r kan vi digitalisere den og gjÃ¸re den " -"tilgjengleig for alle, til evig tid. Digitale teknologier gir nytt til vil " -"opphavsrettsbeskyttet materiale etter at det trer ut av sitt kommersielle " -"liv. Det er nÃ¥ mulig Ã¥ ta vare pÃ¥ og sikre universell tilgang til denne " -"kunskapen og kulturen, mens det tidligere ikke var mulig." - -#. PAGE BREAK 234 -#. type: Content of: <book><part><chapter><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 nÃ¥ kommer opphavsrettsloven i veien. Hvert steg som trengs for Ã¥ " -"produsere dette digitale arkivet over vÃ¥r kultur krenker den eksklusive " -"retten i opphavsretten. Ã digitalisere en bok er Ã¥ kopiere den. For Ã¥ " -"gjÃ¸re det mÃ¥ en ha tillatelse fra opphavsrettseieren. Det samme gjelder " -"musikk, film og ethvert annet aspekt av vÃ¥r kultur som er beskyttet av " -"opphavsretten. Innsatsen som trengs for Ã¥ gjÃ¸re disse tingene tilgjengelig " -"for fremtiden, eller til forskere, eler for de som bare Ã¸nsker Ã¥ utforske " -"den, er nÃ¥ hindret av det sett med regler som ble skrevet for en radikalt " -"forskjellig omgivelse." - -#. type: Content of: <book><part><chapter><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 <emphasis>copyright</" -"emphasis> purpose, for the purpose of copyright is to enable the commercial " -"market that spreads culture. No, we are talking about culture after it has " -"lived its commercial life. In this context, copyright is serving no purpose " -"<emphasis>at all</emphasis> related to the spread of knowledge. In this " -"context, copyright is not an engine of free expression. Copyright is a brake." -msgstr "" -"Her er kjernen av skaden som kommer fra Ã¥ utvide verneperiodene: NÃ¥ som " -"teknolgi gjÃ¸r det mulig for oss Ã¥ gjenoppbygge biblioteket i Alexandria, " -"kommer loven i veien. Og den kommer ikke i veien pÃ¥ grunn av et nyttig " -"<emphasis>opphavsretts</emphasis>-formÃ¥l,, som jo er Ã¥ gjÃ¸re det mulig for " -"det kommersielle markedet Ã¥ spre kultur. Nei, vi snakker om kultur etter at " -"den levd sitt kommersielle liv. I denne sammenhengen tjener opphavsretten " -"ikke noe formÃ¥l <emphasis>i det hele tatt</emphasis>, relatert til spredning " -"av kunskap. I denne sammenhengen er ikke opphavsrett en motor for " -"uttrykksfrihet. Opphavsrett er en bremse." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"You may well ask, <quote>But if digital technologies lower the costs for " -"Brewster Kahle, then they will lower the costs for Random House, too. So " -"won't Random House do as well as Brewster Kahle in spreading culture widely?" -"</quote>" -msgstr "" -"Du kan godt spÃ¸rre, <quote>Men hvis digitale teknologier reduserer kostnaden " -"for Brewster Kahle, sÃ¥ reduserer de ogsÃ¥ kostnadene for Random House. Vil " -"da ikke Random House spre kultur like vidt som Brewster Kahle?</quote>" - -#. type: Content of: <book><part><chapter><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 <quote>the market</quote> 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 "" -"Mulig det. En eller annen dag. Men det finnes ingen indisier som tyder pÃ¥ " -"at utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble " -"tilbÃ¸d utlÃ¥n av bÃ¸ker fra sine lager til en lavere pris, ville det eliminere " -"behovet for biblioteker? Kun hvis du mener at den eneste rollen et " -"bibliotek skal tjene er den <quote>markedet</quote> etterspÃ¸r. Men hvis du " -"mener rollen til et bibliotek er stÃ¸rre en dette—hvis du mener dets " -"rolle er Ã¥ arkivere kultur, uavhengig av om det er en etterspÃ¸rsel etter en " -"bestemt bit av den kulturen eller ikke—da kan vi ikke basere oss pÃ¥ at " -"det kommersielle markedet vil gjÃ¸re biblioteksjobben for oss." - -#. f13. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> " -"20 December 2002, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #54</ulink>." -msgstr "" -"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory</quote>, " -"20 December 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #54</ulink>." - -#. type: Content of: <book><part><chapter><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 1923 and 1946 is not commercially " -"available. However much you love the commercial market, if access is a " -"value, then 6 percent is a failure to provide that value.<placeholder type=" -"\"footnote\" id=\"0\"/>" -msgstr "" -"Jeg er blant de fÃ¸rste til Ã¥ vÃ¦re enig i at det skal gjÃ¸re sÃ¥ mye som det " -"kan: Vi bÃ¸r basere oss pÃ¥ markedet sÃ¥ mye som mulig for Ã¥ spre og muliggjÃ¸re " -"kultur. Mitt budskap er absolutt ikke imot markedet. Men der vi ser at " -"markedet ikek gjÃ¸r jobben, da bÃ¸r vi tillate krefter utenfor markedet " -"friheten til Ã¥ fylle hullene. En forsker beregnet for amerikansk kultur at " -"94 prosent av filmer, bÃ¸ker og musikk produsert mellom 1923 og 1946 er ikke " -"kommersielt tilgjengelig. Uansett hvor mye du elsker markedet, sÃ¥ er 6 " -"prosent en svikt hvis tilgang er et mÃ¥leparameter.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>In January 1999</emphasis>, we filed a lawsuit on " -"Eric Eldred's behalf in federal district court in Washington, D.C., asking " -"the court to declare the Sonny Bono Copyright Term Extension Act " -"unconstitutional. The two central claims that we made were (1) that " -"extending existing terms violated the Constitution's <quote>limited Times</" -"quote> requirement, and (2) that extending terms by another twenty years " -"violated the First Amendment." -msgstr "" -"<emphasis role='strong'>I januar 1999</emphasis> anla vi sak pÃ¥ vegne av " -"Eric Eldred ved den fÃ¸derale distriktsretten i Washington, D.C., og ba " -"retten om Ã¥ erklÃ¦re at Sonny Bono utvidelse av opphavsrettsvernetid-loven " -"var i strid med grunnloven. De to sentrale pÃ¥standene vi kom med var (1) at " -"Ã¥ utvide eksisterende vernetid var i strid med grunnlovens krav om <quote>et " -"begrenset tidsrom</quote>, og (2) at Ã¥ utvide vernetiden med tjue nye Ã¥r var " -"i strid med fÃ¸rste grunnlovstillegg." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The district court dismissed our claims without even hearing an argument. A " -"panel of the Court of Appeals for the D.C. Circuit also dismissed our " -"claims, though after hearing an extensive argument. But that decision at " -"least had a dissent, by one of the most conservative judges on that court. " -"That dissent gave our claims life." -msgstr "" -"district court avvist pÃ¥stander om vÃ¥re uten Ã¥ selv hÃ¸re et argument. et " -"panel av court of appeals for DC-kretsen ogsÃ¥ oppsagt vÃ¥re krav, men etter " -"hÃ¸re et omfattende argument. men at beslutningen hadde minst en dissens, av " -"en av de mest konservative dommerne pÃ¥ at domstolen. at ga dissens livet " -"vÃ¥rt krav." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Judge David Sentelle said the CTEA violated the requirement that copyrights " -"be for <quote>limited Times</quote> only. His argument was as elegant as it " -"was simple: If Congress can extend existing terms, then there is no " -"<quote>stopping point</quote> to Congress's power under the Copyright " -"Clause. The power to extend existing terms means Congress is not required to " -"grant terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, " -"the court had to interpret the term <quote>limited Times</quote> to give it " -"meaning. And the best interpretation, Judge Sentelle argued, would be to " -"deny Congress the power to extend existing terms." -msgstr "" -"Dommer David Sentelle sa at CTEA kun brÃ¸t med krav om at opphavsrett skal " -"gis for <quote>et begrenset tidsrom</quote>. Hans argument var like elegant " -"som det var enkelt. Hvis kongressen kan utvide eksisterende vernetid, sÃ¥ " -"finnes det ikke noe <quote>endepunkt</quote> til kongressens myndighet i " -"fÃ¸lge opphavsrettsbestemmelsen. Myndigheten til Ã¥ utvide vernetiden betyr at " -"kongressen ikke er nÃ¸dt til Ã¥ dele ut vernetider som er <quote>begrenset</" -"quote>. Dermed argumenterte dommer Sentelle at retten mÃ¥tte tolke begrepet " -"<quote>begrenset tidsrom</quote> for at det skulle ha mening. Og dommer " -"Sentelle argumenterte at den beste tolkningen ville vÃ¦re Ã¥ nekte kongressen " -"myndighet til Ã¥ utvide eksisterende vernetid." - -#. type: Content of: <book><part><chapter><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 <quote>en banc</quote> to hear the case." -msgstr "" -"Vi spurte hele ankedomstolen for D.C. ankekretsen om Ã¥ ta opp saken. Saker " -"tas normalt opp i et panel med tre deltagere, med unntak av viktige saker " -"eller saker som tar opp tema som er spesifikk for kretsen som helhet, der " -"domstolen vil samles <quote>en banc</quote> for Ã¥ ta opp saken." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Tatel, David" -msgstr "Tatel, David" - -#. PAGE BREAK 236 -#. type: Content of: <book><part><chapter><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 "" -"Ankedomstolen avviste vÃ¥r anmodning om Ã¥ ta opp saken en banc. Denne gangen " -"fikk dommer Sentelle fÃ¸lge av det mest liberale medlemmet av ankekretsen i D." -"C., dommer David Tatel. BÃ¥de de mest konservative og den mest liberale " -"dommerne i ankekretsen i D.C. mente kongressen hadde gÃ¥tt over side grenser." - -#. type: Content of: <book><part><chapter><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 de fleste forventet at Eldred mot Ashcroft ville dÃ¸, for " -"hÃ¸yesterett tar sjelden opp en avgjÃ¸relse gjort av en ankedomstol. (Den tar " -"opp omtrent hundre saker i Ã¥ret, ut av mer enn fem tusen anker.) Og den " -"revurderer praktiskt talt aldri en avgjÃ¸relse som opprettholder en regel nÃ¥r " -"ingen annen domstol sÃ¥ langt har revurdert regelen." - -#. type: Content of: <book><part><chapter><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 overrasket hÃ¸yesterett verden ved Ã¥ innvilge vÃ¥r " -"forespÃ¸rsel om Ã¥ ta opp avgjÃ¸relsen fra D.C.-kretsen. Argumentasjonen ble " -"fastsat til oktober 2002. Sommeren ble tilbrakt med Ã¥ skrive innlegg og " -"forberede oss for argumentasjonen." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>It is over</emphasis> a year later as I write these " -"words. It is still astonishingly hard. If you know anything at all about " -"this story, you know that we lost the appeal. And if you know something more " -"than just the minimum, you probably think there was no way this case could " -"have been won. After our defeat, I received literally thousands of missives " -"by well-wishers and supporters, thanking me for my work on behalf of this " -"noble but doomed cause. And none from this pile was more significant to me " -"than the e-mail from my client, Eric Eldred." -msgstr "" -"<emphasis role='strong'>Det er mer</emphasis> enn et Ã¥r senere nÃ¥r jeg " -"skriver disse ordene. Det er fortsatt utrolig vanskelig. Hvis du vet noe " -"om denne historien, sÃ¥ vet du at vi tapte anken. Og hvis du vet noe mer enn " -"bare litt, sÃ¥ tror du antagelig at det var ingen mÃ¥te denne saken kunne " -"blitt vunnet. Etter vÃ¥rt nederlag fikk jeg jeg bokstavlig talt tusenvis av " -"meldinger fra stÃ¸ttespillere og folk som ville Ã¸nske meg lykke til, som " -"takket meg for min innsats pÃ¥ vegne av denne noble men fortapte sak. Og " -"ingen fra denne haugen var viktigere for meg enn eposten fra min klient, " -"Eric Eldred." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"But my client and these friends were wrong. This case could have been won. " -"It should have been won. And no matter how hard I try to retell this story " -"to myself, I can never escape believing that my own mistake lost it." -msgstr "" -"Men min klient og disse vennene tok feil. Denne saken kunne vÃ¦rt vunnet. Det " -"burde ha vÃ¦rt vunnet. Og uansett hvor hardt jeg prÃ¸ver Ã¥ fortelle den " -"historien til meg selv, kan jeg aldri unnslippe troen pÃ¥ at det er min feil " -"at vi ikke vant." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Steward, Geoffrey" -msgstr "Steward, Geoffrey" - -#. PAGE BREAK 237 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The mistake</emphasis> was made early, though it " -"became obvious only at the very end. Our case had been supported from the " -"very beginning by an extraordinary lawyer, Geoffrey Stewart, and by the law " -"firm he had moved to, Jones, Day, Reavis and Pogue. Jones Day took a great " -"deal of heat from its copyright-protectionist clients for supporting us. " -"They ignored this pressure (something that few law firms today would ever " -"do), and throughout the case, they gave it everything they could." -msgstr "" -"<emphasis role='strong'>Feilen</emphasis> ble gjort tidlig, skjÃ¸nt det ble " -"fÃ¸rst Ã¥penbart pÃ¥ slutten. VÃ¥r sak hadde hatt stÃ¸tte hos en ekstraordinÃ¦r " -"advokat, Geoffrey Stewart, helt fra starten, og hos advokatfirmaet hadde han " -"flyttet til, Jones, Day, Reavis og Pogue. Jones Day mottok mye press fra " -"sine opphavsrettsbeskyttende klienter pÃ¥ grunn av sin stÃ¸tte til oss. De " -"ignorert dette presset (noe veldig fÃ¥ advokatfirmaer noen sinne ville " -"gjÃ¸re), og ga alt de hadde gjennom hele saken." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Ayer, Don" -msgstr "Ayer, Don" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Bromberg, Dan" -msgstr "Bromberg, Dan" - -#. type: Content of: <book><part><chapter><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 <quote>important</quote> to the Supreme Court. It had to seem as " -"if dramatic harm were being done to free speech and free culture; otherwise, " -"they would never vote against <quote>the most powerful media companies in " -"the world.</quote>" -msgstr "" -"Det var tre viktige advokater pÃ¥ saken fra Jones DaY. Geoff Stewart var den " -"fÃ¸rst, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og " -"Ayer spesielt hadde en felles oppfatning om hvordan denne saken ville bli " -"vunnet: vi ville bare vinne, fortalte de gjentatte ganger til meg, hvis vi " -"fÃ¥ problemet til Ã¥ virke <quote>viktig</quote> for HÃ¸yesterett. Det mÃ¥tte " -"synes som om dramatisk skade ble gjort til ytringsfriheten og fri kultur, " -"ellers ville de aldri stemt mot <quote>de mektigste mediaselskapene i " -"verden</quote>." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"I hate this view of the law. Of course I thought the Sonny Bono Act was a " -"dramatic harm to free speech and free culture. Of course I still think it " -"is. But the idea that the Supreme Court decides the law based on how " -"important they believe the issues are is just wrong. It might be " -"<quote>right</quote> as in <quote>true,</quote> I thought, but it is " -"<quote>wrong</quote> as in <quote>it just shouldn't be that way.</quote> As " -"I believed that any faithful interpretation of what the framers of our " -"Constitution did would yield the conclusion that the CTEA was " -"unconstitutional, and as I believed that any faithful interpretation of what " -"the First Amendment means would yield the conclusion that the power to " -"extend existing copyright terms is unconstitutional, I was not persuaded " -"that we had to sell our case like soap. Just as a law that bans the " -"swastika is unconstitutional not because the Court likes Nazis but because " -"such a law would violate the Constitution, so too, in my view, would the " -"Court decide whether Congress's law was constitutional based on the " -"Constitution, not based on whether they liked the values that the framers " -"put in the Constitution." -msgstr "" -"Jeg hater dette synet pÃ¥ loven. SelvfÃ¸lgelig trodde jeg Sonny Bono-loven var " -"en dramatisk skade pÃ¥ ytringsfriheten og fri kultur. SelvfÃ¸lgelig tror jeg " -"fortsatt dette. Men idÃ©en om at HÃ¸yesterett bestemmer loven basert pÃ¥ hvor " -"viktig de tror problemene er er bare galt. Det kan vÃ¦re \"riktig\" som i " -"\"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bÃ¸r ikke vÃ¦re den " -"mÃ¥ten.\" som jeg mente at alle trofaste tolkning av forfatterne av vÃ¥r " -"grunnlov gjorde gi konklusjonen at ctea var forfatningsstridig, og som jeg " -"mente at alle trofaste tolkning av hva den fÃ¸rste endring betyr ville gi " -"konklusjonen som strÃ¸m for Ã¥ forlenge eksisterende opphavsrett vilkÃ¥rene er " -"unconstitutionalJeg var ikke overbevist om at vi mÃ¥tte selge vÃ¥rt tilfelle " -"som sÃ¥pe. akkurat som en lov som forbud swastika er unconstitutional ikke " -"fordi retten liker nazistene, men fordi slik lov ville bryte Grunnloven, sÃ¥ " -"ogsÃ¥, i min mening, ville domstol bestemmer om congress's lov var " -"konstitusjonelle basert pÃ¥ Grunnloven, ikke basert pÃ¥ om de likte verdiene " -"som underskrev de innlegge Grunnloven." - -#. type: Content of: <book><part><chapter><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 "" -"Jeg tenkte uansett at domstolen allerede mÃ¥ se faren og skaden forÃ¥rsaket av " -"dette type lov. Hvorfor skulle de ellers gÃ¥ med pÃ¥ Ã¥ ta opp saken? Det var " -"ingen grunn til Ã¥ ta opp saken i hÃ¸yesterett hvis de ikke var overbevist om " -"at dette lovverket var skadelig. Dermed var det etter mitt syn ikke " -"nÃ¸dvendig Ã¥ overbevise den om at denne loven var ille. Vi trengte Ã¥ vise " -"den hvorfor den var i strid med grunnloven." - -#. PAGE BREAK 238 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"There was one way, however, in which I felt politics would matter and in " -"which I thought a response was appropriate. I was convinced that the Court " -"would not hear our arguments if it thought these were just the arguments of " -"a group of lefty loons. This Supreme Court was not about to launch into a " -"new field of judicial review if it seemed that this field of review was " -"simply the preference of a small political minority. Although my focus in " -"the case was not to demonstrate how bad the Sonny Bono Act was but to " -"demonstrate that it was unconstitutional, my hope was to make this argument " -"against a background of briefs that covered the full range of political " -"views. To show that this claim against the CTEA was grounded in " -"<emphasis>law</emphasis> and not politics, then, we tried to gather the " -"widest range of credible critics—credible not because they were rich " -"and famous, but because they, in the aggregate, demonstrated that this law " -"was unconstitutional regardless of one's politics." -msgstr "" -"Det var en mÃ¥te, men i som jeg fÃ¸lte politikk ville saken og som jeg trodde " -"et svar var riktig. Jeg var overbevist om at domstolen ikke ville hÃ¸re vÃ¥re " -"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty " -"loons. Denne HÃ¸yesterett var ikke om Ã¥ 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 Ã¥ " -"demonstrere hvor ille sonny bono handle var, men for Ã¥ demonstrere at det " -"var forfatningsstridig, mitt hÃ¥p var Ã¥ gjÃ¸re dette argumentet mot et " -"bakteppe av truser som dekket hele spekteret av politiske synspunkter. Ã¥ " -"vise at denne pÃ¥standen mot ctea ble jordet i loven og ikke politikk, sÃ¥ vi " -"prÃ¸vde Ã¥ samle sÃ¥ mange sÃ¸keordresultater troverdig kritikere—" -"troverdig ikke fordi de var rike og berÃ¸mte, men fordi de, i samlet, vist at " -"denne loven var forfatningsstridig uavhengig av ens politikk." - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Eagle Forum" -msgstr "Eagle forum" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Schlafly, Phyllis" -msgstr "Schlafly, Phyllis" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The first step happened all by itself. Phyllis Schlafly's organization, " -"Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. " -"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she " -"wrote a stinging editorial attacking the Republican Congress for allowing " -"the law to pass. As she wrote, <quote>Do you sometimes wonder why bills that " -"create a financial windfall to narrow special interests slide easily through " -"the intricate legislative process, while bills that benefit the general " -"public seem to get bogged down?</quote> The answer, as the editorial " -"documented, was the power of money. Schlafly enumerated Disney's " -"contributions to the key players on the committees. It was money, not " -"justice, that gave Mickey Mouse twenty more years in Disney's control, " -"Schlafly argued." -msgstr "" -"det fÃ¸rste trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, " -"eagle forum, hadde vÃ¦rt 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 Ã¥ la loven " -"skjedde. som hun skrev, \"noen ganger lurer du hvorfor regninger som " -"oppretter en finansiell nedfallsfrukt for Ã¥ begrense spesielle interesser " -"skyv lett gjennom den intrikate lovgivende prosessen, mens regninger at " -"fordelen allmennheten synes Ã¥ komme bogged ned?\", som de redaksjonelle " -"dokumentert, var svaret strÃ¸mmen av penger. schlafly nummerert disney's " -"bidrag til sentrale aktÃ¸rer pÃ¥ komiteene. Det var penger, ikke " -"rettferdighet, som ga Mikke Mus tjue Ã¥r i disney's kontroll, schlafly hevdet." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"In the Court of Appeals, Eagle Forum was eager to file a brief supporting " -"our position. Their brief made the argument that became the core claim in " -"the Supreme Court: If Congress can extend the term of existing copyrights, " -"there is no limit to Congress's power to set terms. That strong " -"conservative argument persuaded a strong conservative judge, Judge Sentelle." -msgstr "" -"i lagmannsrett var eagle forum ivrig etter Ã¥ inngi en kort som stÃ¸tter vÃ¥r " -"posisjon. sine kort gjort argumentet om at ble kjernen kravet i HÃ¸yesterett: " -"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen " -"grense for Kongressens makt til Ã¥ angi vilkÃ¥r. som sterkt konservativ " -"argumentet overtalt en sterk konservative dommer, dommer sentelle." - -#. PAGE BREAK 239 -#. type: Content of: <book><part><chapter><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><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "American Association of Law Libraries" -msgstr "American association of lov biblioteker" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "National Writers Union" -msgstr "nasjonale forfattere union" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Those briefs framed a legal argument. Then to support the legal argument, " -"there were a number of powerful briefs by libraries and archives, including " -"the Internet Archive, the American Association of Law Libraries, and the " -"National Writers Union." -msgstr "" -"disse truser innrammet et juridisk argument. deretter for Ã¥ stÃ¸tte " -"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><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"But two briefs captured the policy argument best. One made the argument I've " -"already described: A brief by Hal Roach Studios argued that unless the law " -"was struck, a whole generation of American film would disappear. The other " -"made the economic argument absolutely clear." -msgstr "" -"men to truser fanget argumentet policyen best. en gjort argumentet jeg har " -"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven " -"ble truffet, en hel generasjon av american film ville forsvinne. den andre " -"gjort argumentet Ã¸konomiske helt klart." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Akerlof, George" -msgstr "Akerlof, George" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Arrow, Kenneth" -msgstr "Arrow, Kenneth" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Buchanan, James" -msgstr "Buchanan, James" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Coase, Ronald" -msgstr "Coase, Ronald" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Friedman, Milton" -msgstr "Friedman, Milton" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This economists' brief was signed by seventeen economists, including five " -"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton " -"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of " -"Nobel winners demonstrates, spanned the political spectrum. Their " -"conclusions were powerful: There was no plausible claim that extending the " -"terms of existing copyrights would do anything to increase incentives to " -"create. Such extensions were nothing more than <quote>rent-seeking</" -"quote>—the fancy term economists use to describe special-interest " -"legislation gone wild." -msgstr "" -"Denne Ã¸konomer kort ble signert av sytten Ã¸konomer, inkludert fem " -"Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton " -"friedman, kenneth pilen og george akerlof. Ã¸konomer, spredte som viser " -"listen over nobel vinnere, det politiske spektret. deres konklusjoner var " -"kraftig: det var ingen sannsynlig hevder at utvide vilkÃ¥rene i eksisterende " -"opphavsrettigheter ville gjÃ¸re noe for Ã¥ Ã¸ke insentiver til Ã¥ opprette. " -"slike utvidelser var ingenting mer enn \"leie-sÃ¸ker\"—fancy sikt " -"Ã¸konomer bruk Ã¥ beskrive spesielle interesser lovgivning gone wild." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Fried, Charles" -msgstr "Fried, Charles" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Morrison, Alan" -msgstr "Morrison, Alan" - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "Public Citizen" -msgstr "offentlige borger" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Reagan, Ronald" -msgstr "Reagan, Ronald" - -#. PAGE BREAK 240 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The same effort at balance was reflected in the legal team we gathered to " -"write our briefs in the case. The Jones Day lawyers had been with us from " -"the start. But when the case got to the Supreme Court, we added three " -"lawyers to help us frame this argument to this Court: Alan Morrison, a " -"lawyer from Public Citizen, a Washington group that had made constitutional " -"history with a series of seminal victories in the Supreme Court defending " -"individual rights; my colleague and dean, Kathleen Sullivan, who had argued " -"many cases in the Court, and who had advised us early on about a First " -"Amendment strategy; and finally, former solicitor general Charles Fried." -msgstr "" -"samme innsats pÃ¥ balanse ble reflektert i det juridiske teamet vi samles for " -"Ã¥ skrive vÃ¥re truser i tilfelle. jones dag advokater hadde blitt med oss fra " -"starten. men da saken kom til HÃ¸yesterett, vi har lagt tre advokater for Ã¥ " -"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 HÃ¸yesterett " -"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde " -"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en " -"fÃ¸rste endring strategi; og endelig, tidligere advokat general charles stekt." - -#. type: Content of: <book><part><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "Commerce Clause of" -msgstr "handel-setningsdelen i" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Fried was a special victory for our side. Every other former solicitor " -"general was hired by the other side to defend Congress's power to give media " -"companies the special favor of extended copyright terms. Fried was the only " -"one who turned down that lucrative assignment to stand up for something he " -"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. " -"He had helped craft the line of cases that limited Congress's power in the " -"context of the Commerce Clause. And while he had argued many positions in " -"the Supreme Court that I personally disagreed with, his joining the cause " -"was a vote of confidence in our argument." -msgstr "" -"stekt var en spesiell seier for vÃ¥r side. hver andre tidligere advokat " -"generelt ble ansatt av den andre siden, Ã¥ forsvare congress's kraft til Ã¥ gi " -"medieselskaper spesiell gunst utvidet opphavsrett vilkÃ¥rene. stekt var den " -"eneste som slÃ¥tt ned lukrative tildelingen til Ã¥ stÃ¥ opp for noe han mente " -"i. han hadde vÃ¦rt ronald reagan's sjef advokat i HÃ¸yesterett. Han hadde " -"bidratt til Ã¥ skape linjen i tilfeller som begrenset Kongressens makt i " -"forbindelse med handel-setningsdel. og mens han hadde hevdet mange " -"posisjoner i HÃ¸yesterett som jeg personlig uenige med, hans begynte Ã¥rsaken " -"var en stemme av tilliten i vÃ¥r argumentet." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The government, in defending the statute, had its collection of friends, as " -"well. Significantly, however, none of these <quote>friends</quote> included " -"historians or economists. The briefs on the other side of the case were " -"written exclusively by major media companies, congressmen, and copyright " -"holders." -msgstr "" -"regjeringen, i Ã¥ forsvare statutten, hadde sin samling av venner, ogsÃ¥. " -"betydelig, men ingen av disse \"vennene\" inkludert historikere eller " -"Ã¸konomer. truser pÃ¥ den andre siden av saken ble skrevet utelukkende av " -"store medieselskaper, congressmen og innehaver av opphavsrett." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The media companies were not surprising. They had the most to gain from the " -"law. The congressmen were not surprising either—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 Ã¥ tjene pÃ¥ loven. " -"congressmen var ikke overraskende enten—de var Ã¥ forsvare sin makt, og " -"indirekte, KjÃ¸ttsaft tog av bidrag slik makt indusert. og selvfÃ¸lgelig var " -"det ikke overraskende at rettighetshavere ville forsvare idÃ©en om at de bÃ¸r " -"fortsette Ã¥ ha rett til Ã¥ kontrollere hvem som gjorde hva med innhold de " -"Ã¸nsket Ã¥ kontroll." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Gershwin, George" -msgstr "Gershwin, George" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Porgy and Bess" -msgstr "Porgy and Bess" - -#. f14. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. " -"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19." -msgstr "" -"Orientering fra Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</" -"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. " -"01-618), 19." - -#. f15. -#. type: Content of: <book><part><chapter><para><footnote><para> -msgid "" -"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " -"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March " -"1998, B7." -msgstr "" -"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " -"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28. mars " -"1998, B7." - -#. PAGE BREAK 241 -#. type: Content of: <book><part><chapter><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 " -"<quote>glorify drugs or to create pornography.</quote><placeholder type=" -"\"footnote\" id=\"0\"/> That was also the motive of the Gershwin estate, " -"which defended its <quote>protection</quote> of the work of George Gershwin. " -"They refuse, for example, to license <citetitle>Porgy and Bess</citetitle> " -"to anyone who refuses to use African Americans in the cast.<placeholder type=" -"\"footnote\" id=\"1\"/> That's their view of how this part of American " -"culture should be controlled, and they wanted this law to help them effect " -"that control." -msgstr "" -"Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre " -"at boet etter Dr. Seuss kontrollerte hva som skjedde med verkene til Dr. " -"Seuss—bedre enn Ã¥ la det falle i det fri—pÃ¥ grunn av at hvis " -"denne kreativiteten var allemannseie sÃ¥ ville folk bruke dem til Ã¥ " -"<quote>forherlige narkotika og skape pornografi</quote>.<placeholder type=" -"\"footnote\" id=\"0\"/> Dette var ogsÃ¥ motivet til boet etter Gershwin, som " -"forsvarte sin <quote>beskyttelse</quote> av verkene til George Gershwin. De " -"avviste for eksempel Ã¥ lisensiere ut <citetitle>Progy and Bess</citetitle> " -"til enhver som nektet Ã¥ bruke Afrikans-amerikanere i rollelista.<placeholder " -"type=\"footnote\" id=\"1\"/> Det er deres syn pÃ¥ hovrdan denne delen av " -"amerikansk kultur bÃ¸r kontrolleres, og de Ã¸nsket hjelp fra denne lovel til Ã¥ " -"effektuere denne kontrollen." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This argument made clear a theme that is rarely noticed in this debate. " -"When Congress decides to extend the term of existing copyrights, Congress is " -"making a choice about which speakers it will favor. Famous and beloved " -"copyright owners, such as the Gershwin estate and Dr. Seuss, come to " -"Congress and say, <quote>Give us twenty years to control the speech about " -"these icons of American culture. We'll do better with them than anyone else." -"</quote> Congress of course likes to reward the popular and famous by giving " -"them what they want. But when Congress gives people an exclusive right to " -"speak in a certain way, that's just what the First Amendment is " -"traditionally meant to block." -msgstr "" -"Dette argumentet gjort klart et tema som er sjelden merke i denne debatten. " -"NÃ¥r Kongressen beslutter Ã¥ forlenge eksisterende opphavsrettigheter, gjÃ¸r " -"Kongressen et valg om hvilke hÃ¸yttalere det prioriteres. berÃ¸mte og elskede " -"opphavsrett eiere, for eksempel gershwin eiendom og dr. seuss, komme til " -"Kongressen og si, \"gi oss tjue Ã¥r Ã¥ kontrollere tale om disse ikonene av " -"den amerikanske kulturen. Vi vil gjÃ¸re bedre med dem enn noen andre." -"\"Kongressen liker selvfÃ¸lgelig Ã¥ belÃ¸nne de populÃ¦re og berÃ¸mte ved Ã¥ gi " -"dem det de Ã¸nsker. men nÃ¥r Kongressen gir folk en eksklusiv rett til Ã¥ " -"snakke pÃ¥ en bestemt mÃ¥te, det er akkurat hva den fÃ¸rste endringen er " -"tradisjonelt ment Ã¥ blokkere." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"We argued as much in a final brief. Not only would upholding the CTEA mean " -"that there was no limit to the power of Congress to extend copyrights—" -"extensions that would further concentrate the market; it would also mean " -"that there was no limit to Congress's power to play favorites, through " -"copyright, with who has the right to speak." -msgstr "" -"Vi hevdet sÃ¥ mye i en endelige kort. ikke bare vil opprettholde ctea bety at " -"det var ingen grense for strÃ¸m av Kongressen for Ã¥ forlenge " -"opphavsrett—utvidelser som ytterligere konsentrere seg markedet; det " -"vil ogsÃ¥ bety at det var ingen grense congress's kraft til Ã¥ spille " -"favoritter, gjennom opphavsrett, med som har rett til Ã¥ 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><part><chapter><para> -msgid "" -"<emphasis role='strong'>Between February</emphasis> and October, there was " -"little I did beyond preparing for this case. Early on, as I said, I set the " -"strategy." -msgstr "" -"<emphasis role='strong'>Mellom februar</emphasis> og kotober gjorde jeg lite " -"ut over Ã¥ forberede meg for denne saken. Som jeg nevnte tidligere, satte " -"jeg strategien tidlig." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "O'Connor, Sandra Day" -msgstr "O'Connor, Sandra Day" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The Supreme Court was divided into two important camps. One camp we called " -"<quote>the Conservatives.</quote> The other we called <quote>the Rest.</" -"quote> The Conservatives included Chief Justice Rehnquist, Justice O'Connor, " -"Justice Scalia, Justice Kennedy, and Justice Thomas. These five had been the " -"most consistent in limiting Congress's power. They were the five who had " -"supported the <citetitle>Lopez/Morrison</citetitle> line of cases that said " -"that an enumerated power had to be interpreted to assure that Congress's " -"powers had limits." -msgstr "" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Breyer, Stephen" -msgstr "Breyer, Stephen" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Ginsburg, Ruth Bader" -msgstr "Ginsburg, Ruth Bader" - -#. PAGE BREAK 242 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -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 pÃ¥ " -"Kongressens makt. disse fire—rettferdighet stevens, rettferdighet " -"souter, rettferdighet ginsburg og rettferdighet breyer—hadde gjentatte " -"ganger hevdet at grunnloven gir Kongressen bred skjÃ¸nn Ã¥ bestemme hvordan du " -"best Ã¥ implementere sin myndighet. i sak etter sak, hadde disse to andre " -"justiariusene hevdet at retten rolle bÃ¸r vÃ¦re en av deference. om stemmene " -"til disse fire justiariusene var stemmene som jeg personlig hadde mest " -"konsekvent avtalt med, var de ogsÃ¥ stemmene som vi var minst sannsynlig Ã¥ fÃ¥." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"In particular, the least likely was Justice Ginsburg's. In addition to her " -"general view about deference to Congress (except where issues of gender are " -"involved), she had been particularly deferential in the context of " -"intellectual property protections. She and her daughter (an excellent and " -"well-known intellectual property scholar) were cut from the same " -"intellectual property cloth. We expected she would agree with the writings " -"of her daughter: that Congress had the power in this context to do as it " -"wished, even if what Congress wished made little sense." -msgstr "" -"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes " -"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjÃ¸nn er " -"involvert), hadde hun vÃ¦rt 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 vÃ¦re enig med skriftene til datteren: at Kongressen hadde " -"makt i denne sammenheng Ã¥ gjÃ¸re som det Ã¸nsket, selv om hva Kongressen " -"Ã¸nsket gjort lite fornuftig." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Close behind Justice Ginsburg were two justices whom we also viewed as " -"unlikely allies, though possible surprises. Justice Souter strongly favored " -"deference to Congress, as did Justice Breyer. But both were also very " -"sensitive to free speech concerns. And as we strongly believed, there was a " -"very important free speech argument against these retrospective extensions." -msgstr "" -"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi ogsÃ¥ sett pÃ¥ " -"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter " -"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. " -"men begge var ogsÃ¥ svÃ¦rt sensitive til ytringsfriheten bekymringer. og som " -"vi sterkt mente, det var en svÃ¦rt viktig ytringsfriheten argument mot disse " -"retrospektiv utvidelser." - -#. type: Content of: <book><part><chapter><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 stemmen vi kunne vÃ¦re trygg pÃ¥ hvar den til dommer Stevens. " -"Historien viser at dommer Stevens er en av de stÃ¸rste dommerne i denne " -"domstolen. Han stemmer har vÃ¦rt konsistent selektiv, hvilket bare betyr at " -"ikke noen enkel ideologi forklarer hvordan vil stille seg. Men han hadde " -"konsistent argumentert for begresninger i sammenheng med immaterielle eiedom " -"generelt. Vi var rimelig sikre pÃ¥ at han ville kjenne igjen begresningene " -"her." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This analysis of <quote>the Rest</quote> showed most clearly where our focus " -"had to be: on the Conservatives. To win this case, we had to crack open " -"these five and get at least a majority to go our way. Thus, the single " -"overriding argument that animated our claim rested on the Conservatives' " -"most important jurisprudential innovation—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 vÃ¥rt fokus mÃ¥tte vÃ¦re: " -"pÃ¥ hÃ¸yre. for Ã¥ vinne dette tilfellet, vi hadde Ã¥ sprekk Ã¥pne disse fem og " -"fÃ¥ minst et flertall Ã¥ gÃ¥ pÃ¥ vÃ¥r mÃ¥te. dermed enkelt overstyrende argument " -"som animert vÃ¥re krav hvilte pÃ¥ HÃ¸yres viktigste jurisprudential innovasjon " -"- argumentet at dommer sentelle hadde grunnlag i lagmannsrett, at " -"Kongressens makt mÃ¥ tolkes slik at dens nummerert kreftene har begrensninger." - -#. PAGE BREAK 243 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"This then was the core of our strategy—a strategy for which I am " -"responsible. We would get the Court to see that just as with the " -"<citetitle>Lopez</citetitle> case, under the government's argument here, " -"Congress would always have unlimited power to extend existing terms. If " -"anything was plain about Congress's power under the Progress Clause, it was " -"that this power was supposed to be <quote>limited.</quote> Our aim would be " -"to get the Court to reconcile <citetitle>Eldred</citetitle> with " -"<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce was " -"limited, then so, too, must Congress's power to regulate copyright be " -"limited." -msgstr "" -"Dette var deretter kjernen i vÃ¥r strategi—en strategi som jeg er " -"ansvarlig. Vi ville fÃ¥ retten Ã¥ se at akkurat som du er med under " -"regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha " -"ubegrenset makt til Ã¥ utvide eksisterende vilkÃ¥r. Hvis noe var vanlig om " -"Kongressens makt under setningsdelen fremdrift, det var at dette makt var " -"ment for Ã¥ vÃ¦re \"begrenset.\" vÃ¥rt mÃ¥l vil vÃ¦re Ã¥ fÃ¥ retten Ã¥ avstemme " -"eldred med lopez: Hvis Kongressens makt til Ã¥ regulere handel var begrenset, " -"deretter sÃ¥, ogsÃ¥, congress's makt til Ã¥ regulere copyright skal begrenses." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The argument</emphasis> on the government's side " -"came down to this: Congress has done it before. It should be allowed to do " -"it again. The government claimed that from the very beginning, Congress has " -"been extending the term of existing copyrights. So, the government argued, " -"the Court should not now say that practice is unconstitutional." -msgstr "" -"<emphasis role='strong'>Argumentet</emphasis> pÃ¥ regjerningens side kokte " -"ned til dette: Kongressen har gjort det fÃ¸r, og bÃ¸r fÃ¥ lov til Ã¥ gjÃ¸re det " -"igjen. Regjeringen hevdet at helt fra starten har kongressen utvidet " -"vernetiden til eksisterende opphavsrett. Derfor, argumenterte regjeringen, " -"burde ikke retten nÃ¥ si at praksisen var i strid med grunnloven." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"There was some truth to the government's claim, but not much. We certainly " -"agreed that Congress had extended existing terms in 1831 and in 1909. And of " -"course, in 1962, Congress began extending existing terms regularly—" -"eleven times in forty years." -msgstr "" -"Det var noe sant i regjeringens pÃ¥stand, men ikke mye. Vi var helt klart " -"enig i at kongressen hadde utvidet verntiden i 1831 og i 1909. Og i 1962, " -"selvfÃ¸lgelig, begynte kongressen regelmessig Ã¥ utvide eksisterende " -"vernetid—elleve ganger pÃ¥ fÃ¸rti Ã¥r." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"But this <quote>consistency</quote> should be kept in perspective. Congress " -"extended existing terms once in the first hundred years of the Republic. It " -"then extended existing terms once again in the next fifty. Those rare " -"extensions are in contrast to the now regular practice of extending existing " -"terms. Whatever restraint Congress had had in the past, that restraint was " -"now gone. Congress was now in a cycle of extensions; there was no reason to " -"expect that cycle would end. This Court had not hesitated to intervene where " -"Congress was in a similar cycle of extension. There was no reason it " -"couldn't intervene here." -msgstr "" -"men dette \"konsistens\" bÃ¸r holdes i perspektiv. Kongressen utvidet " -"eksisterende vilkÃ¥rene en gang i fÃ¸rste hundre Ã¥r av Republikken. det " -"deretter utvidet eksisterende vilkÃ¥rene igjen i de neste femti. disse " -"sjeldne utvidelser er i motsetning til nÃ¥ vanlig praksis for Ã¥ utvide " -"eksisterende vilkÃ¥r. Uansett selvbeherskelse Kongressen hadde hatt i siste, " -"at selvbeherskelse nÃ¥ var borte. Kongressen var nÃ¥ i en syklus av " -"utvidelser; Det var ingen grunn til Ã¥ forvente at syklus ville end. denne " -"domstolen hadde ikke vil nÃ¸le med Ã¥ 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 fÃ¸rste uken i oktober. Jeg " -"ankom i DC to uker fÃ¸r argumentet. i lÃ¸pet av de to ukene, ble jeg gjentatte " -"ganger \"mooted\" av advokater som hadde frivillig til Ã¥ hjelpe i tilfelle. " -"slike \"moots\" er i utgangspunktet praksis runder, der wannabe " -"justiariusene brann spÃ¸rsmÃ¥l pÃ¥ wannabe vinnere." - -#. PAGE BREAK 244 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>Oral argument</emphasis> was scheduled for the first " -"week in October. I arrived in D.C. two weeks before the argument. During " -"those two weeks, I was repeatedly <quote>mooted</quote> by lawyers who had " -"volunteered to help in the case. Such <quote>moots</quote> are basically " -"practice rounds, where wannabe justices fire questions at wannabe winners." -msgstr "" -"<emphasis role='strong'>Muntlig argumentasjon</emphasis> var fastsatt til " -"fÃ¸rste uke i oktober. Jeg ankom D.C. to uker fÃ¸r dette. I lÃ¸pet av disse " -"to ukene ble jeg gang pÃ¥ gang <quote>opponert</quote> av advokater som hadde " -"meldt seg frivillig til Ã¥ hjelpe til i saken. Slike <quote>opponeringsÃ¸kter</" -"quote> er i grunnen Ã¸velsesrunder hvor de som vil vÃ¦re dommere fyrer av " -"spÃ¸rsmÃ¥l mot de som vil vinne." - -#. type: Content of: <book><part><chapter><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 Ã¥ vinne, mÃ¥tte jeg holde retten fokusert pÃ¥ et " -"enkelt poeng: hvis denne utvidelsen ble akseptert sÃ¥ ville det ikke vÃ¦re " -"noen grenser for myndigheten til Ã¥ vedta vernetid. Ã vÃ¦re enig med " -"regjeringen ville bety at vernetiden effektivt sett ville vÃ¦re uten " -"begrensing. Ã vÃ¦re enig med oss ville gi kongressen en klar linje Ã¥ fÃ¸lge: " -"Ikke utvid den eksisterende vernetiden. Opponeringsrundene var effektiv " -"trening. Jeg fant mÃ¥ter Ã¥ bringe hvert eneste spÃ¸rsmÃ¥l tilbake til den " -"sentrale idÃ©en." - -#. type: Content of: <book><part><chapter><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 opponeringsrunde var foran advokatene hos Jones Day. Don Ayer var " -"skeptikeren. Han hadde tjenestegjort i justisdepartementet under Reagen med " -"riksadvokat Charles Fried. Han hadde presentert mange saker foran " -"hÃ¸yesterett. Og i sin oppsummering av opponeringsrunden kom han med sin " -"bekymring:" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<quote>I'm just afraid that unless they really see the harm, they won't be " -"willing to upset this practice that the government says has been a " -"consistent practice for two hundred years. You have to make them see the " -"harm—passionately get them to see the harm. For if they don't see " -"that, then we haven't any chance of winning.</quote>" -msgstr "" -"<quote>Jeg er bare redd for at med mindre de virkelig ser skaden, sÃ¥ vil de " -"ikke vÃ¦re villige til Ã¥ bryte denne praksisen som regjeringen sier har vÃ¦rt " -"konsistent praksis for to hundre Ã¥r. Du mÃ¥ fÃ¥ dem til Ã¥ se skaden—med " -"ettertrykk fÃ¥ dem til Ã¥ se skaden. Hvis de ikke ser den, sÃ¥ har vi ingen " -"sjanse til Ã¥ vinne.</quote>" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"He may have argued many cases before this Court, I thought, but he didn't " -"understand its soul. As a clerk, I had seen the Justices do the right " -"thing—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." -msgstr "" -"han kanskje har hevdet mange tilfeller fÃ¸r denne retten, jeg tenkte, men han " -"forstod ikke sin sjel. Jeg hadde sett justiariusene gjÃ¸re rette—ikke " -"pÃ¥ grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde " -"tilbrakt livet undervise elevene mine at denne retten gjÃ¸r rette—ikke " -"pÃ¥ grunn av politikk som en lov professor, men fordi det er riktig. da jeg " -"lyttet til ayer's pÃ¥stand om lidenskap i presserende politikk, jeg forsto " -"hans punkt, og jeg avviste den. VÃ¥rt argument var rett. Det var nok. La " -"politikerne lÃ¦re Ã¥ se at det var ogsÃ¥ god. natten fÃ¸r argumentet, en linje " -"av mennesker begynte Ã¥ form foran HÃ¸yesterett. saken hadde blitt et fokus av " -"pressen og bevegelse for fri kultur. hundrevis sto i kÃ¸ for sjansen til Ã¥ se " -"proceedings. score tilbragte natten pÃ¥ HÃ¸yesterett trinnene slik at de ville " -"vÃ¦re trygg pÃ¥ et sete." - -#. PAGE BREAK 245 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The night before</emphasis> the argument, a line of " -"people began to form in front of the Supreme Court. The case had become a " -"focus of the press and of the movement to free culture. Hundreds stood in " -"line for the chance to see the proceedings. Scores spent the night on the " -"Supreme Court steps so that they would be assured a seat." -msgstr "" -"<emphasis role='strong'>Natten fÃ¸r</emphasis> argumentasjonen begynte en kÃ¸ " -"av folk Ã¥ dukke opp foran hÃ¸yesterett. Saken hadde fÃ¥tt oppmerksomhet fra " -"pressen og fri kultur-bevegelsen. Hundrevis sto pÃ¥ rekke for Ã¥ fÃ¥ en sjanse " -"til Ã¥ se forhandlingen. Flokkevis tilbrakte natten pÃ¥ trappen til " -"hÃ¸yesterett for Ã¥ sikre seg et sete." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Not everyone has to wait in line. People who know the Justices can ask for " -"seats they control. (I asked Justice Scalia's chambers for seats for my " -"parents, for example.) Members of the Supreme Court bar can get a seat in a " -"special section reserved for them. And senators and congressmen have a " -"special place where they get to sit, too. And finally, of course, the press " -"has a gallery, as do clerks working for the Justices on the Court. As we " -"entered that morning, there was no place that was not taken. This was an " -"argument about intellectual property law, yet the halls were filled. As I " -"walked in to take my seat at the front of the Court, I saw my parents " -"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting " -"in the special section ordinarily reserved for family of the Justices." -msgstr "" -"ikke alle har til Ã¥ vente pÃ¥ 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 HÃ¸yesterett baren kan " -"fÃ¥ et sete i en spesiell del reservert for dem. og senators og congressmen " -"har et spesielt sted hvor de fÃ¥r Ã¥ sitte, ogsÃ¥. og til slutt, selvfÃ¸lgelig, " -"pressen har et galleri som gjÃ¸r clerks som jobber for de to andre " -"justiariusene pÃ¥ 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. sÃ¥ jeg gikk i Ã¥ ta min plass pÃ¥ forsiden " -"av retten, sÃ¥ jeg mine foreldre som sitter til venstre. som jeg satte meg " -"ned ved bordet, sÃ¥ jeg jack valenti sitter i delen spesielle vanligvis " -"forbeholdt familie av de to andre justiariusene." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"When the Chief Justice called me to begin my argument, I began where I " -"intended to stay: on the question of the limits on Congress's power. This " -"was a case about enumerated powers, I said, and whether those enumerated " -"powers had any limit." -msgstr "" -"NÃ¥r justisministeren ringte meg Ã¥ starte mitt argument, jeg begynte hvor jeg " -"skal bo: pÃ¥ spÃ¸rsmÃ¥let om begrensninger pÃ¥ Kongressens makt. Dette var en " -"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen " -"grense." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Justice O'Connor stopped me within one minute of my opening. The history " -"was bothering her." -msgstr "" -"Dommer O'Connor stoppet meg fÃ¸r det jeg var kommet et minutt inn i " -"Ã¥pningsforedraget mitt. Historien plaget henne." - -#. type: Content of: <book><part><chapter><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 "" -"Dommer O'Connor: Kongressen har utvidet vernetiden sÃ¥ mange ganger etter " -"hvert. Hvis du har rett, risikerer vi ikke Ã¥ forstyrre tidligere utvidelser " -"av vernetiden? Jeg mener, dette virker Ã¥ vÃ¦re en praksis som startet med " -"den aller fÃ¸rste lovendringen?" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"She was quite willing to concede <quote>that this flies directly in the face " -"of what the framers had in mind.</quote> But my response again and again was " -"to emphasize limits on Congress's power." -msgstr "" -"Hun var ganske villig til Ã¥ innrÃ¸mme \"at dette flyr direkte i mÃ¸te med hva " -"underskrev hadde i tankene.\", men mitt svar var igjen og igjen Ã¥ " -"understreke begrensninger pÃ¥ Kongressens makt." - -#. PAGE BREAK 246 -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"mr. lessig: Well, if it flies in the face of what the framers had in mind, " -"then the question is, is there a way of interpreting their words that gives " -"effect to what they had in mind, and the answer is yes." -msgstr "" -"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, " -"sÃ¥ spÃ¸rsmÃ¥let er, er det en mÃ¥te Ã¥ tolke sine ord som gir kraft til hva de " -"hadde i tankene, og svaret er Ja." - -#. type: Content of: <book><part><chapter><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 poenger i dette argumentet der jeg burde ha sett hvor retten var " -"pÃ¥ vei. Det fÃ¸rste var et spÃ¸rsmÃ¥l fra dommer Kennedy, som observerte," - -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"justice kennedy: Well, I suppose implicit in the argument that the '76 act, " -"too, should have been declared void, and that we might leave it alone " -"because of the disruption, is that for all these years the act has impeded " -"progress in science and the useful arts. I just don't see any empirical " -"evidence for that." -msgstr "" -"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, " -"ogsÃ¥, bÃ¸r har blitt gjort ugyldige, og at vi kan la det vÃ¦re pÃ¥ grunn av " -"avbrudd, er som for alle disse Ã¥rene loven har hindret fremgang i vitenskap " -"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Here follows my clear mistake. Like a professor correcting a student, I " -"answered," -msgstr "" -"Her fÃ¸lger min Ã¥penbare feil. Som en professor som korrigerer en student, " -"svarte jeg," - -#. type: Content of: <book><part><chapter><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: Dommer, det er ikke en empirisk pÃ¥stand i det hele tatt. " -"Ingenting i pÃ¥standen om vÃ¥r opphavsrettsbestemmelse baserer seg pÃ¥ den " -"empiriske antagelsen om Ã¥ hindre fremgang. VÃ¥rt eneste argument er at dette " -"er en strukturell begrensning som er nÃ¸dvendig for Ã¥ sikre at det som ellers " -"ville vÃ¦re en evigvarende vernetid ikke blir tillatt i opphavsrettsloven." - -#. type: Content of: <book><part><chapter><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 et riktig svar, men det var ikke det riktige svaret. Det riktige " -"svaret var i stedet at det var Ã¥penbar og dyptgripende skade. En rekke " -"orienteringer hadde blitt skrevet om den. Han Ã¸nsket Ã¥ hÃ¸re det. Og det " -"var her rÃ¥det fra Don Ayer burde ha hatt betydning. Dette var en lett " -"pasning, og mitt svar bommet fullstendig." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The second came from the Chief, for whom the whole case had been crafted. " -"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, " -"and we hoped that he would see this case as its second cousin." -msgstr "" -"andre kom fra sjefen, som hele saken hadde blitt utformet. for " -"justisministeren hadde utformet lopez avgjÃ¸relse, og vi hÃ¥pet at ville han " -"se denne saken som sin andre fetter." - -#. PAGE BREAK 247 -#. type: Content of: <book><part><chapter><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 ett sekund inn i hans spÃ¸rsmÃ¥l at han overhode ikke hadde " -"sympati med oss. For ham var vi en gjeng med anarkister. Han spurte sÃ¥," - -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"chief justice: Well, but you want more than that. You want the right to copy " -"verbatim other people's books, don't you?" -msgstr "" -"Chief justice: godt, men du Ã¸nsker mer enn som. du vil ha rett til Ã¥ kopiere " -"ordrett andres bÃ¸ker, ikke du?" - -#. type: Content of: <book><part><chapter><blockquote><para> -#, mtrans, fuzzy -msgid "" -"mr. lessig: We want the right to copy verbatim works that should be in the " -"public domain and would be in the public domain but for a statute that " -"cannot be justified under ordinary First Amendment analysis or under a " -"proper reading of the limits built into the Copyright Clause." -msgstr "" -"Mr. lessig: vi vil ha rett til Ã¥ kopiere ordrett verk som bÃ¸r vÃ¦re i den " -"offentlige sfÃ¦ren, og ville vÃ¦re allemannseie, men for en vedtekter som ikke " -"kan begrunnes under vanlige fÃ¸rste endring analyse eller under en riktig " -"lesing av grensene som er innebygd i setningsdelen opphavsrett." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Olson, Theodore B." -msgstr "Olson, Theodore B." - -#. type: Content of: <book><part><chapter><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 nÃ¥r regjerningen presenterte sitt " -"Ã¥pniningsforedrag. For nÃ¥ tok retten tak i kjernen i vÃ¥re pÃ¥stander. Dommer " -"Scalia spurte regjeringsadvokat Olson," - -#. type: Content of: <book><part><chapter><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 "" -"Dommer Scalia: Du sier at den funksjonelle ekvivalenten til en ubegrenset " -"vernetid ville vÃ¦re i strid [med grunnloven], men det er jo nÃ¸yaktig det " -"argumentet som fremmes av *petitioners* her, at en begrenset vernetid som er " -"utvidbar er den funksjonelle ekvivalenten til en ubegrenset vernetid." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"When Olson was finished, it was my turn to give a closing rebuttal. Olson's " -"flailing had revived my anger. But my anger still was directed to the " -"academic, not the practical. The government was arguing as if this were the " -"first case ever to consider limits on Congress's Copyright and Patent Clause " -"power. Ever the professor and not the advocate, I closed by pointing out the " -"long history of the Court imposing limits on Congress's power in the name of " -"the Copyright and Patent Clause— 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 "" -"NÃ¥r olson var ferdig, var det min tur til Ã¥ 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 fÃ¸rste tilfellet noensinne Ã¥ vurdere begrensninger pÃ¥ congress's " -"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg " -"lukket noensinne ved Ã¥ peke pÃ¥ den lange historien av domstolen innfÃ¸re " -"begrensninger pÃ¥ Kongressens makt i navnet pÃ¥ opphavsrett og patent-" -"setningsdel—faktisk, det aller fÃ¸rste tilfellet stÃ¸tning en lov av " -"Kongressen som overskrider en bestemt, nummerert makt var basert pÃ¥ " -"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til Ã¥ flytte " -"retten til min side." - -#. PAGE BREAK 248 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>As I left</emphasis> the court that day, I knew " -"there were a hundred points I wished I could remake. There were a hundred " -"questions I wished I had answered differently. But one way of thinking about " -"this case left me optimistic." -msgstr "" -"<emphasis role='strong'>Da jeg dro</emphasis>fra retten den dagen visste jeg " -"det var hundrevis av ting jeg skulle Ã¸nske jeg hadde gjort pÃ¥ nytt. Det var " -"hundrevis av spÃ¸rsmÃ¥l jeg skulle Ã¸nske jeg hadde svart annerledes. Men en " -"mÃ¥te Ã¥ tenke pÃ¥ denne saken gjorde jeg optimistisk." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"The government had been asked over and over again, what is the limit? Over " -"and over again, it had answered there is no limit. This was precisely the " -"answer I wanted the Court to hear. For I could not imagine how the Court " -"could understand that the government believed Congress's power was unlimited " -"under the terms of the Copyright Clause, and sustain the government's " -"argument. The solicitor general had made my argument for me. No matter how " -"often I tried, I could not understand how the Court could find that " -"Congress's power under the Commerce Clause was limited, but under the " -"Copyright Clause, unlimited. In those rare moments when I let myself believe " -"that we may have prevailed, it was because I felt this Court—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 Ã¥ hÃ¸re. for jeg ikke kan forestille meg hvordan domstol " -"kunne forstÃ¥ 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 forsÃ¸kt, kunne jeg ikke forstÃ¥ hvordan domstol finner at " -"Kongressens makt under handel-setningsdel var begrenset, men under den " -"opphavsrett setningen, ubegrenset. i de sjeldne Ã¸yeblikkene nÃ¥r jeg la meg " -"tro at vi kan ha kommet, det var fordi jeg fÃ¸lte denne retten—spesielt " -"ville konservative—fÃ¸le seg begrenset av rettssikkerhet at det hadde " -"etablert andre steder." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"<emphasis role='strong'>The morning</emphasis> of January 15, 2003, I was " -"five minutes late to the office and missed the 7:00 A.M. call from the " -"Supreme Court clerk. Listening to the message, I could tell in an instant " -"that she had bad news to report.The Supreme Court had affirmed the decision " -"of the Court of Appeals. Seven justices had voted in the majority. There " -"were two dissents." -msgstr "" -"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og " -"ubesvarte anropet 7: 00 am fra HÃ¸yesterett kontorist. lytte til meldingen, " -"jeg kunne fortelle pÃ¥ et Ã¸yeblikk at hun hadde dÃ¥rlige nyheter til report." -"the hadde HÃ¸yesterett bekreftet avgjÃ¸relsen til court of appeals. syv " -"justiariusene hadde stemt i fleste. Det var to Dissensene." - -#. type: Content of: <book><part><chapter><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 fÃ¥ sekunder senere ankom domsavsigelsen via epost. Jeg tok " -"telefonrÃ¸ret av krogen, la ut en kunngjÃ¸ring pÃ¥ bloggen vÃ¥r, og satte meg sÃ¥ " -"ned for Ã¥ se hvor jeg hadde tatt feil i min argumentasjon." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money " -"in the world against <emphasis>reasoning</emphasis>. And here was the last " -"naÃ¯ve law professor, scouring the pages, looking for reasoning." -msgstr "" -"Min <emphasis>argumentasjon</emphasis>. Her var et tilfelle der alle alle " -"pengene i verden var satset mot <emphasis>argumentasjon</emphasis>. Og her " -"satt den siste naive juss-professor og trÃ¥let igjennom sidene pÃ¥ jakt etter " -"argumentasjon." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"I first scoured the opinion, looking for how the Court would distinguish the " -"principle in this case from the principle in <citetitle>Lopez</citetitle>. " -"The argument was nowhere to be found. The case was not even cited. The " -"argument that was the core argument of our case did not even appear in the " -"Court's opinion." -msgstr "" -"FÃ¸rst trÃ¥let jeg domsavsigelsen for Ã¥ finne hvordan domstolen ville skille " -"prinsippet i denne saken fra prinsippet i <citetitle>Lopez</citetitle>. Jeg " -"fant ikke argumentet noe sted. Saken var ikke en gang sitert. Argumentet " -"som var kjerneargumenet i vÃ¥r sak var ikke en gang tilstede i domstolens " -"domsavsigelse." - -#. PAGE BREAK 249 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Justice Ginsburg simply ignored the enumerated powers argument. Consistent " -"with her view that Congress's power was not limited generally, she had found " -"Congress's power not limited here." -msgstr "" -"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. " -"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, " -"hun hadde funnet Kongressens makt ikke begrenset her." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Her opinion was perfectly reasonable—for her, and for Justice Souter. " -"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to " -"expect them to write an opinion that recognized, much less explained, the " -"doctrine they had worked so hard to defeat." -msgstr "" -"Hennes mening var helt rimelig—for henne og for dommer Souter. Ingen " -"av dem tror pÃ¥ <citetitle>Lopez</citetitle>. Det ville vÃ¦re for mye Ã¥ " -"forvente at de skulle skrive en domsavsigelse som annerkjente, langt mindre " -"forklarte, den doktrinen som de hadde jobbet sÃ¥ hardt for Ã¥ bekjempe." - -#. type: Content of: <book><part><chapter><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 <emphasis>by not addressing the argument</emphasis>. There was no " -"inconsistency because they would not talk about the two together. There was " -"therefore no principle that followed from the <citetitle>Lopez</citetitle> " -"case: In that context, Congress's power would be limited, but in this " -"context it would not." -msgstr "" -"Men etter hvert som jeg innsÃ¥ hva som hadde skjedd, sÃ¥ kunne jeg ikke helt " -"tro det jeg leste. Jeg hadde sagt at det ikke var mulig for domstolen Ã¥ " -"*reconcile* begrenset myndighet for handels-bestemmelsen og ubegrenset " -"myndighet for fremgangs-bestemmelsen. Det hadde aldri slÃ¥tt meg at de kunne " -"*reconcile* de to ved Ã¥ ganske enkelt <emphasis>ikke bry seg om argumentet</" -"emphasis>. Det var ingen manglende konsistens ganske enkelt fordi de lot " -"vÃ¦re Ã¥ omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte fra " -"<citetitle>Lopez</citetitle>-saken: I den sammenhengen var kongressens " -"myndighet begrenset, men i denne sammenhengen var den ikke begrenset." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Yet by what right did they get to choose which of the framers' values they " -"would respect? By what right did they—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 "" -"ennÃ¥ ved hvilken rett de fikk til Ã¥ velge hvilke av de underskrev verdiene " -"de ville respekt? ved hvilken rett gjorde de—de stille fem—fÃ¥r Ã¥ " -"velge delen av Grunnloven de ville hÃ¥ndheve basert pÃ¥ verdiene de trodde " -"viktig? Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg " -"hadde mislyktes med Ã¥ overbevise dem om at problemet her var viktig, og jeg " -"hadde unnlot Ã¥ innse at det er systemet vi har, men mye jeg kan hater et " -"system der domstolen fÃ¥r velge konstitusjonelle verdiene som det vil " -"respektere,." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion " -"was crafted internal to the law: He argued that the tradition of " -"intellectual property law should not support this unjustified extension of " -"terms. He based his argument on a parallel analysis that had governed in the " -"context of patents (so had we). But the rest of the Court discounted the " -"parallel—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 bÃ¸r stÃ¸tter dette uberettiget forlengelse " -"av vilkÃ¥rene. han basert hans argument pÃ¥ en parallell analyse som hadde " -"styrt i sammenheng med patenter (sÃ¥ hadde vi). men resten av domstolen " -"nedsatte parallelt—uten Ã¥ forklare hvordan de samme ord i fremgang-" -"setningsdelen kan komme til Ã¥ bety helt forskjellige ting som er avhengig av " -"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens " -"kostnad gÃ¥ ubesvart." - -#. PAGE BREAK 250 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Justice Breyer's opinion, perhaps the best opinion he has ever written, was " -"external to the Constitution. He argued that the term of copyrights has " -"become so long as to be effectively unlimited. We had said that under the " -"current term, a copyright gave an author 99.8 percent of the value of a " -"perpetual term. Breyer said we were wrong, that the actual number was " -"99.9997 percent of a perpetual term. Either way, the point was clear: If the " -"Constitution said a term had to be <quote>limited,</quote> 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 sÃ¥ lenge som Ã¥ vÃ¦re 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 mÃ¥tte vÃ¦re \"begrenset\", og eksisterende " -"begrepet var sÃ¥ langt som Ã¥ vÃ¦re effektivt ubegrenset, sÃ¥ det var " -"forfatningsstridig." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"These two justices understood all the arguments we had made. But because " -"neither believed in the <citetitle>Lopez</citetitle> case, neither was " -"willing to push it as a reason to reject this extension. The case was " -"decided without anyone having addressed the argument that we had carried " -"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince." -msgstr "" -"disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " -"ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " -"grunn til Ã¥ 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><part><chapter><para> -msgid "" -"<emphasis role='strong'>Defeat brings depression</emphasis>. They say it is " -"a sign of health when depression gives way to anger. My anger came quickly, " -"but it didn't cure the depression. This anger was of two sorts." -msgstr "" -"<emphasis role='strong'>Tap gir depresjon</emphasis>. De sier det er et " -"sunnhetstegn nÃ¥r depresjon mÃ¥ vike for sinne. Mitt sinne kom raskt, men det " -"kurerte ikke depresjonen. Sinnet gikk i to retninger." - -#. type: Content of: <book><part><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "originalism" -msgstr "originalism" - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"It was first anger with the five <quote>Conservatives.</quote> It would have " -"been one thing for them to have explained why the principle of " -"<citetitle>Lopez</citetitle> didn't apply in this case. That wouldn't have " -"been a very convincing argument, I don't believe, having read it made by " -"others, and having tried to make it myself. But it at least would have been " -"an act of integrity. These justices in particular have repeatedly said that " -"the proper mode of interpreting the Constitution is <quote>originalism</" -"quote>—to first understand the framers' text, interpreted in their " -"context, in light of the structure of the Constitution. That method had " -"produced <citetitle>Lopez</citetitle> and many other <quote>originalist</" -"quote> rulings. Where was their <quote>originalism</quote> now?" -msgstr "" -"Det var fÃ¸rste sinne pÃ¥ fem \"konservative.\" det ville ha vÃ¦rt en ting for " -"dem Ã¥ har forklart hvorfor prinsippet om lopez ikke bruk i dette tilfellet. " -"ikke som ville vÃ¦rt et veldig overbevisende argument, jeg ikke tror, etter Ã¥ " -"ha lest det gjort av andre, og at de hadde prÃ¸vd Ã¥ gjÃ¸re det selv. men i " -"alle fall ville det ha vÃ¦rt en handling av integritet. disse to andre " -"justiariusene spesielt har gjentatte ganger sagt at riktig tolke Grunnloven " -"er \"originalism\"—Ã¥ fÃ¸rst forstÃ¥ 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\" " -"nÃ¥?" - -#. PAGE BREAK 251 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Here, they had joined an opinion that never once tried to explain what the " -"framers had meant by crafting the Progress Clause as they did; they joined " -"an opinion that never once tried to explain how the structure of that clause " -"would affect the interpretation of Congress's power. And they joined an " -"opinion that didn't even try to explain why this grant of power could be " -"unlimited, whereas the Commerce Clause would be limited. In short, they had " -"joined an opinion that did not apply to, and was inconsistent with, their " -"own method for interpreting the Constitution. This opinion may well have " -"yielded a result that they liked. It did not produce a reason that was " -"consistent with their own principles." -msgstr "" -"her, de hadde med seg en oppfatning at aldri en gang prÃ¸vde Ã¥ forklare hva " -"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de " -"sluttet seg en oppfatning at aldri en gang forsÃ¸kt Ã¥ forklare hvordan " -"strukturen i som ledd vil pÃ¥virke tolkningen av Kongressens makt. og de med " -"seg en mening som ikke engang forsÃ¸ke Ã¥ forklare hvorfor dette stipendet av " -"makt kan vÃ¦re ubegrenset, mens handel-setningsdel ville vÃ¦re 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 ogsÃ¥ har gitt et " -"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin " -"egen prinsipper." - -#. type: Content of: <book><part><chapter><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 mot de konservative ga raskt etter for sinnet mot meg selv. For " -"jeg hadde latt en holdning til loven som jeg likte forstyrre en holdning til " -"loven slik den er." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"Most lawyers, and most law professors, have little patience for idealism " -"about courts in general and this Supreme Court in particular. Most have a " -"much more pragmatic view. When Don Ayer said that this case would be won " -"based on whether I could convince the Justices that the framers' values were " -"important, I fought the idea, because I didn't want to believe that that is " -"how this Court decides. I insisted on arguing this case as if it were a " -"simple application of a set of principles. I had an argument that followed " -"in logic. I didn't need to waste my time showing it should also follow in " -"popularity." -msgstr "" -"de fleste jurister og de fleste lov professorer, har liten tÃ¥lmodighet for " -"idealismen om domstoler Generelt og denne HÃ¸yesterett spesielt. de fleste " -"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet " -"basert pÃ¥ om jeg kunne overbevise de to andre justiariusene at verdiene for " -"de underskrev var viktig, jeg kjempet idÃ©en, fordi jeg ikke Ã¸nsker Ã¥ tro at " -"det er hvordan denne retten bestemmer. jeg insisterte pÃ¥ kranglet denne " -"saken som om den var en enkel PÃ¥fÃ¸ring av et sett prinsipper. Jeg hadde et " -"argument som fulgte i logikken. Jeg trengte ikke Ã¥ kaste bort min tid viser " -"det bÃ¸r ogsÃ¥ fÃ¸lge i popularitet." - -#. PAGE BREAK 252 -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"As I read back over the transcript from that argument in October, I can see " -"a hundred places where the answers could have taken the conversation in " -"different directions, where the truth about the harm that this unchecked " -"power will cause could have been made clear to this Court. Justice Kennedy " -"in good faith wanted to be shown. I, idiotically, corrected his question. " -"Justice Souter in good faith wanted to be shown the First Amendment harms. " -"I, like a math teacher, reframed the question to make the logical point. I " -"had shown them how they could strike this law of Congress if they wanted to. " -"There were a hundred places where I could have helped them want to, yet my " -"stubbornness, my refusal to give in, stopped me. I have stood before " -"hundreds of audiences trying to persuade; I have used passion in that effort " -"to persuade; but I refused to stand before this audience and try to persuade " -"with the passion I had used elsewhere. It was not the basis on which a court " -"should decide the issue." -msgstr "" -"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg " -"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, " -"der sannheten om skade som denne ukontrollert makt vil forÃ¥rsake kunne vÃ¦rt " -"gjort klart til denne retten. rettferdighet kennedy i god tro ville vÃ¦re " -"vist. Jeg, idiotically, rettet opp sine spÃ¸rsmÃ¥l. rettferdighet souter i god " -"tro ville vÃ¦re vist den fÃ¸rste endringen skader. Jeg, reframed som en " -"matematikk-lÃ¦rer spÃ¸rsmÃ¥l for Ã¥ gjÃ¸re 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 Ã¥ gi i, stoppet meg. Jeg har stÃ¥tt fÃ¸r hundrevis av mÃ¥lgrupper prÃ¸ver " -"Ã¥ overtale; Jeg har brukt lidenskap i at forsÃ¸k pÃ¥ Ã¥ overtale; men jeg " -"nektet Ã¥ stÃ¥ denne mÃ¥lgruppen og prÃ¸ver Ã¥ overtale med lidenskap jeg hadde " -"brukt et annet sted. Det var ikke grunnlag som en domstol bÃ¸r avgjÃ¸re " -"problemet." - -#. type: Content of: <book><part><chapter><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 gÃ¥tt annerledes hvis jeg hadde argumentert litt forskjellig? " -"Ville det ha gÃ¥tt annerledes hvis Don Ayer hadde argumentert? Eller Charles " -"Fried? Eller Kathleen Sullivan?" - -#. type: Content of: <book><part><chapter><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 samlet seg rundt meg for Ã¥ insistere pÃ¥ at det ville det ikke. " -"Domstolen var ikke klar, insisterte mine venner. Det var et tap bestemt av " -"skjebnen. Det ville kreve mye mer for Ã¥ vise samfunnet vÃ¥rt hvorfor " -"grunnlovsforsamlingen hadde rett. Og nÃ¥r vi gjÃ¸r det, sÃ¥ vil vi vÃ¦rÃ¦ i " -"stand til Ã¥ vise det til domstolen." - -#. type: Content of: <book><part><chapter><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 "" -"Mulig det, men jeg tviler. Disse dommerne hadde ingen Ã¸konomiske " -"interesser i Ã¥ gjÃ¸re noe annet en det som var riktig. De blir ikke " -"lobbiert. De har liten interesse i for Ã¥ ikke gjÃ¸re det som er " -"riktig. Jeg klarer ikke la vÃ¦re Ã¥ tenke at om jeg hadde gitt slipp pÃ¥ " -"min pene bilde av justis uten fÃ¸lelser, sÃ¥ hadde jeg overbevist dem." - -#. type: Content of: <book><part><chapter><para> -#, mtrans, fuzzy -msgid "" -"And even if I couldn't, then that doesn't excuse what happened in January. " -"For at the start of this case, one of America's leading intellectual " -"property professors stated publicly that my bringing this case was a " -"mistake. <quote>The Court is not ready,</quote> 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 Ã¥ bringe denne saken var en feil. " -"-domstolen ikke er klar,\"sagt peter jaszi, Dette problemet bÃ¸r ikke heves " -"fÃ¸r det er." - -#. type: Content of: <book><part><chapter><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." -msgstr "" -"Etter argumentasjonen og etter avgjÃ¸relsen sa Peter til meg, og offentlig, " -"at han tok feil. Men hvis domstolen faktisk ikke kunne bli overbevist, sÃ¥ " -"er det igjen alt bevis som trengs for Ã¥ vite at her hadde Peter nok en gang " -"rett. Enten var ikke jeg klar til Ã¥ argumentere for denne saken pÃ¥ en mÃ¥te " -"som ville bidra positivt, eller sÃ¥ var de ikke klare for Ã¥ ta opp denne " -"saken pÃ¥ en mÃ¥te som ville bidra positivt. Uansett var avgjÃ¸relsen om Ã¥ " -"fremme denne saken feil—en avgjÃ¸relse jeg hadde tatt fire Ã¥r tidligere." - -#. PAGE BREAK 253 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>While the reaction</emphasis> to the Sonny Bono Act " -"itself was almost unanimously negative, the reaction to the Court's decision " -"was mixed. No one, at least in the press, tried to say that extending the " -"term of copyright was a good idea. We had won that battle over ideas. Where " -"the decision was praised, it was praised by papers that had been skeptical " -"of the Court's activism in other cases. Deference was a good thing, even if " -"it left standing a silly law. But where the decision was attacked, it was " -"attacked because it left standing a silly and harmful law. <citetitle>The " -"New York Times</citetitle> wrote in its editorial," -msgstr "" -"<emphasis role='strong'>Mens reaksjonen</emphasis>pÃ¥ Sonny Bono-loven selv " -"var nesten enstemming negativ, sÃ¥ var reaksjonen pÃ¥ domstolens avgjÃ¸relse " -"blandet. Ikke en eneste, i hvert fall i pressen, forsÃ¸kte Ã¥ si at det var " -"en god idÃ© Ã¥ utvide vernetiden i opphavsretten. Vi hadde vunnet kampen om " -"idÃ©en. AvgjÃ¸relsen fikk stÃ¸tte fra aviser som hadde vÃ¦rt skeptisk til " -"domstolens aktivisme i andre saker. Ã holde hendene unna var en god ting, " -"selv om den lot en dum lov bli stÃ¥ende. Men der avgjÃ¸relsen ble angrepet sÃ¥ " -"ble den angrepet pÃ¥ grunn av at den lot en dum og skadelig bli stÃ¥ende. " -"<citetitle>The New York Times</citetitle> skrev i sin leder," - -#. type: Content of: <book><part><chapter><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 "" -"Effekten er at beslutningen i HÃ¸yesterett gjÃ¸r det sannsynlig at vi ser " -"starten pÃ¥ slutten til allemannseie, og fÃ¸dselen til evig opphavsrett. " -"Allemannseie har vÃ¦rt et storslÃ¥tt eksperiment, som ikke bÃ¸r fÃ¥ lov til Ã¥ " -"dÃ¸. Evnen til Ã¥ trekke uten begresning pÃ¥ hele den kreative produksjonen " -"til menneskeheten er en av grunnene til at vi lever i en tid med sÃ¥ " -"fruktbart kreativt vekstmiljÃ¸." - -#. type: Content of: <book><part><chapter><figure><indexterm><primary> -msgid "Bolling, Ruben" -msgstr "Bolling, Ruben" - -#. type: Content of: <book><part><chapter><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 (<xref linkend=" -"\"fig-18\"/>). The <quote>powerful and wealthy</quote> line is a bit unfair. " -"But the punch in the face felt exactly like that. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"De beste responsene dukket opp i tegneseriene. Det var en haug veldig " -"morsome tegninger—av Mikke i fengsel og dets like. Det beste fra mitt " -"stÃ¥sted i saken, var fra Ruben Bolling, og er gjengitt pÃ¥ den neste siden " -"(<xref linkend=\"fig-18\"/>). Tekstlinjen om <quote>mektig og rik</quote> " -"er litt urettferdig. Men slaget i ansiktet fÃ¸ltes akkurat slik ut." -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><figure><title> -msgid "Tom the Dancing Bug cartoon" -msgstr "Tom the Dancing Bug-tegneserie" - -#. type: Content of: <book><part><chapter><figure> -msgid "" -"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" -"\" id=\"0\"/>" -msgstr "" -"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" -"\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"The image that will always stick in my head is that evoked by the quote from " -"<citetitle>The New York Times</citetitle>. That <quote>grand experiment</" -"quote> we call the <quote>public domain</quote> is over? When I can make " -"light of it, I think, <quote>Honey, I shrunk the Constitution.</quote> But I " -"can rarely make light of it. We had in our Constitution a commitment to free " -"culture. In the case that I fathered, the Supreme Court effectively " -"renounced that commitment. A better lawyer would have made them see " -"differently." -msgstr "" -"Bildet som for alltid stÃ¥r inne i hodet mitt er det som ble utlÃ¸st av et " -"sitat fra <citetitle>New York Times</citetitle>. At <quote>det store " -"eksperimentet</quote> vi kaller <quote>allemannseie</quote> er over? NÃ¥r " -"jeg kan ta lett pÃ¥ det, sÃ¥ tenker jeg <quote>KjÃ¦re, jeg krympet grunnloven</" -"quote>. Men jeg klarer sjelden Ã¥ ta lett pÃ¥ det. Vi hadde i grunnloven vÃ¥r " -"en forpliktelse til Ã¥ frigjÃ¸re kultur. I den saken som jeg hadde ansvar " -"for, ga hÃ¸yesterett effektivt avkall pÃ¥ den forpliktelsen. En bedre advokat " -"ville fÃ¥tt dem til Ã¥ annerledes pÃ¥ det." - -#. type: Content of: <book><part><chapter><title> -msgid "CHAPTER FOURTEEN: Eldred II" -msgstr "Kapittel fjorten: Eldred II" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>The day</emphasis> <citetitle>Eldred</citetitle> was " -"decided, fate would have it that I was to travel to Washington, D.C. (The " -"day the rehearing petition in <citetitle>Eldred</citetitle> was denied—" -"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 "" -"<emphasis role='strong'>Dagen</emphasis> <citetitle>Eldred</citetitle> ble " -"avgjort, ville skjebnen det at jeg skulle reise til Washington, D.C. (Dagen " -"da en forespÃ¸rsel ny hÃ¸ring for <citetitle>Eldred</citetitle> ble " -"avslÃ¥tt—som betÃ¸d at saken endelig var avsluttet—skjebnen gjorde " -"at jeg holdt en tale til teknologer ved Disney World.) Dette var en " -"spesielt lang flytur til byen jeg setter minst pris pÃ¥. KjÃ¸returen inn til " -"byen fra Dulles flyplass var forsinket pÃ¥ grunn av trafikken, sa jeg Ã¥pnet " -"opp datamaskinen og skrev en kronikk." - -#. type: Content of: <book><part><chapter><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: " -"<quote>For all these years the act has impeded progress in science and the " -"useful arts. I just don't see any empirical evidence for that.</quote> And " -"so, having failed in the argument of constitutional principle, finally, I " -"turned to an argument of politics." -msgstr "" -"Det var en botsÃ¸velse. Gjennom hele flyturen fra San Francisco til " -"Washington hadde jeg i mitt indre Ã¸re hÃ¸rt om og om igjen det samme rÃ¥det " -"fra Don Ayer: Du mÃ¥ fÃ¥ dem til Ã¥ forstÃ¥ hvorfor det er viktig. Og innimellom " -"dette rÃ¥det var spÃ¸rsmÃ¥let fra dommer Kennedy: <quote>I alle disse Ã¥rene som " -"loven har hemmet fremgang i vitenskap og nyttige kunstarter, sÃ¥ ser jeg " -"intet empirisk bevis for dette.</quote> Og dermed, etter Ã¥ ha feilet i Ã¥ " -"argumentere med konstituelle prinsipper, forsÃ¸kte jeg til slutt meg med Ã¥ " -"argumentere politisk." - -#. PAGE BREAK 256 -#. type: Content of: <book><part><chapter><para> -msgid "" -"<citetitle>The New York Times</citetitle> published the piece. In it, I " -"proposed a simple fix: Fifty years after a work has been published, the " -"copyright owner would be required to register the work and pay a small fee. " -"If he paid the fee, he got the benefit of the full term of copyright. If he " -"did not, the work passed into the public domain." -msgstr "" -"<citetitle>New York Times</citetitle> publiserte stykket. I det foreslo jeg " -"en enkel fiks: Femti Ã¥r etter at et verk har blitt publisert, bÃ¸r " -"opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ registrere verket og betale en liten " -"avgift. Hvis han betalte avgiften fikk han fordelene av hele vernetiden for " -"opphavstiden. Hvis han ikke gjorde det, falt verket i det fri." - -#. type: Content of: <book><part><chapter><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 dette Eldred-loven, men det var kun for Ã¥ gi det et navn. Eric " -"Eldred var snill nok til Ã¥ la sitt navn brukes nok en gang, men han sa tidig " -"at den ikke ville bli vedtatt med mindre den fikk et annet navn." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"Or another two names. For depending upon your perspective, this is either " -"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright " -"Term Deregulation Act.</quote> Either way, the essence of the idea is clear " -"and obvious: Remove copyright where it is doing nothing except blocking " -"access and the spread of knowledge. Leave it for as long as Congress allows " -"for those works where its worth is at least $1. But for everything else, let " -"the content go." -msgstr "" -"Eller to andre navn. For avhengig av synsvinkel, sÃ¥ er dette enten " -"<quote>Forbedring av allemannseie-loven</quote> eller <quote>Avregulering av " -"opphavsrettsvernetids-loven</quote>. Uansett er essensen i idÃ©en klar og " -"tydelig: Fjern opphavsretten der den ikke gjÃ¸r noe annet enn Ã¥ blokkere for " -"tilgang og spredning av kunnskap. La den eksistere sÃ¥ lenge som kongressen " -"tillater det for de verk der verdien er minst en dollar. For alt annet, " -"slipp innholdet fri." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Forbes, Steve" -msgstr "Forbes, Steve" - -#. type: Content of: <book><part><chapter><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 "" -"Reaksjonen pÃ¥ denne idÃ©en var utrolig sterk. Steve Forbes gikk god for den " -"i en leder, og jeg mottok et skred av epost og brev med stÃ¸tte. NÃ¥r du " -"fokuserer temaet pÃ¥ tapt kreativitet, sÃ¥ ser folk at opphavsrettssystemet " -"ikke gir mening. En god republikaner kunne si at her kommer ganske enkelt " -"myndigentsregulering i veien for nyskapning og kreativitet. Og en god " -"demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang og " -"spredning av kunnskap. Det er faktisk ingen reell forskjell mellom " -"demokrater og republikanere rundt dette temaet. Enhver kan gjenkjenne de " -"idiotiske skadene som dagens ordning gir." - -#. type: Content of: <book><part><chapter><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 ser mange de Ã¥penbare fordelene med registreringskravet. For en av " -"de vanskeligste tingene med dagens system for folk som Ã¸nsker Ã¥ lisensiere " -"innhold er at det ikke er noen Ã¥penbar plass Ã¥ se etter gjeldende " -"opphavsrettseiere. Siden registrering ikke er pÃ¥krevd, sÃ¥ er det ofte " -"blokkerende vanskelig Ã¥ spore opp opphavsrettseiere for Ã¥ spÃ¸rre om " -"tillatelse til Ã¥ bruke eller lisensiere deres verk. Dette systemet ville " -"redusere disse kostnadene ved Ã¥ etablere i hvert fall et register hvor " -"opphavsrettseierene kan identifiseres." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Berlin Act (1908)" -msgstr "Berlinvedtaket (1908)" - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Berne Convention (1908)" -msgstr "Bern-konvensjonen (1908)" - -#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> -msgid "German copyright law" -msgstr "Tysk Ã¥ndsverkslov" - -#. type: Content of: <book><part><chapter><para><footnote><para> -#, mtrans, fuzzy -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> Until the 1908 Berlin Act of the " -"Berne Convention, national copyright legislation sometimes made protection " -"depend upon compliance with formalities such as registration, deposit, and " -"affixation of notice of the author's claim of copyright. However, starting " -"with the 1908 act, every text of the Convention has provided that <quote>the " -"enjoyment and the exercise</quote> of rights guaranteed by the Convention " -"<quote>shall not be subject to any formality.</quote> The prohibition " -"against formalities is presently embodied in Article 5(2) of the Paris Text " -"of the Berne Convention. Many countries continue to impose some form of " -"deposit or registration requirement, albeit not as a condition of copyright. " -"French law, for example, requires the deposit of copies of works in national " -"repositories, principally the National Museum. Copies of books published in " -"the United Kingdom must be deposited in the British Library. The German " -"Copyright Act provides for a Registrar of Authors where the author's true " -"name can be filed in the case of anonymous or pseudonymous works. Paul " -"Goldstein, <citetitle>International Intellectual Property Law, Cases and " -"Materials</citetitle> (New York: Foundation Press, 2001), 153–54." -msgstr "" -"fÃ¸r 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 \"fÃ¥ glede og Ã¸velsen\" av rettigheter garanteres ved " -"konvensjonen \"skal ikke vÃ¦re gjenstand for alle formalitet.\" forbud mot " -"formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten i berne " -"konvensjonen. mange land fortsatt Ã¥ innfÃ¸re noen form for innskudd eller " -"registrering kravet, om enn ikke som en betingelse for opphavsrett. Fransk " -"lov, krever for eksempel innskudd pÃ¥ kopier av works i nasjonale, for, " -"hovedsakelig nasjonalmuseet. Kopier av bÃ¸ker som er utgitt i Storbritannia " -"mÃ¥ settes i british library. tysk opphavsrett lov gir en registrar av " -"forfattere der forfatterens sanne navn kan vÃ¦re arkivert i tilfelle av " -"anonym eller pseudonymous fungerer. Paul goldstein, lovgivning for " -"immaterielle, saker og materialer (new york: foundation press, 2001), 153Â54." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, formalities in copyright law were removed in 1976, when " -"Congress followed the Europeans by abandoning any formal requirement before " -"a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The " -"Europeans are said to view copyright as a <quote>natural right.</quote> " -"Natural rights don't need forms to exist. Traditions, like the Anglo-" -"American tradition that required copyright owners to follow form if their " -"rights were to be protected, did not, the Europeans thought, properly " -"respect the dignity of the author. My right as a creator turns on my " -"creativity, not upon the special favor of the government." -msgstr "" -"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/> ble formaliteter fjernet fra opphavsrettsloven i 1976, da " -"kongressen fulgte etter europeerne i Ã¥ avskaffe alle formelle krav fÃ¸r " -"opphavsretten ble innvilget.<placeholder type=\"footnote\" id=\"0\"/> " -"Europeerne sies Ã¥ anse opphavsrett som en <quote>naturlig rettighet</" -"quote>. Naturlige rettigheter trenger ingen formaliterer for Ã¥ eksistere. " -"Tradisjoner lik den anglo-amerikanske som har krevd at opphavsrettseiere mÃ¥ " -"fÃ¸lge visse formaliteter hvis deres rettigheter skal bli beskyttet, mente " -"europeerne at ikke respekterte forfatterens verdighet skikkelig. Mine " -"skaper-rettigheter stammer fra min kreativitet, ikke noe som deles ut av " -"myndighetene." - -#. type: Content of: <book><part><chapter><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 <quote>Walt " -"Disney creativity</quote> is destroyed when there is no simple way to know " -"what's protected and what's not." -msgstr "" -"Det er flott retorikk, og det hÃ¸res vidunderlig romatisk ut. Men det er " -"absurd opphavsrettspolitikk. Det er absurd spesielt for forfattere, fordi " -"en verden uten formaliterer skader den som skaper. Muligheten til Ã¥ spre " -"<quote>Walt Disney-kreativtet</quote> er fjernet nÃ¥r det ikke er noen enkel " -"mÃ¥te Ã¥ vite hva som er beskyttet og hva som ikke er det." - -#. type: Content of: <book><part><chapter><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 " -"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the " -"loss of widows' only income." -msgstr "" -"Kampen mot formaliteter oppnÃ¥dde sin fÃ¸rste virkelige seier i Berlig i " -"1908. Internasjonale opphavsrettsadvokater fikk pÃ¥ plass et tillegg i Bern-" -"konvensjonen i 1909 som krevde opphavsrettslig verneperiode som rakk hele " -"livet pluss femti Ã¥r, i tillegg til Ã¥ avskaffe opphavsrettsformaliteter. " -"Formalitetene var hatet pÃ¥ grunn av historiene om utilsiktet tap ble mer og " -"mer vanlige. Det var som om en karakter fra Charles Dickets drev alle " -"opphavsrettskontorene, og Ã¥ glemme Ã¥ sette prikken over en <citetitle>i</" -"citetitle> eller glemme Ã¥ streke igjennom en <citetitle>t</citetitle> fÃ¸rte " -"til at en enke mistet sin eneste inntekt." - -#. type: Content of: <book><part><chapter><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 klagene var reelle og fornuftige. Og hvor strengt formalitetene ble " -"hÃ¥ndhevd, spesielt i USA, var absurd. Loven bÃ¸r alltid ha mÃ¥ter Ã¥ tilgi " -"uskyldige feil. Det er ingen grunn til at ikke ogsÃ¥ Ã¥ndsverksloven skulle " -"kunne det. I stedet for Ã¥ droppen formaliteter helt, sÃ¥ burde responsen i " -"Berlin vÃ¦rt Ã¥ omfavne et mer rettverdig registreringssystem." - -#. type: Content of: <book><part><chapter><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 det ville dog fÃ¥tt motstand, pÃ¥ grunn av at registrering fortsatt var " -"kostbart i det nittende og tjuende Ã¥rhundret. Det var ogsÃ¥ en plage. " -"Avviklingen av formaliteter ga ikke bare lovnad om Ã¥ redde sultende enker, " -"men ogsÃ¥ Ã¥ redusere en unÃ¸dvendig regulatorisk belastning som var pÃ¥tvunget " -"skapere." - -#. PAGE BREAK 258 -#. type: Content of: <book><part><chapter><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 <quote>naturally,</quote> and he can assert " -"that right against anyone who would steal the table, whether or not he has " -"informed the government of his ownership of the table." -msgstr "" -"I tillegg til de praktiske klagene fra forfatterne i 1908, sÃ¥ var det ogsÃ¥ " -"moralske innsigelser. Det var ingen grunn til at kreative " -"eiendomsrettigheter skulle vÃ¦re en annenrangs type eiendom. Hvis en snekker " -"lager et bord, sÃ¥ er ikke hans rettigheter over dette bordet avhengig av av " -"han sender inn et skjema til myndighetene. Han har en <quote>naturgitt</" -"quote> eiendomsrett til bordet og kan hevde denne retten mot enhver som " -"forsÃ¸ker Ã¥ stjele bordet, uansett om han har informert myndighetene om sitt " -"eierskap til bordet." - -#. type: Content of: <book><part><chapter><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 dets implikasjoner er misvisende. For " -"argumenter i favÃ¸r av formaliteter er ikke avhengig av at kreative eiendom " -"er annerangs eiendom. Argumentet i favÃ¸r av formaliteter kretser rundt de " -"spesielle problemene som kreativ eiendom gir oss. Loven om formaliteter er " -"et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for a " -"sikre at den kan spres effektivt og rettferdig." - -#. type: Content of: <book><part><chapter><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 "" -"For eksempel er det ingen som mener at landomrÃ¥der er annenklasses eiendom " -"kun fordi du mÃ¥ tinglyse et skjÃ¸te hvis ditt salg av land skal ta effekt. " -"Og fÃ¥ mener at en bil er annenklasses eiendom bare pÃ¥ grunn av at du mÃ¥ " -"registrere bilen hos biltilsynet og merke den med et bilskilt. I begge " -"disse tilfellene ser alle at det er viktige grunner til Ã¥ kreve " -"registrering—bÃ¥de pÃ¥ grunn av at det gjÃ¸r markedet mer effektivt, og " -"pÃ¥ grunn av at det bedre sikrer rettighetene til eieren. Uten et " -"registreringssystem for landomrÃ¥der mÃ¥tte landeiere hele tiden vokte sin " -"eiendom. Met registrering kan de ganske enkelt vise politiet et skjÃ¸te. " -"Uten et registreringssystem for biler ville biltyveri vÃ¦re mye enklere. Med " -"et registreringssystem blir det mye vanskeligere for tyven Ã¥ fÃ¥ solgt den " -"stjÃ¥lne bilen. En liten byrde blir lagt pÃ¥ eiendomseieren, men disse " -"byrdene gir et generelt settq mye bedre system for Ã¥ beskytte eiendom." - -#. type: Content of: <book><part><chapter><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, <emphasis>lawyer</emphasis> transactions " -"take their place. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Det er lignende spesielle fysiske egenskaper som gjÃ¸r formaliteter viktig i " -"opphavsrettslovgiving. I motsetning til en snekkers bord, er det ingenting " -"i naturen som gjÃ¸r det relativt Ã¥penbart hvem som kan eie en bestemt bit av " -"kreativ eiendom. Et opptak av Lyle Lovetts siste album kan eksistere en " -"milliard steder uten at noe nÃ¸dvendigvis peker tilbake til en bestemt eier. " -"Og pÃ¥ samme mÃ¥te som en bil, er det ingen mÃ¥te Ã¥ vÃ¦re trygg ved kjÃ¸p og salg " -"av kreativ eiendom med mindre det finnes en enkel mÃ¥te Ã¥ bekrefte hvem som " -"er forfatteren og hvilke rettigheter han har. Enkle transaksjoner blir " -"umulige i en verden uten formaliteter. Kompliserte, dyre, " -"<emphasis>advokat</emphasis>-transaksjoner trer inn i stedet. <placeholder " -"type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><part><chapter><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 <quote>get.</" -"quote> Because we live in a system without formalities, there is no way " -"easily to build upon or use culture from our past. If copyright terms were, " -"as Justice Story said they would be, <quote>short,</quote> then this " -"wouldn't matter much. For fourteen years, under the framers' system, a work " -"would be presumptively controlled. After fourteen years, it would be " -"presumptively uncontrolled." -msgstr "" -"Dette var forstÃ¥elsen av problemet med Sonny Bono-loven som vi forsÃ¸kte Ã¥ " -"demonstrere for retten. Dette var den delen som den ikke <quote>tok</" -"quote>. Fordi vi lever i et system uten formaliteter, sÃ¥ er det ikke noen " -"enkel mÃ¥te Ã¥ bygge pÃ¥ eller bruke kulturen fra vÃ¥r fortid. Hvis vernetiden " -"i opphavsretten var, slik dommer Story sa den ville vÃ¦re, <quote>kort</" -"quote>, da ville ikke dette bety stort. I fjorten Ã¥r, i fÃ¸lge systemet til " -"de som skrev grunnloven, ville et verk kunne antas Ã¥ vÃ¦re kontrollert. " -"Etter fjorten Ã¥r kunne en anta at det ikke var kontrollert." - -#. type: Content of: <book><part><chapter><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 <emphasis>because there are no " -"formalities</emphasis>." -msgstr "" -"Men nÃ¥ nÃ¥r opphavsretten kan vare omtrent et Ã¥rhundre, sÃ¥ er den manglende " -"evnen til Ã¥ vite hva som er beskyttet og hva som ikke er beskyttet blitt en " -"stor og Ã¥penbar byrde pÃ¥ den kreative prosessen. Hvis den eneste mÃ¥ten et " -"bibliotek kan legge frem en internet-utstilling om New Deal er ved Ã¥ hyre " -"inn en advokat til Ã¥ klarere rettighetene til hvert eneste bilde og hver " -"eneste lydinnspilling, sÃ¥ belaster opphavsrettssystemet kreativiteten pÃ¥ en " -"mÃ¥te som aldri fÃ¸r er observert, <emphasis>fordi det ikke er noen " -"formaliteter</emphasis>." - -#. type: Content of: <book><part><chapter><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-loven var utformet for Ã¥ svare pÃ¥ akkurat dette problemet. Hvis det " -"er verdt en dollar for deg, sÃ¥ registrer verket ditt og du kan fÃ¥ lengre " -"vernetid. Andre vil vite hvordan de skal kontakte deg og dermed hvordan de " -"kan fÃ¥ din tillatelse hvis de Ã¸nsker Ã¥ bruke ditt verk. Og du vil fÃ¥ " -"fordelen av en utvidet opphavsrettslig vernetid." - -#. type: Content of: <book><part><chapter><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 Ã¥ registrere verket for Ã¥ fÃ¥ fordelene av " -"en utvidet vernetid, sÃ¥ bÃ¸r det heller ikke vÃ¦re verdt det for myndighetene " -"Ã¥ forsvare ditt monopol over det samme verket. Verket bÃ¸r falle i det fri " -"hvor enhver kan kopiere det, eller lage arkiver med det, eller lage en film " -"basert pÃ¥ det. Det bÃ¸r bli fritt tilgjengelig hvis det ikke er verdt en " -"dollar for deg." - -#. type: Content of: <book><part><chapter><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 bekymrer seg over byrden pÃ¥ forfattere. GjÃ¸r ikke byrden med Ã¥ " -"registrere verket at belÃ¸pet $1 egentlig er misvisende? Er ikke " -"ekstraarbeidet verdt mer enn $1? Er ikke dette det virkelige problemet med " -"registrering?" - -#. PAGE BREAK 260 -#. type: Content of: <book><part><chapter><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 <emphasis>governments</emphasis> standing at the core of " -"any system of formalities. In this book, I offer such a solution. That " -"solution essentially remakes the Copyright Office. For now, assume it was " -"Amazon that ran the registration system. Assume it was one-click " -"registration. The Eldred Act would propose a simple, one-click registration " -"fifty years after a work was published. Based upon historical data, that " -"system would move up to 98 percent of commercial work, commercial work that " -"no longer had a commercial life, into the public domain within fifty years. " -"What do you think?" -msgstr "" -"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nÃ¥ er " -"grufult. Jeg er helt enig i at opphavsrettskontoret har gjort en " -"forferdelig jobb (uten tvil pÃ¥ grunn av at de har forferdelig dÃ¥rlig " -"finansiering) i Ã¥ gjÃ¸re registrering enkelt og billig. En skikkelig lÃ¸sning " -"pÃ¥ problemet med formaliteter mÃ¥ adressere det egentlige problemet med " -"<emphasis>myndigheter</emphasis> som befinner seg i kjernen av ethvert " -"system med formaliteter. I denne boken legger jeg frem en slik lÃ¸sning. " -"LÃ¸sningen gjÃ¸r i essensen om pÃ¥ opphavsrettskontoret. Forestill deg at " -"registrering kun krever ett klikk. Eldred-loven foreslo en enkel, ett-" -"klikks registrering, femti Ã¥r etter at et verk var publisert. Basert pÃ¥ " -"historiske data ville dette systemet fÃ¥ opp mot 98 prosent av kommersielle " -"verk, kommersielle verk som ikke lenger har et kommersielt liv, til Ã¥ falle " -"i det fri etter femti Ã¥r. Hva tror du?" - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>When Steve Forbes</emphasis> endorsed the idea, some " -"in Washington began to pay attention. Many people contacted me pointing to " -"representatives who might be willing to introduce the Eldred Act. And I had " -"a few who directly suggested that they might be willing to take the first " -"step." -msgstr "" -"<emphasis role='strong'>Da Steve Forbes</emphasis> stÃ¸ttet idÃ©en, begynte " -"enkelte i Washington Ã¥ fÃ¸lge med. Mange kontaktet meg med tips til " -"representanter som kan vÃ¦re villig til Ã¥ introdusere en Eldred-lov. og jeg " -"hadde noen fÃ¥ som foreslo direkte at de kan vÃ¦re villige til Ã¥ ta det fÃ¸rste " -"skrittet." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Lofgren, Zoe" -msgstr "Lofgren, Zoe" - -#. type: Content of: <book><part><chapter><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, <quote>we are close.</quote> There was a general " -"reaction in the blog community that something good might happen here." -msgstr "" -"En representant, Zoe Lofgren fra California, gikk sÃ¥ langt som Ã¥ fÃ¥ " -"lovforslaget utarbeidet. Utkastet lÃ¸ste noen problemer med internasjonal " -"lov. Det pÃ¥la de enklest mulige forutsetninger pÃ¥ innehaverne av " -"opphavsretter. I mai 2003 sÃ¥ det ut som om loven skulle vÃ¦re introdusert. " -"16. mai, postet jeg pÃ¥ Eldred Act-bloggen, <quote>vi er nÃ¦re</quote>. Det " -"oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje her." - -#. type: Content of: <book><part><chapter><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 pÃ¥ dette stadiet begynte lobbyister Ã¥ bryte inn. Jack Valento og MPAAs " -"sjefsjurist kom til kongressrepresentantens kontor for Ã¥ gi MPAAS syn pÃ¥ " -"saken. Veiledet av sin advokat, fortalte Valenti meg, informerte Valenti " -"kongressrepresentanten om at MPAA ville motsette seg Eldred-loven. Arsakene " -"var pinlig tynne. Enda viktigere er det at deres spinkelhet viser noe klart " -"om hva denne debatten egentlig handler om." - -#. PAGE BREAK 261 -#. type: Content of: <book><part><chapter><para> -msgid "" -"The MPAA argued first that Congress had <quote>firmly rejected the central " -"concept in the proposed bill</quote>—that copyrights be renewed. That " -"was true, but irrelevant, as Congress's <quote>firm rejection</quote> had " -"occurred long before the Internet made subsequent uses much more likely. " -"Second, they argued that the proposal would harm poor copyright owners—" -"apparently those who could not afford the $1 fee. Third, they argued that " -"Congress had determined that extending a copyright term would encourage " -"restoration work. Maybe in the case of the small percentage of work covered " -"by copyright law that is still commercially valuable, but again this was " -"irrelevant, as the proposal would not cut off the extended term unless the " -"$1 fee was not paid. Fourth, the MPAA argued that the bill would impose " -"<quote>enormous</quote> costs, since a registration system is not free. True " -"enough, but those costs are certainly less than the costs of clearing the " -"rights for a copyright whose owner is not known. Fifth, they worried about " -"the risks if the copyright to a story underlying a film were to pass into " -"the public domain. But what risk is that? If it is in the public domain, " -"then the film is a valid derivative use." -msgstr "" -"MPAAs fÃ¸rste argument var at kongressen <quote>bestemt hadde avvist det " -"sentrale konseptet i lovforslaget</quote>—at opphavsretter skal " -"fornyes. Det er riktig, men irrelevant, etter som kongressen " -"<quote>bestemte hadde avvist</quote> dette lenge fÃ¸r Internettet gjorde " -"pÃ¥fÃ¸lgende bruk mye mer sannsynlig. Det andre argumentet var at at " -"forslaget ville skade fattige opphavsrettseiere—tilsynelatende de som " -"ikke har rÃ¥d til en avgift pÃ¥ en dollar. Det tredje argumentet var at " -"kongressen hadde konkludert med at Ã¥ utvide vernetiden i opphavsretten ville " -"oppmuntre til Ã¥ restaurere verk. Det kan stemme for den lille " -"prosentandelen verk vernet av Ã¥ndsverksloven og som fortsatt er kommersielt " -"verdifulle. Men dette er ogsÃ¥ irrelevant, etter som forslaget ikke ville " -"fjerne den utvidede vernetiden med mindre avgiften pÃ¥ en dollar ikke ble " -"betalt. Det fjerde argumenet fra MPAA var at forslaget ville pÃ¥fÃ¸re " -"<quote>enorme</quote> kostnader, etter som et registrerings-system ikke er " -"gratis. Sant nok, men disse konstnadene er helt klart lavere enn kostnadene " -"med Ã¥ klarere rettigheter for en opphavsrett der eieren er ukjent. Det " -"femte argumentet var at de var bekymret over risikoen hvis opphavsretten til " -"en historie som lÃ¥ til grunn for en film skulle falle i det fri. Men hva " -"slags risiko er dette? Hvis den er falt i det fri, sÃ¥ er filmen gyldig " -"avleded bruk." - -#. type: Content of: <book><part><chapter><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 "" -"Til slutt hevdet MPAA at eksisterende lovgiving gjorde det mulig for " -"opphavsrettseierer Ã¥ gjÃ¸rÃ¦ dette hvis de Ã¸nsket det. Men hele poenget er at " -"det er tusenvis av opphavsrettseiere som ikke engang vet at de har en " -"opphavsrett Ã¥ gi bort. Hvorvidt de stÃ¥r fritt til Ã¥ gi bort opphavsretten " -"eller ikke—uansett en kontroversiell pÃ¥stand—sÃ¥ med mindre de " -"vet opp en opphavsrett sÃ¥ er det lite sannsynlig at de vil gjÃ¸re det." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"<emphasis role='strong'>At the beginning</emphasis> of this book, I told two " -"stories about the law reacting to changes in technology. In the one, common " -"sense prevailed. In the other, common sense was delayed. The difference " -"between the two stories was the power of the opposition—the power of " -"the side that fought to defend the status quo. In both cases, a new " -"technology threatened old interests. But in only one case did those " -"interest's have the power to protect themselves against this new competitive " -"threat." -msgstr "" -"<emphasis role='strong'>I begynnelsen</emphasis> av denne boken fortalte jeg " -"to historier om hvordan loven reagerte mÃ¥ endringer i teknologien. I den " -"ene vant sunn fornuft frem. I den andre ble sunn fornuft forsinket. " -"Forskjellen mellom de to historiene var hvor mektig opposisjonen var—" -"hvor mektig siden som sloss for Ã¥ forsvare status quo. I begge tilfellene " -"truet ny teknologi gamle interesser. Men i kun en av tilfellene hadde disse " -"interessene nok makt til Ã¥ beskytte seg mot denne nye konkurransemessige " -"trusselen." - -#. type: Content of: <book><part><chapter><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 mÃ¥te Ã¥ ramme inn krigen som denne " -"boken har handlet om. For her er det ogsÃ¥ en ny teknologi som tvinger loven " -"til Ã¥ reagere. Og her bÃ¸r vi ogsÃ¥ spÃ¸rre, er loven i trÃ¥d med eller i strid " -"med sunn fornuft. Hvis sunn fornuft stÃ¸tter loven, hva forklarer denne " -"sunne fornuften?" - -#. PAGE BREAK 262 -#. type: Content of: <book><part><chapter><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 "" -"NÃ¥r problemet er piratvirksomhet, sÃ¥ er det riktig at loven stÃ¸tter " -"opphavsrettseierne. Den kommersielle piratvirksomheten som jeg har " -"beskrevet er galt og skadelig, og loven bÃ¸r jobbe for Ã¥ eliminere den. NÃ¥r " -"problemet er p2p-deling, sÃ¥ er det enkelt Ã¥ forstÃ¥ hvorfor loven fortsatt " -"stÃ¸tter eierne. Mye av denne delingen er galt, selv om mye er harmlÃ¸st. NÃ¥r " -"problemet er opphavsrettsvernetiden for Mikke Mus-ene i verden, sÃ¥ er det " -"forsatt mulig Ã¥ forstÃ¥ hvorfor loven favoriserer Hollywood: De fleste " -"kjenner ikke igjen grunner til Ã¥ begrense vernetiden for opphavsretten. Det " -"er dermed forsatt mulig Ã¥ se god tro hos motstanden." - -#. type: Content of: <book><part><chapter><indexterm><primary> -msgid "Kelly, Kevin" -msgstr "Kelly, Kevin" - -#. type: Content of: <book><part><chapter><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 <quote>Dark Content</quote> that fills archives " -"around the world. So when the warriors oppose a change like this, we should " -"ask one simple question:" -msgstr "" -"Men nÃ¥r opphavsrettseiere motsetter seg et forslag som Eldred-loven, sÃ¥ er " -"det endelig et eksempel som eksponerer den nakne egeninteressen som holder " -"denne krigen i gang. Dette lovforslaget ville frigjÃ¸re en ekstraordinÃ¦r " -"rekke av innhold som ellers ville forbli ubrukt. Det ville ikke forstyrre " -"noen opphavsrettseiers trang til Ã¥ utÃ¸ve fortsatt kontroll over sitt " -"innhold. Det ville ganske enkelt frigjÃ¸re det som Kevin Kelly kaller det " -"<quote>mÃ¸rke innhold</quote> som fyller arkivene rundt om i verden. SÃ¥ nÃ¥r " -"krigerne motsetter seg en slik endring, sÃ¥ bÃ¸r vi stille et enkelt spÃ¸rsmÃ¥l:" - -#. type: Content of: <book><part><chapter><para> -msgid "What does this industry really want?" -msgstr "Hva Ã¸nsker denne industrien egentlig?" - -#. type: Content of: <book><part><chapter><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 " -"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an " -"effort to assure that nothing more passes into the public domain. It is " -"another step to assure that the public domain will never compete, that there " -"will be no use of content that is not commercially controlled, and that " -"there will be no commercial use of content that doesn't require " -"<emphasis>their</emphasis> permission first." -msgstr "" -"Med svÃ¦rt liten innsats kunne krigerne beskytte sitt innhold. SÃ¥ innsatsen " -"for Ã¥ blokkere noe ala Eldred-loven er ikke egentlig om Ã¥ beskytte " -"<emphasis>deres</emphasis> innhold. Innsatsen for Ã¥ blokkere Eldred-loven " -"er en innsats for Ã¥ sikre at ingenting mer faller i det fri. Det er et nytt " -"steg for Ã¥ sikre at allemannseiet aldri vil konkurrere, at det ikke vil vÃ¦re " -"noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke vil " -"vÃ¦re noe kommersiell bruk av innhold som ikke fÃ¸rst krever <emphasis>deres</" -"emphasis> tillatelse." - -#. type: Content of: <book><part><chapter><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 <quote>property</quote> but the rejection of a tradition. " -"Their aim is not simply to protect what is theirs. <emphasis>Their aim is to " -"assure that all there is is what is theirs</emphasis>." -msgstr "" -"Motstanden mot Eldred-loven avslÃ¸rer hvor ekstrem den andre siden er. Den " -"mektigste, sexy og hÃ¸yt elskede av lobbyorganisasjoner har som mÃ¥l ikke Ã¥ " -"beskytte <quote>eiendom</quote> men Ã¥ bli kvitt en tradisjon. Deres mÃ¥l er " -"ikke bare Ã¥ beskytte det som er deres. <emphasis>Deres mÃ¥l er Ã¥ sikre at " -"alt som finnes er det som er deres.</emphasis>" - -#. PAGE BREAK 263 -#. type: Content of: <book><part><chapter><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 Ã¥ forstÃ¥ hvorfor krigerne har dette synet. Det er " -"ikke vanskelig Ã¥ se hvordan det vil gi dem fordeler hvis konkurransen fra " -"allemannseiet knyttet til Internettet pÃ¥ en eller mannen mÃ¥te kunne knuses. " -"PÃ¥ samme mÃ¥te som RCA fryktet konkurransen fra FM, frykter de konkurransen " -"fra allemannseiet knyttet til en befolkning som nÃ¥ har mulighet til Ã¥ skape " -"med den og dele sine egne kreasjoner." - -#. type: Content of: <book><part><chapter><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 "" -"Det som er vanskelig Ã¥ forstÃ¥ er hvorfor folket innehar dette synet. Det er " -"som om loven gjorde at flymaskiner tok seg inn pÃ¥ annen manns eiendom. MPAA " -"stÃ¥r side om side med Causbyene og krever at deres fjerne og ubrukelige " -"eierrettigheter blir respektert, slik at disse fjerne og glemte " -"opphavsrettsinnehaverne kan blokkere fremgangen til andre." - -#. type: Content of: <book><part><chapter><para> -msgid "" -"All this seems to follow easily from this untroubled acceptance of the " -"<quote>property</quote> in intellectual property. Common sense supports it, " -"and so long as it does, the assaults will rain down upon the technologies of " -"the Internet. The consequence will be an increasing <quote>permission " -"society.</quote> The past can be cultivated only if you can identify the " -"owner and gain permission to build upon his work. The future will be " -"controlled by this dead (and often unfindable) hand of the past." -msgstr "" -"Alt dette ser ut til Ã¥ lett fÃ¸lge fra Ã¥ ukritisk akseptere <quote>eiendom</" -"quote>-biten av immateriell eiendom. Sunn fornuft stÃ¸tter det, og sÃ¥ lenge " -"den gjÃ¸r det vil overfallene regne ned over teknologiene pÃ¥ Internettet. " -"Konsekvensene vil vÃ¦re mer og mer et <quote>tillatelses-samfunn</quote>. " -"Fortiden kan kun kultiveres hvis du kan finne eieren og be om tillatelse til " -"Ã¥ bygge pÃ¥ hans verk. Fremtiden vil bli kontrollert av denne dÃ¸de (og ofte " -"forsvunnede) hÃ¥nd fra fortiden." - -#. type: Content of: <book><chapter><title> -msgid "CONCLUSION" -msgstr "Konklusjon" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Africa, medications for HIV patients in" -msgstr "Afrika, medisinering for HIV-pasienter i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "AIDS medications" -msgstr "AIDS-medisiner" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "antiretroviral drugs" -msgstr "antiretroviral medisin" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "developing countries, foreign patent costs in" -msgstr "utviklingsland, utenlandske patentkostnader i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "drugs" -msgstr "medisiner" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "pharmaceutical" -msgstr "farmasÃ¸ytisk" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "HIV/AIDS therapies" -msgstr "HIV/AIDS-behandlinger" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>There are more</emphasis> than 35 million people " -"with the AIDS virus worldwide. Twenty-five million of them live in sub-" -"Saharan Africa. Seventeen million have already died. Seventeen million " -"Africans is proportional percentage-wise to seven million Americans. More " -"importantly, it is seventeen million Africans." -msgstr "" -"<emphasis role='strong'>Det er mer</emphasis> enn trettifem millioner " -"mennesker over hele verden med AIDS-viruset. Tjuefem millioner av dem bor i " -"Afrika sÃ¸r for Sahara. Sytten millioner har allerede dÃ¸dd. Sytten " -"millioner afrikanere er prosentvis proporsjonalt med syv millioner " -"amerikanere. Viktigere er det at dette er 17 millioner afrikanere." - -#. type: Content of: <book><chapter><para> -msgid "" -"There is no cure for AIDS, but there are drugs to slow its progression. " -"These antiretroviral therapies are still experimental, but they have already " -"had a dramatic effect. In the United States, AIDS patients who regularly " -"take a cocktail of these drugs increase their life expectancy by ten to " -"twenty years. For some, the drugs make the disease almost invisible." -msgstr "" -"Det finnes ingen kur for AIDS, men det finnes medisiner som kan hemme " -"sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt " -"eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA Ã¸ker " -"AIDS-pasienter som regelmessig tar en cocktail av disse medisinene sin " -"levealder med ti til tjue Ã¥r. For noen gjÃ¸re medisinene sykdommen nesten " -"usynlig." - -#. f1. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " -"Intellectual Property Rights and Development Policy</quote> (London, 2002), " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. " -"According to a World Health Organization press release issued 9 July 2002, " -"only 230,000 of the 6 million who need drugs in the developing world receive " -"them—and half of them are in Brazil." -msgstr "" -"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " -"Intellectual Property Rights and Development Policy</quote> (London, 2002), " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</" -"ulink>. I fÃ¸lge en pressemelding fra verdens helseorganisasjon sendt ut 9. " -"juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i " -"utviklingsland dem de trenger—og halvparten av dem er i Brasil." - -#. type: Content of: <book><chapter><para> -msgid "" -"These drugs are expensive. When they were first introduced in the United " -"States, they cost between $10,000 and $15,000 per person per year. Today, " -"some cost $25,000 per year. At these prices, of course, no African nation " -"can afford the drugs for the vast majority of its population: $15,000 is " -"thirty times the per capita gross national product of Zimbabwe. At these " -"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id=" -"\"0\"/>" -msgstr "" -"Disse medisinene er dyre. Da de ble fÃ¸rst introdusert i USA, kostet de " -"mellom $10 000 og $15 000 pr. person hvert Ã¥r. I dag koster noen " -"av dem $25 000 pr. Ã¥r. Med disse prisene har, selvfÃ¸lgelig, ingen " -"afrikansk stat rÃ¥d til medisinen for det store flertall av sine innbyggere: " -"$15 000 er tredve ganger brutto nasjonalprodukt pr. innbygger i " -"Zimbabwe. Med slike priser er disse medisinene fullstendig utilgjengelig." -"<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on pharmaceuticals" -msgstr "om legemidler" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "pharmaceutical patents" -msgstr "farmasÃ¸ytiske patenter" - -#. 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 hÃ¸ye fordi ingrediensene til medisinene er dyre. " -"Disse prisene er hÃ¸ye fordi medisinene er beskyttet av patenter. " -"Farmasiselskapene som produserer disse livreddende blandingene nyter minst " -"tjue Ã¥rs monopol pÃ¥ sine oppfinnelser. De bruker denne monopolmakten til Ã¥ " -"hente ut sÃ¥ mye de kan fra markedet. Ved hjelp av denne makten holder de " -"prisene hÃ¸ye." - -#. 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 patenter pÃ¥ medisiner. " -"Det er ikke jeg. Faktisk av alle forskningsomrÃ¥der som kan vÃ¦re stÃ¸ttet av " -"patenter, er forskning pÃ¥ medisiner, etter min mening, det klareste tilfelle " -"der patenter er nÃ¸dvendig. Patenter gir et farmasÃ¸ytiske firma en viss " -"forsikring om at hvis det lykkes i Ã¥ finne opp et nytt medikament som kan " -"behandle en sykdom, vil det kunne tjene tilbake investeringen og mer til. " -"Dette ber sosialt et ekstremt verdifullt insentiv. Jeg er den siste personen " -"som vil argumentere for at loven skal avskaffe dette, 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 Ã©n ting Ã¥ stÃ¸tte patenter, selv patenter pÃ¥ medisiner. Det er en " -"annen ting Ã¥ avgjÃ¸re hvordan en best skal hÃ¥ndtere en krise. Og i det " -"afrikanske ledere begynte Ã¥ erkjenne Ã¸deleggelsen AIDS brakte, begynte de Ã¥ " -"se etter mÃ¥ter Ã¥ importere HIV-medisiner til kostnader betydelig under " -"markedspris." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "international law" -msgstr "internasjonal lov" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "parallel importation" -msgstr "parallellimport" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "South Africa, Republic of, pharmaceutical imports by" -msgstr "SÃ¸r-Afrika, Republikken, farmasÃ¸ytiske import til" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Braithwaite, John" -msgstr "Braithwaite, John" - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: " -"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " -"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" -"\" id=\"1\"/>" -msgstr "" -"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " -"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " -"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" -"\" id=\"1\"/>" - -#. type: Content of: <book><chapter><para> -msgid "" -"In 1997, South Africa tried one tack. It passed a law to allow the " -"importation of patented medicines that had been produced or sold in another " -"nation's market with the consent of the patent owner. For example, if the " -"drug was sold in India, it could be imported into Africa from India. This is " -"called <quote>parallel importation,</quote> and it is generally permitted " -"under international trade law and is specifically permitted within the " -"European Union.<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I 1997 forsÃ¸kte SÃ¸r-Afrika seg pÃ¥ en tilnÃ¦rming. Landet vedtok en lov som " -"tillot import av patenterte medisiner som hadde blitt produsert og solgt i " -"en annen nasjons marked med godkjenning fra patenteieren. For eksempel, " -"hvis medisinen var solgt i India, sÃ¥ kunne den bli importert inn til Afrika " -"fra India. Dette kalles <quote>parallellimport</quote> og er generelt " -"tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den " -"europeiske union.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "United States Trade Representative (USTR)" -msgstr "USAs handelrepresentant (USTR)" - -#. f3. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"International Intellectual Property Institute (IIPI), <citetitle>Patent " -"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " -"Report Prepared for the World Intellectual Property Organization</citetitle> " -"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over " -"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug " -"Policy, and Human Resources, House Committee on Government Reform, H. Rep., " -"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James " -"Love)." -msgstr "" - -#. f4. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"International Intellectual Property Institute (IIPI), <citetitle>Patent " -"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " -"Report Prepared for the World Intellectual Property Organization</citetitle> " -"(Washington, D.C., 2000), 15." -msgstr "" -"International Intellectual Property Institute (IIPI), <citetitle>Patent " -"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en " -"rapport forberedt for the World Intellectual Property Organization</" -"citetitle> (Washington, D.C., 2000), 15." - -#. type: Content of: <book><chapter><para> -msgid "" -"However, the United States government opposed the bill. Indeed, more than " -"opposed. As the International Intellectual Property Association " -"characterized it, <quote>The U.S. government pressured South Africa … " -"not to permit compulsory licensing or parallel imports.</quote><placeholder " -"type=\"footnote\" id=\"0\"/> Through the Office of the United States Trade " -"Representative, the government asked South Africa to change the law—" -"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 "" -"Men USA var imot lovendringen. Og de nÃ¸yde seg ikke med Ã¥ vÃ¦re imot. Som " -"International Intellectual Property Association karakteriserte det, " -"<quote>Myndighetene i USA presset SÃ¸r-Afrika … til Ã¥ ikke tillate " -"tvungen lisensiering eller parallellimport</quote><placeholder type=" -"\"footnote\" id=\"0\"/> Gjennom kontoret til USAs handelsrepresentant " -"(USTR), ba myndighetene SÃ¸r-Afrika om Ã¥ endre loven—og for Ã¥ legge " -"press bak den forespÃ¸rselen, listet USTR i 1998 opp SÃ¸r-Afrika som et land " -"som burde vurderes for handelsrestriksjoner. Samme Ã¥r gikk mer enn fÃ¸rti " -"farmasiselskaper til retten for Ã¥ utfordre myndighetenes handlinger. USA " -"fikk selskap av andre myndigheter fra EU. Deres pÃ¥stand, og pÃ¥standen til " -"farmasiselskapene, var at SÃ¸r-Afrika brÃ¸t sine internasjonale forpliktelser " -"ved Ã¥ diskriminere mot en bestemt type patenter—farmasÃ¸ytiske " -"patenter. Kravet fra disse myndighetene, med USA i spissen, var at SÃ¸r-" -"Afrika skulle respektere disse patentene pÃ¥ samme mÃ¥te som alle andre " -"patenter, uavhengig av eventuell effekt pÃ¥ behandlingen av AIDS i SÃ¸r-Afrika." -"<placeholder type=\"footnote\" id=\"1\"/>" - -#. 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 bÃ¸r sette intervensjonen til USA i sammenheng. Det er ingen tvil om at " -"patenter ikke er den viktigste Ã¥rsaken til at Afrikanere ikke har tilgang " -"til medisiner. Fattigdom og den totale mangel pÃ¥ effektivt helsevesen betyr " -"mer. Men uansett om patenter er en viktigste grunnen eller ikke, sÃ¥ har " -"prisen pÃ¥ medisiner en effekt pÃ¥ etterspÃ¸rselen, og patenter pÃ¥virker " -"prisen. SÃ¥ uansett, massiv eller marginal, sÃ¥ var det en effekt av vÃ¥re " -"myndigheters intervensjon for Ã¥ stoppe flyten av medisiner inn til Afrika." - -#. type: Content of: <book><chapter><para> -msgid "" -"By stopping the flow of HIV treatment into Africa, the United States " -"government was not saving drugs for United States citizens. This is not " -"like wheat (if they eat it, we can't); instead, the flow that the United " -"States intervened to stop was, in effect, a flow of knowledge: information " -"about how to take chemicals that exist within Africa, and turn those " -"chemicals into drugs that would save 15 to 30 million lives." -msgstr "" -"Ved Ã¥ stoppe flyten av HIV-behandling til Afrika, sikret ikke myndighetene i " -"USA medisiner til USA borgere. Dette er ikke som hvete (hvis de spise det sÃ¥ " -"kan ikke vi spise det). Det som USA i effekt intervenerte for Ã¥ stoppe, var " -"flyten av kunnskap: Informasjon om hvordan en kan ta kjemikalier som finnes " -"i Afrika og gjÃ¸re disse kjemikaliene om til medisiner som kan redde 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 "" -"Intervensjonen fra USA ville heller ikke beskytte fortjenesten til " -"medisinselskapene i USA— i hvert fall ikke betydelig. Det var jo ikke " -"slik at disse landene hadde mulighet til Ã¥ kjÃ¸pe medisinene til de prisene " -"som medisinselskapene forlangte. Igjen var afrikanerne for fattige til Ã¥ ha " -"rÃ¥d til disse medisinene til de tilbudte prisene. Ã blokkere for " -"parallellimport av disse medisinene ville ikke Ã¸ke salget til de amerikanske " -"selskapene betydelig." - -#. f5. -#. PAGE BREAK 333 -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's " -"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco " -"Chronicle</citetitle>, 24 May 1999, A1, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #57</ulink> (<quote>compulsory licenses and " -"gray markets pose a threat to the entire system of intellectual property " -"protection</quote>); Robert Weissman, <quote>AIDS and Developing Countries: " -"Democratizing Access to Essential Medicines,</quote> <citetitle>Foreign " -"Policy in Focus</citetitle> 4:23 (August 1999), available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #58</ulink> (describing U.S. policy); " -"John A. Harrelson, <quote>TRIPS, Pharmaceutical Patents, and the HIV/AIDS " -"Crisis: Finding the Proper Balance Between Intellectual Property Rights and " -"Compassion, a Synopsis,</quote> <citetitle>Widener Law Symposium Journal</" -"citetitle> (Spring 2001): 175." -msgstr "" - -#. 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 <quote>intellectual property</quote> would be violated that these " -"drugs should not flow into Africa. It was a principle about the importance " -"of <quote>intellectual property</quote> that led these government actors to " -"intervene against the South African response to AIDS." -msgstr "" -"I stedet var argumentet til fordel for restriksjoner pÃ¥ denne flyten av " -"informasjon, som var nÃ¸dvendig for Ã¥ redde millioner av liv, et argument om " -"eiendoms ukrenkelighet.<placeholder type=\"footnote\" id=\"0\"/> Det var pÃ¥ " -"grunn av at <quote>intellektuell eiendom</quote> ville bli krenket at disse " -"medisinene ikke skulle flomme inn til Afrika. Det var prinsippet om " -"viktigheten av <quote>intellektuell eiendom</quote> som fikk disse " -"myndighetsaktÃ¸rene til Ã¥ intervenere mot SÃ¸r-Afrikas mottiltak mot AIDS." - -#. 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 <quote>sanctity</quote> of an idea? What possible " -"justification could there ever be for a policy that results in so many " -"deaths? What exactly is the insanity that would allow so many to die for " -"such an abstraction?" -msgstr "" -"La oss ta et skritt tilbake for et Ã¸yeblikk. En gang om tredve Ã¥r vil vÃ¥re " -"barn se tilbake pÃ¥ oss og spÃ¸rre, hvordan kunne vi la dette skje? Hvordan " -"kunne vi tillate Ã¥ gjennomfÃ¸re en politikk hvis direkte kostnad var fÃ¥ 15 " -"til 30 millioner afrikanere til Ã¥ dÃ¸ raskere, og hvis eneste virkelige " -"fordel var Ã¥ opprettholde <quote>ukrenkeligheten</quote> til en idÃ©? Hva " -"slags berettigelse kan noen sinne eksistere for en politikk som resulterer i " -"sÃ¥ mange dÃ¸de? Hva slags galskap er det egentlig som tillater at sÃ¥ mange " -"dÃ¸r for slik en abstraksjon?" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "in pharmaceutical industry" -msgstr "i farmasÃ¸ytisk industri" - -#. 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 skylder pÃ¥ farmasiselskapene. Det gjÃ¸r ikke jeg. De er selskaper, og " -"deres ledere er lovpÃ¥lagt Ã¥ tjene penger for selskapene. De presser pÃ¥ for " -"en bestemt patentpolitikk, ikke pÃ¥ grunn av idealer, men fordi det er dette " -"som gjÃ¸r at de tjener mest penger. Og dette gjÃ¸r kun at de tjener mest " -"penger pÃ¥ grunn av en slags korrupsjon i vÃ¥rt politiske system— en " -"korrupsjon som farmasiselskapene helt klart ikke er 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 "" -"Denne korrupsjonen er vÃ¥re egne politikeres manglende integritet. For " -"medisinprodusentene ville elske—sier de selv, og jeg tror dem — " -"Ã¥ selge sine medisiner sÃ¥ billig som de kan til land i Afrika og andre " -"steder. Det er utfordringer de mÃ¥ lÃ¸se Ã¥ sikre at medisinene ikke kommer " -"tilbake til USA, men dette er bare teknologiske utfordring. De kan bli " -"overvunnet." - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "of drug patents" -msgstr "av legemiddelpatenter" - -#. 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, <quote>How is it you can sell " -"this HIV drug in Africa for only $1 a pill, but the same drug would cost an " -"American $1,500?</quote> Because there is no <quote>sound bite</quote> " -"answer to that question, its effect would be to induce regulation of prices " -"in America. The drug companies thus avoid this spiral by avoiding the first " -"step. They reinforce the idea that property should be sacred. They adopt a " -"rational strategy in an irrational context, with the unintended consequence " -"that perhaps millions die. And that rational strategy thus becomes framed in " -"terms of this ideal—the sanctity of an idea called <quote>intellectual " -"property.</quote>" -msgstr "" -"Et annet problem kan derimot ikke lÃ¸ses. Det er frykten for at en politiker " -"som skal vise seg og kaller inn lederne hos medisinprodusentene til hÃ¸ring i " -"senatet eller representantenes hus og spÃ¸r, <quote>hvordan har det seg at du " -"kan selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille " -"koster en amerikansker $1 500?</quote> Da det ikke finnes et " -"<quote>kjapt svar</quote> pÃ¥ det spÃ¸rsmÃ¥let, ville effekten bli regulering " -"av priser i Amerika. Medisinprodusentene unngÃ¥r dermed denne spiralen ved Ã¥ " -"sikre at det fÃ¸rste steget ikke tas. De forsterker idÃ©en om at " -"eierrettigheter skal vÃ¦re ukrenkelige. De legger seg pÃ¥ en rasjonell " -"strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at " -"kanskje millioner dÃ¸r. Og den rasjonelle strategien rammes dermed inn ved " -"hjel av dette ideal—ukrenkeligheten til en idÃ© som kalles " -"<quote>immaterielle rettigheter</quote>." - -#. 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 "" -"SÃ¥ nÃ¥r du konfronteres av ditt barns sunne fornuft, hva vil du si? NÃ¥r den " -"sunne fornuften hos en generasjon endelig gjÃ¸r opprÃ¸r mot hva vi har gjort, " -"hvordan vil vi rettferdiggjÃ¸re det? 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 patentpolitikk kunne gÃ¥ god for og gi sterk stÃ¸tte til " -"patentsystemet uten Ã¥ mÃ¥tte nÃ¥ alle overalt pÃ¥ nÃ¸yaktig samme mÃ¥te. PÃ¥ samme " -"mÃ¥te som en fornuftig opphavsrettspolitikk kunne gÃ¥ god for og gi sterk " -"stÃ¸tte til et opphavsretts-system uten Ã¥ mÃ¥tte regulere spredningen av " -"kultur perfekt og for alltid. En fornuftig patentpolitikk kunne gÃ¥ god for " -"og gi sterk stÃ¸tte til et patentsystem uten Ã¥ mÃ¥tte blokkere spredning av " -"medisiner til et land som uansett ikke er rikt nok til Ã¥ ha rÃ¥d til " -"markedsprisen. En fornuftig politikk kan en dermed si kunne vÃ¦re en " -"balansert politikk. For det meste av vÃ¥r historie har bÃ¥de opphavsrett- og " -"patentpolitikken i denne forstand vÃ¦rt balansert." - -#. 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." -msgstr "" -"Men vi som kultur har mistet denne fÃ¸lelsen for balanse. Vi har mistet det " -"kritiske blikket som hjelper oss til Ã¥ se forskjellen mellom sannhet og " -"ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vÃ¥r " -"tradisjon, hersker nÃ¥ i vÃ¥r kultur—sÃ¦rt, og med konsekvenser mer " -"alvorlig for spredningen av idÃ©er og kultur enn nesten enhver annen politisk " -"enkeltavgjÃ¸relse vi som demokrati kan fatte." - -#. PAGE BREAK 269 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>A simple idea</emphasis> blinds us, and under the " -"cover of darkness, much happens that most of us would reject if any of us " -"looked. So uncritically do we accept the idea of property in ideas that we " -"don't even notice how monstrous it is to deny ideas to a people who are " -"dying without them. So uncritically do we accept the idea of property in " -"culture that we don't even question when the control of that property " -"removes our ability, as a people, to develop our culture democratically. " -"Blindness becomes our common sense. And the challenge for anyone who would " -"reclaim the right to cultivate our culture is to find a way to make this " -"common sense open its eyes." -msgstr "" -"<emphasis role='strong'>En enkel idÃ©</emphasis> blender oss, og under dekke " -"av mÃ¸rket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt " -"med. SÃ¥ ukritisk aksepterer vi idÃ©en om eierskap til idÃ©er at vi ikke " -"engang legger merke til hvor uhyrlig det er Ã¥ nekte tilgang til idÃ©er for et " -"folk som dÃ¸r uten dem. SÃ¥ ukritisk aksepterer vi idÃ©en om eiendom til " -"kulturen at vi ikke engang stiller spÃ¸rsmÃ¥l ved nÃ¥r kontrollen over denne " -"eiendommen fjerner vÃ¥r evne, som folk, til Ã¥ utvikle vÃ¥r kultur " -"demokratisk. Blindhet blir vÃ¥r sunne fornuft, og utfordringen for enhver " -"som vil gjenvinne retten til Ã¥ dyrke vÃ¥r kultur er Ã¥ finne en mÃ¥te Ã¥ fÃ¥ " -"denne sunne fornuften til Ã¥ Ã¥pne sine Ã¸yne." - -#. 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 <quote>piracy,</quote> " -"and devastate a culture for creativity. They defend the idea of " -"<quote>creative property,</quote> while transforming real creators into " -"modern-day sharecroppers. They are insulted by the idea that rights should " -"be balanced, even though each of the major players in this content war was " -"itself a beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a " -"city like Washington, hypocrisy is not even noticed. Powerful lobbies, " -"complex issues, and MTV attention spans produce the <quote>perfect storm</" -"quote> for free culture." -msgstr "" -"SÃ¥ langt sover sunn fornuft. Det er intet opprÃ¸r. Sunn fornuft ser ennÃ¥ " -"ikke hva det er Ã¥ gjÃ¸re opprÃ¸r mot. Ekstremismen som nÃ¥ dominerer denne " -"debatten resonerer med idÃ©er som virker naturlige, og resonansen er " -"forsterket av vÃ¥re moderne RCA-ene. De fÃ¸rer en frenetisk krig for Ã¥ " -"bekjempe <quote>piratvirksomhet</quote> og knuser kreativitetskultur. De " -"forsvarer idÃ©en om <quote>kreativt eierskap</quote>, mens de endrer ekte " -"skapere til moderne leilendinger. De blir fornÃ¦rmet av idÃ©en om at " -"rettigheter skulle vÃ¦re balanserte, selv om hver av hovedaktÃ¸rene i denne " -"innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet " -"rÃ¥r. Men i en by som Washington blir ikke hykleriet en gang lagt merke " -"til. Mektige lobbyister, kompliserte problemer og MTV-oppmerksomhetsspenn " -"gir en <quote>perfekt storm</quote> for fri kultur." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "academic journals" -msgstr "akademiske tidsskrifter" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "biomedical research" -msgstr "biomedisinsk forskning" - -#. type: Content of: <book><chapter><indexterm><secondary> -#, mtrans, fuzzy -msgid "international organization on issues of" -msgstr "internasjonal organisasjon om saker av" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "IBM" -msgstr "IBM" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "PLoS (Public Library of Science)" -msgstr "PLoS (Offentlige Vitenskapsbiblioteket, det)" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Public Library of Science (PLoS)" -msgstr "Offentlige Vitenskapsbiblioteket, det (PLoS)" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "public projects in" -msgstr "offentlige prosjekter i" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "single nucleotied polymorphisms (SNPs)" -msgstr "enkeltnukleotidforskjeller (SNPs)" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Wellcome Trust" -msgstr "Wellcome Trust" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "World Intellectual Property Organization (WIPO)" -msgstr "World intellectual property organization (WIPO)" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "World Wide Web" -msgstr "World Wide Web" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Global Positioning System" -msgstr "Globalt posisjoneringssystem" - -#. f6. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> " -"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " -"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> " -"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; " -"William New, <quote>U.S. Official Opposes `Open Source' Talks at WIPO,</" -"quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 August " -"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #61</" -"ulink>." -msgstr "" -"Jonathan Krim, <quote>The Quiet War over Open-Source</quote>, " -"<citetitle>Washington Post</citetitle>, august 2003, E1, tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " -"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir</quote>, " -"<citetitle>National Journal's Technology Daily</citetitle>, 19. august 2003, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #60</" -"ulink>; William New, <quote>U.S. Official Opposes `Open Source' Talks at " -"WIPO</quote>, <citetitle>National Journal's Technology Daily</citetitle>, " -"19. august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #61</ulink>." - -#. PAGE BREAK 270 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>In August 2003</emphasis>, a fight broke out in the " -"United States about a decision by the World Intellectual Property " -"Organization to cancel a meeting.<placeholder type=\"footnote\" id=\"0\"/> " -"At the request of a wide range of interests, WIPO had decided to hold a " -"meeting to discuss <quote>open and collaborative projects to create public " -"goods.</quote> These are projects that have been successful in producing " -"public goods without relying exclusively upon a proprietary use of " -"intellectual property. Examples include the Internet and the World Wide Web, " -"both of which were developed on the basis of protocols in the public domain. " -"It included an emerging trend to support open academic journals, including " -"the Public Library of Science project that I describe in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>. It included a " -"project to develop single nucleotide polymorphisms (SNPs), which are thought " -"to have great significance in biomedical research. (That nonprofit project " -"comprised a consortium of the Wellcome Trust and pharmaceutical and " -"technological companies, including Amersham Biosciences, AstraZeneca, " -"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " -"IBM, Motorola, Novartis, Pfizer, and Searle.) It included the Global " -"Positioning System, which Ronald Reagan set free in the early 1980s. And it " -"included <quote>open source and free software.</quote>" -msgstr "" -"<emphasis role='strong'>I august 2003</emphasis> brÃ¸t en kamp ut i USA om en " -"avgjÃ¸relse fra World Intellectual Property Organiation om Ã¥ avlyse et mÃ¸te." -"<placeholder type=\"footnote\" id=\"0\"/> PÃ¥ forespÃ¸rsel fra en lang rekke " -"med interessenter hadde WIPO bestemt Ã¥ avholde et mÃ¸te for Ã¥ diskutere " -"<quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape goder for felleskapet</" -"quote>. Disse prosjektene som hadde lyktes i Ã¥ produsere goder for " -"fellesskapet uten Ã¥ basere seg eksklusivt pÃ¥ bruken av proprietÃ¦re " -"immaterielle rettigheter. Eksempler inkluderer Internettet og verdensveven, " -"begge som ble utviklet pÃ¥ grunnlag av protokoller i allemannseie. Det hadde " -"med en begynnende trend for Ã¥ stÃ¸tte Ã¥pne akademiske tidsskrifter, og " -"inkluderte Public Library of Science-prosjektet som jeg beskriver i kapittel " -"<xref xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Det " -"inkluderte et prosjekt for a utvikle enkeltnukleotidforskjeller (SNPs), som " -"er antatt Ã¥ fÃ¥ stor betydning i biomedisinsk forskning. (Dette ideelle " -"prosjektet besto av et konsortium av Wellcome Trust og farmasÃ¸ytiske og " -"teknologiske selskaper, inkludert Amersham Biosciences, AstraZeneca, " -"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " -"IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt " -"posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig pÃ¥ 1980-tallet. Og " -"det inkluderte <quote>Ã¥pen kildekode og fri programvare</quote>." - -#. 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 "" -"FormÃ¥let med mÃ¸tet var Ã¥ vurdere denne rekken av prosjekter fra et felles " -"perspektiv: at ingen av disse prosjektene hadde som grunnlag immateriell " -"ekstremisme. I stedet, hos alle disse, ble immaterielle rettigheter " -"balansert med avtaler om Ã¥ holde tilgang Ã¥pen, eller for Ã¥ legge " -"begrensninger pÃ¥ hvordan proprietÃ¦re krav kan bli brukt." - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "in international debate on intellectual property" -msgstr "i internasjonal debatt om immateriell eiendom" - -#. 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 bÃ¸r nevne at jeg var en av folkene som ba WIPO om dette mÃ¸tet." - -#. 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 "" -"Dermed var, fra perspektivet i denne boken, denne konferansen ideell." -"<placeholder type=\"footnote\" id=\"0\"/> Prosjektene innenfor temaet var " -"bÃ¥de kommersielle og ikkekommersielle verker. De involverte i hovedsak " -"vitenskapen, men fra mange perspektiver. Og WIPO var et ideelt sted for " -"denne diskusjonen, siden WIPO var den fremstÃ¥ende internasjonale aktÃ¸r som " -"drev med immaterielle rettighetsspÃ¸rsmÃ¥l." - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "World Summit on the Information Society (WSIS)" -msgstr "World summit pÃ¥ informasjonssamfunnet (wsis)" - -#. 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 <quote>Information Society</quote> unless one also " -"talked about the range of information and culture that would be free. My " -"talk did not make my immoderate moderator very happy. And she was no doubt " -"correct that the scope of intellectual property protections was ordinarily " -"the stuff of WIPO. But in my view, there couldn't be too much of a " -"conversation about how much intellectual property is needed, since in my " -"view, the very idea of balance in intellectual property had been lost." -msgstr "" -"Faktisk fikk jeg en gang offentlig kjeft for Ã¥ ikke anerkjenne dette faktum " -"om WIPO. I februar 2003 leverte jeg et nÃ¸kkelforedrag pÃ¥ en forberedende " -"konferanse for World Summit on the Information Society (WSIS). PÃ¥ en " -"pressekonferanse fÃ¸r innlegget, ble jeg spurt hva jeg skulle snakke om. Jeg " -"svarte at jeg skulle snakke litt om viktigheten av balanse rundt " -"immaterielle verdier for utviklingen av informasjonssamfunnet. Ordstyreren " -"pÃ¥ arrangementet avbrÃ¸t meg da brÃ¥tt for Ã¥ informere meg og journalistene " -"tilstede at ingen spÃ¸rsmÃ¥l rundt immaterielle verdier ville bli diskutert av " -"WSIS, da slike spÃ¸rsmÃ¥l kun skulle diskuteres i WIPO. I innlegget jeg hadde " -"forberedt var temaet om immaterielle verdier en forholdvis liten del av det " -"hele. Men etter denne forblÃ¸ffende uttalelsen, gjorde jeg immaterielle " -"verdier til hovedfokus for mitt innlegg. Det var ikke mulig Ã¥ snakke om et " -"<quote>informasjonssamfunn</quote> uten at en ogsÃ¥ snakket om andelen av " -"informasjon og kultur som ikke er vernet av opphavsretten. Mitt innlegg " -"gjorde ikke min overivrige moderator veldig glad. Og hun hadde uten tvil " -"rett i at omfanget til vern av immaterielle rettigheter normalt hÃ¸rte inn " -"under WIPO. Men etter mitt syn, kunne det ikke bli for mye diskusjon om " -"hvor mye immaterielle rettigheter som trengs, siden etter mitt syn, hadde " -"selve idÃ©en om en balanse rundt immaterielle rettigheter hadde gÃ¥tt tapt." - -#. 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 <quote>open and collaborative projects to create public goods</" -"quote> seemed perfectly appropriate within the WIPO agenda." -msgstr "" -"SÃ¥ uansett om WSIS kan diskutere balanse i intellektuell eiendom eller ikke, " -"sÃ¥ hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed " -"mÃ¸tet om <quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape fellesgoder</" -"quote> virker Ã¥ passe perfekt for WIPOs agenda." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Apple Corporation" -msgstr "Apple Corporation" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "on free software" -msgstr "om fri programvare" - -#. 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 <quote>open source and free software." -"</quote> Microsoft in particular is wary of discussion of the subject. From " -"its perspective, a conference to discuss open source and free software would " -"be like a conference to discuss Apple's operating system. Both open source " -"and free software compete with Microsoft's software. And internationally, " -"many governments have begun to explore requirements that they use open " -"source or free software, rather than <quote>proprietary software,</quote> " -"for their own internal uses." -msgstr "" -"Men det er ett prosjekt i listen som er svÃ¦rt kontroversielt, i hvert fall " -"blant lobbyister. Dette prosjektet er <quote>Ã¥pen kildekode og fri " -"programvare</quote>. Microsoft spesielt er skeptisk til diskusjon om emnet. " -"Fra deres perspektiv, ville en konferanse for Ã¥ diskutere Ã¥pen kildekode og " -"fri programvare vÃ¦re som en konferanse for Ã¥ diskutere Apples " -"operativsystem. BÃ¥de Ã¥pen kildekode og fri programvare konkurrerer med " -"Microsofts programvare. Og internasjonalt har mange myndigheter begynt Ã¥ " -"utforske krav om at de skal bruke Ã¥pen kildekode eller fri programvare, i " -"stedet for <quote>proprietÃ¦r programvare</quote>, til sine egne interne " -"behov." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "<quote>copyleft</quote> licenses" -msgstr "<quote>copyleft</quote>-lisenser" - -#. 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 " -"<quote>open source</quote> software or software in the public domain. " -"Microsoft's principal opposition is to <quote>free software</quote> licensed " -"under a <quote>copyleft</quote> license, meaning a license that requires the " -"licensee to adopt the same terms on any derivative work. See Bradford L. " -"Smith, <quote>The Future of Software: Enabling the Marketplace to Decide,</" -"quote> <citetitle>Government Policy Toward Open Source Software</citetitle> " -"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " -"American Enterprise Institute for Public Policy Research, 2002), 69, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " -"See also Craig Mundie, Microsoft senior vice president, <citetitle>The " -"Commercial Software Model</citetitle>, discussion at New York University " -"Stern School of Business (3 May 2001), available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #63</ulink>." -msgstr "" -"Microsofts posisjon om Ã¥pen kildekode og fri programvare er mer " -"sofistikert. De har flere ganger forklart at de har ikke noe problem med " -"programvare som er <quote>Ã¥pen kildekode</quote> eller programvare som er " -"allemannseie. Microsofts prinsipielle motstand er mot <quote>fri " -"programvare</quote> lisensiert med en <quote>copyleft</quote>-lisens, som " -"betyr at lisensen krever at de som lisensierer skal adoptere same vilkÃ¥r for " -"ethvert avledet verk. Se Bradford L. Smith, <quote>The Future of Software: " -"Enabling the Marketplace to Decide</quote>, <citetitle>Government Policy " -"Toward Open Source Software</citetitle> (Washington, D.C.: AEI-Brookings " -"Joint Center for Regulatory Studies, American Enterprise Institute for " -"Public Policy Research, 2002), 69, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #62</ulink>. Se ogsÃ¥ Craig Mundie, Microsoft senior " -"vice president, <citetitle>The Commercial Software Model</citetitle>, " -"diskusjon ved New York University Stern School of Business (3. mai 2001), " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #63</" -"ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"I don't mean to enter that debate here. It is important only to make clear " -"that the distinction is not between commercial and noncommercial software. " -"There are many important companies that depend fundamentally upon open " -"source and free software, IBM being the most prominent. IBM is increasingly " -"shifting its focus to the GNU/Linux operating system, the most famous bit of " -"<quote>free software</quote>—and IBM is emphatically a commercial " -"entity. Thus, to support <quote>open source and free software</quote> is not " -"to oppose commercial entities. It is, instead, to support a mode of software " -"development that is different from Microsoft's.<placeholder type=\"footnote" -"\" id=\"0\"/>" -msgstr "" -"Jeg mener ikke Ã¥ gÃ¥ inn i den debatten her. Det er viktig kun for Ã¥ gjÃ¸re " -"det klart at skillet ikke er mellom kommersiell og ikke-kommersiell " -"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av " -"fri programvare, der IBM er den mest fremtredende. IBM har i stadig stÃ¸rre " -"grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berÃ¸mte " -"biten av <quote>fri programvare</quote>—og IBM er helt klart en " -"kommersiell aktÃ¸r. Dermed er det Ã¥ stÃ¸tte <quote>fri programvare</quote> " -"ikke Ã¥ motsette seg kommersielle aktÃ¸rer. Det er i stedet Ã¥ stÃ¸tte en mÃ¥te " -"Ã¥ drive programvareutvikling som er forskjellig fra Microsofts.<placeholder " -"type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "General Public License (GPL)" -msgstr "general public license (gpl)" - -#. type: Content of: <book><chapter><indexterm><primary> -#, mtrans, fuzzy -msgid "GPL (General Public License)" -msgstr "GPL (general public license)" - -#. PAGE BREAK 272 -#. type: Content of: <book><chapter><para> -msgid "" -"More important for our purposes, to support <quote>open source and free " -"software</quote> is not to oppose copyright. <quote>Open source and free " -"software</quote> is not software in the public domain. Instead, like " -"Microsoft's software, the copyright owners of free and open source software " -"insist quite strongly that the terms of their software license be respected " -"by adopters of free and open source software. The terms of that license are " -"no doubt different from the terms of a proprietary software license. Free " -"software licensed under the General Public License (GPL), for example, " -"requires that the source code for the software be made available by anyone " -"who modifies and redistributes the software. But that requirement is " -"effective only if copyright governs software. If copyright did not govern " -"software, then free software could not impose the same kind of requirements " -"on its adopters. It thus depends upon copyright law just as Microsoft does." -msgstr "" -"Mer viktig for vÃ¥re formÃ¥l, er at Ã¥ stÃ¸tte <quote>Ã¥pen kildekode og fri " -"programvare</quote> ikke er Ã¥ motsette seg opphavsrett. <quote>Ãpen " -"kildekode og fri programvare</quote> er ikke programvare uten " -"opphavsrettslig vern. Istedet, pÃ¥ samme mÃ¥te som programvare fra Microsoft, " -"insisterer opphavsrettsinnehaverne av fri programvare ganske sterkt at " -"vilkÃ¥rene i deres programvarelisens blir respektert av de som tar i bruk fri " -"programvare. VilkÃ¥rene i den lisensen er uten tvil forskjellig fra " -"vilkÃ¥rene i en proprietÃ¦r programvarelisens. For eksempel krever fri " -"programvare lisensiert med den generelle offentlige lisensen (GPL), at " -"kildekoden for programvare gjÃ¸res tilgjengelig for alle som endrer og " -"videredistribuerer programvaren. Men dette kravet er kun effektivt hvis " -"opphavsrett rÃ¥der over programvare. Hvis opphavsretten ikke rÃ¥der over " -"programvare, sÃ¥ kunne ikke fri programvare pÃ¥legge slike krav pÃ¥ de som tar " -"i bruk programvaren. Den er dermed like avhengig av Ã¥ndsverksloven som " -"Microsoft." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Krim, Jonathan" -msgstr "Krim, Jonathan" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "WIPO meeting opposed by" -msgstr "WIPO-mÃ¸te motarbeidet av" - -#. f9. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Krim, <quote>The Quiet War over Open-Source,</quote> available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #64</ulink>." -msgstr "" -"Krim, <quote>The Quiet War over Open-Source</quote>, tilgjengelig fra <ulink " -"url=\"http://free-culture.cc/notes/\">link #64</ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"It is therefore understandable that as a proprietary software developer, " -"Microsoft would oppose this WIPO meeting, and understandable that it would " -"use its lobbyists to get the United States government to oppose it, as well. " -"And indeed, that is just what was reported to have happened. According to " -"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's " -"lobbyists succeeded in getting the United States government to veto the " -"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, " -"the meeting was canceled." -msgstr "" -"Det er dermed forstÃ¥elig at Microsoft, som utviklere av proprietÃ¦r " -"programvare, gikk imot et slikt WIPO-mÃ¸te, og like fullt forstÃ¥elig at de " -"bruker sine lobbyister til Ã¥ fÃ¥ USAs myndigheter til Ã¥ gÃ¥ imot mÃ¸tet. Og " -"ganske riktig, det er akkurat dette som i fÃ¸lge rapporter hadde skjedd. I " -"fÃ¸lge Jonathan Krim i <citetitle>Washington Post</citetitle>, lyktes " -"Microsofts lobbyister i Ã¥ fÃ¥ USAs myndigheter til Ã¥ legge ned veto mot et " -"slikt mÃ¸te.<placeholder type=\"footnote\" id=\"0\"/> Og uten stÃ¸tte fra USA " -"ble mÃ¸tet avlyst." - -#. type: Content of: <book><chapter><para> -msgid "" -"I don't blame Microsoft for doing what it can to advance its own interests, " -"consistent with the law. And lobbying governments is plainly consistent with " -"the law. There was nothing surprising about its lobbying here, and nothing " -"terribly surprising about the most powerful software producer in the United " -"States having succeeded in its lobbying efforts." -msgstr "" -"Jeg klandrer ikke Microsoft for Ã¥ gjÃ¸re det de kan for Ã¥ fremme sine egne " -"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er " -"Ã¥penbart i samsvar med loven. Det er ikke noe overraskende her med deres " -"lobbyvirksomhet, og ikke veldig overraskende at den mektigste " -"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Boland, Lois" -msgstr "Boland, Lois" - -#. 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 <quote>open-source software runs counter to the mission of WIPO, which " -"is to promote intellectual-property rights.</quote> She is quoted as saying, " -"<quote>To hold a meeting which has as its purpose to disclaim or waive such " -"rights seems to us to be contrary to the goals of WIPO.</quote>" -msgstr "" -"Det som var overraskende var USAs regjerings begrunnelse for Ã¥ vÃ¦re imot " -"mÃ¸tet. Igjen, sitert av Krim, forklarte Lois Boland, direktÃ¸r for " -"internasjonale forbindelser ved USAs patent og varemerkekontor, at " -"<quote>programvare med Ã¥pen kildekode gÃ¥r imot til formÃ¥let til WIPO, som er " -"Ã¥ fremme immaterielle rettigheter.</quote>. Hun skal i fÃ¸lge sitatet ha " -"sagt, <quote>Ã holde et mÃ¸te som har som formÃ¥l Ã¥ fraskrive seg eller " -"frafalle slike rettigheter synes for oss Ã¥ vÃ¦re i strid med formÃ¥lene til " -"WIPO.</quote>" - -#. type: Content of: <book><chapter><para> -msgid "These statements are astonishing on a number of levels." -msgstr "Disse utsagnene er forblÃ¸ffende pÃ¥ flere nivÃ¥er." - -#. 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 " -"<quote>copyright</quote>. Without it, restrictions imposed by those " -"licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the " -"mission of promoting intellectual property rights reveals an extraordinary " -"gap in understanding—the sort of mistake that is excusable in a first-" -"year law student, but an embarrassment from a high government official " -"dealing with intellectual property issues." -msgstr "" -"For det fÃ¸rste er de ganske enkelt ikke riktige. Som jeg beskrev, er det " -"meste av Ã¥pen kildekode og fri programvare fundamentalt avhengig av den " -"immaterielle retten kalt <quote>opphavsrett</quote>. Uten den vil " -"begrensningene definert av disse lisensene ikke fungere. Dermed er det Ã¥ si " -"at de <quote>gÃ¥r imot</quote> formÃ¥let om Ã¥ fremme immaterielle rettigheter " -"Ã¥ avslÃ¸re en ekstraordinÃ¦r mangel pÃ¥ forstÃ¥else—den type feil som er " -"tilgivelig hos en fÃ¸rsteÃ¥rs jusstudent, men pinlig fra en hÃ¸yt plassert " -"statstjenestemann som hÃ¥ndterer utfordringer rundt immaterielle rettigheter." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "generic drugs" -msgstr "generiske medisiner" - -#. type: Content of: <book><chapter><para> -msgid "" -"Second, who ever said that WIPO's exclusive aim was to <quote>promote</" -"quote> intellectual property maximally? As I had been scolded at the " -"preparatory conference of WSIS, WIPO is to consider not only how best to " -"protect intellectual property, but also what the best balance of " -"intellectual property is. As every economist and lawyer knows, the hard " -"question in intellectual property law is to find that balance. But that " -"there should be limits is, I had thought, uncontested. One wants to ask Ms. " -"Boland, are generic drugs (drugs based on drugs whose patent has expired) " -"contrary to the WIPO mission? Does the public domain weaken intellectual " -"property? Would it have been better if the protocols of the Internet had " -"been patented?" -msgstr "" -"For det andre, hvem har noen gang hevdet at WIPOs eksklusive mÃ¥l var Ã¥ " -"<quote>fremme</quote> immaterielle rettigheter maksimalt? Som jeg fikk " -"kjeft om pÃ¥ den forberedende konferansen til WSIS, skal WIPO vurdere ikke " -"bare hvordan best beskytte immaterielle rettigheter, men ogsÃ¥ hva som er den " -"beste balansen rundt immaterielle rettigheter. Som enhver Ã¸konom og advokat " -"vet, er det vanskelige spÃ¸rsmÃ¥let i immaterielle rettighetsjuss Ã¥ finne den " -"balansen. Men at det skulle vÃ¦re en grense, trodde jeg, var ubestridt. Man " -"Ã¸nsker Ã¥ spÃ¸rre Ms. Boland om generelle medisiner (medisiner basert pÃ¥ " -"medisiner med patenter som er utlÃ¸pt) i strid med WIPOs oppdrag? Svekker " -"allemannseie immaterielle rettigheter? Ville det vÃ¦rt bedre om Internettets " -"protokoller hadde vÃ¦rt patentert?" - -#. 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 <emphasis>their</emphasis> rights. If " -"they want to <quote>waive</quote> or <quote>disclaim</quote> their rights, " -"that is, within our tradition, totally appropriate. When Bill Gates gives " -"away more than $20 billion to do good in the world, that is not inconsistent " -"with the objectives of the property system. That is, on the contrary, just " -"what a property system is supposed to be about: giving individuals the right " -"to decide what to do with <emphasis>their</emphasis> property." -msgstr "" -"For det tredje, selv om en tror at formÃ¥let med WIPO var Ã¥ maksimere " -"immaterielle rettigheter, sÃ¥ innehas immaterielle rettigheter, i vÃ¥r " -"tradisjon, av individer og selskaper. De fÃ¥r bestemme hva som skal gjÃ¸res " -"med disse rettighetene, igjen fordi det er <emphasis>de</emphasis> som eier " -"rettighetene. Hvis de Ã¸nsker Ã¥ <quote>frafalle</quote> eller <quote>frasi</" -"quote> seg sine rettigheter, sÃ¥ er det helt etter boka i vÃ¥r tradisjon. NÃ¥r " -"Bill Gates gir bort mer enn $20 milliarder til gode formÃ¥l, sÃ¥ er ikke det " -"uforenelig med mÃ¥lene til eiendomssystemet. Det er heller tvert i mot, " -"akkurat hva eiendomssysstemet er ment Ã¥ oppnÃ¥, at individer har retten til Ã¥ " -"bestemme hva de vil gjÃ¸re med <emphasis>sin</emphasis> eiendom." - -#. PAGE BREAK 274 -#. type: Content of: <book><chapter><para> -msgid "" -"When Ms. Boland says that there is something wrong with a meeting " -"<quote>which has as its purpose to disclaim or waive such rights,</quote> " -"she's saying that WIPO has an interest in interfering with the choices of " -"the individuals who own intellectual property rights. That somehow, WIPO's " -"objective should be to stop an individual from <quote>waiving</quote> or " -"<quote>disclaiming</quote> an intellectual property right. That the interest " -"of WIPO is not just that intellectual property rights be maximized, but that " -"they also should be exercised in the most extreme and restrictive way " -"possible." -msgstr "" -"NÃ¥r Ms. Boland sier at det er noe galt med et mÃ¸te <quote>som har som sitt " -"formÃ¥l Ã¥ fraskrive eller frafalle slike rettigheter</quote>, sÃ¥ sier hun at " -"WIPO har en interesse i Ã¥ pÃ¥virke valgene til enkeltpersoner som eier " -"immaterielle rettigheter. At pÃ¥ en eller annen WIPOs oppdrag bÃ¸r vÃ¦re Ã¥ " -"stoppe individer fra Ã¥ <quote>fraskrive</quote> eller <quote>frafalle</" -"quote> seg sine immaterielle rettigheter. At interessen til WIPO ikke bare " -"er maksimale immaterielle rettigheter, men ogsÃ¥ at de skal utÃ¸ves pÃ¥ den " -"mest ekstreme og restriktive mulig mÃ¥ten." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "feudal system" -msgstr "fÃ¸ydalsystem" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "feudal system of" -msgstr "fÃ¸ydalsystem for" - -#. 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 <quote>feudalism.</quote> Under " -"feudalism, not only was property held by a relatively small number of " -"individuals and entities. And not only were the rights that ran with that " -"property powerful and extensive. But the feudal system had a strong interest " -"in assuring that property holders within that system not weaken feudalism by " -"liberating people or property within their control to the free market. " -"Feudalism depended upon maximum control and concentration. It fought any " -"freedom that might interfere with that control." -msgstr "" -"Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den " -"anglo-amerikansk tradisjon. Det kalles <quote>fÃ¸ydalisme</quote>. Under " -"fÃ¸ydalismen var eiendommer ikke bare kontrollert av et relativt lite antall " -"individer og aktÃ¸rer. Men det fÃ¸ydale systemet hadde en sterk interesse i Ã¥ " -"sikre at landeier i systemet ikke svekke fÃ¸ydalismen ved Ã¥ frigjÃ¸re folkene " -"og eiendomene som de kontrollerte til det frie markedet. FÃ¸ydalismen var " -"avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet " -"som kunne forstyrre denne kontrollen." - -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " -"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Se Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " -"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. 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 <emphasis>free</" -"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal." -msgstr "" -"Som Peter Drahos og John Braithwaite beskriver, dette er nÃ¸yaktig det valget " -"vi nÃ¥ gjÃ¸r om immaterielle rettigheter.<placeholder type=\"footnote\" id=" -"\"0\"/> Vi kommer til Ã¥ fÃ¥ et informasjonssamfunn. SÃ¥ mye er sikkert. VÃ¥rt " -"eneste valg nÃ¥ er hvorvidt dette informasjonssamfunnet skal vÃ¦re " -"<emphasis>fritt</emphasis> eller <emphasis>fÃ¸ydalt</emphasis>. Trenden er " -"mot det fÃ¸ydale." - -#. 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 "" -"Da denne bataljen brÃ¸t ut, blogget jeg om dette. En heftig debatt brÃ¸t ut i " -"kommentarfeltet. Ms. Boland hadde en rekke stÃ¸ttespillere som forsÃ¸kte Ã¥ " -"vise hvorfor hennes kommentarer ga mening. Men det var spesielt en " -"kommentar som gjorde meg trist. En anonym kommentator skrev," - -#. 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 (<quote>the goal of WIPO, and the goal of any government, should " -"be to promote the right balance of intellectual property rights, not simply " -"to promote intellectual property rights</quote>), not as it is. If we were " -"talking about the world as it is, then of course Boland didn't say anything " -"wrong. But in the world as Lessig would have it, then of course she did. " -"Always pay attention to the distinction between Lessig's world and ours." -msgstr "" -"George, du misforstÃ¥r Lessig: Han snakker bare om verden slik den burde vÃ¦re " -"(<quote>mÃ¥let til WIPO, og mÃ¥let til enhver regjering, bÃ¸r vÃ¦re Ã¥ fremme den " -"riktige balansen for immaterielle rettigheter, ikke bare Ã¥ fremme " -"immaterielle rettigheter</quote>), ikke som den er. Hvis vi snakket om " -"verden slik den er, sÃ¥ har naturligvis Boland ikke sagt noe galt. Men i " -"verden slik Lessig vil at den skal vÃ¦re, er det Ã¥penbart at hun har sagt noe " -"galt. En mÃ¥ alltid vÃ¦re oppmerksom pÃ¥ forskjellen mellom Lessigs og vÃ¥r " -"verden." - -#. 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 gikk glipp av ironien fÃ¸rst gangen jeg leste den. Jeg lese den raskt og " -"trodde forfatteren stÃ¸ttet idÃ©en om at det vÃ¥re myndigheter burde gjÃ¸re var " -"Ã¥ sÃ¸ke balanse. (Min kritikk av Ms Boland, selvfÃ¸lgelig, var ikke om " -"hvorvidt hun sÃ¸kte balanse eller ikke; min kritikk var at hennes kommentarer " -"avslÃ¸rte en feil kun en fÃ¸rsteÃ¥rs jusstudent burde kunne gjÃ¸re. Jeg har noen " -"illusjon om ekstremismen hos vÃ¥re myndigheter, uansett om de er " -"republikanere eller demokrater. Min eneste tilsynelatende illusjon er " -"hvorvidt vÃ¥re myndigheter bÃ¸r snakke sant 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 <quote>goal</" -"quote> of a government should be <quote>to promote the right balance</quote> " -"of intellectual property. That was obviously silly to him. And it obviously " -"betrayed, he believed, my own silly utopianism. <quote>Typical for an " -"academic,</quote> the poster might well have continued." -msgstr "" -"Det var derimot Ã¥penbart at den som postet meldingen ikke stÃ¸ttet idÃ©en. I " -"stedet latterliggjorde forfatteren selve idÃ©en om at i den virkelig verden " -"skulle <quote>mÃ¥let</quote> til myndighetene vÃ¦re <quote>Ã¥ fremme den " -"riktige balanse</quote> for immaterielle rettigheter. Det var Ã¥penbart " -"tÃ¥pelig for ham. Og det avslÃ¸rte Ã¥penbart, trodde han, min egen tÃ¥pelige " -"utopisme. <quote>Typisk for en akademiker</quote>, kunne forfatteren like " -"gjerne ha fortsatt." - -#. 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 forstÃ¥r kritikken av akademisk utopisme. Jeg mener ogsÃ¥ at utopisme er " -"tÃ¥pelig, og jeg vil vÃ¦re blant de fÃ¸rste til Ã¥ gjÃ¸re narr av de absurde " -"urealistiske idealer til akademikere gjennom historien (og ikke bare i vÃ¥rt " -"eget lands historie)." - -#. type: Content of: <book><chapter><para> -msgid "" -"But when it has become silly to suppose that the role of our government " -"should be to <quote>seek balance,</quote> then count me with the silly, for " -"that means that this has become quite serious indeed. If it should be " -"obvious to everyone that the government does not seek balance, that the " -"government is simply the tool of the most powerful lobbyists, that the idea " -"of holding the government to a different standard is absurd, that the idea " -"of demanding of the government that it speak truth and not lies is just " -"naïve, then who have we, the most powerful democracy in the world, " -"become?" -msgstr "" -"Men nÃ¥r det har blitt dumt Ã¥ anta at rollen til vÃ¥re myndigheter bÃ¸r vÃ¦re Ã¥ " -"<quote>oppnÃ¥ balanse</quote>, da kan du regne meg blant de dumme, for det " -"betyr at dette faktisk har blitt ganske seriÃ¸st. Hvis det bÃ¸r vÃ¦re Ã¥penbart " -"for alle at myndighetene ikke sÃ¸ker Ã¥ oppnÃ¥ balanse, at myndighetene ganske " -"enkelt et verktÃ¸y for de mektigste lobbyistene, at idÃ©en om Ã¥ forvente bedre " -"av myndighetene er absurd, at idÃ©en om Ã¥ kreve at myndighetene snakker sant " -"og ikke lyver bare er naiv, hva har da vi, det mektigste demokratiet i " -"verden, blitt?" - -#. PAGE BREAK 276 -#. type: Content of: <book><chapter><para> -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 vÃ¦re galskap Ã¥ forvente at en mektig myndigshetsperson skal si " -"sannheten. Det kan vÃ¦re galskap Ã¥ tro at myndighetenes politikk skal gjÃ¸re " -"mer enn Ã¥ tjene de mektigste interesser. Det kan vÃ¦re galskap Ã¥ argumentere " -"for Ã¥ bevare en tradisjon som har vÃ¦rt en del av vÃ¥r tradisjon for " -"mesteparten av vÃ¥r historie—fri kultur." - -#. type: Content of: <book><chapter><para> -msgid "If this is crazy, then let there be more crazies. Soon." -msgstr "Hvis dette er galskap, sÃ¥ la det vÃ¦re mer gÃ¦rninger. Snart." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Turner, Ted" -msgstr "Turner, Ted" - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>There are moments</emphasis> of hope in this " -"struggle. And moments that surprise. When the FCC was considering relaxing " -"ownership rules, which would thereby further increase the concentration in " -"media ownership, an extraordinary bipartisan coalition formed to fight this " -"change. For perhaps the first time in history, interests as diverse as the " -"NRA, the ACLU, Moveon.org, William Safire, Ted Turner, and CodePink Women " -"for Peace organized to oppose this change in FCC policy. An astonishing " -"700,000 letters were sent to the FCC, demanding more hearings and a " -"different result." -msgstr "" -"<emphasis role='strong'>Det finnes Ã¸yeblikk</emphasis> av hÃ¥p i denne " -"kampen. Og Ã¸yeblikk som overrasker. Da FCC vurderte mindre strenge " -"eierskapsregler, som ville ytterligere konsentrere medieeierskap, dannet det " -"seg en en ekstraordinÃ¦r koalisjon pÃ¥ tvers av partiene for Ã¥ bekjempe " -"endringen. For kanskje fÃ¸rste gang i historien organiserte interesser sÃ¥ " -"forskjellige som NRA, ACLU, moveon.org, William Safire, Ted Turner og " -"Codepink Women for Piece seg for Ã¥ protestere pÃ¥ denne endringen i FCC-" -"reglene. SÃ¥ mange som 700 000 brev ble sendt til FCC med krav om flere " -"hÃ¸ringer 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 "" -"Disse protestene stoppet ikke FCC, men like etter stemte en bred koalisjon i " -"senatet for Ã¥ reversere avgjÃ¸relsen i FCC. De fiendtlige hÃ¸ringene som ledet " -"til avstemmingen avslÃ¸rte hvor mektig denne bevegelsen hadde blitt. Det var " -"ingen betydningsfull stÃ¸tte for FCCs avgjÃ¸relse, mens det var bred og " -"vedvarende stÃ¸tte for Ã¥ 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 gÃ¥r glipp av en viktig brikke i puslespillet. Ã " -"vÃ¦re stor er ikke ille i seg selv. Frihet er ikke truet bare pÃ¥ grunn av at " -"noen blir veldig rik, eller pÃ¥ grunn av at det bare er en hÃ¥ndfull store " -"aktÃ¸rer. Den dÃ¥rlige kvaliteten til Big Macs eller Quartar Punders betyr " -"ikke at du ikke kan fÃ¥ en god hamburger andre steder." - -#. 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 med mediekonsentrasjon kommer ikke fra selve konsentrasjonen, men " -"kommer fra fÃ¸ydalismen som denne konsentrasjonen fÃ¸rer til nÃ¥r den kobles " -"til endringer i opphavsretten. Det er ikke kun at det er noen mektige " -"selskaper som styrer en stadig voksende andel av mediene. Det er at denne " -"konsentrasjonen kan pÃ¥kalle en like oppsvulmet rekke rettigheter—" -"eiendomsrettigheter i en historisk ekstrem form—som gjÃ¸r stÃ¸rrelsen " -"ille." - -#. 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 <quote>big,</quote> wisely or not. That we could be " -"motivated to fight <quote>big</quote> again is not something new." -msgstr "" -"Det er derfor betydningsfullt at sÃ¥ mange vil kjempe for Ã¥ kreve konkurranse " -"og Ã¸kt mangfold. Likevel, hvis kampanjen blir forstÃ¥tt til Ã¥ kun gjelde " -"stÃ¸rrelse, sÃ¥ er ikke det veldig overraskende. Vi amerikanere har en lang " -"historie med Ã¥ slÃ¥ss mot <quote>stort</quote>, klokt eller ikke. At vi kan " -"vÃ¦re motivert til Ã¥ slÃ¥ss mot <quote>store</quote> igjen ikke noe nytt." - -#. 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 " -"<quote>intellectual property.</quote> Not because balance is alien to our " -"tradition; indeed, as I've argued, balance is our tradition. But because the " -"muscle to think critically about the scope of anything called " -"<quote>property</quote> is not well exercised within this tradition anymore." -msgstr "" -"Det ville vÃ¦rt noe nytt, og noe veldig viktig, hvis like mange kan vÃ¦re med " -"pÃ¥ en kampanje for Ã¥ bekjempe Ã¸kende ekstremisme bygget inn i idÃ©en om " -"<quote>intellektuell eiendom</quote>. Ikke fordi balanse er fremmed for vÃ¥r " -"tradisjon. Jeg argumenterer for at balanse er vÃ¥r tradisjon. Men fordi " -"evnen til Ã¥ tenke kritisk pÃ¥ omfanget av alt som kalles <quote>eiendom</" -"quote> ikke er lenger er godt trent i denne tradisjonen." - -#. 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 Akilles, sÃ¥ ville dette vÃ¦re vÃ¥r hÃ¦l. Dette ville vÃ¦re stedet " -"for vÃ¥re tragedie." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Dylan, Bob" -msgstr "Dylan, Bob" - -#. f11. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, " -"September 2003, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers," -"</quote> CNN/Money, 8 September 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #66</ulink>; Soni Sangha and Phyllis Furman with " -"Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as " -"Sharers,</quote> <citetitle>New York Daily News</citetitle>, 9 September " -"2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " -"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " -"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean, " -"<quote>Schoolgirl Settles with RIAA,</quote> <citetitle>Wired News</" -"citetitle>, 10 September 2003, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #67</ulink>." -msgstr "" -"John Borland, <quote>RIAA Sues 261 File Swappers</quote>, CNET News.com, " -"september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers</" -"quote>, CNN/Money, 8 september 2003, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #66</ulink>; Soni Sangha og Phyllis Furman " -"sammen med Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 " -"Cited as Sharers</quote>, <citetitle>New York Daily News</citetitle>, 9. " -"september 2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised " -"Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants</" -"quote>, <citetitle>Washington Post</citetitle>, 10. september 2003, E1; " -"Katie Dean, <quote>Schoolgirl Settles with RIAA</quote>, <citetitle>Wired " -"News</citetitle>, 10. september 2003, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #67</ulink>." - -#. f12. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady,</" -"quote> mtv.com, 17 September 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #68</ulink>." -msgstr "" -"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady</" -"quote>, mtv.com, 17. september 2003, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #68</ulink>." - -#. f13. -#. PAGE BREAK 334 -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " -"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #69</ulink>." -msgstr "" -"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " -"Dylan Songs</quote>, Kansascity.com, 9. juli 2003, tilgjengelig fra <ulink " -"url=\"http://free-culture.cc/notes/\">link #69</ulink>." - -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>As I write</emphasis> these final words, the news is " -"filled with stories about the RIAA lawsuits against almost three hundred " -"individuals.<placeholder type=\"footnote\" id=\"0\"/> Eminem has just been " -"sued for <quote>sampling</quote> someone else's music.<placeholder type=" -"\"footnote\" id=\"1\"/> The story about Bob Dylan <quote>stealing</quote> " -"from a Japanese author has just finished making the rounds.<placeholder type=" -"\"footnote\" id=\"2\"/> An insider from Hollywood—who insists he must " -"remain anonymous—reports <quote>an amazing conversation with these " -"studio guys. They've got extraordinary [old] content that they'd love to use " -"but can't because they can't begin to clear the rights. They've got scores " -"of kids who could do amazing things with the content, but it would take " -"scores of lawyers to clean it first.</quote> Congressmen are talking about " -"deputizing computer viruses to bring down computers thought to violate the " -"law. Universities are threatening expulsion for kids who use a computer to " -"share content." -msgstr "" -"<emphasis role='strong'>Mens jeg skriver</emphasis> disse avsluttende " -"ordene, er nyhetene fylt med historier om at RIAA saksÃ¸ker nesten tre hundre " -"individer.<placeholder type=\"footnote\" id=\"0\"/> Eminem har nettopp " -"blitt saksÃ¸kt for Ã¥ ha <quote>samplet</quote> noen andres musikk." -"<placeholder type=\"footnote\" id=\"1\"/> Historien om hvordan Bob Dylan " -"har <quote>stjÃ¥let</quote> fra en japansk forfatter har nettopp gÃ¥tt verden " -"over.<placeholder type=\"footnote\" id=\"2\"/> En pÃ¥ innsiden i " -"Hollywood—som insisterer pÃ¥ at han mÃ¥ forbli anonym—rapporterer " -"<quote>en utrolig samtale med disse studiofolkene. De har fantastisk " -"[gammelt] innhold som de ville elske Ã¥ bruke, men det kan de ikke pÃ¥ grunn " -"av at de fÃ¸rst mÃ¥ klarere rettighetene. De har hauger med ungdommer som " -"kunne gjÃ¸re fantastiske ting med innholdet, men det vil fÃ¸rst kreve hauger " -"med advokater for Ã¥ klarere det fÃ¸rst</quote>. Kongressrepresentanter " -"snakker om Ã¥ gi datavirus politimyndighet for Ã¥ ta ned datamaskiner som " -"antas Ã¥ bryte loven. Universiteter truer med Ã¥ utvise ungdommer som bruker " -"en datamaskin for Ã¥ dele innhold." - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "BBC" -msgstr "BBC" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Brazil, free culture in" -msgstr "Brasil, fri kultur i" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Creative Commons" -msgstr "Creative Commons" - -#. type: Content of: <book><chapter><indexterm><primary> -msgid "Gil, Gilberto" -msgstr "Gil, Gilberto" - -#. type: Content of: <book><chapter><indexterm><secondary> -msgid "public creative archive in" -msgstr "offentlig kreativt arkiv i" - -#. f14. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press " -"release, 24 August 2003, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #70</ulink>." -msgstr "" -"<quote>BBC Plans to Open Up Its Archive to the Public</quote>, pressemelding " -"fra BBC, 24. august 2003, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #70</ulink>." - -#. f15. -#. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 " -"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#71</ulink>." -msgstr "" -"<quote>Creative Commons and Brazil</quote>, Creative Commons Weblog, 6. " -"august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #71</ulink>." - -#. 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 <quote>Creative Archive,</quote> from which British citizens " -"can download BBC content, and rip, mix, and burn it.<placeholder type=" -"\"footnote\" id=\"0\"/> And in Brazil, the culture minister, Gilberto Gil, " -"himself a folk hero of Brazilian music, has joined with Creative Commons to " -"release content and free licenses in that Latin American country." -"<placeholder type=\"footnote\" id=\"1\"/> I've told a dark story. The truth " -"is more mixed. A technology has given us a new freedom. Slowly, some begin " -"to understand that this freedom need not mean anarchy. We can carry a free " -"culture into the twenty-first century, without artists losing and without " -"the potential of digital technology being destroyed. It will take some " -"thought, and more importantly, it will take some will to transform the RCAs " -"of our day into the Causbys." -msgstr "" -"I mens pÃ¥ andre siden av Atlanteren har BBC nettopp annonsert at de vil " -"bygge opp et <quote>kreativt arkiv</quote> som britiske borgere kan laste " -"ned BBC-innhold fra, og rippe, mikse og brenne det ut.<placeholder type=" -"\"footnote\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i " -"seg selv en folkehelt i brasiliansk musikk, slÃ¥tt seg sammen med Creative " -"Commons for Ã¥ gi ut innhold og frie lisenser i dette latinamerikanske landet." -"<placeholder type=\"footnote\" id=\"1\"/> Jeg har fortalt en mÃ¸rk " -"historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet. " -"Sakte begynner noen Ã¥ forstÃ¥ at denne friheten trenger ikke Ã¥ bety anarki. " -"Vi kan fÃ¥ med oss fri kultur inn i det tjuefÃ¸rste Ã¥rhundre, uten at artister " -"taper og uten at potensialet for digital teknologi blir knust. Det vil " -"kreve omtanke, og viktigere, det vil kreve at noen omformer RCA-ene av i dag " -"til Causbyere." - -#. 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 mÃ¥ gjÃ¸re opprÃ¸r. Den mÃ¥ handle for Ã¥ frigjÃ¸re kulturen. Og " -"snart, hvis dette potensialet skal noen gang bli realisert." - -#. type: Content of: <book><chapter><title> -msgid "AFTERWORD" -msgstr "Etterord" - -#. PAGE BREAK 280 -#. type: Content of: <book><chapter><para> -msgid "" -"<emphasis role='strong'>At least some</emphasis> who have read this far will " -"agree with me that something must be done to change where we are heading. " -"The balance of this book maps what might be done." -msgstr "" -"<emphasis role='strong'>I hvert fall</emphasis> noen av de som har lest helt " -"hit vil vÃ¦re enig med meg om at noe mÃ¥ gjÃ¸res for Ã¥ endre retningen vi " -"holder. Balansen i denne boken kartlegger hva som kan gjÃ¸res." - -#. 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 deler dette kartet i to deler: det som enhver kan gjÃ¸re nÃ¥, og det som " -"krever hjelp fra lovgiverne. Hvis det er en lÃ¦rdom vi kan trekke fra " -"historien om Ã¥ endre pÃ¥ sunn fornuft, sÃ¥ er det at det krever Ã¥ endre " -"hvordan mange mennesker tenker pÃ¥ den aktuelle saken. " - -#. 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 mÃ¥ starte i gatene. Det mÃ¥ rekrutteres et " -"signifikant antall foreldre, lÃ¦rere, bibliotekarer, skapere, forfattere, " -"musikere, filmskapere, forskere—som alle mÃ¥ fortelle denne historien " -"med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er " -"sÃ¥ 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 "" -"NÃ¥r denne bevegelsen har hatt sin effekt i gatene, sÃ¥ er det et visst hÃ¥p om " -"at det kan ha effekt i Washington. Vi er fortsatt et demokrati. Hva folk " -"mener betyr noe. Ikke sÃ¥ mye som det burde, i hvert fall nÃ¥r en RCA stÃ¥r " -"imot, men likevel, det betyr noe. Og dermed vil jeg skissere, i den andre " -"delen som fÃ¸lger, endringer som kongressen kunne gjÃ¸re for Ã¥ bedre sikre en " -"fri kultur." - -#. type: Content of: <book><chapter><section><title> -msgid "US, NOW" -msgstr "Oss, nÃ¥" - -#. type: Content of: <book><chapter><section><para> -msgid "" -"<emphasis role='strong'>Common sense</emphasis> 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 "" -"<emphasis role='strong'>Sunn fornuft</emphasis> er pÃ¥ same side som " -"opphavsrettskrigerne pÃ¥ grunn av at debatten sÃ¥ langt har vÃ¦rt rammet inn " -"rundt ytterpunktene—som en stor entel/eller: enten eiendom eller " -"anarki, enten total kontroll eller sÃ¥ fÃ¥r ikke kunstnerne betalt. Hvis " -"dette virkelig var valget sÃ¥ burde krigerne vinne." - -#. type: Content of: <book><chapter><section><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—<quote>All Rights Reserved</quote>— " -"and those who reject copyright—<quote>No Rights Reserved.</quote> The " -"<quote>All Rights Reserved</quote> sorts believe that you should ask " -"permission before you <quote>use</quote> a copyrighted work in any way. The " -"<quote>No Rights Reserved</quote> sorts believe you should be able to do " -"with content as you wish, regardless of whether you have permission or not." -msgstr "" -"Tabben her er feilen med Ã¥ utelukke den gyldne middelvei. Det er " -"ytterpunkter i denne debatten, men ytterpunktene er ikke det hele. Det er " -"de som tror pÃ¥ maksimal opphavsrett—<quote>Alle rettigheter reservert</" -"quote>—og de som avviser opphavsrett—<quote>Ingen rettigheter " -"reservert</quote>. <quote>Alle rettigheter reservert</quote>-typen mener du " -"bÃ¸r spÃ¸rre om tillatelse fÃ¸r du <quote>bruker</quote> et " -"opphavsrettsbeskyttet verk pÃ¥ noe vis. <quote>Ingen rettigheter reservert</" -"quote>-typen mener du bÃ¸r kunne gjÃ¸re med innhold som du selv Ã¸nsker " -"uavhengig av om du har tillatelse eller ikke." - -#. type: Content of: <book><chapter><section><indexterm><secondary> -msgid "initial free character of" -msgstr "opprinnelige frie egenskaper ved" - -#. PAGE BREAK 282 -#. type: Content of: <book><chapter><section><para> -msgid "" -"When the Internet was first born, its initial architecture effectively " -"tilted in the <quote>no rights reserved</quote> direction. Content could be " -"copied perfectly and cheaply; rights could not easily be controlled. Thus, " -"regardless of anyone's desire, the effective regime of copyright under the " -"original design of the Internet was <quote>no rights reserved.</quote> " -"Content was <quote>taken</quote> regardless of the rights. Any rights were " -"effectively unprotected." -msgstr "" -"Da Internettet ble skapt, ga dets arkitektur i effekt en helning mot " -"<quote>ingen rettigheter reservert</quote>. Innhold kunne kopieres billig " -"og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed " -"var, uavhengig av hva noen Ã¸nsket, det effektive regimet for opphavsrett " -"under den originale utformingen av Internettet <quote>ingen rettigheter " -"reservert</quote>. Innhold ble <quote>tatt</quote> uavhengig av " -"rettighetene. Alle rettigheter var effektivt ubeskyttet." - -#. type: Content of: <book><chapter><section><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 <quote>no rights reserved,</quote> the future architecture will make " -"the effective default <quote>all rights reserved.</quote> The architecture " -"and law that surround the Internet's design will increasingly produce an " -"environment where all use of content requires permission. The <quote>cut " -"and paste</quote> world that defines the Internet today will become a " -"<quote>get permission to cut and paste</quote> world that is a creator's " -"nightmare." -msgstr "" -"Denne opprinnelige egenskapen ga en reaksjon (med motsatt fortegn, men ikke " -"helt likt) fra opphavsrettseierne. Den reaksjonen har vÃ¦rt tema for denne " -"boken. Gjennom lovgiving, sÃ¸ksmÃ¥l og endringer i nettverkets utforming har " -"opphavsrettsinnehaverne vÃ¦rt i stand ti lÃ¥ endre den grunnlegende egenskapen " -"til omgivelsen for det originale Internett. Hvis den opprinnelige " -"arkitekturen gir et effektivt utgangspunkt med <quote>ingen rettigheter " -"reserver</quote>, sÃ¥ vil fremtidens arkitektur gjÃ¸re det effektive " -"utgangspunktet til <quote>alle rettigheter reservert</quote>. Arkitekturen " -"og loven som omgir Internettets utforming vil i stadig stÃ¸rre grad gi en " -"omgivelse hvor all bruk av innhold krever tillatelse. <quote>Klipp og lim</" -"quote>-verden som definerer Internettet i dag vil bli en <quote>skaff " -"tillatelse til Ã¥ klippe og lime</quote>-verden som er en skapers mareritt." - -#. type: Content of: <book><chapter><section><para> -msgid "" -"What's needed is a way to say something in the middle—neither " -"<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but " -"<quote>some rights reserved</quote>— and thus a way to respect " -"copyrights but enable creators to free content as they see fit. In other " -"words, we need a way to restore a set of freedoms that we could just take " -"for granted before." -msgstr "" -"Det som trengs er en mÃ¥te Ã¥ si noe i midten—hverken <quote>alle " -"rettigheter reservert</quote> eller <quote>ingen rettigheter reservert</" -"quote> men <quote>noen rettigheter reservert</quote>—og dermed en mÃ¥te " -"Ã¥ respektere opphavsretter mens en gjÃ¸r det mulig for skaperne Ã¥ frigjÃ¸re " -"innhold nÃ¥r de Ã¸nsker det. Med andre ord, vi trenger en mÃ¥te Ã¥ gjeninnfÃ¸re " -"settet med friheter som vi kunne ta for gitt tidligere." - -#. type: Content of: <book><chapter><section><section><title> -msgid "Rebuilding Freedoms Previously Presumed: Examples" -msgstr "Gjenoppbygging av friheter som tidligere var antatt: Eksempler" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -#, mtrans, fuzzy -msgid "restoration efforts on previous aspects of" -msgstr "restaurering innsats pÃ¥ forrige aspekter av" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "privacy rights" -msgstr "personvernrettigheter" - -#. type: Content of: <book><chapter><section><section><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 " -"<quote>privacy</quote> of your browsing habits was assured." -msgstr "" -"Hvis du trer tilbake fra slaget jeg har beskrevet her, sÃ¥ vil du kjenne " -"igjen dette problemet fra andre omgivelser. Tenk pÃ¥ personvern. FÃ¸r " -"Internettet trengte ikke de fleste av oss Ã¥ bekymre oss over hvor mye data " -"om vÃ¥re liv som vi kringkastet til verden. Hvis du gikk inn i en bokhandler " -"og tittet pÃ¥ verkene til Karl Marx, sÃ¥ trengte du ikke bekymre deg for Ã¥ " -"mÃ¥tte forklare hva du tittet pÃ¥ for dine naboer eller din sjef. " -"<quote>Personvernet</quote> rundt hva du tittet pÃ¥ var sikret." - -#. type: Content of: <book><chapter><section><section><para> -msgid "What made it assured?" -msgstr "Hva gjorde at det var sikret?" - -#. type: Content of: <book><chapter><section><section><para> -#, mtrans, fuzzy -msgid "" -"Well, if we think in terms of the modalities I described in chapter <xref " -"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was " -"assured because of an inefficient architecture for gathering data and hence " -"a market constraint (cost) on anyone who wanted to gather that data. If you " -"were a suspected spy for North Korea, working for the CIA, no doubt your " -"privacy would not be assured. But that's because the CIA would (we hope) " -"find it valuable enough to spend the thousands required to track you. But " -"for most of us (again, we can hope), spying doesn't pay. The highly " -"inefficient architecture of real space means we all enjoy a fairly robust " -"amount of privacy. That privacy is guaranteed to us by friction. Not by law " -"(there is no law protecting <quote>privacy</quote> in public places), and in " -"many places, not by norms (snooping and gossip are just fun), but instead, " -"by the costs that friction imposes on anyone who would want to spy." -msgstr "" -"Vel, hvis vi tror nÃ¥r det gjelder metoder jeg beskrevet i kapittel 10, " -"personvernet var forsikret pÃ¥ grunn av en ineffektiv arkitektur for Ã¥ samle " -"data og dermed betingelsen markedet (kostnader) pÃ¥ alle som Ã¸nsket Ã¥ samle " -"inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, ville " -"arbeider for cia, ingen tvil om personvernet ikke vÃ¦re trygg. men det er " -"fordi vil cia (hÃ¥per vi) finne det verdifullt nok til Ã¥ bruke tusenvis som " -"er nÃ¸dvendig for Ã¥ spore deg. men for de fleste av oss (igjen, vi kan " -"hÃ¥per), spionere ikke betaler. svÃ¦rt 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 pÃ¥legger pÃ¥ alle som Ã¸nsker Ã¥ spy." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Amazon" -msgstr "Amazon" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cookies, Internet" -msgstr "informasjonskapsler, Internett" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "privacy protection on" -msgstr "personvernbeskyttelse pÃ¥" - -#. type: Content of: <book><chapter><section><section><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 <quote>recently viewed</" -"quote> pages. Now, because of the architecture of the Net and the function " -"of cookies on the Net, it is easier to collect the data than not. The " -"friction has disappeared, and hence any <quote>privacy</quote> protected by " -"the friction disappears, too." -msgstr "" -"Inn kommer Internettet, hvor kostnaden med Ã¥ spore spesielt det blir bladd i " -"har blitt svÃ¦rt liten. Hvis du er en kunde av Amazon, sÃ¥ vil Amazon samle " -"informasjon om hva du har sett pÃ¥ mens du tittet pÃ¥ sidene der. Du vet " -"dette pÃ¥ grunn av at det i en spalte pÃ¥ siden vises en liste med " -"<quote>nylig sette</quote> sider. PÃ¥ grunn av arkitekturen til nettet og " -"hvordan informasjonskapsler fungerer pÃ¥ nettet, sÃ¥ er det enklere Ã¥ samle " -"inn disse dataene enn Ã¥ la vÃ¦re. Friksjonen har forsvunnet, og dermed " -"forsvinner ogsÃ¥ ethvert <quote>personvern</quote> som var beskyttet av denne " -"friksjonen." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "privacy rights in use of" -msgstr "personvernrettigheter i bruk av" - -#. type: Content of: <book><chapter><section><section><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 <quote>right</quote> to browse in a library without the " -"government knowing which books you look at (I'm one of those lefties, too), " -"then this change in the technology of monitoring might concern you. If it " -"becomes simple to gather and sort who does what in electronic spaces, then " -"the friction-induced privacy of yesterday disappears." -msgstr "" -"Amazon er naturligvis ikke problemet. Men vi kan begynne Ã¥ bekymre oss for " -"biblioteker. Hvis du er en av disse sprÃ¸ venstrevridde som mener at folk " -"bÃ¸r ha <quote>retten</quote> til Ã¥ bla igjennom et bibliotek uten at " -"myndighetene fÃ¥r vite hvilke bÃ¸ker du ser pÃ¥ (jeg er ogsÃ¥ en av disse " -"venstrevridde), da kan det hende denne endringen i teknologien for " -"overvÃ¥kning angÃ¥r deg. Hvis det blir enkelt Ã¥ samle inn og sortere hvem som " -"gjÃ¸r hva i det elektroniske rom, sÃ¥ forsvinner det friksjons-induserte " -"personvernet fra tidligere tider." - -#. f1. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the " -"Architecture of Privacy (What Larry Doesn't Get),</quote> " -"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " -"6–18, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#72</ulink> (describing examples in which technology defines privacy " -"policy). See also Jeffrey Rosen, <citetitle>The Naked Crowd: Reclaiming " -"Security and Freedom in an Anxious Age</citetitle> (New York: Random House, " -"2004) (mapping tradeoffs between technology and privacy)." -msgstr "" -"Se for eksempel Marc Rotenberg, <quote>Fair Information Practices and the " -"Architecture of Privacy (What Larry Doesn't Get)</quote>, " -"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " -"6–18, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" -"\">link #72</ulink> (beskriver eksempler der teknologi definerer " -"personvernregler). Se ogsÃ¥ Jeffrey Rosen, <citetitle>The Naked Crowd: " -"Reclaiming Security and Freedom in an Anxious Age</citetitle> (New York: " -"Random House, 2004) (kartlegger avveininger mellom teknologi og personvern)." - -#. PAGE BREAK 284 -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"It is this reality that explains the push of many to define <quote>privacy</" -"quote> on the Internet. It is the recognition that technology can remove " -"what friction before gave us that leads many to push for laws to do what " -"friction did.<placeholder type=\"footnote\" id=\"0\"/> And whether you're in " -"favor of those laws or not, it is the pattern that is important here. We " -"must take affirmative steps to secure a kind of freedom that was passively " -"provided before. A change in technology now forces those who believe in " -"privacy to affirmatively act where, before, privacy was given by default." -msgstr "" -"Det er denne virkeligheten som forklarer at mange gjÃ¸r en innsats for Ã¥ " -"definere <quote>personvern</quote> pÃ¥ Internettet. Det er erkjennelsen om " -"at teknologi kan fjerne det friksjon fÃ¸r ga oss som fÃ¥r mange til Ã¥ be om " -"lover som gjÃ¸r det friksjonen gjorde.<placeholder type=\"footnote\" id=\"0\"/" -"> Og uansett om du er for eller imot disse lovene, sÃ¥ er det mÃ¸nsteret som " -"er det viktige her. Vi mÃ¥ ta aktive steg for Ã¥ sikre en slags frihet som " -"var passivt sikret tidligere. En endring i teknologi tvinger nÃ¥ de som tror " -"pÃ¥ personvern til Ã¥ gjÃ¸re aktive handlinger der hvor personvern tidligere " -"var gitt som utgangspunkt." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Data General" -msgstr "Data General" - -#. type: Content of: <book><chapter><section><section><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 lignende historie kan fortelles om stiftelsen av fri programvare-" -"bevegelsen. Da datamaskiner med programvare fÃ¸rst ble gjort kommersielt " -"tilgjengelig var programvaren—bÃ¥de kildekoden og binÃ¦rene—fritt " -"tilgjengelig. Du kunne ikke kjÃ¸re et program skrevet for en Data General-" -"maskin pÃ¥ en IBM-maskin, sÃ¥ Data General og IBM brydde seg ikke mye om Ã¥ " -"kontrollere programvaren sin." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Stallman, Richard" -msgstr "Stallman, Richard" - -#. type: Content of: <book><chapter><section><section><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 "" -"Dette var verden Richard Stallman ble fÃ¸dt inn i og som forsker ved MIT " -"lÃ¦rte han Ã¥ elske samfunnet som utviklet seg nÃ¥r en var fri til Ã¥ utforske " -"og fikle med programvaren som kjÃ¸rte pÃ¥ datamaskiner. Som en av de smarte " -"typene, i tillegg til Ã¥ vÃ¦re en flink programmerer, begynte Stallman Ã¥ " -"basere seg pÃ¥ friheten han hadde til bygge pÃ¥ eller endre pÃ¥ andre personers " -"verker." - -#. type: Content of: <book><chapter><section><section><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 hvert fall i akademia er ikke dette en veldig radikal idÃ©. Ved et " -"matematisk institutt ville enhver ha friheten til Ã¥ fikle med et bevis som " -"noen andre la frem. Hvis du trodde du hadde en bedre mÃ¥te Ã¥ bevise et " -"teorem, sÃ¥ kunne du ta det noen andre hadde gjort og endre det. Ved et " -"institutt for klassisk historie, hvis du mente en kollegas oversettelse av " -"en nylig oppdaget tekst hadde feil, sÃ¥ hadde du friheten til Ã¥ forbedre " -"den. Dermed, for Stallman, virket det Ã¥penbart at du burde stÃ¥ fritt til Ã¥ " -"fikle med og forbedre koden som kjÃ¸rte pÃ¥ en maskin. Dette var ogsÃ¥ " -"kunnskap. Hvorfor skulle det ikke vÃ¦re Ã¥pent for kritikk pÃ¥ samme mÃ¥te som " -"alt annet?" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "proprietary code" -msgstr "proprietÃ¦r kode" - -#. type: Content of: <book><chapter><section><section><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 svarte pÃ¥ det spÃ¸rsmÃ¥let. Istedet endret arkitekturen for inntekter i " -"dataverden seg. Etter hvert som det ble mulig Ã¥ importere programmer fra et " -"system til et annet, det ble Ã¸konomisk attraktivt (i hvert fall etter noens " -"syn) Ã¥ skjule koden til programmet som man laget. I tillegg begynte " -"selskaper Ã¥ selge ekstrautstyr til stormaskiner. Hvis jeg bare kunne ta din " -"printerdriver og kopiere den, sÃ¥ ville det gjÃ¸re det enklere for meg enn det " -"var for deg Ã¥ selge en printer i markedet." - -#. PAGE BREAK 285 -#. type: Content of: <book><chapter><section><section><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 begynte praksisen med proprietÃ¦r kode Ã¥ spre seg, og tidlig pÃ¥ 1980-" -"tallet fant Stallman at han var omringet av proprietÃ¦r kode. Verden av fri " -"programvare hadde blitt fjernet av en endring i Ã¸konomien rundt " -"databehandling. Og han trodde at hvis han ikke gjorde noe med dette, sÃ¥ " -"ville friheten til Ã¥ endre og dele programvare bli fundamentalt svekket." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Torvalds, Linus" -msgstr "Torvalds, Linus" - -#. type: Content of: <book><chapter><section><section><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 <quote>Linux</" -"quote> kernel was added to produce the GNU/Linux operating system. " -"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " -"id=\"1\"/>" -msgstr "" -"Derfor, i 1984, startet Stallmann pÃ¥ et prosjekt for Ã¥ bygge et fritt " -"operativsystem, slik i hvert fall en flik av fri programvare skulle " -"overleve. Dette var starten pÃ¥ GNU-prosjektet, som <quote>Linux</quote>-" -"kjernen til Linus Torvalds senere ble lagt til i for Ã¥ produsere GNU/Linux-" -"operativsystemet. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " -"type=\"indexterm\" id=\"1\"/>" - -#. type: Content of: <book><chapter><section><section><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 teknikk var Ã¥ bruke Ã¥ndsverksloven til Ã¥ bygge en verden av " -"programvare som mÃ¥ forbli fri. Programvare lisensiert med GPL fra Free " -"Software Foundation kan ikke endres og distribueres uten at kildekoden for " -"den programvaren ogsÃ¥ blir gjort tilgjengelig. Dermed mÃ¥ enhver som bygger " -"pÃ¥ GPL-et programvare ogsÃ¥ frigjÃ¸re sitt byggverk. Dette trodde Stallman " -"ville sikre, at en Ã¸kologi av kode ville utvikle seg som forble fri for " -"andre Ã¥ bygge pÃ¥. Hans fundamentale mÃ¥l var frihet. Nyskapende kreativ " -"kode var et biprodukt." - -#. type: Content of: <book><chapter><section><section><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 gjorde dermed for programvare det personvernforkjempere nÃ¥ gjÃ¸r for " -"personvern. Han sÃ¸kte etter en mÃ¥te Ã¥ gjenoppbygge den type frihet som fÃ¸r " -"var tatt for gitt. Gjennom aktiv bruk av lisenser som gjelder for " -"opphavsrettsbeskyttet kildekode, gjenerobret Stallman aktivt en arena der " -"fri programvare ville overleve. Han beskyttet aktivt det som fÃ¸r hadde vÃ¦rt " -"passivt garantert." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "scientific journals" -msgstr "vitenskapelige tidsskrifter" - -#. type: Content of: <book><chapter><section><section><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, la oss se pÃ¥ et veldig nytt eksempel som resonerer mer direkte " -"med historien i denne boken. Dette er overgangen for hvordan akademiske og " -"vitenskapelige tidsskrifter blir produsert." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Lexis and Westlaw" -msgstr "Lexis and Westlaw" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "journals in" -msgstr "tidsskrifter i" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "access to opinions of" -msgstr "tilgang til vurderinger fra" - -#. PAGE BREAK 286 -#. type: Content of: <book><chapter><section><section><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 "" -"Etter hvert som teknologien utviklet seg, blir det Ã¥penbart for mange at Ã¥ " -"skrive ut tusenvis av kopier av tidsskrifter hver mÃ¥ned og sende dem til " -"biblioteker kanskje ikke er den mest effektive mÃ¥ten Ã¥ spre kunnskap. I " -"stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres " -"brukere gis tilgang til disse elektroniske tidsskriftene gjennom passord-" -"beskyttede nettsteder. Noe lignende har skjedd innen justissektoren i " -"nesten tredve Ã¥r: Lexis og Westlaw har hatt elektroniske versjoner av " -"domstolavgjÃ¸relser tilgjengelig for sine tjeneste-abonnenter. Selv om en " -"hÃ¸yesterettsdom ikke er opphavsrettsbeskyttet, og enhver stÃ¥r fritt til Ã¥ gÃ¥ " -"til et bibliotek og lese den, sÃ¥ stÃ¥r Lexis og Westlaw ogsÃ¥ fritt til Ã¥ " -"kreve betaling fra sine brukerne for Ã¥ gi tilgang til den samme " -"hÃ¸yesterettsdommen gjennom deres respektive tjenester." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "access fees for material in" -msgstr "tilgangsavgifter for materiale i" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "license system for rebuilding of" -msgstr "lisens-systemet for Ã¥ gjenoppbygging av" - -#. type: Content of: <book><chapter><section><section><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 generelt ingenting galt med dette, og muligheten til Ã¥ ta betalt for " -"tilgang selv for allemannseid materiale er helt klart et godt insentiv for " -"folk til Ã¥ utvikle nye og nyskapende mÃ¥ter Ã¥ spre kunnskap. Loven har vÃ¦rt " -"enig, hvilket er det som gjÃ¸r at Lexis og Westlaw har fÃ¥tt lov til Ã¥ " -"blomstre. Og hvis det ikke er noe galt med Ã¥ selge det som er allemannseie, " -"sÃ¥ bÃ¸r det i prinspippet ikke vÃ¦re noe galt i Ã¥ selge tilgang til materiale " -"som ikke er allemannseie." - -#. type: Content of: <book><chapter><section><section><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 hvis den eneste mÃ¥ten Ã¥ fÃ¥ tilgang til sosiale og vitenskapelige " -"data var gjennom proprietÃ¦re tjenester? Hva hvis ingen hadde muligheten til " -"Ã¥ bla igjennom disse datasettene uten Ã¥ betale for et abonnement?" - -#. type: Content of: <book><chapter><section><section><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 flere begynner Ã¥ oppdage, er dette stadig oftere virkeligheten med " -"vitenskapelige tidsskrifter. Da disse tidsskriftene ble distribuert i " -"papirutgaven, kunne bibliotekene gjÃ¸re tidsskriftene tilgjengelig for enhver " -"som hadde tilgang til biblioteket. Dermed kunne pasienter med kreft bli " -"kreft-eksperter pÃ¥ grunn av at biblioteket ga dem tilgang. Eller pasienter " -"som forsÃ¸kte Ã¥ forstÃ¥ risikoen med en bestemt behandling kunne forske pÃ¥ " -"disse risikoene ved Ã¥ lese alle tilgjengelige artikler om den behandlingen. " -"Denne friheten var dermed et resultat av hvordan biblioteker fungerte " -"(normer) og teknologien til papirtidsskrifter (arkitektur)—nemlig at " -"det var veldig vanskelig a kontrollere tilgang til et papirtidsskrift." - -#. type: Content of: <book><chapter><section><section><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 "" -"Etter hvert som tidsskrift blir elektroniske krever derimot utgiverne at " -"bibliotekene ikke gir alle tilgang til tidsskriftene. Dette betyr at " -"frihetene som papirtidsskrifter ga i offentlige biblioteker begynner Ã¥ " -"forsvinne. Dermed, pÃ¥ samme mÃ¥te som med personvern og programvare, " -"endringer i teknologien og markedet krymper en frihet som vi tok for gitt " -"tidligere." - -#. PAGE BREAK 287 -#. type: Content of: <book><chapter><section><section><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 reduserte friheten har fÃ¥tt mange til Ã¥ ta aktive steg for Ã¥ " -"gjenopprette friheten som har gÃ¥tt tapt. Et eksempel er Det Offentlige " -"Vitenskapsbiblioteket (PLoS), som er et ikkekommersielt selskap dedikert til " -"Ã¥ gjÃ¸re vitenskapeling forskning tilgjengelig til alle som har en " -"nettforbindelse. Forfattere av vitenskapelige verk laster sitt verk opp til " -"Det Offentlige Vitenskapsbiblioteket. Dette verket gÃ¥r sÃ¥ igjennom " -"fagfellevurdering. Hvis det blir akseptert, sÃ¥ blir verket sÃ¥ lagret i et " -"offentlig, elektronisk arkiv og gjort gratis og permanent tilgjengelig. " -"PLoS selger ogsÃ¥ trykte utgaver av verkene, men opphavsretten til " -"papirtidsskriftene fratar ingen retten til Ã¥ fritt videredistribuere verket." - -#. type: Content of: <book><chapter><section><section><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 en av mange slike anstrengelser for Ã¥ gjenopprette en frihet som " -"tidligere ble tatt for gitt, men som nÃ¥ er truet av endringer i teknologi og " -"marked. Det er ingen tvil om at dette alternativet konkurrerer med de " -"tradisjonelle forlagene og deres innsats for Ã¥ tjene penger fra den " -"eksklusive distribusjonen av innhold. Men konkurranse antas i vÃ¥r tradisjon " -"for Ã¥ vÃ¦re bra—spesielt nÃ¥r det bidrar til Ã¥ spre kunnskap og " -"vitenskap." - -#. type: Content of: <book><chapter><section><section><title> -msgid "Rebuilding Free Culture: One Idea" -msgstr "Gjenoppbygging av fri kultur: En idÃ©" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The same strategy could be applied to culture, as a response to the " -"increasing control effected through law and technology." -msgstr "" -"Den samme strategien kan brukes pÃ¥ kultur, som et svar pÃ¥ den Ã¸kende " -"kontrollen som gjennomfÃ¸res gjennom lov og teknologi." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Stanford University" -msgstr "Stanford University" - -#. type: Content of: <book><chapter><section><section><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 <emphasis>reasonable</emphasis> copyright on top " -"of the extremes that now reign. It does this by making it easy for people to " -"build upon other people's work, by making it simple for creators to express " -"the freedom for others to take and build upon their work. Simple tags, tied " -"to human-readable descriptions, tied to bulletproof licenses, make this " -"possible." -msgstr "" -"Inn kommer Creative Commons. Creative Commons er et ikke-kommersielt " -"selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford " -"University. Selskapets mÃ¥l er Ã¥ bygge et lag av <emphasis>rimelig</" -"emphasis> opphavsrett pÃ¥ toppen av ekstremene som nÃ¥ regjerer. Det gjÃ¸r " -"dette ved Ã¥ gjÃ¸re det enkelt for folk Ã¥ bygge pÃ¥ andre folks verk, ved Ã¥ " -"gjÃ¸re det enkelt for skapere Ã¥ uttrykke friheten for andre til Ã¥ ta og bygge " -"pÃ¥ deres verk. Dette gjÃ¸res mulig med enkle merker, knyttet til " -"menneskelesbare beskrivelser, som igjen er knyttet til vanntette lisenser." - -#. PAGE BREAK 288 -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"<emphasis>Simple</emphasis>—which means without a middleman, or " -"without a lawyer. By developing a free set of licenses that people can " -"attach to their content, Creative Commons aims to mark a range of content " -"that can easily, and reliably, be built upon. These tags are then linked to " -"machine-readable versions of the license that enable computers automatically " -"to identify content that can easily be shared. These three expressions " -"together—a legal license, a human-readable description, and machine-" -"readable tags—constitute a Creative Commons license. A Creative " -"Commons license constitutes a grant of freedom to anyone who accesses the " -"license, and more importantly, an expression of the ideal that the person " -"associated with the license believes in something different than the " -"<quote>All</quote> or <quote>No</quote> extremes. Content is marked with the " -"CC mark, which does not mean that copyright is waived, but that certain " -"freedoms are given." -msgstr "" -"<emphasis>Enkelt</emphasis>—som betyr uten en mellommann eller uten en " -"advokat. Ved Ã¥ utvikle et fritt sett med lisenser som folk kan knytte til " -"sitt innhold, sikter Creative Commons Ã¥ merke en rekke innhold som enkelt og " -"pÃ¥litelig kan bygges pÃ¥. Disse merkene er sÃ¥ lenket til maskinlesbare " -"versjoner av lisensen som gjÃ¸r det mulig for datamaskiner Ã¥ automatisk " -"identifisere innhold som enkelt kan deles. Denne samlingen av tre " -"uttrykk—en juridisk lisens, en menneske-lesbar beskrivelse og et " -"maskinlesbart merke—utgjÃ¸r en Creative Commons-lisens. En Creative " -"Commons-lisens utgjÃ¸r en tildeling av frihet til enhver som har tilgang til " -"lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror " -"pÃ¥ noe annet enn <quote>Alle</quote>- eller <quote>Ingen</quote>-" -"ytterkantene. Innhold merket med CC-merket betyr ikke at en har sagt fra " -"seg opphavsretten, men derimot at enkelte friheter er gitt bort." - -#. type: Content of: <book><chapter><section><section><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 (<quote>share and share alike</quote>). Or any use so long as no " -"derivative use is made. Or any use at all within developing nations. Or any " -"sampling use, so long as full copies are not made. Or lastly, any " -"educational use." -msgstr "" -"Disse frihetene gÃ¥r ut over friheten som loves av rimelig bruk. Frihetenes " -"presise omriss er avhenging av valgene som skaperen gjÃ¸r. Skaperen kan velge " -"en lisens som tillater enhver bruk, sÃ¥ lenge opphavspersonen navngis. Hun " -"kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge " -"en lisens som tillater enhver bruk sÃ¥ lenge de samme friheter gis videre til " -"andre brukere (<quote>del pÃ¥ like vilkÃ¥r</quote>). Eller enhver bruk sÃ¥ " -"lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland. " -"Eller enhver bruk som <quote>smakebit</quote>, sÃ¥ lenge det ikke lages " -"komplette kopier. Og til slutt, enhver bruk til opplÃ¦ring." - -#. type: Content of: <book><chapter><section><section><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 etablerer dermed en rekke friheter som gÃ¥r ut over " -"utgangspunktet i Ã¥ndsverksloven. De muliggjÃ¸r ogsÃ¥ friheter som gÃ¥r ut over " -"tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse " -"frihetene pÃ¥ en mÃ¥te som de pÃ¥fÃ¸lgende brukerne kan bruke og basere seg pÃ¥ " -"uten Ã¥ hyre inn en advokat. Creative Commons sikter dermed mot Ã¥ bygge et " -"lag av innhold, styrt av et lag av fornuftig Ã¥ndsverkslov, som andre kan " -"bygge pÃ¥. Frivillig valg fra individer og skapere vil gjÃ¸re dette innholdet " -"tilgjengelig. Og dette innholdet vi sÃ¥ gjÃ¸re det mulig for oss Ã¥ " -"gjenopprette allemannseiet." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Garlick, Mia" -msgstr "Garlick, Mia" - -#. PAGE BREAK 289 -#. type: Content of: <book><chapter><section><section><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 (<quote>content conducers,</" -"quote> as attorney Mia Garlick calls them) who help build the public domain " -"and, by their work, demonstrate the importance of the public domain to other " -"creativity." -msgstr "" -"Dette er bare et av mange prosjekter innen Creative Commons. Og Creative " -"Commons er naturligvis ikke den eneste organisasjonen som bidrar til slike " -"friheter. Men det som skiller Creative Commons fra mange andre er at vi er " -"ikke bare interessert i Ã¥ snakke om et allemannseie eller i Ã¥ fÃ¥ lovgiverne " -"til Ã¥ bidra til Ã¥ bygge et allemannseie. VÃ¥rt mÃ¥l er Ã¥ bygge en bevegelse " -"av konsumenter og produsenter av innhold (<quote>innholds-kondusenter</" -"quote>, som advokat Mia Garlick kaller dem) som hjelper til Ã¥ bygge " -"allemannseie og demonstrerer med deres egne verker hvor viktig allemannseiet " -"er for annen kreativitet." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The " -"aim is to complement them. The problems that the law creates for us as a " -"culture are produced by insane and unintended consequences of laws written " -"centuries ago, applied to a technology that only Jefferson could have " -"imagined. The rules may well have made sense against a background of " -"technologies from centuries ago, but they do not make sense against the " -"background of digital technologies. New rules—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 "" -"MÃ¥let er ikke Ã¥ sloss mot <quote>alle rettigheter reservert</quote>-" -"folkene. MÃ¥let er Ã¥ utfylle dem. Problemene som loven skaper for oss som " -"kultur er skapt av sinnsyke og utilsiktede konsekvenser av lover skrevet for " -"Ã¥rhundrer siden, anvendt pÃ¥ en teknologi som kun Jefferson kunne ha " -"forestilt seg. Reglene kan godt Ã¥ gitt mening da bakgrunnen var " -"teknologiene tilgjengelig for hundrevis av Ã¥r siden, men de gir ikke mening " -"nÃ¥r bakgrunnen er digitale teknologier. Nye regler—med andre " -"friheter, uttrykket slik at mennesker uten advokater kan bruke dem—" -"trengs. Creative Commons gir folk en effektiv mÃ¥te Ã¥ begynne Ã¥ lage disse " -"reglene." - -#. type: Content of: <book><chapter><section><section><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, <citetitle>Down and Out in the Magic " -"Kingdom</citetitle>, was released on-line and for free, under a Creative " -"Commons license, on the same day that it went on sale in bookstores." -msgstr "" -"Hvorfor ville skapere delta i Ã¥ gi slipp pÃ¥ total kontroll? Noen deltar for " -"Ã¥ Ã¸ke spredningen av deres innhold. Et eksempel er Cory Doctorow som er en " -"science fiction-forfatter. Hans fÃ¸rste roman, <citetitle>Down and Out in " -"the Magic Kingdom</citetitle>, ble sluppet gratis pÃ¥ nettet med en Creative " -"Commons-lisens, samme dag som den ble lagt ut for salg i bokhandler." - -#. type: Content of: <book><chapter><section><section><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 " -"<emphasis>increase</emphasis> sales of Cory's book." -msgstr "" -"Hvorfor ville en utgiver noen sinne gÃ¥ med pÃ¥ dette? Jeg mistenker hans " -"utgiver tenkte som dette: Det er to grupper av mennesker der ute: (1) de som " -"vil kjÃ¸pe Corys bok uansett om den er pÃ¥ Internettet eller ikke og (2)de som " -"kanskje aldri hÃ¸rer om Corys bok hvis den ikke blir gjort tilgjengelig " -"gratis pÃ¥ Internettet. En del av (1) vil laste ned Corys bok i stedet for Ã¥ " -"kjÃ¸pe den. Vi kan kalle dem slemme-(1). En del av (2) vil laste ned Corys " -"bok, like den, og deretter bestemme seg for Ã¥ kjÃ¸pe den. Vi kan kalle dem " -"gode-(2). Hvis det er flere gode-(2-) enn det er slemme-(1), sÃ¥ vil " -"strategien med Ã¥ gi ut Corys bok gratis pÃ¥ nettet antagelig <emphasis>Ã¸ke</" -"emphasis> salget av Corys bok." - -#. type: Content of: <book><chapter><section><section><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 "" -"Faktisk stÃ¸tter erfaringene fra hans utgiver helt klart denne konklusjonen. " -"FÃ¸rsteutgaven av boken var utsolgt flere mÃ¥neder tidligere enn utgiveren " -"hadde forventet. Denne fÃ¸rste romanen til en science fiction-formfatter var " -"en total suksess." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Free for All (Wayner)" -msgstr "Free for All (Wayner)" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Wayner, Peter" -msgstr "Wayner, Peter" - -#. PAGE BREAK 290 -#. type: Content of: <book><chapter><section><section><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 <citetitle>Free for All</" -"citetitle>, made an electronic version of his book free on-line under a " -"Creative Commons license after the book went out of print. He then monitored " -"used book store prices for the book. As predicted, as the number of " -"downloads increased, the used book price for his book increased, as well." -msgstr "" -"IdÃ©en om at gratis innhold kan Ã¸ke verdien for ikke-gratis innhold var " -"bekreftet av et eksperiment gjennomfÃ¸rt av en annen forfatter. Peter Wayner, " -"som skrev en bok om fri programvarebevegelsen med tittelen <citetitle>Free " -"For All</citetitle>, gjorde en elektronisk utgave av boken gratis til " -"gjengelig pÃ¥ nettet med en Creative Commons-lisens etter at boken var " -"utsolgt fra forlaget. Han fulgte deretter med pÃ¥ prisen for boken i " -"bruktbokhandler. Som forutsett, etter hvert som antall nedlastinger steg, " -"steg ogsÃ¥ bruktprisen pÃ¥ boken." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Public Enemy" -msgstr "Public Enemy" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "rap music" -msgstr "rap-musikk" - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Leaphart, Walter" -msgstr "Leaphart, Walter" - -#. f2. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " -"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg " -"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #72</ulink>." -msgstr "" -"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " -"Culture Wars</citetitle> (2003), produsert av Jed Horovitz, regissert av " -"Greg Hittelman, en produksjon av Fiat Lucre, tilgjengelig fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #72</ulink>." - -#. type: Content of: <book><chapter><section><section><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 <quote>sampling license</quote> do so because anything else would be " -"hypocritical. The sampling license says that others are free, for commercial " -"or noncommercial purposes, to sample content from the licensed work; they " -"are just not free to make full copies of the licensed work available to " -"others. This is consistent with their own art—they, too, sample from " -"others. Because the <emphasis>legal</emphasis> costs of sampling are so high " -"(Walter Leaphart, manager of the rap group Public Enemy, which was born " -"sampling the music of others, has stated that he does not <quote>allow</" -"quote> Public Enemy to sample anymore, because the legal costs are so " -"high<placeholder type=\"footnote\" id=\"0\"/>), these artists release into " -"the creative environment content that others can build upon, so that their " -"form of creativity might grow." -msgstr "" -"Dette er eksempler pÃ¥ bruk av Creative Commons for Ã¥ bedre spre proprietÃ¦rt " -"innhold. Jeg mener at dette er en nydelig og vanlig bruk av Creative " -"Commons. Det er andre som bruker Creative Commons-lisenser av andre " -"grunner. Mange som bruker <quote>sampling-lisensen</quote> gjÃ¸r det pÃ¥ " -"grunn av at det ville vÃ¦re hyklerisk. Samling-lisensen sier at andre stÃ¥r " -"fritt til, for kommersielle eller ikke-kommersielle formÃ¥l, Ã¥ bruke biter av " -"innhold fra det lisensierte verket. De har bare ikke friheten til Ã¥ gjÃ¸re " -"hele innholdet tilgjengelig for andre. PÃ¥ grunn av at den " -"<emphasis>juridiske</emphasis> kostnaden med samling er sÃ¥ hÃ¸y (Walter " -"Leaphart, manager for rap-gruppen Public Enemy, som ble skapt ved Ã¥ sample " -"musikken til andre, har uttalt at han ikke <quote>tillater</quote> Public " -"Enemy Ã¥ sample mer, pÃ¥ grunn av at den juridiske kostnaden er sÃ¥ " -"hÃ¸y<placeholder type=\"footnote\" id=\"0\"/>), slipper disse artistene " -"innhold ut i det kreative miljÃ¸et som andre kan bygge videre pÃ¥, slik at " -"deres form for kreativitet kan vokse." - -#. type: Content of: <book><chapter><section><section><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 <quote>All Rights Reserved</quote> " -"model. Good for you, but many do not. Many believe that however appropriate " -"that rule is for Hollywood and freaks, it is not an appropriate description " -"of how most creators view the rights associated with their content. The " -"Creative Commons license expresses this notion of <quote>Some Rights " -"Reserved,</quote> and gives many the chance to say it to others." -msgstr "" -"Til slutt er det mange som merker sitt innhold med en Creative Commons-" -"lisens kun fordi de Ã¸nsker Ã¥ uttrykke til andre hvor viktig de synes balanse " -"er i denne debatten. Hvis du bare aksepterer systemet slik det er, sÃ¥ sier " -"du i effekt at du tror pÃ¥ <quote>alle rettigheter reservert</quote>-" -"modellen. Fint for deg, men mange gjÃ¸r ikke det. Mange tror at uansett hvor " -"riktig den regelen er for Hollywood og gÃ¦rninger, sÃ¥ er den ikke en riktig " -"beskrivelse av hvordan de fleste skaperne ser pÃ¥ rettighetene knyttet til " -"sitt innhold. Creative Commons-lisensen uttrykker begrepet <quote>noen " -"rettigheter reservert</quote>, og gir mange muligheten til Ã¥ si det til " -"andre." - -#. PAGE BREAK 291 -#. type: Content of: <book><chapter><section><section><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 fÃ¸rste seks mÃ¥nedene av Creative Commons-eksperimentet, ble over en " -"million objekter lisensiert med disse fri kultur-lisensene. Neste steg er " -"partnerskap med mellomvare-tilbyderne av innhold for Ã¥ hjelpe dem Ã¥ bygge " -"enkle mÃ¥ter for brukerne Ã¥ merke innholdet med friheten gitt med Creative " -"Commons inn i teknologiene de lager." - -#. type: Content of: <book><chapter><section><section><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 de fÃ¸rste stegene for Ã¥ gjenoppbygge et allemannseie. De er ikke " -"kun argumentasjon, de er handlinger. A bygge allemannseiet er fÃ¸rste steg " -"for Ã¥ vise folk hvor viktig dette er for kreativitet og nyskapning. " -"Creative Commons baserer seg pÃ¥ frivillige steg for Ã¥ fÃ¥ til denne " -"gjenoppbyggingen. De vil fÃ¸re til en verden hvor mer enn frivillige steg er " -"mulig." - -#. type: Content of: <book><chapter><section><section><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 pÃ¥ frivillig innsats fra " -"enkeltpersoner og skapere for Ã¥ endre blandingen av rettigheter som nÃ¥ " -"styrer det kreative omrÃ¥det. Prosjektet konkurrerer ikke med " -"opphavsretten. Den utfyller den. Dets mÃ¥l er ikke Ã¥ bekjempe rettighetene " -"til forfatterne, men a gjÃ¸re det enklere for forfattere og skapere Ã¥ utÃ¸ve " -"sine rettigheter mer fleksibelt og billigere. Den forskjellen, tror vi, vil " -"gjÃ¸re det mulig for kreativiteten a spre seg lettere." - -#. type: Content of: <book><chapter><section><title> -msgid "THEM, SOON" -msgstr "Dem, snart" - -#. type: Content of: <book><chapter><section><para> -msgid "" -"<emphasis role='strong'>We will</emphasis> not reclaim a free culture by " -"individual action alone. It will also take important reforms of laws. We " -"have a long way to go before the politicians will listen to these ideas and " -"implement these reforms. But that also means that we have time to build " -"awareness around the changes that we need." -msgstr "" -"<emphasis role='strong'>Vi vil</emphasis> ikke vinne tilbake en fri kultur " -"kun ved individuelle handlinger. Det trengs ogsÃ¥ viktige lovreformer. Vi " -"har en lang vei a gÃ¥ fÃ¸r politikerne vil lytte til disse idÃ©ene og " -"implementere disse reformene. Men det betyr ogsÃ¥ at vi har tid til Ã¥ bygge " -"opp bevisstheten rundt endringene som trengs." - -#. type: Content of: <book><chapter><section><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 kapittelet skisserer jeg fem typer endringer: fire som er generelle " -"og en som er spesifikk for den mest opphetede kampen for tiden, musikk. " -"Hver av dem er et steg, ikke et mÃ¥l. Men hver av disse stegene vil fÃ¸re oss " -"et godt stykke mot vÃ¥rt mÃ¥l." - -#. type: Content of: <book><chapter><section><section><title> -msgid "1. More Formalities" -msgstr "1. Flere formaliteter" - -#. type: Content of: <book><chapter><section><section><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 kjÃ¸per et hus, sÃ¥ mÃ¥ du registrere salget i et skjÃ¸te. Hvis du " -"kjÃ¸per eiendom for Ã¥ bygge et hus, sÃ¥ mÃ¥ du registrere kjÃ¸pet i et skjÃ¸te. " -"Hvis du kjÃ¸per en bil sÃ¥ fÃ¥r du en eierskiftemelding og registrerer bilen. " -"Hvis du kjÃ¸per en flybillett sÃ¥ har den navnet ditt pÃ¥ den." - -#. PAGE BREAK 293 -#. type: Content of: <book><chapter><section><section><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 eiendom. De er krav som vi alle mÃ¥ " -"forholde oss til hvis vi Ã¸nsker at vÃ¥r eiendom skal bli beskyttet." - -#. type: Content of: <book><chapter><section><section><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 <quote>formalities</quote> are banished." -msgstr "" -"Dette stÃ¥r i kontrast til gjeldende Ã¥ndsverkslov, der du automatisk fÃ¥r " -"opphavsrett uavhengig av om du overholder noen formaliteter eller ikke. Du " -"trenger ikke Ã¥ registrere den. Du trenger ikke en gang merke innholdet " -"ditt. Utgangspunktet er kontroll, og <quote>formaliteter</quote> er " -"bannlyst." - -#. type: Content of: <book><chapter><section><section><para> -msgid "Why?" -msgstr "Hvorfor?" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, the motivation to abolish formalities was a good one. In " -"the world before digital technologies, formalities imposed a burden on " -"copyright holders without much benefit. Thus, it was progress when the law " -"relaxed the formal requirements that a copyright owner must bear to protect " -"and secure his work. Those formalities were getting in the way." -msgstr "" -"Som jeg foreslo i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"property-i\"/>, var motivasjonen for Ã¥ avskaffe formalitetene god. I " -"verden fÃ¸r digitale teknologier, la formalitetene en byrde pÃ¥ " -"opphavsrettsinnehaverne uten at det ga nevneverdige fordeler. Dermed var " -"det en fremgang da loven slakket opp pÃ¥ de formelle kravene som " -"opphavsrettseieren mÃ¥tte oppfylle for Ã¥ beskytte og sikre sitt verk. Disse " -"formalitetene kom i veien." - -#. type: Content of: <book><chapter><section><section><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 <emphasis>lack</emphasis> of formalities " -"forces many into silence where they otherwise could speak." -msgstr "" -"Men Internettet endrer alt dette. Formaliteter trenger i dag ikke vÃ¦re en " -"byrde. I stedet er det slik at en verden uten formaliteter er en verden som " -"hemmer kreativiteten. I dag er det ingen enkel mÃ¥te Ã¥ vite hvem som eier " -"hva, og hvem en mÃ¥ gjÃ¸re avtale med for Ã¥ kunne bruke eller bygge pÃ¥ det " -"kreative verket til andre. Det er intet register og det er intet system for " -"Ã¥ spore—det er ingen enkel mÃ¥te Ã¥ vite hvordan en fÃ¥r tillatelse. Og " -"likevel er det, gitt den massive Ã¸kningen i omfanget for opphavsrettens " -"regler, et nÃ¸dvendig steg Ã¥ fÃ¥ tillatelse for ethvert verk som baserer seg " -"pÃ¥ vÃ¥r fortid. Og dermed tvinger <emphasis>fravÃ¦ret</emphasis> av " -"formaliteter mange til Ã¥ vÃ¦re stille der de ellers ville talt." - -#. f1. -#. type: Content of: <book><chapter><section><section><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 fremmmer her ville kun gjelde for amerikanske verk. Jeg tror " -"naturligvis at det ville vÃ¦re en fordel om samme ide ble adoptert ogsÃ¥ av " -"andre land." - -#. type: Content of: <book><chapter><section><section><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 "" -"Loven burde derfor endre dette kravet<placeholder type=\"footnote\" id=\"0\"/" -">—men den bÃ¸r ikke endres ved Ã¥ gÃ¥ tilbake til det gamle Ã¸delagte " -"systemet. Vi bÃ¸r kreve formaliteter, men vi bÃ¸r etablere et system som vil " -"skape insentivene for Ã¥ minimere byrden disse formalitetene pÃ¥fÃ¸rer." - -#. type: Content of: <book><chapter><section><section><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 "" -"Det er tre viktige formaliteter: merke opphavsrettsbeskyttede verk, " -"registrere opphavsrett og fornÃ¸ye krav om opphavsrett. Tradisjonelt var den " -"fÃ¸rste av disse tre noe opphavsrettsinnehaveren gjorde og de andre to var " -"noe myndighetene gjorde. Men et revidert system med formaliteter bÃ¸r fjerne " -"myndighetene fra prosessen, med unntak fra det ene formÃ¥let med Ã¥ godkjenne " -"standarder utviklet av andre." - -#. type: Content of: <book><chapter><section><section><section><title> -msgid "REGISTRATION AND RENEWAL" -msgstr "Registrering og fornying" - -#. type: Content of: <book><chapter><section><section><section><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 "" -"I det gamle systemet mÃ¥tte en opphavsrettseier sende inn en registrering til " -"opphavsrettskontoret for Ã¥ registrere eller fornye opphavsretten. NÃ¥r en " -"sendte inn registreringen mÃ¥tte opphavsrettseieren betale en avgift. Som " -"med de fleste offentlige kontorer hadde opphavsrettskontoret lite insentiv " -"til Ã¥ minimere belastningen som registreringen ga. Det hadde ogsÃ¥ lite " -"insentiv til Ã¥ minimere avgiften. Og etter som opphavsrettskontoret ikke " -"var et hovedmÃ¥l for regjeringens politikk, har kontoret historisk vÃ¦rt " -"veldig underfinansiert. Dermed, nÃ¥r folks om kjenner til prosessen hÃ¸rer " -"denne idÃ©en om formaliteter sÃ¥ er deres fÃ¸rste reaksjon panikk—" -"ingenting kan vÃ¦re verre enn Ã¥ tvinge folk Ã¥ forholde seg til rotet som " -"heter opphavsrettskontoret." - -#. type: Content of: <book><chapter><section><section><section><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 har det alltid overrasket meg at vi, som kommer fra en tradisjon med " -"ekstraordinÃ¦r nyskapning innen myndighetsutforming, ikke lenger kan vÃ¦re " -"nyskapende om hvordan myndighetsfunksjoner kan utformes. Det at det er et " -"offentlig formÃ¥l i en styringsrolle, betyr ikke at myndighetene er de eneste " -"som kan administrere rollen. I stedet burde vi skape insentiver for at " -"private aktÃ¸rer tilbyr tjenesten til offentligheten, i fÃ¸lge standarder som " -"myndighetene definerer." - -#. type: Content of: <book><chapter><section><section><section><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 en registrerings-sammenheng er Internettet en opplagt modell. Det finnes " -"minst 32 millioner nettsteder registrert rundt om i verden. Eiere av " -"domenenavnene til disse nettstedene mÃ¥ betale en avgift for Ã¥ beholde sin " -"registrering. For de viktigste toppnivÃ¥-domenene (.com, .org, .net) er det " -"et sentralt register. enkelte registreringene er derimot gjennomfÃ¸rt av " -"mange konkurrerende registrarer. Denne konkurransen presser ned " -"registreringskostnadene, og enda viktigere sÃ¥ bidrar dette til Ã¥ gjÃ¸re hver " -"enkelt registrering enklere." - -#. PAGE BREAK 295 -#. type: Content of: <book><chapter><section><section><section><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 burde ta i bruk en lignende modell for registrering og fornying av " -"opphavsretter. Opphavsrettskontoret kan godt fungere som det sentrale " -"registeret, men de burde ikke drive registrarvirksomhet. I stedet burde det " -"etablere en database, og et sett med stadarder for registrarer. Det bÃ¸r " -"godkjenne registrarer som fÃ¸lger disse standardene. Disse registrarene " -"ville dermed konkurrere med hverandre om Ã¥ levere den billigste og enkleste " -"systemet for Ã¥ registrere og fornye opphavsretter. Denne konkurransen ville " -"redusere betydelig belastningen som denne formaliteten gir—mens det " -"gir en database over registreringer som kan forenkle lisensiering av innhold." - -#. type: Content of: <book><chapter><section><section><section><title> -msgid "MARKING" -msgstr "Merking" - -#. type: Content of: <book><chapter><section><section><section><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 Ã¥ ikke merke kreative verker med opphavsrettsinformasjon fÃ¸rte tidligere " -"til at en mistet opphavsretten. Det var en veldig streng straff for Ã¥ ikke " -"overholde en regulatorisk regel—omtrent som Ã¥ dÃ¸mme noen til " -"dÃ¸dsstraff for Ã¥ fÃ¥ ha parkert ulovlig i kreativ rettighets-verden. Her er " -"det heller ikke noen grunn til at markeringskravene trenger Ã¥ bli hÃ¥ndhevd " -"pÃ¥ denne mÃ¥ten. Og viktigere er at det ikke er noen grunn til at " -"merkingskravene trenger Ã¥ hÃ¥ndheves likt pÃ¥ tvers av alle medier." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"MÃ¥let med merkingen er Ã¥ signalisere til offentligheten at dette verket er " -"opphavsrettsbeskyttet og at forfatteren Ã¸nsker a hÃ¥ndheve sine rettigheter. " -"Merket gjÃ¸r det ogsÃ¥ enkelt Ã¥ spore opp en opphavsrettseier for Ã¥ skaffe " -"tillatelse til Ã¥ bruke verket." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"Et av problemene som opphavsrettssystemet konfronterte tidlig var at ulike " -"opphavsrettsbeskyttede verker mÃ¥tte markeres forskjellig. Det var ikke " -"klart hvordan og hvor en statue skulle merkes, eller en plate, eller en " -"film. Et nytt merkingskrav kan lÃ¸se disse problemene ved Ã¥ anerkjenne " -"forskjellene i mediene, og ved Ã¥ tillate merkings-systemet til Ã¥ utvikle seg " -"etter hvert som teknologien muliggjÃ¸r det. Systemet kan muliggjÃ¸re et " -"spesielt signal nÃ¥r en ikke merker—ikke miste opphavsretten, men miste " -"retten til Ã¥ straffe noen for Ã¥ ikke ha skaffet seg tillatelse fÃ¸rst." - -#. f2. -#. type: Content of: <book><chapter><section><section><section><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 "" -"En kompliserende faktor er avledede verker, og den har jeg ikke lÃ¸st her. " -"Etter mitt syn skaper loven rundt avledede verker et mer komplisert system " -"enn det som kan rettferdiggjÃ¸res ut fra de marginale insentivene dette gir." - -#. PAGE BREAK 296 -#. type: Content of: <book><chapter><section><section><section><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 <quote>use unless someone complains.</quote> If someone " -"does complain, then the obligation would be to stop using the work in any " -"new work from then on though no penalty would attach for existing uses. " -"This would create a strong incentive for copyright owners to mark their work." -msgstr "" -"La oss starte med det siste poenget. Hvis en opphavsrettsinnehaver tillater " -"at hans verk blir publisert uten opphavsrettsmerking, sÃ¥ trenger ikke " -"konsekvensen vÃ¦re at opphavsretten er tapt. Konsekvensen kan i stedet vÃ¦re " -"at enhver da har rett til Ã¥ bruke dette verket inntil " -"opphavsrettsinnehaveren klager og demonstrerer at det er hans verk og at han " -"ikke gir tillatelse.<placeholder type=\"footnote\" id=\"0\"/> Meningen til " -"et umerket verk ville dermed vÃ¦re <quote>bruk med mindre noen klager</" -"quote>. Hvis noen klager, sÃ¥ er forpliktelsen at en mÃ¥ slutte Ã¥ bruke " -"verket i ethvert nytt verk fra da av, selv om det ikke er noen " -"straffereaksjon knyttet til eksisterende bruk. Dette vil skape et sterkt " -"insentiv for opphavsrettseiere til Ã¥ merke sine verk." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"Dette i sin tur reiser spÃ¸rsmÃ¥let om hvordan et verk best bÃ¸r merkes. Her mÃ¥ " -"systemet igjen justere seg etter hvert som teknologiene utvikler seg. Den " -"beste mÃ¥ten Ã¥ sikre at systemet utvikler seg er Ã¥ begrense " -"opphavsrettskontorets rolle til Ã¥ godkjenne standarder for Ã¥ merke innhold " -"som har vÃ¦rt utviklet av andre." - -#. type: Content of: <book><chapter><section><section><section><indexterm><secondary> -msgid "copyright marking of" -msgstr "opphavsrettsmerking av" - -#. type: Content of: <book><chapter><section><section><section><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 <emphasis>solely</emphasis> upon the " -"consideration of which method could best be integrated into the registration " -"and renewal system. We would not count on the government to innovate; but we " -"would count on the government to keep the product of innovation in line with " -"its other important functions." -msgstr "" -"For eksempel, hvis en plateindustriforening kommer opp med en metode for Ã¥ " -"merke CDer, sÃ¥ ville den foreslÃ¥ dette til opphavsrettskontoret. " -"Opphavsrettskontoret ville sÃ¥ holde en hÃ¸ring, hvor andre forslag kunne " -"legges frem. Opphavsrettskontoret ville sÃ¥ velge det forslaget som det " -"vurderte som det beste, og det ville basere valget <emphasis>utelukkende</" -"emphasis> pÃ¥ vurderingen om hvilken metode som best kunne integreres inn i " -"registrering- og fornyings-systemet. Vi ville ikke basere oss pÃ¥ at " -"myndighetene laget noe nytt, men vi ville basere oss pÃ¥ at myndighetene " -"sikret at de nye produktene pÃ¥ linje med dets andre viktige funksjoner." - -#. type: Content of: <book><chapter><section><section><section><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 vil klart markert innhold gjÃ¸re registreringskravene enklere. " -"Hvis fotografier var merket med forfatter og Ã¥r, sÃ¥ ville det vÃ¦re liten " -"grunn til Ã¥ ikke tillate en fotograf til Ã¥ fornye for eksempel alle " -"fotografier tatt i et bestemt Ã¥r i et raskt steg. MÃ¥let med formaliteten er " -"ikke Ã¥ belaste skaperne. Systemet selv bÃ¸r holdes sÃ¥ enkelt som mulig." - -#. type: Content of: <book><chapter><section><section><section><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 "" -"FormÃ¥let med formaliteter er Ã¥ gjÃ¸re ting mer klart. Det eksisterende " -"systemet gjÃ¸r ingenting for Ã¥ gjÃ¸re ting mer klart. Det virker heller som " -"om det er utformet for Ã¥ gjÃ¸re ting mindre klart." - -#. type: Content of: <book><chapter><section><section><section><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 slik som registrering ble gjeninnfÃ¸rt, sÃ¥ ville et av de " -"mest vanskelige sidene med Ã¥ stole pÃ¥ allemannseie bli fjernet. Det ville " -"bli enkelt Ã¥ identifisere hvilket innhold som kan antas Ã¥ vÃ¦re fritt " -"tilgjengelig. Det ville vÃ¦re enkelt Ã¥ identifisere hvem som kontrollerer " -"rettighetene for et bestemt type innhold. Det ville vÃ¦re enkelt Ã¥ hevde " -"disse rettighetene, og Ã¥ fornye denne hevden pÃ¥ riktig tidspunkt." - -#. type: Content of: <book><chapter><section><section><title> -msgid "2. Shorter Terms" -msgstr "2. Kortere vernetid" - -#. type: Content of: <book><chapter><section><section><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 "" -"Vernetiden i opphavsretten har gÃ¥tt fra fjorten Ã¥r til nittifem Ã¥r der " -"selskap har forfatterskapet, og livstiden til forfatteren pluss sytti Ã¥r for " -"individuelle forfattere." - -#. f3. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 " -"(25 January 2003): 15, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #74</ulink>." -msgstr "" -"<quote>A Radical Rethink</quote>, <citetitle>Economist</citetitle>, 366:8308 " -"(25. januar 2003): 15, tilgjengelig fra <ulink url=\"http://free-culture.cc/" -"notes/\">link #74</ulink>." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-" -"year term, granted in five-year increments with a requirement of renewal " -"every five years. That seemed radical enough at the time. But after we lost " -"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the " -"proposals became even more radical. <citetitle>The Economist</citetitle> " -"endorsed a proposal for a fourteen-year copyright term.<placeholder type=" -"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for " -"patents." -msgstr "" -"I <citetitle>The Future of Ideas</citetitle> foreslo jeg syttifemÃ¥rs " -"vernetid, tildelt i femÃ¥rsbolker med et krav om Ã¥ fornye hvert femte Ã¥r. " -"Dette virket radikalt nok pÃ¥ den tiden. Men etter at vi tapte " -"<citetitle>Eldred</citetitle> mot <citetitle>Ashcroft</citetitle> ble " -"forslaget enda mer radikalt. <citetitle>The Economist</citetitle> anbefalte " -"et forslag om fjorten Ã¥rs vernetid.<placeholder type=\"footnote\" id=\"0\"/> " -"Andre har foreslÃ¥tt Ã¥ knytte vernetiden til vernetiden for patenter." - -#. type: Content of: <book><chapter><section><section><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 vi trenger en radikal endring i opphavsretten " -"levetid. Men hvorvidt den er fjorten Ã¥r eller syttifem, sÃ¥ er det fire " -"prinsipper som det er viktig Ã¥ tenke pÃ¥ nÃ¥r det gjelder varighetenen til " -"opphavsretten." - -#. (1) -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it short:</emphasis> The term should be as long as necessary " -"to give incentives to create, but no longer. If it were tied to very strong " -"protections for authors (so authors were able to reclaim rights from " -"publishers), rights to the same work (not derivative works) might be " -"extended further. The key is not to tie the work up with legal regulations " -"when it no longer benefits an author." -msgstr "" -"<emphasis>Hold den kort:</emphasis> Lengden bÃ¸r vÃ¦re sÃ¥ lang at den gir " -"nÃ¸dvendig insentiv til Ã¥ skape, men ikke lenger. Hvis den er knyttet opp " -"til svÃ¦rt sterk beskyttelse for forfattere (slik at forfattere er i stand " -"til Ã¥ fÃ¥ tilbake rettigheter fra utgiverne), sÃ¥ kan rettigheter til samme " -"verk (ikke avledede verk) bli ytterligere utvidet. NÃ¸kkelen er Ã¥ ikke binde " -"verk opp med juridiske reguleringer nÃ¥r det ikke lenger gir fordeler til en " -"forfatter." - -#. (2) -#. PAGE BREAK 298 -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it simple:</emphasis> The line between the public domain and " -"protected content must be kept clear. Lawyers like the fuzziness of " -"<quote>fair use,</quote> and the distinction between <quote>ideas</quote> " -"and <quote>expression.</quote> That kind of law gives them lots of work. But " -"our framers had a simpler idea in mind: protected versus unprotected. The " -"value of short terms is that there is little need to build exceptions into " -"copyright when the term itself is kept short. A clear and active " -"<quote>lawyer-free zone</quote> makes the complexities of <quote>fair use</" -"quote> and <quote>idea/expression</quote> less necessary to navigate." -msgstr "" -"<emphasis>GjÃ¸r det enkelt:</emphasis> Skillelinjen mellom verker uten " -"opphavsrettslig vern og innhold som er beskyttet mÃ¥ forbli klart. Advokater " -"liker uklarheten som <quote>rimelig bruk</quote> og forskjellen mellom " -"<quote>idÃ©er</quote> og <quote>uttrykk</quote> har. Denne type lovverk gir " -"dem en masse arbeid. Men de som skrev grunnloven hadde en enklere idÃ©: " -"vernet versus ikke vernet. Verdien av korte vernetider er at det er lite " -"behov for Ã¥ bygge inn unntak i opphavsretten nÃ¥r vernetiden holdes kort. En " -"klar og aktiv <quote>advokat-fri sone</quote> gjÃ¸r kompleksiteten av " -"<quote>rimelig bruk</quote> og <quote>idÃ©/uttrykk</quote> mindre nÃ¸dvendig Ã¥ " -"hÃ¥ndtere." - -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary> -msgid "veterans' pensions" -msgstr "veteranpensjoner" - -#. f4. -#. type: Content of: <book><chapter><section><section><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 "" -"Department of Veterans Affairs, Veteran's Application for Compensation and/" -"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra " -"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>." - -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. " -"Especially if the maximum term is long, the copyright owner should be " -"required to signal periodically that he wants the protection continued. This " -"need not be an onerous burden, but there is no reason this monopoly " -"protection has to be granted for free. On average, it takes ninety minutes " -"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/" -"> If we make veterans suffer that burden, I don't see why we couldn't " -"require authors to spend ten minutes every fifty years to file a single form." -msgstr "" -"<emphasis>Hold det i live:</emphasis> En bÃ¸r vÃ¦re nÃ¸dt til Ã¥ fornye " -"opphavsrettsbeskyttelsen. Spesielt hvis den maksimale varigheten er lang, " -"sÃ¥ bÃ¸r opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ signalisere regelmessig at han " -"Ã¸nsker at beskyttelsen fortsetter. Dette trenger ikke vÃ¦re en enorm " -"belastning, men det er ingen grunn til at denne monopolbeskyttelsen mÃ¥ deles " -"ut gratis. I snitt tar det nitti minutter for en veteran Ã¥ sÃ¸ke om pensjon." -"<placeholder type=\"footnote\" id=\"0\"/> Hvis vi belaster veteraner med sÃ¥ " -"mye, sÃ¥ ser jeg ikke hvorfor vi ikke kan kreve at forfattere bruker ti " -"minutter hvert femtiende Ã¥r for Ã¥ fylle ut et enkelt skjema." - -#. (4) -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright " -"should be, the clearest lesson that economists teach is that a term once " -"given should not be extended. It might have been a mistake in 1923 for the " -"law to offer authors only a fifty-six-year term. I don't think so, but it's " -"possible. If it was a mistake, then the consequence was that we got fewer " -"authors to create in 1923 than we otherwise would have. But we can't correct " -"that mistake today by increasing the term. No matter what we do today, we " -"will not increase the number of authors who wrote in 1923. Of course, we can " -"increase the reward that those who write now get (or alternatively, increase " -"the copyright burden that smothers many works that are today invisible). But " -"increasing their reward will not increase their creativity in 1923. What's " -"not done is not done, and there's nothing we can do about that now." -msgstr "" -"<emphasis>Hold det potensielt:</emphasis> Uansett hva lengden pÃ¥ vernetiden " -"i opphavsretten bÃ¸r vÃ¦re, sÃ¥ er den klareste lÃ¦rdommen Ã¸konomiene kan lÃ¦re " -"oss er at en levetid nÃ¥r den er gitt aldri bÃ¸r bli utvidet. Det kan ha vÃ¦rt " -"en tabbe i 1923 at loven kun tilbÃ¸d forfattere en varighet pÃ¥ femtisyv Ã¥r. " -"Jeg tror ikke det, men det er mulig. Hvis det var en tabbe, sÃ¥ var " -"konsekvensen at vi fikk fÃ¦rre forfattere som skrev i 1923 enn vi ellers " -"ville hatt. Men vi kan ikke korrigere den feilen i dag ved Ã¥ utvide " -"vernetiden. Uansett hva vi gjÃ¸r i dag, sÃ¥ kan vi ikke Ã¸ke antallet " -"forfattere som skrev i 1923. Vi kan naturligvis Ã¸ke belÃ¸nningen for de som " -"skriver nÃ¥ (eller alternativt, Ã¸ke opphavsrettsbyrden som kveler mange " -"verker som i dag er usynlige. Men Ã¥ Ã¸ke deres belÃ¸nning vil ikke Ã¸ke deres " -"kreativitet i 1923. Det som ikke ble gjort ble ikke gjort, og det er " -"ingenting vi kan gjÃ¸re med det nÃ¥." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"These changes together should produce an <emphasis>average</emphasis> " -"copyright term that is much shorter than the current term. Until 1976, the " -"average term was just 32.2 years. We should be aiming for the same." -msgstr "" -"Disse endringene vil sammen gi en <emphasis>gjennomsnittlig</emphasis> " -"opphavsrettslig vernetid som er mye kortere enn den gjeldende vernetiden. " -"Frem til 1976 var gjennomsnittlig vernetid kun 32.2 Ã¥r. VÃ¥rt mÃ¥l bÃ¸r vÃ¦re " -"det samme." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"No doubt the extremists will call these ideas <quote>radical.</quote> (After " -"all, I call them <quote>extremists.</quote>) But again, the term I " -"recommended was longer than the term under Richard Nixon. How " -"<quote>radical</quote> can it be to ask for a more generous copyright law " -"than Richard Nixon presided over?" -msgstr "" -"Uten tvil vil ekstremistene kalle disse idÃ©ene <quote>radikale</quote>. " -"(Tross alt, sÃ¥ kaller jeg dem <quote>ekstremister</quote>.) Men igjen, " -"vernetiden jeg anbefalte var lengre enn vernetiden under Richard Nixon. hvor " -"<quote>radikalt</quote> kan det vÃ¦re Ã¥ be om en mer sjenerÃ¸s " -"opphavsrettighet enn da Richard Nixon var president?" - -#. type: Content of: <book><chapter><section><section><title> -msgid "3. Free Use Vs. Fair Use" -msgstr "3. Fri Bruk vs. rimelig bruk" - -#. type: Content of: <book><chapter><section><section><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 observerte i starten av denne boken, ga originalt eiendomsretten " -"landeiere retten til Ã¥ kontrollere sin eiendom fra joda og helt opp til " -"himmelen. SÃ¥ kom flymaskiner, og omfanget av eiendomsretter ble raskt " -"endret. Det var intet oppstyr, ingen konstituell utfordring. Det ga ikke " -"mening lenger Ã¥ gi bort sÃ¥ mye kontroll, gitt fremveksten av denne nye " -"teknologien." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Our Constitution gives Congress the power to give authors <quote>exclusive " -"right</quote> to <quote>their writings.</quote> Congress has given authors " -"an exclusive right to <quote>their writings</quote> plus any derivative " -"writings (made by others) that are sufficiently close to the author's " -"original work. Thus, if I write a book, and you base a movie on that book, I " -"have the power to deny you the right to release that movie, even though that " -"movie is not <quote>my writing.</quote>" -msgstr "" -"VÃ¥r grunnlov gir kongressen myndighet til Ã¥ tildele forfattere " -"<quote>eksklusive rett</quote> til <quote>deres skrifter</quote>. Kongressen " -"har gitt forfattere en eksklusiv rett til <quote>deres skrifter</quote> " -"pluss alle avledede skrifter (laget av andre) som er tilstrekkelig nÃ¦r " -"forfatterens opprinnelige verk. Dermed, hvis jeg skriver en bok, og du " -"baserer en film pÃ¥ den boken, sÃ¥ har jeg myndighet til Ã¥ nekte deg Ã¥ gi ut " -"den filmen, selv om den filmen ikke er <quote>min skrift</quote>." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Kaplan, Benjamin" -msgstr "Kaplan, Benjamin" - -#. f5. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " -"York: Columbia University Press, 1967), 32." -msgstr "" -"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " -"York: Columbia University Press, 1967), 32." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Congress granted the beginnings of this right in 1870, when it expanded the " -"exclusive right of copyright to include a right to control translations and " -"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The " -"courts have expanded it slowly through judicial interpretation ever since. " -"This expansion has been commented upon by one of the law's greatest judges, " -"Judge Benjamin Kaplan." -msgstr "" -"Kongressen innvilget opphavet til denne retten i 1870, da den utvidet den " -"eksklusive retten i opphavsretten til Ã¥ inneholde retten til Ã¥ kontrollere " -"oversettelser og dramatiseringer av et verk.<placeholder type=\"footnote\" " -"id=\"0\"/> Domstolene har utvidet det sakte gjennom lovfortolkninger siden " -"da. Denne utvidelsen har vÃ¦rt kommentert av en av jussverdens beste " -"dommere, dommer Benjamin Kaplan." - -#. f6. -#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para> -msgid "Ibid., 56." -msgstr "Ibid., 56." - -#. type: Content of: <book><chapter><section><section><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 "" -"Vi har blitt sÃ¥ tilvendt til utvidelsen av monopolet til en lang rekke med " -"sÃ¥kalte avledede verker at vi ikke lenger ser hvor rart det er Ã¥ akseptere " -"en slik utvidelse av opphavsretten mens vi nynner pÃ¥ abrakadabraen rundt " -"idÃ©er og uttrykk.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 pÃ¥ tide Ã¥ anerkjenne at det er flymaskiner pÃ¥ dette omrÃ¥det, " -"og at utvidelser av rettigheter for avledede verker ikke lenger gir mening. " -"Mer presist gir de ikke mening for hele verneperioden til opphavsretten. Og " -"de gir ikke mening som ubegrenset tildeling. La oss vurdere hver " -"begrensning for seg." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, " -"then that right should be for a much shorter term. It makes sense to protect " -"John Grisham's right to sell the movie rights to his latest novel (or at " -"least I'm willing to assume it does); but it does not make sense for that " -"right to run for the same term as the underlying copyright. The derivative " -"right could be important in inducing creativity; it is not important long " -"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"<emphasis>Vernetid:</emphasis> Hvis kongressen Ã¸nsker Ã¥ tildele avledede " -"rettigheter, da bÃ¸r den rettigheten ha mye kortere vernetid.. Det gir mening " -"Ã¥ beskytte John Grishams rett til Ã¥ selge filmrettighetene til hans siste " -"roman (eller i det minste er jeg villig til Ã¥ anta at det gir mening), men " -"det gir ikke mening at denne rettigheten skal vare like lenge som vernetiden " -"til den underliggende opphavsretten. Den avledede rettigheten kan vÃ¦re " -"viktig for Ã¥ bidra til kreativitet, men den er ikke viktig lenge etter at " -"det kreative arbeidet er ferdig. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights " -"be narrowed. Again, there are some cases in which derivative rights are " -"important. Those should be specified. But the law should draw clear lines " -"around regulated and unregulated uses of copyrighted material. When all " -"<quote>reuse</quote> of creative material was within the control of " -"businesses, perhaps it made sense to require lawyers to negotiate the lines. " -"It no longer makes sense for lawyers to negotiate the lines. Think about all " -"the creative possibilities that digital technologies enable; now imagine " -"pouring molasses into the machines. That's what this general requirement of " -"permission does to the creative process. Smothers it." -msgstr "" -"<emphasis>Omfang:</emphasis> PÃ¥ samme mÃ¥te bÃ¸r omfanget for avledede verker " -"snevres inn. Her igjen er det noen tilfeller der avledede rettigheter er " -"viktige. Disse bÃ¸r spesifiseres. Men loven bÃ¸r skille klart mellom " -"regulert og uregulert bruk av opphavsrettsbeskyttet materiale. Da all " -"<quote>gjenbruk</quote> av kreativt materiale var under kontroll av " -"bedrifter, sÃ¥ gjorde det kanskje mening Ã¥ kreve advokater for Ã¥ forhandle om " -"hvor grensen gikk. Det gir ikke lenger mening Ã¥ la advokater forhandle om " -"hvor grensene gÃ¥r. Tenk pÃ¥ alle de kreative mulighetene som digitale " -"teknologier muliggjÃ¸r. Forestill deg sÃ¥ Ã¥ helle sirup inn i maskinene. Det " -"er hva dette generelle kravet om tillatelse gjÃ¸r med den kreative " -"prosessen. Den kveler den." - -#. type: Content of: <book><chapter><section><section><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 kom med da han beskrev hvordan han laget Clint " -"Eastwood-CDen. Mens det gir mening Ã¥ kreve forhandlinger for overskuelige " -"avledede rettigheter—Ã¥ lage en film av en bok, eller et noteark av et " -"dikt—sÃ¥ gir det ikke mening Ã¥ kreve forhandlinger for det " -"uoverskuelige. Her gir en lovfestet rett mer mening." - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Goldstein, Paul" -msgstr "Goldstein, Paul" - -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " -"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " -"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " -"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " -"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 "" -"I hver av disse tilfellene burde loven markere hvilke bruksomrÃ¥der som er " -"beskyttet og en bÃ¸r sÃ¥ kunne anta at andre bruksomrÃ¥der ikke er beskyttet. " -"Dette er det motsatte av anbefalingen fra min kollega Paul Goldstein." -"<placeholder type=\"footnote\" id=\"0\"/> Hans syn er at loven bÃ¸r skrives " -"slik at beskyttelsen utvides nÃ¥r bruksomrÃ¥dene utvides." - -#. type: Content of: <book><chapter><section><section><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 "" -"Analysen til GoldStein gir absolutt mening hvis kostnadene ved det " -"rettssystemet var lave. Men som vi nÃ¥ ser i sammenheng med Internettet, gir " -"usikkerhet rundt omfanget av beskyttelse, og insentivet til Ã¥ beskytte den " -"eksisterende arkitektur for inntekter kombinert med en sterk opphavsrett, en " -"svekket nyskapningsprosess." - -#. PAGE BREAK 301 -#. type: Content of: <book><chapter><section><section><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 motvirke dette problemet enten ved Ã¥ fjerne beskyttelsen ut over " -"de delene som er eksplisitt nevnt, eller ved Ã¥ tillate gjenbruksretter pÃ¥ " -"visse lovbestemte betingelser. Fro hver av disse alternativene ville " -"effekten vÃ¦re Ã¥ frigjÃ¸re en stor del av kulturen slik at andre kan fÃ¥ den " -"til Ã¥ vokse. Og under et lovbestemt rettighetsregime, sÃ¥ ville slik " -"gjenbruk gi kunstnerne flere inntekter." - -#. type: Content of: <book><chapter><section><section><title> -msgid "4. Liberate the Music—Again" -msgstr "4. FrigjÃ¸r musikken—igjen" - -#. type: Content of: <book><chapter><section><section><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 startet hele denne krigen var om musikk, sÃ¥ det ville ikke vÃ¦re " -"rimelig Ã¥ avslutte denne boken uten Ã¥ ta opp problemet som er mest " -"presserende for de fleste—musikk. Det er ingen andre policy-tema som " -"bedre forklarer hva en kan lÃ¦re i denne boken enn slagene om deling av " -"musikk." - -#. type: Content of: <book><chapter><section><section><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 "" -"Appellen til fildeling var dopet for veksten til Internettet. Det drev " -"behovet for tilgang til Internettet kraftigere enn noe annet " -"enkeltbruksomrÃ¥de. Det var Internettets <quote>*killer app*</quote>—" -"kanskje i to betydninger av ordet. Det var uten tvil det bruksomrÃ¥det som " -"drev etterspÃ¸rselen etter bÃ¥ndbredde. Det kan godt endte opp med Ã¥ vÃ¦re " -"bruksomrÃ¥det som driver igjennom krav om reguleringer som til slutt dreper " -"nyskapning pa nettet." - -#. type: Content of: <book><chapter><section><section><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 "" -"MÃ¥let med opphavsrett, bÃ¥de generelt og for musikk spesielt, er Ã¥ skape " -"insentiver for Ã¥ komponere, fremfÃ¸re og aller viktigst, spre, musikk. Loven " -"gjÃ¸r dette ved Ã¥ gi en eksklusiv rett til en komponist til Ã¥ kontrollere " -"offentlige fremfÃ¸ringer av sitt verk, og til en utÃ¸vende artist til Ã¥ " -"kontrollere kopier av sine fremfÃ¸ringer." - -#. type: Content of: <book><chapter><section><section><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 <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"piracy\"/>, they enable four different " -"kinds of sharing:" -msgstr "" -"Fildelingsnettverk kompliserer denne modellen ved Ã¥ gjÃ¸re det mulig a spre " -"innhold uten at utÃ¸veren har fÃ¥tt betalt. Men dette er naturligvis ikke alt " -"et fildelingsnettverk gjÃ¸r. Som jeg beskrev i kapittel <xref xrefstyle=" -"\"select: labelnumber\" linkend=\"piracy\"/>, sÃ¥ muliggjÃ¸r de fire ulike " -"former for deling:" - -#. A. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"There are some who are using sharing networks as substitutes for purchasing " -"CDs." -msgstr "" -"Det er noen som bruker delingsnettverk som erstatninger for Ã¥ kjÃ¸pe CDer." - -#. B. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"There are also some who are using sharing networks to sample, on the way to " -"purchasing CDs." -msgstr "" -"Det er ogsÃ¥ noen som bruker delingsnettverk for Ã¥ prÃ¸velytte, mens de " -"vurderer hva slags CDer de vil kjÃ¸pe." - -#. PAGE BREAK 302 -#. C. -#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk til Ã¥ fÃ¥ tilgang til innhold som " -"ikke lenger er i salg, men fortsatt er vernet av opphavsrett eller som ville " -"ha vÃ¦rt altfor vanskelig Ã¥ fÃ¥ kjÃ¸pt via nettet." - -#. D. -#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk for Ã¥ fÃ¥ tilgang til innhold som " -"ikke er opphavsrettsbeskyttet, eller for Ã¥ fÃ¥ tilgang som " -"opphavsrettsinnehaveren Ã¥penbart gÃ¥r god for." - -#. type: Content of: <book><chapter><section><section><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 "" -"Enhver reform av loven mÃ¥ ha disse ulike bruksomrÃ¥dene i fokus. Den mÃ¥ " -"unngÃ¥ Ã¥ belaste type-D-deling selv om den tar sikte pÃ¥ Ã¥ fjerne type A. " -"Hvor ivrig loven sÃ¸ker Ã¥ fjerne type-A-deling bÃ¸r videre vÃ¦re avhengig av " -"stÃ¸rrelsen pÃ¥ type-B-deling. Som med videospillere, hvis nettoeffekten av " -"deling ikke er spesielt skadelig, sÃ¥ er behovet for regulering betydelig " -"svekket.noen reform av loven behov for Ã¥ holde disse ulike bruksomrÃ¥der i " -"fokus. den mÃ¥ unngÃ¥ bebyrde type d selv om formÃ¥let er Ã¥ eliminere type a. " -"den iver etter med som loven sikte pÃ¥ Ã¥ eliminere type a, videre bÃ¸r " -"avhenger omfanget av typen b. som med videospillere, hvis netto effekt av en " -"deling er faktisk ikke svÃ¦rt skadelige, behovet for regulering er betydelig " -"svekket." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"As I said in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"piracy" -"\"/>, the actual harm caused by sharing is controversial. For the purposes " -"of this chapter, however, I assume the harm is real. I assume, in other " -"words, that type A sharing is significantly greater than type B, and is the " -"dominant use of sharing networks." -msgstr "" -"Som jeg sa i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" -"\"piracy\"/>, er det kontroversielt om delingen forÃ¥rsaker skade. Men i " -"dette kapittelet vil jeg anta at skaden er reell. Jeg antar, med andre ord, " -"at type-A-deling er betydelig stÃ¸rre enn type-B, og er den dominerende " -"bruken av delingsnettverk." - -#. type: Content of: <book><chapter><section><section><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 "" -"Uansett, det er et avgjÃ¸rende faktum om den gjeldende teknologiske " -"omgivelsen som vi mÃ¥ huske pÃ¥ hvis vi skal forstÃ¥ hvordan loven bÃ¸r reagere." - -#. type: Content of: <book><chapter><section><section><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 blir er fildeling avhengighetsskapende. Om ti Ã¥r vil det vÃ¦re det. " -"Det er avhengighetsskapende i dag pÃ¥ grunn av at det er den enkleste mÃ¥ten Ã¥ " -"fÃ¥ tilgang til et bredt spekter av innhold. Det vil ikke vÃ¦re den enkleste " -"mÃ¥ten Ã¥ fÃ¥ tilgang til et bredt spekter av innhold om ti Ã¥r. I dag er " -"tilgang til Internettet knotete og tregt—vi i USA er heldige hvis vi " -"har en bredbÃ¥ndstjeneste med 1,5 MB/s, og svÃ¦rt sjelden fÃ¥r vi tjenesten med " -"den hastigheten bÃ¥de opp og ned. Selv om trÃ¥dlÃ¸s tilgang vokser, mÃ¥ de " -"fleste av oss fÃ¥ tilgang via kabler. De fleste fÃ¥r kun tilgang via en " -"maskin med et tastatur. IdÃ©en om Ã¥ alltid vÃ¦re tilkoblet Internett er i " -"hovedsak bare en idÃ©." - -#. PAGE BREAK 303 -#. type: Content of: <book><chapter><section><section><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 mÃ¥ten vi fÃ¥r tilgang til " -"Internettet pÃ¥ i dag er en teknologi i endring. Beslutningstakere bÃ¸r ikke " -"lage regler basert pÃ¥ teknologi i endring. De bÃ¸r lage regler basert pÃ¥ " -"hvor teknologien er pÃ¥ vei. SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re om hvordan loven skal " -"regulere delingen slik verden er nÃ¥. SpÃ¸rsmÃ¥let bÃ¸r vÃ¦re, hva slags lov vil " -"vi trenge nÃ¥r nettverket blir det nettverket helt klart er pÃ¥ vei mot. Det " -"nettverket er et hvor enhver maskin som bruker strÃ¸m i essensen er pÃ¥ " -"nettet. Uansett hvor du er—muligens med unntak av i Ã¸rkenen og " -"fjerntliggende fjellpartier—kan du umiddelbart bli koblet til " -"Internettet. Forestill deg internettet sÃ¥ allstedsnÃ¦rvÃ¦rende som den beste " -"mobiltelefontjenesten, hvor du er tilkoblet med et enkelt trykk pÃ¥ en bryter." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "cell phones, music streamed over" -msgstr "mobiltelefoner, musikk streamet via" - -#. f8. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"See, for example, <quote>Music Media Watch,</quote> The J@pan Inc. " -"Newsletter, 3 April 2002, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #76</ulink>." -msgstr "" -"For eksempel, se, <quote>Music Media Watch</quote>, The J@pan Inc. " -"Newsletter, 3 April 2002, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #76</ulink>." - -#. type: Content of: <book><chapter><section><section><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 <emphasis>extremely</emphasis> easy to connect to services " -"that give access to content, it will be <emphasis>easier</emphasis> to " -"connect to services that give you access to content than it will be to " -"download and store content <emphasis>on the many devices you will have for " -"playing content</emphasis>. It will be easier, in other words, to subscribe " -"than it will be to be a database manager, as everyone in the download-" -"sharing world of Napster-like technologies essentially is. Content services " -"will compete with content sharing, even if the services charge money for the " -"content they give access to. Already cell-phone services in Japan offer " -"music (for a fee) streamed over cell phones (enhanced with plugs for " -"headphones). The Japanese are paying for this content even though " -"<quote>free</quote> content is available in the form of MP3s across the Web." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"I den verden vil det vÃ¦re ekstremt enkelt Ã¥ koble seg til en tjeneste som " -"gir deg direkte tilgang til innhold—slik som Internett-radio, innhold " -"som strÃ¸mmes til brukeren nÃ¥r brukeren Ã¸nsker det. Her er dermed det " -"kritiske poenget: NÃ¥r det er <emphasis>ekstremt</emphasis> enkelt Ã¥ koble " -"seg til tjenester som gir tilgang til innhold, sa vil det vÃ¦re " -"<emphasis>enklere</emphasis> Ã¥ koble seg til tjenester som gir deg tilgang " -"til innhold enn det vil vÃ¦re Ã¥ laste ned og lagre innhold <emphasis>pÃ¥ de " -"mange enhetene som du vil ha for Ã¥ vise frem innhold</emphasis>. Det vil " -"med andre ord vÃ¦re enklere Ã¥ abonnere enn det vil vÃ¦re Ã¥ vÃ¦re " -"databaseadministrator, hvilket enhver er i en <quote>last ned og del</quote>-" -"verden som Napster-lignende teknologier i essensen er. Innholdstjenester " -"vil konkurrere med innholdsdeling, selv om tjenestene krever penger for " -"innholdet de gir tilgang til. Allerede tilbyr mobiltelefontjenester i Japan " -"musikk (mot et gebyr) strÃ¸mmet via mobiltelefoner (forbedret med plugger for " -"Ã¸retelefoner). Japanerne betaler for dette innholdet selv om <quote>gratis</" -"quote> innhold er tilgjengelig i form av MP3er via nettet.<placeholder type=" -"\"footnote\" id=\"0\"/>" - -#. PAGE BREAK 304 -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"This point about the future is meant to suggest a perspective on the " -"present: It is emphatically temporary. The <quote>problem</quote> with file " -"sharing—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 <quote>solving</quote> this problem in light of a technology that will " -"be gone tomorrow. The question should not be how to regulate the Internet " -"to eliminate file sharing (the Net will evolve that problem away). The " -"question instead should be how to assure that artists get paid, during this " -"transition between twentieth-century models for doing business and twenty-" -"first-century technologies." -msgstr "" -"Dette poenget om fremtiden er med Ã¥ foreslÃ¥ et perspektiv om nÃ¥tiden: Det er " -"ettertrykkelig midlertidig. <quote>Problemet</quote> med fildeling—i " -"den grad det er et reelt problem—er et problem som mer og mer vil " -"forsvinne etter hvert som det blir enklere Ã¥ koble seg pÃ¥ Internettet. Og " -"dermed er det en stor feil for beslutningstakere i dag Ã¥ <quote>lÃ¸se</quote> " -"dette problem basert pÃ¥ en teknologi som vil vÃ¦re borte i morgen. " -"SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re hvordan regulere Internettet for Ã¥ fjerne fildeling " -"(nettet vil utvikle seg slik at det problemet blir borte). SpÃ¸rsmÃ¥let bÃ¸r i " -"stedet vÃ¦re hvordan en sikrer at kunstnere fÃ¥r betalt, gjennom denne " -"overgangen fra forretningsmodellene i det tjuende Ã¥rhundre og til " -"teknologiene i det tjuefÃ¸rste Ã¥rhundre." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The answer begins with recognizing that there are different <quote>problems</" -"quote> here to solve. Let's start with type D content—uncopyrighted " -"content or copyrighted content that the artist wants shared. The " -"<quote>problem</quote> with this content is to make sure that the technology " -"that would enable this kind of sharing is not rendered illegal. You can " -"think of it this way: Pay phones are used to deliver ransom demands, no " -"doubt. But there are many who need to use pay phones who have nothing to do " -"with ransoms. It would be wrong to ban pay phones in order to eliminate " -"kidnapping." -msgstr "" -"Svaret begynner med Ã¥ erkjenne at det er ulike <quote>problemer</quote> Ã¥ " -"lÃ¸se her. La oss starte med type-D-innhold—ikke opphavsrettsbeskyttet " -"innhold eller opphavsrettsbeskyttet innhold som kunstneren Ã¸nsker Ã¥ fÃ¥ delt. " -"<quote>Problemet</quote> med dette innholdet er Ã¥ sikre at teknologien som " -"muliggjÃ¸r denne type deling ikke blir gjort ulovlig. Tenk pÃ¥ det slik: " -"telefonbokser kan uten tvil brukes til Ã¥ levere krav om lÃ¸sepenger. Men det " -"er mange som trenger Ã¥ bruke telefonbokser som ikke har noe med lÃ¸sepenger Ã¥ " -"gjÃ¸re. Det ville vÃ¦re galt Ã¥ forby telefonbokser for Ã¥ eliminere kidnapping." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Type C content raises a different <quote>problem.</quote> This is content " -"that was, at one time, published and is no longer available. It may be " -"unavailable because the artist is no longer valuable enough for the record " -"label he signed with to carry his work. Or it may be unavailable because the " -"work is forgotten. Either way, the aim of the law should be to facilitate " -"the access to this content, ideally in a way that returns something to the " -"artist." -msgstr "" -"Type-C-innhold reiser et annet <quote>problem</quote>. Dette er innhold som " -"var publisert, en gang i tiden, og ikke lenger er tilgjengelig. Det kan " -"vÃ¦re utilgjengelig fordi kunstneren ikke lenger er verdifull nok for " -"plateselskapet han har signert med til at de vil formidle hans verker. " -"Eller det kan vÃ¦re utilgjengelig fordi verket er glemt. Uansett bÃ¸r mÃ¥let " -"til loven vÃ¦re Ã¥ muliggjÃ¸re tilgang til dette innholdet, ideelt sett pÃ¥ en " -"mÃ¥te som gir noe tilbake til kunstneren." - -#. type: Content of: <book><chapter><section><section><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 " -"<quote>sharing</quote> of his content without his being compensated is less " -"than ideal." -msgstr "" -"Igjen, her er modellen bruktbokhandelen. Etter at en bok er utsolgt fra " -"forlaget, sÃ¥ kan den fortsatt vÃ¦re tilgjengelig fra biblioteker og " -"bruktbokhandler. Men biblioteker og bruktbokhandler betaler ikke " -"opphavsrettseieren nÃ¥r noen leser eller kjÃ¸per en bok som er utsolgt fra " -"forlaget. Dette gir absolutt mening, selvfÃ¸lgelig, siden ethvert annet " -"system ville vÃ¦re sÃ¥ tungvindt at det ville gjÃ¸re det umulig for " -"bruktbokhandler Ã¥ eksistere. Men fra forfatterens synsvinkel er denne " -"<quote>delingen</quote> av hans innhold uten at han fÃ¥r kompensasjon ikke " -"helt ideell." - -#. type: Content of: <book><chapter><section><section><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 <quote>share</quote> that content, even though the " -"sharing involved making a copy. The copy here would be incidental to the " -"trade; in a context where commercial publishing has ended, trading music " -"should be as free as trading books." -msgstr "" -"Modellen for bruktbokhandler antyder at loven ganske enkelt kan anse utsolgt-" -"fra-forlaget-musikk for fritt vilt. Hvis utgiveren ikke gjÃ¸r utgaver av " -"musikken tilgjengelig for salg, sÃ¥ ville kommersielle og ikke-kommersielle " -"tilbydere stÃ¥ fritt, under denne regelen, til Ã¥ <quote>dele</quote> det " -"innholdet, selv om delingen involverte Ã¥ lage en kopi. Kopien her ville " -"vÃ¦re teknisk detalj for Ã¥ for gjennomfÃ¸re handelen. I en sammenheng der " -"kommersiell publisering er avsluttet, sÃ¥ burde friheten til Ã¥ handle med " -"musikk vÃ¦re lik den som gjelder for bÃ¸ker." - -#. PAGE BREAK 305 -#. type: Content of: <book><chapter><section><section><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 "" -"Alternativt kan loven opprette en lovbestemt lisens som ville sÃ¸rge for at " -"kunstnere fÃ¥r noe fra handelen med deres verk. For eksempel, hvis loven " -"satte en lav lovbestemt sats for kommersiell deling av innhold som ikke ble " -"tilbudt for salg fra en kommersiell utgiver, og hvis denne raten automatisk " -"ble overfÃ¸rt til en tiltrodd tredjepart til fordel for kunstneren, sÃ¥ kunne " -"selskaper utvikle seg rundt idÃ©en om handel med dette innholdet mens " -"kunstneren ville ha fordel av denne handelen." - -#. type: Content of: <book><chapter><section><section><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 ville ogsÃ¥ skape et insentiv for utgivere Ã¥ la verk forbli " -"kommersielt tilgjengelig. Verk som er kommersielt tilgjengelig ville ikke " -"bli underlagt denne lisensen. Dermed kan utgiverne beskytte retten til Ã¥ ta " -"betalt hvilket som helst belÃ¸p for innhold hvis de holdt det kommersielt " -"tilgjengelig. Men hvis de ikke holdt det tilgjengelig, og i stedet var det " -"harddiskene til tilhengere rundt om kring i verden som holdt det i live, da " -"burde enhver lisensbetaling for slik kopiering vÃ¦re mye mindre enn det en " -"vanligvis ville skylle en kommersiell utgiver." - -#. type: Content of: <book><chapter><section><section><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 "" -"De vanskelige tilfellene er innhold av type A og B. Og igjen, disse " -"tilfellene er kun vanskelig fordi utstrekningen av problemet vil endre seg " -"over tid, etter hvert som teknologier for Ã¥ fÃ¥ tilgang til innhold endrer " -"seg. Lovens lÃ¸sning bÃ¸r derfor vÃ¦re like fleksibelt som problemet er, og " -"forstÃ¥ at vi er midt i en radikal endring i teknologi for levering og " -"tilgang til innhold." - -#. type: Content of: <book><chapter><section><section><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 "" -"SÃ¥ her er en lÃ¸sning som i fÃ¸rste omgang kan virke veldig underlig for begge " -"sider i denne krigen, men som jeg tror vil gi mer mening nÃ¥r en fÃ¥r tenkt " -"seg om." - -#. type: Content of: <book><chapter><section><section><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 "" -"NÃ¥r retorikken om ukrenkeligheten til eiendom er fjernet, er de " -"grunnleggende pÃ¥standen til innholdsindustrien denne: En ny teknologi " -"(Internettet) har skadet et sett med rettigheter som sikrer opphavsretten. " -"Hvis disse rettighetene skal bli beskyttet, sÃ¥ bÃ¸r innholdsindustrien " -"kompenseres for denne skaden. PÃ¥ samme mÃ¥te som tobakksteknologien skadet " -"helsen til millioner av amerikanere, eller aspestteknologien forÃ¥rsaket " -"alvorlig sykdom hos tusenvis av gruvearbeidere, sÃ¥ har den digitale " -"nettverksteknologien skadet interessene til innholdsindustrien." - -#. PAGE BREAK 306 -#. type: Content of: <book><chapter><section><section><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, sÃ¥ jeg liker ikke Ã¥ sammenligne det med tobakk eller " -"asbest. Men analogien er rimelig nÃ¥r en ser det fra lovens perspektiv. Og " -"det foreslÃ¥r en rimelig respons: I stedet for Ã¥ forsÃ¸ke Ã¥ Ã¸delegge Internett " -"eller p2p-teknologien som i dag skader innholdsleverandÃ¸rer pÃ¥ Internett, sÃ¥ " -"bÃ¸r vi finne en relativt enkel mÃ¥te Ã¥ kompensere de som blir skadelidende." - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Promises to Keep (Fisher)" -msgstr "Promises to Keep (Fisher)" - -#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> -msgid "Fisher, William" -msgstr "Fisher, William" - -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " -"<citetitle>Digital Music: Problems and Possibilities</citetitle> (last " -"revised: 10 October 2000), available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to Keep: " -"Technology, Law, and the Future of Entertainment</citetitle> (forthcoming) " -"(Stanford: Stanford University Press, 2004), ch. 6, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel has " -"proposed a related idea that would exempt noncommercial sharing from the " -"reach of copyright and would establish compensation to artists to balance " -"any loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy " -"to Allow Free P2P File Sharing,</quote> available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #79</ulink>. For other proposals, see Lawrence " -"Lessig, <quote>Who's Holding Back Broadband?</quote> <citetitle>Washington " -"Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " -"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " -"Foreign Relations Committee, 26 February 2002, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, " -"<citetitle>A Quick Case for Intellectual Property Use Fee (IPUF)</" -"citetitle>, 3 March 2002, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #81</ulink>; Jefferson Graham, <quote>Kazaa, Verizon Propose " -"to Pay Artists Directly,</quote> <citetitle>USA Today</citetitle>, 13 May " -"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</" -"ulink>; Steven M. Cherry, <quote>Getting Copyright Right,</quote> IEEE " -"Spectrum Online, 1 July 2002, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #83</ulink>; Declan McCullagh, <quote>Verizon's Copyright " -"Campaign,</quote> CNET News.com, 27 August 2002, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #84</ulink>. Fisher's proposal is " -"very similar to Richard Stallman's proposal for DAT. Unlike Fisher's, " -"Stallman's proposal would not pay artists directly proportionally, though " -"more popular artists would get more than the less popular. As is typical " -"with Stallman, his proposal predates the current debate by about a decade. " -"See <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " -"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " -"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" -msgstr "" -"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " -"<citetitle>Digital Music: Problems and Possibilities</citetitle> (sist " -"revidert: 10. oktober 2000), tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to " -"Keep: Technology, Law, and the Future of Entertainment</citetitle> (kommer) " -"(Stanford: Stanford University Press, 2004), kap. 6, tilgjengelig fra <ulink " -"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel " -"har foreslÃ¥tt en relatert idÃ© som ville gjÃ¸re at opphavsretten ikke gjelder " -"ikke-kommersiell deling fra og ville etablere kompensasjon til kunstnere for " -"Ã¥ balansere eventuelle tap. Se Neil Weinstock Netanel, <quote>Impose a " -"Noncommercial Use Levy to Allow Free P2P File Sharing</quote>, tilgjengelig " -"fra <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. For andre " -"forslag, se Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> " -"<citetitle>Washington Post</citetitle>, 8. january 2002, A17; Philip S. " -"Corwin pÃ¥ vegne av Sharman Networks, Et brev til Senator Joseph R. Biden, " -"Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #80</" -"ulink>; Serguei Osokine, <citetitle>A Quick Case for Intellectual Property " -"Use Fee (IPUF)</citetitle>, 3. mars 2002, tilgjengelig fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson Graham, " -"<quote>Kazaa, Verizon Propose to Pay Artists Directly</quote>, " -"<citetitle>USA Today</citetitle>, 13. mai 2002, tilgjengelig fra <ulink url=" -"\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, " -"<quote>Getting Copyright Right</quote>, IEEE Spectrum Online, 1. juli 2002, " -"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #83</" -"ulink>; Declan McCullagh, <quote>Verizon's Copyright Campaign</quote>, CNET " -"News.com, 27. august 2002, tilgjengelig fra <ulink url=\"http://free-culture." -"cc/notes/\">link #84</ulink>. Forslaget fra Fisher er ganske likt forslaget " -"til Richard Stallman nÃ¥r det gjelder DAT. I motsetning til Fishers forslag, " -"ville Stallmanns forslag ikke betale kunstnere proposjonalt, selv om mer " -"populÃ¦re artister ville fÃ¥ mer betalt enn mindre populÃ¦re. Slik det er " -"typisk med Stallman, la han fram sitt forslag omtrent ti Ã¥r fÃ¸r dagens " -"debatt. Se <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " -"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " -"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" - -#. type: Content of: <book><chapter><section><section><para> -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 "" -"IdÃ©en er basert pÃ¥ et forslag lansert av jusprofessor William Fisher ved " -"Harvard.<placeholder type=\"footnote\" id=\"0\"/> Fisher foreslÃ¥r en veldig " -"lur mÃ¥te rundt den pÃ¥gÃ¥ende stillingskrigen pÃ¥ Internettet. I fÃ¸lge hans " -"plan ville alt innhold som kan sendes digitalt (1) vÃ¦re markert med et " -"digitalt vannmerke (ikke bekymre deg over hvor enkelt det ville vÃ¦re Ã¥ unngÃ¥ " -"disse merkene, som du vil se er det ikke noe insentiv for Ã¥ unngÃ¥ dem). NÃ¥r " -"innholdet er merket, sÃ¥ ville entreprenÃ¸rer utvikle (2) systemer for Ã¥ " -"registrere hvor mange enheter av hvert innhold som ble distribuert. PÃ¥ " -"grunnlag av disse tallene ville sÃ¥ (3) kunstnerne bli kompensert. " -"Kompensasjonen kunne bli finansiert med (4) en passende skatt." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"Fisher's proposal is careful and comprehensive. It raises a million " -"questions, most of which he answers well in his upcoming book, " -"<citetitle>Promises to Keep</citetitle>. The modification that I would make " -"is relatively simple: Fisher imagines his proposal replacing the existing " -"copyright system. I imagine it complementing the existing system. The aim " -"of the proposal would be to facilitate compensation to the extent that harm " -"could be shown. This compensation would be temporary, aimed at facilitating " -"a transition between regimes. And it would require renewal after a period of " -"years. If it continues to make sense to facilitate free exchange of content, " -"supported through a taxation system, then it can be continued. If this form " -"of protection is no longer necessary, then the system could lapse into the " -"old system of controlling access." -msgstr "" -"Forslaget til Fisher er grundig og omfattende. Det reiser en million " -"spÃ¸rsmÃ¥l, de fleste av dem godt besvart i hans kommende bok, " -"<citetitle>Promises to Keep</citetitle>. Endringene jeg vil gjÃ¸re er " -"relativt enkle: Fisher ser for seg at hans forslag erstatter det " -"eksisterende opphavsrettssystemet. Jeg ser for meg at det vil utfylle det " -"eksisterende systemet. MÃ¥let med forslaget vil vÃ¦re Ã¥ gjÃ¸re det enklere Ã¥ " -"gi kompensasjon i den grad skade kan pÃ¥vises. Denne kompensasjonen ville " -"vÃ¦re midlertidig, med mÃ¥lsetning om Ã¥ gjÃ¸re overgangen lettere mellom to " -"regimer. Og det ville kreve fornying etter en periode pa noen Ã¥r. Hvis det " -"fortsatt gir mening Ã¥ forenkle gratis utveksling av innhold gjennom et " -"skattesystem, sÃ¥ kan det viderefÃ¸res. Hvis denne form for beskyttelse ikke " -"lenger er nÃ¸dvendig, sÃ¥ kan systemet foldes inn i det gamle systemet for Ã¥ " -"kontrollere tilgang." - -#. PAGE BREAK 307 -#. type: Content of: <book><chapter><section><section><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 <quote>semiotic democracy</quote> 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 ville steile over idÃ©en om Ã¥ tillate systemet til Ã¥ foldes vekk. " -"Hans mÃ¥l er ikke bare Ã¥ sikre at kunstnerne blir betalt, men ogsÃ¥ Ã¥ sikre at " -"systemet stÃ¸tter den videste rekken av <quote>*semiotic democracy*</quote> " -"som mulig. Men mÃ¥let om *semiotic democracy* kan oppfylles hvis de andre " -"endringer jeg beskriver kommer pÃ¥ plass—spesielt begrensninger pÃ¥ " -"avledet bruk. Et system som ganske enkelt tar imot betaling for tilgang vil " -"ikke belaste *semiotic democracy* veldig hvis det var fÃ¥ begrensninger pÃ¥ " -"hva en fÃ¥r lov til Ã¥ gjÃ¸re med selve innholdet." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "MusicStore" -msgstr "MusicStore" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "prices of" -msgstr "priser pÃ¥" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"No doubt it would be difficult to calculate the proper measure of " -"<quote>harm</quote> to an industry. But the difficulty of making that " -"calculation would be outweighed by the benefit of facilitating innovation. " -"This background system to compensate would also not need to interfere with " -"innovative proposals such as Apple's MusicStore. As experts predicted when " -"Apple launched the MusicStore, it could beat <quote>free</quote> by being " -"easier than free is. This has proven correct: Apple has sold millions of " -"songs at even the very high price of 99 cents a song. (At 99 cents, the cost " -"is the equivalent of a per-song CD price, though the labels have none of the " -"costs of a CD to pay.) Apple's move was countered by Real Networks, offering " -"music at just 79 cents a song. And no doubt there will be a great deal of " -"competition to offer and sell music on-line." -msgstr "" -"Uten tvil vil det vÃ¦re vanskelig Ã¥ mÃ¥le nÃ¸yaktig <quote>skaden</quote> pÃ¥ en " -"industri. Men vanskeligheten i Ã¥ beregne dette vil veies opp av fordelen " -"ved Ã¥ tilrettelegge for nyskapning. Dette bakgrunnssystemet for Ã¥ kompensere " -"ville heller ikke trenge Ã¥ forstyrre nyskapende forslag som Apples " -"MusicStore. Som eksperter forutsÃ¥ da Apple lanserte sin MusicStore, sÃ¥ kan " -"den slÃ¥ <quote>gratis</quote> ved Ã¥ vÃ¦re enklere enn det gratis er. Dette " -"har vist seg Ã¥ vÃ¦re riktig: Apple har solgt millioner av sanger til selv den " -"veldig hÃ¸ye prisen 99 cent pr. sang (til 99 cent er kostnaden tilsvarende " -"prisen pr. sang pÃ¥ CD, selv om plateselskapene ikke mÃ¥ betale noen av " -"kostnadene knyttet til Cd-produksjon). Apples lansering ble mÃ¸tt av Real " -"Networks, som tilbÃ¸d musikk til kun 79 cent pr. sang. Og uten tvil vil det " -"bli mye konkurranse rundt Ã¥ tilby og Ã¥ selge musikk pÃ¥ nettet." - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "cable vs. broadcast" -msgstr "kabel-TV mot kringkasting" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "luxury theatres vs. video piracy in" -msgstr "luksuskinoer mot video-piratvirksomhet i" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"This competition has already occurred against the background of <quote>free</" -"quote> music from p2p systems. As the sellers of cable television have known " -"for thirty years, and the sellers of bottled water for much more than that, " -"there is nothing impossible at all about <quote>competing with free.</quote> " -"Indeed, if anything, the competition spurs the competitors to offer new and " -"better products. This is precisely what the competitive market was to be " -"about. Thus in Singapore, though piracy is rampant, movie theaters are often " -"luxurious—with <quote>first class</quote> seats, and meals served " -"while you watch a movie—as they struggle and succeed in finding ways " -"to compete with <quote>free.</quote>" -msgstr "" -"Denne konkurransen er allerede pÃ¥ plass mot bakgrunnen med <quote>gratis</" -"quote> musikk fra p2p-systemer. Slik selgerne av kabel-TV har visst i " -"tredve Ã¥r, og de som selger vann pÃ¥ plaske enda lengre, sÃ¥ er det slett ikke " -"umulig over det Ã¥ <quote>konkurrere med gratis</quote>. Faktisk til " -"konkurransen om ikke annet inspirere til Ã¥ tilby nye og bedre produkter. " -"Det er nÃ¸yaktig det et konkurransedyktig marked skulle handle om. Dermed " -"har en i Singapore, hvor piratkopiering er utbredt, ofte luksuriÃ¸se " -"kinosaler—med <quote>fÃ¸rsteklasses</quote> seter, og mÃ¥ltider servert " -"mens du ser pÃ¥ en film—mens de kjemper og lykkes i Ã¥ finne en mÃ¥te a " -"konkurrere med <quote>gratis</quote>." - -#. type: Content of: <book><chapter><section><section><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 konkurranseregimet, med en sikringsmekanisme for Ã¥ sikre at kunstnere " -"ikke taper, ville bidra mye til nyskapning innen levering av innhold. " -"Konkurransen ville fortsette Ã¥ redusere type-A-deling. Det ville inspirere " -"en ekstraordinÃ¦r rekke av nye innovatÃ¸rer—som ville ha retten til a " -"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer " -"fra loven." - -#. type: Content of: <book><chapter><section><section><para> -msgid "In summary, then, my proposal is this:" -msgstr "Oppsummert, sÃ¥ er dette mitt forslag:" - -#. PAGE BREAK 308 -#. type: Content of: <book><chapter><section><section><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 endring. Vi bÃ¸r ikke regulere en teknologi i endring. Vi bÃ¸r " -"i stedet regulere for Ã¥ minimere skaden pÃ¥fÃ¸rt interesser som er berÃ¸rt av " -"denne teknologiske endringen, samtidig vi muliggjÃ¸r, og oppmuntrer, den mest " -"effektive teknologien vi kan lage." - -#. type: Content of: <book><chapter><section><section><para> -msgid "We can minimize that harm while maximizing the benefit to innovation by" -msgstr "" -"Vi kan minimere skaden og samtidig maksimere fordelen med innovasjon ved Ã¥" - -#. 1. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "guaranteeing the right to engage in type D sharing;" -msgstr "garantere retten til Ã¥ engasjere seg i type-D-deling;" - -#. 2. -#. type: Content of: <book><chapter><section><section><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 "" -"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og " -"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov." - -#. 3. -#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> -msgid "" -"while in this transition, taxing and compensating for type A sharing, to the " -"extent actual harm is demonstrated." -msgstr "" -"mens denne overgangen pÃ¥gÃ¥r, skattlegge og kompensere for type-A-deling, i " -"den grad faktiske skade kan pÃ¥vises." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"But what if <quote>piracy</quote> doesn't disappear? What if there is a " -"competitive market providing content at a low cost, but a significant number " -"of consumers continue to <quote>take</quote> content for nothing? Should the " -"law do something then?" -msgstr "" -"Men hva om <quote>piratvirksomheten</quote> ikke forsvinner? Hva om det " -"finnes et konkurranseutsatt marked som tilbyr innhold til en lav kostnad, " -"men et signifikant antall av forbrukere fortsetter Ã¥ <quote>ta</quote> " -"innhold uten Ã¥ betale? Burde loven gjÃ¸re noe da?" - -#. type: Content of: <book><chapter><section><section><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 <citetitle>x</citetitle>, or " -"(b) to have a technology that is 50 percent secure but produces a market of " -"five times <citetitle>x</citetitle>? Less secure might produce more " -"unauthorized sharing, but it is likely to also produce a much bigger market " -"in authorized sharing. The most important thing is to assure artists' " -"compensation without breaking the Internet. Once that's assured, then it may " -"well be appropriate to find ways to track down the petty pirates." -msgstr "" -"Ja, det bÃ¸r den. Men, nok en gang, hva den bÃ¸r gjÃ¸re avhenger hvordan " -"realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-" -"deling. Men det virkelige spÃ¸rmÃ¥let er ikke om de eliminerer deling i " -"abstrakt betydning. Det virkelige spÃ¸rsmÃ¥let er hvilken effekt det har pÃ¥ " -"markedet. Er det bedre (a) Ã¥ ha en teknologi som er 95 prosent sikker og " -"gir et marked av stÃ¸rrelse <citetitle>x</citetitle>, eller (b) Ã¥ ha en " -"teknologi som er 50 prosent sikker, og som gir et marked som er fem ganger " -"stÃ¸rre enn <citetitle>x</citetitle>? Mindre sikker kan gi mer uautorisert " -"deling, men det vil sannsynligvis ogsÃ¥ gi et mye stÃ¸rre marked for " -"autorisert deling. Det viktigste er Ã¥ sikre kunstneres kompensasjon uten Ã¥ " -"Ã¸delegge Internettet. NÃ¥r det er pÃ¥ plass, kan det hende det er riktig Ã¥ " -"finne mÃ¥ter Ã¥ spore opp de smÃ¥lige piratene." - -#. PAGE BREAK 309 -#. type: Content of: <book><chapter><section><section><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 Ã¥ spikke problemet ned til dette delsettet av type-A-" -"delere. Og vÃ¥rt fokus inntil er der bÃ¸r ikke vÃ¦re Ã¥ finne mÃ¥ter Ã¥ Ã¸delegge " -"Internettet. Var fokus inntil vi er der bÃ¸r vÃ¦re hvordan sikre at artister " -"fÃ¥r betalt, mens vi beskytter rommet for nyskapning og kreativitet som " -"Internettet er." - -#. type: Content of: <book><chapter><section><section><title> -msgid "5. Fire Lots of Lawyers" -msgstr "5. Spark en masse advokater" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe " -"in the law of copyright. Indeed, I have devoted my life to working in law, " -"not because there are big bucks at the end but because there are ideals at " -"the end that I would love to live." -msgstr "" -"Jeg er en advokat. Jeg lever av Ã¥ utdanne advokater. Jeg tror pÃ¥ loven. Jeg " -"tror pÃ¥ Ã¥ndsverksloven. Jeg har faktisk viet livet til Ã¥ jobbe med loven, " -"ikke fordi det er mye penger Ã¥ tjene, men fordi det innebÃ¦rer idealer som " -"jeg elsker Ã¥ leve opp til." - -#. type: Content of: <book><chapter><section><section><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 har mye av denne boken vÃ¦rt kritikk av advokater, eller rollen " -"advokater har spilt i denne debatten. Loven taler om idealer, mens det er " -"min oppfatning av vÃ¥r yrkesgruppe er blitt for knyttet til klienten. Og i " -"en verden der rike klienter har sterke synspunkter vil uviljen hos vÃ¥r " -"yrkesgruppe til Ã¥ stille spÃ¸rsmÃ¥l med eller protestere mot dette sterke " -"synet Ã¸delegge loven." - -#. type: Content of: <book><chapter><section><section><indexterm><primary> -msgid "Nimmer, Melville" -msgstr "Nimmer, Melville" - -#. type: Content of: <book><chapter><section><section><indexterm><secondary> -msgid "Supreme Court challenge of" -msgstr "HÃ¸yesteretts utfordring av" - -#. f10. -#. type: Content of: <book><chapter><section><section><para><footnote><para> -msgid "" -"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " -"Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): " -"1057, 1069–70." -msgstr "" -"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " -"Nimmer Memorial Lecture), <citetitle>UCLA law Review</citetitle> 48 (2001): " -"1057, 1069–70." - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"The evidence of this bending is compelling. I'm attacked as a " -"<quote>radical</quote> by many within the profession, yet the positions that " -"I am advocating are precisely the positions of some of the most moderate and " -"significant figures in the history of this branch of the law. Many, for " -"example, thought crazy the challenge that we brought to the Copyright Term " -"Extension Act. Yet just thirty years ago, the dominant scholar and " -"practitioner in the field of copyright, Melville Nimmer, thought it obvious." -"<placeholder type=\"footnote\" id=\"0\"/>" -msgstr "" -"Indisiene for slik bÃ¸yning er overbevisene. Jeg er angrepet som en " -"<quote>radikal</quote> av mange innenfor yrket, og likevel er meningene jeg " -"argumenterer for nÃ¸yaktig de meningene til mange av de mest moderate og " -"betydningsfulle personene i historien til denne delen av loven. Mange trodde " -"for eksempel at vÃ¥r utfordring til lovforslaget om Ã¥ utvide opphavsrettens " -"vernetid var galskap. Mens bare tredve Ã¥r siden mente den dominerende " -"foreleser og utÃ¸ver i opphavsrettsfeltet, Melville Nimmer, at den var " -"Ã¥penbar.<placeholder type=\"footnote\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 handler " -"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere " -"om vÃ¥r manglende evne til Ã¥ faktisk ta inn over oss hva loven koster." - -#. type: Content of: <book><chapter><section><section><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, <citetitle>Rethinking the Network " -"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " -"York: Amacom, 2002), (reviewing his original view but expressing skepticism) " -"with Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" -"quote> working paper, June 2003, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis is " -"extremely valuable in estimating the effect of file-sharing technology. In " -"my view, however, he underestimates the costs of the legal system. See, for " -"example, <citetitle>Rethinking</citetitle>, 174–76. <placeholder type=" -"\"indexterm\" id=\"0\"/>" -msgstr "" -"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bÃ¸r fÃ¥ " -"ros for sin nÃ¸ye gjennomgang av data om opphavsrettsbrudd, som fikk ham til " -"Ã¥ stille spÃ¸rsmÃ¥l med sin egen uttalte posisjon—to ganger. I starten " -"forutsa han at nedlasting ville pÃ¥fÃ¸re industrien vesentlig skade. Han " -"endret sÃ¥ sitt syn etter i lys av dataene, og han har siden endret sitt syn " -"pÃ¥ nytt. Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the Network " -"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " -"York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) " -"med Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" -"quote> artikkelutkast, juni 2003, tilgjengelig fra <ulink url=\"http://free-" -"culture.cc/notes/\">link #86</ulink>. Den nÃ¸ye analysen til Liebowitz er " -"ekstremt verdifull i sin estimering av effekten av fildelingsteknologi. " -"Etter mitt syn underestimerer han forÃ¸vrig kostnaden til det juridiske " -"system. Se, for eksempel, <citetitle>Rethinking</citetitle>, 174–76. " -"<placeholder type=\"indexterm\" id=\"0\"/>" - -#. type: Content of: <book><chapter><section><section><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 "" -"Ãkonomer er forventet Ã¥ vÃ¦re gode til Ã¥ forstÃ¥ utgifter og inntekter. Men " -"som oftest antar Ã¸konomene uten peiling pÃ¥ hvordan det juridiske systemet " -"egentlig fungerer, at transaksjonskostnaden i det juridiske systemet er lav." -"<placeholder type=\"footnote\" id=\"0\"/> De ser et system som har " -"eksistert i hundrevis av Ã¥r, og de antar at det fungerer slik grunnskolens " -"samfunnsfagsundervisning lÃ¦rte dem at det fungerer." - -#. PAGE BREAK 310 -#. type: Content of: <book><chapter><section><section><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 det juridiske systemet fungerer ikke. Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, det " -"fungerer kun for de med mest ressurser. Det er ikke fordi systemet er " -"korrupt. Jeg tror overhodet ikke vÃ¥rt juridisk system (pÃ¥ fÃ¸deralt nivÃ¥, i " -"hvert fall) er korrupt. Jeg mener ganske enkelt at pÃ¥ grunn av at kostnadene " -"med vÃ¥rt juridiske systemet er sÃ¥ hÃ¥rreisende hÃ¸yt vil en praktisk talt " -"aldri oppnÃ¥ rettferdighet." - -#. type: Content of: <book><chapter><section><section><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 forstyrrer fri kultur pÃ¥ mange vis. En advokats tid " -"faktureres hos de stÃ¸rste firmaene for mer enn $400 pr. time. Hvor mye tid " -"bÃ¸r en slik advokat bruke pÃ¥ Ã¥ lese sakene nÃ¸ye, eller undersÃ¸ke obskure " -"rettskilder. Svaret er i Ã¸kende grad: svÃ¦rt lite. Jussen er avhengig av " -"nÃ¸ye formulering og utvikling av doktrine, men nÃ¸ye formulering og utvikling " -"av doktrine er avhengig av nÃ¸yaktig arbeid. Men nÃ¸yaktig arbeid koster for " -"mye, bortsett fra i de mest hÃ¸yprofilerte og kostbare sakene." - -#. type: Content of: <book><chapter><section><section><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 "" -"Kostbarheten, klomsetheten og tilfeldigheten til dette systemet hÃ¥ner vÃ¥r " -"tradisjon. Og advokater, sÃ¥vel som akademikere, bÃ¸r se det som sin plikt Ã¥ " -"endre hvordan loven praktiseres— eller bedre, endre loven slik at den " -"fungerer. Det er galt at systemet fungerer godt bare for den Ã¸verste 1-" -"prosenten av klientene. Det kan gjÃ¸res radikalt mer effektivt, og billig, " -"og dermed radikalt mer rettferdig." - -#. type: Content of: <book><chapter><section><section><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 inntil en slik reform er gjennomfÃ¸rt, bÃ¸r vi som samfunn holde lover " -"unna omrÃ¥der der vi vet den bare vil skade. Og det er nettopp det loven " -"altfor ofte vil gjÃ¸re hvis for mye av vÃ¥r kultur er lovregulert." - -#. type: Content of: <book><chapter><section><section><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 pÃ¥ de fantastiske tingene ditt barn kan gjÃ¸re eller lage med digital " -"teknologi—filmen, musikken, web-siden, bloggen. Eller tenk pÃ¥ de " -"fantastiske tingene ditt fellesskap kunne fÃ¥ til med digital teknologi—" -"en wiki, oppsetting av lÃ¥ve, kampanje til Ã¥ endre noe. Tenk pÃ¥ alle de " -"kreative tingene, og tenk deretter pÃ¥ kald sirup helt inn i maskinene. Dette " -"er hva et hvert regime som krever tillatelser fÃ¸rer til. Dette er " -"virkeligheten slik den var i Brezhnevs Russland." - -#. PAGE BREAK 311 -#. type: Content of: <book><chapter><section><section><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: <quote>Will it do good?</quote> When challenged about the " -"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>" -msgstr "" -"Loven bÃ¸r regulere i visse omrÃ¥der av kulturen—men det bÃ¸r regulere " -"kultur bare der reguleringen bidrar positivt. Likevel tester advokater " -"sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk " -"spÃ¸rsmÃ¥let: <quote>vil det bidra positivt?</quote>. NÃ¥r de blir utfordret " -"om det utvidede rekkevidden til loven, er advokat-svaret, <quote>Hvorfor " -"ikke?</quote>" - -#. type: Content of: <book><chapter><section><section><para> -msgid "" -"We should ask, <quote>Why?</quote> Show me why your regulation of culture is " -"needed. Show me how it does good. And until you can show me both, keep your " -"lawyers away." -msgstr "" -"Vi burde spÃ¸rre: <quote>Hvorfor?</quote>. Vis meg hvorfor din regulering av " -"kultur er nÃ¸dvendig og vis meg hvordan reguleringen bidrar positivt. FÃ¸r du " -"kan vise meg begge, holde advokatene din unna." - -#. type: Content of: <book><chapter><title> -msgid "NOTES" -msgstr "Notater" - -#. type: Content of: <book><chapter><para> -msgid "" -"Throughout this text, there are references to links on the World Wide Web. " -"As anyone who has tried to use the Web knows, these links can be highly " -"unstable. I have tried to remedy the instability by redirecting readers to " -"the original source through the Web site associated with this book. For each " -"link below, you can go to http://free-culture.cc/notes and locate the " -"original source by clicking on the number after the # sign. If the original " -"link remains alive, you will be redirected to that link. If the original " -"link has disappeared, you will be redirected to an appropriate reference for " -"the material." -msgstr "" -"I denne teksten er det referanser til lenker pÃ¥ verdensveven. Og som alle " -"som har forsÃ¸kt Ã¥ bruke nettet vet, sÃ¥ vil disse lenkene vÃ¦re svÃ¦rt " -"ustabile. Jeg har forsÃ¸kt Ã¥ motvirke denne ustabiliteten ved Ã¥ omdirigere " -"lesere til den originale kilden gjennom en nettside som hÃ¸rer til denne " -"boken. For hver lenke under, sÃ¥ kan du gÃ¥ til http://free-culture.cc/notes " -"og finne den originale kilden ved Ã¥ klikke pÃ¥ nummeret etter #-tegnet. Hvis " -"den originale lenken fortsatt er i live, sÃ¥ vil du bli omdirigert til den " -"lenken. Hvis den originale lenken har forsvunnet, sÃ¥ vil du bli omdirigert " -"til en passende referanse til materialet." - -#. type: Content of: <book><chapter><title> -msgid "ACKNOWLEDGMENTS" -msgstr "Takk til" - -#. type: Content of: <book><chapter><para> -msgid "" -"This book is the product of a long and as yet unsuccessful struggle that " -"began when I read of Eric Eldred's war to keep books free. Eldred's work " -"helped launch a movement, the free culture movement, and it is to him that " -"this book is dedicated." -msgstr "" -"Denne boken er produktet av en lang og sÃ¥ langt mislykket kamp som begynte " -"da jeg leste om Eric Eldreds krig for Ã¥ sÃ¸rge for at bÃ¸ker forble frie. " -"Eldreds innsats bidro til Ã¥ lansere en bevegelse, fri kultur-bevegelsen, og " -"denne boken er tilegnet ham." - -#. 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 pÃ¥ ulike steder fra venner og akademikere, inkludert " -"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose og " -"Kathleen Sullivan. Og jeg fikk korreksjoner og veiledning fra mange " -"fantastiske studenter ved Stanford Law School og Stanford University. Det " -"inkluderer Andrew B. Coan, John Eden, James P. Fellers, Christopher " -"Guzelian, Erica Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian-" -"Link, Ohad Mayblum, Alina Ng og Erica Platt. Jeg er sÃ¦rlig takknemlig " -"overfor Catherine Crump og Harry Surden, som hjalp til med Ã¥ styre deres " -"forskning og til Laura Lynch, som briljant hÃ¥ndterte hÃ¦ren de samlet, samt " -"bidro med sitt egen kritisk blikk pÃ¥ 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 Ã¥ forstÃ¥ lovene i Japan, sÃ¥ vel som Japans kultur. " -"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med " -"forundersÃ¸kelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto " -"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro " -"Yonezawa. Jeg er ogsÃ¥ takknemlig til professor Nobuhiro Nakayama og Tokyo " -"University Business Law Center, som ga meg muligheten til Ã¥ bruke tid i " -"Japan, og Tadashi Shiraishi og Kiyokazu Yamagami for deres generÃ¸se 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, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> " -"and Richard Yanco. (I apologize if I have missed anyone; with computers come " -"glitches, and a crash of my e-mail system meant I lost a bunch of great " -"replies.)" -msgstr "" -"Dette er de tradisjonelle former for hjelp som akademikere regelmessig " -"trekker pÃ¥. Men i tillegg til dem, har Internett gjort det mulig Ã¥ motta rÃ¥d " -"og korrigering fra mange som jeg har aldri mÃ¸tt. Blant de som har svart med " -"svÃ¦rt nyttig rÃ¥d etter forespÃ¸rsler om boken pÃ¥ bloggen min er Dr. Muhammed " -"Al-Ubaydli, David Gerstein og Peter Dimauro, I tillegg en lang liste med de " -"som hadde spesifikke idÃ©er om mÃ¥ter Ã¥ utvikle mine argumenter pÃ¥. De " -"inkluderte Richard Bondi, Steven Cherry, David Coe, Nik Cubrilovic, Bob " -"Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, Jeremy Hunsinger, " -"Vaughn Iverson, John Karabaic, Jeff Keltner, James Lindenschmidt, K. L. " -"Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred " -"Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, " -"Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, " -"Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, " -"<quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> og Richard " -"Yanco. (jeg beklager hvis jeg gikk glipp av noen, med datamaskiner kommer " -"feil og en krasj i e-postsystemet mitt gjorde at jeg mistet en haug med " -"flotte svar.)" - -#. 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 har begge lest hele boken i utkast, og " -"hver av dem har bidratt med svÃ¦rt nyttige korreksjoner og rÃ¥d. Michael hjalp " -"meg Ã¥ se mer tydelig betydningen av regulering for avledede verker . Og " -"Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er " -"delvis inspirert av Stallmans, er han ikke enig med meg pÃ¥ vesentlige steder " -"i denne boken." - -#. type: Content of: <book><chapter><para> -msgid "" -"Finally, and forever, I am thankful to Bettina, who has always insisted that " -"there would be unending happiness away from these battles, and who has " -"always been right. This slow learner is, as ever, grateful for her perpetual " -"patience and love." -msgstr "" -"Til slutt, og for evig, er jeg Bettina takknemlig, som alltid har insistert " -"pÃ¥ at det ville vÃ¦re endelÃ¸s lykke utenfor disse kampene, og som alltid har " -"hatt rett. Denne trege eleven er som alltid takknemlig for hennes " -"evigvarende tÃ¥lmodighet og kjÃ¦rlighet." +# Copyright (C) 2012 Free Software Foundation, Inc. +# This file is distributed under the same license as the PACKAGE package. +# +# Translators: +# Petter Reinholdtsen <pere@hungry.com>, 2012. +# Anders Hagen Jarmund <ajarmund@gmail.com>, 2012. +# Kirill Miazine <km@krot.org>, 2012. +msgid "" +msgstr "" +"Project-Id-Version: Free Culture by Lawrence Lessig\n" +"POT-Creation-Date: 2012-12-01 10:48+0100\n" +"PO-Revision-Date: 2012-08-29 11:14+0200\n" +"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n" +"Language-Team: Norwegian BokmÃ¥l <i18n-nb@lister.ping.uio.no>\n" +"Language: nb\n" +"MIME-Version: 1.0\n" +"Content-Type: text/plain; charset=UTF-8\n" +"Content-Transfer-Encoding: 8bit\n" +"X-Generator: Lokalize 1.0\n" +"Plural-Forms: nplurals=2; plural=n != 1;\n" + +#. type: Content of the copy entity +msgid "Â©" +msgstr "Â©" + +#. type: Attribute 'lang' of: <book> +msgid "en" +msgstr "nb" + +#. type: Content of: <book><bookinfo><title> +msgid "Free Culture" +msgstr "Fri kultur" + +#. type: Content of: <book><bookinfo> +msgid "<abbrev>\"freeculture\"</abbrev>" +msgstr "<abbrev>\"frikultur\"</abbrev>" + +#. type: Content of: <book><bookinfo><subtitle> +msgid "" +"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL " +"CREATIVITY" +msgstr "" +"Hvordan store medieaktÃ¸rer bruker teknologi og jussen til Ã¥ begrense " +"kulturen og kontrollere kreativiteten" + +#. type: Content of: <book><bookinfo> +msgid "<pubdate>2004-03-25</pubdate>" +msgstr "<pubdate>2004-03-25</pubdate>" + +#. type: Content of: <book><bookinfo><releaseinfo> +msgid "Version 2004-02-10" +msgstr "Versjon 2004-02-10" + +#. type: Content of: <book><bookinfo><authorgroup><author><firstname> +msgid "Lawrence" +msgstr "Lawrence" + +#. type: Content of: <book><bookinfo><authorgroup><author><surname> +msgid "Lessig" +msgstr "Lessig" + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Intellectual property—United States." +msgstr "Immaterielle rettigheter—USA." + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Mass media—United States." +msgstr "Massemedia—USA." + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Technological innovations—United States." +msgstr "Teknologiske nyvinninger—USA." + +#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> +msgid "Art—United States." +msgstr "Kunst—USA." + +#. type: Content of: <book><bookinfo><publisher><address> +#, no-wrap +msgid "<city>New York</city>" +msgstr "<city>New York</city>" + +#. type: Content of: <book><bookinfo> +msgid "" +"<publisher> <publishername>The Penguin Press</publishername> <placeholder " +"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> " +"<holder>Lawrence Lessig</holder> </copyright>" +msgstr "" + +#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject> +msgid "" +"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " +"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " +"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" +"\"/> </imageobject>" +msgstr "" +"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " +"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " +"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" +"\"/> </imageobject>" + +#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase> +msgid "Creative Commons, Some rights reserved" +msgstr "Creative Commons, noen rettigheter forbeholdt" + +#. type: Content of: <book><bookinfo><legalnotice><para> +msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" +msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" + +#. type: Content of: <book><bookinfo><legalnotice><para> +msgid "" +"This version of <citetitle>Free Culture</citetitle> is licensed under a " +"Creative Commons license. This license permits non-commercial use of this " +"work, so long as attribution is given. For more information about the " +"license, click the icon above, or visit <ulink url=\"http://creativecommons." +"org/licenses/by-nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</" +"ulink>" +msgstr "" +"Denne versjonen av <citetitle>Fri kultur</citetitle> er lisensiert under en " +"Creative Commons-lisens. Denne lisensen tillater ikke-kommersiell " +"utnyttelse av verket dersom opphavsmannen er navngitt. For mer informasjon " +"om lisensen, klikk pÃ¥ ikonet over eller besÃ¸k <ulink url=\"http://" +"creativecommons.org/licenses/by-nc/1.0/\">http://creativecommons.org/" +"licenses/by-nc/1.0/</ulink>" + +#. type: Content of: <book><bookinfo><abstract><title> +msgid "ABOUT THE AUTHOR" +msgstr "Om forfatteren" + +#. type: Content of: <book><bookinfo><abstract><para> +msgid "" +"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" +"ulink>), professor of law and a John A. Wilson Distinguished Faculty Scholar " +"at Stanford Law School, is founder of the Stanford Center for Internet and " +"Society and is chairman of the Creative Commons (<ulink url=\"http://" +"creativecommons.org\">http://creativecommons.org</ulink>). The author of " +"The Future of Ideas (Random House, 2001) and Code: And Other Laws of " +"Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the " +"Public Library of Science, the Electronic Frontier Foundation, and Public " +"Knowledge. He was the winner of the Free Software Foundation's Award for the " +"Advancement of Free Software, twice listed in BusinessWeek's <quote>e.biz 25," +"</quote> and named one of Scientific American's <quote>50 visionaries.</" +"quote> A graduate of the University of Pennsylvania, Cambridge University, " +"and Yale Law School, Lessig clerked for Judge Richard Posner of the U.S. " +"Seventh Circuit Court of Appeals." +msgstr "" +"Lawrense Lessig (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</" +"ulink>) er professor i rettsvitenskep og er John A. Wilson Distinguished " +"Faculty Scholar ved Stanford Law School. Han er stifteren av Stanford Center " +"for Internet and Society og styreleder i Creative Commons (<ulink url=" +"\"http://creativecommons.org\">http://creativecommons.org</ulink>). " +"Forfatteren har gitt ut The Future of Ideas (Random House, 2001) og Code: " +"And other Laws of Cyberspace (Basic Books, 1999), og er medlem av styrene i " +"Public Library of Science, the Electronic Frontier Foundation, og Public " +"Knowledge. Han har vunnet Free Software Foundation's Award for the " +"Advancement of Free Software, to ganger vÃ¦rt oppfÃ¸rt i BusinessWeeks " +"<quote>e.biz 25,</quote> og omtalt som en av Scientific Americans <quote>50 " +"visjonÃ¦rer</quote>. Etter utdanning ved University of Pennsylvania, " +"Cambridge University, og Yale Law School, assisterte Lessig dommer Richard " +"Posner ved U.S. Seventh Circuit Court of Appeals." + +# +# +# +#. testing different ways to tag the cover page +#. <imageobject remap="s" role="front"> +#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> +#. </imageobject> +#. <imageobject remap="xs" role="front-small"> +#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> +#. </imageobject> +#. <imageobject remap="cs" role="thumbnail"> +#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> +#. </imageobject> +#. type: Content of: <book><bookinfo><mediaobject> +msgid "" +"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/" +"cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>" +msgstr "" + +#. LCCN from +#. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page +#. +#. type: Content of: <book><bookinfo> +msgid "" +" <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn" +"\">1-59420-006-8</biblioid> <biblioid class=\"libraryofcongress" +"\">2003063276</biblioid>" +msgstr "" + +#. type: Content of: <book><dedication><para> +msgid "You can buy a copy of this book by clicking on one of the links below:" +msgstr "" +"Du kan kjÃ¸pe et eksemplar av denne boken ved Ã¥ klikke pÃ¥ en av lenkene " +"nedenfor:" + +#. type: Content of: <book><dedication><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" +msgstr "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>" + +#. type: Content of: <book><dedication><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" +msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" + +#. type: Content of: <book><dedication><itemizedlist><listitem><para> +msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" +msgstr "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>" + +#. type: Content of: <book><dedication><para> +msgid "ALSO BY LAWRENCE LESSIG" +msgstr "Andre bÃ¸ker av Lawrence Lessig" + +#. type: Content of: <book><dedication><para> +msgid "The Future of Ideas: The Fate of the Commons in a Connected World" +msgstr "The Future of Ideas: The Fate of the Commons in a Connected World" + +#. type: Content of: <book><dedication><para> +msgid "Code: And Other Laws of Cyberspace" +msgstr "Code: And Other Laws of Cyberspace" + +#. type: Content of: <book><colophon><para> +msgid "" +"THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " +"New York, New York" +msgstr "" +"The Penguin Press, medlem av Penguin Group (USA) Inc. 375 Hudson Street " +"New York, Yew Uork, USA" + +#. type: Content of: <book><colophon><para> +msgid "Copyright © Lawrence Lessig. All rights reserved." +msgstr "" +"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter forbeholdt." + +#. type: Content of: <book><colophon><para> +msgid "" +"Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</" +"quote> <citetitle>The New York Times</citetitle>, January 16, 2003. " +"Copyright © 2003 by The New York Times Co. Reprinted with permission." +msgstr "" +"Utdrag fra redaktÃ¸rartikkel <quote>The Coming of Copyright Perpetuity,</" +"quote> <citetitle>The New York Times</citetitle>, 16. januar 2003. " +"Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med tillatelse." + +#. type: Content of: <book><colophon><para> +msgid "" +"Cartoon in <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> by Paul " +"Conrad, copyright Tribune Media Services, Inc. All rights reserved. " +"Reprinted with permission." +msgstr "" +"Humortegningen i <xref linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> er " +"laget av Paul Conrad. Opphavsretten tilhÃ¸rer Tribune Media Services, " +"Inc. Alle rettigheter forbeholdt. Gjengitt med tillatelse." + +#. type: Content of: <book><colophon><para> +msgid "" +"Diagram in <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " +"courtesy of the office of FCC Commissioner, Michael J. Copps." +msgstr "" +"Diagrammet i <xref linkend=\"fig-1761-pattern-modern-media-ownership\"/> " +"kommer fra kontoret til FCC-kommisjonÃ¦ren, Michael J. Copps." + +#. type: Content of: <book><colophon><para> - #, mtrans, fuzzy +msgid "Library of Congress Cataloging-in-Publication Data" - msgstr "Library of congress cataloging i publikasjonen data" ++msgstr "Cataloging-in-Publication-data til Library of Congress" + +#. type: Content of: <book><colophon><para> +msgid "" +"Lessig, Lawrence. Free culture : how big media uses technology and the law " +"to lock down culture and control creativity / Lawrence Lessig." +msgstr "" + +#. type: Content of: <book><colophon><para> +#, mtrans, fuzzy +msgid "p. cm." +msgstr "s. cm." + +#. type: Content of: <book><colophon><para> +msgid "Includes index." +msgstr "Inkluderer register." + +#. type: Content of: <book><colophon><para> +msgid "ISBN 1-59420-006-8 (hardcover)" +msgstr "ISBN 1-59420-006-8 (Innbundet bok)" + +#. type: Content of: <book><colophon><para> +msgid "" +"1. Intellectual property—United States. 2. Mass media—United " +"States." +msgstr "1. Immaterielle rettigheter—USA. 2. Massemedia—SA." + +#. type: Content of: <book><colophon><para> +msgid "" +"3. Technological innovations—United States. 4. Art—United " +"States. I. Title." +msgstr "" +"3. Teknologiske nyvinninger—USA. 4. Kunst—USA. I. Tittel." + +#. type: Content of: <book><colophon><para> +msgid "KF2979.L47" +msgstr "KF2979.l47" + +#. type: Content of: <book><colophon><para> +msgid "343.7309'9—dc22" +msgstr "343.7309'9—dc22" + +#. type: Content of: <book><colophon><para> +msgid "This book is printed on acid-free paper." +msgstr "Denne boken er trykt pÃ¥ syrefritt papir." + +#. type: Content of: <book><colophon><para> +msgid "Printed in the United States of America" +msgstr "Trykt i USA" + +#. type: Content of: <book><colophon><para> +msgid "1 3 5 7 9 10 8 6 4" +msgstr "1 3 5 7 9 10 8 6 4" + +#. type: Content of: <book><colophon><para> +msgid "Designed by Marysarah Quinn" +msgstr "Utformet av Marysarah Quinn" + +#. type: Content of: <book><colophon><para> +msgid "&translationblock;" +msgstr "" +"Oversatt til bokmÃ¥l av Petter Reinholdtsen, Anders Hagen Jarmund og Kirill " +"Miazine. Takk til Ralph Amissah for hjelp med registeroppfÃ¸ringene. " +"Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" +"petterreinholdtsen/free-culture-lessig\">tilgjengelig fra GitHub</ulink>. " +"Rapporter feil med oversettelsen via GitHub." + +#. type: Content of: <book><colophon><para> +#, mtrans, fuzzy +msgid "" +"Without limiting the rights under copyright reserved above, no part of this " +"publication may be reproduced, stored in or introduced into a retrieval " +"system, or transmitted, in any form or by any means (electronic, mechanical, " +"photocopying, recording or otherwise), without the prior written permission " +"of both the copyright owner and the above publisher of this book." +msgstr "" +"Ingen " +"del av denne publikasjonen kan bli gjengitt, lagret i eller innfÃ¸rt i et " +"gjenfinningssystem, eller i noen form eller pÃ¥ noen mÃ¥te overfÃ¸rt " +"(bl.a. elektronisk, mekanisk, fotokopiering, innspilling), uten " +"skriftlig tillatelse fra bÃ¥de innehaveren av opphavsretten og utgiveren " +"av denne boken." + +#. type: Content of: <book><colophon><para> +#, mtrans, fuzzy +msgid "" +"The scanning, uploading, and distribution of this book via the Internet or " +"via any other means without the permission of the publisher is illegal and " +"punishable by law. Please purchase only authorized electronic editions and " +"do not participate in or encourage electronic piracy of copyrighted " +"materials. Your support of the author's rights is appreciated." +msgstr "" +"den skanning, laste opp og distribusjon av denne boken via Internett eller " +"via andre midler uten tillatelse fra utgiveren er ulovlig og straffbart ved " +"lov. kjÃ¸pe bare godkjente elektroniske versjoner og ikke delta i eller " +"oppmuntre elektronisk sjÃ¸rÃ¸ver av opphavsrettsbeskyttet materiale. din " +"stÃ¸tte av forfatterens rettigheter er verdsatt." + +#. type: Content of: <book><dedication><para> +msgid "" +"To Eric Eldred—whose work first drew me to this cause, and for whom it " +"continues still." +msgstr "" +"Til Eric Eldred — hvis arbeid fÃ¸rst trakk meg til denne saken, og for " +"hvem saken fortsetter." + +#. type: Content of: <book><lot><title> +msgid "List of figures" +msgstr "Figuroversikt" + +#. type: Content of: <book><preface><title> +msgid "PREFACE" +msgstr "Forord" + +#. type: Content of: <book><preface><indexterm><primary> +msgid "Pogue, David" +msgstr "Pogue, David" + +#. type: Content of: <book><preface><para> +msgid "" +"<emphasis role=\"bold\">At the end</emphasis> of his review of my first " +"book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David " +"Pogue, a brilliant writer and author of countless technical and computer-" +"related texts, wrote this:" +msgstr "" +"<emphasis role=\"bold\">I slutten av</emphasis> sin gjennomgang av min " +"fÃ¸rste bok <citetitle>Code: And Other Laws of Cyberspace</citetitle>, skrev " +"David Pogue, en glimrende skribent og forfatter av utallige tekniske og " +"datarelaterte tekster, dette:" + +#. type: Content of: <book><preface><blockquote><para><footnote><para> +msgid "" +"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " +"York Times</citetitle>, 30 January 2000." +msgstr "" +"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " +"York Times</citetitle>, 30. januar 2000." + +#. type: Content of: <book><preface><blockquote><para> +msgid "" +"Unlike actual law, Internet software has no capacity to punish. It doesn't " +"affect people who aren't online (and only a tiny minority of the world " +"population is). And if you don't like the Internet's system, you can always " +"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I motsetning til rettslige lover, har ikke Internett-programvare " +"evnen til Ã¥ straffe. Den pÃ¥virker ikke folk som ikke er online (og " +"bare en svÃ¦rt liten minoritet av verdens befolkning er online). Og hvis du " +"ikke liker systemet med Internett, kan du alltid skru av modemet." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><preface><para> +msgid "" +"Pogue was skeptical of the core argument of the book—that software, or " +"<quote>code,</quote> functioned as a kind of law—and his review " +"suggested the happy thought that if life in cyberspace got bad, we could " +"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a " +"switch and be back home. Turn off the modem, unplug the computer, and any " +"troubles that exist in <emphasis>that</emphasis> space wouldn't " +"<quote>affect</quote> us anymore." +msgstr "" +"Pogue var skeptisk til bokens hovedpoeng — at " +"programvare, eller <quote>kode</quote>, fungerte som en slags lov — " +"og foreslo i sin anmeldelse den lykkelige tanken at hvis tilvÃ¦relsen i cyberspace " +"ble slett, kan vi alltid, liksom pÃ¥ magisk vis, slÃ¥ over en bryter og " +"vÃ¦re hjemme igjen. Skru av modemet, koble fra datamaskinen, og eventuelle " +"problemer som finnes <emphasis>den</emphasis> virkeligheten ville ikke " +"<quote>pÃ¥virke</quote> oss mer." + +#. PAGE BREAK 12 +#. type: Content of: <book><preface><para> +msgid "" +"Pogue might have been right in 1999—I'm skeptical, but maybe. But " +"even if he was right then, the point is not right now: <citetitle>Free " +"Culture</citetitle> is about the troubles the Internet causes even after the " +"modem is turned off. It is an argument about how the battles that now rage " +"regarding life on-line have fundamentally affected <quote>people who aren't " +"online.</quote> There is no switch that will insulate us from the Internet's " +"effect." +msgstr "" +"Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " +"Men selv om han hadde rett da, er ikke argumentet gyldig lenger. " +"<citetitle>Fri kultur</citetitle> er om problemene Internett forÃ¥rsaker selv " +"etter at modemet er slÃ¥tt av. Den er et argument om hvordan slagene som nÃ¥ " +"ukjempes om livet online fundamentalt pÃ¥virker <quote>folk som ikke er " +"pÃ¥logget.</quote> Det finnes ingen bryter som kan isolere oss fra " +"Internettets pÃ¥virkning." + +#. type: Content of: <book><preface><para> +msgid "" +"But unlike <citetitle>Code</citetitle>, the argument here is not much about " +"the Internet itself. It is instead about the consequence of the Internet to " +"a part of our tradition that is much more fundamental, and, as hard as this " +"is for a geek-wanna-be to admit, much more important." +msgstr "" +"Men i motsetning til boken <citetitle>Code</citetitle>, er tema her " +"ikke sÃ¥ mye Internett i seg selv. Istedet er boken om konsekvensen av " +"Internett for en del av vÃ¥r tradisjon som er mye mer grunnleggende, og " +"uansett hvor hardt dette er for en geek-wanna-be Ã¥ innrÃ¸mme, mye viktigere." + +#. type: Content of: <book><preface><para><footnote><para> +msgid "" +"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " +"(Joshua Gay, ed. 2002)." +msgstr "" +"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " +"(Joshua Gay, red. 2002)." + +#. type: Content of: <book><preface><para> +msgid "" +"That tradition is the way our culture gets made. As I explain in the pages " +"that follow, we come from a tradition of <quote>free culture</quote>—" +"not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase " +"from the founder of the free software movement<placeholder type=\"footnote\" " +"id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> " +"<quote>free markets,</quote> <quote>free trade,</quote> <quote>free " +"enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</" +"quote> A free culture supports and protects creators and innovators. It does " +"this directly by granting intellectual property rights. But it does so " +"indirectly by limiting the reach of those rights, to guarantee that follow-" +"on creators and innovators remain <emphasis>as free as possible</emphasis> " +"from the control of the past. A free culture is not a culture without " +"property, just as a free market is not a market in which everything is free. " +"The opposite of a free culture is a <quote>permission culture</quote>—" +"a culture in which creators get to create only with the permission of the " +"powerful, or of creators from the past." +msgstr "" +"Den tradisjonen er mÃ¥ten vÃ¥r kultur blir laget pÃ¥. Som jeg vil forklare i " +"sidene som fÃ¸lger, kommer vi fra en tradisjon av <quote>fri kultur</" +"quote>—ikke <quote>fri</quote> som i <quote>fri bar</quote> (for Ã¥ " +"lÃ¥ne et uttrykk fra stifteren av fri programvarebevegelsen<placeholder type=" +"\"footnote\" id=\"0\"/>), men <quote>fri</quote> som i <quote>talefrihet</" +"quote>, <quote>fritt marked</quote>, <quote>frihandel</quote>, <quote>fri " +"konkurranse</quote>, <quote>fri vilje</quote> og <quote>frie valg</quote>. " +"En fri kultur stÃ¸tter og beskytter skapere og oppfinnere. Dette gjÃ¸r den " +"direkte ved Ã¥ tildele immaterielle rettigheter. Men det gjÃ¸r den indirekte " +"ved Ã¥ begrense rekkevidden for disse rettighetene, for Ã¥ garantere at neste " +"generasjon skapere og oppfinnere forblir <emphasis>sÃ¥ fri som mulig</" +"emphasis> fra kontroll fra fortiden. En fri kultur er ikke en kultur uten " +"eierskap, like lite som et fritt marked er et marked der alt er gratis. Det " +"motsatte av fri kultur er <quote>tillatelseskultur</quote>—en kultur " +"der skapere kun kan skape med tillatelse fra de mektige, eller fra skaperne " +"fra fortiden." + +#. type: Content of: <book><preface><para> +msgid "" +"If we understood this change, I believe we would resist it. Not <quote>we</" +"quote> on the Left or <quote>you</quote> on the Right, but we who have no " +"stake in the particular industries of culture that defined the twentieth " +"century. Whether you are on the Left or the Right, if you are in this sense " +"disinterested, then the story I tell here will trouble you. For the changes " +"I describe affect values that both sides of our political culture deem " +"fundamental." +msgstr "" +"Hvis vi forsto denne endringen, sÃ¥ tror jeg vi ville stÃ¥ imot den. Ikke " +"<quote>vi</quote> pÃ¥ venstresiden eller <quote>dere</quote> pÃ¥ hÃ¸yresiden, " +"men vi som ikke har investert i den spesifikke kulturindustrien som har " +"definert det tjuende Ã¥rhundre. Enten du er pÃ¥ venstre eller hÃ¸yresiden, hvis " +"du i denne forstand ikke har interesser, vil historien jeg forteller her gi " +"deg problemer. For endringene jeg beskriver pÃ¥virker verdier som begge sider " +"av vÃ¥r politiske kultur anser som grunnleggende." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "power, concentration of" +msgstr "makt, konsentrasjon av" + +#. type: Content of: <book><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "CodePink Women in Peace" - msgstr "codepink kvinner i fred" ++msgstr "codePink-kvinner i fred" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Safire, William" +msgstr "Safire, William" + +#. type: Content of: <book><preface><indexterm><primary> +msgid "Stevens, Ted" +msgstr "Stevens, Ted" + +#. type: Content of: <book><preface><para> +msgid "" +"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " +"the FCC considered changes in media ownership rules that would relax limits " +"on media concentration, an extraordinary coalition generated more than " +"700,000 letters to the FCC opposing the change. As William Safire described " +"marching <quote>uncomfortably alongside CodePink Women for Peace and the " +"National Rifle Association, between liberal Olympia Snowe and conservative " +"Ted Stevens,</quote> he formulated perhaps most simply just what was at " +"stake: the concentration of power. And as he asked," +msgstr "" +"Vi sÃ¥ et glimt av dette tverrpolitiske raseri pÃ¥ forsommeren i 2003. Da FCC " +"vurderte endringer i reglene for medieeierskap som ville slakke pÃ¥ " +"begrensningene rundt mediekonsentrasjon, sendte en ekstraordinÃ¦r koalisjon " +"mer enn 700 000 brev til FCC for Ã¥ motsette seg endringen. Mens William " +"Safire beskrev Ã¥ marsjere <quote>ubehagelig sammen med CodePink Women for " +"Peace and the National Rifle Association, mellom liberale Olympia Snowe og " +"konservative Ted Stevens</quote>, formulerte han kanskje det enkleste " +"uttrykket for hva som var pÃ¥ spill: konsentrasjonen av makt. SÃ¥ spurte han:" + +#. type: Content of: <book><preface><blockquote><para><footnote><para> +msgid "" +"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " +"Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " +"Times</citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><preface><blockquote><para> +msgid "" +"Does that sound unconservative? Not to me. The concentration of power—" +"political, corporate, media, cultural—should be anathema to " +"conservatives. The diffusion of power through local control, thereby " +"encouraging individual participation, is the essence of federalism and the " +"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"HÃ¸res dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av " +"makt—politisk, selskapsmessig, pressemessig, kulturelt—bÃ¸r vÃ¦re " +"bannlyst av konservative. Spredningen av makt gjennom lokal kontroll, og " +"derigjennom oppmuntre til individuell deltagelse, er essensen i fÃ¸deralismen " +"og det stÃ¸rste uttrykk for demokrati.<placeholder type=\"footnote\" id=\"0\"/" +">" + +#. type: Content of: <book><preface><para> +msgid "" +"This idea is an element of the argument of <citetitle>Free Culture</" +"citetitle>, though my focus is not just on the concentration of power " +"produced by concentrations in ownership, but more importantly, if because " +"less visibly, on the concentration of power produced by a radical change in " +"the effective scope of the law. The law is changing; that change is altering " +"the way our culture gets made; that change should worry you—whether or " +"not you care about the Internet, and whether you're on Safire's left or on " +"his right." +msgstr "" +"Denne idÃ©en er et element i argumentet til <citetitle>Fri kultur</" +"citetitle>, selv om min fokus ikke bare er pÃ¥ konsentrasjonen av makt som " +"fÃ¸lger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " +"synlig, pÃ¥ konsentrasjonen av makt som er resultat av en radikal endring i " +"det effektive virkeomrÃ¥det til loven. Loven er i endring, og endringen " +"forandrer pÃ¥ hvordan vÃ¥r kultur blir skapt. Den endringen bÃ¸r bekymre " +"deg—Uansett om du bryr deg om Internett eller ikke, og uansett om du " +"er til venstre for Safires eller til hÃ¸yre." + +#. type: Content of: <book><preface><para> +msgid "" +"<emphasis role=\"strong\">The inspiration</emphasis> for the title and for " +"much of the argument of this book comes from the work of Richard Stallman " +"and the Free Software Foundation. Indeed, as I reread Stallman's own work, " +"especially the essays in <citetitle>Free Software, Free Society</citetitle>, " +"I realize that all of the theoretical insights I develop here are insights " +"Stallman described decades ago. One could thus well argue that this work is " +"<quote>merely</quote> derivative." +msgstr "" +"<emphasis role=\"strong\">Inspirasjonen</emphasis> til tittelen og mye av " +"argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free " +"Software Foundation. Faktisk, da jeg leste Stallmans egne tekster pÃ¥ nytt, " +"spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " +"innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " +"som Stallman beskrev for tiÃ¥r siden. Man kan dermed godt argumentere for at " +"dette verket <quote>kun</quote> er et avledet verk." + +#. PAGE BREAK 14 +#. type: Content of: <book><preface><para> +msgid "" +"I accept that criticism, if indeed it is a criticism. The work of a lawyer " +"is always derivative, and I mean to do nothing more in this book than to " +"remind a culture about a tradition that has always been its own. Like " +"Stallman, I defend that tradition on the basis of values. Like Stallman, I " +"believe those are the values of freedom. And like Stallman, I believe those " +"are values of our past that will need to be defended in our future. A free " +"culture has been our past, but it will only be our future if we change the " +"path we are on right now. Like Stallman's arguments for free software, an " +"argument for free culture stumbles on a confusion that is hard to avoid, and " +"even harder to understand. A free culture is not a culture without property; " +"it is not a culture in which artists don't get paid. A culture without " +"property, or in which creators can't get paid, is anarchy, not freedom. " +"Anarchy is not what I advance here." +msgstr "" +"Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat " +"er alltid avledede verker, og jeg mener ikke Ã¥ gjÃ¸re noe mer i denne boken " +"enn Ã¥ minne en kultur om en tradisjon som alltid har vÃ¦rt deres egen. Som " +"Stallman forsvarer jeg denne tradisjonen pÃ¥ grunnlag av verdier. Som " +"Stallman tror jeg dette er verdiene til frihet. Og som Stallman, tror jeg " +"dette er verdier fra vÃ¥r fortid som mÃ¥ forsvares i vÃ¥r fremtid. En fri " +"kultur har vÃ¦rt vÃ¥r fortid, men vil bare vÃ¦re vÃ¥r fremtid hvis vi endrer " +"retningen vi fÃ¸lger akkurat nÃ¥. PÃ¥ samme mÃ¥te som Stallmans argumenter for " +"fri programvare, treffer argumenter for en fri kultur pÃ¥ forvirring som er " +"vanskelig Ã¥ unngÃ¥, og enda vanskeligere Ã¥ forstÃ¥. En fri kultur er ikke en " +"kultur uten eierskap. Det er ikke en kultur der kunstnere ikke fÃ¥r betalt. " +"En kultur uten eierskap eller en der skaperne ikke kan fÃ¥ betalt, er anarki, " +"ikke frihet. Anarki er ikke hva jeg fremmer her." + +#. type: Content of: <book><preface><para> +msgid "" +"Instead, the free culture that I defend in this book is a balance between " +"anarchy and control. A free culture, like a free market, is filled with " +"property. It is filled with rules of property and contract that get enforced " +"by the state. But just as a free market is perverted if its property becomes " +"feudal, so too can a free culture be queered by extremism in the property " +"rights that define it. That is what I fear about our culture today. It is " +"against that extremism that this book is written." +msgstr "" +"I stedet er den frie kulturen som jeg forsvarer i denne boken en balanse " +"mellom anarki og kontroll. En fri kultur, i likhet med et fritt marked, er " +"fylt med eierskap. Den er fylt med regler for eierskap og kontrakter som " +"blir hÃ¥ndhevet av staten. Men pÃ¥ samme mÃ¥te som det frie markedet blir " +"pervertert hvis dets eierskap blir fÃ¸ydalt, sÃ¥ kan en fri kultur bli Ã¸delagt " +"av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg " +"frykter om vÃ¥r kultur i dag. Det er som motpol til denne ekstremismen at " +"denne boken er skrevet." + +#. type: Content of: <book><chapter><title> +msgid "INTRODUCTION" +msgstr "Introduksjon" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Wright brothers" +msgstr "Wright-brÃ¸drene" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">On December 17</emphasis>, 1903, on a windy North " +"Carolina beach for just shy of one hundred seconds, the Wright brothers " +"demonstrated that a heavier-than-air, self-propelled vehicle could fly. The " +"moment was electric and its importance widely understood. Almost " +"immediately, there was an explosion of interest in this newfound technology " +"of manned flight, and a gaggle of innovators began to build upon it." +msgstr "" +"<emphasis role=\"strong\">Den 17. desember</emphasis> 1903, pÃ¥ en vindfylt " +"strand i Nord-Carolina i sÃ¥vidt under hundre sekunder, demonstrerte Wright-" +"brÃ¸drene at et selvdrevet fartÃ¸y tyngre enn luft kunne fly. Ãyeblikket var " +"elektrisk, og dets betydning ble alment forstÃ¥tt. Interessen for denne nye " +"teknologien som muliggjorde bemannet luftfart eksploderte nesten " +"umiddelbart, og en hÃ¦rskare av oppfinnere begynte Ã¥ bygge videre pÃ¥ den." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "air traffic, land ownership vs." +msgstr "lufttrafikk, landeierskap mot" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "land ownership, air traffic and" +msgstr "landeierskap, lufttrafikk og" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "property rights" +msgstr "eiendomsrettigheter" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "air traffic vs." +msgstr "lufttrafikk mot" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." +msgstr "" +"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." + +#. type: Content of: <book><chapter><para> +msgid "" +"At the time the Wright brothers invented the airplane, American law held " +"that a property owner presumptively owned not just the surface of his land, " +"but all the land below, down to the center of the earth, and all the space " +"above, to <quote>an indefinite extent, upwards.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how best " +"to interpret the idea that rights in land ran to the heavens. Did that mean " +"that you owned the stars? Could you prosecute geese for their willful and " +"regular trespass?" +msgstr "" +"Da Wright-brÃ¸drene fant opp flymaskinen, hevdet loven i USA at en grunneier " +"ble antatt Ã¥ eie ikke bare overflaten pÃ¥ omrÃ¥det sitt, men ogsÃ¥ alt landet " +"under bakken, helt ned til senterpunktet i jorda, og alt volumet over " +"bakken, <quote>i ubestemt grad, oppover</quote>.<placeholder type=\"footnote" +"\" id=\"0\"/> I mange Ã¥r undret lÃ¦rde over hvordan en best skulle tolke " +"idÃ©en om at eiendomsretten gikk helt til himmelen. BetÃ¸d dette at du eide " +"stjernene? Kunne en dÃ¸mme gjess for at de regelmessig og med vilje tok seg " +"inn pÃ¥ annen manns eiendom?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Then came airplanes, and for the first time, this principle of American " +"law—deep within the foundations of our tradition, and acknowledged by " +"the most important legal thinkers of our past—mattered. If my land " +"reaches to the heavens, what happens when United flies over my field? Do I " +"have the right to banish it from my property? Am I allowed to enter into an " +"exclusive license with Delta Airlines? Could we set up an auction to decide " +"how much these rights are worth?" +msgstr "" +"SÃ¥ kom flymaskiner, og for fÃ¸rste gang hadde dette prinsippet i lovverket i " +"USA—dypt nede i grunnlaget for vÃ¥r tradisjon og akseptert av de " +"viktigste juridiske tenkerne i vÃ¥r fortid—en betydning. Hvis min " +"eiendom rekker til himmelen, hva skjer nÃ¥r United flyr over mitt omrÃ¥de? " +"Har jeg rett til Ã¥ nekte dem Ã¥ bruke min eiendom? Har jeg mulighet til Ã¥ " +"inngÃ¥ en eksklusiv avtale med Delta Airlines? Kan vi gjennomfÃ¸re en auksjon " +"for Ã¥ finne ut hvor mye disse rettighetene er verdt?" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Causby, Thomas Lee" +msgstr "Causby, Thomas Lee" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Causby, Tinie" +msgstr "Causby, Tinie" + +#. type: Content of: <book><chapter><para> +msgid "" +"In 1945, these questions became a federal case. When North Carolina farmers " +"Thomas Lee and Tinie Causby started losing chickens because of low-flying " +"military aircraft (the terrified chickens apparently flew into the barn " +"walls and died), the Causbys filed a lawsuit saying that the government was " +"trespassing on their land. The airplanes, of course, never touched the " +"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " +"said, their land reached to <quote>an indefinite extent, upwards,</quote> " +"then the government was trespassing on their property, and the Causbys " +"wanted it to stop." +msgstr "" +"I 1945 ble disse spÃ¸rsmÃ¥lene en fÃ¸deral sak. Da bÃ¸ndene Thomas Lee og Tinie " +"Causby i Nord Carolina begynte Ã¥ miste kyllinger pÃ¥ grunn av lavtflygende " +"militÃ¦re fly (vettskremte kyllinger flÃ¸y tilsynelatende i lÃ¥veveggene og " +"dÃ¸de), saksÃ¸kte Causbyene regjeringen for Ã¥ trenge seg inn pÃ¥ deres eiendom. " +"Flyene rÃ¸rte selvfÃ¸lgelig aldri overflaten pÃ¥ Causbys' eiendom. Men hvis det " +"stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg " +"<quote>i ubestemt grad, oppover,</quote> sÃ¥ hadde regjeringen trengt seg inn " +"pÃ¥ deres eiendom, og Causbys Ã¸nsket Ã¥ sette en stopper for dette." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Douglas, William O." +msgstr "Douglas, William O." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Supreme Court, U.S." +msgstr "HÃ¸yesterett, USA" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on airspace vs. land rights" +msgstr "om luftrom mot landrettigheter" + +#. 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 " +"<quote>taking</quote> of property without compensation. The Court " +"acknowledged that <quote>it is ancient doctrine that common law ownership of " +"the land extended to the periphery of the universe.</quote> But Justice " +"Douglas had no patience for ancient doctrine. In a single paragraph, " +"hundreds of years of property law were erased. As he wrote for the Court," +msgstr "" +"HÃ¸yesterett gikk med pÃ¥ Ã¥ ta opp Causbys sak. Kongressen hadde vedtatt at " +"luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig " +"rakk til himmelen, da kunne muligens kongressens vedtak ha vÃ¦rt i strid med " +"grunnlovens forbud mot Ã¥ <quote>ta</quote> eiendom uten kompensasjon. " +"Retten erkjente at <quote>det er gammel doktrine etter sedvane at en eiendom " +"rakk til utkanten av universet.</quote>, men dommer Douglas hadde ikke " +"tÃ¥lmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble hundrevis " +"av Ã¥r med eiendomslovgivningen strÃ¸ket. Som han skrev pÃ¥ vegne av retten," + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " +"there could be a <quote>taking</quote> if the government's use of its land " +"effectively destroyed the value of the Causbys' land. This example was " +"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) " +"Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</" +"quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " +"also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " +"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" +"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne vÃ¦re " +"Ã¥ <quote>ta</quote> hvis regjeringens bruk av sitt land reelt sett hadde " +"Ã¸delagt verdien av eiendomen til Causby. Dette eksemplet ble foreslÃ¥tt for " +"meg i Keith Aokis flotte stykke, <quote>(intellectual) Property and " +"Sovereignty: Notes Toward a cultural Geography of Authorship</quote>, " +"<citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. Se ogsÃ¥ " +"Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " +"Foundation Press (1984)), 1112–13. <placeholder type=\"indexterm\" id=" +"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"[The] doctrine has no place in the modern world. The air is a public " +"highway, as Congress has declared. Were that not true, every " +"transcontinental flight would subject the operator to countless trespass " +"suits. Common sense revolts at the idea. To recognize such private claims to " +"the airspace would clog these highways, seriously interfere with their " +"control and development in the public interest, and transfer into private " +"ownership that to which only the public has a just claim.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"[Denne] doktrinen har ingen plass i den moderne verden. Luften er en " +"offentlig motorvei, slik kongressen har erklÃ¦rt. Hvis det ikke var " +"tilfelle, ville hver eneste transkontinentale flyrute utsette operatÃ¸rene " +"for utallige sÃ¸ksmÃ¥l om inntrenging pÃ¥ annen manns eiendom. IdÃ©en er i " +"strid med sunn fornuft. Ã anerkjenne slike private krav til luftrommet " +"ville blokkere disse motorveiene, seriÃ¸st forstyrre muligheten til kontroll " +"og utvikling av dem i fellesskapets interesse og overfÃ¸re til privat " +"eierskap det som kun fellesskapet har et rimelig krav til.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "<quote>Common sense revolts at the idea.</quote>" +msgstr "<quote>IdÃ©en er i strid med sunn fornuft.</quote>" + +#. 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: <quote>Common sense revolts at the idea." +"</quote> But whether it takes pages or a few words, it is the special genius " +"of a common law system, as ours is, that the law adjusts to the technologies " +"of the time. And as it adjusts, it changes. Ideas that were as solid as rock " +"in one age crumble in another." +msgstr "" +"Det er hvordan loven vanligvis fungerer. Ikke ofte like brÃ¥tt eller " +"utÃ¥lmodig, men til slutt er dette hvordan loven fungerer. Det var ikke " +"stilen til Douglas Ã¥ utbrodere. Andre dommere ville ha skrevet mange flere " +"sider fÃ¸r de nÃ¥dde sin konklusjon, men for Douglas holdt det med en enkel " +"linje: <quote>IdÃ©en er i strid med sunn fornuft.</quote>. Men uansett om " +"det tar flere sider eller kun noen fÃ¥ ord, sÃ¥ er det en genial egenskap med " +"et rettspraksis-system, slik som vÃ¥rt er, at loven tilpasser seg til " +"aktuelle teknologiene. Og mens den tilpasser seg, sÃ¥ endres den. IdÃ©er som " +"var solide som fjell i en tidsalder knuses i en annen." + +#. 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 <quote>what seemed reasonable</quote> given the technology " +"that the Wrights had produced. They could stand on their farms, dead " +"chickens in hand, and shake their fists at these newfangled technologies all " +"they wanted. They could call their representatives or even file a lawsuit. " +"But in the end, the force of what seems <quote>obvious</quote> to everyone " +"else—the power of <quote>common sense</quote>—would prevail. " +"Their <quote>private interest</quote> would not be allowed to defeat an " +"obvious public gain." +msgstr "" +"Eller, det er hvordan ting skjer nÃ¥r det ikke er noen mektige pÃ¥ andre siden " +"av endringen. Causbyene var bare bÃ¸nder. Og selv om det uten tvil var " +"mange som dem som var lei av den Ã¸kende trafikken i luften (og en hÃ¥per ikke " +"for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden " +"finne det svÃ¦rt hardt Ã¥ samles for Ã¥ stoppe idÃ©en, og teknologien, som " +"Wright-brÃ¸drene hadde fÃ¸rt til verden. Wright-brÃ¸drene spyttet flymaskiner " +"inn i den teknologiske meme-dammen. IdÃ©en spredte seg deretter som et virus " +"i en kyllingfarm. Causbyene i verden fant seg selv omringet av <quote>det " +"synes rimelig</quote> gitt teknologien som Wright-brÃ¸drene hadde produsert. " +"De kunne stÃ¥ pÃ¥ sine gÃ¥rder, med dÃ¸de kyllinger i hendene, og heve " +"knyttneven mot disse nye teknologiene sÃ¥ mye de ville. De kunne ringe sine " +"representanter eller til og med saksÃ¸ke. Men nÃ¥r alt kom til alt, ville " +"kraften i det som virket <quote>Ã¥penbart</quote> for alle andre—makten " +"til <quote>sunn fornuft</quote>—ville vinne frem. Deres " +"<quote>personlige interesser</quote> ville ikke fÃ¥ lov til Ã¥ nedkjempe en " +"Ã¥penbar fordel for fellesskapet." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Armstrong, Edwin Howard" +msgstr "Armstrong, Edwin Howard" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Bell, Alexander Graham" +msgstr "Bell, Alexander Graham" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Edison, Thomas" +msgstr "Edison, Thomas" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Faraday, Michael" +msgstr "Faraday, Michael" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "radio" +msgstr "radio" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "FM spectrum of" +msgstr "FM-spektrum for" + +#. PAGE BREAK 19 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> is one of " +"America's forgotten inventor geniuses. He came to the great American " +"inventor scene just after the titans Thomas Edison and Alexander Graham " +"Bell. But his work in the area of radio technology was perhaps the most " +"important of any single inventor in the first fifty years of radio. He was " +"better educated than Michael Faraday, who as a bookbinder's apprentice had " +"discovered electric induction in 1831. But he had the same intuition about " +"how the world of radio worked, and on at least three occasions, Armstrong " +"invented profoundly important technologies that advanced our understanding " +"of radio." +msgstr "" +"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> er en av USAs " +"glemte oppfinnergenier. Han dukket opp pÃ¥ oppfinnerscenen etter titaner som " +"Thomas Edison og Alexander Graham Bell. Alle hans bidrag pÃ¥ omrÃ¥det " +"radioteknologi gjÃ¸r han til kanskje den viktigste av alle enkeltoppfinnere i " +"de fÃ¸rste femti Ã¥rene av radio. Han var bedre utdannet enn Michael Faraday, " +"som var bokbinderlÃ¦rling da han oppdaget elektrisk induksjon i 1831. Men " +"han hadde like god intuisjon om hvordan radioverden virket, og ved minst tre " +"anledninger, fant Armstrong opp svÃ¦rt viktig teknologier som brakte vÃ¥r " +"forstÃ¥else av radio et hopp videre." + +#. type: Content of: <book><chapter><para> +msgid "" +"On the day after Christmas, 1933, four patents were issued to Armstrong for " +"his most significant invention—FM radio. Until then, consumer radio " +"had been amplitude-modulated (AM) radio. The theorists of the day had said " +"that frequency-modulated (FM) radio could never work. They were right about " +"FM radio in a narrow band of spectrum. But Armstrong discovered that " +"frequency-modulated radio in a wide band of spectrum would deliver an " +"astonishing fidelity of sound, with much less transmitter power and static." +msgstr "" +"Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for " +"hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde " +"forbrukerradioer vÃ¦rt amplitude-modulert (AM) radio. Tidens teoretikere " +"hadde sagt at frekvens-modulert (FM) radio. De hadde rett nÃ¥r det gjelder " +"et smalt bÃ¥nd av spektrumet. Men Armstrong oppdaget at frekvens-modulert " +"radio i et vidt bÃ¥nd i spektrumet leverte en forblÃ¸ffende gjengivelse av " +"lyd, med mye mindre senderstyrke og stÃ¸y." + +#. 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: <quote>This is amateur station W2AG at Yonkers, New " +"York, operating on frequency modulation at two and a half meters.</quote>" +msgstr "" +"Den 5. november 1935 demonstrerte han teknologien pÃ¥ et mÃ¸te hos institutt " +"for radioingeniÃ¸rer ved Empire State-bygningen i New York City. Han vred " +"radiosÃ¸keren over en rekke AM-stasjoner, inntil radioen lÃ¥ste seg mot en " +"kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt " +"stille, som om den var dÃ¸d, og sÃ¥, med en klarhet ingen andre i rommet noen " +"gang hadde hÃ¸rt fra et elektrisk apparat, produserte det lyden av en " +"opplesers stemme: <quote>Dette er amatÃ¸rstasjon W2AG ved Yonkers, New York, " +"som opererer pÃ¥ frekvensmodulering ved to og en halv meter.</quote>" + +#. type: Content of: <book><chapter><para> +msgid "The audience was hearing something no one had thought possible:" +msgstr "Publikum hÃ¸rte noe ingen hadde trodd var mulig:" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" +"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." +msgstr "" +"Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" +"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"A glass of water was poured before the microphone in Yonkers; it sounded " +"like a glass of water being poured. … A paper was crumpled and torn; " +"it sounded like paper and not like a crackling forest fire. … Sousa " +"marches were played from records and a piano solo and guitar number were " +"performed. … The music was projected with a live-ness rarely if ever " +"heard before from a radio <quote>music box.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hÃ¸rtes ut som " +"et glass som ble fylt opp. … Et papir ble krÃ¸llet og revet opp, og " +"det hÃ¸rtes ut som papir og ikke som en sprakende skogbrann. … Sousa-" +"marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble " +"utfÃ¸rt. … Musikken ble presentert med en livaktighet som sjeldent om " +"noen gang fÃ¸r hadde vÃ¦rt hÃ¸rt fra en radio-<quote>musikk-boks</quote>." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "RCA" +msgstr "RCA" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "media" +msgstr "media" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "ownership concentration in" +msgstr "eierskapskonsentrasjon i" + +#. 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 vÃ¥r egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye " +"bedre radioteknologi. Men pÃ¥ tidspunktet for hans oppfinnelse, jobbet " +"Armstrong for RCA. RCA var den dominerende aktÃ¸ren i det da dominerende AM-" +"radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men " +"stasjonene i de store byene var alle eid av en liten hÃ¥ndfull selskaper." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Sarnoff, David" +msgstr "Sarnoff, David" + +#. type: Content of: <book><chapter><para> +msgid "" +"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " +"Armstrong discover a way to remove static from AM radio. So Sarnoff was " +"quite excited when Armstrong told him he had a device that removed static " +"from <quote>radio.</quote> But when Armstrong demonstrated his invention, " +"Sarnoff was not pleased." +msgstr "" +"Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter Ã¥ fÃ¥ " +"Armstrong til Ã¥ oppdage en mÃ¥te Ã¥ fjerne stÃ¸yen fra AM-radio. SÃ¥ Sarnoff var " +"ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet " +"stÃ¸y fra <quote>radio.</quote>. Men da Armstrong demonstrerte sin " +"oppfinnelse, var ikke Sarnoff fornÃ¸yd." + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "" +"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " +"First Electronic Church of America, at www.webstationone.com/fecha, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." +msgstr "" +"Se <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " +"fÃ¸rste elektroniske kirke i USA, hos www.webstationone.com/fecha, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #1</" +"ulink>." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"I thought Armstrong would invent some kind of a filter to remove static from " +"our AM radio. I didn't think he'd start a revolution— start up a whole " +"damn new industry to compete with RCA.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Jeg trodde Armstrong ville finne opp et slags filter for Ã¥ fjerne skurring " +"fra AM-radioen vÃ¥r. Jeg trodde ikke han skulle starte en revolusjon — " +"starte en hel forbannet ny industri i konkurranse med RCA.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "FM radio" +msgstr "FM-radio" + +#. 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 RCAs AM-herredÃ¸mme, sÃ¥ selskapet lanserte en " +"kampanje for Ã¥ kvele FM-radio. Mens FM kan ha vÃ¦rt en overlegen teknologi, " +"var Sarnoff en overlegen taktiker. En forfatter beskrev det slik," + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Lessing, Lawrence" +msgstr "Lessing, Lawrence" + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Lessing, 226." +msgstr "Lessing, 226." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"The forces for FM, largely engineering, could not overcome the weight of " +"strategy devised by the sales, patent, and legal offices to subdue this " +"threat to corporate position. For FM, if allowed to develop unrestrained, " +"posed … a complete reordering of radio power … and the " +"eventual overthrow of the carefully restricted AM system on which RCA had " +"grown to power.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Kreftene til fordel for FM, i hovedsak ingeniÃ¸rfaglige, kunne ikke overvinne " +"tyngden til strategien utviklet av avdelingene for salg, patenter og juss " +"for Ã¥ undertrykke denne trusselen til selskapets posisjon. For FM utgjorde, " +"hvis det fikk utvikle seg uten begrensninger … en komplett endring i " +"maktforholdene rundt radio … og muligens fjerningen av det nÃ¸ye " +"begrensede AM-systemet som var grunnlaget for RCA stigning til makt." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "FCC" +msgstr "FCC" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on FM radio" +msgstr "om FM-radio" + +#. type: Content of: <book><chapter><para> +msgid "" +"RCA at first kept the technology in house, insisting that further tests were " +"needed. When, after two years of testing, Armstrong grew impatient, RCA " +"began to use its power with the government to stall FM radio's deployment " +"generally. In 1936, RCA hired the former head of the FCC and assigned him " +"the task of assuring that the FCC assign spectrum in a way that would " +"castrate FM—principally by moving FM radio to a different band of " +"spectrum. At first, these efforts failed. But when Armstrong and the nation " +"were distracted by World War II, RCA's work began to be more successful. " +"Soon after the war ended, the FCC announced a set of policies that would " +"have one clear effect: FM radio would be crippled. As Lawrence Lessing " +"described it," +msgstr "" +"RCA holdt fÃ¸rst teknologien innomhus, og insistere pÃ¥ at det var nÃ¸dvendig " +"med ytterligere tester. Da Armstrong, etter to Ã¥r med testing, ble " +"utÃ¥lmodig, begynte RCA Ã¥ bruke sin makt hos myndighetene til holde tilbake " +"den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere " +"lederen av FCC og ga ham oppgaven med Ã¥ sikre at FCC tilordnet " +"radiospekteret pÃ¥ en mÃ¥te som ville kastrere FM—hovedsakelig ved Ã¥ " +"flytte FM-radio til et annet band i spekteret. I fÃ¸rste omgang lyktes ikke " +"disse forsÃ¸kene. Men mens Armstrong og nasjonen var distrahert av andre " +"verdenskrig, begynte RCAs arbeid Ã¥ bÃ¦re frukter. Like etter at krigen var " +"over, annonserte FCC et sett med avgjÃ¸relser som ville ha en klar effekt: FM-" +"radio ville bli forkrÃ¸plet.Lawrence lessing beskrevet det slik," + +#. type: Content of: <book><chapter><blockquote><para><footnote><para> +msgid "Lessing, 256." +msgstr "Lessing, 256." + +#. type: Content of: <book><chapter><blockquote><para> +msgid "" +"The series of body blows that FM radio received right after the war, in a " +"series of rulings manipulated through the FCC by the big radio interests, " +"were almost incredible in their force and deviousness.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en " +"serie med avgjÃ¸relser manipulert gjennom FCC av de store radiointeressene, " +"var nesten utrolige i deres kraft og underfundighet.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "AT&T" +msgstr "AT&T" + +#. type: Content of: <book><chapter><para> +msgid "" +"To make room in the spectrum for RCA's latest gamble, television, FM radio " +"users were to be moved to a totally new spectrum band. The power of FM radio " +"stations was also cut, meaning FM could no longer be used to beam programs " +"from one part of the country to another. (This change was strongly " +"supported by AT&T, because the loss of FM relaying stations would mean " +"radio stations would have to buy wired links from AT&T.) The spread of " +"FM radio was thus choked, at least temporarily." +msgstr "" +"For Ã¥ gjÃ¸re plass i spektrumet for RCAs nyeste satsingsomrÃ¥de, televisjon, " +"skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet. " +"Sendestyrken til FM-radioene ble ogsÃ¥ redusert, og gjorde at FM ikke lenger " +"kunne brukes for Ã¥ sende programmer fra en del av landet til en annen. " +"(Denne endringen ble sterkt stÃ¸ttet av AT&T, pÃ¥ grunn av at fjerningen " +"av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nÃ¸dt " +"til Ã¥ kjÃ¸pe kablede linker fra AT&T.) Spredningen av FM-radio var " +"dermed kvalt, i hvert fall midlertidig." + +#. type: Content of: <book><chapter><para> +msgid "" +"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " +"patents. After incorporating FM technology into the emerging standard for " +"television, RCA declared the patents invalid—baselessly, and almost " +"fifteen years after they were issued. It thus refused to pay him royalties. " +"For six years, Armstrong fought an expensive war of litigation to defend the " +"patents. Finally, just as the patents expired, RCA offered a settlement so " +"low that it would not even cover Armstrong's lawyers' fees. Defeated, " +"broken, and now broke, in 1954 Armstrong wrote a short note to his wife and " +"then stepped out of a thirteenth-story window to his death." +msgstr "" +"Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. " +"Etter Ã¥ ha bakt FM-teknologi inn i den nye standarden for TV, erklÃ¦rte RCS " +"patentene ugyldige—uten grunn og nesten femten Ã¥r etter at de ble " +"utstedet. De nektet dermed Ã¥ betale ham for bruken av patentene. I seks Ã¥r " +"kjempet Armstrong en dyr sÃ¸ksmÃ¥lskrig for Ã¥ forsvare patentene sine. Til " +"slutt, samtidig som patentene utlÃ¸p, tilbÃ¸d RCA et forlik sÃ¥ lavt at det " +"ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nÃ¥ blakk, " +"skrev Armstrong i 1954 en kort beskjed til sin kone, fÃ¸r han gikk ut av et " +"vindu i trettende etasje og falt i dÃ¸den." + +#. PAGE BREAK 22 +#. type: Content of: <book><chapter><para> +msgid "" +"This is how the law sometimes works. Not often this tragically, and rarely " +"with heroic drama, but sometimes, this is how it works. From the beginning, " +"government and government agencies have been subject to capture. They are " +"more likely captured when a powerful interest is threatened by either a " +"legal or technical change. That powerful interest too often exerts its " +"influence within the government to get the government to protect it. The " +"rhetoric of this protection is of course always public spirited; the reality " +"is something different. Ideas that were as solid as rock in one age, but " +"that, left to themselves, would crumble in another, are sustained through " +"this subtle corruption of our political process. RCA had what the Causbys " +"did not: the power to stifle the effect of technological change." +msgstr "" +"Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden " +"med heltemodig drama, men noen ganger er det slik det virker. Fra starten " +"har myndigheter og myndighetsorganer blitt tatt til fange. Det er mer " +"sannsynlig at de blir fanget nÃ¥r en mektig interesse er truet av enten en " +"juridisk eller teknologisk endring. Denne mektige interessen utÃ¸ver for " +"ofte sin innflytelse hos myndighetene til Ã¥ fÃ¥ myndighetene til Ã¥ beskytte " +"den. Retorikken for denne beskyttelsen er naturligvis alltid med fokus pÃ¥ " +"fellesskapets beste. Realiteten er noe annet. IdÃ©er som kan vÃ¦re solide " +"som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i " +"en annen, er viderefÃ¸rt gjennom denne subtile korrupsjonen i vÃ¥r politiske " +"prosess. RCA hadde hva Causby-ene ikke hadde: Makten til Ã¥ undertrykke " +"effekten av en teknologisk endring." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Internet" +msgstr "internet" + +#. type: Content of: <book><chapter><section><indexterm><secondary> +msgid "development of" +msgstr "utviklingen av" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " +"Internet Access and the Digital Divide,</quote> Pew Internet and American " +"Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #2</ulink>." +msgstr "" +"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " +"Internet Access and the Digital Divide,</quote> Pew Internet and American " +"Life Project, 15. april 2003: 6, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #2</ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">There's no</emphasis> single inventor of the " +"Internet. Nor is there any good date upon which to mark its birth. Yet in a " +"very short time, the Internet has become part of ordinary American life. " +"According to the Pew Internet and American Life Project, 58 percent of " +"Americans had access to the Internet in 2002, up from 49 percent two years " +"before.<placeholder type=\"footnote\" id=\"0\"/> That number could well " +"exceed two thirds of the nation by the end of 2004." +msgstr "" +"<emphasis role=\"strong\">Det er ingen</emphasis> enkeltoppfinner av " +"Internet. Ei heller er det en god dato som kan brukes til Ã¥ markere nÃ¥r det " +"ble fÃ¸dt. Likevel har Internettet i lÃ¸pet av svÃ¦rt kort tid blitt en del av " +"vanlige amerikaneres liv. I fÃ¸lge the Pew Internet and American Life-" +"prosjektet, har 58 prosent av amerikanerne hatt tilgang til Internettet i " +"2002, opp fra 49 prosent to Ã¥r tidligere.<placeholder type=\"footnote\" id=" +"\"0\"/> Det tallet kan uten problemer passere to tredjedeler av nasjonen ved " +"utgangen av 2004." + +#. type: Content of: <book><chapter><para> +msgid "" +"As the Internet has been integrated into ordinary life, it has changed " +"things. Some of these changes are technical—the Internet has made " +"communication faster, it has lowered the cost of gathering data, and so on. " +"These technical changes are not the focus of this book. They are important. " +"They are not well understood. But they are the sort of thing that would " +"simply go away if we all just switched the Internet off. They don't affect " +"people who don't use the Internet, or at least they don't affect them " +"directly. They are the proper subject of a book about the Internet. But this " +"is not a book about the Internet." +msgstr "" +"Etter hvert som Internett er blitt integrert inn i det vanlige liv har ting " +"blitt endret. Noen av disse endringene er teknisk—Internettet har " +"gjort kommunikasjon raskere, det har redusert kostnaden med Ã¥ samle inn " +"data, og sÃ¥ videre. Disse tekniske endringene er ikke fokus for denne " +"boken. De er viktige. De er ikke godt forstÃ¥tt. Men de er den type ting " +"som ganske enkelt ville blir borte hvis vi alle bare slo av Internettet. De " +"pÃ¥virker ikke folk som ikke bruker Internettet, eller i det miste pÃ¥virker " +"det ikke dem direkte. De er et godt tema for en bok om Internettet. Men " +"dette er ikke en bok om Internettet." + +#. type: Content of: <book><chapter><para> +msgid "" +"Instead, this book is about an effect of the Internet beyond the Internet " +"itself: an effect upon how culture is made. My claim is that the Internet " +"has induced an important and unrecognized change in that process. That " +"change will radically transform a tradition that is as old as the Republic " +"itself. Most, if they recognized this change, would reject it. Yet most " +"don't even see the change that the Internet has introduced." +msgstr "" +"I stedet er denne boken om effekten av Internettet ut over internettet i seg " +"selv. En effekt pÃ¥ hvordan kultur blir skapt. Min pÃ¥stand er at " +"Internettet har fÃ¸rt til en viktig og ukjent endring i denne prosessen. " +"Denne endringen vil forandre en tradisjon som er like gammel som republikken " +"selv. De fleste, hvis de la merke til denne endringen, ville avvise den. " +"Men de fleste legger ikke engang merke til denne endringen som Internettet " +"har introdusert." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Barlow, Joel" +msgstr "Barlow, Joel" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "culture" +msgstr "kultur" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "commercial vs. noncommercial" +msgstr "kommersiell vs. ikke-kommersiell" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Webster, Noah" +msgstr "Webster, Noah" + +#. 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 " +"<quote>commercial culture</quote> I mean that part of our culture that is " +"produced and sold or produced to be sold. By <quote>noncommercial culture</" +"quote> I mean all the rest. When old men sat around parks or on street " +"corners telling stories that kids and others consumed, that was " +"noncommercial culture. When Noah Webster published his <quote>Reader,</" +"quote> or Joel Barlow his poetry, that was commercial culture." +msgstr "" +"Vi kan fÃ¥ en fÃ¸lelse av denne endringen ved Ã¥ skille mellom kommersiell og " +"ikke-kommersiell kultur, ved Ã¥ knytte lovens reguleringer til hver av dem. " +"Med <quote>kommersiell kultur</quote> mener jeg den delen av vÃ¥r kultur som " +"er produsert og solgt eller produsert for Ã¥ bli solgt. Med <quote>ikke-" +"kommersiell kultur</quote> mener jeg alt det andre. Da gamle menn satt rundt " +"i parker eller pÃ¥ gatehjÃ¸rner og fortalte historier som unger og andre " +"lyttet til, sÃ¥ var det ikke-kommersiell kultur. Da Noah Webster publiserte " +"sin <quote>Reader</quote>, eller Joel Barlow sin poesi, sÃ¥ var det " +"kommersiell kultur." + +#. 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 <quote>free.</" +"quote> The ordinary ways in which ordinary individuals shared and " +"transformed their culture—telling stories, reenacting scenes from " +"plays or TV, participating in fan clubs, sharing music, making tapes—" +"were left alone by the law." +msgstr "" +"Fra historisk tid, og for omtrent hele vÃ¥r tradisjon, har ikke-kommersiell " +"kultur i hovedsak ikke vÃ¦rt regulert. SelvfÃ¸lgelig, hvis din historie var " +"utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. " +"Men loven var aldri direkte interessert i skapingen eller spredningen av " +"denne form for kultur, og lot denne kulturen vÃ¦re <quote>fri</quote>. Den " +"vanlige mÃ¥ten som vanlige individer delte og formet deres kultur—" +"historiefortelling, formidling av scener fra teater eller TV, delta i fan-" +"klubber, deling av musikk, laging av kassetter—ble ikke styrt av " +"lovverket." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "copyright infringement lawsuits" +msgstr "sÃ¸ksmÃ¥l om krenkelse av opphavsrett" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "commercial creativity as primary purpose of" +msgstr "kommersiell kreativitet som hovedformÃ¥l for" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Brandeis, Louis D." +msgstr "Brandeis, Louis D." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"This is not the only purpose of copyright, though it is the overwhelmingly " +"primary purpose of the copyright established in the federal constitution. " +"State copyright law historically protected not just the commercial interest " +"in publication, but also a privacy interest. By granting authors the " +"exclusive right to first publication, state copyright law gave authors the " +"power to control the spread of facts about them. See Samuel D. Warren and " +"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 " +"(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Dette er ikke det eneste formÃ¥let med opphavsrett, men det er helt klart " +"hovedformÃ¥let med opphavsretten slik den er etablert i fÃ¸deral grunnlov. " +"Ãndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle " +"interesse nÃ¥r det gjaldt publikasjoner, men ogsÃ¥ personverninteresser. Ved " +"Ã¥ gi forfattere eneretten til Ã¥ publisere fÃ¸rst, ga delstatenes " +"Ã¥ndsverkslovene forfatterne makt til Ã¥ kontrollere spredningen av fakta om " +"seg selv. Se Samuel D. Warren og Louis Brandeis, <quote>The Right to " +"Privacy</quote>, Harvard Law Review 4 (1890): 193, 198–200. " +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"The focus of the law was on commercial creativity. At first slightly, then " +"quite extensively, the law protected the incentives of creators by granting " +"them exclusive rights to their creative work, so that they could sell those " +"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " +"id=\"0\"/> This is also, of course, an important part of creativity and " +"culture, and it has become an increasingly important part in America. But in " +"no sense was it dominant within our tradition. It was instead just one part, " +"a controlled part, balanced with the free." +msgstr "" +"Fokuset pÃ¥ loven var kommersiell kreativitet. I starten forsiktig, etter " +"hvert betraktelig, beskytter loven insentivet til skaperne ved Ã¥ tildele dem " +"en eksklusiv rett til deres kreative verker, slik at de kan selge disse " +"eksklusive rettighetene pÃ¥ en kommersiell markedsplass.<placeholder type=" +"\"footnote\" id=\"0\"/> Dette er ogsÃ¥, naturligvis, en viktig del av " +"kreativitet og kultur, og det har blitt en viktigere og viktigere del i " +"USA. Men det var pÃ¥ ingen mÃ¥te dominerende i vÃ¥r tradisjon. Det var i " +"stedet bare en del, en kontrollert del, balansert mot det frie." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "free culture" +msgstr "fri kultur" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "permission culture vs." +msgstr "tillatelseskultur mot" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "permission culture" +msgstr "tillatelseskultur" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "free culture vs." +msgstr "fri kultur mot" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Litman, Jessica" +msgstr "Litman, Jessica" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " +"Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " +"Prometheus bÃ¸ker, 2001), kap. 13. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"This rough divide between the free and the controlled has now been erased." +"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " +"this erasure and, pushed by big media, the law has now affected it. For the " +"first time in our tradition, the ordinary ways in which individuals create " +"and share culture fall within the reach of the regulation of the law, which " +"has expanded to draw within its control a vast amount of culture and " +"creativity that it never reached before. The technology that preserved the " +"balance of our history—between uses of our culture that were free and " +"uses of our culture that were only upon permission—has been undone. " +"The consequence is that we are less and less a free culture, more and more a " +"permission culture." +msgstr "" +"Denne grove inndelingen mellom den frie og den kontrollerte har nÃ¥ blitt " +"fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internettet har satt " +"scenen for denne fjerningen, og pressen frem av store medieaktÃ¸rer har loven " +"nÃ¥ pÃ¥virket det. For fÃ¸rste gang i vÃ¥r tradisjon, har de vanlige mÃ¥tene som " +"individer skaper og deler kultur havnet innen rekekvidde for reguleringene " +"til loven, som har blitt utvidet til Ã¥ dra inn i sitt kontrollomrÃ¥de den " +"enorme mengden kultur og kreativitet som den aldri tidligere har nÃ¥dd over. " +"Teknologien som tok vare pÃ¥ den historiske balansen—mellom bruken av " +"den delen av kulturen vÃ¥r som var fri og bruken av vÃ¥r kultur som krevde " +"tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre " +"en fri kultur, og mer og mer en tillatelseskultur." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "protection of artists vs. business interests" +msgstr "beskyttelse av kunstnere vs. forretningsinteresser" + +#. type: Content of: <book><chapter><para> +msgid "" +"This change gets justified as necessary to protect commercial creativity. " +"And indeed, protectionism is precisely its motivation. But the protectionism " +"that justifies the changes that I will describe below is not the limited and " +"balanced sort that has defined the law in the past. This is not a " +"protectionism to protect artists. It is instead a protectionism to protect " +"certain forms of business. Corporations threatened by the potential of the " +"Internet to change the way both commercial and noncommercial culture are " +"made and shared have united to induce lawmakers to use the law to protect " +"them. It is the story of RCA and Armstrong; it is the dream of the Causbys." +msgstr "" +"Denne endringen blir rettferdiggjort som nÃ¸dvendig for Ã¥ beskytte " +"kommersiell kreativitet. Og ganske riktig, proteksjonisme er nÃ¸yaktig det " +"som motiverer endringen. Men proteksjonismen som rettferdiggjÃ¸r endringene " +"som jeg skal beskrive lenger ned er ikke den begrensede og balanserte typen " +"som har definert loven tidligere. Dette er ikke en proteksjonisme for Ã¥ " +"beskytte artister. Det er i stedet en proteksjonisme for Ã¥ beskytte " +"bestemte forretningsformer. Selskaper som er truet av potensialet til " +"Internettet for Ã¥ endre mÃ¥ten bÃ¥de kommersiell og ikke-kommersiell kultur " +"blir skapt og delt, har samlet seg for Ã¥ fÃ¥ lovgiverne til Ã¥ bruke loven for " +"Ã¥ beskytte selskapene. Dette er historien om RCA og Armstrong, og det er " +"drÃ¸mmen til Causbyene." + +#. type: Content of: <book><chapter><para> +msgid "" +"For the Internet has unleashed an extraordinary possibility for many to " +"participate in the process of building and cultivating a culture that " +"reaches far beyond local boundaries. That power has changed the marketplace " +"for making and cultivating culture generally, and that change in turn " +"threatens established content industries. The Internet is thus to the " +"industries that built and distributed content in the twentieth century what " +"FM radio was to AM radio, or what the truck was to the railroad industry of " +"the nineteenth century: the beginning of the end, or at least a substantial " +"transformation. Digital technologies, tied to the Internet, could produce a " +"vastly more competitive and vibrant market for building and cultivating " +"culture; that market could include a much wider and more diverse range of " +"creators; those creators could produce and distribute a much more vibrant " +"range of creativity; and depending upon a few important factors, those " +"creators could earn more on average from this system than creators do " +"today—all so long as the RCAs of our day don't use the law to protect " +"themselves against this competition." +msgstr "" +"For Internettet har sluppet lÃ¸s en ekstraordinÃ¦r mulighet for mange til Ã¥ " +"delta i prosessen med Ã¥ bygge og kultivere en kultur som rekker lagt utenfor " +"lokale grenselinjer. Den makten har endret markedsplassen for Ã¥ lage og " +"kultivere kultur generelt, og den endringen truer i neste omgang etablerte " +"innholdsindustrier. Internettet er dermed for industriene som bygget og " +"distribuerte innhold i det tjuende Ã¥rhundret hva FM-radio var for AM-radio, " +"eller hva traileren var for jernbaneindustrien i det nittende Ã¥rhundret: " +"begynnelsen pÃ¥ slutten, eller i hvert fall en markant endring. Digitale " +"teknologier, knyttet til Internettet, kunne produsere et mye mer " +"konkurransedyktig og levende marked for Ã¥ bygge og kultivere kultur. Dette " +"markedet kunne inneholde en mye videre og mer variert utvalg av skapere. " +"Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av " +"kreativitet. Og avhengig av noen fÃ¥ viktige faktorer, sÃ¥ kunne disse " +"skaperne tjenere mer i snitt fra dette systemet enn skaperne gjÃ¸r i " +"dag—sÃ¥ lenge RCA-ene av i dag ikke bruker loven til Ã¥ beskytte dem " +"selv mot denne konkurransen." + +#. type: Content of: <book><chapter><para> +msgid "" +"Yet, as I argue in the pages that follow, that is precisely what is " +"happening in our culture today. These modern-day equivalents of the early " +"twentieth-century radio or nineteenth-century railroads are using their " +"power to get the law to protect them against this new, more efficient, more " +"vibrant technology for building culture. They are succeeding in their plan " +"to remake the Internet before the Internet remakes them." +msgstr "" +"Likevel, som jeg argumenterer for i sidene som fÃ¸lger, er dette nÃ¸yaktig det " +"som skjer i vÃ¥r kultur i dag. Dette som er dagens ekvivalenter til tidlig " +"tjuende Ã¥rhundres radio og nittende Ã¥rhundres jernbaner bruker deres makt " +"til Ã¥ fÃ¥ loven til Ã¥ beskytte dem mot dette nye, mer effektive, mer levende " +"teknologi for Ã¥ bygge kultur. De lykkes i deres plan om Ã¥ gjÃ¸re om " +"Internettet fÃ¸r internettet gjÃ¸r om pÃ¥ dem." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Valenti, Jack" +msgstr "Valenti, Jack" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on creative property rights" +msgstr "om kreative eiendomsrettigheter" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " +"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " +"York Times</citetitle>, 17 January 2002." +msgstr "" +"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " +"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " +"York Times</citetitle>, 17. januar 2002." + +#. type: Content of: <book><chapter><para> +msgid "" +"It doesn't seem this way to many. The battles over copyright and the " +"Internet seem remote to most. To the few who follow them, they seem mainly " +"about a much simpler brace of questions—whether <quote>piracy</quote> " +"will be permitted, and whether <quote>property</quote> will be protected. " +"The <quote>war</quote> that has been waged against the technologies of the " +"Internet—what Motion Picture Association of America (MPAA) president " +"Jack Valenti calls his <quote>own terrorist war</quote><placeholder type=" +"\"footnote\" id=\"0\"/>—has been framed as a battle about the rule of " +"law and respect for property. To know which side to take in this war, most " +"think that we need only decide whether we're for property or against it." +msgstr "" +"Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og " +"Internettet er fjernt for de fleste. For de fÃ¥ som fÃ¸lger dem, virker de i " +"hovedsak Ã¥ handle om et enklere sett med spÃ¸rsmÃ¥l—hvorvidt " +"<quote>piratvirksomhet</quote> vil bli akseptert, og hvorvidt " +"<quote>eiendomsretten</quote> vil bli beskyttet. <quote>Krigen</quote> som " +"har blitt erklÃ¦rt mot teknologiene til Internettet—det presidenten for " +"Motion Picture Association of America (MPAA) Jack Valenti kaller sin " +"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/" +">—har blitt rammet inn som en kamp om Ã¥ fÃ¸lge loven og respektere " +"eiendomsretten. For Ã¥ vite hvilken side vi bÃ¸r ta i denne krigen, de fleste " +"tenker at vi kun trenger Ã¥ bestemme om hvorvidt vi er for eiendomsrett eller " +"mot den." + +#. 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 <quote>creative property.</" +"quote> I believe that <quote>piracy</quote> is wrong, and that the law, " +"properly tuned, should punish <quote>piracy,</quote> whether on or off the " +"Internet." +msgstr "" +"Hvis dette virkelig var alternativene, sÃ¥ ville jeg vÃ¦re enig med Jack " +"Valenti og innholdsindustrien. Jeg tror ogsÃ¥ pÃ¥ eiendomsretten, og spesielt " +"pÃ¥ viktigheten av hva Mr. Valenti sÃ¥ pent kaller <quote>kreativ " +"eiendomsrett</quote>. Jeg tror at <quote>piratvirksomhet</quote> er galt, " +"og at loven, riktig innstilt, bÃ¸r straffe <quote>piratvirksomhet</quote>, " +"bÃ¥de pÃ¥ og utenfor Internettet." + +#. 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 <quote>pirates</quote> will also rid our " +"culture of values that have been integral to our tradition from the start." +msgstr "" +"Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spÃ¸rsmÃ¥l " +"og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner Ã¥ " +"legge merke til denne endringen, sÃ¥ vil krigen for Ã¥ befri verden fra " +"Internettets <quote>pirater</quote> ogsÃ¥ fjerne verdier fra vÃ¥r kultur som " +"har vÃ¦rt integrert til vÃ¥r tradisjon helt fra starten." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Constitution, U.S." +msgstr "Grunnloven i USA" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "First Amendment to" +msgstr "FÃ¸rste tillegg til" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "copyright law" +msgstr "Ã¥ndsverkslov" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "as protection of creators" +msgstr "som beskyttelse for skapere" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "First Amendment" +msgstr "FÃ¸rste grunnlovstillegg" + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Netanel, Neil Weinstock" +msgstr "Netanel, Neil Weinstock" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " +"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " +"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" +"\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"These values built a tradition that, for at least the first 180 years of our " +"Republic, guaranteed creators the right to build freely upon their past, and " +"protected creators and innovators from either state or private control. The " +"First Amendment protected creators against state control. And as Professor " +"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " +"copyright law, properly balanced, protected creators against private " +"control. Our tradition was thus neither Soviet nor the tradition of patrons. " +"It instead carved out a wide berth within which creators could cultivate and " +"extend our culture." +msgstr "" +"Disse verdiene bygget en tradisjon som, for i hvert fall de fÃ¸rste 180 Ã¥rene " +"av vÃ¥r republikk, garanterte skaperne rettigheten til Ã¥ bygge fritt pÃ¥ deres " +"fortid, og beskyttet skaperne og innovatÃ¸rene fra bÃ¥de statlig og privat " +"kontroll. Det fÃ¸rste grunnlovstillegget beskyttet skaperne fra statlig " +"kontroll. Og som professor Neil Netanel kraftfylt argumenterer,<placeholder " +"type=\"footnote\" id=\"0\"/> Ã¥ndsverkslov, skikkelig balansert, beskyttet " +"skaperne mot privat kontroll. VÃ¥r tradisjon var dermed hverken Sovjet eller " +"tradisjonen til velgjÃ¸rere. I stedet skar det ut en bred manÃ¸vreringsrom " +"hvor skapere kunne kultivere og utvide vÃ¥r kultur." + +#. type: Content of: <book><chapter><para> +msgid "" +"Yet the law's response to the Internet, when tied to changes in the " +"technology of the Internet itself, has massively increased the effective " +"regulation of creativity in America. To build upon or critique the culture " +"around us one must ask, Oliver Twist–like, for permission first. " +"Permission is, of course, often granted—but it is not often granted to " +"the critical or the independent. We have built a kind of cultural nobility; " +"those within the noble class live easily; those outside it don't. But it is " +"nobility of any form that is alien to our tradition." +msgstr "" +"Likevel har lovens respons til Internettet, nÃ¥r det knyttes sammen til " +"endringer i teknologien i Internettet selv, fÃ¸rt til massiv Ã¸kting av den " +"effektive reguleringen av kreativitet i USA. For Ã¥ bygge pÃ¥ eller kritisere " +"kulturen rundt oss mÃ¥ en spÃ¸rre, som Oliver Twist, om tillatelse fÃ¸rst. " +"Tillatelse er, naturligvis, ofte innvilget—men det er ikke ofte " +"innvilget til den kritiske eller den uavhengige. Vi har bygget en slags " +"kulturell adel. De innen dette adelskapet har et enkelt liv, mens de pÃ¥ " +"utsiden har det ikke. Men det er adelskap i alle former som er fremmed for " +"vÃ¥r tradisjon." + +#. type: Content of: <book><chapter><para> +msgid "" +"The story that follows is about this war. Is it not about the " +"<quote>centrality of technology</quote> to ordinary life. I don't believe in " +"gods, digital or otherwise. Nor is it an effort to demonize any individual " +"or group, for neither do I believe in a devil, corporate or otherwise. It is " +"not a morality tale. Nor is it a call to jihad against an industry." +msgstr "" +"Historien som fÃ¸lger er om denne krigen. Er det ikke om <quote>betydningen " +"av teknologi</quote> i vanlig liv. Jeg tror ikke pÃ¥ guder, hverken digitale " +"eller andre typer. Det er heller ikke et forsÃ¸k pÃ¥ Ã¥ demonisere noen " +"individer eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig " +"eller pÃ¥ annen mÃ¥te. Det er ikke en moralsk historie. Ei heller er det et " +"rop om hellig krig mot en industri." + +#. type: Content of: <book><chapter><para> +msgid "" +"It is instead an effort to understand a hopelessly destructive war inspired " +"by the technologies of the Internet but reaching far beyond its code. And by " +"understanding this battle, it is an effort to map peace. There is no good " +"reason for the current struggle around Internet technologies to continue. " +"There will be great harm to our tradition and culture if it is allowed to " +"continue unchecked. We must come to understand the source of this war. We " +"must resolve it soon." +msgstr "" +"Det er i stedet et forsÃ¸k pÃ¥ Ã¥ forstÃ¥ en hÃ¥plÃ¸st Ã¸deleggende krig som er " +"inspirert av teknologiene til Internettet, men som rekker lang utenfor dens " +"kode. Og ved Ã¥ forstÃ¥ denne kampen er den en innsats for Ã¥ finne veien til " +"fred. Det er ingen god grunn for Ã¥ fortsette dagens batalje rundt Internett-" +"teknologiene. Det vil vÃ¦re til stor skade for vÃ¥r tradisjon og kultur hvis " +"den fÃ¥r lov til Ã¥ fortsette ukontrollert. Vi mÃ¥ forstÃ¥ kilden til denne " +"krigen. Vi mÃ¥ finne en lÃ¸sning snart." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "intellectual property rights" +msgstr "immaterielle rettigheter" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">Like the Causbys'</emphasis> battle, this war is, " +"in part, about <quote>property.</quote> The property of this war is not as " +"tangible as the Causbys', and no innocent chicken has yet to lose its life. " +"Yet the ideas surrounding this <quote>property</quote> are as obvious to " +"most as the Causbys' claim about the sacredness of their farm was to them. " +"We are the Causbys. Most of us take for granted the extraordinarily powerful " +"claims that the owners of <quote>intellectual property</quote> now assert. " +"Most of us, like the Causbys, treat these claims as obvious. And hence we, " +"like the Causbys, object when a new technology interferes with this " +"property. It is as plain to us as it was to them that the new technologies " +"of the Internet are <quote>trespassing</quote> upon legitimate claims of " +"<quote>property.</quote> It is as plain to us as it was to them that the law " +"should intervene to stop this trespass." +msgstr "" +"<emphasis role=\"strong\">Lik Causbyenes</emphasis> kamp er denne krigen, " +"delvis, om <quote>eiendomsrett</quote>. Eiendommen i denne krigen er ikke " +"like hÃ¥ndfast som den til Causbyene, og ingen uskyldige kyllinger har sÃ¥ " +"langt mistet livet. Likevel er idÃ©ene rundt denne <quote>eiendomsretten</" +"quote> like Ã¥penbare for de fleste som Causbyenes krav om ukrenkeligheten " +"til deres bondegÃ¥rd var for dem. De fleste av oss tar for gitt de uvanlig " +"mektige krav som eierne av <quote>immaterielle rettigheter</quote> nÃ¥ " +"hevder. De fleste av oss, som Causbyene, behandler disse kravene som " +"Ã¥penbare. Og dermed protesterer vi, som Causbyene,, nÃ¥r ny teknologi griper " +"inn i denne eiendomsretten. Det er sÃ¥ klart for oss som det var fro dem at " +"de nye teknologiene til Internettet <quote>tar seg til rette</quote> mot " +"legitime krav til <quote>eiendomsrett</quote>. Det er like klart for oss " +"som det var for dem at loven skulle ta affÃ¦re for Ã¥ stoppe denne " +"inntrengingen i annen manns eiendom." + +#. PAGE BREAK 27 +#. type: Content of: <book><chapter><para> +msgid "" +"And thus, when geeks and technologists defend their Armstrong or Wright " +"brothers technology, most of us are simply unsympathetic. Common sense does " +"not revolt. Unlike in the case of the unlucky Causbys, common sense is on " +"the side of the property owners in this war. Unlike the lucky Wright " +"brothers, the Internet has not inspired a revolution on its side." +msgstr "" +"Og dermed, nÃ¥r nerder og teknologer forsvarer sin tids Armstrong og Wright-" +"brÃ¸denes teknologi, fÃ¥r de lite sympati fra de fleste av oss. Sunn fornuft " +"gjÃ¸r ikke opprÃ¸r. I motsetning til saken til de uheldige Causbyene, er sunn " +"fornuft pÃ¥ samme side som eiendomseierne i denne krigen. I motsetning til " +"hos de heldige Wright-brÃ¸drene, har Internettet ikke inspirert en revolusjon " +"til fordel for seg." + +#. 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 " +"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet " +"there has never been a time when the concentration of power to control the " +"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as " +"it is now." +msgstr "" +"Mitt hÃ¥p er Ã¥ skyve denne sunne fornuften videre. Jeg har blitt stadig mer " +"overrasket over kraften til denne idÃ©en om immaterielle rettigheter og, mer " +"viktig, dets evne til Ã¥ slÃ¥ av kritisk tanke hos lovmakere og innbyggere. " +"Det har aldri fÃ¸r i vÃ¥r historie vÃ¦rt sÃ¥ mye av vÃ¥r <quote>kultur</quote> " +"som har vÃ¦rt <quote>eid</quote> enn det er nÃ¥. Og likevel har aldri fÃ¸r " +"konsentrasjonen av makt til Ã¥ kontrollere <emphasis>bruken</emphasis> av " +"kulturen vÃ¦rt mer akseptert uten spÃ¸rsmÃ¥l enn det er nÃ¥." + +#. 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 "" +"GÃ¥ten er, hvorfor det? Er det fordi vi fÃ¥tt en innsikt i sannheten om " +"verdien og betydningen av absolutt eierskap over idÃ©er og kultur? Er det " +"fordi vi har oppdaget at vÃ¥r tradisjon med Ã¥ avvise slike absolutte krav var " +"feil?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Or is it because the idea of absolute property over ideas and culture " +"benefits the RCAs of our time and fits our own unreflective intuitions?" +msgstr "" +"Eller er det pÃ¥ grunn av at idÃ©er om absolutt eierskap over idÃ©er og kultur " +"gir fordeler til RCA-ene i vÃ¥r tid, og passer med vÃ¥r ureflekterte intuisjon?" + +#. type: Content of: <book><chapter><para> +msgid "" +"Is the radical shift away from our tradition of free culture an instance of " +"America correcting a mistake from its past, as we did after a bloody war " +"with slavery, and as we are slowly doing with inequality? Or is the radical " +"shift away from our tradition of free culture yet another example of a " +"political system captured by a few powerful special interests?" +msgstr "" +"Er denne radikale endringen vekk fra vÃ¥r tradisjon om fri kultur en " +"forekomst av USA som korrigerer en feil fra sin fortid, slik vi gjorde det " +"etter en blodig krig mot slaveri, og slik vi sakte gjÃ¸r det mot " +"forskjellsbehandling? Eller er denne radikale endringen vekk fra vÃ¥r " +"tradisjon med fri kultur nok et eksempel pÃ¥ at vÃ¥rt politiske system er " +"fanget av noen fÃ¥ mektige sÃ¦rinteresser?" + +#. 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 "" +"FÃ¸rer sunn fornuft til det ekstreme i dette spÃ¸rsmÃ¥let pÃ¥ grunn av at sunn " +"fornuft faktisk tror pÃ¥ dette ekstreme? Eller stÃ¥r sunn fornuft i stillhet " +"i mÃ¸tet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer " +"mektige siden har sikret seg at det har et mye mer mektig synspunkt?" + +#. PAGE BREAK 28 +#. type: Content of: <book><chapter><para> +msgid "" +"I don't mean to be mysterious. My own views are resolved. I believe it was " +"right for common sense to revolt against the extremism of the Causbys. I " +"believe it would be right for common sense to revolt against the extreme " +"claims made today on behalf of <quote>intellectual property.</quote> What " +"the law demands today is increasingly as silly as a sheriff arresting an " +"airplane for trespass. But the consequences of this silliness will be much " +"more profound." +msgstr "" +"Jeg forsÃ¸ker ikke Ã¥ vÃ¦re mystisk. Mine egne synspunkter er klare. Jeg mener " +"det var riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r mot ekstremismen til " +"Causbyene. Jeg mener det ville vÃ¦re riktig for sunn fornuft Ã¥ gjÃ¸re opprÃ¸r " +"mot de ekstreme krav som gjÃ¸res i dag pÃ¥ vegne av <quote>immaterielle " +"rettigheter</quote>. Det som loven krever i dag er mer Ã¥ mer like dumt som " +"om lensmannen skulle arrestere en flymaskin for Ã¥ trenge inn pÃ¥ annen manns " +"eiendom. Men konsekvensene av den nye dumskapen vil bli mye mer " +"dyptgripende." + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role=\"strong\">The struggle</emphasis> that rages just now " +"centers on two ideas: <quote>piracy</quote> and <quote>property.</quote> My " +"aim in this book's next two parts is to explore these two ideas." +msgstr "" +"<emphasis role=\"strong\">Basketaket</emphasis> som pÃ¥gÃ¥r akkurat nÃ¥ " +"senterer seg rundt to idÃ©er: <quote>piratvirksomhet</quote> og " +"<quote>eiendom</quote>. Mitt mÃ¥l med denne bokens neste to deler er Ã¥ " +"utforske disse to idÃ©ene." + +#. type: Content of: <book><chapter><para> +msgid "" +"My method is not the usual method of an academic. I don't want to plunge you " +"into a complex argument, buttressed with references to obscure French " +"theorists—however natural that is for the weird sort we academics have " +"become. Instead I begin in each part with a collection of stories that set a " +"context within which these apparently simple ideas can be more fully " +"understood." +msgstr "" +"Metoden min er ikke den vanlige metoden for en akademiker. Jeg Ã¸nsker ikke " +"Ã¥ plÃ¸ye deg inn i et komplisert argument, steinsatt med referanser til " +"obskure franske teoretikere—uansett hvor naturlig det har blitt for " +"den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del " +"med en samling historier som etablerer en sammenheng der disse " +"tilsynelatende enkle idÃ©ene kan bli fullt ut forstÃ¥tt." + +#. 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 <quote>something new,</quote> is destroying " +"something very old. Rather than understanding the changes the Internet might " +"permit, and rather than taking time to let <quote>common sense</quote> " +"resolve how best to respond, we are allowing those most threatened by the " +"changes to use their power to change the law—and more importantly, to " +"use their power to change something fundamental about who we have always " +"been." +msgstr "" +"De to delene setter opp kjernen i pÃ¥standen til denne boken: at mens " +"Internettet faktisk har produsert noe fantastisk og nytt, bidrar vÃ¥re " +"myndigheter, presset av store medieaktÃ¸rer for Ã¥ mÃ¸te dette <quote>noe nytt</" +"quote> til Ã¥ Ã¸delegge noe som er svÃ¦rt gammelt. I stedet for Ã¥ forstÃ¥ " +"endringene som Internettet kan gjÃ¸re mulig, og i stedet for Ã¥ ta den tiden " +"som trengs for Ã¥ la <quote>sunn fornuft</quote> finne ut hvordan best svare " +"pÃ¥ utfordringen, sÃ¥ lar vi de som er mest truet av endringene bruke sin makt " +"til Ã¥ endre loven—og viktigere, Ã¥ bruke sin makt til Ã¥ endre noe " +"fundamentalt om hvordan vi alltid har fungert." + +#. type: Content of: <book><chapter><para> +msgid "" +"We allow this, I believe, not because it is right, and not because most of " +"us really believe in these changes. We allow it because the interests most " +"threatened are among the most powerful players in our depressingly " +"compromised process of making law. This book is the story of one more " +"consequence of this form of corruption—a consequence to which most of " +"us remain oblivious." +msgstr "" +"Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi " +"de fleste av oss tror pÃ¥ disse endringene. Vi tillater det pÃ¥ grunn av at " +"de interessene som er mest truet er blant de mest mektige aktÃ¸rene i vÃ¥r " +"deprimerende kompromitterte prosess for Ã¥ utforme lover. Denne boken er " +"historien om nok en konsekvens for denne type korrupsjon—en konsekvens " +"for de fleste av oss forblir ukjent med." + +#. type: Content of: <book><part><title> +msgid "<quote>PIRACY</quote>" +msgstr "<quote>Piratvirksomhet</quote>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "English" +msgstr "Engelsk" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Mansfield, William Murray, Lord" +msgstr "Mansfield, William Murray, Lord" + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "music publishing" +msgstr "musikkpublisering" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "sheet music" +msgstr "noteark" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role=\"strong\">Since the inception</emphasis> of the law " +"regulating creative property, there has been a war against <quote>piracy.</" +"quote> The precise contours of this concept, <quote>piracy,</quote> are hard " +"to sketch, but the animating injustice is easy to capture. As Lord " +"Mansfield wrote in a case that extended the reach of English copyright law " +"to include sheet music," +msgstr "" +"<emphasis role=\"strong\">Helt siden</emphasis> loven begynte Ã¥ regulere " +"kreative eierrettigheter, har det vÃ¦rt en krig mot <quote>piratvirksomhet</" +"quote>. De presise konturene av dette konseptet, <quote>piratvirksomhet</" +"quote>, har vÃ¦rt vanskelig Ã¥ tegne opp, men bildet av urettferdighet er " +"enkelt Ã¥ beskrive. Som Lord Mansfield skrev i en sak som utvidet " +"rekkevidden for engelsk Ã¥ndsverkslov til Ã¥ inkludere noteark," + +#. f1 +#. type: Content of: <book><part><partintro><blockquote><para><footnote><para> +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." +msgstr "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." + +#. type: Content of: <book><part><partintro><blockquote><para> +msgid "" +"A person may use the copy by playing it, but he has no right to rob the " +"author of the profit, by multiplying copies and disposing of them for his " +"own use.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"En person kan bruke kopien til Ã¥ spille den, men han har ingen rett til Ã¥ " +"robbe forfatteren for profitten, ved Ã¥ lage flere kopier og distribuere " +"etter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "efficient content distribution on" +msgstr "effektiv innholdsdistribusjon pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "peer-to-peer (p2p) file sharing" +msgstr "peer-to-peer(p2p)-fildeling" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "efficiency of" +msgstr "effektiviteten til" + +#. PAGE BREAK 31 +#. type: Content of: <book><part><partintro><para> +msgid "" +"Today we are in the middle of another <quote>war</quote> against " +"<quote>piracy.</quote> The Internet has provoked this war. The Internet " +"makes possible the efficient spread of content. Peer-to-peer (p2p) file " +"sharing is among the most efficient of the efficient technologies the " +"Internet enables. Using distributed intelligence, p2p systems facilitate the " +"easy spread of content in a way unimagined a generation ago." +msgstr "" +"I dag er vi midt inne i en annen <quote>krig</quote> mot " +"<quote>piratvirksomhet</quote>. Internettet har fremprovosert denne krigen. " +"Internettet gjÃ¸r det mulig Ã¥ effektivt spre innhold. Peer-to-peer (p2p) " +"fildeling er blant det mest effektive av de effektive teknologier " +"Internettet muliggjÃ¸r. Ved Ã¥ bruke distribuert intelligens, kan p2p-systemer " +"muliggjÃ¸re enkel spredning av innhold pÃ¥ en mÃ¥te som ingen forestilte seg " +"for en generasjon siden." + +#. type: Content of: <book><part><partintro><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 <quote>rob the author of the profit.</quote>" +msgstr "" +"Denne effektiviteten respekterer ikke de tradisjonelle skillene i " +"opphavsretten. Nettverket skiller ikke mellom deling av " +"opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det " +"vÃ¦rt deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne " +"delingen har i sin tur ansporet til krigen, pÃ¥ grunn av at eiere av " +"opphavsretter frykter delingen vil <quote>frata forfatteren overskuddet.</" +"quote>" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The warriors have turned to the courts, to the legislatures, and " +"increasingly to technology to defend their <quote>property</quote> against " +"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is " +"being raised to believe that <quote>property</quote> should be <quote>free.</" +"quote> Forget tattoos, never mind body piercing—our kids are becoming " +"<emphasis>thieves</emphasis>!" +msgstr "" +"Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig stÃ¸rre " +"grad til teknologi for Ã¥ forsvare sin <quote>eiendom</quote> mot denne " +"<quote>piratvirksomheten</quote>. En generasjon amerikanere, advarer " +"krigerne, blir oppdratt til Ã¥ tro at <quote>eiendom</quote> skal vÃ¦re " +"<quote>gratis</quote>. Glem tatoveringer, ikke tenk pÃ¥ kroppspiercing—" +"vÃ¥re barn blir <emphasis>tyver</emphasis>!" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"There's no doubt that <quote>piracy</quote> is wrong, and that pirates " +"should be punished. But before we summon the executioners, we should put " +"this notion of <quote>piracy</quote> in some context. For as the concept is " +"increasingly used, at its core is an extraordinary idea that is almost " +"certainly wrong." +msgstr "" +"Det er ingen tvil om at <quote>piratvirksomhet</quote> er galt, og at " +"pirater bÃ¸r straffes. Men fÃ¸r vi roper pÃ¥ bÃ¸dlene, bÃ¸r vi sette dette " +"<quote>piratvirksomhets</quote>-begrepet i en sammenheng. For mens begrepet " +"blir mer og mer brukt, har det i sin kjerne en ekstraordinÃ¦r idÃ© som nesten " +"helt sikkert er feil." + +#. type: Content of: <book><part><partintro><para> +msgid "The idea goes something like this:" +msgstr "IdÃ©en hÃ¸res omtrent slik ut:" + +#. type: Content of: <book><part><partintro><blockquote><para> +msgid "" +"Creative work has value; whenever I use, or take, or build upon the creative " +"work of others, I am taking from them something of value. Whenever I take " +"something of value from someone else, I should have their permission. The " +"taking of something of value from someone else without permission is wrong. " +"It is a form of piracy." +msgstr "" +"Kreativt arbeid har verdi. NÃ¥r jeg bruker, eller tar, eller bygger pÃ¥ det " +"kreative arbeidet til andre, sÃ¥ tar jeg noe fra dem som har verdi. NÃ¥r jeg " +"tar noe av verdi fra noen andre, bÃ¸r jeg fÃ¥ tillatelse fra dem. Ã ta noe " +"som har verdi fra andre uten tillatelse er galt. Det er en form for " +"piratvirksomhet." + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "ASCAP" +msgstr "ASCAP" + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "Dreyfuss, Rochelle" +msgstr "Dreyfuss, Rochelle" + +#. type: Content of: <book><part><partintro><indexterm><primary> +msgid "Girl Scouts" +msgstr "Jentespeidere" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "creative property" +msgstr "kreativ eiendel" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "<quote>if value, then right</quote> theory of" +msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien om" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "<quote>if value, then right</quote> theory" +msgstr "<quote>hvis verdi, sÃ¥ rettighet</quote>-teorien" + +#. f2 +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " +"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" +"citetitle> 65 (1990): 397." +msgstr "" +"Se Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " +"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" +"citetitle> 65 (1990): 397." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Zittrain, Jonathan" +msgstr "Zittrain, Jonathan" + +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," +"</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; " +"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of " +"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" +"citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," +"</quote> <citetitle>Wall Street Journal</citetitle>, 21. august 1996, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #3</" +"ulink>; Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle " +"of Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" +"citetitle>, 24. november 2002. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"This view runs deep within the current debates. It is what NYU law professor " +"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> " +"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —" +"if there is value, then someone must have a right to that value. It is the " +"perspective that led a composers' rights organization, ASCAP, to sue the " +"Girl Scouts for failing to pay for the songs that girls sang around Girl " +"Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was " +"<quote>value</quote> (the songs) so there must have been a <quote>right</" +"quote>—even against the Girl Scouts." +msgstr "" +"Dette synet gÃ¥r dypt i de pÃ¥gÃ¥ende debattene. Det er hva jussprofessor " +"Rochelle Dreyfuss ved NYU kritiserer som <quote>hvis verdi, sÃ¥ rettighet</" +"quote>-teorien for kreative eierrettigheter <placeholder type=\"footnote\" " +"id=\"0\"/>—hvis det finnes verdi, sÃ¥ mÃ¥ noen ha rettigheten til denne " +"verdien. Det er perspektivet som fikk komponistenes rettighetsorganisasjon, " +"ASCAP, til Ã¥ saksÃ¸ke jentespeiderne for Ã¥ ikke betale for sangene som " +"jentene sagt rundt jentespeidernes leirbÃ¥l.<placeholder type=\"footnote\" id=" +"\"1\"/> Det fantes <quote>verdi</quote> (sangene), sÃ¥ det mÃ¥tte ha vÃ¦rt en " +"<quote>rettighet</quote>—til og med mot jentespeiderne." + +#. PAGE BREAK 32 +#. type: Content of: <book><part><partintro><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 <quote>if value, then right</quote> " +"theory of creative property has never been America's theory of creative " +"property. It has never taken hold within our law." +msgstr "" +"Denne idÃ©en er helt klart en mulig forstÃ¥else om hvordan kreative " +"eierrettigheter bÃ¸r virke. Det er helt klart et mulig design for et " +"lovsystem som beskytter kreative eierrettigheter. Men teorien om " +"<quote>hvis verdi, sÃ¥ rettighet</quote> for kreative eierrettigheter har " +"aldri vÃ¦rt USAs teori for kreative eierrettigheter. It har aldri stÃ¥tt rot " +"i vÃ¥rt lovverk." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on republishing vs. transformation of original work" +msgstr "pÃ¥ gjenpublisering vs. endring av opprinnelig verk" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "creativity" +msgstr "kreativitet" + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "legal restrictions on" +msgstr "juridiske begrensninger pÃ¥" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"Instead, in our tradition, intellectual property is an instrument. It sets " +"the groundwork for a richly creative society but remains subservient to the " +"value of creativity. The current debate has this turned around. We have " +"become so concerned with protecting the instrument that we are losing sight " +"of the value." +msgstr "" +"I vÃ¥r tradisjon har immaterielle rettigheter i stedet vÃ¦rt et instrument. " +"Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt " +"til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi " +"har blitt sÃ¥ opptatt av Ã¥ beskytte instrumentet at vi mister verdien av syne." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The source of this confusion is a distinction that the law no longer takes " +"care to draw—the distinction between republishing someone's work on " +"the one hand and building upon or transforming that work on the other. " +"Copyright law at its birth had only publishing as its concern; copyright law " +"today regulates both." +msgstr "" +"Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om " +"Ã¥ markere—skillet mellom Ã¥ gjenpublisere noens verk pÃ¥ den ene siden, " +"og bygge pÃ¥ og gjÃ¸re om verket pÃ¥ den andre. Da opphavsretten kom var det " +"kun publisering som ble berÃ¸rt. Opphavsretten i dag regulerer begge." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"Before the technologies of the Internet, this conflation didn't matter all " +"that much. The technologies of publishing were expensive; that meant the " +"vast majority of publishing was commercial. Commercial entities could bear " +"the burden of the law—even the burden of the Byzantine complexity that " +"copyright law has become. It was just one more expense of doing business." +msgstr "" +"FÃ¸r teknologiene til Internettet dukket opp, betÃ¸d ikke denne begrepsmessige " +"sammenblandingen mye. Teknologiene for Ã¥ publisere var kostbare, som betÃ¸d " +"at det meste av publisering var kommersiell. Kommersielle aktÃ¸rer kunne " +"hÃ¥ndtere byrden pÃ¥lagt av loven—til og med byrden som den bysantiske " +"kompleksiteten som Ã¥ndsverksloven har blitt. Det var bare nok en kostnad " +"ved Ã¥ drive forretning." + +#. type: Content of: <book><part><partintro><indexterm><secondary> +msgid "creativity impeded by" +msgstr "kreativitet hindret av" + +#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> +msgid "Florida, Richard" +msgstr "Florida, Richard" + +#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> +msgid "Rise of the Creative Class, The (Florida)" +msgstr "Rise of the Creative Class, The (Florida)" + +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " +"Books, 2002), Richard Florida documents a shift in the nature of labor " +"toward a labor of creativity. His work, however, doesn't directly address " +"the legal conditions under which that creativity is enabled or stifled. I " +"certainly agree with him about the importance and significance of this " +"change, but I also believe the conditions under which it will be enabled are " +"much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" +msgstr "" +"I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " +"Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " +"kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " +"vilkÃ¥r som kreativiteten blir muliggjort eller hindret under. Jeg er helt " +"klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " +"tror ogsÃ¥ at vilkÃ¥rene som disse endringene blir aktivert under er mye " +"vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"But with the birth of the Internet, this natural limit to the reach of the " +"law has disappeared. The law controls not just the creativity of commercial " +"creators but effectively that of anyone. Although that expansion would not " +"matter much if copyright law regulated only <quote>copying,</quote> when the " +"law regulates as broadly and obscurely as it does, the extension matters a " +"lot. The burden of this law now vastly outweighs any original benefit—" +"certainly as it affects noncommercial creativity, and increasingly as it " +"affects commercial creativity as well. Thus, as we'll see more clearly in " +"the chapters below, the law's role is less and less to support creativity, " +"and more and more to protect certain industries against competition. Just at " +"the time digital technology could unleash an extraordinary range of " +"commercial and noncommercial creativity, the law burdens this creativity " +"with insanely complex and vague rules and with the threat of obscenely " +"severe penalties. We may be seeing, as Richard Florida writes, the " +"<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id=" +"\"0\"/> Unfortunately, we are also seeing an extraordinary rise of " +"regulation of this creative class." +msgstr "" +"Men da Internettet dukket opp, forsvant denne naturlige begrensningen til " +"lovens virkeomrÃ¥de. Loven kontrollerer ikke bare kreativiteten til " +"kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om " +"utvidelsen ikke ville bety stort hvis Ã¥ndsverksloven kun regulerte " +"<quote>kopiering</quote>, sÃ¥ betyr utvidelsen mye nÃ¥r loven regulerer sÃ¥ " +"bredt og obskurt som den gjÃ¸r. Byrden denne loven gir oppveier nÃ¥ langt " +"fordelene den ga da den ble vedtatt—helt klart slik den pÃ¥virker ikke-" +"kommersiell kreativitet, og i stadig stÃ¸rre grad slik den pÃ¥virker " +"kommersiell kreativitet. Dermed, slik vi ser klarere i kapitlene som " +"fÃ¸lger, er lovens rolle mindre og mindre Ã¥ stÃ¸tte kreativitet, og mer og mer " +"Ã¥ beskytte enkelte industrier mot konkurranse. Akkurat pÃ¥ tidspunktet da " +"digital teknologi kunne sluppet lÃ¸s en ekstraordinÃ¦r mengde med kommersiell " +"og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med " +"sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde " +"straffer. Vi ser kanskje, som Richard Florida skriver, <quote>Fremveksten " +"av den kreative klasse</quote><placeholder type=\"footnote\" id=\"0\"/> " +"Dessverre ser vi ogsÃ¥ en ekstraordinÃ¦r fremvekst av reguleringer av denne " +"kreative klassen." + +#. type: Content of: <book><part><partintro><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 <quote>piracy.</quote>" +msgstr "" +"Disse byrdene gir ingen mening i vÃ¥r tradisjon. Vi bÃ¸r begynne med Ã¥ forstÃ¥ " +"den tradisjonen litt mer, og ved Ã¥ plassere dagens slag om oppfÃ¸rsel med " +"merkelappen <quote>piratvirksomhet</quote> i sin rette sammenheng." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER ONE: Creators" +msgstr "Kapittel en: Skaperne" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "animated cartoons" +msgstr "animasjonsfilmer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "cartoon films" +msgstr "tegnefilmer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "films" +msgstr "filmer" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "animated" +msgstr "animerte" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Steamboat Willie" +msgstr "Steamboat Willie" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Mickey Mouse" +msgstr "Mikke Mus" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role=\"strong\">In 1928</emphasis>, a cartoon character was born. " +"An early Mickey Mouse made his debut in May of that year, in a silent flop " +"called <citetitle>Plane Crazy</citetitle>. In November, in New York City's " +"Colony Theater, in the first widely distributed cartoon synchronized with " +"sound, <citetitle>Steamboat Willie</citetitle> brought to life the character " +"that would become Mickey Mouse." +msgstr "" +"<emphasis role=\"strong\">I 1928</emphasis> ble en tegnefilmfigur fÃ¸dt. En " +"tidlig Mikke Mus debuterte i mai dette Ã¥ret, i en stille flopp ved navn " +"<citetitle>Plane Crazy</citetitle>. I november, i Colony teateret i New " +"York City, ble den fÃ¸rste vidt distribuerte tegnefilmen med synkronisert " +"lyd, <citetitle>Steamboat Willy</citetitle>, vist frem med figuren som " +"skulle bli til Mikke Mus." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Disney, Walt" +msgstr "Disney, Walt" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Synchronized sound had been introduced to film a year earlier in the movie " +"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " +"the technique and mix sound with cartoons. No one knew whether it would work " +"or, if it did work, whether it would win an audience. But when Disney ran a " +"test in the summer of 1928, the results were unambiguous. As Disney " +"describes that first experiment," +msgstr "" +"Film med synkronisert lyd hadde blitt introdusert et Ã¥r tidligere i filmen " +"<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til Ã¥ " +"kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " +"ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " +"for det. Men da Disney gjorde en test sommeren 1928, var resultatet " +"entydig. Som Disney beskriver dette fÃ¸rste eksperimentet," + +#. PAGE BREAK 35 +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"A couple of my boys could read music, and one of them could play a mouth " +"organ. We put them in a room where they could not see the screen and " +"arranged to pipe their sound into the room where our wives and friends were " +"going to see the picture." +msgstr "" +"Et par av guttene mine kunne lese noteark, og en av dem kunne spille " +"munnspill. Vi stappet dem inn i et rom hvor de ikke kunne se skjermen, og " +"gjorde det slik at lyden de spilte ble sendt videre til et rom hvor vÃ¥re " +"koner og venner var plassert for Ã¥ se pÃ¥ bildet." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The boys worked from a music and sound-effects score. After several false " +"starts, sound and action got off with the gun. The mouth organist played the " +"tune, the rest of us in the sound department bammed tin pans and blew slide " +"whistles on the beat. The synchronization was pretty close." +msgstr "" +"Guttene brukte et note- og lydeffekt-ark. Etter noen dÃ¥rlige oppstarter, " +"kom endelig lyd og handling i gang med et smell. Munnspilleren spilte " +"melodien, og resten av oss i lydavdelingen slamret pÃ¥ tinnkasseroller og " +"blÃ¥ste pÃ¥ slide-flÃ¸yte til rytmen. Synkroniseringen var nesten helt riktig." + +#. f1 +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +msgid "" +"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " +"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." +msgstr "" +"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " +"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The effect on our little audience was nothing less than electric. They " +"responded almost instinctively to this union of sound and motion. I thought " +"they were kidding me. So they put me in the audience and ran the action " +"again. It was terrible, but it was wonderful! And it was something new!" +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Effekten pÃ¥ vÃ¥rt lille publikum var intet mindre enn elektrisk. De reagerte " +"nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de " +"tullet med meg. SÃ¥ de puttet meg i publikum og satte igang pÃ¥ nytt. Det " +"var grufullt, men det var fantastisk. Og det var noe nytt!<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Iwerks, Ub" +msgstr "Iwerks, Ub" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Disney's then partner, and one of animation's most extraordinary talents, Ub " +"Iwerks, put it more strongly: <quote>I have never been so thrilled in my " +"life. Nothing since has ever equaled it.</quote>" +msgstr "" +"Disneys davÃ¦rende partner, og en av animasjonsverdenens mest ekstraordinÃ¦re " +"talenter, Ub Iwerks, uttalte det sterkere: <quote>Jeg har aldri vÃ¦rt sÃ¥ " +"begeistret i hele mitt liv. Ingenting annet har noen sinne vÃ¦rt like bra.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Disney had created something very new, based upon something relatively new. " +"Synchronized sound brought life to a form of creativity that had " +"rarely—except in Disney's hands—been anything more than filler " +"for other films. Throughout animation's early history, it was Disney's " +"invention that set the standard that others struggled to match. And quite " +"often, Disney's great genius, his spark of creativity, was built upon the " +"work of others." +msgstr "" +"Disney hadde laget noe helt nyt, basert pÃ¥ noe relativt nytt. Synkronisert " +"lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " +"Disneys hender—vÃ¦rt noe annet en fyllstoff for andre filmer. Gjennom " +"animasjonens tidligere historie var det Disneys oppfinnelse som satte " +"standarden som andre mÃ¥tte sloss for Ã¥ oppfylle. Og ganske ofte var Disneys " +"store geni, hans gnist av kreativitet, bygget pÃ¥ arbeidet til andre." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Keaton, Buster" +msgstr "Keaton, Buster" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Steamboat Bill, Jr." +msgstr "Steamboat Bill, Jr." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This much is familiar. What you might not know is that 1928 also marks " +"another important transition. In that year, a comic (as opposed to cartoon) " +"genius created his last independently produced silent film. That genius was " +"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." +msgstr "" +"Dette er kjent stoff. Det du kanskje ikke vet er at 1928 ogsÃ¥ markerer en " +"annen viktig overgang. I samme Ã¥r laget et komedie-geni (i motsetning til " +"tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " +"Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Keaton was born into a vaudeville family in 1895. In the era of silent film, " +"he had mastered using broad physical comedy as a way to spark uncontrollable " +"laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " +"classic of this form, famous among film buffs for its incredible stunts. " +"The film was classic Keaton—wildly popular and among the best of its " +"genre." +msgstr "" +"Keaton ble fÃ¸dt inn i en vauderville-familie i 1895. I stumfilm-Ã¦raen hadde " +"han mestret bruken av bredpenslet fysisk komedie pÃ¥ en mÃ¥te som tente " +"ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" +"citetitle>. var en klassiker av denne typen, berÃ¸mt blant film-elskere for " +"sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " +"populÃ¦r og blant de beste i sin sjanger." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "derivative works" +msgstr "avledede verker" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "piracy vs." +msgstr "piratvirksomhet vs." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "piracy" +msgstr "piratvirksomhet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "derivative work vs." +msgstr "avledede verk vas." + +#. f2 +#. type: Content of: <book><part><chapter><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 <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill," +"</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</" +"quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and " +"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the " +"Straw,</quote> was already in the public domain. Letter from David Smith to " +"Harry Surden, 10 July 2003, on file with author." +msgstr "" +"Jeg er takknemlig overfor David Gerstein og hans nÃ¸yaktige historie, " +"beskrevet pÃ¥ <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " +"I fÃ¸lge Dave Smith ved the Disney Archives, betalte Disney for Ã¥ bruke " +"musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " +"<quote>Steamboat Bill,</quote> <quote>The Simpleton</quote> (Delille), " +"<quote>Mischief Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</" +"quote> (Baron), og <quote>Gawky Rube</quote> (Lakay). En sjette sang, " +"<quote>The Turkey in the Straw,</quote> var allerede allemannseie. Brev fra " +"David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til " +"forfatteren." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " +"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " +"Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" +"\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " +"It is not just from the invention of synchronized sound in <citetitle>The " +"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " +"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " +"inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat " +"Willie, and then from Steamboat Willie, Mickey Mouse." +msgstr "" +"<citetitle>Steamboat Bill, Jr</citetitle>. kom fÃ¸r Disneys tegnefilm " +"Steamboat Willie. Det er ingen tilfeldighet at titlene er sÃ¥ like. " +"Steamboat Willie er en direkte tegneserieparodi av Steamboat Bill," +"<placeholder type=\"footnote\" id=\"0\"/> og begge bygger pÃ¥ en felles sang " +"som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i " +"<citetitle>The Jazz Singer</citetitle> at vi fÃ¥r <citetitle>Steamboat " +"Willie</citetitle>. Det er ogsÃ¥ fra Buster Keatons nyskapning Steamboat " +"Bill, Jr., som igjen var inspirert av sangen <quote>Steamboat Bill</quote>, " +"at vi fÃ¥r Steamboat Willie. Og fra Steamboat Willie fÃ¥r vi sÃ¥ Mikke Mus." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "by transforming previous works" +msgstr "ved Ã¥ endre tidligere verker" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Disney, Inc." +msgstr "Disney, Inc." + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse " +"that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink url=" +"\"http://free-culture.cc/notes/\">link #5</ulink>." +msgstr "" +"Han var ogsÃ¥ tilhenger av allmannseiet. Se Chris Sprigman, <quote>The Mouse " +"that Ate the Public Domain,</quote> Findlaw, 5. mars 2002, fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #5</ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This <quote>borrowing</quote> was nothing unique, either for Disney or for " +"the industry. Disney was always parroting the feature-length mainstream " +"films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many " +"others. Early cartoons are filled with knockoffs—slight variations on " +"winning themes; retellings of ancient stories. The key to success was the " +"brilliance of the differences. With Disney, it was sound that gave his " +"animation its spark. Later, it was the quality of his work relative to the " +"production-line cartoons with which he competed. Yet these additions were " +"built upon a base that was borrowed. Disney added to the work of others " +"before him, creating something new out of something just barely old." +msgstr "" +"Denne <quote>lÃ¥ningen</quote> var ikke unik, hverken for Disney eller for " +"industrien. Disney apet alltid etter full-lengde massemarkedsfilmene rundt " +"ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " +"Tidlige tegnefilmer er stappfulle av etterapninger—smÃ¥ variasjoner " +"over suksessfulle temaer, gamle historier fortalt pÃ¥ nytt. NÃ¸kkelen til " +"suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " +"gnisten til hans animasjoner. Senere var det kvaliteten pÃ¥ hans arbeide " +"relativt til de masseproduserte tegnefilmene som han konkurrerte med. " +"Likevel var disse bidragene bygget pÃ¥ toppen av fundamentet som var lÃ¥nt. " +"Disney bygget pÃ¥ arbeidet til andre som kom fÃ¸r han, og skapte noe nytt ut " +"av noe som bare var litt gammelt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Grimm fairy tales" +msgstr "Grimm-eventyr" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Sometimes this borrowing was slight. Sometimes it was significant. Think " +"about the fairy tales of the Brothers Grimm. If you're as oblivious as I " +"was, you're likely to think that these tales are happy, sweet stories, " +"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " +"well, for us, grim. It is a rare and perhaps overly ambitious parent who " +"would dare to read these bloody, moralistic stories to his or her child, at " +"bedtime or anytime." +msgstr "" +"Noen ganger var lÃ¥ningen begrenset, og noen ganger var den betydelig. Tenkt " +"pÃ¥ eventyrene til brÃ¸drene Grimm. Hvis du er like ubevisst som jeg var, sÃ¥ " +"tror du sannsynlighvis at disse fortellingene er glade, sÃ¸te historier som " +"passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " +"for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiÃ¸se " +"foreldre som ville vÃ¥ge Ã¥ lese disse blodige moralistiske historiene til " +"sine barn, ved leggetid eller hvilken som helst annet tidspunkt." + +#. PAGE BREAK 37 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Disney took these stories and retold them in a way that carried them into a " +"new age. He animated the stories, with both characters and light. Without " +"removing the elements of fear and danger altogether, he made funny what was " +"dark and injected a genuine emotion of compassion where before there was " +"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " +"of Disney work drawing upon the work of others is astonishing when set " +"together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" +"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " +"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " +"<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" +"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " +"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " +"(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" +"citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " +"<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " +"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" +"—not to mention a recent example that we should perhaps quickly " +"forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " +"cases, Disney (or Disney, Inc.) ripped creativity from the culture around " +"him, mixed that creativity with his own extraordinary talent, and then " +"burned that mix into the soul of his culture. Rip, mix, and burn." +msgstr "" +"Disney tok disse historiene og fortalte dem pÃ¥ nytt pÃ¥ en mÃ¥te som fÃ¸rte dem " +"inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. " +"Uten Ã¥ fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " +"mÃ¸rkt og satte inn en ekte fÃ¸lelse av medfÃ¸lelse der det fÃ¸r var frykt. Og " +"ikke bare med verkene av brÃ¸drene Grimm. Faktisk er katalogen over Disney-" +"arbeid som baserer seg pÃ¥ arbeidet til andre ganske forblÃ¸ffende nÃ¥r den " +"blir samlet: <citetitle>SnÃ¸hvit</citetitle> (1937), <citetitle>Fantasia</" +"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " +"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " +"<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" +"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " +"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " +"(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " +"<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " +"(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " +"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" +"—for ikke Ã¥ nevne et nylig eksempel som vi bÃ¸r kanskje glemme raskt, " +"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " +"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " +"med kreativiteten fra sitt eget ekstraordinÃ¦re talent, og deretter brent " +"denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." + +#. type: Content of: <book><part><chapter><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 <quote>Disney creativity,</quote> though that would be a bit " +"misleading. It is, more precisely, <quote>Walt Disney creativity</" +"quote>—a form of expression and genius that builds upon the culture " +"around us and makes it something different." +msgstr "" +"Dette er en type kreativitet. Det er en kreativitet som vi bÃ¸r huske pÃ¥ og " +"feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " +"denne typen. Vi trenger ikke gÃ¥ sÃ¥ langt for Ã¥ anerkjenne dens betydning. " +"Vi kan kalle dette <quote>Disney-kreativitet</quote>, selv om det vil vÃ¦re " +"litt misvisende. Det er mer presist <quote>Walt Disney-kreativitet</" +"quote>—en uttrykksform og genialitet som bygger pÃ¥ kulturen rundt oss " +"og omformer den til noe annet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "copyright" +msgstr "opphavsrett" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "duration of" +msgstr "varighet til" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "public domain" +msgstr "allemannseie (public domain)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "defined" +msgstr "definert" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "traditional term for conversion to" +msgstr "tradisjonell frist for konvertering til" + +#. f4 +#. type: Content of: <book><part><chapter><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 <quote>average</" +"quote> term by determining the weighted average of total registrations for " +"any particular year, and the proportion renewing. Thus, if 100 copyrights " +"are registered in year 1, and only 15 are renewed, and the renewal term is " +"28 years, then the average term is 32.2 years. For the renewal data and " +"other relevant data, see the Web site associated with this book, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>." +msgstr "" +"Inntil 1976 ga Ã¥ndsverksloven en forfatter to mulige verneperioder: en " +"initiell periode, og en fornyingsperiode. Jeg har beregnet " +"<quote>gjennomsnittlig</quote> vernetid ved Ã¥ finne vektet gjennomsnitt av " +"de totale registreringer for et gitt Ã¥r, og andelen fornyinger. Hvis 100 " +"opphavsretter ble registrert i Ã¥r 1, bare 15 av dem ble fornyet, og " +"fornyingsvernetiden er 28 Ã¥r, sÃ¥ er gjennomsnittlig vernetid 32,2 Ã¥r. " +"Fornyingsdata og andre relevante data ligger pÃ¥ nettsidene tilknyttet denne " +"boka, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #6</" +"ulink>." + +#. type: Content of: <book><part><chapter><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 <quote>exclusive " +"right</quote> to control certain uses of the work. To use this copyrighted " +"work in limited ways required the permission of the copyright owner." +msgstr "" +"I 1928 var kulturen som Disney fritt kunne trekke veksler pÃ¥ relativt " +"fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske " +"levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve " +"Ã¥r—for den lille delen av kreative verk som faktisk var " +"opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at " +"i tredve Ã¥r, i gjennomsnitt, hadde forfattere eller kreative verks " +"opphavsrettighetsinnehaver en <quote>eksklusiv rett</quote> til a " +"kontrollere bestemte typer bruk av verket. For Ã¥ bruke disse " +"opphavsrettsbeskyttede verkene pÃ¥ de begrensede mÃ¥tene krevde tillatelse fra " +"opphavsrettsinnehaveren." + +#. type: Content of: <book><part><chapter><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 <quote>lawyer-free zone.</quote> " +"Thus, most of the content from the nineteenth century was free for Disney to " +"use and build upon in 1928. It was free for anyone— whether connected " +"or not, whether rich or not, whether approved or not—to use and build " +"upon." +msgstr "" +"NÃ¥r opphavsrettens vernetid er over, faller et verk i det fri og blir " +"allemannseie. Ingen tillatelse trengs da for Ã¥ bygge pÃ¥ eller bruke dette " +"verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en " +"<quote>advokat-fri sone</quote>. Det meste av innhold fra det nittende " +"Ã¥rhundre var dermed fritt tilgjengelig for Disney Ã¥ bruke eller bygge pÃ¥ i " +"1928. Det var tilgjengelig for enhver—uansett om de hadde " +"forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller " +"ikke—til Ã¥ bruke og bygge videre pÃ¥." + +#. PAGE BREAK 38 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is the ways things always were—until quite recently. For most of " +"our history, the public domain was just over the horizon. From until 1978, " +"the average copyright term was never more than thirty-two years, meaning " +"that most culture just a generation and a half old was free for anyone to " +"build upon without the permission of anyone else. Today's equivalent would " +"be for creative work from the 1960s and 1970s to now be free for the next " +"Walt Disney to build upon without permission. Yet today, the public domain " +"is presumptive only for content from before the Great Depression." +msgstr "" +"Dette er slik det alltid har vÃ¦rt—inntil ganske nylig. For " +"mesteparten av vÃ¥r historie, har allemannseiet vÃ¦rt like over horisonten. " +"Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer " +"enn trettito Ã¥r, som gjorde at det meste av kultur fra en og en halv " +"generasjon tidligere var tilgjengelig for enhver Ã¥ bygge pÃ¥ uten tillatelse " +"fra noen. Tilsvarende for i dag ville vÃ¦re at kreative verker fra 1960- og " +"1970-tallet nÃ¥ ville vÃ¦re fritt tilgjengelig for de neste Walt Disney Ã¥ " +"bygge pÃ¥ uten tillatelse. Men i dag er allemannseie presumtivt kun for " +"innhold fra fÃ¸r mellomkrigstiden." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role=\"strong\">Of course</emphasis>, Walt Disney had no monopoly " +"on <quote>Walt Disney creativity.</quote> Nor does America. The norm of free " +"culture has, until recently, and except within totalitarian nations, been " +"broadly exploited and quite universal." +msgstr "" +"<emphasis role=\"strong\">Walt Disney</emphasis> hadde selvfÃ¸lgelig ikke " +"monopol pÃ¥ <quote>Walt Disney-kreativitet</quote>. Det har heller ikke " +"USA. Normen med fri kultur har, inntil nylig, og unntatt i totalitÃ¦re " +"nasjoner, vÃ¦rt bredt utnyttet og svÃ¦rt universell." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "comics, Japanese" +msgstr "tegneserier, japanske" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Japanese comics" +msgstr "Japanske tegneserier" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "manga" +msgstr "manga" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Consider, for example, a form of creativity that seems strange to many " +"Americans but that is inescapable within Japanese culture: <citetitle>manga</" +"citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " +"percent of publications are comics, and 30 percent of publication revenue " +"derives from comics. They are everywhere in Japanese society, at every " +"magazine stand, carried by a large proportion of commuters on Japan's " +"extraordinary system of public transportation." +msgstr "" +"Vurder for eksempel en form for kreativitet som synes underlig for mange " +"amerikanere, men som er overalt i japansk kultur: <citetitle>manga</" +"citetitle>, eller tegneserier. Japanerne er fanatiske nÃ¥r det gjelder " +"tegneserier. Over 40 prosent av publikasjoner er tegneserier, og 30 prosent " +"av publikasjonsomsetningen stammer fra tegneserier. De er over alt i det " +"japanske samfunnet, tilgjengelig fra ethvert tidsskriftsutsalg, og i hendene " +"pÃ¥ en stor andel av pendlere pÃ¥ Japans ekstraordinÃ¦re system for offentlig " +"transport." + +#. type: Content of: <book><part><chapter><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 <quote>graphic novels</quote> tell. For the Japanese, manga cover " +"every aspect of social life. For us, comics are <quote>men in tights.</" +"quote> And anyway, it's not as if the New York subways are filled with " +"readers of Joyce or even Hemingway. People of different cultures distract " +"themselves in different ways, the Japanese in this interestingly different " +"way." +msgstr "" +"Amerikanere har en tendens til Ã¥ se ned pÃ¥ denne formen for kultur. Det er " +"et lite attraktivt kjennetegn hos oss. Vi misforstÃ¥r sannsynligvis mye " +"rundt manga, pÃ¥ grunn av at fÃ¥ av oss noen gang har lest noe som ligner pÃ¥ " +"historiene i disse <quote>grafiske historiene</quote> forteller. For en " +"japaner dekker manga ethvert aspekt ved det sosiale liv. For oss er " +"tegneserier <quote>menn i strÃ¸mpebukser</quote>. Og uansett er det ikke " +"slik at T-banen i New York er full av folk som leser Joyse eller Hemingway " +"for den saks skyld. Folk i ulike kulturer skiller seg ut pÃ¥ forskjellig " +"mÃ¥ter, og japanerne pÃ¥ dette interessante viset." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But my purpose here is not to understand manga. It is to describe a variant " +"on manga that from a lawyer's perspective is quite odd, but from a Disney " +"perspective is quite familiar." +msgstr "" +"Men mitt formÃ¥l her er ikke Ã¥ forstÃ¥ manga. Det er Ã¥ beskrive en variant av " +"manga som fra en advokats perspektiv er ganske merkelig, men som fra en " +"Disneys perspektiv er ganske godt kjent." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "doujinshi comics" +msgstr "doujinshi-tegneserier" + +#. PAGE BREAK 39 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " +"also comics, but they are a kind of copycat comic. A rich ethic governs the " +"creation of doujinshi. It is not doujinshi if it is <emphasis>just</" +"emphasis> a copy; the artist must make a contribution to the art he copies, " +"by transforming it either subtly or significantly. A doujinshi comic can " +"thus take a mainstream comic and develop it differently—with a " +"different story line. Or the comic can keep the character in character but " +"change its look slightly. There is no formula for what makes the doujinshi " +"sufficiently <quote>different.</quote> But they must be different if they " +"are to be considered true doujinshi. Indeed, there are committees that " +"review doujinshi for inclusion within shows and reject any copycat comic " +"that is merely a copy." +msgstr "" +"Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er ogsÃ¥ " +"tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer " +"de som skaper doujinshi. Det er ikke doujinshi hvis det <emphasis>bare</" +"emphasis> er en kopi. Kunstneren mÃ¥ gjÃ¸re et bidrag til kunsten han " +"kopierer ved Ã¥ omforme det enten subtilt eller betydelig. En doujinshi-" +"tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en " +"annen retning—med en annen historie-linje. Eller tegneserien kan " +"beholde figuren som seg selv men endre litt pÃ¥ utseendet. Det er ingen " +"bestemt formel for hva som gjÃ¸r en doujinshi tilstrekkelig " +"<quote>forskjellig</quote>. Men de mÃ¥ vÃ¦re forskjellige hvis de skal anses " +"som ekte doujinshi. Det er faktisk komiteer som gÃ¥r igjennom doujinshi for " +"Ã¥ bli med pÃ¥ messer, og avviser etterapninger som bare er en kopi." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These copycat comics are not a tiny part of the manga market. They are huge. " +"More than 33,000 <quote>circles</quote> of creators from across Japan " +"produce these bits of Walt Disney creativity. More than 450,000 Japanese " +"come together twice a year, in the largest public gathering in the country, " +"to exchange and sell them. This market exists in parallel to the mainstream " +"commercial manga market. In some ways, it obviously competes with that " +"market, but there is no sustained effort by those who control the commercial " +"manga market to shut the doujinshi market down. It flourishes, despite the " +"competition and despite the law." +msgstr "" +"Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det " +"er enorme. Mer en 33 000 <quote>sirkler</quote> av skapere over hele Japan " +"som produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 " +"japanere samles to ganger i Ã¥ret, i den stÃ¸rste offentlige samlingen i " +"langet, for Ã¥ bytte og selge dem. Dette markedet er parallelt med det " +"kommersielle massemarkeds-manga-markedet. PÃ¥ noen mÃ¥ter konkurrerer det " +"Ã¥penbart med det markedet, men det er ingen vedvarende innsats fra de som " +"kontrollerer det kommersielle manga-markedet for Ã¥ stenge doujinshi-" +"markedet. Det blomstrer, pÃ¥ tross av konkurransen og til tross for loven." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "Japanese" +msgstr "Japansk" + +#. type: Content of: <book><part><chapter><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 " +"<quote>derivative works.</quote> There is no general practice by doujinshi " +"artists of securing the permission of the manga creators. Instead, the " +"practice is simply to take and modify the creations of others, as Walt " +"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both " +"Japanese and American law, that <quote>taking</quote> without the permission " +"of the original copyright owner is illegal. It is an infringement of the " +"original copyright to make a copy or a derivative work without the original " +"copyright owner's permission." +msgstr "" +"Den mest gÃ¥tefulle egenskapen med doujinshi-markedet, for de som har " +"juridisk trening i hvert fall, er at det overhodet tillates Ã¥ eksistere. " +"Under japansk Ã¥ndsverkslov, som i hvert fall pÃ¥ dette omrÃ¥det (pÃ¥ papiret) " +"speiler USAs Ã¥ndsverkslov, er doujinshi-markedet ulovlig. Doujinshi er helt " +"klart <quote>avledede verk</quote>. Det er ingen generell praksis hos " +"doujinshi-kunstnere for Ã¥ sikre seg tillatelse hos manga-skaperne. I stedet " +"er praksisen ganske enkelt Ã¥ ta og endre det andre har laget, slik Walt " +"Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>. For bÃ¥de " +"japansk og USAs lov, er Ã¥ <quote>ta</quote> uten tillatelse fra den " +"opprinnelige opphavsrettsinnehaver ulovlig. Det er et brudd pÃ¥ " +"opphavsretten til det opprinnelige verket Ã¥ lage en kopi eller et avledet " +"verk uten tillatelse fra den opprinnelige rettighetsinnehaveren." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Winick, Judd" +msgstr "Winick, Judd" + +#. f5 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" +"citetitle> (New York: Perennial, 2000)." +msgstr "" +"For en utmerket historie, se Scott McCloud, <citetitle>Reinventing Comics</" +"citetitle> (New York: Perennial, 2000)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet this illegal market exists and indeed flourishes in Japan, and in the " +"view of many, it is precisely because it exists that Japanese manga " +"flourish. As American graphic novelist Judd Winick said to me, <quote>The " +"early days of comics in America are very much like what's going on in Japan " +"now. … American comics were born out of copying each other. … " +"That's how [the artists] learn to draw—by going into comic books and " +"not tracing them, but looking at them and copying them</quote> and building " +"from them.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og " +"etter manges syn er det nettopp fordi det eksisterer at japansk manga " +"blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, <quote>I " +"amerikansk tegneseriers fÃ¸rste dager var det ganske likt det som foregÃ¥r i " +"Japan i dag. … Amerikanske tegneserier kom til verden ved Ã¥ kopiere " +"hverandre. … Det er slik [kunstnerne] lÃ¦rer Ã¥ tegne—ved Ã¥ se i " +"tegneseriebÃ¸ker og ikke fÃ¸lge streken, men ved Ã¥ se pÃ¥ dem og kopiere dem</" +"quote> og bygge basert pÃ¥ dem.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Superman comics" +msgstr "Supermann-tegneserier" + +#. type: Content of: <book><part><chapter><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, <quote>there are these rules and you " +"have to stick to them.</quote> There are things Superman <quote>cannot</" +"quote> do. <quote>As a creator, it's frustrating having to stick to some " +"parameters which are fifty years old.</quote>" +msgstr "" +"Amerikanske tegneserier nÃ¥ er ganske annerledes, forklarer Winick, delvis pÃ¥ " +"grunn av de juridiske problemene med Ã¥ tilpasse tegneserier slik doujinshi " +"fÃ¥r lov til. Med for eksempel Supermann, fortalte Winick meg, <quote>er det " +"en rekke regler, og du mÃ¥ fÃ¸lge dem</quote>. Det er ting som Supermann " +"<quote>ikke kan</quote> gjÃ¸re. <quote>For en som lager tegneserier er det " +"frustrerende Ã¥ mÃ¥tte begrense seg til noen parameter som er femti Ã¥r gamle.</" +"quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Mehra, Salil" +msgstr "Mehra, Salil" + +#. f6 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " +"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " +"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]" +"here might be a collective economic rationality that would lead manga and " +"anime artists to forgo bringing legal actions for infringement. One " +"hypothesis is that all manga artists may be better off collectively if they " +"set aside their individual self-interest and decide not to press their legal " +"rights. This is essentially a prisoner's dilemma solved.</quote>" +msgstr "" +"Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " +"Why All the Comics My Kid Watches Are Japanese Imports?</quote> " +"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>det " +"kan vÃ¦re en kollektiv Ã¸konomisk rasjonalitet som fÃ¥r manga- og anime-" +"kunstnere til ikke Ã¥ saksÃ¸ke for opphavsrettsbrudd. Ãn hypotese er at alle " +"manga-kunstnere kan vÃ¦re bedre stilt hvis de setter sin individuelle " +"egeninteresse til side og bestemmer seg for ikke Ã¥ forfÃ¸lge sine juridiske " +"rettigheter. Dette er essensielt en lÃ¸sning pÃ¥ fangens dilemma.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The norm in Japan mitigates this legal difficulty. Some say it is precisely " +"the benefit accruing to the Japanese manga market that explains the " +"mitigation. Temple University law professor Salil Mehra, for example, " +"hypothesizes that the manga market accepts these technical violations " +"because they spur the manga market to be more wealthy and productive. " +"Everyone would be worse off if doujinshi were banned, so the law does not " +"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det " +"nettopp er den oppsamlede fordelen i det japanske mangamarkedet som " +"forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple " +"University hypnotiserer for eksempel med at manga-markedet aksepterer disse " +"teoretiske bruddene fordi de fÃ¥r mangamarkedet til Ã¥ bli rikere og mer " +"produktivt. Alle ville fÃ¥ det verre hvis doujinshi ble bannlyst, sÃ¥ loven " +"bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 " +"<quote>free taking</quote> by the doujinshi culture?" +msgstr "" +"Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, " +"er at mekanismen som produserer denne <quote>hold hendene borte</quote>-" +"responsen ikke er forstÃ¥tt. Det kan godt vÃ¦re at markedet som helhet gjÃ¸r " +"det bedre hvis doujinshi tillates i stedet for Ã¥ bannlyse den, men det " +"forklarer likevel ikke hvorfor individuelle opphavsrettsinnehavere ikke " +"saksÃ¸ker. Hvis loven ikke har et generelt unntak for doujinshi, og det " +"finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksÃ¸kt " +"doujinshi-kunstnere, hvorfor er det ikke et mer generelt mÃ¸nster for Ã¥ " +"blokkere denne <quote>frie takingen</quote> hos doujinshi-kulturen?" + +#. type: Content of: <book><part><chapter><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. <quote>We don't have enough lawyers,</quote> he " +"told me one afternoon. There <quote>just aren't enough resources to " +"prosecute cases like this.</quote>" +msgstr "" +"Jeg var fire nydelige mÃ¥neder i Japan, og jeg stilte dette spÃ¸rsmÃ¥l sÃ¥ ofte " +"som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et " +"stÃ¸rre japansk advokatfirma. <quote>Vi har ikke nok advokater</quote>, " +"fortalte han meg en ettermiddag. Det er <quote>bare ikke nok ressurser til " +"Ã¥ tiltale tilfeller som dette</quote>." + +#. PAGE BREAK 41 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is a theme to which we will return: that regulation by law is a " +"function of both the words on the books and the costs of making those words " +"have effect. For now, focus on the obvious question that is begged: Would " +"Japan be better off with more lawyers? Would manga be richer if doujinshi " +"artists were regularly prosecuted? Would the Japanese gain something " +"important if they could end this practice of uncompensated sharing? Does " +"piracy here hurt the victims of the piracy, or does it help them? Would " +"lawyers fighting this piracy help their clients or hurt them?" +msgstr "" +"Dette er et tema vi kommer tilbake til: at lovens regulering bÃ¥de er en " +"funksjon av ordene i bÃ¸kene, og kostnadene med Ã¥ fÃ¥ disse ordene til Ã¥ ha " +"effekt. Akkurat nÃ¥ er det endel Ã¥penbare spÃ¸rsmÃ¥l som presser seg frem: " +"Ville Japan gjÃ¸re det bedre med flere advokater? Ville manga vÃ¦re rikere " +"hvis doujinshi-kunstnere ble regelmessig rettsforfulgt? Ville Japan vinne " +"noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? " +"Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? " +"Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, " +"eller skade dem?" + +#. type: Content of: <book><part><chapter><para> +msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment." +msgstr "<emphasis role='strong'>La oss ta</emphasis> et Ã¸yeblikks pause." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"If you're like I was a decade ago, or like most people are when they first " +"start thinking about these issues, then just about now you should be puzzled " +"about something you hadn't thought through before." +msgstr "" +"Hvis du er som meg et tiÃ¥r tilbake, eller som folk flest nÃ¥r de fÃ¸rst " +"begynner Ã¥ tenke pÃ¥ disse temaene, da bÃ¸r du omtrent nÃ¥ vÃ¦re rÃ¥dvill om noe " +"du ikke hadde tenkt igjennom fÃ¸r." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Vaidhyanathan, Siva" +msgstr "Vaidhyanathan, Siva" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> The term <citetitle>intellectual " +"property</citetitle> is of relatively recent origin. See Siva Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " +"University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of " +"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. The term " +"accurately describes a set of <quote>property</quote> rights—" +"copyright, patents, trademark, and trade-secret—but the nature of " +"those rights is very different." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Begrepet <citetitle>immateriell " +"eiendom</citetitle> er av relativ ny opprinnelse. Se See Siva Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York " +"University Press, 2001). Se ogsÃ¥ Lawrence Lessig, <citetitle>The Future of " +"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. Begrepet " +"presist beskriver et sett med <quote>eiendoms</quote>-rettigheter—" +"opphavsretter, patenter, varemerker og forretningshemmeligheter—men " +"egenskapene til disse rettighetene er svÃ¦rt forskjellige." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"We live in a world that celebrates <quote>property.</quote> I am one of " +"those celebrants. I believe in the value of property in general, and I also " +"believe in the value of that weird form of property that lawyers call " +"<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/" +"> A large, diverse society cannot survive without property; a large, " +"diverse, and modern society cannot flourish without intellectual property." +msgstr "" +"Vi lever i en verden som feirer <quote>eiendom</quote>. Jeg er en av de som " +"feierer. Jeg tror pÃ¥ verdien av eiendom generelt, og jeg tror ogsÃ¥ pÃ¥ " +"verdien av den sÃ¦re formen for eiendom som advokater kaller " +"<quote>immateriell eiendom</quote>.<placeholder type=\"footnote\" id=\"0\"/> " +"Et stort og variert samfunn kan ikke overleve uten eiendom, og et moderne " +"samfunn kan ikke blomstre uten immaterielle eierrettigheter." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But it takes just a second's reflection to realize that there is plenty of " +"value out there that <quote>property</quote> doesn't capture. I don't mean " +"<quote>money can't buy you love,</quote> but rather, value that is plainly " +"part of a process of production, including commercial as well as " +"noncommercial production. If Disney animators had stolen a set of pencils " +"to draw Steamboat Willie, we'd have no hesitation in condemning that taking " +"as wrong— even though trivial, even if unnoticed. Yet there was " +"nothing wrong, at least under the law of the day, with Disney's taking from " +"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the " +"taking from Keaton because Disney's use would have been considered " +"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms " +"because the Grimms' work was in the public domain." +msgstr "" +"Men det tar bare noen sekunders refleksjon for Ã¥ innse at det er masse av " +"verdi der ute som <quote>eiendom</quote> ikke dekker. Jeg mener ikke " +"<quote>kjÃ¦rlighet kan ikke kjÃ¸pes med penger</quote> men heller, at en verdi " +"som ganske enkelt er del av produksjonsprosessen, bÃ¥de for kommersiell og " +"ikke-kommersiell produksjon. Hvis Disneys animatÃ¸rer hadde stjÃ¥let et sett " +"med blyanter for Ã¥ tegne Steamboat Willie, vi ville ikke nÃ¸lt med Ã¥ dÃ¸mme " +"det som galt—selv om det er trivielt og selv om det ikke blir " +"oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at " +"Disney tok fra Buster Keaton eller fra Grimm-brÃ¸drene. Det var intet galt " +"med Ã¥ ta fra Keaton, fordi Disneys bruk ville blitt ansett som " +"<quote>rimelig</quote>. Det var intet galt med Ã¥ ta fra brÃ¸drene Grimm " +"fordi deres verker var allemannseie." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "derivative works based on" +msgstr "avledede verker basert pÃ¥" + +#. PAGE BREAK 42 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Thus, even though the things that Disney took—or more generally, the " +"things taken by anyone exercising Walt Disney creativity—are valuable, " +"our tradition does not treat those takings as wrong. Some things remain free " +"for the taking within a free culture, and that freedom is good." +msgstr "" +"Dermed, selv om de tingene som Disney tok—eller mer generelt, tingene " +"som blir tatt av enhver som utÃ¸ver Walt Disney-kreativitet—er " +"verdifulle, sÃ¥ anser ikke vÃ¥r tradisjon det som galt Ã¥ ta disse tingene. " +"Noen ting forblir frie til Ã¥ bli tatt i en fri kultur og denne friheten er " +"bra." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The same with the doujinshi culture. If a doujinshi artist broke into a " +"publisher's office and ran off with a thousand copies of his latest " +"work—or even one copy—without paying, we'd have no hesitation in " +"saying the artist was wrong. In addition to having trespassed, he would have " +"stolen something of value. The law bans that stealing in whatever form, " +"whether large or small." +msgstr "" +"Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brÃ¸t " +"seg inn pÃ¥ kontoret til en forlegger, og stakk av med tusen kopier av hans " +"siste verk—eller bare en kopi—uten Ã¥ betale, sÃ¥ ville vi uten Ã¥ " +"nÃ¸le si at kunstneren har gjort noe galt. I tillegg til Ã¥ ha trengt seg inn " +"pÃ¥ andres eiendom, ville han ha stjÃ¥let noe av verdi. Loven forbyr stjeling " +"i enhver form, uansett hvor stort eller lite som blir tatt." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet there is an obvious reluctance, even among Japanese lawyers, to say that " +"the copycat comic artists are <quote>stealing.</quote> This form of Walt " +"Disney creativity is seen as fair and right, even if lawyers in particular " +"find it hard to say why." +msgstr "" +"Likevel er det en Ã¥penbar motvilje, selv blant japanske advokater, for Ã¥ si " +"at etterapende tegneseriekunstnere <quote>stjeler</quote>. Denne formen for " +"Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt " +"advokater synes det er vanskelig Ã¥ forklare hvorfor." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Shakespeare, William" +msgstr "Shakespeare, William" + +#. type: Content of: <book><part><chapter><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. (<quote>Excuse me, Professor Einstein, but may " +"I have permission to use your theory of relativity to show that you were " +"wrong about quantum physics?</quote>) Acting companies perform adaptations " +"of the works of Shakespeare without securing permission from anyone. (Does " +"<emphasis>anyone</emphasis> believe Shakespeare would be better spread " +"within our culture if there were a central Shakespeare rights clearinghouse " +"that all productions of Shakespeare must appeal to first?) And Hollywood " +"goes through cycles with a certain kind of movie: five asteroid films in the " +"late 1990s; two volcano disaster films in 1997." +msgstr "" +"Det er det same med tusen eksempler som dukker opp over alt med en gang en " +"begynner Ã¥ se etter dem. Forskerne bygger pÃ¥ arbeidet til andre forskere " +"uten Ã¥ spÃ¸rre eller betale for privilegiet. (<quote>Unnskyld meg, professor " +"Einstein, men kan jeg fÃ¥ tillatelse til Ã¥ bruke din relativitetsteori til Ã¥ " +"vise at du tok feil om kvantefysikk?</quote>) Teatertropper viser frem " +"bearbeidelser av verkene til Shakespeare uten Ã¥ sikre seg noen tillatelser. " +"(Er det <emphasis>noen</emphasis> som tror at Shakespeare ville vÃ¦rt mer " +"spredt i vÃ¥r kultur om det var et sentralt rettighetsklareringskontor for " +"Shakespeare som alle som laget Shakespeare-produksjoner mÃ¥tte appellere til " +"fÃ¸rst?) Og Hollywood gÃ¥r igjennom sykluser med en bestemt type filmer: fem " +"astroidefilmer i slutten av 1990-tallet, to vulkankatastrofefilmer i 1997." + +#. PAGE BREAK 43 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Creators here and everywhere are always and at all times building upon the " +"creativity that went before and that surrounds them now. That building is " +"always and everywhere at least partially done without permission and without " +"compensating the original creator. No society, free or controlled, has ever " +"demanded that every use be paid for or that permission for Walt Disney " +"creativity must always be sought. Instead, every society has left a certain " +"bit of its culture free for the taking—free societies more fully than " +"unfree, perhaps, but all societies to some degree." +msgstr "" +"Skapere her og overalt har alltid og til alle tider bygd pÃ¥ kreativiteten " +"som eksisterte fÃ¸r og som omringer dem nÃ¥. Denne byggingen er alltid og " +"overalt i det minste delvis gjort uten tillatelse og uten Ã¥ kompensere den " +"opprinnelige skaperen. Intet samfunn, fritt eller kontrollert, har noen " +"gang krevd at enhver bruk skulle bli betalt for eller at tillatelse for Walt " +"Disney-kreativitet alltid mÃ¥tte skaffes. Istedet har ethvert samfunn latt " +"en bestemt bit av sin kultur vÃ¦re fritt tilgjengelig for alle Ã¥ ta—" +"frie samfunn muligens i stÃ¸rre grad enn ufrie, men en viss grad i alle " +"samfunn." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The hard question is therefore not <emphasis>whether</emphasis> a culture is " +"free. All cultures are free to some degree. The hard question instead is " +"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and " +"how broadly, is the culture free for others to take and build upon? Is that " +"freedom limited to party members? To members of the royal family? To the top " +"ten corporations on the New York Stock Exchange? Or is that freedom spread " +"broadly? To artists generally, whether affiliated with the Met or not? To " +"musicians generally, whether white or not? To filmmakers generally, whether " +"affiliated with a studio or not?" +msgstr "" +"Det vanskelige spÃ¸rsmÃ¥let er derfor ikke <emphasis>om</emphasis> en kultur " +"er fri. Alle kulturer er frie til en viss grad. Det vanskelige spÃ¸rsmÃ¥let " +"er i stedet <quote><emphasis>hvor</emphasis> fri er denne kulturen er?</" +"quote> Hvor mye og hvor bredt, er kulturen fritt tilgjengelig for andre Ã¥ " +"ta, og bygge pÃ¥? Er den friheten begrenset til partimedlemmer? Til " +"medlemmer av kongefamilien? Til de ti stÃ¸rste selskapene pÃ¥ New York-" +"bÃ¸rsen? Eller er at frihet bredt tilgjengelig? Til kunstnere generelt, " +"uansett om de er tilknyttet til nasjonalmuseet eller ikke? Til musikere " +"generelt, uansett om de er hvite eller ikke? Til filmskapere generelt, " +"uansett om de er tilknyttet et studio eller ikke?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Free cultures are cultures that leave a great deal open for others to build " +"upon; unfree, or permission, cultures leave much less. Ours was a free " +"culture. It is becoming much less so." +msgstr "" +"Frie kulturer er kulturer som etterlater mye Ã¥pent for andre Ã¥ bygge pÃ¥. " +"Ufrie, eller tillatelse-kulturer etterlater mye mindre. VÃ¥r var en fri " +"kultur. Den er pÃ¥ tur til Ã¥ bli mindre fri." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER TWO: <quote>Mere Copyists</quote>" +msgstr "Kapittel to: <quote>Kun etter-apere</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Daguerre, Louis" +msgstr "Daguerre, Louis" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "camera technology" +msgstr "kamerateknologi" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "photography" +msgstr "fotografering" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented the " +"first practical technology for producing what we would call " +"<quote>photographs.</quote> Appropriately enough, they were called " +"<quote>daguerreotypes.</quote> The process was complicated and expensive, " +"and the field was thus limited to professionals and a few zealous and " +"wealthy amateurs. (There was even an American Daguerre Association that " +"helped regulate the industry, as do all such associations, by keeping " +"competition down so as to keep prices up.)" +msgstr "" +"<emphasis role='strong'>I 1839</emphasis> fant Louis Daguerre opp den fÃ¸rste " +"praktiske teknologien for Ã¥ produsere det vi ville kalle <quote>fotografier</" +"quote>. Rimelig nok ble de kalt <quote>daguerreotyper</quote>. Prosessen " +"var komplisert og kostbar, og feltet var dermed begrenset til profesjonelle " +"og noen fÃ¥ ivrige og velstÃ¥ende amatÃ¸rer. (Det var til og med en amerikansk " +"Daguerre-forening som hjalp til med Ã¥ regulere industrien, slik alle slike " +"foreninger gjÃ¸r, ved Ã¥ holde konkurransen ned slik at prisene var hÃ¸ye.)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Talbot, William" +msgstr "Talbot, William" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet despite high prices, the demand for daguerreotypes was strong. This " +"pushed inventors to find simpler and cheaper ways to make <quote>automatic " +"pictures.</quote> William Talbot soon discovered a process for making " +"<quote>negatives.</quote> But because the negatives were glass, and had to " +"be kept wet, the process still remained expensive and cumbersome. In the " +"1870s, dry plates were developed, making it easier to separate the taking of " +"a picture from its developing. These were still plates of glass, and thus it " +"was still not a process within reach of most amateurs." +msgstr "" +"Men til tross for hÃ¸ye priser var etterspÃ¸rselen etter daguerreotyper " +"sterk. Dette inspirerte oppfinnere til Ã¥ finne enklere og billigere mÃ¥ter Ã¥ " +"lage <quote>automatiske bilder</quote>. William Talbot oppdaget snart en " +"prosess for Ã¥ lage <quote>negativer</quote>. Men da negativene var av " +"glass, og mÃ¥tte holdes fuktige, forble prosessen kostbar og tung. PÃ¥ 1870-" +"tallet ble tÃ¸rrplater utviklet, noe som gjorde det enklere Ã¥ skille det Ã¥ ta " +"et bilde fra Ã¥ fremkalle det. Det var fortsatt plater av glass, og dermed " +"var det fortsatt ikke en prosess som var innenfor rekkevidden til de fleste " +"amatÃ¸rer." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Eastman, George" +msgstr "Eastman, George" + +#. PAGE BREAK 45 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The technological change that made mass photography possible didn't happen " +"until 1888, and was the creation of a single man. George Eastman, himself an " +"amateur photographer, was frustrated by the technology of photographs made " +"with plates. In a flash of insight (so to speak), Eastman saw that if the " +"film could be made to be flexible, it could be held on a single spindle. " +"That roll could then be sent to a developer, driving the costs of " +"photography down substantially. By lowering the costs, Eastman expected he " +"could dramatically broaden the population of photographers." +msgstr "" +"Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke " +"fÃ¸r i 1888, og det var takket vÃ¦re en eneste mann. George Eastman, selv en " +"amatÃ¸rfotograf, var frustrert over den plate-baserte fotografi-teknologien. " +"I et lysglimt av innsikt (for Ã¥ si det slik), forsto Eastman at hvis filmen " +"kunne gjÃ¸res bÃ¸yelig, sÃ¥ kunne den holdes pÃ¥ en enkel rull. Denne rullen " +"kunne sÃ¥ sendes til en fremkaller, og senke kostnadene til fotografering " +"vesentlig. Ved Ã¥ redusere kostnadene, forventet Eastman at han dramatisk " +"kunne utvide andelen fotografer." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Kodak cameras" +msgstr "Kodak-kamera" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Kodak Primer, The (Eastman)" +msgstr "Kodak Primer, The (Eastman)" + +#. f1 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " +"Johns Hopkins University Press, 1975), 112." +msgstr "" +"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " +"Johns Hopkins University Press, 1975), 112." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Eastman developed flexible, emulsion-coated paper film and placed rolls of " +"it in small, simple cameras: the Kodak. The device was marketed on the basis " +"of its simplicity. <quote>You press the button and we do the rest.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> As he described in " +"<citetitle>The Kodak Primer</citetitle>:" +msgstr "" +"Eastman utviklet bÃ¸yelig, emulsjons-belagt papirfilm og plasserte ruller med " +"dette i smÃ¥, enkle kameraer: Kodaken. Enheten ble markedsfÃ¸r med grunnlag " +"dens enkelhet. <quote>Du trykker pÃ¥ knappen og vi fikser resten.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> Som han beskrev det i " +"<citetitle>The Kodak Primer</citetitle>:" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Coe, Brian" +msgstr "Coe, Brian" + +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " +"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth " +"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The principle of the Kodak system is the separation of the work that any " +"person whomsoever can do in making a photograph, from the work that only an " +"expert can do. … We furnish anybody, man, woman or child, who has " +"sufficient intelligence to point a box straight and press a button, with an " +"instrument which altogether removes from the practice of photography the " +"necessity for exceptional facilities or, in fact, any special knowledge of " +"the art. It can be employed without preliminary study, without a darkroom " +"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan " +"utfÃ¸re nÃ¥r en tar fotografier, fra arbeidet som kun en ekspert kan gjÃ¸re. " +"… Vi utstyrte alle, menn, kvinner og barn, som hadde tilstrekkelig " +"intelligens til Ã¥ peke en boks i riktig retning og trykke pÃ¥ en knapp, med " +"et instrument som helt fjernet fra praksisen med Ã¥ fotografere " +"nÃ¸dvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell " +"kunnskap om kunstarten. Det kan tas i bruk uten forutgÃ¥ende studier, uten " +"et mÃ¸rkerom og uten kjemikalier.<placeholder type=\"footnote\" id=\"0\"/>" + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Jenkins, 177." +msgstr "Jenkins, 177." + +#. f4 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Based on a chart in Jenkins, p. 178." +msgstr "Basert pÃ¥ et diagram i Jenkins, s. 178." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For $25, anyone could make pictures. The camera came preloaded with film, " +"and when it had been used, the camera was returned to an Eastman factory, " +"where the film was developed. Over time, of course, the cost of the camera " +"and the ease with which it could be used both improved. Roll film thus " +"became the basis for the explosive growth of popular photography. Eastman's " +"camera first went on sale in 1888; one year later, Kodak was printing more " +"than six thousand negatives a day. From 1888 through 1909, while industrial " +"production was rising by 4.7 percent, photographic equipment and material " +"sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> " +"Eastman Kodak's sales during the same period experienced an average annual " +"increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"For $25 kunne alle ta bilder. Det var allerede film i kameraet, og nÃ¥r det " +"var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble " +"fremkalt. Etter hvert, naturligvis, ble bÃ¥de kostnaden til kameraet og hvor " +"enkelt et var Ã¥ bruke forbedret. Film pÃ¥ rull ble dermed grunnlaget for en " +"eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut " +"for salg i 1888, og et Ã¥r senere trykket Kodak mer enn seks tusen negativer " +"om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 " +"prosent, Ã¸kte salget av fotografisk utstyr og materiale med 11 prosent." +"<placeholder type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak i samme " +"periode opplevde en Ã¥rlig vekst pÃ¥ over 17 prosent.<placeholder type=" +"\"footnote\" id=\"1\"/>" + +#. f5 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Coe, 58." +msgstr "Coe, 58." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The real significance of Eastman's invention, however, was not economic. It " +"was social. Professional photography gave individuals a glimpse of places " +"they would never otherwise see. Amateur photography gave them the ability to " +"record their own lives in a way they had never been able to do before. As " +"author Brian Coe notes, <quote>For the first time the snapshot album " +"provided the man on the street with a permanent record of his family and its " +"activities. … For the first time in history there exists an authentic " +"visual record of the appearance and activities of the common man made " +"without [literary] interpretation or bias.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke " +"Ã¸konomisk. Den var sosial. Profesjonell fotografering ga individer et " +"glimt av steder de ellers aldri ville se. AmatÃ¸rfotografering ga dem " +"muligheten til Ã¥ arkivere deres liv pÃ¥ en mÃ¥te som de aldri hadde vÃ¦rt i " +"stand til tidligere. Som forfatter Brian Coe skriver, <quote>For fÃ¸rste " +"gang tilbÃ¸d fotoalbumet mannen i gata et permanent arkiv over hans familie " +"og dens aktiviteter. … For fÃ¸rste gang i historien fantes det en " +"autentisk visuell oppfÃ¸ring av utseende og aktivitet til vanlige mennesker " +"laget uten [skrivefÃ¸r] tolkning eller forutinntatthet.</quote><placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "democracy" +msgstr "demokrati" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in technologies of expression" +msgstr "i teknologier for Ã¥ uttrykke seg" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "expression, technologies of" +msgstr "uttrykke seg, teknologier for Ã¥" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "democratic" +msgstr "demokratisk" + +#. type: Content of: <book><part><chapter><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 <quote>quality</quote>; professionals would discount it as irrelevant. " +"But watch a child study how best to frame a picture and you get a sense of " +"the experience of creativity that the Kodak enabled. Democratic tools gave " +"ordinary people a way to express themselves more easily than any tools could " +"have before." +msgstr "" +"PÃ¥ denne mÃ¥ten var Kodak-kameraet og film uttrykksteknologier. Blyanten og " +"malepenselen var selvfÃ¸lgelig ogsÃ¥ en uttrykksteknologi. Men det tok Ã¥revis " +"med trening fÃ¸r de kunne bli brukt nyttig og effektiv av amatÃ¸rer. Med " +"Kodaken var uttrykk mulig mye raskere og enklere. BarriÃ¨ren for Ã¥ uttrykke " +"seg var senket. Snobber ville fnyse over <quote>kvaliteten</quote>, " +"profesjonelle ville avvise den som irrelevant. Men se et barn studere " +"hvordan best velge bildemotiv og du fÃ¥r fÃ¸lelsen av hva slags " +"kreativitetserfaring som Kodaken muliggjorde. Demokratiske verktÃ¸y ga " +"vanlige folk en mÃ¥te Ã¥ uttrykke dem selv pÃ¥ enklere enn noe annet verktÃ¸y " +"kunne ha gjort fÃ¸r." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "permissions" +msgstr "tillatelser" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "photography exempted from" +msgstr "fotografering som ikke trenger" + +#. f6 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " +"<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " +"<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " +"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " +"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." +msgstr "" +"For illustrerende saker, se for eksempel, <citetitle>Pavesich</citetitle> " +"mot <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " +"<citetitle>Foster-Milburn Co</citetitle>. mot <citetitle>Chinn</citetitle>, " +"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mot " +"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"What was required for this technology to flourish? Obviously, Eastman's " +"genius was an important part. But also important was the legal environment " +"within which Eastman's invention grew. For early in the history of " +"photography, there was a series of judicial decisions that could well have " +"changed the course of photography substantially. Courts were asked whether " +"the photographer, amateur or professional, required permission before he " +"could capture and print whatever image he wanted. Their answer was no." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet " +"var Ã¥penbart en viktig del. Men den juridiske miljÃ¸et som Eastmans " +"oppfinnelse vokste i var ogsÃ¥ viktig. For tidlig i historien til " +"fotografering, var det en rekke av rettsavgjÃ¸relser som godt kunne ha endret " +"kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, " +"amatÃ¸r eller profesjonell, mÃ¥tte ha tillatelse fÃ¸r han kunne fange og trykke " +"hvilket som helst bilde han Ã¸nsket. Svaret var nei.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "images, ownership of" +msgstr "bilder, eierskap til" + +#. PAGE BREAK 47 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The arguments in favor of requiring permission will sound surprisingly " +"familiar. The photographer was <quote>taking</quote> something from the " +"person or building whose photograph he shot—pirating something of " +"value. Some even thought he was taking the target's soul. Just as Disney was " +"not free to take the pencils that his animators used to draw Mickey, so, " +"too, should these photographers not be free to take images that they thought " +"valuable." +msgstr "" +"Argumentene til fordel for Ã¥ kreve tillatelser vil hÃ¸res overraskende kjent " +"ut. Fotografen <quote>tok</quote> noe fra personen eller bygningen som ble " +"fotografert—rÃ¸vet til seg noe av verdi. Noen trodde til og med at han " +"tok mÃ¥lets sjel. PÃ¥ samme mÃ¥te som Disney ikke var fri til Ã¥ ta blyantene " +"som hans animatÃ¸rer brukte til Ã¥ tegne Mikke, sÃ¥ skulle heller ikke disse " +"fotografene vÃ¦re fri til Ã¥ ta bilder som de fant verdi i." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Warren, Samuel D." +msgstr "Warren, Samuel D." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> " +"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Samuel D. Warren og Louis D. Brandeis, <quote>The Right to Privacy</quote>, " +"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"On the other side was an argument that should be familiar, as well. Sure, " +"there may be something of value being used. But citizens should have the " +"right to capture at least those images that stand in public view. (Louis " +"Brandeis, who would become a Supreme Court Justice, thought the rule should " +"be different for images from private spaces.<placeholder type=\"footnote\" " +"id=\"0\"/>) It may be that this means that the photographer gets something " +"for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " +"Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " +"to capture an image without compensating the source." +msgstr "" +"PÃ¥ den andre siden var et argument som ogsÃ¥ bÃ¸r bÃ¸r vÃ¦re kjent. Joda, det " +"var kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til Ã¥ " +"fange i hvert fall de bildene som var tatt av offentlig omrÃ¥de. (Louis " +"Brandeis, som senere ble hÃ¸yesterettsjustitiarus, mente regelen skulle vÃ¦re " +"annerledes for bilder tatt av private omrÃ¥der.<placeholder type=\"footnote\" " +"id=\"0\"/>) Det kan vÃ¦re at dette betyr at fotografen fÃ¥r noe for " +"ingenting. PÃ¥ samme mÃ¥te som Disney kunne hente inspirasjon fra " +"<citetitle>Steamboat Bill, Jr</citetitle>. eller Grimm-brÃ¸drene, sÃ¥ burde " +"fotografene stÃ¥ fritt til Ã¥ fange et bilde uten Ã¥ kompensere kilden." + +#. f8 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> " +"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William " +"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</" +"citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. " +"<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 " +"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." +msgstr "" +"Se Melville B. Nimmer, <quote>The Right of Publicity</quote>, <citetitle>Law " +"and Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " +"<quote>Privacy</quote>, <citetitle>California Law Review</citetitle> 48 " +"(1960) 398–407; <citetitle>White</citetitle> mot <citetitle>Samsung " +"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " +"sert. nektet, 508 U.S. 951 (1993)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Fortunately for Mr. Eastman, and for photography in general, these early " +"decisions went in favor of the pirates. In general, no permission would be " +"required before an image could be captured and shared with others. Instead, " +"permission was presumed. Freedom was the default. (The law would eventually " +"craft an exception for famous people: commercial photographers who snap " +"pictures of famous people for commercial purposes have more restrictions " +"than the rest of us. But in the ordinary case, the image can be captured " +"without clearing the rights to do the capturing.<placeholder type=\"footnote" +"\" id=\"0\"/>)" +msgstr "" +"Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse " +"tidligere avgjÃ¸relsene i favÃ¸r av piratene. Generelt ble det ikke nÃ¸dvendig " +"Ã¥ sikre seg tillatelse fÃ¸r et bilde kunne tas og deles med andre. I stedet " +"var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven " +"ga etter en stund et unntak for berÃ¸mte personer: kommersielle fotografer " +"som tok bilder av berÃ¸mte personer for kommersielle formÃ¥l har flere " +"begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet " +"fanges uten Ã¥ klarere rettighetene for a fange det.<placeholder type=" +"\"footnote\" id=\"0\"/>)" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Napster" +msgstr "Napster" + +#. type: Content of: <book><part><chapter><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 " +"<quote>theft</quote> committed by the photographer. Just as Napster " +"benefited from the copyright infringements committed by Napster users, Kodak " +"would be benefiting from the <quote>image-right</quote> infringement of its " +"photographers. We could imagine the law then requiring that some form of " +"permission be demonstrated before a company developed pictures. We could " +"imagine a system developing to demonstrate that permission." +msgstr "" +"Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven " +"hadde slÃ¥tt ut den andre veien. Hvis den hadde vÃ¦rt mot fotografen, da " +"ville fotografen mÃ¥ttet dokumentere at tillatelse var pÃ¥ plass. Kanskje " +"Eastman Kodak ogsÃ¥ mÃ¥tte ha dokumentert at tillatelse var gitt, fÃ¸r de " +"utviklet filmen som bildene ble fanget pÃ¥. Tross alt, hvis tillatelse ikke " +"var gitt, da ville Eastman Kodak ha nytt fordeler fra <quote>tyveriet</" +"quote> begÃ¥tt av fotografer. PÃ¥ samme mÃ¥te som Napster nÃ¸t fordeler fra " +"opphavsrettsbrudd utfÃ¸rt av Napster-brukere, sÃ¥ ville Kodak nytt fordeler " +"fra <quote>bilde-rettighets</quote>-brudd til deres fotografer. Vi kan " +"forestille oss at loven da krevede at en form for tillatelse ble vist frem " +"fÃ¸r et selskap fremkalte bildene. Vi kan forestille oss et system bli " +"utviklet for Ã¥ legge frem slike tillatelser." + +#. PAGE BREAK 48 +#. type: Content of: <book><part><chapter><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." +msgstr "" +"Men selv om vi kan tenke oss dette godkjenningssystemet, sÃ¥ vil det vÃ¦re " +"svÃ¦rt vanskelig Ã¥ se hvordan fotografering skulle ha blomstret slik det " +"gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. " +"Fotografering ville eksistert. Det ville ha Ã¸kt sin betydning over tid. " +"Profesjonelle ville ha fortsatt Ã¥ bruke teknologien slik de gjorde—" +"siden profesjonelle enklere kunne hÃ¥ndtert byrdene pÃ¥lagt dem av " +"godkjenningssystemet. Men spredningen av fotografering til vanlige folk " +"villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det " +"ville uten tvil aldri vÃ¦rt realisert en slik vekst i demokratisk " +"uttrykksteknologi." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "digital cameras" +msgstr "digitale kamera" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Just Think!" +msgstr "" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>If you drive</emphasis> through San Francisco's " +"Presidio, you might see two gaudy yellow school buses painted over with " +"colorful and striking images, and the logo <quote>Just Think!</quote> in " +"place of the name of a school. But there's little that's <quote>just</quote> " +"cerebral in the projects that these busses enable. These buses are filled " +"with technologies that teach kids to tinker with film. Not the film of " +"Eastman. Not even the film of your VCR. Rather the <quote>film</quote> of " +"digital cameras. Just Think! is a project that enables kids to make films, " +"as a way to understand and critique the filmed culture that they find all " +"around them. Each year, these busses travel to more than thirty schools and " +"enable three hundred to five hundred children to learn something about media " +"by doing something with media. By doing, they think. By tinkering, they " +"learn." +msgstr "" +"<emphasis role='strong'>Hvis du kjÃ¸rer</emphasis> gjennom omrÃ¥det Presidio i " +"San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med " +"fargefulle og iÃ¸ynefallende bilder, og logoen <quote>Just Think!</quote> i " +"stedet for navnet pÃ¥ en skole. Men det er lite som er <quote>bare</quote> " +"mentalt i prosjektene som disse bussene muliggjÃ¸r. Disse bussene er fylt " +"med teknologi som lÃ¦rer unger Ã¥ fikle med film. Ikke filmen til Eastman. " +"Ikke en gang filmen i din videospiller. I stedet er det snakk om " +"<quote>filmen</quote> til digitale kamera. Just Think! er et prosjekt som " +"gjÃ¸r det mulig for unger Ã¥ lage filmer, som en mÃ¥te Ã¥ forstÃ¥ og kritisere " +"den filmede kulturen som de finner over alt rundt seg. Hvert Ã¥r besÃ¸ker " +"disse bussene mer enn tredve skoler og gir mellom tre hundre og fire hundre " +"barn muligheten til Ã¥ lÃ¦re noe om media ved Ã¥ gjÃ¸re noe med media. Ved Ã¥ " +"gjÃ¸re, sÃ¥ tenker de. Ved Ã¥ fikle, sÃ¥ lÃ¦rer de." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "education" +msgstr "utdanning" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in media literacy" +msgstr "i mediekompetanse" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "media literacy" +msgstr "mediekompetanse" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "media literacy and" +msgstr "mediekompetanse og" + +#. f9 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " +"Software You Need to Create Digital Multimedia Presentations,</quote> " +"cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #7</ulink>." +msgstr "" +"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " +"Software You Need to Create Digital Multimedia Presentations,</quote> " +"cadalyst, februar 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/" +"notes/\">link #7</ulink>." + +#. type: Content of: <book><part><chapter><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, <quote>Five years ago, a good real-time digital video " +"editing system cost $25,000. Today you can get professional quality for $595." +"</quote><placeholder type=\"footnote\" id=\"0\"/> These buses are filled " +"with technology that would have cost hundreds of thousands just ten years " +"ago. And it is now feasible to imagine not just buses like this, but " +"classrooms across the country where kids are learning more and more of " +"something teachers call <quote>media literacy.</quote>" +msgstr "" +"Disse bussene er ikke billige, men teknologien de har med seg blir billigere " +"og billigere. Kostnaden til et hÃ¸ykvalitets digitalt videosystem har falt " +"dramatisk. Som en analytiker omtalte det, <quote>for fem Ã¥r siden kostet et " +"godt sanntids redigerinssystem for digital video $25 000. I dag kan du " +"fÃ¥ profesjonell kvalitet for $595.</quote><placeholder type=\"footnote\" id=" +"\"0\"/> Disse bussene er fylt med teknologi som ville kostet hundre-tusenvis " +"av dollar for bare ti Ã¥r siden. Og det er nÃ¥ mulig Ã¥ forestille seg ikke " +"bare slike busser, men klasserom rundt om i landet hvor unger kan lÃ¦re mer " +"og mer av det lÃ¦rerne kaller <quote>medie-skrivefÃ¸re</quote> eller " +"<quote>mediekompetanse</quote>." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Yanofsky, Dave" +msgstr "Yanofsky, Dave" + +#. PAGE BREAK 49 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of " +"Just Think!, puts it, <quote>is the ability … to understand, analyze, " +"and deconstruct media images. Its aim is to make [kids] literate about the " +"way media works, the way it's constructed, the way it's delivered, and the " +"way people access it.</quote>" +msgstr "" +"<quote>Media-skrivefÃ¸re,</quote> eller <quote>mediekompetanse</quote> som " +"administrerende direktÃ¸r Dave Yanofsky i Just Think!, sier det, <quote>er " +"evnen til … Ã¥ forstÃ¥, analysere og dekonstruere mediebilder. Dets mÃ¥l " +"er Ã¥ gjÃ¸re [unger] i stand til Ã¥ forstÃ¥ hvordan mediene fungerer, hvordan de " +"er konstruert, hvordan de blir levert, og hvordan folk bruker dem</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This may seem like an odd way to think about <quote>literacy.</quote> For " +"most people, literacy is about reading and writing. Faulkner and Hemingway " +"and noticing split infinitives are the things that <quote>literate</quote> " +"people know about." +msgstr "" +"Dette kan virke som en litt rar mÃ¥te Ã¥ tenke pÃ¥ <quote>skrivefÃ¸r</quote>. " +"For de fleste handler skrivefÃ¸r Ã¥ kunne lese og skrive. <quote>SkrivefÃ¸re</" +"quote> folk kjenner ting som Faulkner, Hemingway og Ã¥ kjenne igjen delte " +"infinitiver." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "advertising" +msgstr "markedsfÃ¸ring" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "commercials" +msgstr "reklameinnslag" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "television" +msgstr "televisjon" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "advertising on" +msgstr "markedsfÃ¸ring pÃ¥" + +#. f10 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " +"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " +"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May " +"1997, B6." +msgstr "" +"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " +"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " +"Family and TV Study</quote>, <citetitle>Denver Post</citetitle>, 25. mai " +"1997, B6." + +#. type: Content of: <book><part><chapter><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 <quote>grammar</quote> of media. For just as there is a " +"grammar for the written word, so, too, is there one for media. And just as " +"kids learn how to write by writing lots of terrible prose, kids learn how to " +"write media by constructing lots of (at least at first) terrible media." +msgstr "" +"Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-" +"reklamer i Ã¥ret, eller generelt mellom 20 000 og 45 000 reklameinnslag," +"<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ er det mer og mer viktig Ã¥ " +"forstÃ¥ <quote>grammatikken</quote> til media. For pÃ¥ samme mÃ¥te som det er " +"en grammatikk for det skrevne ord, sÃ¥ er det ogsÃ¥ en for media. Og akkurat " +"slik som unger lÃ¦rer Ã¥ skrive ved Ã¥ skrive masse grusom prosa, sÃ¥ lÃ¦rer " +"unger Ã¥ skrive media ved Ã¥ konstruere masse (i hvert fall i begynnelsen) " +"grusom media." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"A growing field of academics and activists sees this form of literacy as " +"crucial to the next generation of culture. For though anyone who has written " +"understands how difficult writing is—how difficult it is to sequence " +"the story, to keep a reader's attention, to craft language to be " +"understandable—few of us have any real sense of how difficult media " +"is. Or more fundamentally, few of us have a sense of how media works, how it " +"holds an audience or leads it through a story, how it triggers emotion or " +"builds suspense." +msgstr "" +"Et voksende felt av akademikere og aktivister ser denne formen for " +"skrivefÃ¸re som avgjÃ¸rende for den neste generasjonen av kultur. For selv om " +"de som har skrevet forstÃ¥r hvor vanskelig det er Ã¥ skrive—hvor " +"vanskelig det er Ã¥ bestemme rekkefÃ¸lge i historien, Ã¥ holde pÃ¥ " +"oppmerksomheten hos leseren, Ã¥ forme sprÃ¥ket slik at det er forstÃ¥elig—" +"sÃ¥ har fÃ¥ av oss en reell fÃ¸lelse av hvor vanskelig medier er. Eller mer " +"fundamentalt, de fÃ¦rreste av oss har en fÃ¸lelse for hvordan media fungerer, " +"hvordan det holder et publikum eller leder leseren gjennom historien, " +"hvordan det utlÃ¸ser fÃ¸lelser eller bygger opp spenningen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"It took filmmaking a generation before it could do these things well. But " +"even then, the knowledge was in the filming, not in writing about the film. " +"The skill came from experiencing the making of a film, not from reading a " +"book about it. One learns to write by writing and then reflecting upon what " +"one has written. One learns to write with images by making them and then " +"reflecting upon what one has created." +msgstr "" +"Det tok filmkusten en generasjon fÃ¸r den kunne gjÃ¸re disse tingene bra. Men " +"selv da, sÃ¥ var kunnskapen i filmingen, ikke i Ã¥ skrive om filmen. " +"Ferdigheten kom fra erfaring med Ã¥ lage en film, ikke fra Ã¥ lese en bok om " +"den. En lÃ¦rer Ã¥ skrive ved Ã¥ skrive, og deretter reflektere over det en har " +"skrevet. En lÃ¦rer Ã¥ skrive med bilder ved Ã¥ lage dem, og deretter " +"reflektere over det en har laget." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Daley, Elizabeth" +msgstr "Daley, Elizabeth" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Crichton, Michael" +msgstr "Crichton, Michael" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Barish, Stephanie" +msgstr "Barish, Stephanie" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" +msgstr "" +"Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" + +#. f12 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, " +"4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." +msgstr "" +"Se Scott Steinberg, <quote>Crichton Gets Medieval on PCs</quote>, E!online, " +"4. november 2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #8</ulink>; <quote>Timeline</quote>, 22. november 2000, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." + +#. type: Content of: <book><part><chapter><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 <quote>the " +"placement of objects, color, … rhythm, pacing, and texture.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an " +"interactive space where a story is <quote>played</quote> as well as " +"experienced, that grammar changes. The simple control of narrative is lost, " +"and so other techniques are necessary. Author Michael Crichton had mastered " +"the narrative of science fiction. But when he tried to design a computer " +"game based on one of his works, it was a new craft he had to learn. How to " +"lead people through a game without their feeling they have been led was not " +"obvious, even to a wildly successful author.<placeholder type=\"footnote\" " +"id=\"1\"/>" +msgstr "" +"Denne gramatikken har endret seg etter hvert som media har endret seg. Da " +"det kun var film, som Elizabeth Daley, administrerende direktÃ¸r ved " +"Universitetet i SÃ¸r-Califorias Anneberg-senter for kommunkasjon og rektor " +"ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om " +"<quote>plasseringen av objekter, farger, … rytme, skritt og tekstur</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som " +"datamaskiner Ã¥pner opp et interaktivt rom hvor en historie blir " +"<quote>spillt</quote> i tillegg til opplevd, endrer gramatikken seg. Den " +"enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre " +"teknikker nÃ¸dvendig. Forfatter Michael Crichton hadde mestret " +"fortellerstemmen til science fiction. Men da han forsÃ¸kte Ã¥ lage et " +"dataspill basert pÃ¥ et av sine verk, sÃ¥ var det et nytt hÃ¥ndverk han mÃ¥tte " +"lÃ¦re. Det var ikke Ã¥penbart hvordan en leder folk gjennom et spill uten at " +"de far fÃ¸lelsen av Ã¥ ha blitt ledet, selv for en enormt vellykket forfatter." +"<placeholder type=\"footnote\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "computer games" +msgstr "dataspill" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This skill is precisely the craft a filmmaker learns. As Daley describes, " +"<quote>people are very surprised about how they are led through a film. [I]t " +"is perfectly constructed to keep you from seeing it, so you have no idea. If " +"a filmmaker succeeds you do not know how you were led.</quote> If you know " +"you were led through a film, the film has failed." +msgstr "" +"Akkurat denne ferdigheten er hÃ¥ndverket en lÃ¦rer til de som lager filmer. " +"Som Daley skriver, <quote>folk er svÃ¦rt overrasket over hvordan de blir " +"ledet gjennom en film. Den er perfekt konstruert for Ã¥ hindre deg fra Ã¥ se " +"det, sÃ¥ du aner det ikke. Hvis en som lager filmer lykkes sÃ¥ vet du ikke at " +"du har vÃ¦rt ledet.</quote> Hvis du vet at du ble ledet igjennom en film, sÃ¥ " +"har filmen feilet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet the push for an expanded literacy—one that goes beyond text to " +"include audio and visual elements—is not about making better film " +"directors. The aim is not to improve the profession of filmmaking at all. " +"Instead, as Daley explained," +msgstr "" +"Likevel er innsatsen for Ã¥ utvide skrivefÃ¸ren—til en som gÃ¥r ut over " +"tekst til Ã¥ ta med lyd og visuelle elementer—handler ikke om Ã¥ lage " +"bedre filmregissÃ¸rer. MÃ¥let er ikke Ã¥ forbedre filmyrket i det hele tatt. " +"I stedet, som Daley forklarer," + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"From my perspective, probably the most important digital divide is not " +"access to a box. It's the ability to be empowered with the language that " +"that box works in. Otherwise only a very few people can write with this " +"language, and all the rest of us are reduced to being read-only." +msgstr "" +"Fra mitt perspektiv er antagelig det viktigste digitale skillet ikke om en " +"har tilgang til en boks eller ikke. Det er evnen til Ã¥ ha kontroll over " +"sprÃ¥ket som boksen bruker. I motsatt fall er det bare noen fÃ¥ som kan " +"skrive i dette sprÃ¥ket, og alle oss andre er redusert til Ã¥ ikke kunne " +"skrive." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. " +"Couch potatoes. Consumers. This is the world of media from the twentieth " +"century." +msgstr "" +"<quote>ikke kunne skrive.</quote> Passive mottakerne av kultur produsert " +"andre steder. Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende " +"Ã¥rhundre." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Intervju med Daley og Barish. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. f31 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "Ibid." +msgstr "ibid." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The twenty-first century could be different. This is the crucial point: It " +"could be both read and write. Or at least reading and better understanding " +"the craft of writing. Or best, reading and understanding the tools that " +"enable the writing to lead or mislead. The aim of any literacy, and this " +"literacy in particular, is to <quote>empower people to choose the " +"appropriate language for what they need to create or express.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students " +"<quote>to communicate in the language of the twenty-first century.</" +"quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Det tjuefÃ¸rste Ã¥rhundret kan bli annerledes. Dette er et kritisk punkt: Det " +"kan bli bÃ¥de lesing og skriving. Eller i det minste lesing og bedre " +"forstÃ¥else for hÃ¥ndverket Ã¥ skrive. Eller det beste, lesing og forstÃ¥ " +"verktÃ¸yene som gir skriving mulighet til Ã¥ veilede eller villede. MÃ¥let med " +"enhver skrivefÃ¸rhet, og denne skrivefÃ¸rheten spesielt, er Ã¥ <quote>gi folket " +"myndighet til Ã¥ velge det sprÃ¥ket som passer for det de trenger Ã¥ lage eller " +"uttrykke</quote>.<placeholder type=\"footnote\" id=\"0\"/> Det gir studenter " +"mulighet <quote>til Ã¥ kommunisere i sprÃ¥ket til det tjuefÃ¸rste Ã¥rhundret</" +"quote>.<placeholder type=\"footnote\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As with any language, this language comes more easily to some than to " +"others. It doesn't necessarily come more easily to those who excel in " +"written language. Daley and Stephanie Barish, director of the Institute for " +"Multimedia Literacy at the Annenberg Center, describe one particularly " +"poignant example of a project they ran in a high school. The high school " +"was a very poor inner-city Los Angeles school. In all the traditional " +"measures of success, this school was a failure. But Daley and Barish ran a " +"program that gave kids an opportunity to use film to express meaning about " +"something the students know something about—gun violence." +msgstr "" +"Som det alle andre sprÃ¥k, lÃ¦res dette sprÃ¥ket lettere for noen enn for " +"andre. Det kommer ikke nÃ¸dvendigvis lettere for de som gjÃ¸r det godt " +"skriftlig. Daley og Stephanie Barish, direktÃ¸r for Institutt for Multimedia-" +"skrivefÃ¸re ved Annenberg-senteret, beskriver et spesielt sterkt eksempel fra " +"et prosjekt de gjennomfÃ¸rte i en videregÃ¥ende skole. Den videregÃ¥ende " +"skolen var en veldig fattig skole i den indre byen i Los Angeles. Etter " +"alle tradisjonelle mÃ¥leenheter for suksess var denne skolen en fiasko. Men " +"Daley og Barish gjennomfÃ¸rte et program som ga ungene en mulighet til Ã¥ " +"bruke film til Ã¥ uttrykke sine meninger om noe som studentene visste noe " +"om—vÃ¥pen-relatert vold." + +#. type: Content of: <book><part><chapter><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 " +"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> " +"said Barish. They were working harder than in any other class to do what " +"education should be about—learning how to express themselves." +msgstr "" +"Klassen mÃ¸ttes fredag ettermiddag, og skapte et relativt nytt problem for " +"skolen. Mens utfordringen i de fleste klasser var Ã¥ fÃ¥ ungene til Ã¥ dukke " +"opp, var utfordringen for denne klassen Ã¥ holde dem unna. <quote>Ungene " +"dukket opp 06:00, og dro igjen 05:00 pÃ¥ natta</quote>, sa Barish. De jobbet " +"hardere enn i noen annen klasse for Ã¥ gjÃ¸re det utdanning burde handle " +"om—Ã¥ lÃ¦re hvordan de skulle uttrykke seg." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Using whatever <quote>free web stuff they could find,</quote> and relatively " +"simple tools to enable the kids to mix <quote>image, sound, and text,</" +"quote> Barish said this class produced a series of projects that showed " +"something about gun violence that few would otherwise understand. This was " +"an issue close to the lives of these students. The project <quote>gave them " +"a tool and empowered them to be able to both understand it and talk about it," +"</quote> Barish explained. That tool succeeded in creating expression—" +"far more successfully and powerfully than could have been created using only " +"text. <quote>If you had said to these students, `you have to do it in text,' " +"they would've just thrown their hands up and gone and done something else,</" +"quote> Barish described, in part, no doubt, because expressing themselves in " +"text is not something these students can do well. Yet neither is text a form " +"in which <emphasis>these</emphasis> ideas can be expressed well. The power " +"of this message depended upon its connection to this form of expression." +msgstr "" +"Ved Ã¥ bruke hva som helst av <quote>fritt tilgjengelig web-stoff de kunne " +"finne</quote>, og relativt enkle verktÃ¸y som gjorde det mulig for ungene Ã¥ " +"blande <quote>bilde, lyd og tekst</quote>, sa Barish at denne klassen " +"produserte en serie av prosjekter som viste noe om vÃ¥pen-basert vold som fÃ¥ " +"ellers ville forstÃ¥. Dette var et tema veldig nÃ¦rt livene til disse " +"studentene. Prosjektet <quote>ga dem et verktÃ¸y og bemyndiget dem slik at " +"de bÃ¥de ble i stand til Ã¥ forstÃ¥ det og snakke om det</quote>, forklarer " +"Barish. Dette verktÃ¸yet lyktes med Ã¥ skape uttrykk—mye mer vellykket " +"og kraffylt enn noe som hadde blitt laget ved Ã¥ kun bruke tekst. " +"<quote>Hvis du hadde sagt til disse studentene at 'du mÃ¥ gjÃ¸re dette i " +"tekstform', sÃ¥ hadde de bare kastet hendene i vÃ¦ret og gÃ¥tt og gjort noe " +"annet</quote>, forklarer Barish. Delvis, uten tvil, fordi Ã¥ uttrykke seg " +"selv i tekstform ikke er noe disse studentene gjÃ¸r godt. Heller ikke er " +"tekstform en form som kan uttrykke <emphasis>disse</emphasis> idÃ©ene godt. " +"Kraften i denne meldingen avhenger av dens forbindelse med denne for for " +"uttrykk." + +#. PAGE BREAK 52 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>But isn't education about teaching kids to write?</quote> I asked. In " +"part, of course, it is. But why are we teaching kids to write? Education, " +"Daley explained, is about giving students a way of <quote>constructing " +"meaning.</quote> To say that that means just writing is like saying teaching " +"writing is only about teaching kids how to spell. Text is one part—and " +"increasingly, not the most powerful part—of constructing meaning. As " +"Daley explained in the most moving part of our interview," +msgstr "" +"<quote>Men handler ikke utdanning om Ã¥ lÃ¦re unger Ã¥ skrive?</quote> spurte " +"jeg. Jo delvis, naturligvis. Men hvorfor lÃ¦rer vi unger Ã¥ skrive? " +"Utdanning, forklarer Daley, handler om Ã¥ gi studentene en mÃ¥te Ã¥ " +"<quote>konstruere mening</quote>. Ã si at det kun betyr skriving er som Ã¥ " +"si at Ã¥ lÃ¦re bort skriving kun handler om Ã¥ lÃ¦re ungene Ã¥ stave. " +"Tekstforming er bare en del—og i stÃ¸rre grad ikke den kraftigste " +"delen—for Ã¥ konstruere mening. Som Daley forklarte i den mest rÃ¸rende " +"delen av vÃ¥rt intervju," + +#. type: Content of: <book><part><chapter><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, <quote>Johnny, you're illiterate. Nothing you " +"can do matters.</quote> Well, Johnny then has two choices: He can dismiss " +"you or he [can] dismiss himself. If his ego is healthy at all, he's going to " +"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things " +"that you can do, let's talk about this issue. Play for me music that you " +"think reflects that, or show me images that you think reflect that, or draw " +"for me something that reflects that.</quote> Not by giving a kid a video " +"camera and … saying, <quote>Let's go have fun with the video camera " +"and make a little movie.</quote> But instead, really help you take these " +"elements that you understand, that are your language, and construct meaning " +"about the topic.…" +msgstr "" +"Det du Ã¸nsker er Ã¥ gi disse studentene en mÃ¥te Ã¥ konstruere mening. Hvis alt " +"du gir dem er tekst, sÃ¥ kommer de ikke til Ã¥ gjÃ¸re det. Fordi de kan ikke. " +"Du vet, du har Johnny som kan se pÃ¥ en video, han kan spille pÃ¥ et TV-spill, " +"han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen " +"din, og han kan gjÃ¸re alle mulige andre ting. Men han kan ikke lese teksten " +"din. SÃ¥ Jonny kommer pÃ¥ skolen og du sier <quote>Johnny, du er analfabet. " +"Ingenting du gjÃ¸r betyr noe</quote>. Vel, da har Johnny to valg: Han kan " +"avvise deg eller han kan avvise seg selv. Hvis han har et sunt ego sÃ¥ vil " +"han avvise deg. Men hvis du i stedet sier, <quote>Vel, med alle disse " +"tingene som du kan gjÃ¸re, la oss snakke om dette temaet. Spill musikk til " +"meg som du mener reflekterer over temaet, eller vis meg bilder som du mener " +"reflekterer over temaet, eller tegn noe til meg som reflektere temaet</" +"quote>. Ikke ved Ã¥ gi en unge et videokamera og … si <quote>La oss " +"dra Ã¥ ha det morsomt med videokameraet og lage en liten film</quote>. Men " +"istedet, virkelig hjelpe deg Ã¥ ta disse elementene som du forstÃ¥r, som er " +"ditt sprÃ¥k, og konstruer mening om temaet.…" + +#. type: Content of: <book><part><chapter><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, " +"<quote>I need to explain this and I really need to write something.</quote> " +"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, " +"6, 7, 8 times, till they got it right." +msgstr "" +"Dette bemyndiger enormt. Og det som skjer til slutt, selvfÃ¸lgelig, som det " +"har skjedd i alle disse klassene, er at de stopper opp nÃ¥r de treffer " +"faktumet <quote>jeg trenger Ã¥ forklare dette, og da trenger jeg virkelig Ã¥ " +"skrive noe</quote>. Og som en av lÃ¦rerne fortalte Stephanie, de vil skrive " +"om avsnittet 5, 6, 7, 8 ganger, helt til det blir riktig." + +#. PAGE BREAK 53 +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"Because they needed to. There was a reason for doing it. They needed to say " +"something, as opposed to just jumping through your hoops. They actually " +"needed to use a language that they didn't speak very well. But they had come " +"to understand that they had a lot of power with this language." +msgstr "" +"Fordi de trengte det. Det var en grunn til Ã¥ gjÃ¸re det. De trengte Ã¥ si " +"noe, i motsetning til Ã¥ kun danse etter din pipe. De trengte faktisk Ã¥ " +"bruke det sprÃ¥ket de ikke hÃ¥ndterte veldig bra. Men de hadde begynt Ã¥ " +"forstÃ¥ at de hadde mye gjennomslagskraft med dette sprÃ¥ket." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "September 11, 2001, terrorist attacks of" +msgstr "11. september 2001, terrorangrep den" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "World Trade Center" +msgstr "World Trade Center" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "news coverage" +msgstr "nyhetsdekning" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>When two planes</emphasis> crashed into the World " +"Trade Center, another into the Pentagon, and a fourth into a Pennsylvania " +"field, all media around the world shifted to this news. Every moment of just " +"about every day for that week, and for weeks after, television in " +"particular, and media generally, retold the story of the events we had just " +"witnessed. The telling was a retelling, because we had seen the events that " +"were described. The genius of this awful act of terrorism was that the " +"delayed second attack was perfectly timed to assure that the whole world " +"would be watching." +msgstr "" +"<emphasis role='strong'>Da to fly</emphasis> krasjet inn i World Trade " +"Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i " +"Pennsylvania, snudde alle medier verden rundt seg til denne nyheten. " +"Ethvert moment for omtreng hver eneste dag den uka, og ukene som fulgte " +"gjenfortalte TV spesielt, men media generelt, historien om disse hendelsene " +"som vi nettopp hadde vÃ¦rt vitne til. Genialiteten i denne forferdelige " +"terrorhandlingen var at det forsinkede andre-angrepet var perfekt tidsatt " +"for Ã¥ sikre at hele verden ville vÃ¦re der for Ã¥ se pÃ¥." + +#. type: Content of: <book><part><chapter><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 <quote>balance,</quote> and " +"seriousness. This was news choreographed in the way we have increasingly " +"come to expect it, <quote>news as entertainment,</quote> even if the " +"entertainment is tragedy." +msgstr "" +"Disse gjenfortellingene ga en Ã¸kende familiÃ¦r fÃ¸lelse. Det var musikk " +"spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers " +"over skjermen. Det var en formel for intervjuer. Det var <quote>balanse</" +"quote> og seriÃ¸sitet. Dette var nyheter koreaografert slik vi i stadig " +"stÃ¸rre grad forventer det, <quote>nyheter som underholdning</quote>, selv om " +"underholdningen er en tragedie." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "ABC" +msgstr "ABC" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "CBS" +msgstr "CBS" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But in addition to this produced news about the <quote>tragedy of September " +"11,</quote> those of us tied to the Internet came to see a very different " +"production as well. The Internet was filled with accounts of the same " +"events. Yet these Internet accounts had a very different flavor. Some people " +"constructed photo pages that captured images from around the world and " +"presented them as slide shows with text. Some offered open letters. There " +"were sound recordings. There was anger and frustration. There were attempts " +"to provide context. There was, in short, an extraordinary worldwide barn " +"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber " +"Rights</citetitle>, around a news event that had captured the attention of " +"the world. There was ABC and CBS, but there was also the Internet." +msgstr "" +"Men i tillegg til disse produserte nyhetene om <quote>tragedien 11. " +"september</quote>, kunne de av oss som er knyttet til Internettet i tillegg " +"se en svÃ¦rt annerledes produksjon. Internettet er fullt av fortellinger om " +"de samme hendelsene. Men disse internet-fortellingene hadde en veldig " +"annerledes smak. Noen folk konstruerte foto-sider som fanget bilder fra " +"hele verden og presenterte dem som lysbildepresentasjoner med tekst. Noen " +"tilbÃ¸d Ã¥pne brev. Det var lydopptak. Det var sinne og frustrasjon. Det " +"var forsÃ¸k pÃ¥ Ã¥ tilby en sammenheng. Det var, kort og godt, en " +"ekstraordinÃ¦r verdensomspennende lÃ¥vebygging, slik Mike Godwin bruker " +"begrepet i hans bok <citetitle>Cyber Rights</citetitle>, rundt en " +"nyhetshendelse som hadde fanget oppmerksomheten til hele verden. Det var " +"ABC og CBS, men det var ogsÃ¥ Internettet." + +#. PAGE BREAK 54 +#. type: Content of: <book><part><chapter><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 <quote>Just Think!</quote> bus, the visual images could be mixed with " +"sound or text." +msgstr "" +"Det er ikke sÃ¥ enkelt som at jeg Ã¸nsker Ã¥ lovprise Internettet—selv om " +"jeg mener at folkene som stÃ¸tter denne formen for tale bÃ¸r lovprises. Jeg " +"Ã¸nsker i stedet Ã¥ peke pÃ¥ viktigheten av denne formen for tale. For pÃ¥ " +"samme mÃ¥te som en Kodak, gjÃ¸r Internettet folk i stand til Ã¥ fange bilder. " +"Og pÃ¥ samme mÃ¥te som med en film laget av en av studentene pÃ¥ <quote>Just " +"Think!</quote>-bussen, kan visuelle bilder bli blandet med lyd og tekst." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But unlike any technology for simply capturing images, the Internet allows " +"these creations to be shared with an extraordinary number of people, " +"practically instantaneously. This is something new in our tradition—" +"not just that culture can be captured mechanically, and obviously not just " +"that events are commented upon critically, but that this mix of captured " +"images, sound, and commentary can be widely spread practically " +"instantaneously." +msgstr "" +"Men i motsetning til en hvilken som helst teknologi for Ã¥ enkelt fange " +"bilder, tillater Internettet at en nesten umiddelbart deler disse " +"kreasjonene med et ekstraordinÃ¦rt antall menesker. Dette er noe nytt i vÃ¥r " +"tradisjon—ikke bare kan kultur fanges inn mekanisk, og Ã¥penbart heller " +"ikke at hendelser blir kommentert kritisk, men at denne blandingen av " +"bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "blogs (Web-logs)" +msgstr "blogger (Web-logger)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "blogs on" +msgstr "blogger om" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Web-logs (blogs)" +msgstr "Web-logger (blogger)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"September 11 was not an aberration. It was a beginning. Around the same " +"time, a form of communication that has grown dramatically was just beginning " +"to come into public consciousness: the Web-log, or blog. The blog is a kind " +"of public diary, and within some cultures, such as in Japan, it functions " +"very much like a diary. In those cultures, it records private facts in a " +"public way—it's a kind of electronic <citetitle>Jerry Springer</" +"citetitle>, available anywhere in the world." +msgstr "" +"11. september var ikke et avvik. Det var en start. Omtrent pÃ¥ samme tid, " +"begynte en form for kommunkasjon som hadde vokst dramatisk Ã¥ komme inn i " +"offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig " +"dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en " +"dagbok. I disse kulturene registrerer den private fakta pÃ¥ en offentlig " +"mÃ¥te—det er en slags elektronisk <citetitle>Jerry Springer</" +"citetitle>, tilgjengelig overalt i verden." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "political discourse" +msgstr "politisk diskusjon" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "public discourse conducted on" +msgstr "offentlig diskusjon gjennomfÃ¸rt pÃ¥" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But in the United States, blogs have taken on a very different character. " +"There are some who use the space simply to talk about their private life. " +"But there are many who use the space to engage in public discourse. " +"Discussing matters of public import, criticizing others who are mistaken in " +"their views, criticizing politicians about the decisions they make, offering " +"solutions to problems we all see: blogs create the sense of a virtual public " +"meeting, but one in which we don't all hope to be there at the same time and " +"in which conversations are not necessarily linked. The best of the blog " +"entries are relatively short; they point directly to words used by others, " +"criticizing with or adding to them. They are arguably the most important " +"form of unchoreographed public discourse that we have." +msgstr "" +"Men i USA har blogger inntatt en svÃ¦rt annerledes karakter. Det er noen som " +"bruker denne plassen til Ã¥ snakke om sitt private liv. Men det er mange som " +"bruker denne plassen til Ã¥ delta i offentlig debatt. Diskuterer saker med " +"offentlig interesse, kritiserer andre som har feil synspunkt, kritisere " +"politigere for avgjÃ¸relser de tar, tilbyr lÃ¸sninger pÃ¥ problemer vi alle " +"ser. Blogger skaper en fÃ¸lelse av et virtuelt offentlig mÃ¸te, men et hvor " +"vi ikke alle hÃ¥per Ã¥ vÃ¦re tilstede pÃ¥ samme tid og hvor konversasjonene ikke " +"nÃ¸dvendigvis er koblet sammen. De beste av bloggoppfÃ¸ringene er relativt " +"korte. De peker direkte til ord bruk av andre, kritiserer dem eller bidrar " +"til dem. Det kan argumenteres for at de er den viktigste form for " +"ukoreografert offentlig debatt som vi har." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "elections" +msgstr "valg" + +#. PAGE BREAK 55 +#. type: Content of: <book><part><chapter><para> +msgid "" +"That's a strong statement. Yet it says as much about our democracy as it " +"does about blogs. This is the part of America that is most difficult for " +"those of us who love America to accept: Our democracy has atrophied. Of " +"course we have elections, and most of the time the courts allow those " +"elections to count. A relatively small number of people vote in those " +"elections. The cycle of these elections has become totally professionalized " +"and routinized. Most of us think this is democracy." +msgstr "" +"Dette er en sterk uttalelse. Likevel sier den like mye om vÃ¥rt demokrati " +"som den sier om blogger. Dette er delen av USA som det er mest vanskelig " +"for oss som elsker USA Ã¥ akseptere: vÃ¥rt demokrati har svunnet hen. Vi har " +"naturligvis valg, og mesteparten av tiden tillater domstolene at disse " +"valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. " +"Syklusen med disse valgene har blitt totalt profesjonalisert og " +"rutinepreget. De fleste av oss tenker pÃ¥ dette som demokrati." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Tocqueville, Alexis de" +msgstr "Tocqueville, Alexis de" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "public discourse in" +msgstr "offentlig diskusjon i" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "jury system" +msgstr "jurysystem" + +#. f15 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" +"citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " +"16." +msgstr "" +"Se for eksempel Alexis de Tocqueville, <citetitle>Democracy in America</" +"citetitle>, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. " +"16." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But democracy has never just been about elections. Democracy means rule by " +"the people, but rule means something more than mere elections. In our " +"tradition, it also means control through reasoned discourse. This was the " +"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" +"century French lawyer who wrote the most important account of early " +"<quote>Democracy in America.</quote> It wasn't popular elections that " +"fascinated him—it was the jury, an institution that gave ordinary " +"people the right to choose life or death for other citizens. And most " +"fascinating for him was that the jury didn't just vote about the outcome " +"they would impose. They deliberated. Members argued about the <quote>right</" +"quote> result; they tried to persuade each other of the <quote>right</quote> " +"result, and in criminal cases at least, they had to agree upon a unanimous " +"result for the process to come to an end.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket " +"styrer, og Ã¥ styre betyr noe mer enn kun valg. I vÃ¥r tradisjon betyr det " +"ogsÃ¥ kontroll gjennom gjennomtenkt meningsbrytning. Dette var idÃ©en som " +"fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-" +"advokaten som skrev den viktigste historien om det tidlige " +"<quote>demokratiet i Amerika</quote>. Det var ikke allmenn stemmerett som " +"fascinerte han—det var juryen, en institusjon som ga vanlige folk " +"retten til Ã¥ velge liv eller dÃ¸d fÃ¸r andre borgere. Og det som fascinerte " +"han mest var at juryen ikke bare stemte over hvilket resultat de ville legge " +"frem. De diskuterte. Medlemmene argumenterte om hva som var <quote>riktig</" +"quote> resultat, de forsÃ¸kte Ã¥ overbevise hverandre om <quote>riktig</" +"quote>resultat, og i hvert fall i kriminalsaker mÃ¥tte de bli enige om et " +"enstemmig resultat for at prosessen skulle avsluttes.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. f16 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> " +"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." +msgstr "" +"Bruce Ackerman og James Fishkin, <quote>Deliberation Day</quote>, " +"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet even this institution flags in American life today. And in its place, " +"there is no systematic effort to enable citizen deliberation. Some are " +"pushing to create just such an institution.<placeholder type=\"footnote\" id=" +"\"0\"/> And in some towns in New England, something close to deliberation " +"remains. But for most of us for most of the time, there is no time or place " +"for <quote>democratic deliberation</quote> to occur." +msgstr "" +"Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det " +"ingen systematisk innsats for Ã¥ muliggjÃ¸re borger-diskusjon. Noen gjÃ¸r en " +"innsats for Ã¥ lage en slik institusjon.<placeholder type=\"footnote\" id=" +"\"0\"/> Og i noen landsbyer i New England er det noe i nÃ¦rheten av diskusjon " +"igjen. Men for de fleste av oss mesteparten av tiden, er det ingen tid og " +"sted for Ã¥ gjennomfÃ¸re <quote>demokratisk diskusjon</quote>." + +#. f17 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " +"University Press, 2001), 65–80, 175, 182, 183, 192." +msgstr "" +"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " +"University Press, 2001), 65–80, 175, 182, 183, 192." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"More bizarrely, there is generally not even permission for it to occur. We, " +"the most powerful democracy in the world, have developed a strong norm " +"against talking about politics. It's fine to talk about politics with people " +"you agree with. But it is rude to argue about politics with people you " +"disagree with. Political discourse becomes isolated, and isolated discourse " +"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " +"our friends want to hear, and hear very little beyond what our friends say." +msgstr "" +"Mer merkelig er at en generelt sett ikke engang har aksept for at det skal " +"skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm " +"mot Ã¥ diskutere politikk. Det er greit Ã¥ diskutere politikk med folk du er " +"enig med, men det er uhÃ¸flig Ã¥ diskutere politikk med folk du er uenig med. " +"Politisk debatt blir isolert, og isolert diskusjon blir mer ekstrem." +"<placeholder type=\"footnote\" id=\"0\"/> Vi sier det vÃ¥re venner vil hÃ¸re, " +"og hÃ¸rer veldig lite utenom hva vÃ¥re venner sier." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "e-mail" +msgstr "epost" + +#. PAGE BREAK 56 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Enter the blog. The blog's very architecture solves one part of this " +"problem. People post when they want to post, and people read when they want " +"to read. The most difficult time is synchronous time. Technologies that " +"enable asynchronous communication, such as e-mail, increase the opportunity " +"for communication. Blogs allow for public discourse without the public ever " +"needing to gather in a single public place." +msgstr "" +"SÃ¥ kommer bloggen. Selve bloggens arkitektur lÃ¸ser en del av dette " +"problemet. Folk publiserer det de Ã¸nsker Ã¥ publisere, og folk leser det de " +"Ã¸nsker Ã¥ lese. Det vanskeligste tiden er synkron tid. Teknologier som " +"muliggjÃ¸r asynkron kommunasjons, slik som epost, Ã¸ker muligheten for " +"kommunikasjon. Blogger gjÃ¸r det mulig med offentlig debatt uten at folket " +"noen gang trenger Ã¥ samle seg pÃ¥ et enkelt offentlig sted." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But beyond architecture, blogs also have solved the problem of norms. " +"There's no norm (yet) in blog space not to talk about politics. Indeed, the " +"space is filled with political speech, on both the right and the left. Some " +"of the most popular sites are conservative or libertarian, but there are " +"many of all political stripes. And even blogs that are not political cover " +"political issues when the occasion merits." +msgstr "" +"Men i tillegg til arkitektur, har blogger ogsÃ¥ lÃ¸st problemet med normer. " +"Det er (ennÃ¥) ingen norm i blogg-sfÃ¦ren om Ã¥ ikke snakke om politikk. " +"SfÃ¦ren er faktisk fylt med politiske innlegg, bÃ¥de pÃ¥ hÃ¸yre- og " +"venstresiden. Noen av de mest populÃ¦re stedene er konservative eller " +"libertarianske, men det er mange av alle politiske farger. Til og med " +"blogger som ikke er politiske dekker politiske temaer nÃ¥r anledningen krever " +"det." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Dean, Howard" +msgstr "Dean, Howard" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The significance of these blogs is tiny now, though not so tiny. The name " +"Howard Dean may well have faded from the 2004 presidential race but for " +"blogs. Yet even if the number of readers is small, the reading is having an " +"effect." +msgstr "" +"Betydningene av disse bloggene er liten nÃ¥, men ikke ubetydelig. Navnet " +"Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett " +"fra hos noen fÃ¥ blogger. Men selv om antallet lesere er lavt, sÃ¥ har det Ã¥ " +"lese dem en effekt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Lott, Trent" +msgstr "Lott, Trent" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Thurmond, Strom" +msgstr "Thurmond, Strom" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "blog pressure on" +msgstr "blogg-press pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "news events on" +msgstr "nyhetsinnslag pÃ¥" + +#. f18 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</" +"quote> New York Times, 16 January 2003, G5." +msgstr "" +"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot</" +"quote>, New York Times, 16. januar 2003, G5." + +#. type: Content of: <book><part><chapter><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 " +"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially " +"praising Thurmond's segregationist policies, he calculated correctly that " +"this story would disappear from the mainstream press within forty-eight " +"hours. It did. But he didn't calculate its life cycle in blog space. The " +"bloggers kept researching the story. Over time, more and more instances of " +"the same <quote>misspeaking</quote> emerged. Finally, the story broke back " +"into the mainstream press. In the end, Lott was forced to resign as senate " +"majority leader.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"En direkte effekt er pÃ¥ historier som hadde en annerledes livssyklus i de " +"store mediene. Trend Lott-affÃ¦ren er et eksempel. Da Logg <quote>sa feil</" +"quote> pÃ¥ en fest for senator Storm Thurmond, og essensielt lovpriste " +"segregeringspolitikken til Thurmond, regnet han ganske riktig med at " +"historien ville forsvinne fra de store mediene i lÃ¸pet av fÃ¸rtiÃ¥tte timer. " +"Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfÃ¦ren. " +"Bloggerne fortsatte Ã¥ undersÃ¸ke historien. Etter hvert dukket flere og " +"flere tilfeller av tilsvarende <quote>feiluttalelser</quote> opp. SÃ¥ dukket " +"historien opp igjen hos de store mediene. Lott ble til slutt tvunget til Ã¥ " +"trekke seg som leder for senatets flertall.<placeholder type=\"footnote\" id=" +"\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "commercial imperatives of" +msgstr "kommersielle imperativer av" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This different cycle is possible because the same commercial pressures don't " +"exist with blogs as with other ventures. Television and newspapers are " +"commercial entities. They must work to keep attention. If they lose " +"readers, they lose revenue. Like sharks, they must move on." +msgstr "" +"Denne annerledes syklusen er mulig pÃ¥ grunn av at et tilsvarende kommersielt " +"press ikke eksisterer hos blogger slik det gjÃ¸r hos andre kanaler. " +"Televisjon og aviser er kommersielle aktÃ¸rer. De mÃ¥ arbeide for Ã¥ holde pÃ¥ " +"oppmerksomheten. Hvis de mister lesere, sÃ¥ mister de inntekter. Som haier, " +"mÃ¥ de bevege seg videre." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "peer-generated rankings on" +msgstr "node-generert rangeringer av" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But bloggers don't have a similar constraint. They can obsess, they can " +"focus, they can get serious. If a particular blogger writes a particularly " +"interesting story, more and more people link to that story. And as the " +"number of links to a particular story increases, it rises in the ranks of " +"stories. People read what is popular; what is popular has been selected by a " +"very democratic process of peer-generated rankings." +msgstr "" +"Men bloggere har ikke tilsvarende begrensninger. De kan bli opphengt, de " +"kan fokusere, de kan bli seriÃ¸se. Hvis en bestemt blogger skriver en " +"spesielt interessant historie, sÃ¥ vil flere og flere folk lenke til den " +"historien. Og etter hvert som antallet lenker til en bestemt historie Ã¸ker, " +"sÃ¥ stiger den i rangeringen for historier. Folk leser det som er populÃ¦rt, " +"og hva som er populÃ¦rt har blitt valgt gjennom en svÃ¦rt demokratisk prosess " +"av likemanns-generert rangering. " + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "journalism" +msgstr "journalistikk" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Winer, Dave" +msgstr "Winer, Dave" + +#. PAGE BREAK 57 +#. type: Content of: <book><part><chapter><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 <quote>conflict of interest.</quote> <quote>I think " +"you have to take the conflict of interest</quote> out of journalism, Winer " +"told me. <quote>An amateur journalist simply doesn't have a conflict of " +"interest, or the conflict of interest is so easily disclosed that you know " +"you can sort of get it out of the way.</quote>" +msgstr "" +"Det er ogsÃ¥ en annen mÃ¥te, hvor blogger har en annen syklus enn de store " +"mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en " +"programvareutvikler i mange tiÃ¥r fortalte meg, er en annen forskjell " +"fravÃ¦ret av finansiell <quote>interessekonflikt</quote>. <quote>Jeg tror du " +"mÃ¥ ta interessekonflikten</quote> ut av journalismen, fortalte Winer meg. " +"<quote>En amatÃ¸rjournalist har ganske enkelt ikke interessekonflikt, eller " +"interessekonflikten er sÃ¥ enkelt Ã¥ avslÃ¸re at du liksom vet du kan rydde den " +"av veien.</quote>" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "CNN" +msgstr "CNN" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Iraq war" +msgstr "Irak-krigen" + +#. f19 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Telephone interview with David Winer, 16 April 2003." +msgstr "Telefonintervju med David Winer, 16. april 2003." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These conflicts become more important as media becomes more concentrated " +"(more on this below). A concentrated media can hide more from the public " +"than an unconcentrated media can—as CNN admitted it did after the Iraq " +"war because it was afraid of the consequences to its own employees." +"<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " +"coherent account. (In the middle of the Iraq war, I read a post on the " +"Internet from someone who was at that time listening to a satellite uplink " +"with a reporter in Iraq. The New York headquarters was telling the reporter " +"over and over that her account of the war was too bleak: She needed to offer " +"a more optimistic story. When she told New York that wasn't warranted, they " +"told her that <emphasis>they</emphasis> were writing <quote>the story.</" +"quote>)" +msgstr "" +"Disse konfliktene blir mer viktig etter hvert som mediene blir mer " +"konsentrert (mer om dette under). Konsentrerte medier kan skjule mer fra " +"offentligheten enn ikke-konsentrerte medier kan—slik CNN innrÃ¸mte at " +"de gjorde etter Irak-krigen fordi de var rett for konsekvensene for sine " +"egne ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger ogsÃ¥ Ã¥ " +"opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste " +"jeg en melding pÃ¥ Internet fra noen som pÃ¥ det tidspunktet lyttet pÃ¥ " +"satellitt-forbindelsen til en reporter i Irak. New York-hovedkvarteret ba " +"reporteren gang pÃ¥ gang at hennes rapport om krigen var for trist: Hun mÃ¥tte " +"tilby en mer optimistisk historie. NÃ¥r hun fortalte New York at det ikke var " +"grunnlag for det, fortalte de henne at det var <emphasis>dem</emphasis> som " +"skrev <quote>historien</quote>.)" + +#. f20 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " +"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 " +"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, " +"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>." +msgstr "" +"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " +"Information Online</quote>, <citetitle>New York Times</citetitle>, 2 februar " +"2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but " +"Strong Overall</quote>, Online Journalism Review, 2. februar 2003, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #10</" +"ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Blog space gives amateurs a way to enter the debate—<quote>amateur</" +"quote> not in the sense of inexperienced, but in the sense of an Olympic " +"athlete, meaning not paid by anyone to give their reports. It allows for a " +"much broader range of input into a story, as reporting on the Columbia " +"disaster revealed, when hundreds from across the southwest United States " +"turned to the Internet to retell what they had seen.<placeholder type=" +"\"footnote\" id=\"0\"/> And it drives readers to read across the range of " +"accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, " +"Winer says, are <quote>communicating directly with our constituency, and the " +"middle man is out of it</quote>—with all the benefits, and costs, that " +"might entail." +msgstr "" +"Blogg-sfÃ¦ren gir amatÃ¸rer en mÃ¥te Ã¥ bli med i debatten—<quote>amatÃ¸r</" +"quote> ikke i betydningen uerfaren, men i betydningen til en Olympisk atlet, " +"det vil si ikke betalt av noen for Ã¥ komme med deres rapport. Det tillater " +"en mye bredere rekke av innspill til en historie, slik rapporteringen " +"Columbia-katastrofen avdekket, nÃ¥r hundrevis fra hele sÃ¸rvest-USA vendte seg " +"til Internettet for Ã¥ gjenfortelle hva de hadde sett.<placeholder type=" +"\"footnote\" id=\"0\"/> Og det fÃ¥r lesere til Ã¥ lese pÃ¥ tvers av en rekke " +"fortellinger og <quote>triangulere</quote>, som Winer formulerer det, " +"sannheten. Blogger, sier Winer, <quote>kommunserer direkte med vÃ¥r " +"velgermasse, og mellommannen er fjernet</quote>— med alle de fordeler " +"og ulemper det kan fÃ¸re med seg." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Olafson, Steve" +msgstr "Olafson, Steve" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" +"\"indexterm\" id=\"3\"/> See Michael Falcone, <quote>Does an Editor's Pencil " +"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29 September " +"2003, C4. (<quote>Not all news organizations have been as accepting of " +"employees who blog. Kevin Sites, a CNN correspondent in Iraq who started a " +"blog about his reporting of the war on March 9, stopped posting 12 days " +"later at his bosses' request. Last year Steve Olafson, a <citetitle>Houston " +"Chronicle</citetitle> reporter, was fired for keeping a personal Web log, " +"published under a pseudonym, that dealt with some of the issues and people " +"he was covering.</quote>)" +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=" +"\"indexterm\" id=\"3\"/> Se Michael Falcone, <quote>Does an Editor's Pencil " +"Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29. september " +"2003, C4. (<quote>Ikke alle nyhetsorganisasjoner har hatt like stor aksept " +"for ansatte som blogger. Kevin Sites, en CNN-korrespondent i Irak som " +"startet en blogg om sin rapportering av krigen 9. mars, stoppet Ã¥ publisere " +"12 dager senere pÃ¥ forespÃ¸rsel fra sine sjefer. I fjor fikk Steve Olafson, " +"en <citetitle>Houston Chronicle</citetitle>-reporter, sparken for Ã¥ ha hatt " +"en personlig web-logg, publisert under pseudonym, som handlet om noen av " +"temaene og folkene som han dekket.</quote>)" + +#. PAGE BREAK 58 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Winer is optimistic about the future of journalism infected with blogs. " +"<quote>It's going to become an essential skill,</quote> Winer predicts, for " +"public figures and increasingly for private figures as well. It's not clear " +"that <quote>journalism</quote> is happy about this—some journalists " +"have been told to curtail their blogging.<placeholder type=\"footnote\" id=" +"\"0\"/> But it is clear that we are still in transition. <quote>A lot of " +"what we are doing now is warm-up exercises,</quote> Winer told me. There is " +"a lot that must mature before this space has its mature effect. And as the " +"inclusion of content in this space is the least infringing use of the " +"Internet (meaning infringing on copyright), Winer said, <quote>we will be " +"the last thing that gets shut down.</quote>" +msgstr "" +"Winer er optimistisk nÃ¥r det gjelder en journalistfremtid infisert av " +"blogger. <quote>Det kommer til Ã¥ bli en nÃ¸dvendig ferdighet</quote>, spÃ¥r " +"Winer, for offentlige aktÃ¸rer og ogsÃ¥ i stÃ¸rre grad for private aktÃ¸rer. " +"Det er ikke klart at <quote>journalismen</quote> er glad for dette—" +"noen journalister har blitt bedt om Ã¥ kutte ut sin blogging.<placeholder " +"type=\"footnote\" id=\"0\"/> Men det er klart at vi fortsatt er i en " +"overgangsfase. <quote>Mye av det vi gjÃ¸r nÃ¥ er oppvarmingsÃ¸velser</quote>, " +"fortalte Winer meg. Det er mye som mÃ¥ modne fÃ¸r dette omrÃ¥det har sin modne " +"effekt. Og etter som inkludering av innhold i dette omrÃ¥det er det omrÃ¥det " +"med minst opphavsrettsbrudd pÃ¥ Internettet, sa Wiener at <quote>vi vil vÃ¦re " +"den siste tingen som blir skutt ned</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This speech affects democracy. Winer thinks that happens because <quote>you " +"don't have to work for somebody who controls, [for] a gatekeeper.</quote> " +"That is true. But it affects democracy in another way as well. As more and " +"more citizens express what they think, and defend it in writing, that will " +"change the way people understand public issues. It is easy to be wrong and " +"misguided in your head. It is harder when the product of your mind can be " +"criticized by others. Of course, it is a rare human who admits that he has " +"been persuaded that he is wrong. But it is even rarer for a human to ignore " +"when he has been proven wrong. The writing of ideas, arguments, and " +"criticism improves democracy. Today there are probably a couple of million " +"blogs where such writing happens. When there are ten million, there will be " +"something extraordinary to report." +msgstr "" +"Slik tale pÃ¥virker demokratiet. Winer mener dette skjer fordi <quote>du " +"trenger ikke jobber for noen som kontrollerer, [for] en portvokter</quote>. " +"Det er sant. Men det pÃ¥virker demokratiet ogsÃ¥ pÃ¥ en annen mÃ¥te. Etter " +"hvert som flere og flere borgere uttrykker hva de mener, og forsvarer det " +"skriftlig, sÃ¥ vil det endre hvordan folk forstÃ¥r offentlige temaer. Det er " +"enkelt Ã¥ ha feil og vÃ¦re pÃ¥ villspor i hodet ditt. Det er vanskeligere nÃ¥r " +"resultatet fra dine tanker kan bli kritisert av andre. Det er selvfÃ¸lgelig " +"et sjeldent menneske som innrÃ¸mmer at han ble overtalt til Ã¥ innse at han " +"tok feil. Men det er mer sjeldent for et menneske Ã¥ ignorere at noen har " +"bevist at han tok feil. Ã skrive ned idÃ©er, argumenter og kritikk forbedrer " +"demokratiet. I dag er det antagelig et par millioner blogger der det " +"skrives pÃ¥ denne mÃ¥ten. NÃ¥r det er ti millioner, sÃ¥ vil det vÃ¦re noe " +"ekstraordinÃ¦rt Ã¥ rapportere." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Brown, John Seely" +msgstr "Brown, John Seely" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>John Seely Brown</emphasis> is the chief scientist " +"of the Xerox Corporation. His work, as his Web site describes it, is " +"<quote>human learning and … the creation of knowledge ecologies for " +"creating … innovation.</quote>" +msgstr "" +"<emphasis role='strong'>John Seely Brown</emphasis> er sjefsforsker ved " +"Xerox Corporation. Hans arbeid, i fÃ¸lge hans eget nettsted, er " +"<quote>menneskelig lÃ¦ring og … Ã¥ skape kunnskapsÃ¸kologier for Ã¥ skape " +"… innovasjon</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Brown thus looks at these technologies of digital creativity a bit " +"differently from the perspectives I've sketched so far. I'm sure he would be " +"excited about any technology that might improve democracy. But his real " +"excitement comes from how these technologies affect learning." +msgstr "" +"Brown ser dermed pÃ¥ disse teknologiene for digital kreativitet litt " +"annerledes enn fra perspektivene jeg har skissert opp sÃ¥ langt. Jeg er " +"sikker pÃ¥ at han blir begeistret for enhver teknologi som kan forbedre " +"demokratiet. Men det han virkelig blir begeistret over er hvordan disse " +"teknologiene pÃ¥virker lÃ¦ring." + +#. PAGE BREAK 59 +#. type: Content of: <book><part><chapter><para> +msgid "" +"As Brown believes, we learn by tinkering. When <quote>a lot of us grew up,</" +"quote> he explains, that tinkering was done <quote>on motorcycle engines, " +"lawnmower engines, automobiles, radios, and so on.</quote> But digital " +"technologies enable a different kind of tinkering—with abstract ideas " +"though in concrete form. The kids at Just Think! not only think about how a " +"commercial portrays a politician; using digital technology, they can take " +"the commercial apart and manipulate it, tinker with it to see how it does " +"what it does. Digital technologies launch a kind of bricolage, or " +"<quote>free collage,</quote> as Brown calls it. Many get to add to or " +"transform the tinkering of many others." +msgstr "" +"Brown tror vi lÃ¦rer med Ã¥ fikle. Da <quote>mange av oss vokste opp</quote>, " +"forklarer han, ble fiklingen gjort <quote>pa motorsykkelmotorer, " +"gressklippermotorer, biler, radioer og sÃ¥ videre</quote>. Men digitale " +"teknologier muliggjÃ¸r en annen type fikling—med abstrakte idÃ©er i sin " +"konkrete form. Ungene i Just Think! tenker ikke bare pÃ¥ hvordan et " +"reklameinnslag fremstiller en politiker. Ved Ã¥ bruke digital teknologi kan " +"de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og " +"se hvordan det blir gjort. Digitale teknologier setter igang en slags " +"*bricolage* eller <quote>fritt tilgjengelig sammenstilling</quote>, som " +"Brown kaller det. Mange fÃ¥r mulighet til Ã¥ legge til pÃ¥ eller endre pÃ¥ " +"fiklingen til mange andre." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The best large-scale example of this kind of tinkering so far is free " +"software or open-source software (FS/OSS). FS/OSS is software whose source " +"code is shared. Anyone can download the technology that makes a FS/OSS " +"program run. And anyone eager to learn how a particular bit of FS/OSS " +"technology works can tinker with the code." +msgstr "" +"Det beste eksemplet i stÃ¸rre skala sÃ¥ langt pÃ¥ denne typen fikling er fri " +"programvare og Ã¥pen kildekode (FS/OSS). FS/OSS er programvare der " +"kildekoden deles ut. Alle kan laste ned teknologien som fÃ¥r et FS/OSS-" +"program til Ã¥ fungere. Og enhver som har lyst til Ã¥ lÃ¦re hvordan en bestemt " +"bit av FS/OSS-teknologi fungerer kan fikle med koden." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This opportunity creates a <quote>completely new kind of learning platform,</" +"quote> as Brown describes. <quote>As soon as you start doing that, you " +"… unleash a free collage on the community, so that other people can " +"start looking at your code, tinkering with it, trying it out, seeing if they " +"can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open " +"source becomes a major apprenticeship platform.</quote>" +msgstr "" +"Denne muligheten gir en <quote>helt ny type lÃ¦ringsplattform</quote>, i " +"fÃ¸lge Brown. <quote>SÃ¥ snart du begynner Ã¥ gjÃ¸re dette, sÃ¥ … slipper " +"du lÃ¸s en fritt tilgjengelig sammenstilling til fellesskapet, slik at andre " +"folk kan begynne Ã¥ se pÃ¥ koden din, fikle med den, teste den, se om de kan " +"forbedre den</quote>. Og hver innsats er et slags lÃ¦retid. <quote>Ãpen " +"kildekode blir en stor lÃ¦rlingsplatform.</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In this process, <quote>the concrete things you tinker with are abstract. " +"They are code.</quote> Kids are <quote>shifting to the ability to tinker in " +"the abstract, and this tinkering is no longer an isolated activity that " +"you're doing in your garage. You are tinkering with a community platform. " +"… You are tinkering with other people's stuff. The more you tinker " +"the more you improve.</quote> The more you improve, the more you learn." +msgstr "" +"I denne prosessen, <quote>er de konkrete tingene du fikler med abstrakte. De " +"er kildekode</quote>. Unger <quote>endres til Ã¥ fÃ¥ evnen til Ã¥ fikle med " +"det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du " +"gjÃ¸r i garasjen din. Du fikler med en fellesskapsplatform. … Du " +"fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer du.</" +"quote> Jo mer du forbedrer, jo mer lÃ¦rer du." + +#. type: Content of: <book><part><chapter><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, " +"<quote>the Web [is] the first medium that truly honors multiple forms of " +"intelligence.</quote> Earlier technologies, such as the typewriter or word " +"processors, helped amplify text. But the Web amplifies much more than text. " +"<quote>The Web … says if you are musical, if you are artistic, if you " +"are visual, if you are interested in film … [then] there is a lot you " +"can start to do on this medium. [It] can now amplify and honor these " +"multiple forms of intelligence.</quote>" +msgstr "" +"Denne sammen tingen skjer ogsÃ¥ med innhold. Og det skjer pÃ¥ samme " +"samarbeidende mÃ¥te nÃ¥r dette innholdet er del av nettet. Som Brown " +"formulerer det, <quote>nettet er det fÃ¸rste medium som virkelig tar hensyn " +"til flere former for intelligens</quote>. Tidligere teknologier, slik som " +"skrivemaskin eller tekstbehandling, hjelper med Ã¥ fremme tekst. Men nettet " +"fremmer mye mer enn tekst. <quote>Nettet … si hvis du er musikalsk, " +"hvis du er kunstnerisk, hvis du er visuell, hvis du er interessert i film " +"…da er det en masse du kan gÃ¥ igang med pÃ¥ dette mediet. Det kan " +"fremme og ta hensyn til alle disse formene for intelligens.</quote>" + +#. PAGE BREAK 60 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " +"Think! teach: that this tinkering with culture teaches as well as creates. " +"It develops talents differently, and it builds a different kind of " +"recognition." +msgstr "" +"Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lÃ¦rer " +"bort: at denne fiklingen med kultur lÃ¦rer sÃ¥vel som den skaper. Den utvikler " +"talenter litt anderledes, og den bygger en annen type gjenkjenning." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " +"we'll see through the course of this book, that freedom is increasingly " +"highly contested. While there's no doubt that your father had the right to " +"tinker with the car engine, there's great doubt that your child will have " +"the right to tinker with the images she finds all around. The law and, " +"increasingly, technology interfere with a freedom that technology, and " +"curiosity, would otherwise ensure." +msgstr "" +"Likevel er friheten til Ã¥ fikle med disse objektene ikke garantert. Faktisk, " +"som vi vil se i lÃ¸pet av denne boken, er den friheten i stadig stÃ¸rre grad " +"omstridt. Mens det ikke er noe tvil om at din far hadde rett til Ã¥ fikle " +"med bilmotoren, sÃ¥ er det stor tvil om dine barn vil ha retten til Ã¥ fikle " +"med bilder som hun finner over alt. Loven, og teknologi i stadig stÃ¸rre " +"grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre." + +#. f22 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See, for example, Edward Felten and Andrew Appel, <quote>Technological " +"Access Control Interferes with Noninfringing Scholarship,</quote> " +"<citetitle>Communications of the Association for Computer Machinery</" +"citetitle> 43 (2000): 9." +msgstr "" +"Se for eksempel, Edward Felten og Andrew Appel, <quote>Technological Access " +"Control Interferes with Noninfringing Scholarship,</quote> " +"<citetitle>Communications of the Association for Computer Machinery</" +"citetitle> 43 (2000): 9." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These restrictions have become the focus of researchers and scholars. " +"Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a " +"powerful argument in favor of the <quote>right to tinker</quote> as it " +"applies to computer science and to knowledge in general.<placeholder type=" +"\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " +"fundamental. It is about the learning that kids can do, or can't do, because " +"of the law." +msgstr "" +"Disse begresningene har blitt fokusen for forskere og akademikere. Professor " +"Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"property-i\"/>) har utviklet et kraftfylt " +"argument til fordel for <quote>retten til Ã¥ fikle</quote> slik det gjÃ¸res i " +"informatikk og til kunnskap generelt.<placeholder type=\"footnote\" id=\"0\"/" +"> Men bekymringen til Brown er tidligere, og mer fundamentalt. Det handler " +"om hva slags lÃ¦ring unger kan fÃ¥, eller ikke kan fÃ¥, pÃ¥ grunn av loven." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>This is where education in the twenty-first century is going,</quote> " +"Brown explains. We need to <quote>understand how kids who grow up digital " +"think and want to learn.</quote>" +msgstr "" +"<quote>Dette er dit utviklingen av utdanning i det tjuefÃ¸rste Ã¥rhundret er " +"pÃ¥ vei</quote>, forklarer Brown. Vi mÃ¥ <quote>forstÃ¥ hvordan unger som " +"vokser opp digitalt tenker og Ã¸nsker Ã¥ lÃ¦re</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Yet,</quote> as Brown continued, and as the balance of this book will " +"evince, <quote>we are building a legal system that completely suppresses the " +"natural tendencies of today's digital kids. … We're building an " +"architecture that unleashes 60 percent of the brain [and] a legal system " +"that closes down that part of the brain.</quote>" +msgstr "" +"<quote>Likevel</quote>, fortsatte Brown, og som balansen i denne boken vil " +"fÃ¸re bevis for, <quote>bygger vi et juridisk system som fullstendig " +"undertrykker den naturlige tendensen i dagens digitale unger. … We " +"bygger en arkitektur som frigjÃ¸r 60 prosent av hjernen [og] et juridisk " +"system som stenger ned den delen av hjernen</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"We're building a technology that takes the magic of Kodak, mixes moving " +"images and sound, and adds a space for commentary and an opportunity to " +"spread that creativity everywhere. But we're building the law to close down " +"that technology." +msgstr "" +"Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige " +"bilder og lyd, og legger inn plass for kommentarer og en mulighet til Ã¥ spre " +"denne kreativiteten over alt. Men vi bygger loven for Ã¥ stenge ned denne " +"teknologien." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet " +"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " +"quipped to me in a rare moment of despondence." +msgstr "" +"<quote>Ikke mÃ¥ten Ã¥ drive en kultur pÃ¥</quote>, sa Brewster Kahle, som vi " +"mÃ¸tte i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors" +"\"/>, kommenterte til meg i et sjeldent Ã¸yeblikk av nedstemthet." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER THREE: Catalogs" +msgstr "Kapittel tre: Kataloger" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Jordan, Jesse" +msgstr "Jordan, Jesse" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "RPI" +msgstr "RPI" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Rensselaer Polytechnic Institute (RPI)" +msgstr "Rensselaer Polytechnic Institute (RPI)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "computer network search engine of" +msgstr "datanettverksÃ¸kemotor ved" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "search engines" +msgstr "sÃ¸kemotorer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "university computer networks, p2p sharing on" +msgstr "universitetdatanettverk, p2p-fildeling pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "search engines used on" +msgstr "sÃ¸kemotorer brukt pÃ¥" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan of " +"Oceanside, New York, enrolled as a freshman at Rensselaer Polytechnic " +"Institute, in Troy, New York. His major at RPI was information technology. " +"Though he is not a programmer, in October Jesse decided to begin to tinker " +"with search engine technology that was available on the RPI network." +msgstr "" +"<emphasis role='strong'>HÃ¸sten 2001</emphasis>, ble Jesse Jordan fra " +"Oceanside, New York, innrullert som fÃ¸rsteÃ¥rsstudent ved Rensselaer " +"Polytechnic Institute, i Troy, New York. Hans studieprogram ved RPI var " +"informasjonsteknologi. Selv om han ikke var en programmerer, bestemte Jesse " +"seg i oktober Ã¥ begynne Ã¥ fikle med en sÃ¸kemotorteknologi som var " +"tilgjengelig pÃ¥ RPI-nettverket." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"RPI is one of America's foremost technological research institutions. It " +"offers degrees in fields ranging from architecture and engineering to " +"information sciences. More than 65 percent of its five thousand " +"undergraduates finished in the top 10 percent of their high school class. " +"The school is thus a perfect mix of talent and experience to imagine and " +"then build, a generation for the network age." +msgstr "" +"RPI er en av Amerikas fremste teknologiske forskningsinstitusjoner. De " +"tilbyr grader innen omrÃ¥der som gÃ¥r fra arkitektur og ingeniÃ¸rfag til " +"informasjonsvitenskap. Mer enn 65 prosent av de fem tusen " +"laveregradsstudentene fullfÃ¸rte blant de 10 prosent beste i deres klasse pÃ¥ " +"videregÃ¥ende. Skolen er dermed en perfekt blanding av talent og erfaring " +"for Ã¥ se for seg og deretter bygge, en generasjon tilpasset nettverksalderen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"RPI's computer network links students, faculty, and administration to one " +"another. It also links RPI to the Internet. Not everything available on the " +"RPI network is available on the Internet. But the network is designed to " +"enable students to get access to the Internet, as well as more intimate " +"access to other members of the RPI community." +msgstr "" +"RPIs data-nettverk kobler studenter, forelesere og administrasjon sammen. " +"Det kobler ogsÃ¥ RPI til Internettet. Ikke alt som er tilgjengelig pÃ¥ RPI-" +"nettet er tilgjengelig pÃ¥ Internettet. Men nettverket er utformet for Ã¥ gi " +"alle studentene mulighet til Ã¥ bruke Internettet, i tillegg til mer direkte " +"tilgang til andre medlemmer i RPI-fellesskapet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Google" +msgstr "Google" + +#. PAGE BREAK 62 +#. type: Content of: <book><part><chapter><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 <quote>intranet</quote> search engines, search engines that search " +"within the network of a particular institution, is to provide users of that " +"institution with better access to material from that institution. " +"Businesses do this all the time, enabling employees to have access to " +"material that people outside the business can't get. Universities do it as " +"well." +msgstr "" +"SÃ¸kemotorer er et mÃ¥l pa hvor nÃ¦rt et nettverk oppleves Ã¥ vÃ¦re. Google " +"brakte Internettet mye nÃ¦rmere oss alle ved en utrolig forbedring av " +"kvaliteten pÃ¥ sÃ¸k i nettverket. Spesialiserte sÃ¸kemotorer kan gjÃ¸re dette " +"enda bedre. IdÃ©en med <quote>intranett</quote>-sÃ¸kemotorer, sÃ¸kemotorer som " +"kun sÃ¸ker internt i nettverket til en bestemt institusjon, er Ã¥ tilby " +"brukerne i denne institusjonen bedre tilgang til materiale fra denne " +"institusjonen. Bedrifter gjÃ¸r dette hele tiden, ved Ã¥ gi ansatte mulighet " +"til Ã¥ fÃ¥ tak i materiale som folk pÃ¥ utsiden av bedriften ikke kan fÃ¥ tak i. " +"Universitetet gjÃ¸r ogsÃ¥ dette." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Microsoft" +msgstr "Microsoft" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "network file system of" +msgstr "nettverksfilsystemet til" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These engines are enabled by the network technology itself. Microsoft, for " +"example, has a network file system that makes it very easy for search " +"engines tuned to that network to query the system for information about the " +"publicly (within that network) available content. Jesse's search engine was " +"built to take advantage of this technology. It used Microsoft's network file " +"system to build an index of all the files available within the RPI network." +msgstr "" +"Disse motorene blir muliggjort av nettverksteknologien selv. For eksempel " +"har Microsoft et nettverksfilsystem som gjÃ¸r det veldig enkelt for " +"sÃ¸kemotorer tilpasset det nettverket Ã¥ spÃ¸rre systemet etter informasjon om " +"det offentlig (innen nettverket) tilgjengelige innholdet. SÃ¸kemotoren til " +"Jesse var bygget for Ã¥ dra nytte av denne teknologien. Den brukte " +"Microsofts nettverksfilsystem for Ã¥ bygge en indeks over alle filene " +"tilgjengelig inne i RPI-nettverket." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's wasn't the first search engine built for the RPI network. Indeed, " +"his engine was a simple modification of engines that others had built. His " +"single most important improvement over those engines was to fix a bug within " +"the Microsoft file-sharing system that could cause a user's computer to " +"crash. With the engines that existed before, if you tried to access a file " +"through a Windows browser that was on a computer that was off-line, your " +"computer could crash. Jesse modified the system a bit to fix that problem, " +"by adding a button that a user could click to see if the machine holding the " +"file was still on-line." +msgstr "" +"Jesse sin var ikke den fÃ¸rste sÃ¸kemotoren bygget for RPI-nettverket. Hans " +"motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans " +"viktigste enkeltforbedring i forhold til disse motorene var Ã¥ fikse en feil " +"i Microsofts fildelings-system som fikk en brukers datamaskin til Ã¥ krasje. " +"Med motorene som hadde eksistert tidligere, hvis du forsÃ¸kte Ã¥ koble deg ved " +"hjelp av Windows-utforskeren til en fil som var pÃ¥ en datamaskin som ikke " +"var pÃ¥ nett, sÃ¥ ville din datamaskin krasje. Jesse endret systemet litt for " +"Ã¥ fikse det problemet, ved Ã¥ legge til en knapp som en bruker kunne klikke " +"pÃ¥ for Ã¥ se om maskinen som hadde filen fortsatt var pÃ¥ nett." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's engine went on-line in late October. Over the following six months, " +"he continued to tweak it to improve its functionality. By March, the system " +"was functioning quite well. Jesse had more than one million files in his " +"directory, including every type of content that might be on users' computers." +msgstr "" +"Motoren til Jesse kom pa nett i slutten av oktober. I lÃ¸pet av de fÃ¸lgende " +"seks mÃ¥nedene fortsatte han Ã¥ justere den for Ã¥ forbedre dens " +"funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn " +"en million filer i sin katalog, inkludert alle mulige typer innhold som " +"fantes pÃ¥ brukernes datamaskiner." + +#. PAGE BREAK 63 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Thus the index his search engine produced included pictures, which students " +"could use to put on their own Web sites; copies of notes or research; copies " +"of information pamphlets; movie clips that students might have created; " +"university brochures—basically anything that users of the RPI network " +"made available in a public folder of their computer." +msgstr "" +"Dermed inneholdt indeksen som hans sÃ¸kemotor produserte bilder, som " +"studentene kunne bruke til Ã¥ legge inn pÃ¥ sine egne nettsider, kopier av " +"notater og forskning, kopier av informasjonshefter, filmklipp som studentene " +"kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som " +"brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe pÃ¥ sine " +"datamaskiner." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "tinkering as means of" +msgstr "fikling som metode for" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But the index also included music files. In fact, one quarter of the files " +"that Jesse's search engine listed were music files. But that means, of " +"course, that three quarters were not, and—so that this point is " +"absolutely clear—Jesse did nothing to induce people to put music files " +"in their public folders. He did nothing to target the search engine to these " +"files. He was a kid tinkering with a Google-like technology at a university " +"where he was studying information science, and hence, tinkering was the aim. " +"Unlike Google, or Microsoft, for that matter, he made no money from this " +"tinkering; he was not connected to any business that would make any money " +"from this experiment. He was a kid tinkering with technology in an " +"environment where tinkering with technology was precisely what he was " +"supposed to do." +msgstr "" +"Men indeksen inneholdt ogsÃ¥ musikkfiler. Faktisk var en fjerdedel av filene " +"som Jesses sÃ¸kemotor inneholdt musikkfiler. Men det betyr, naturligvis, at " +"tre fjerdedeler ikke var det, og—slik at dette poenget er helt " +"klart—Jesse gjorde ingenting for Ã¥ fÃ¥ folk til Ã¥ plassere musikkfiler " +"i deres fellesmapper. Han gjorde ingenting for Ã¥ sikte sÃ¸kemotoren mot " +"disse filene. Han var en ungdom som fiklet med Google-lignende teknologi " +"ved et universitet der han studerte informasjonsvitenskap, og dermed var " +"fiklingen mÃ¥let. I motsetning til Google, eller Microsoft for den saks " +"skyld, tjente han ingen penger pÃ¥ denne fiklingen. Han var ikke knyttet til " +"noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en " +"ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi " +"var nÃ¸yaktig hva han var ment Ã¥ gjÃ¸re." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "in recording industry" +msgstr "i plateindustri" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "against student file sharing" +msgstr "mot student-fildeling" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "recording industry" +msgstr "plateindustrien" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "copyright infringement lawsuits of" +msgstr "sÃ¸ksmÃ¥l om opphavsrettbrudd fra" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Recording Industry Association of America (RIAA)" +msgstr "Recording Industry Association of America (RIAA)" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "copyright infringement lawsuits filed by" - msgstr "krenkelse av opphavsrett sÃ¸ksmÃ¥l" ++msgstr "stevning i sak om om krenkelse av opphavsrett tatt ut av" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " +"dean informed Jesse that the Recording Industry Association of America, the " +"RIAA, would be filing a lawsuit against him and three other students whom he " +"didn't even know, two of them at other universities. A few hours later, " +"Jesse was served with papers from the suit. As he read these papers and " +"watched the news reports about them, he was increasingly astonished." +msgstr "" +"Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved " +"RPI. Lederen fortalte Jesse at Foreningen for musikkindustri i USA, RIAA, " +"ville levere inn et sÃ¸ksmÃ¥l mot han og tre andre studenter som han ikke en " +"gang kjente, to av dem pÃ¥ andre universiteter. Noen fÃ¥ timer senere ble " +"Jesse forkynt sÃ¸ksmÃ¥let og fikk overlevert dokumentene. Mens han leste " +"disse dokumentene og sÃ¥ pÃ¥ nyhetsrapportene om den, ble han stadig mer " +"forbauset." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>It was absurd,</quote> he told me. <quote>I don't think I did " +"anything wrong. … I don't think there's anything wrong with the " +"search engine that I ran or … what I had done to it. I mean, I hadn't " +"modified it in any way that promoted or enhanced the work of pirates. I just " +"modified the search engine in a way that would make it easier to use</" +"quote>—again, a <emphasis>search engine</emphasis>, which Jesse had " +"not himself built, using the Windows filesharing system, which Jesse had not " +"himself built, to enable members of the RPI community to get access to " +"content, which Jesse had not himself created or posted, and the vast " +"majority of which had nothing to do with music." +msgstr "" +"<quote>Det var absurd</quote>, fortalte han meg. <quote>Jeg mener at jeg " +"ikke gjorde noe galt. … Jeg mener det ikke er noe galt med " +"sÃ¸kemotoren som jeg kjÃ¸rte eller … hva jeg hadde gjort med den. Jeg " +"mener, jeg hadde ikke endret den pÃ¥ noen mÃ¥te som fremmet eller forbedret " +"arbeidet til pirater. Jeg endret kun sÃ¸kemotoren slik at den ble enklere Ã¥ " +"bruke</quote>—igjen, en <emphasis>sÃ¸kemotor</emphasis>, som Jesse ikke " +"hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse ikke " +"hadde bygd selv, for Ã¥ gjÃ¸re det mulig for medlemmer av RPI-fellesskapet Ã¥ " +"fÃ¥ tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig, " +"og der det store flertall av dette ikke hadde noe Ã¥ gjÃ¸re med musikk." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "exaggerated claims of" +msgstr "overdrevne pÃ¥stander om" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "statutory damages of" +msgstr "lovbestemte skader for" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "individual defendants intimidated by" - msgstr "individuelle saksÃ¸kte skremt av" ++msgstr "de enkelte saksÃ¸kte skremt av" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "statutory damages" +msgstr "lovbestemte skader" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "intimidation tactics of" +msgstr "skremselstaktikker til" + +#. PAGE BREAK 64 +#. type: Content of: <book><part><chapter><para> +msgid "" +"But the RIAA branded Jesse a pirate. They claimed he operated a network and " +"had therefore <quote>willfully</quote> violated copyright laws. They " +"demanded that he pay them the damages for his wrong. For cases of " +"<quote>willful infringement,</quote> the Copyright Act specifies something " +"lawyers call <quote>statutory damages.</quote> These damages permit a " +"copyright owner to claim $150,000 per infringement. As the RIAA alleged more " +"than one hundred specific copyright infringements, they therefore demanded " +"that Jesse pay them at least $15,000,000." +msgstr "" +"Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og " +"dermed <quote>med vilje</quote> hadde brutt Ã¥ndsverkslovene. De krevde at " +"han betalte dem skadeerstatning for det han hadde gjort galt. I saker med " +"<quote>krenkelser med vilje</quote>, spesifiserer Ã¥ndsverksloven noe som " +"advokater kaller <quote>lovbestemte skader</quote>. Disse skadene tillater " +"en opphavsrettighetseier Ã¥ kreve $150 000 per krenkelse. Etter som " +"RIAA pÃ¥sto det var mer enn et hundre spesifikke opphavsrettskrenkelser, " +"krevde de dermed at Jesse betalte dem minst $15 000 000." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Michigan Technical University" +msgstr "Michigan Technical University" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Princeton University" +msgstr "Princeton University" + +#. f1 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " +"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media " +"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." +msgstr "" +"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " +"Alleges $97.8 Billion in Damages</quote>, <citetitle>Professional Media " +"Group LCC</citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443." + +#. type: Content of: <book><part><chapter><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 " +"<quote>damages</quote> that the RIAA claimed it was entitled to. If you " +"added up the claims, these four lawsuits were asking courts in the United " +"States to award the plaintiffs close to $100 <emphasis>billion</" +"emphasis>—six times the <emphasis>total</emphasis> profit of the film " +"industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Lignende sÃ¸ksmÃ¥l ble gjort mot tre andre studenter: en annen student ved " +"RPI, en ved Michegan Technical University og en ved Princeton. Deres " +"situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige " +"detaljer, var hovedpoenget nÃ¸yaktig det samme: store krav om " +"<quote>erstatning</quote> som RIAA pÃ¥sto de hadde rett pÃ¥. Hvis du summerte " +"opp disse kravene, ba disse fire sÃ¸ksmÃ¥lene domstolene i USA Ã¥ tildele " +"saksÃ¸kerne nesten $100 <emphasis>milliarder</emphasis>—seks ganger det " +"<emphasis>totale</emphasis> overskuddet til filmindustrien i 2001." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse called his parents. They were supportive but a bit frightened. An " +"uncle was a lawyer. He began negotiations with the RIAA. They demanded to " +"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " +"other employment. They demanded $12,000 to dismiss the case." +msgstr "" +"Jesse kontaktet sine foreldre. De stÃ¸ttet ham, men var litt skremt. En " +"onkel var advokat. Han startet forhandlinger med RIAA. De krevde Ã¥ fÃ¥ vite " +"hvor mye penger Jesse hadde. Jesse hadde spart opp $12 000 fra " +"sommerjobber og annet arbeid. De krevde 12 000 for Ã¥ trekke saken." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Oppenheimer, Matt" +msgstr "Oppenheimer, Matt" + +#. type: Content of: <book><part><chapter><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, <quote>You don't want to " +"pay another visit to a dentist like me.</quote>) And throughout, the RIAA " +"insisted it would not settle the case until it took every penny Jesse had " +"saved." +msgstr "" +"RIAA ville at Jesse skulle innrÃ¸mme at han hadde gjort noe galt. Han " +"nektet. De ville ha han til Ã¥ godta en kjennelse som i praksis ville gjÃ¸re " +"det umulig for han Ã¥ arbeide i mange omrÃ¥der innen teknologi for resten av " +"hans liv. Han nektet. De fikk han til Ã¥ forstÃ¥ at denne prosessen med Ã¥ " +"bli saksÃ¸kt ikke kom til Ã¥ bli hyggelig. (Som faren til Jesse refererte til " +"meg, fortalte sjefsadvokaten pÃ¥ saken, Matt Oppenheimer, <quote>Du Ã¸nsker " +"ikke et tannlegebesÃ¸k hos meg flere ganger</quote>) Og gjennom det hele " +"insisterte RIAA at de ikke ville inngÃ¥ forlik fÃ¸r de hadde tatt hver eneste " +"Ã¸re som Jesse hadde spart opp." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "legal system, attorney costs in" +msgstr "juridisk system, advokatkostnader i" + +#. PAGE BREAK 65 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's family was outraged at these claims. They wanted to fight. But " +"Jesse's uncle worked to educate the family about the nature of the American " +"legal system. Jesse could fight the RIAA. He might even win. But the cost of " +"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " +"he won, he would not recover that money. If he won, he would have a piece of " +"paper saying he had won, and a piece of paper saying he and his family were " +"bankrupt." +msgstr "" +"Familien til Jessie ble opprÃ¸rt over disse pÃ¥standene. De Ã¸nsket Ã¥ kjempe. " +"Men onkelen til Jessie gjorde en innsats for Ã¥ lÃ¦re familien om hvordan det " +"amerikanske juridiske systemet fungerte. Jesse kunne sloss mot RIAA. Han " +"kunne til og med vinne. Men kostnaden med Ã¥ loss mot et sÃ¸ksmÃ¥l som dette, " +"ble Jesse fortalt, ville vÃ¦re minst $250 000. Hvis han vant ville han " +"ikke fÃ¥ tilbake noen av de pengene. Hvis han vant, sÃ¥ ville han ha en bit " +"papir som sa at han vant, og en bit papir som sa at han og hans familie var " +"konkurs." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " +"$12,000 and a settlement." +msgstr "" +"SÃ¥ Jesse hadde et mafia-lignende valg: $250 000 og en sjanse til Ã¥ " +"vinne, eller $12 000 og et forlik." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "artists" +msgstr "artister" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "recording industry payments to" +msgstr "musikkindustriens betaling til" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "artist remuneration in" - msgstr "artist godtgjÃ¸relse i" ++msgstr "artisthonorar i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "lobbying power of" - msgstr "lobbyvirksomhet makt" ++msgstr "lobbymakten til" + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Occupational Employment Survey, U.S. Dept. of Labor (2001) " +"(27–2042—Musicians and Singers). See also National Endowment for " +"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." +msgstr "" +"Occupational Employment Survey, U.S. Dept. of Labor (2001) " +"(27–2042—Musikere og Sangere). Se ogsÃ¥ National Endowment for " +"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</" +"quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." +msgstr "" +"Douglas Lichtman kommer med et relatert poeng i <quote>KaZaA and Punishment," +"</quote> <citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The recording industry insists this is a matter of law and morality. Let's " +"put the law aside for a moment and think about the morality. Where is the " +"morality in a lawsuit like this? What is the virtue in scapegoatism? The " +"RIAA is an extraordinarily powerful lobby. The president of the RIAA is " +"reported to make more than $1 million a year. Artists, on the other hand, " +"are not well paid. The average recording artist makes $45,900.<placeholder " +"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " +"and direct policy. So where is the morality in taking money from a student " +"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Musikkindustrien insisterer at dette er et spÃ¸rsmÃ¥l om lov og moral. La oss " +"legge loven til side for et Ã¸yeblikk og tenke pÃ¥ moralen. Hvor er moralen i " +"et sÃ¸ksmÃ¥l som dette? Hva er dyden i Ã¥ skape offerlam. RIAA er en spesielt " +"mektig lobby. Presidenten i RIAA tjener i fÃ¸lge rapporter mer enn $1 " +"million i Ã¥ret. Artister, pÃ¥ den andre siden, fÃ¥r ikke godt betalt. Den " +"gjennomsnittlige innspillingsartist tjener $45 900.<placeholder type=" +"\"footnote\" id=\"0\"/> Det er utallige mÃ¥ter som RIAA kan bruke for Ã¥ " +"pÃ¥virke og styre politikken. SÃ¥ hva er det moralske i Ã¥ ta penger fra en " +"student for Ã¥ drive en sÃ¸kemotor?<placeholder type=\"footnote\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " +"case against him was then dismissed. And with this, this kid who had " +"tinkered a computer into a $15 million lawsuit became an activist:" +msgstr "" +"23. juni overfÃ¸rte Jesse alle sine oppsparte midler til advokaten som jobbet " +"for RIAA. Saken mot ham ble trukket. Og med dette, ble unggutten som hadde " +"fiklet med en datamaskin og blitt saksÃ¸kt for 15 millioner dollar en " +"aktivist:" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"I was definitely not an activist [before]. I never really meant to be an " +"activist. … [But] I've been pushed into this. In no way did I ever " +"foresee anything like this, but I think it's just completely absurd what the " +"RIAA has done." +msgstr "" +"Jeg var definitivt ikke en aktivist [tidligere]. Jeg mente egentlig aldri Ã¥ " +"vÃ¦re en aktivist. … [men] jeg har blitt skjÃ¸vet inn i dette. Jeg " +"forutsÃ¥ over hodet ikke noe slik som dette, men jeg tror det er bare helt " +"absurd det RIAA har gjort." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Jesse's parents betray a certain pride in their reluctant activist. As his " +"father told me, Jesse <quote>considers himself very conservative, and so do " +"I. … He's not a tree hugger. … I think it's bizarre that they " +"would pick on him. But he wants to let people know that they're sending the " +"wrong message. And he wants to correct the record.</quote>" +msgstr "" +"Foreldrene til Jesse avslÃ¸rer en viss stolthet over deres motvillige " +"aktivist. Som hans far fortalte meg, Jesse <quote>anser seg selv for Ã¥ vÃ¦re " +"konservativ, og det samme gjÃ¸r jeg. … Han er ingen treklemmer. " +"… Jeg synes det er sÃ¦rt at de ville lage brÃ¥k med ham. Men han " +"Ã¸nsker Ã¥ la folk vite at de sender feil budskap. Og han Ã¸nsker Ã¥ korrigere " +"rullebladet.</quote>" + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER FOUR: <quote>Pirates</quote>" +msgstr "Kapittel fire: <quote>Pirater</quote>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "in development of content industry" - msgstr "i utviklingen av innhold industri" ++msgstr "i utviklingen av innholdsindustri" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>If <quote>piracy</quote> means</emphasis> using the " +"creative property of others without their permission—if <quote>if " +"value, then right</quote> is true—then the history of the content " +"industry is a history of piracy. Every important sector of <quote>big media</" +"quote> today—film, records, radio, and cable TV—was born of a " +"kind of piracy so defined. The consistent story is how last generation's " +"pirates join this generation's country club—until now." +msgstr "" +"<emphasis role='strong'>Hvis <quote>piratvirksomhet</quote> betyr</emphasis> " +"Ã¥ bruke den kreative eiendommen til andre uten deres tillatelse—hvis " +"<quote>hvis verdi, sÃ¥ rettighet</quote> er sant—da er historien om " +"innholdsindustrien en historie om piratvirksomhet. Hver eneste viktige " +"sektor av <quote>store medier</quote> i dag—film, plater, radio og " +"kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den " +"konsekvente fortellingen er at forrige generasjon pirater blir del av denne " +"generasjonens borgerskap—inntil nÃ¥." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Film" +msgstr "Film" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro " +"for pointing me to this extraordinary history. See also Siva Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 87–93, which details " +"Edison's <quote>adventures</quote> with copyright and patent." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Jeg er takknemlig til Peter " +"DiMauro for Ã¥ ha pekt meg i retning av denne ekstraordinÃ¦re historien. Se " +"ogsÃ¥ Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " +"87–93, som forteller detaljer om Edisons <quote>eventyr</quote> med " +"opphavsrett og patent." + +#. PAGE BREAK 67 +#. type: Content of: <book><part><chapter><section><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 <quote>trust,</quote> the " +"Motion Pictures Patents Company, and were based on Thomas Edison's creative " +"property—patents. Edison formed the MPPC to exercise the rights this " +"creative property gave him, and the MPPC was serious about the control it " +"demanded." +msgstr "" +"Filmindustrien i Hollywood var bygget av flyktende pirater.<placeholder type=" +"\"footnote\" id=\"0\"/> Skapere og regissÃ¸rer migrerte fra Ã¸stkysten til " +"California tidlig i det tjuende Ã¥rhundret delvis for Ã¥ slippe unna " +"kontrollene som patenter ga oppfinneren av det Ã¥ lage filmer, Thomas " +"Edison. Disse kontrollene be utÃ¸vet gjennom et monopol-<quote>kartell</" +"quote>, The Motion Pictures Patents company, og var basert pÃ¥ Thomas Edisons " +"kreative eierrettigheter—patenter. Edison stiftet MPPC for Ã¥ utÃ¸ve " +"rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriÃ¸st " +"med kontrollen de krevde." + +#. type: Content of: <book><part><chapter><section><para> +msgid "As one commentator tells one part of the story," +msgstr "Som en kommentator forteller en del av historien," + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"A January 1909 deadline was set for all companies to comply with the " +"license. By February, unlicensed outlaws, who referred to themselves as " +"independents protested the trust and carried on business without submitting " +"to the Edison monopoly. In the summer of 1909 the independent movement was " +"in full-swing, with producers and theater owners using illegal equipment and " +"imported film stock to create their own underground market." +msgstr "" +"En tidsfrist ble satt til januar 1909 for alle selskaper Ã¥ komme i samsvar " +"med lisensen. NÃ¥r februar kom, protesterte de ulisensierte fredlÃ¸se, som " +"refererte til seg selv som uavhengige, mot kartellet og fortsatte sin " +"forretningsvirksomhet uten Ã¥ bÃ¸ye seg for Edisons monopol. Sommeren 1909 " +"var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som " +"brukte ulovlig utstyr og importerte filmlager for Ã¥ opprette sitt eget " +"undergrunnsmarked." + +#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> +msgid "Fox, William" +msgstr "Fox, William" + +#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary> +msgid "General Film Company" +msgstr "General Film Company" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Picker, Randal C." +msgstr "Picker, Randal C." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "broadcast flag" +msgstr "kringkastingsflagg" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " +"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " +"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion " +"Picture Patents Company vs. the Independent Outlaws,</quote> available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a " +"discussion of the economic motive behind both these limits and the limits " +"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison " +"to the Broadcast Flag: Mechanisms of Consent and Refusal and the " +"Propertization of Copyright</quote> (September 2002), University of Chicago " +"Law School, James M. Olin Program in Law and Economics, Working Paper No. " +"159. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " +"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) og " +"utvidede tekster lagt ut pÃ¥ <quote>The Edison Movie Monopoly: The Motion " +"Picture Patents Company vs. the Independent Outlaws</quote>, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For en " +"diskusjon om det Ã¸konomiske motivet bak begge disse begresningene, og " +"begresningene pÃ¥lagt av Victor pÃ¥ fonografer, se Randal C. Picker, " +"<quote>From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal " +"and the Propertization of Copyright</quote> (september 2002), University of " +"Chicago Law School, James M. Olin Program in Law and Economics, Working " +"Paper No. 159. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"With the country experiencing a tremendous expansion in the number of " +"nickelodeons, the Patents Company reacted to the independent movement by " +"forming a strong-arm subsidiary known as the General Film Company to block " +"the entry of non-licensed independents. With coercive tactics that have " +"become legendary, General Film confiscated unlicensed equipment, " +"discontinued product supply to theaters which showed unlicensed films, and " +"effectively monopolized distribution with the acquisition of all U.S. film " +"exchanges, except for the one owned by the independent William Fox who " +"defied the Trust even after his license was revoked.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Med et land som sÃ¥ en kolossal Ã¸kning i antall billige kinoer, sÃ¥kalte " +"nickelodeons, reagerte patentselskapet pÃ¥ bevegelsen av uavhengige med Ã¥ " +"stifte et hardhendt datterselskap ved navn General Film Company for Ã¥ " +"blokkere innfÃ¸ringen av ulisensierte uavhengige. Med tvangstaktikker som " +"har blitt legendariske, konfiskerte General Film ulisensiert utstyr, stoppet " +"varelevering til kinoer som viste ulisensiert fil, og effektivt " +"monopoliserte distribusjon ved Ã¥ kjÃ¸pe opp alle USAs filmsentraler, med " +"unntak av den ene som var eid av den uavhengige William Fox som motsto " +"kartellet selv etter at hans lisens var trukket tilbake.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. f3 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents " +"Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/" +"\">link #12</ulink>." +msgstr "" +"Marc Wanamaker, <quote>The First Studios</quote>, <citetitle>The Silents " +"Majority</citetitle>, arkivert pÃ¥ <ulink url=\"http://free-culture.cc/notes/" +"\">link #12</ulink>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The Napsters of those days, the <quote>independents,</quote> were companies " +"like Fox. And no less than today, these independents were vigorously " +"resisted. <quote>Shooting was disrupted by machinery stolen, and " +"`accidents' resulting in loss of negatives, equipment, buildings and " +"sometimes life and limb frequently occurred.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. " +"California was remote enough from Edison's reach that filmmakers there could " +"pirate his inventions without fear of the law. And the leaders of Hollywood " +"filmmaking, Fox most prominently, did just that." +msgstr "" +"Napsterne i de dager, de <quote>uavhengige</quote>, var selskaper som Fox. " +"Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet. " +"<quote>Opptak ble avbrutt av stjÃ¥let maskineri, og 'uhell' som fÃ¸rte til " +"tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde ofte." +"</quote><placeholder type=\"footnote\" id=\"0\"/> Dette fikk de uavhengige " +"til Ã¥ flykte til Ã¸stkysten. California var fjernt nok fra Edisons " +"innflytelse til at filmskaperne der kunne rÃ¸ve hans nyvinninger uten Ã¥ " +"frykte loven. Og lederne blant Hollywoods filmskapere, Fox mest " +"fremtredende, gjorde akkurat dette." + +#. PAGE BREAK 68 +#. type: Content of: <book><part><chapter><section><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 <quote>limited</quote> monopoly (just seventeen years at that time), " +"by the time enough federal marshals appeared, the patents had expired. A new " +"industry had been born, in part from the piracy of Edison's creative " +"property." +msgstr "" +"California vokste naturligvis raskt, og effektiv hÃ¥ndhevelse av fÃ¸derale " +"lover spredte seg til slutt vestover. Men fordi patenter tildeler " +"patentinnehaveren et i sannhet <quote>begrenset</quote> monopol (kun sytten " +"Ã¥r pÃ¥ den tiden), sÃ¥ patentene var utgÃ¥tt fÃ¸r nok fÃ¸derale lovmenn dukket " +"opp. En ny industri var fÃ¸dt, delvis fra piratvirksomhet mot Edison's " +"kreative rettigheter." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Recorded Music" +msgstr "Innspilt musikk" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on music recordings" +msgstr "om musikkinnspillinger" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The record industry was born of another kind of piracy, though to see how " +"requires a bit of detail about the way the law regulates music." +msgstr "" +"Musikkindustrien ble fÃ¸dt av en annen type piratvirksomhet, dog for Ã¥ forstÃ¥ " +"hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer " +"musikk." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Fourneaux, Henri" +msgstr "Fourneaux, Henri" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Russel, Phil" +msgstr "Russel, Phil" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"At the time that Edison and Henri Fourneaux invented machines for " +"reproducing music (Edison the phonograph, Fourneaux the player piano), the " +"law gave composers the exclusive right to control copies of their music and " +"the exclusive right to control public performances of their music. In other " +"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy " +"Mose,</quote> the law said I would have to pay for the right to get a copy " +"of the musical score, and I would also have to pay for the right to perform " +"it publicly." +msgstr "" +"PÃ¥ den tiden da Edison og Henri Fourneaux fant opp maskiner for Ã¥ " +"reprodusere musikk (Edison fonografen, Fourneaux det automatiske pianoet), " +"gav loven komponister eksklusive rettigheter til Ã¥ kontrollere kopier av " +"deres musikk og eksklusive rettigheter til Ã¥ kontrollere fremfÃ¸ringer av " +"deres musikk. Med andre ord, i 1900, hvis jeg Ã¸nsket et kopi av Phil " +"Russels populÃ¦re lÃ¥t <quote>Happy Mose</quote>, sa loven at jeg mÃ¥tte betale " +"for rettigheten til Ã¥ fÃ¥ en kopi av notearkene, og jeg mÃ¥tte ogsÃ¥ betale for " +"Ã¥ ha rett til Ã¥ fremfÃ¸re det offentlig." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Beatles" +msgstr "Beatles" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But what if I wanted to record <quote>Happy Mose,</quote> using Edison's " +"phonograph or Fourneaux's player piano? Here the law stumbled. It was clear " +"enough that I would have to buy any copy of the musical score that I " +"performed in making this recording. And it was clear enough that I would " +"have to pay for any public performance of the work I was recording. But it " +"wasn't totally clear that I would have to pay for a <quote>public " +"performance</quote> if I recorded the song in my own house (even today, you " +"don't owe the Beatles anything if you sing their songs in the shower), or if " +"I recorded the song from memory (copies in your brain are not—" +"yet— regulated by copyright law). So if I simply sang the song into a " +"recording device in the privacy of my own home, it wasn't clear that I owed " +"the composer anything. And more importantly, it wasn't clear whether I owed " +"the composer anything if I then made copies of those recordings. Because of " +"this gap in the law, then, I could effectively pirate someone else's song " +"without paying its composer anything." +msgstr "" +"Men hva hvis jeg Ã¸nsket Ã¥ spille inn <quote>Happy Mose</quote> ved hjelp av " +"Edisons fonograf eller Fourneaux automatiske piano? Her snublet loven. Det " +"var klart nok at jeg mÃ¥tte kjÃ¸pe en kopi av notene som jeg fremfÃ¸rte nÃ¥r jeg " +"gjorde innspillingen. Og det var klart nok at jeg mÃ¥tte betale for enhver " +"offentlig fremfÃ¸relse av verket jeg spilte inn. Men det var ikke helt klart " +"at jeg mÃ¥tte betale for en <quote>offentlig fremfÃ¸ring</quote> hvis jeg " +"spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til " +"Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte " +"inn sangen fra hukommelsen (kopier i din hjerne er ikke—ennÃ¥—" +"regulert av Ã¥ndsverksloven). SÃ¥ hvis jeg ganske enkelt sang sangen inn i et " +"innspillingsapparat i mitt eget hjem, sÃ¥ var det ikke klart at jeg skyldte " +"komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte " +"komponisten noe hvis jeg sÃ¥ laget kopier av disse innspillingene. PÃ¥ grunn " +"av dette hullet i loven, sa kunne jeg i effekt rÃ¸ve noen andres sang uten Ã¥ " +"betale dets komponist noe." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Kittredge, Alfred" +msgstr "Kittredge, Alfred" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The composers (and publishers) were none too happy about this capacity to " +"pirate. As South Dakota senator Alfred Kittredge put it, <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til " +"Ã¥ rÃ¸ve. Som Senator Alfred Kittredge fra SÃ¸r-Dakota formulerte det," +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 <citetitle>Legislative History of the Copyright Act</" +"citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." +"J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Endre og slÃ¥ sammen lovforslag om Ã¥ respektere opphavsretten: HÃ¸ring om S. " +"6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59, 1. " +"sess. (1906) (uttalelse til senator Alfred B. Kittredge fra SÃ¸r-Dakota, " +"formann), gjengitt i <citetitle>Legislative History of the 1909 Copyright " +"Act</citetitle>, E. Fulton Brylawski og Abe Goldman, red. (South " +"Hackensack, N.J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Imagine the injustice of the thing. A composer writes a song or an opera. A " +"publisher buys at great expense the rights to the same and copyrights it. " +"Along come the phonographic companies and companies who cut music rolls and " +"deliberately steal the work of the brain of the composer and publisher " +"without any regard for [their] rights.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Forestill dere denne urettferdigheten. En komponist skriver en sang eller " +"en opera. En utgiver kjÃ¸per til et hÃ¸y sum rettighetene til denne, og " +"registrerer opphavsretten til den. SÃ¥ kommer de fonografiske selskapene og " +"selskapene som skjÃ¦rer musikk-ruller og med vitende og vilje stjeler " +"arbeidet som kommer fra hjernen til komponisten og utgiveren uten Ã¥ bry seg " +"om [deres] rettigheter.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Sousa, John Philip" +msgstr "Sousa, John Philip" + +#. f5 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " +"Nathan Burkan, attorney for the Music Publishers Association)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra " +"Nathan Burkan, advokat for the Music Publishers Association)." + +#. f6 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " +"Nathan Burkan, attorney for the Music Publishers Association)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra " +"Nathan Burkan, advokat for the Music Publishers Association)." + +#. f7 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " +"John Philip Sousa, composer)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra " +"John Philip Sousa, komponist)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The innovators who developed the technology to record other people's works " +"were <quote>sponging upon the toil, the work, the talent, and genius of " +"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the " +"<quote>music publishing industry</quote> was thereby <quote>at the complete " +"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> " +"As John Philip Sousa put it, in as direct a way as possible, <quote>When " +"they make money out of my pieces, I want a share of it.</quote><placeholder " +"type=\"footnote\" id=\"2\"/>" +msgstr "" +"InnovatÃ¸rene som utviklet teknologien for Ã¥ spille inn andres arbeide " +"<quote>snyltet pÃ¥ innsatsen, arbeidet, talentet og geniet til amerikanske " +"komponister</quote>,<placeholder type=\"footnote\" id=\"0\"/> og " +"<quote>musikkpubliseringsindistrien</quote> var dermed <quote>fullstendig i " +"denne piratens vold</quote>.<placeholder type=\"footnote\" id=\"1\"/> Som " +"John Philip Sousa formulerte det, sÃ¥ direkte som det kan sies, <quote>nÃ¥r de " +"tjener penger pÃ¥ mine stykker, sÃ¥ vil jeg ha en andel</quote>.<placeholder " +"type=\"footnote\" id=\"2\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "American Graphophone Company" +msgstr "American Graphophone Company" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "player pianos" +msgstr "automatiske piano" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Congress, U.S." +msgstr "Kongressen i USA" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on copyright laws" +msgstr "om Ã¥ndsverkslover" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on recording industry" +msgstr "om innspillingenindustri" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "statutory licenses in" +msgstr "lovbestemte lisenser i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "statutory license system in" +msgstr "lovbestemte lisenssystemer i" + +#. f8 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " +"(statement of Albert Walker, representative of the Auto-Music Perforating " +"Company of New York)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 283–84 " +"(uttalelse fra Albert Walker, representant for the Auto-Music Perforating " +"Company of New York)." + +#. f9 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared " +"memorandum of Philip Mauro, general patent counsel of the American " +"Graphophone Company Association)." +msgstr "" +"To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt " +"innlegg fra Philip Mauro, sjefspatentrÃ¥dgiver for the American Graphophone " +"Company Association)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"These arguments have familiar echoes in the wars of our day. So, too, do the " +"arguments on the other side. The innovators who developed the player piano " +"argued that <quote>it is perfectly demonstrable that the introduction of " +"automatic music players has not deprived any composer of anything he had " +"before their introduction.</quote> Rather, the machines increased the sales " +"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " +"innovators argued, the job of Congress was <quote>to consider first the " +"interest of [the public], whom they represent, and whose servants they are.</" +"quote> <quote>All talk about `theft,'</quote> the general counsel of the " +"American Graphophone Company wrote, <quote>is the merest claptrap, for there " +"exists no property in ideas musical, literary or artistic, except as defined " +"by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Disse argumentene hÃ¸res omtrent ut som argumentene fra vÃ¥re dager. Det samme " +"gjÃ¸r argumentene fra den andre siden. Oppfinnerne som utviklet det " +"automatiske pianoet argumenterte med at <quote>det er fullt mulig Ã¥ vise at " +"introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist " +"noe han hadde fÃ¸r det ble introdusert.</quote> I stedet Ã¸kte maskinene " +"salget av noteark.<placeholder type=\"footnote\" id=\"0\"/> Uansett, " +"argumenterte oppfinnerne, jobben til kongressen var <quote>Ã¥ fÃ¸rst vurdere " +"interessen til [folket], som de representerte, og som de skal tjene.</" +"quote>. <quote>Alt snakk om <quote>tyveri</quote></quote>, skrev " +"sjefsjuristen til American Graphophone Company, <quote>er kun nonsens, for " +"det finnes ingen eiendom i musikalske idÃ©er, skriftlig eller kunstnerisk, " +"unntatt det som er definert i loven.</quote><placeholder type=\"footnote\" " +"id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "cover songs" +msgstr "coverlÃ¥ter" + +#. PAGE BREAK 70 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The law soon resolved this battle in favor of the composer <emphasis>and</" +"emphasis> the recording artist. Congress amended the law to make sure that " +"composers would be paid for the <quote>mechanical reproductions</quote> of " +"their music. But rather than simply granting the composer complete control " +"over the right to make mechanical reproductions, Congress gave recording " +"artists a right to record the music, at a price set by Congress, once the " +"composer allowed it to be recorded once. This is the part of copyright law " +"that makes cover songs possible. Once a composer authorizes a recording of " +"his song, others are free to record the same song, so long as they pay the " +"original composer a fee set by the law." +msgstr "" +"Loven lÃ¸ste snart denne kampen i favÃ¸r av <emphasis>bÃ¥de</emphasis> " +"komponisten og innspillingsartisten. Kongressen endret loven slik at " +"komponisten fikk betalt for den <quote>mekaniske reproduksjonen</quote> av " +"deres musikk. Men i stedet for Ã¥ ganske enkelt gi komponisten full kontroll " +"over rettigheten til Ã¥ lage mekaniske reproduksjoner, ga kongressen " +"innspillingsartister rett en til Ã¥ spille inn musikk, til en pris satt av " +"kongressen, sÃ¥ snart komponisten har tillatt at den ble spilt inn en gang. " +"Det er denne delen av Ã¥ndsverksloven som gjÃ¸r cover-lÃ¥ter mulig. SÃ¥ snart " +"en komponist tillater en innspilling av hans sang, har andre mulighet til Ã¥ " +"spille inn samme sang, sÃ¥ lenge de betaler den originale komponisten et " +"gebyr fastsatt av loven." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "compulsory license" +msgstr "tvangslisens" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "statutory licenses" +msgstr "lovbestemte lisenser" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"American law ordinarily calls this a <quote>compulsory license,</quote> but " +"I will refer to it as a <quote>statutory license.</quote> A statutory " +"license is a license whose key terms are set by law. After Congress's " +"amendment of the Copyright Act in 1909, record companies were free to " +"distribute copies of recordings so long as they paid the composer (or " +"copyright holder) the fee set by the statute." +msgstr "" +"Amerikansk lov kaller dette vanligvis en <quote>tvangslisens</quote>, men " +"jeg vil referere til dette som en <quote>lovbestemt lisens</quote>. En " +"lovbestemt lisens er en lisens hvis nÃ¸kkelvilkÃ¥r er bestemt i lovverket. " +"Etter kongressens endring av Ã¥ndsverksloven i 1909, sto plateselskapene " +"fritt til Ã¥ distribuere kopier av innspillinger sÃ¥ lenge som de betalte " +"komponisten (eller opphavsrettsinnehaveren) gebyret spesifisert i lovverket." + +#. type: Content of: <book><chapter><section><section><para><indexterm><primary> +msgid "Grisham, John" +msgstr "Grisham, John" + +#. type: Content of: <book><part><chapter><section><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 Ã¥ndsverksloven. NÃ¥r John Grisham skriver en roman sÃ¥ " +"kan en utgiver kun utgi denne romanen hvis Grisham gir utgiveren tillatelse " +"til det. Grisham stÃ¥r fritt til Ã¥ kreve hvilken som helst betaling for den " +"tillatelsen. Prisen for Ã¥ publisere Grisham er dermed bestemt av Grisham og " +"Ã¥ndsverksloven sier at du ikke har tillatelse til Ã¥ bruke Grishams verker " +"med mindre du har tillatelse fra Grisham." + +#. f10 +#. type: Content of: <book><part><chapter><section><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 " +"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " +"Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " +"Reprints, 1976)." +msgstr "" +"Endring i Ã¥ndsverksloven: HÃ¸ring om S. 2499, S.2900, H.R. 243, og H.R. 11794 " +"foran (felles)-komiteen om patenter, 60. kongr., 1. sess., 217 (1908) " +"(uttalelse fra senator Reed Smooth, formann), gjengitt i " +"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " +"Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman " +"Reprints, 1976)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But the law governing recordings gives recording artists less. And thus, in " +"effect, the law <emphasis>subsidizes</emphasis> the recording industry " +"through a kind of piracy—by giving recording artists a weaker right " +"than it otherwise gives creative authors. The Beatles have less control over " +"their creative work than Grisham does. And the beneficiaries of this less " +"control are the recording industry and the public. The recording industry " +"gets something of value for less than it otherwise would pay; the public " +"gets access to a much wider range of musical creativity. Indeed, Congress " +"was quite explicit about its reasons for granting this right. Its fear was " +"the monopoly power of rights holders, and that that power would stifle " +"follow-on creativity.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Men loven som styrer innspillinger gir innspillingsartisten mindre. Og " +"dermed er effekten at loven <emphasis>subsidierer</emphasis> " +"musikkindustrien med et slags piratvirksomhet—ved Ã¥ gi " +"innspillingsartister en svakere rettighet enn de gir kreative forfattere. " +"The Beatles har mindre kontroll over deres kreative verker enn Grisham har. " +"Og de som nyter godt av at de har mindre kontroll er musikkindustrien og " +"folket. Musikkindustrien fÃ¥r noe av verdi for mindre enn de ellers mÃ¥tte " +"betalt, og folket fÃ¥r tilgang til en stÃ¸rre mengde musikalsk kreativitet. " +"Kongressen var faktisk svÃ¦rt eksplisitt i sine grunner for Ã¥ dele ut denne " +"rettigheten. Den fryktet monopolmakten til rettighetsinnehaverne, og at " +"denne makten skulle kvele pÃ¥fÃ¸lgende kreativitet.<placeholder type=\"footnote" +"\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 vÃ¦rt ganske stille om dette i det siste, har de " +"historisk vÃ¦rt hÃ¸ylytte tilhengere av den lovbestemte lisensen for " +"innspillinger. Som det sto i en rapport fra 1967 utgitt av House Committee " +"on the Judiciary:" + +#. f11 +#. type: Content of: <book><part><chapter><section><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 "" +"Endring av Ã¥ndsverksloven: Rapport som fÃ¸lger H.R. 2512, House Committee on " +"the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967). " +"Jeg er takknemlig til Glenn Brown for Ã¥ ha gjort meg oppmerksom pÃ¥ denne " +"rapporten." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"the record producers argued vigorously that the compulsory license system " +"must be retained. They asserted that the record industry is a half-billion-" +"dollar business of great economic importance in the United States and " +"throughout the world; records today are the principal means of disseminating " +"music, and this creates special problems, since performers need unhampered " +"access to musical material on nondiscriminatory terms. Historically, the " +"record producers pointed out, there were no recording rights before 1909 and " +"the 1909 statute adopted the compulsory license as a deliberate anti-" +"monopoly condition on the grant of these rights. They argue that the result " +"has been an outpouring of recorded music, with the public being given lower " +"prices, improved quality, and a greater choice.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"plateprodusentene argumenterte energisk for at tvangslisens-systemet mÃ¥tte " +"bevares. De tok utgangspunkt i at musikkindustrien er et forretningsomrÃ¥de " +"pÃ¥ en halv milliard dollar som er veldig viktig for Ã¸konomien i USA og " +"resten av verden. Plater er i dag den viktigste mÃ¥ten Ã¥ spre musikk, og " +"dette fÃ¸rer til spesielle problemer, siden utÃ¸vere trenger uhindret tilgang " +"til musikalsk materiale pÃ¥ ikke-diskriminerende vilkÃ¥r. Plateprodusentene " +"pekte pÃ¥ at historisk var det ingen innspillingsrettigheter fÃ¸r 1909 og 1909-" +"endringen i lovverket vedtok tvangslisensen som en gjennomtenkt mekanisme " +"for Ã¥ unngÃ¥ monopol da de tildelte disse rettighetene. De argumenterer med " +"at resultatet har vÃ¦rt at det har strÃ¸mmet pÃ¥ med innspilt musikk, at folket " +"har fÃ¥tt lavere priser, bedre kvalitet og flere valg.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"By limiting the rights musicians have, by partially pirating their creative " +"work, the record producers, and the public, benefit." +msgstr "" +"Ved Ã¥ begrense rettighetene musikere hadde, ved Ã¥ delvis rÃ¸ve deres kreative " +"verk, fikk innspillingsprodusentene, og folket, fordeler." + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Radio" +msgstr "Radio" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "radio broadcast and" +msgstr "radiokringkasting og" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Radio was also born of piracy." +msgstr "Radio kom ogsÃ¥ fra piratvirksomhet." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Hand, Learned" +msgstr "Hand, Learned" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " +"the beginning, record companies printed <quote>Not Licensed for Radio " +"Broadcast</quote> and other messages purporting to restrict the ability to " +"play a record on a radio station. Judge Learned Hand rejected the argument " +"that a warning attached to a record might restrict the rights of the radio " +"station. See <citetitle>RCA Manufacturing Co</citetitle>. v. " +"<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also " +"Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of " +"Consent and Refusal and the Propertization of Copyright,</quote> " +"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" +msgstr "" +"Se 17 <citetitle>United States Code</citetitle>, seksjon 106 og 110. I " +"begynnelsen skrev noen plateselskaper <quote>Ikke lisensiert for " +"radiokringkasting</quote> og andre meldinger som ga inntrykk av Ã¥ begrense " +"muligheten til Ã¥ spille en plate pÃ¥ en radiostasjon. Dommer Learned Hand " +"avviste argumentet om at en advarsel klistret pÃ¥ en plate kunne begrense " +"rettighetene til radiostasjonen. Se <citetitle>RCA Manufacturing Co</" +"citetitle>. mot <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. " +"1940). Se ogsÃ¥ Randal C. Picker, <quote>From Edison to the Broadcast Flag: " +"Mechanisms of Consent and Refusal and the Propertization of Copyright</" +"quote>, <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " +"281. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"When a radio station plays a record on the air, that constitutes a " +"<quote>public performance</quote> of the composer's work.<placeholder type=" +"\"footnote\" id=\"0\"/> As I described above, the law gives the composer (or " +"copyright holder) an exclusive right to public performances of his work. " +"The radio station thus owes the composer money for that performance." +msgstr "" +"NÃ¥r en radiostasjon spiller en plate pÃ¥ luften, sÃ¥ utgjÃ¸r dette en " +"<quote>offentlig fremfÃ¸ring</quote> av komponistens verk.<placeholder type=" +"\"footnote\" id=\"0\"/> Som jeg beskrev over, gir loven komponisten (eller " +"opphavsrettsinnehaveren) en eksklusiv rett til offentlige fremfÃ¸ringer av " +"hans verk. Radiostasjonen skylder dermed komponisten penger for denne " +"fremfÃ¸ringen." + +#. type: Content of: <book><part><chapter><para><indexterm><primary> +msgid "Lovett, Lyle" +msgstr "Lovett, Lyle" + +#. PAGE BREAK 72 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But when the radio station plays a record, it is not only performing a copy " +"of the <emphasis>composer's</emphasis> work. The radio station is also " +"performing a copy of the <emphasis>recording artist's</emphasis> work. It's " +"one thing to have <quote>Happy Birthday</quote> sung on the radio by the " +"local children's choir; it's quite another to have it sung by the Rolling " +"Stones or Lyle Lovett. The recording artist is adding to the value of the " +"composition performed on the radio station. And if the law were perfectly " +"consistent, the radio station would have to pay the recording artist for his " +"work, just as it pays the composer of the music for his work. <placeholder " +"type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Men nÃ¥r en radiostasjon spiller en plage, sÃ¥ fremfÃ¸rer det ikke bare et " +"eksemplar av <emphasis>komponistens</emphasis> verk. Radiostasjonen " +"fremfÃ¸rer ogsÃ¥ et eksemplar av <emphasis>innspillingsartistens</emphasis> " +"verk. Det er en ting Ã¥ fÃ¥ <quote>Happy Birthday</quote> sunget pÃ¥ radio av " +"det lokale barnekoret. Det er noe ganske annet Ã¥ fÃ¥ det sunget av Rolling " +"Stones eller Lyle Lovett. Innspillingsartisten legger til verdi pÃ¥ " +"komposisjonen fremfÃ¸rt pÃ¥ radiostasjonen. Og hvis loven var fullstendig " +"konsistent, sÃ¥ burde radiostasjonen ogsÃ¥ vÃ¦rt nÃ¸dt til Ã¥ betale " +"innspillingsartisten for hans verk, pÃ¥ samme mÃ¥ten som den betaler " +"komponisten av musikken for hans verk. <placeholder type=\"indexterm\" id=" +"\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 gjÃ¸r den ikke. I fÃ¸lge loven som styrer radiofremfÃ¸ringer, trenger " +"ikke radiostasjonen Ã¥ betale noe til innspillingsartisten. Radiostasjonen " +"trenger kun Ã¥ betale komponisten. Radiostasjonen fÃ¥r dermed noe uten Ã¥ " +"betale. Den fÃ¥r fremfÃ¸re innspillingsartistens verk gratis, selv om den mÃ¥ " +"betale komponisten noe for privilegiet det er Ã¥ spille sangen." + +#. type: Content of: <book><part><chapter><para><indexterm><primary> +msgid "Madonna" +msgstr "Madonna" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This difference can be huge. Imagine you compose a piece of music. Imagine " +"it is your first. You own the exclusive right to authorize public " +"performances of that music. So if Madonna wants to sing your song in public, " +"she has to get your permission." +msgstr "" +"Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke " +"musikk. Se for deg at det er ditt fÃ¸rste stykke. Du eier de eksklusive " +"rettighetene til Ã¥ godkjenne offentlig fremfÃ¸ring av den musikken. SÃ¥ hvis " +"Madonna Ã¸nsker Ã¥ synge din sang offentlig, mÃ¥ hun fÃ¥ din tillatelse." + +#. type: Content of: <book><part><chapter><section><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 <quote>protected</quote> right. " +"The radio station thus gets to <emphasis>pirate</emphasis> the value of " +"Madonna's work without paying her anything." +msgstr "" +"Tenkt deg videre at hun synger din sang, og at hun liker den veldig godt. " +"Hun bestemmer seg deretter for Ã¥ spille inn sangen din, og den blir en " +"populÃ¦r hitlÃ¥t. Med vÃ¥r lov vil du fÃ¥ litt penger hver gang en radiostasjon " +"spiller din sang. Men Madonna fÃ¥r ingenting, fortsett fra de indirekte " +"effektene fra salg av hennes CD-er. Den offentlige fremfÃ¸ringen av hennes " +"innspilling er ikke en <quote>beskyttet</quote> rettighet. Radiostasjonen " +"fÃ¥r dermed <emphasis>rÃ¸ve</emphasis> verdien av Madonnas arbeid uten Ã¥ " +"betale henne noen ting." + +#. type: Content of: <book><part><chapter><section><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 "" +"Uten tvil kan en argumentere at, totalt sett, tjener innspillingsartistene " +"pÃ¥ dette. I snitt er reklamen de fÃ¥r verdt mer enn fremfÃ¸ringsrettighetene " +"de frasier seg. Kanskje. Men selv om det er slik, sÃ¥ gir loven vanligvis " +"skaperen retten til Ã¥ gjÃ¸re dette valget. Ved Ã¥ gjÃ¸re valget for ham eller " +"henne, gir loven radiostasjonen rett til Ã¥ ta noe uten Ã¥ betale." + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Cable TV" +msgstr "Kabel-TV" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cable television" +msgstr "kabel-TV" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Cable TV was also born of a kind of piracy." +msgstr "Kabel-TV kom ogsÃ¥ fra en form for piratvirksomhet." + +#. PAGE BREAK 73 +#. type: Content of: <book><part><chapter><section><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-TV-grÃ¼ndere fÃ¸rst begynte Ã¥ koble opp fellesskap med kabel-TV i " +"1948, nektet de fleste Ã¥ betale kringkasterne for innholdet som de sendte " +"videre til sine kunder. Selv da kabelselskapene begynte Ã¥ selge tilgang til " +"TV-kringkastinger, nektet de Ã¥ betale for det de solgte. Kabelselskapene " +"Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster " +"noen gang gjorde—Napster tok aldri betalt for innholdet som det ble " +"mulig for andre Ã¥ gi bort." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Anello, Douglas" +msgstr "Anello, Douglas" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Burdick, Quentin" +msgstr "Burdick, Quentin" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Hyde, Rosel H." +msgstr "Hyde, Rosel H." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV: Hearing on S. 1006 Before the " +"Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee " +"on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. " +"Hyde, chairman of the Federal Communications Commission). <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Endring i Ã¥ndsverksloven—Kabel-TV: HÃ¸ring om S. 1006 foran " +"underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on " +"the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde, " +"styreleder i den fÃ¸derale kommunikasjonskommisjonen.<placeholder type=" +"\"indexterm\" id=\"0\"/>" + +#. f14 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, " +"general counsel of the National Association of Broadcasters)." +msgstr "" +"Endring i Ã¥ndsverksloven—Kabel-TV, 116 (uttalelse fra Douglas A. " +"Anello, sjefsjuristen i Nasjonalforeningen for kringkastere)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Broadcasters and copyright owners were quick to attack this theft. Rosel " +"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair " +"and potentially destructive competition.</quote><placeholder type=\"footnote" +"\" id=\"0\"/> There may have been a <quote>public interest</quote> in " +"spreading the reach of cable TV, but as Douglas Anello, general counsel to " +"the National Association of Broadcasters, asked Senator Quentin Burdick " +"during testimony, <quote>Does public interest dictate that you use somebody " +"else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another " +"broadcaster put it," +msgstr "" +"Kringkastere og opphavsrettsinnehavere var raske til Ã¥ angripe dette " +"tyveriet. Rosel Hyde, styreleder i FCC, sÃ¥ praksisen som en slags " +"<quote>urettferdig og potensielt Ã¸deleggende konkurranse</quote>." +"<placeholder type=\"footnote\" id=\"0\"/> Det kan ha vÃ¦rt en " +"<quote>offentlig interesse</quote> i Ã¥ Ã¸ke spredningen til kabel-TV, men som " +"Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte " +"senator Quentin Burdick under sitt vitnemÃ¥l, <quote>Dikterer offentlig " +"interesse at du kan bruke noen andres eiendom?</quote><placeholder type=" +"\"footnote\" id=\"1\"/> Som en annen kringkaster formulerte det," + +#. f15 +#. type: Content of: <book><part><chapter><section><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 "" +"Endring i Ã¥ndsverksloven—Kabel-TV, 126 (uttalelse fra Ernest W. " +"Jennes, sjefsjurist ved Association of Maximum Service Telecasters, Inc.). " + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"The extraordinary thing about the CATV business is that it is the only " +"business I know of where the product that is being sold is not paid for." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste " +"selskapene jeg vet om hvor produktet som blir solgt ikke er betalt for." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Again, the demand of the copyright holders seemed reasonable enough:" +msgstr "Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:" + +#. f16 +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +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 "" +"Endring i Ã¥ndsverksloven—Kabel-TV, 169 (felles uttalelse fra Arthur " +"B. Krim, president i United Artists Corp. og John Sinn, president i United " +"Artists Television Inc.)." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"All we are asking for is a very simple thing, that people who now take our " +"property for nothing pay for it. We are trying to stop piracy and I don't " +"think there is any lesser word to describe it. I think there are harsher " +"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Alt vi ber om er en veldig enkel ting, at folk som tar vÃ¥r eiendom gratis " +"betaler for den. Vi forsÃ¸ker Ã¥ stoppe piratvirksomhet og jeg kan ikke tenke " +"pÃ¥ et svakere ord for Ã¥ beskrive det. Jeg tror det er sterkere ord som " +"ville passe.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Heston, Charlton" +msgstr "Heston, Charlton" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV, 209 (statement of Charlton Heston, " +"president of the Screen Actors Guild). <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Copyright Law Revision—CATV, 209 (uttalelse fra Charlton Heston, " +"president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president " +"Charlton Heston said, who were <quote>depriving actors of compensation.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Disse var <quote>gratispassasjerer</quote>, sa presidenten Charlton Heston i " +"Screen Actor's Guild, som <quote>tok lÃ¸nna fra skuespillerne</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But again, there was another side to the debate. As Assistant Attorney " +"General Edwin Zimmerman put it," +msgstr "" +"Men igjen, det er en annen side i debatten. Som assisterende justisminister " +"Edwin Zimmerman sa det," + +#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> +msgid "Zimmerman, Edwin" +msgstr "Zimmerman, Edwin" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, " +"acting assistant attorney general). <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, " +"fungerende assisterende justisministeren). <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Our point here is that unlike the problem of whether you have any copyright " +"protection at all, the problem here is whether copyright holders who are " +"already compensated, who already have a monopoly, should be permitted to " +"extend that monopoly. … The question here is how much compensation " +"they should have and how far back they should carry their right to " +"compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" +msgstr "" +"VÃ¥rt poeng her er ikke problemet med om hvorvidt du over hode har " +"opphavsrettsbeskyttelse. Problemet her er hvorvidt opphavsrettsinnehavere " +"som allerede blir kompensert, som allerede har et monopol, skal fÃ¥ lov til Ã¥ " +"utvide dette monopolet. … SpÃ¸rsmÃ¥let er hvor mye kompensasjon de bÃ¸r " +"ha, og hvor langt de kan strekke sin rett pÃ¥ kompensasjon.<placeholder type=" +"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Copyright owners took the cable companies to court. Twice the Supreme Court " +"held that the cable companies owed the copyright owners nothing." +msgstr "" +"Opphavsrettinnehaverne tok kabelselskapene til retten. HÃ¸yesterett fant to " +"ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"It took Congress almost thirty years before it resolved the question of " +"whether cable companies had to pay for the content they <quote>pirated.</" +"quote> In the end, Congress resolved this question in the same way that it " +"resolved the question about record players and player pianos. Yes, cable " +"companies would have to pay for the content that they broadcast; but the " +"price they would have to pay was not set by the copyright owner. The price " +"was set by law, so that the broadcasters couldn't exercise veto power over " +"the emerging technologies of cable. Cable companies thus built their empire " +"in part upon a <quote>piracy</quote> of the value created by broadcasters' " +"content." +msgstr "" +"Det tok kongressen nesten tredve Ã¥r fÃ¸r den fikk lÃ¸st spÃ¸rsmÃ¥let om hvorvidt " +"kabel-TV-selskapene mÃ¥tte betale for innholdet de <quote>rÃ¸vet</quote>. Til " +"slutt lÃ¸ste kongressen dette spÃ¸rsmÃ¥let pÃ¥ samme mÃ¥te som den hadde lÃ¸st " +"spÃ¸rsmÃ¥let om platespillere og automatiske pianoer. Ja, kabel-TV-selskapene " +"mÃ¥tte betale for innholdet som de kringkastet, men prisen de mÃ¥tte betale " +"ble ikke satt av opphavsrettsinnehaveren. Prisen ble fastsatt ved lov, slik " +"at kringkasterne ikke kunne utÃ¸ve vetomakt over den nye teknologien kabel-" +"TV. Kabel-TV-selskapene bygde dermed deres imperium delvis ved Ã¥ " +"<quote>rÃ¸ve</quote> verdien skapt av kringkasternes innhold." + +#. f19 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See, for example, National Music Publisher's Association, <citetitle>The " +"Engine of Free Expression: Copyright on the Internet—The Myth of Free " +"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #13</ulink>. <quote>The threat of piracy—the use of " +"someone else's creative work without permission or compensation—has " +"grown with the Internet.</quote>" +msgstr "" +"Se for eksempel National Music Publisher's Association, <citetitle>The " +"Engine of Free Expression: Copyright on the Internet—The Myth of Free " +"Information</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #13</ulink>. <quote>Trusselen fra piratvirksomhet—" +"bruken av noen andres kreative verker uten tillatelse eller " +"kompensasjons—har vokst med Internettet.</quote>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>These separate stories</emphasis> sing a common " +"theme. If <quote>piracy</quote> means using value from someone else's " +"creative property without permission from that creator—as it is " +"increasingly described today<placeholder type=\"footnote\" id=\"0\"/> " +"— then <emphasis>every</emphasis> industry affected by copyright today " +"is the product and beneficiary of a certain kind of piracy. Film, records, " +"radio, cable TV. … The list is long and could well be expanded. Every " +"generation welcomes the pirates from the last. Every generation—until " +"now." +msgstr "" +"<emphasis role='strong'>Disse separate historiene</emphasis> synger en " +"felles melodi. Hvis <quote>piratvirksomhet</quote> betyr Ã¥ bruke verdien " +"fra noen andres kreative eiendom uten tillatelse fra dets skaper—slik " +"det stadig oftere beskrives i dag<placeholder type=\"footnote\" id=\"0\"/> " +"—da er <emphasis>enhver</emphasis> industri pÃ¥virket av opphavsrett i " +"dag produktet og de som har nytt godt av ulike former for piratvirksomhet. " +"Film, plater, radio, kabel-TV. … Listen er lang og kunne vÃ¦rt " +"lengre. Hver generasjon Ã¸nsker piratene fra den forrige velkommen. Hver " +"generasjon—inntil nÃ¥." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER FIVE: <quote>Piracy</quote>" +msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>There is piracy</emphasis> of copyrighted material. " +"Lots of it. This piracy comes in many forms. The most significant is " +"commercial piracy, the unauthorized taking of other people's content within " +"a commercial context. Despite the many justifications that are offered in " +"its defense, this taking is wrong. No one should condone it, and the law " +"should stop it." +msgstr "" +"Det rÃ¸ves opphavsrettsbeskyttet materiale. Massevis. Og denne " +"piratvirksomheten antar mange former. Den mest betydningsfulle er " +"kommersiell piratvirksomhet, det Ã¥ ta andres innhold uten lov i en " +"kommersiell setting. PÃ¥ tross av de mange forklaringer om hvorfor dette er " +"greit som fremfÃ¸res i dets forsvar, sÃ¥ er dette galt. Ingen bÃ¸r gÃ¥ god for " +"det, og loven bÃ¸r stoppe det." + +#. PAGE BREAK 76 +#. type: Content of: <book><part><chapter><para> +msgid "" +"But as well as copy-shop piracy, there is another kind of <quote>taking</" +"quote> that is more directly related to the Internet. That taking, too, " +"seems wrong to many, and it is wrong much of the time. Before we paint this " +"taking <quote>piracy,</quote> however, we should understand its nature a bit " +"more. For the harm of this taking is significantly more ambiguous than " +"outright copying, and the law should account for that ambiguity, as it has " +"so often done in the past." +msgstr "" +"Men pÃ¥ samme mÃ¥te som med piratvirksomheten til kopierings-firma, sÃ¥ " +"<quote>tas</quote> det pÃ¥ en annen mÃ¥te som er mer direkte relatert til " +"Internettet. Denne mÃ¥ten Ã¥ ta pÃ¥ virker galt for mante, og det er galt mye " +"av tiden. FÃ¸r vi kaller det Ã¥ ta pÃ¥ denne mÃ¥ten for <quote>piratvirksomhet</" +"quote>, bÃ¸r vi dog forstÃ¥ dets natur litt mer. For skaden som denne formen " +"for Ã¥ ta gjÃ¸r er betydelig mer tvetydig enn direkte kopiering, og loven bÃ¸r " +"ta hensyn til denne tvetydigheten, slik den har gjort ofte tidligere. " + +#. type: Content of: <book><part><chapter><section><title> +msgid "Piracy I" +msgstr "Piratvirksomhet I" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Asia, commercial piracy in" +msgstr "Asia, kommersiell piratvirksomhet i" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "CDs" +msgstr "CDer" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "foreign piracy of" +msgstr "utenlands piratvirksomhet mot" + +#. f1 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See IFPI (International Federation of the Phonographic Industry), " +"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " +"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk," +"</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11." +msgstr "" +"Se IFPI (International Federation of the Phonographic Industry), " +"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " +"juli 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #14</ulink>. Se ogsÃ¥ Ben Hunt, <quote>Companies Warned on Music " +"Piracy Risk</quote>, <citetitle>Financial Times</citetitle>, 14. februar " +"2003, 11." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"All across the world, but especially in Asia and Eastern Europe, there are " +"businesses that do nothing but take others people's copyrighted content, " +"copy it, and sell it—all without the permission of a copyright owner. " +"The recording industry estimates that it loses about $4.6 billion every year " +"to physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out " +"to one in three CDs sold worldwide). The MPAA estimates that it loses $3 " +"billion annually worldwide to piracy." +msgstr "" +"Over hele verden, men spesielt i Asia og Ãst-Europa, er det selskaper som " +"ikke gjÃ¸r annet enn Ã¥ ta andre folks opphavsrettsbeskyttede innhold, " +"kopierer det og selger det—alt dette uten tillatelse fra " +"opphavsrettseieren. Musikkindustrien estimerer at de taper rundt $4,6 " +"milliarder hvert Ã¥r pÃ¥ fysisk piratvirksomhet <placeholder type=\"footnote\" " +"id=\"0\"/> (det blir ca. en av tre CD-er solgt pÃ¥ verdensbasis). MPAA " +"estimerer at de taper $3 milliarder pÃ¥ verdensbasis pÃ¥ piratvirksomhet." + +#. type: Content of: <book><part><chapter><section><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 enkelt og greit piratvirksomhet. Ingenting i argumentet i denne " +"boken, og heller ikke i argumentet til de fleste folkene som omtaler temaet " +"i denne boken, bÃ¸r trekke i tvil dette enkle poenget: Slik piratvirksomhet " +"er galt." + +#. type: Content of: <book><part><chapter><section><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 "" +"Hvilket ikke er Ã¥ si at unnskyldninger og begrunnelser ikke kan lages for " +"det. Vi kan, for eksempel, minne oss selv om at for de fÃ¸rste hundre Ã¥rene " +"USA har vÃ¦rt republikk, respekterte ikke USA utenlandske " +"opphavsrettigheter. Vi ble pÃ¥ en mÃ¥te skapt som en piratnasjon. Det kan " +"dermed synes hyklersk for oss Ã¥ insistere sÃ¥ sterkt at andre utviklingsland " +"skal behandle som galt det vi, for de fÃ¸rste hundre Ã¥rene vi eksisterte, " +"behandlet som riktig." + +#. type: Content of: <book><part><chapter><section><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 "" +"Denne unnskyldningen er ikke veldig vektig. Teknisk sett forbÃ¸d ikke vÃ¥rt " +"lovverk Ã¥ ta utenlandske verker. Det begrenset seg eksplisitt til " +"amerikanske verker. Dermed brÃ¸t de amerikanske forleggerne som publiserte " +"utenlandske verker uten tillatelse fra de utenlandske forfattere noen " +"regler. Kopierings-selskapene i Asia bryter derimot loven i Asia. Loven i " +"Asia beskytter utenlandsk opphavsrett, og aktiviteten til kopierings-" +"selskapene bryter den loven. SÃ¥ det at piratvirksomheten er galt er ikke " +"bare moralsk galt, men juridisk galt. Og ikke bare galt i fÃ¸lge " +"internasjonal lovgiving, men ogsÃ¥ juridisk galt etter lokal lovgiving." + +#. PAGE BREAK 77 +#. type: Content of: <book><part><chapter><section><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 "" +"Joda, disse reglene har i praksis blitt pÃ¥tvunget disse landene. Intet land " +"kan vÃ¦re del av verdensÃ¸konomien og velge Ã¥ ikke beskytte opphavsrett " +"internasjonalt. Vi ble kanskje skapt som en piratnasjon, men vi tillater " +"ingen annen nasjon Ã¥ ha en tilsvarende barndom." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "agricultural patents" +msgstr "landbrukspatenter" + +#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary> +msgid "Drahos, Peter" +msgstr "Drahos, Peter" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Peter Drahos with John Braithwaite, Information Feudalism: " +"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " +"Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " +"Property Rights (TRIPS) agreement obligates member nations to create " +"administrative and enforcement mechanisms for intellectual property rights, " +"a costly proposition for developing countries. Additionally, patent rights " +"may lead to higher prices for staple industries such as agriculture. Critics " +"of TRIPS question the disparity between burdens imposed upon developing " +"countries and benefits conferred to industrialized nations. TRIPS does " +"permit governments to use patents for public, noncommercial uses without " +"first obtaining the patent holder's permission. Developing nations may be " +"able to use this to gain the benefits of foreign patents at lower prices. " +"This is a promising strategy for developing nations within the TRIPS " +"framework. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" +msgstr "" +"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " +"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " +"10–13, 209. Avtalen om handelsrelaterte aspektene av immaterielle " +"rettigheter (TRIPS) forplikter medlemsnasjonene til Ã¥ fÃ¥ pÃ¥ plass " +"administrative og hÃ¥ndhevingsmekanismer for immaterielle rettigheter, " +"hvilket er et kostbar forslag for utviklingsland. I tillegg kan " +"patentrettigheter fÃ¸re til hÃ¸yere priser for grunnleggende industrier som " +"landbruk. Kritikerne av TRIPS stiller spÃ¸rsmÃ¥l om avviket mellom " +"belastningen den legger pÃ¥ utviklingland og fordelene den gir til " +"industrialiserte land. TRIPS tillater myndigheter Ã¥ bruke patenter til ikke-" +"kommersielle formÃ¥l som kommer folket til gode uten Ã¥ fÃ¸rst fÃ¥ tillatelse " +"fra patentinnehaveren. Utviklingsland kan vÃ¦re i stand til Ã¥ bruke dette " +"til Ã¥ fÃ¥ fordelene fra utenlandske patenter til lavere priser. Dette er en " +"lovende strategi for utviklingsland innenfor TRIPS-rammeverket. <placeholder " +"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"If a country is to be treated as a sovereign, however, then its laws are its " +"laws regardless of their source. The international law under which these " +"nations live gives them some opportunities to escape the burden of " +"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " +"view, more developing nations should take advantage of that opportunity, but " +"when they don't, then their laws should be respected. And under the laws of " +"these nations, this piracy is wrong." +msgstr "" +"Men likevel, hvis et land skal behandles som selvstendig da er landets lover " +"landets lover, uavhengig av deres kilde. De internasjonale lovene som disse " +"landene lever under gir dem noen muligheter til Ã¥ slippe unna byrden til " +"immaterielle rettighetslover.<placeholder type=\"footnote\" id=\"0\"/> Etter " +"mitt syn burde flere utviklingsland utnytte den muligheten, men nÃ¥r de ikke " +"gjÃ¸r det bÃ¸r deres lover likevel respekteres. Og i fÃ¸lge lovene i disse " +"landene, er piratvirksomhet galt." + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Liebowitz, Stan" +msgstr "Liebowitz, Stan" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"For an analysis of the economic impact of copying technology, see Stan " +"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " +"Amacom, 2002), 144–90. <quote>In some instances … the impact of " +"piracy on the copyright holder's ability to appropriate the value of the " +"work will be negligible. One obvious instance is the case where the " +"individual engaging in pirating would not have purchased an original even if " +"pirating were not an option.</quote> Ibid., 149. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"For en analyse av den Ã¸konomiske effekten av kopieringsteknologi, se Stan " +"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " +"Amacom, 2002), 144–190. <quote>I noen tilfeller … vil effekten " +"av piratvirksomhet pÃ¥ opphavsrettsinnehaverens mulighet til Ã¥ nyte godt av " +"verdien av verket vil vÃ¦re neglisjerbart. Et Ã¥penbart tilfelle er der " +"individet som tar nyter godt av piratvirksomheten ikke ville ha kjÃ¸pt " +"originalen selv om piratvirksomhet ikke var en mulighet.</quote> Ibid., " +"149. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Alternatively, we could try to excuse this piracy by noting that in any " +"case, it does no harm to the industry. The Chinese who get access to " +"American CDs at 50 cents a copy are not people who would have bought those " +"American CDs at $15 a copy. So no one really has any less money than they " +"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Alternativt, sÃ¥ kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten ved Ã¥ " +"legge merke til at det uansett ikke skader industrien. Kineserne som fÃ¥r " +"tilgang til amerikanske CDer for 50 cent pr. utgave er ikke folk som ville " +"kjÃ¸pt disse CDene for #15 per utgave. SÃ¥ ingen har egentlig noe mindre " +"penger enn de ellers ville hatt.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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, <quote>You wouldn't go into " +"Barnes & Noble and take a book off of the shelf without paying; why " +"should it be any different with on-line music?</quote> The difference is, of " +"course, that when you take a book from Barnes & Noble, it has one less " +"book to sell. By contrast, when you take an MP3 from a computer network, " +"there is not one less CD that can be sold. The physics of piracy of the " +"intangible are different from the physics of piracy of the tangible." +msgstr "" +"Dette er ofte riktig (selv om jeg har venner som har kjÃ¸pt flere tusen " +"piratkopierte DVDer og som helt klart har nok penger til Ã¥ betale for " +"innholdet de har tatt), og det begrenser til en hvis grad skaden forÃ¥rsaket " +"av Ã¥ ta pÃ¥ denne mÃ¥ten. Ekstremister i denne debatten elsker Ã¥ si, " +"<quote>Du ville ikke gÃ¥ inn pÃ¥ Barnes & Noble og ta en bok fra hyllen " +"der uten Ã¥ betale. Hvorfor skulle det vÃ¦re noe annerledes med musikk pÃ¥ " +"nettet?</quote> Forskjellen er, naturligvis, at nÃ¥r du tar en bok fra Barnes " +"& Noble sÃ¥ er det en mindre bok som kan selges. Dette er forskjellig " +"fra nÃ¥r du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD " +"som kan selges. Fysikken til rÃ¸ving av det uhÃ¥ndgripelige er forskjellig " +"fra fysikken til rÃ¸ving av det hÃ¥ndgripelige." + +#. PAGE BREAK 78 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This argument is still very weak. However, although copyright is a property " +"right of a very special sort, it <emphasis>is</emphasis> a property right. " +"Like all property rights, the copyright gives the owner the right to decide " +"the terms under which content is shared. If the copyright owner doesn't want " +"to sell, she doesn't have to. There are exceptions: important statutory " +"licenses that apply to copyrighted content regardless of the wish of the " +"copyright owner. Those licenses give people the right to <quote>take</quote> " +"copyrighted content whether or not the copyright owner wants to sell. But " +"where the law does not give people the right to take content, it is wrong to " +"take that content even if the wrong does no harm. If we have a property " +"system, and that system is properly balanced to the technology of a time, " +"then it is wrong to take property without the permission of a property " +"owner. That is exactly what <quote>property</quote> means." +msgstr "" +"Dette er likevel et veldig dÃ¥rlig argument. For selv om opphavsretten er en " +"eiendomsrett av en veldig spesiell type, sÃ¥ <emphasis>er</emphasis> det en " +"eiendomsrett. PÃ¥ samme mÃ¥te som med alle eiendomsretter gir opphavsretten " +"eieren retten til Ã¥ bestemme vilkÃ¥rene for nÃ¥r innholdet blir delt. Hvis " +"opphavsrettseieren ikke Ã¸nsker Ã¥ selge, sÃ¥ mÃ¥ hun ikke det. Det finnes " +"unntak: viktige lovbestemte lisenser som gjelder for opphavsrettsbeskyttet " +"innhold uavhengig av Ã¸nsket til opphavsrettseieren. Disse lisensene gir " +"folk retten til Ã¥ <quote>ta</quote> opphavsrettsbeskyttet innhold uavhengig " +"av om opphavsrettseieren Ã¸nsker Ã¥ selge eller ikke. Men der loven ikke gir " +"folk retten til Ã¥ ta innhold, sÃ¥ er det galt Ã¥ ta det innholdet selv om det " +"ikke gjÃ¸r noen skade Ã¥ gjÃ¸re dette gale. Hvis vi har et eiendomssystem og " +"det systemet er skikkelig balansert opp mot teknologien i tiden, sÃ¥ er det " +"galt Ã¥ ta eiendom uten tillatelse fra eiendomseieren. Det er nÃ¸yaktig hva " +"<quote>eiendom</quote> betyr." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "in Asia" +msgstr "i Asia" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "free software/open-source software (FS/OSS)" +msgstr "fri programvare/Ã¥pen kildekode-programvare (FS/OSS)" + +#. type: Content of: <book><chapter><section><section><para><indexterm><primary> +msgid "GNU/Linux operating system" +msgstr "GNU/Linux-operativsystemet" + +#. type: Content of: <book><chapter><section><section><para><indexterm><primary> +msgid "Linux operating system" +msgstr "Linux-operativsystemet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "competitive strategies of" +msgstr "konkurransemessige strategier for" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Windows" +msgstr "Windows" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "international software piracy of" +msgstr "internasjonal piratkopiering av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "Windows operating system of" +msgstr "Windows-operativsystemet til" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Finally, we could try to excuse this piracy with the argument that the " +"piracy actually helps the copyright owner. When the Chinese <quote>steal</" +"quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft " +"loses the value of the software that was taken. But it gains users who are " +"used to life in the Microsoft world. Over time, as the nation grows more " +"wealthy, more and more people will buy software rather than steal it. And " +"hence over time, because that buying will benefit Microsoft, Microsoft " +"benefits from the piracy. If instead of pirating Microsoft Windows, the " +"Chinese used the free GNU/Linux operating system, then these Chinese users " +"would not eventually be buying Microsoft. Without piracy, then, Microsoft " +"would lose." +msgstr "" +"Til slutt kan vi forsÃ¸ke Ã¥ unnskylde denne piratvirksomheten med argumentet " +"om at piratvirksomheten faktisk hjelper opphavsrettseieren. NÃ¥r kineserne " +"<quote>stjeler</quote> Windows, sÃ¥ gjÃ¸r det kineserne avhengig av " +"Microsoft. Microsoft mister verdien til programvaren som ble tatt, men det " +"vinner brukere som er vant til livet i Microsoft-verdenen. Over tid, etter " +"hvert som nasjonen blir mer velstÃ¥ende, vil flere og flere folk kjÃ¸pe " +"programvare is stedet for Ã¥ stjele den. Og dermed vil det over tid, pÃ¥ " +"grunn av at disse kjÃ¸pene kommer Microsoft til gode, vil Microsoft tjene pÃ¥ " +"piratvirksomheten. Hvis kineserne i stedet for Ã¥ piratkopiere Windows, " +"brukte det fritt tilgjengelige operativsystemet GNU/Linux, sÃ¥ ville disse " +"kinesiske brukerne ikke til slutt kjÃ¸pe Microsoft. Uten piratvirksomheten " +"ville dermed Microsoft tape." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "law" +msgstr "loven" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "databases of case reports in" +msgstr "databaser med saksrapporter om" + +#. type: Content of: <book><part><chapter><section><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 "" +"Det er ogsÃ¥ noe sant i dette argumentet. Ã gjÃ¸re folk avhengig er en god " +"strategi. Mange selskaper praktiserer det. Noen gjÃ¸r det godt pÃ¥ grunn av " +"det. Juss-studenter, for eksempel, fÃ¥r gratis tilgang til de to stÃ¸rste " +"juridiske databasene. Begge selskapenes markedsfÃ¸rer dette i hÃ¥p om at " +"studentene vil bli sÃ¥ vant til deres tjenester at de vil Ã¸nske Ã¥ bruke deres " +"tjeneste og ikke konkurrentens nÃ¥r de blir advokater (og mÃ¥ betale hÃ¸y " +"abonnementsavgift)." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Netscape" +msgstr "Netscape" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Internet Explorer" +msgstr "Internet Exporer" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Still, the argument is not terribly persuasive. We don't give the alcoholic " +"a defense when he steals his first beer, merely because that will make it " +"more likely that he will buy the next three. Instead, we ordinarily allow " +"businesses to decide for themselves when it is best to give their product " +"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " +"give its product away, as it did, for example, with Internet Explorer to " +"fight Netscape. A property right means giving the property owner the right " +"to say who gets access to what—at least ordinarily. And if the law " +"properly balances the rights of the copyright owner with the rights of " +"access, then violating the law is still wrong." +msgstr "" +"Likevel er ikke dette argumentet spesielt overbevistende. Vi gir ikke " +"alkoholikeren et forsvar nÃ¥r han stjeler sin fÃ¸rste Ã¸l, kun pÃ¥ grunn av at " +"det vil gjÃ¸re det mer sannsynlig at han vil betale for de tre neste. I " +"stedet lar vi vanligvis bedrifter bestemme selv nÃ¥r det er best for dem Ã¥ gi " +"bort deres produkter. Hvis Microsoft frykter konkurransen fra GNU/Linux, sÃ¥ " +"kan Microsoft gi bort produktet sitt, slik de for eksempel gjorde med " +"Internet Explorer for Ã¥ bekjempe Netscape. En eiendomsrett betyr Ã¥ la " +"eiendomseieren ha retten til Ã¥ si hvem som fÃ¥r tilgang til hva—i hvert " +"fall vanligvis. Og hvis loven ordentlig balanserer rettighetene til " +"opphavsrettighetseieren med rettighetene for tilgang, sÃ¥ er det Ã¥ bryte " +"loven fortsatt galt." + +#. PAGE BREAK 79 +#. type: Content of: <book><part><chapter><section><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, selv om jeg forstÃ¥r dragningen mot disse begrunnelsene for " +"piratvirksomhet, og helt klart ser motivasjonen, sÃ¥ er konklusjonen etter " +"mitt syn til slutt, at disse forsÃ¸kene pÃ¥ Ã¥ begrunne kommersiell " +"piratvirksomhet ganske enkelt ikke holder. Denne typen piratvirksomhet er " +"krampaktig og ganske enkelt galt. Den endrer ikke innholdet den stjeler, " +"den endrer ikke markedet den konkurrerer i. Den gir kun noen tilgang til noe " +"som loven sier at han ikke skulle hatt. Ingenting har endret for Ã¥ skape " +"tvil om loven. Denne formen for piratvirksomhet er rett ut galt." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But as the examples from the four chapters that introduced this part " +"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> " +"is. Or at least, not all <quote>piracy</quote> is wrong if that term is " +"understood in the way it is increasingly used today. Many kinds of " +"<quote>piracy</quote> are useful and productive, to produce either new " +"content or new ways of doing business. Neither our tradition nor any " +"tradition has ever banned all <quote>piracy</quote> in that sense of the " +"term." +msgstr "" +"Men som eksemplene fra de fire kapitlene som introduserte denne delen " +"foreslÃ¥r, selv om noe piratvirksomhet helt klart er galt, er ikke all " +"<quote>piratvirksomhet</quote> galt. Eller i det minste er ikke all " +"<quote>piratvirksomhet</quote> galt hvis uttrykket skal forstÃ¥s slik det i " +"stadig stÃ¸rre grad blir brukt i dag. Mange typer <quote>piratvirksomhet</" +"quote> er nyttig og produktivt, enten for Ã¥ produsere nytt innhold eller nye " +"mÃ¥ter Ã¥ drive forretninger. Hverken vÃ¥r tradisjon eller noen annen " +"tradisjon har noen sinne bannlyst all <quote>piratvirksomhet</quote> i den " +"betydningen av uttrykket." + +#. type: Content of: <book><part><chapter><section><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 ikke er reist noen spÃ¸rsmÃ¥l pÃ¥ grunn av den nyeste " +"piratvirksomhetsbekymringen, peer-to-peer-fildeling. Men det betyr at vi " +"trenger Ã¥ forstÃ¥ skaden i peer-to-peer-deling litt mer fÃ¸r vi dÃ¸mmer den til " +"galgen med anklager om piratvirksomhet." + +#. type: Content of: <book><part><chapter><section><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) pÃ¥ samme mÃ¥te som det opprinnelige Hollywood, rÃ¸mmer p2p-fildeling " +"fra en altfor kontrollerende industri og (2) pÃ¥ samme mÃ¥te som den " +"opprinnelige innspillingsindustrien, ganske enkelt utnytter den nye mÃ¥ter Ã¥ " +"spre innhold pÃ¥, men (3) til forskjell fra kabel-TV er det ingen som selger " +"innholdet som blir delt med p2p-tjenester." + +#. type: Content of: <book><part><chapter><section><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 skiller p2p-deling fra virkelig piratvirksomhet. " +"Forskjellen bÃ¸r fÃ¥ oss til Ã¥ finne en mÃ¥te Ã¥ beskytte kunstnerne mens vi " +"gjÃ¸r det mulig for denne delingen Ã¥ overleve." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Piracy II" +msgstr "Piratvirksomhet II" + +#. f4 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777)." +msgstr "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777)." + +#. PAGE BREAK 80 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The key to the <quote>piracy</quote> that the law aims to quash is a use " +"that <quote>rob[s] the author of [his] profit.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> This means we must determine whether and how much " +"p2p sharing harms before we know how strongly the law should seek to either " +"prevent it or find an alternative to assure the author of his profit." +msgstr "" +"NÃ¸kkelen til <quote>piratvirksomheten</quote> som loven tar sikte pÃ¥ Ã¥ " +"skvise er den bruken som <quote>frata forfatteren overskuddet</quote>." +"<placeholder type=\"footnote\" id=\"0\"/> Dette betyr vi mÃ¥ avgjÃ¸re hvorvidt " +"og hvor mye p2p-deling skader fÃ¸r vi vet hvor sterkt loven bÃ¸r sÃ¸ke Ã¥ enten " +"hindre det eller finne et alternativ for Ã¥ sikre forfatteren hans overskudd." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "innovation" +msgstr "innovasjon" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Fanning, Shawn" +msgstr "Fanning, Shawn" + +#. type: Content of: <book><part><chapter><section><para><indexterm><primary> +msgid "Christensen, Clayton M." +msgstr "Christensen, Clayton M." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> See Clayton M. Christensen, " +"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " +"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " +"2000). Professor Christensen examines why companies that give rise to and " +"dominate a product area are frequently unable to come up with the most " +"creative, paradigm-shifting uses for their own products. This job usually " +"falls to outside innovators, who reassemble existing technology in inventive " +"ways. For a discussion of Christensen's ideas, see Lawrence Lessig, " +"<citetitle>Future</citetitle>, 89–92, 139. <placeholder type=" +"\"indexterm\" id=\"1\"/>" +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Se Clayton M. Christensen, " +"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller " +"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, " +"2000). Professor Christensen undersÃ¸ker hvorfor selskaper som gir opphav " +"til og dominerer et produktomrÃ¥de ofte ikke er i stand til Ã¥ komme opp med " +"de mest kreative, paradigmeskiftende mÃ¥tene Ã¥ bruke deres egne produkter " +"pÃ¥. Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter " +"sammen eksisterende teknologi pÃ¥ nyskapende mÃ¥ter. For en diskusjon om " +"Christensens idÃ©er, se Lawrence Lessig, <citetitle>Future</citetitle>, " +"89–92, 139. <placeholder type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Peer-to-peer sharing was made famous by Napster. But the inventors of the " +"Napster technology had not made any major technological innovations. Like " +"every great advance in innovation on the Internet (and, arguably, off the " +"Internet as well<placeholder type=\"footnote\" id=\"0\"/>), Shawn Fanning " +"and crew had simply put together components that had been developed " +"independently." +msgstr "" +"Peer-to-peer-deling ble gjort berÃ¸mt av Napster. Men oppfinnerne av Napster-" +"teknologien hadde ikke gjort noen store teknologiske nyskapninger. Som " +"ethvert stort steg i nyskapningen pÃ¥ Internettet (og, kan det argumenteres " +"for, utenfor Internettet<placeholder type=\"footnote\" id=\"0\"/>) hadde " +"Shawn Fanning og hans bemanning ganske enkelt satt sammen deler som hadde " +"blitt utviklet uavhengig av hverandre." + +#. f6 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</" +"quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, " +"A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</" +"citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " +"Secures New Financing,</quote> <citetitle>San Francisco Chronicle</" +"citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> " +"<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, " +"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" +"citetitle>, 26 July 2002, 18." +msgstr "" +"Se Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare</" +"quote>, <citetitle>San Francisco Chronicle</citetitle>, 24. september 2002, " +"A1; <quote>Rock 'n' Roll Suicide</quote>, <citetitle>New Scientist</" +"citetitle>, 6. juli 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " +"Secures New Financing</quote>, <citetitle>San Francisco Chronicle</" +"citetitle>, 23. mai 2003, C1; <quote>Napster's Wake-Up Call,</quote> " +"<citetitle>Economist</citetitle>, 24. juni 2000, 23; John Naughton, " +"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" +"citetitle>, 26. juli 2002, 18." + +#. type: Content of: <book><part><chapter><section><para> +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 "" +"Resultatet var en eksplosjon. Etter lansering i juli 1999, samlet Napster " +"over 10 millioner brukere i lÃ¸pet av ni mÃ¥neder. Etter atten mÃ¥neder var " +"det nesten 80 millioner registrerte brukere av systemet.<placeholder type=" +"\"footnote\" id=\"0\"/> Rettsaker skjÃ¸t Napster raskt ned, men andre " +"tjenester dukket opp for Ã¥ overta plassen. (Kazaa er for tiden den mest " +"populÃ¦re p2p-tjenesten. Den skryter av over 100 millioner medlemmer.) " +"Disse tjenestene har en anderledes arkitektur selv om de ikke er veldig " +"forskjellige i funksjon: Hver av dem gjÃ¸r det mulig for brukerne Ã¥ gjÃ¸re " +"innhold tilgjengelig til et ubegrenset antall andre brukere. Med et p2p-" +"system kan du dele dine favorittsanger med dine beste venner— eller " +"dine 20 000 beste venner." + +#. f7 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " +"Distribution</citetitle> (September 2002), reporting that 28 percent of " +"Americans aged twelve and older have downloaded music off of the Internet " +"and 30 percent have listened to digital music files stored on their " +"computers." +msgstr "" +"Se Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " +"Distribution</citetitle> (september 2002), som rapporterer at 28 prosent av " +"amerikanere eldre enn tolv Ã¥r hadde lastet musikk ned fra Internettet og 30 " +"prosent hadde lyttet til digitale musikkfiler lagred pÃ¥ sine datamaskiner." + +#. f8 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " +"<citetitle>New York Times</citetitle>, 6 June 2003, A1." +msgstr "" +"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " +"<citetitle>New York Times</citetitle>, 6. juni 2003, A1." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"According to a number of estimates, a huge proportion of Americans have " +"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " +"estimated that 60 million Americans had downloaded music—28 percent of " +"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " +"by the NPD group quoted in <citetitle>The New York Times</citetitle> " +"estimated that 43 million citizens used file-sharing networks to exchange " +"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " +"majority of these are not kids. Whatever the actual figure, a massive " +"quantity of content is being <quote>taken</quote> on these networks. The " +"ease and inexpensiveness of file-sharing networks have inspired millions to " +"enjoy music in a way that they hadn't before." +msgstr "" +"I fÃ¸lge en rekke estimater har en stor andel av amerikanere testet " +"fildelings-teknologi. En studie av Ipsos-Insight i september 2002 estimerte " +"at 60 millioner amerikanere har lastet ned musikk—28 prosent av " +"amerikanerne over 12.<placeholder type=\"footnote\" id=\"0\"/> En " +"spÃ¸rreundersÃ¸kelse fra NPD-gruppen sitert i <citetitle>The New York Times</" +"citetitle> estimerte at 43 millioner innbyggere brukte fildelingsnettverk " +"for Ã¥ utveksle innhold i mai 2003.<placeholder type=\"footnote\" id=\"1\"/> " +"De aller fleste av dem er ikke unger. Uansett hva de egentlige tallene er, " +"en massiv mengde innhold blir <quote>tatt</quote> pÃ¥ disse nettverkene. " +"Enkelheten og den lave kostnaden til fildelingsnettverkene har inspirert " +"millioner til Ã¥ nyte musikk pÃ¥ mÃ¥ter de ikke fÃ¸r hadde gjort." + +#. type: Content of: <book><part><chapter><section><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 "" +"Noe av denne nytelsen involverer brudd pÃ¥ opphavsretten. Noe av den gjÃ¸r " +"det ikke. Og selv for den delen som teknisk sett er brudd pÃ¥ opphavsretten " +"er det Ã¥ beregne den faktiske skaden pÃ¥fÃ¸rt opphavsrettseierne mer " +"komplisert enn en skulle tro. Vurder—litt mer nÃ¸ye enn de polariserte " +"stemmene i denne debatten vanligvis gjÃ¸r—de ulike typer deling som " +"fildeling muliggjÃ¸r, og hva slags skader de innebÃ¦rer." + +#. PAGE BREAK 81 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"File sharers share different kinds of content. We can divide these different " +"kinds into four types." +msgstr "" +"Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i " +"fire typer." + +#. A. +#. type: Content of: <book><part><chapter><section><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 delingsnettverk som erstatninger for Ã¥ kjÃ¸pe " +"innhold. Dermed vil disse i stedet for Ã¥ kjÃ¸pe den nÃ¥r en ny Madonna-CD " +"blir gitt ut, ganske enkelt ta den. Vi kan diskutere om alle som tar den " +"ville ha kjÃ¸pt den hvis deling ikke gjorde den gratis tilgjengelig. De " +"fleste ville sannsynligvis ikke det, men det er Ã¥penbart noen som ville " +"det. Den siste gruppen er mÃ¥let for kategori A: Brukere som laster ned i " +"stedet for Ã¥ kjÃ¸pe." + +#. B. +#. type: Content of: <book><part><chapter><section><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 delingsnettverk til Ã¥ teste musikk fÃ¸r de kjÃ¸per " +"den. For eksempel kan noen sende en en MP3 til en av sine venner med en " +"artist han aldri har hÃ¸rt om. Denne vennen kjÃ¸per sÃ¥ CDer av denne " +"artisten. Dette er en slags mÃ¥lrettet reklame som har stor suksessrate. " +"Hvis en venn som anbefaler albumet ikke har noen fordeler av Ã¥ gi en dÃ¥rlig " +"anbefaling, sÃ¥ kan en forvente at anbefalingene faktisk vil vÃ¦re ganske " +"gode. Totaleffekten av denne delingen kan Ã¸ke mengden musikk som blir kjÃ¸pt." + +#. C. +#. type: Content of: <book><part><chapter><section><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 <quote>recalling</quote> old songs. She was astonished at the " +"range and mix of content that was available.) For content not sold, this is " +"still technically a violation of copyright, though because the copyright " +"owner is not selling the content anymore, the economic harm is zero—" +"the same harm that occurs when I sell my collection of 1960s 45-rpm records " +"to a local collector." +msgstr "" +"Det er mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " +"opphavsrettsbeskyttet innhold som ikke lenger er til salgs, eller som de " +"ikke ville ha kjÃ¸pt pÃ¥ grunn av at transaksjonskostnadene pÃ¥ nettet er for " +"hÃ¸ye. Denne bruken av delingsnettverk er blant det mange finner mest " +"givende. Sanger som var del av din barndom men som har forsvunnet fra " +"markedsplassen dukker magisk opp igjen pÃ¥ nettet. (En venn fortalte meg at " +"da hun oppdaget Napster, tilbrakte hun en hel helg med <quote>Ã¥ mimre</" +"quote> over gamle sanger. Hun var overrasket over omfanget og variasjonen i " +"innhold som var tilgjengelig. For innhold som ikke blir solgt, sÃ¥ er dette " +"fortsatt teknisk sett brudd pÃ¥ opphavsretten, selv om pÃ¥ grunn av at " +"opphavsrettseieren ikke selger innholdet lenger sÃ¥ er den Ã¸konomiske skaden " +"null—den samme skaden som inntreffer nÃ¥r jeg selger min samling med 45-" +"rpm grammofonplater fra 1960-tallet til en lokal samler." + +#. PAGE BREAK 82 +#. D. +#. type: Content of: <book><part><chapter><section><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 er det mange som bruker delingsnettverk for Ã¥ fÃ¥ tilgang til " +"innhold som ikke er opphavsrettsbeskyttet eller der opphavsrettseieren " +"Ã¸nsker Ã¥ gi det bort." + +#. type: Content of: <book><part><chapter><section><para> +msgid "How do these different types of sharing balance out?" +msgstr "Hvordan balanserer disse ulike delingstypene?" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " +"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " +"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Let's start with some simple but important points. From the perspective of " +"the law, only type D sharing is clearly legal. From the perspective of " +"economics, only type A sharing is clearly harmful.<placeholder type=" +"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " +"Type C sharing is illegal, yet good for society (since more exposure to " +"music is good) and harmless to the artist (since the work is not otherwise " +"available). So how sharing matters on balance is a hard question to " +"answer—and certainly much more difficult than the current rhetoric " +"around the issue suggests." +msgstr "" +"La oss starte med noen enkle men viktige poeng. Fra lovens perspektiv er " +"det kun type-D-deling som helt klart er lovlig. Fra et Ã¸konomisk perspektiv " +"er det kun type-A-deling som helt klart forÃ¥rsaker skade.<placeholder type=" +"\"footnote\" id=\"0\"/> Type-B-deling er ulovlig men gir klare fordeler. " +"Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til " +"musikk er bra) og skadelig for artistene (siden verket ellers ikke er " +"tilgjengelig. SÃ¥ det er vanskelig Ã¥ avgjÃ¸re hvordan deling kommer ut totalt " +"sett—og helt klart mye vanskeligere enn den gjeldende retorikken rundt " +"temaet foreslÃ¥r." + +#. type: Content of: <book><part><chapter><section><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 <quote>theft</quote> that is <quote>devastating</" +"quote> the industry." +msgstr "" +"Hvorvidt deling er skadelig totalt sett er mye avhengig av hvor skadelig " +"type-A-deling er. Slik Edison klaget over Hollywood, komponister klaget " +"over pianoruller, plateartister klaget over radio og kringkastere klaget " +"over kabel-TV, klager musikkindustrien over at type-A-deling er en slags " +"<quote>tyveri</quote> som vil <quote>Ã¸delegge</quote> industrien." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cassette recording" +msgstr "kassettopptak" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "VCRs" +msgstr "Videospillere/opptakere" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> See Cap Gemini Ernst & Young, " +"<citetitle>Technology Evolution and the Music Industry's Business Model " +"Crisis</citetitle> (2003), 3. This report describes the music industry's " +"effort to stigmatize the budding practice of cassette taping in the 1970s, " +"including an advertising campaign featuring a cassette-shape skull and the " +"caption <quote>Home taping is killing music.</quote> At the time digital " +"audio tape became a threat, the Office of Technical Assessment conducted a " +"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " +"had taped music to a cassette format. U.S. Congress, Office of Technology " +"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the " +"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing " +"Office, October 1989), 145–56." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Se Cap Gemini Ernst & Young, " +"<citetitle>Technology Evolution and the Music Industry's Business Model " +"Crisis</citetitle> (2003), 3. Denne rapporten beskriver musikkindustriens " +"innsats for Ã¥ stigmatisere den voksende praksis med Ã¥ ta opp pÃ¥ kassett pÃ¥ " +"1970-tallet, inkludert en reklamekampanje med en kasse-formet hodeskalle og " +"uttrykket <quote>Home taping is killing music</quote>. PÃ¥ det tidspunktet " +"som digitale lydkassetter ble en trussel, utfÃ¸rte the Office of Technical " +"Assessment en spÃ¸rreundersÃ¸kelse om forbrukeroppfÃ¸rsel. I 1988 hadde 40 " +"prosent av forbrukerne eldre enn ti tatt opp musikk pÃ¥ et kassettformat. U." +"S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home " +"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " +"D.C.: U.S. Government Printing Office, oktober 1989), 145–56." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"While the numbers do suggest that sharing is harmful, how harmful is harder " +"to reckon. It has long been the recording industry's practice to blame " +"technology for any drop in sales. The history of cassette recording is a " +"good example. As a study by Cap Gemini Ernst & Young put it, " +"<quote>Rather than exploiting this new, popular technology, the labels " +"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels " +"claimed that every album taped was an album unsold, and when record sales " +"fell by 11.4 percent in 1981, the industry claimed that its point was " +"proved. Technology was the problem, and banning or regulating technology was " +"the answer." +msgstr "" +"Mens disse tallene jo foreslÃ¥r at deling er skadelig, sÃ¥ er det vanskeligere " +"Ã¥ finne ut hvor skadelig det er. Det har lenge vÃ¦rt praksis for " +"platebransjen Ã¥ skylde pÃ¥ teknologi for all nedgang i salg. Historien til " +"kassettopptak er et godt eksempel. Som et studie av Cap Gemini Ernst & " +"Young formulerer det: <quote>I stedet for Ã¥ utforske denne nye populÃ¦re " +"teknologien, sloss selskapene imot den.</quote><placeholder type=\"footnote" +"\" id=\"0\"/> Selskapene pÃ¥sto at hvert album som ble tatt opp pÃ¥ kassett " +"var et album som ikke ble solgt, og da platesalget falt med 11,4 prosent i " +"1981, pÃ¥sto industrien at dets poeng var bevist. Teknologien var problemet, " +"og forbud eller regulering av teknologien var svaret." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MTV" +msgstr "MTV" + +#. f11 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." +msgstr "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Yet soon thereafter, and before Congress was given an opportunity to enact " +"regulation, MTV was launched, and the industry had a record turnaround. " +"<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' " +"… was not the fault of the tapers—who did not [stop after MTV " +"came into being]—but had to a large extent resulted from stagnation in " +"musical innovation at the major labels.</quote><placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"Ikke lenge etterpÃ¥, og fÃ¸r kongressen fikk muligheten til Ã¥ innfÃ¸re " +"reguleringer, ble MTV lansert, og industrien fikk et rekordoppsving. " +"<quote>Til slutt</quote>, konkluderte Cap Gemini, <quote>var ikke " +"<quote>krisen</quote> … forÃ¥rsaket av de som tok opp pÃ¥ kassett—" +"som ikke [sluttet etter at MTV dukket opp]—men hadde i stor grad vÃ¦rt " +"resultatet av en stagnasjon i musikknyskapningen hos de store selskapene.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 <emphasis>how</" +"emphasis> harmful type A sharing is, and how beneficial the other types of " +"sharing are." +msgstr "" +"Men det at industrien har tatt feil fÃ¸r betyr ikke at de tar feil i dag. " +"For Ã¥ evaluere den virkelige trusselen som p2p-deling representerer for " +"industrien spesielt, og samfunnet generelt—eller i hvert fall det " +"samfunnet som arvet tradisjonen som ga oss filmindustrien, plateindustrien, " +"radioindustrien, kabel-TV og videospilleren—sÃ¥ er ikke spÃ¸rsmÃ¥let kun " +"om type-A-deling er skadelig. SpÃ¸rsmÃ¥let er ogsÃ¥ <emphasis>hvor</emphasis> " +"skadelig type-A-deling er, og hvor nyttige de andre typene deling er." + +#. type: Content of: <book><part><chapter><section><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 " +"<quote>net harm</quote> to the industry as a whole is the amount by which " +"type A sharing exceeds type B. If the record companies sold more records " +"through sampling than they lost through substitution, then sharing networks " +"would actually benefit music companies on balance. They would therefore have " +"little <emphasis>static</emphasis> reason to resist them." +msgstr "" +"Vi gÃ¥r igang med Ã¥ svare pÃ¥ dette spÃ¸rsmÃ¥let ved Ã¥ fokusere pÃ¥ netto skade, " +"sett fra industrien som helhet, som delingsnettverkene forÃ¥rsaker. " +"<quote>Netto skade</quote> for industrien som helhet er verdien av type-A-" +"deling som overgÃ¥r type B. Hvis plateselskapene solgte flere plater som " +"resultat av at folk testet musikken enn de taper gjennom at en lar vÃ¦re Ã¥ " +"kjÃ¸pe, sÃ¥ har delingsnettverkene totalt sett faktisk vÃ¦rt til fordel for " +"musikkselskapene. De ville dermed ha liten <emphasis>*static*</emphasis> " +"grunn til Ã¥ motarbeide dem." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "sales levels of" +msgstr "salgsnivÃ¥ for" + +#. type: Content of: <book><part><chapter><section><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 vÃ¦re riktig? Kan industrien som helhet Ã¸ke i omfang pÃ¥ grunn av " +"fildeling? Selv om det kan hÃ¸res rart ut, sÃ¥ foreslÃ¥r faktisk salgstall for " +"CD-er at det ikke er langt unna sannheten." + +#. f12 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Recording Industry Association of America, <citetitle>2002 Yearend " +"Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #15</ulink>. A later report indicates even greater losses. See " +"Recording Industry Association of America, <citetitle>Some Facts About Music " +"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit " +"shipments of recorded music have fallen by 26 percent from 1.16 billion " +"units in to 860 million units in 2002 in the United States (based on units " +"shipped). In terms of sales, revenues are down 14 percent, from $14.6 " +"billion in to $12.6 billion last year (based on U.S. dollar value of " +"shipments). The music industry worldwide has gone from a $39 billion " +"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " +"dollar value of shipments).</quote>" +msgstr "" +"Se Recording Industry Association of America, <citetitle>2002 Yearend " +"Statistics</citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/" +"notes/\">link #15</ulink>. En senere rapport indikerer enda stÃ¸rre tap. Se " +"Recording Industry Association of America, <citetitle>Some Facts About Music " +"Piracy</citetitle>, 25. juni 2003, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #16</ulink>: <quote>I de siste fire Ã¥rene har " +"antall utsendinger av enheter innspilt musikk falt med 26 prosent fra 1,16 " +"milliarder enheter til 860 millioner enheter i 2002 i USA (basert pÃ¥ antall " +"utsendt). I salg er omsetning redusert med 14 prosent, fra $14,6 milliarder " +"til $12,6 milliarder siste Ã¥r (basert pÃ¥ US dollar-verdi for utsendingene). " +"Musikkindustrien pÃ¥ verdensbasis har gÃ¥tt ned fra Ã¥ vÃ¦re en $39 milliarders " +"industri i 2000 til Ã¥ bli en $32 milliarders industri i 2002 (basert pÃ¥ US " +"dollarverdi for utsendinger.</quote>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Black, Jane" +msgstr "Black, Jane" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, " +"13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Jane Black, <quote>Big Music's Broken Record</quote>, BusinessWeek online, " +"13. februar 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " +"million to 803 million units; revenues fell 6.7 percent.<placeholder type=" +"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " +"RIAA blames Internet piracy for the trend, though there are many other " +"causes that could account for this drop. SoundScan, for example, reports a " +"more than 20 percent drop in the number of CDs released since 1999. That no " +"doubt accounts for some of the decrease in sales. Rising prices could " +"account for at least some of the loss. <quote>From 1999 to 2001, the average " +"price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder " +"type=\"footnote\" id=\"1\"/> Competition from other forms of media could " +"also account for some of the decline. As Jane Black of " +"<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film " +"<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could " +"get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote" +"\" id=\"2\"/>" +msgstr "" +"I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882 " +"millioner til 803 millioner enheter, og inntektene hadde falt 6,7 prosent." +"<placeholder type=\"footnote\" id=\"0\"/> Dette bekrefter en trend fra de " +"siste Ã¥rene. RIAA skylder pÃ¥ piratvirksomhet pÃ¥ Internett for denne " +"trenden, selv om det er mange andre Ã¥rsaker som kan forklare denne " +"reduksjonen. SoundScan rapporterte for eksempel om en reduksjon pÃ¥ over 20 " +"prosent siden 1999 nÃ¥r det gjelder antall CD-er er gitt ut Dette er uten " +"tvil Ã¥rsaken til noe av nedgangen i salget. Stigende priser kan ogsÃ¥ ha " +"bidratt til noe av tapet. <quote>Fra 1999 til 201 steg den gjennomsnittlige " +"prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.</quote><placeholder " +"type=\"footnote\" id=\"1\"/> Konkurranse fra andre typer media kan ogsÃ¥ " +"forklare noe av nedgangen. Som Jane Black i <citetitle>BusinessWeek</" +"citetitle> kommenterer, <quote>Lydsporet for filmen <citetitle>High " +"Fidelity</citetitle> har en listepris pÃ¥ $19,98. Du kan fÃ¥ hele filmen [pÃ¥ " +"DVD] for $19,99.</quote><placeholder type=\"footnote\" id=\"2\"/>" + +#. PAGE BREAK 84 +#. type: Content of: <book><part><chapter><section><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 har rett, at all nedgangen i CD-salg er forÃ¥rsaket " +"av deling pÃ¥ Internett. Her er hvor det skurrer: I samme periode som RIAA " +"estimerer at 803 milloner CDer ble solgt, estimerer RIAA at 2,1 milliarder " +"CD-er ble lastet ned gratis. Dermed selv om 2,6 ganger det totale antallet " +"CDer ble lastet ned gratis, sÃ¥ falt salgsinntektene med kun 6,7 prosent." + +#. type: Content of: <book><part><chapter><section><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, <quote>What's the difference between downloading a " +"song and stealing a CD?</quote>—but their own numbers reveal the " +"difference. If I steal a CD, then there is one less CD to sell. Every taking " +"is a lost sale. But on the basis of the numbers the RIAA provides, it is " +"absolutely clear that the same is not true of downloads. If every download " +"were a lost sale—if every use of Kazaa <quote>rob[bed] the author of " +"[his] profit</quote>—then the industry would have suffered a 100 " +"percent drop in sales last year, not a 7 percent drop. If 2.6 times the " +"number of CDs sold were downloaded for free, and yet sales revenue dropped " +"by just 6.7 percent, then there is a huge difference between " +"<quote>downloading a song and stealing a CD.</quote>" +msgstr "" +"Det er for mange ulike ting som skjer samtidig til Ã¥ forklare disse tallene " +"med sikkerhet, men en konklusjon er uunngÃ¥elig: Musikkindustrien spÃ¸r " +"stadig, <quote>Hva er forskjellen mellom Ã¥ laste ned en sang og Ã¥ stjele en " +"CD?</quote>—men deres egne tall avslÃ¸rer forskjellen. Hvis jeg " +"stjeler en CD, sÃ¥ er det en mindre CD Ã¥ selge. Hvert eneste som blir tatt " +"er et tapt salg. Men basert pÃ¥ tallene som RIAA gjÃ¸r tilgjengelig, sÃ¥ er " +"det helt klart at det samme ikke er sant for nedlastinger. Hvis hver " +"nedlasting var et tapt salg—hvis hver bruk av Kazaa <quote>fratok " +"forfatteren overskuddet</quote>—da skulle industrien vÃ¦rt pÃ¥fÃ¸rt 100 " +"prosent reduksjon i salg i fjor, ikke e 7 prosents nedgang. Hvis 2,6 ganger " +"antallet solgte CDer ble lastet ned gratis, og salgsinntektene kun ble " +"redusert med 6,7 prosent, sÃ¥ er det en stor forskjell mellom Ã¥ <quote>laste " +"ned en sang og Ã¥ stjele en CD</quote>." + +#. type: Content of: <book><part><chapter><section><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 "" +"Dette er skadene—pÃ¥stÃ¥tte og muligens overdrevende men, la oss anta at " +"de er reelle. Hva er fordelene? Fildeling pÃ¥fÃ¸rer muligens kostnader for " +"plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene?" + +#. f15 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"By one estimate, 75 percent of the music released by the major labels is no " +"longer in print. See Online Entertainment and Copyright Law—Coming " +"Soon to a Digital Device Near You: Hearing Before the Senate Committee on " +"the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of " +"the Future of Music Coalition), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #18</ulink>." +msgstr "" +"Et estimat forteller at 75 prosent av musikken gitt ut av de store " +"plateselskapene ikke lenger trykkes opp. Se Online Entertainment and " +"Copyright Law—Coming Soon to a Digital Device Near You: HÃ¸ring foran " +"the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001) " +"(forberedt innlegg av the Future of Music Coalition), tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #18</ulink>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"One benefit is type C sharing—making available content that is " +"technically still under copyright but is no longer commercially available. " +"This is not a small category of content. There are millions of tracks that " +"are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/" +"> And while it's conceivable that some of this content is not available " +"because the artist producing the content doesn't want it to be made " +"available, the vast majority of it is unavailable solely because the " +"publisher or the distributor has decided it no longer makes economic sense " +"<emphasis>to the company</emphasis> to make it available." +msgstr "" +"En fordel er type-C-deling—Ã¥ gjÃ¸re innhold tilgjengelig som teknisk " +"sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt " +"tilgjengelig. Dette er ikke en liten kategori med innhold Det er millioner " +"av spor som ikke lenger er kommersielt tilgjengelig.<placeholder type=" +"\"footnote\" id=\"0\"/> Og mens det kan tenkes at noe av dette innholdet " +"ikke er tilgjengelig fordi artisten som laget innholdet ikke Ã¸nsker at det " +"blir gjort tilgjengelig, sÃ¥ er det meste av dette utilgjengelig kun fordi " +"forlaget eller distributÃ¸ren har bestemt at det ikke lenger gir Ã¸konomisk " +"mening <emphasis>for selskapet</emphasis> Ã¥ gjÃ¸re det tilgjengelig." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "books" +msgstr "bÃ¸ker" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "resales of" +msgstr "bruktsalg av" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good " +"estimates of the number of used record stores in existence, in 2002, there " +"were 7,198 used book dealers in the United States, an increase of 20 percent " +"since 1993. See Book Hunter Press, <citetitle>The Quiet Revolution: The " +"Expansion of the Used Book Market</citetitle> (2002), available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " +"accounted for $260 million in sales in 2002. See National Association of " +"Recording Merchandisers, <quote>2002 Annual Survey Results,</quote> " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Mens det ikke finnes noen gode " +"estimater over antallet bruktplatebutikker, sÃ¥ var det i 2002 7 7198 " +"bruktbokhandler i USA, en Ã¸kning pÃ¥ 20 prosent siden 1993. Se Book Hunter " +"Press, <citetitle>The Quiet Revolution: The Expansion of the Used Book " +"Market</citetitle> (2002), tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #19</ulink>. Brukte plater utgjorde $260 millioner i salg " +"i 2002. Se National Association of Recording Merchandisers, <quote>2002 " +"Annual Survey Results</quote>, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #20</ulink>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In real space—long before the Internet—the market had a simple " +"response to this problem: used book and record stores. There are thousands " +"of used book and used record stores in America today.<placeholder type=" +"\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " +"content they buy. And under American copyright law, when they buy and sell " +"this content, <emphasis>even if the content is still under copyright</" +"emphasis>, the copyright owner doesn't get a dime. Used book and record " +"stores are commercial entities; their owners make money from the content " +"they sell; but as with cable companies before statutory licensing, they " +"don't have to pay the copyright owner for the content they sell." +msgstr "" +"I den virkelige verden—lenge fÃ¸r Internettet—hadde markedet et " +"enkelt svar pÃ¥ dette problemet: bruktbok- og bruktplate-butikker. Det er " +"tusenvis av butikker for brukte bÃ¸ker og plater i Amerika i dag.<placeholder " +"type=\"footnote\" id=\"0\"/> Disse butikkene kjÃ¸per innhold fra eierne og " +"selger sÃ¥ videre innholdet de kjÃ¸pte. Og i fÃ¸lge amerikansk Ã¥ndsverkslov, " +"nÃ¥r de kjÃ¸per og selger dette innholdet, <emphasis>selv om innholdet " +"fortsatt er vernet av Ã¥ndsverksloven</emphasis>, sÃ¥ fÃ¥r ikke " +"opphavsrettseieren et Ã¸re. Bruktbok- og bruktplatebutikkene er kommersielle " +"aktÃ¸rer. Deres eiere tjener penger pÃ¥ innholdet de selger, men pÃ¥ samme " +"mÃ¥te som med kabel-TV-selskapene fÃ¸r lovbestemt lisensiering mÃ¥ de ikke " +"betale opphavsrettseierene for innholdet de selger." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Bernstein, Leonard" +msgstr "Bernstein, Leonard" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "out of print" +msgstr "utsolgt fra forlaget" + +#. type: Content of: <book><part><chapter><section><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 <quote>Two Love Songs,</quote> I still have it. That " +"difference would matter economically if the owner of the copyright were " +"selling the record in competition to my sharing. But we're talking about the " +"class of content that is not currently commercially available. The Internet " +"is making it available, through cooperative sharing, without competing with " +"the market." +msgstr "" +"Type-C-deling har dermed veldig mye til felles med bruktbok- og " +"bruktplatebutikker. Det er naturligvis ogsÃ¥ veldig forskjellig, fordi " +"personen som gjÃ¸r innhold tilgjengelig tjener ikke penger pÃ¥ Ã¥ gjÃ¸re " +"innholdet tilgjengelig. Det er naturligvis ogsÃ¥ forskjellig fra i den " +"virkelige verden ved at nÃ¥r jeg selger en plate sÃ¥ har jeg den ikke lenger, " +"mens pÃ¥ nettet nÃ¥r jeg deler min 1949-plate av Bernsteins <quote>Two Love " +"Songs</quote> med noen, sa har jeg den fortsatt. Denne forskjellen betyr noe " +"Ã¸konomisk hvis eieren av opphavsretten selger platen i konkurranse med min " +"deling. Men vi snakker om den klassen av innhold som nÃ¥ ikke er kommersielt " +"tilgjengelig. Internettet gjÃ¸r det tilgjengelig, gjennom samarbeidende " +"deling, uten Ã¥ konkurrere med markedet." + +#. type: Content of: <book><part><chapter><section><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 vÃ¦re, nÃ¥r alle faktorer vurderes, at det ville vÃ¦rt bedre om " +"opphavsrettseieren fikk noe fra denne handelen. Men det at det kunne vÃ¦rt " +"bedre fÃ¸rer ikke til at det ville vÃ¦rt en god ide Ã¥ forby bruktbokbutikker. " +"Eller sagt pÃ¥ en annen mÃ¥te, hvis du tror type-C-deling burde vÃ¦rt stoppet, " +"mener du ogsÃ¥ at biblioteker og bruktbokhandler ogsÃ¥ burde vÃ¦rt stengt?" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "free on-line releases of" +msgstr "gratis online-utgivelser av" + +#. PAGE BREAK 86 +#. type: Content of: <book><part><chapter><section><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, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, both free on-line and in bookstores on the same day. " +"His (and his publisher's) thinking was that the on-line distribution would " +"be a great advertisement for the <quote>real</quote> book. People would read " +"part on-line, and then decide whether they liked the book or not. If they " +"liked it, they would be more likely to buy it. Doctorow's content is type D " +"content. If sharing networks enable his work to be spread, then both he and " +"society are better off. (Actually, much better off: It is a great book!)" +msgstr "" +"Til slutt, og kanskje mest viktig, muliggjÃ¸r fildelingsnettverk type-D-" +"deling—delingen av innhold som opphavsrettseierne Ã¸nsker Ã¥ fÃ¥ delt " +"eller der det ikke er vert etter Ã¥ndsverksloven. Denne delingen er klart " +"til fordel for forfattere og samfunnet. Science fiction-forfatteren Cory " +"Doctorow, for eksempel, utga sin fÃ¸rste roman, <citetitle>Down and Out in " +"the Magic Kingdom</citetitle>, bÃ¥de fritt tilgjengelig pÃ¥ nettet og i " +"bokhandler pÃ¥ samme dag. Han (og hans forlag) mente at distribusjon pÃ¥ " +"nettet ville vÃ¦re flott markedsfÃ¸ring for den <quote>ekte</quote> boken. " +"Folk ville lese deler pÃ¥ nettet, og sÃ¥ bestemme seg for om de likte boken " +"eller ikke. Hvis de likte den, sÃ¥ var det mer sannsynlig at de kjÃ¸pte den. " +"Doctorows innhold er type-D-innhold. Hvis delingsnettverkene gjÃ¸r det mulig " +"Ã¥ spre hans verk, sÃ¥ kommer bÃ¥de han og samfunnet bedre ut. (Faktisk sÃ¥ " +"kommer de mye bedre ut: det er en god bok!)" + +#. type: Content of: <book><part><chapter><section><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 for allemannseide verk: Denne delingen gagner samfunnet " +"uten noen juridisk skade mot forfattere i det hele tatt. Hvis innsats for Ã¥ " +"lÃ¸se problemet med type-A-deling Ã¸delegger muligheten for type-D-deling, sÃ¥ " +"mister vi noe viktig for Ã¥ beskytte type-A-innhold." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The point throughout is this: While the recording industry understandably " +"says, <quote>This is how much we've lost,</quote> we must also ask, " +"<quote>How much has society gained from p2p sharing? What are the " +"efficiencies? What is the content that otherwise would be unavailable?</" +"quote>" +msgstr "" +"Poenget med alt dette er: Selv om plateindustrien forstÃ¥elig nok sier, " +"<quote>Dette er hvor mye vi har tapt</quote>, sÃ¥ mÃ¥ vi ogsÃ¥ spÃ¸rre oss " +"<quote>hvor mye har samfunnet fÃ¥tt igjen fra p2p-deling? Hva gjÃ¸r oss mer " +"effektive? Hva er innholdet som ellers ville vÃ¦re utilgjengelig?</quote>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"For unlike the piracy I described in the first section of this chapter, much " +"of the <quote>piracy</quote> that file sharing enables is plainly legal and " +"good. And like the piracy I described in chapter <xref xrefstyle=\"select: " +"labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a " +"new way of spreading content caused by changes in the technology of " +"distribution. Thus, consistent with the tradition that gave us Hollywood, " +"radio, the recording industry, and cable TV, the question we should be " +"asking about file sharing is how best to preserve its benefits while " +"minimizing (to the extent possible) the wrongful harm it causes artists. The " +"question is one of balance. The law should seek that balance, and that " +"balance will be found only with time." +msgstr "" +"For til forskjell fra piratvirksomheten jeg beskrev i fÃ¸rste seksjon av " +"dette kapittelet, er mye av <quote>piratvirksomheten</quote> som fildeling " +"gjÃ¸r mulig klart lovlig og bra. Og i likhet med piratvirksomheten jeg " +"beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"pirates" +"\"/>, sÃ¥ er mye av denne piratvirksomheten motivert av de nye mÃ¥tene Ã¥ spre " +"innhold pÃ¥ som er forÃ¥rsaket av endringer i distribusjonsteknologien. " +"Dermed, konsistent med tradisjonen som ga oss Hollywood, radio, " +"plateindustrien og kabel-TV, er spÃ¸rsmÃ¥let vi bÃ¸r stille om fildeling om " +"hvordan vi best kan bevare dets fordeler mens vi minimerer (sÃ¥ langt det er " +"mulig) de uÃ¸nskede skadene de pÃ¥fÃ¸rer kunstnere. SpÃ¸rsmÃ¥let er et om " +"balanse. Loven bÃ¸r strebe etter den balansen, og den balansen blir funnet " +"kun etter en tid." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<quote>But isn't the war just a war against illegal sharing? Isn't the " +"target just what you call type A sharing?</quote>" +msgstr "" +"<quote>Men er ikke krigen bare en krig mot ulovlig deling? Er ikke " +"angrepsmÃ¥let bare det du kaller type-A-deling?</quote>" + +#. f17 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " +"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " +"account of the litigation and its toll on Napster, see Joseph Menn, " +"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" +"citetitle> (New York: Crown Business, 2003), 269–82." +msgstr "" +"Se referat fra forhandlingene, In Re: Napster Copyright Litigation ved 34-35 " +"(N.D. Cal., 11. juli 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #21</" +"ulink>. For en oppsummering av sÃ¸ksmÃ¥let og dets effekt pÃ¥ Napster, se " +"Joseph Menn, <citetitle>All the Rave: The Rise and Fall of Shawn Fanning's " +"Napster</citetitle> (New York: Crown Business, 2003), 269–82." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"You would think. And we should hope. But so far, it is not. The effect of " +"the war purportedly on type A sharing alone has been felt far beyond that " +"one class of sharing. That much is obvious from the Napster case itself. " +"When Napster told the district court that it had developed a technology to " +"block the transfer of 99.4 percent of identified infringing material, the " +"district court told counsel for Napster 99.4 percent was not good enough. " +"Napster had to push the infringements <quote>down to zero.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"En skulle tro det. Og vi bÃ¸r hÃ¥pe pÃ¥ det. Men sÃ¥ langt er det ikke " +"tilfelle. Effekten som krigen som pÃ¥stÃ¥s Ã¥ kun vÃ¦re mot type-A-deling har " +"blitt kjent langt uten den klassen med deling. Det er Ã¥penbart fra Napster-" +"saken selv. Da Napster fortalte *district*-retten at den hadde utviklet " +"teknologi som ville blokkere for 99,4 prosent av identifisert " +"opphavsrettsbrytende materiale, fortalte *district*-retten advokatene til " +"Napster at 99,4 prosent var ikke godt nok. Napster mÃ¥tte fÃ¥ " +"opphavsrettsbruddene <quote>ned til null</quote>.<placeholder type=\"footnote" +"\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 ikke er godt nok, sÃ¥ er dette en krig mot " +"fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd. Det er ikke " +"mulig Ã¥ sikre at et p2p-system brukes 100 prosent av tiden i henhold til " +"loven, like lite som det er mulig Ã¥ sikre at 100 prosent av videospillere " +"eller 100 prosent av kopimaskiner eller 100 prosent av hÃ¥ndvÃ¥pen blir brukt " +"i henhold til loven. Ingen toleranse betyr ingen p2p. Rettens avgjÃ¸relser " +"betyr at vi som samfunn mÃ¥ miste fordelene med p2p, selv for de fullstendig " +"lovlige og fordelaktige bruksomrÃ¥dene som de tjener, kun for Ã¥ sikre at de " +"ikke er brudd pÃ¥ opphavsretten forÃ¥rsaket av p2p." + +#. type: Content of: <book><part><chapter><section><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 har ikke vÃ¦rt vÃ¥r historie. Det har ikke gitt oss " +"innholdsindustrien som vi kjenner i dag. Historien til amerikansk lovgiving " +"har vÃ¦rt en prosess om balanse. Etter hvert som nye teknologier endret " +"mÃ¥ten innhold ble spredt sÃ¥ har loven justert seg, etter litt tid, til Ã¥ " +"mÃ¸te den nye teknologien. I denne justeringen har loven forsÃ¸kt Ã¥ sikre " +"legitime rettigheter til skaperne mens den beskytter nyskapning. Noen gang " +"har det gitt mer rettigheter til skaperne, og noen ganger mindre." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "composers, copyright protections of" +msgstr "komponister, opphavsrettsbeskyttelser for" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "music recordings played on" +msgstr "musikkinnspillinger spillt pÃ¥" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "copyright protections in" +msgstr "opphavsrettbeskyttelser i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> - #, mtrans, fuzzy +msgid "composer's rights vs. producers' rights in" - msgstr "composer's rettigheter vs. produsentenes rettigheter i" ++msgstr "komponistens rettigheter versus produsentenes rettigheter i" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"So, as we've seen, when <quote>mechanical reproduction</quote> threatened " +"the interests of composers, Congress balanced the rights of composers " +"against the interests of the recording industry. It granted rights to " +"composers, but also to the recording artists: Composers were to be paid, but " +"at a price set by Congress. But when radio started broadcasting the " +"recordings made by these recording artists, and they complained to Congress " +"that their <quote>creative property</quote> was not being respected (since " +"the radio station did not have to pay them for the creativity it broadcast), " +"Congress rejected their claim. An indirect benefit was enough." +msgstr "" +"Dermed, slik vi har sett, nÃ¥r <quote>mekanisk reprodusjon</quote> truet " +"interessene til komponister, balanserte kongressen rettighetene til " +"komponistene mot interessene til plateindustrien. Den ga rettigheter til " +"komponistene, men ogsÃ¥ til plateartistene: Komponistene skulle fÃ¥ betalt, " +"men til en pris satt av kongressen. Men da radio begynte kringkasting av " +"platene laget av disse plateartistene, og de klaget til kongressen om at " +"deres <quote>kreative eiendom</quote> ikke ble respektert (siden en " +"radiostasjon ikke mÃ¥tte betale dem for kreativiteten den kringkastet), da " +"avviste kongressen kravet. En indirekte fordel var nok." + +#. type: Content of: <book><part><chapter><section><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 fulgte samme mÃ¸nster som plater. Da retten avviste kravet om at " +"kabel-TV-kringkasterne mÃ¥tte betale for innholdet de videre-kringkastet, sÃ¥ " +"svarte kongressen med Ã¥ gi kringkasterne rett til betaling, men pÃ¥ et nivÃ¥ " +"fastsatt av loven. De ga pÃ¥ samme mÃ¥te kabel-TV-selskapene rett til " +"innholdet, sÃ¥ lenge de betalte den lovbestemte prisen." + +#. PAGE BREAK 88 +#. type: Content of: <book><part><chapter><section><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 <emphasis>compensation</emphasis> " +"without giving the past (broadcasters) control over the future (cable)." +msgstr "" +"Dette kompromisset, pÃ¥ samme mÃ¥te som kompromisset som pÃ¥virket plater og " +"automatiske piano, oppnÃ¥dde to mÃ¥l—faktisk de to sentrale mÃ¥lene i " +"enhver opphavsrettslovgiving. For det fÃ¸rste, sikret loven at nye " +"oppfinnere ville ha friheten til Ã¥ utvikle nye mÃ¥ter Ã¥ levere innhold pÃ¥. " +"For det andre, sikret loven at opphavsrettsinnehaverne ville fÃ¥ betalt for " +"innholdet som ble distribuert. En frykt var at hvis kongressen ganske " +"enkelt krevde at kabel-TV-selskapene mÃ¥te betale opphavsrettsinnehaverne " +"uansett hva de krevde for sitt innhold, sÃ¥ ville opphavsrettsinnehaverne " +"knyttet til kringkastere bruke sin makt til Ã¥ hemme denne nye teknologien " +"kabel-TV. Men hvis kongressen hadde tillat kabel-TV Ã¥ bruke kringkasternes " +"innhold uten Ã¥ betale, sÃ¥ ville den gitt urettferdig subsidiering til kabel-" +"TV. Dermed valgte kongressen en sti som ville sikre <emphasis>kompensasjon</" +"emphasis> uten Ã¥ gi fortiden (kringkasterne) kontroll over fremtiden (kabel-" +"TV)." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Betamax" +msgstr "Betamax" + +#. type: Content of: <book><part><chapter><section><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 <quote>record</quote> button, the device could " +"be used to record copyrighted movies and shows. Sony was therefore " +"benefiting from the copyright infringement of its customers. It should " +"therefore, Disney and Universal claimed, be partially liable for that " +"infringement." +msgstr "" +"Samme Ã¥r som kongressen valgte denne balansen, gikk to store produsenter og " +"distributÃ¸rer av filminnhold til sak mot en annen teknologi, videospiller/" +"opptakeren som Sony hadde produsert, Betamax. Disneys og Universals pÃ¥stand " +"mot Sony var relativt enkelt: Sony produserte en enhet, pÃ¥sto Disney og " +"Universal, som gjorde det mulig for forbrukere Ã¥ gjennomfÃ¸re " +"opphavsrettsbrudd. PÃ¥ grunn av at enheten Sony hadde laget hadde en " +"<quote>opptaks-knapp</quote>, kunne enheten bli brukt til Ã¥ ta opp " +"opphavsrettsbeskyttede filmer og programmer. Sony hadde derfor fordel av " +"opphavsrettsbruddene til sine kunder og skulle derfor, pÃ¥sto Disney og " +"Universal, vÃ¦re delvis ansvarlig or disse bruddene." + +#. PAGE BREAK 89 +#. type: Content of: <book><part><chapter><section><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 <quote>copy me</quote> signal on the line. It " +"was clear that there were many television shows that did not grant anyone " +"permission to copy. Indeed, if anyone had asked, no doubt the majority of " +"shows would not have authorized copying. And in the face of this obvious " +"preference, Sony could have designed its system to minimize the opportunity " +"for copyright infringement. It did not, and for that, Disney and Universal " +"wanted to hold it responsible for the architecture it chose." +msgstr "" +"Det er noe i pÃ¥standene til Disney og Universal. Sony valgte Ã¥ utforme sin " +"maskin slik at det var veldig enkelt Ã¥ ta opp TV-programmer. De kunne ha " +"bygget maskinen slik at den blokkerte eller hindret enhver direkte kopiering " +"fra en TV-kringkasting. Eller sÃ¥ kunne de muligens ha bygget maskinen slik " +"at det kun var mulig Ã¥ kopiere hvis det var et spesielt <quote>kopier meg</" +"quote>-signal pÃ¥ linjen. Det var klart at det var mange TV-programmer som " +"ikke ga noen tillatelse til Ã¥ kopiere. Faktisk ville en, hvis en spurte, " +"uten tvil fÃ¥tt beskjed fra flertallet av programmer at de ikke tillot " +"kopiering. Og i mÃ¸tet med denne Ã¥penbare Ã¸nsket, kunne Sony ha utformet " +"systemet sitt for Ã¥ minimere muligheten for opphavsrettsbrudd. Det gjorde " +"de ikke, og pÃ¥ grunn av dette ville Disney og Universal holde dem ansvarlig " +"for arkitekturen de valgte." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "on VCR technology" - msgstr "pÃ¥ vcr-teknologi" ++msgstr "pÃ¥ videospiller-teknologi" + +#. f18 +#. type: Content of: <book><part><chapter><section><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 "" +"Copyright Infringements (Audio and Video Recorders): hÃ¸ring om S. 1758 foran " +"the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459 " +"(1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association " +"of America, Inc.)." + +#. f19 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "Copyright Infringements (Audio and Video Recorders), 475." +msgstr "Copyright Infringements (Audio and Video Recorders), 475." + +#. f20 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." +msgstr "" +"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " +"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." + +#. f21 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack " +"Valenti)." +msgstr "" +"Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra " +"Jack Valenti)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"MPAA president Jack Valenti became the studios' most vocal champion. Valenti " +"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, " +"30, 40 million of these VCRs in the land, we will be invaded by millions of " +"`tapeworms,' eating away at the very heart and essence of the most precious " +"asset the copyright owner has, his copyright.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> <quote>One does not have to be trained in " +"sophisticated marketing and creative judgment,</quote> he told Congress, " +"<quote>to understand the devastation on the after-theater marketplace caused " +"by the hundreds of millions of tapings that will adversely impact on the " +"future of the creative community in this country. It is simply a question of " +"basic economics and plain common sense.</quote><placeholder type=\"footnote" +"\" id=\"1\"/> Indeed, as surveys would later show, 45 percent of VCR owners " +"had movie libraries of ten videos or more<placeholder type=\"footnote\" id=" +"\"2\"/> — a use the Court would later hold was not <quote>fair.</" +"quote> By <quote>allowing VCR owners to copy freely by the means of an " +"exemption from copyright infringement without creating a mechanism to " +"compensate copyright owners,</quote> Valenti testified, Congress would " +"<quote>take from the owners the very essence of their property: the " +"exclusive right to control who may use their work, that is, who may copy it " +"and thereby profit from its reproduction.</quote><placeholder type=\"footnote" +"\" id=\"3\"/>" +msgstr "" +"MPAA-presidenten Jack Valenti ble studioenes mest synlige forkjemper. " +"Valenti kalte videospillerne for <quote>bendelormer</quote> (engelsk: " +"tapeworm). Han advarte om at <quote>nÃ¥r det er 20, 30, 40 millioner av " +"disse videospillerne i landet, vil vi bli invadert av millioner av " +"<quote>bendelormer</quote> som spiser i vei i hjertet og essensen til den " +"mest verdifulle eiendelen som opphavsrettseieren har, hans opphavsrett</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/> <quote>En mÃ¥ ikke vÃ¦re " +"opplÃ¦rt i sofistikert markedsfÃ¸ring eller kreativ vurdering</quote>, " +"fortalte han kongressen, <quote>for Ã¥ forstÃ¥ Ã¸deleggelsen av etter-kino-" +"markedet forÃ¥rsaket av de hundrevis av millioner opptak som vil seriÃ¸st " +"pÃ¥virke fremtiden til det kreative miljÃ¸et i dette landet. Det er ganske " +"enkelt et spÃ¸rsmÃ¥l om grunnleggende Ã¸konomi og enkel sunn fornuft.</" +"quote><placeholder type=\"footnote\" id=\"1\"/> Og ganske riktig, slik " +"spÃ¸rreundersÃ¸kelser senere ville vise, 45 prosent av videospillereierne " +"hadde filmbiblioteker som inneholdt ti filmer eller mer.<placeholder type=" +"\"footnote\" id=\"2\"/> — en bruk som retten senere ville avgjÃ¸re ikke " +"var <quote>rettferdig</quote>. Ved Ã¥ <quote>tillate videospillereierne Ã¥ " +"kopiere fritt ved hjelp av et unntak fra brudd pÃ¥ opphavsrettsloven uten Ã¥ " +"lage en mekanisme for Ã¥ kompensere opphavsrettseierne</quote>, forklarte " +"Valenti, sÃ¥ ville kongressen <quote>ta fra eierne selve essensen i deres " +"eiendom: den eksklusive retten til a kontrollere hvem som kan bruke deres " +"verker, det vil si, hvem som kan kopiere det og dermed nyte godt at dets " +"reproduksjon</quote>.<placeholder type=\"footnote\" id=\"3\"/>" + +#. f22 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." +msgstr "" +"<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " +"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." + +#. type: Content of: <book><part><chapter><section><para><indexterm><primary> +msgid "Kozinski, Alex" +msgstr "Kozinski, Alex" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"It took eight years for this case to be resolved by the Supreme Court. In " +"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " +"its jurisdiction—leading Judge Alex Kozinski, who sits on that court, " +"refers to it as the <quote>Hollywood Circuit</quote>—held that Sony " +"would be liable for the copyright infringement made possible by its " +"machines. Under the Ninth Circuit's rule, this totally familiar " +"technology—which Jack Valenti had called <quote>the Boston Strangler " +"of the American film industry</quote> (worse yet, it was a " +"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)" +"—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Det tok Ã¥tte Ã¥r fÃ¸r denne saken ble avgjort av hÃ¸yesterett. I mellomtiden " +"hadde den niende appellsirkel, som har Hollywood i sin jurisdiksjon—" +"den ledende dommeren Alex Kozinski, som er medlem i den domstolen, referer " +"til den som <quote>Hollywood-sirkelen</quote>—fant at Sony mÃ¥tte " +"holdes ansvarlig for de opphavsrettsbruddene som ble muliggjort med deres " +"maskiner. I fÃ¸lge niende sirkels regel var denne kjente teknologien—" +"som Jack Valenti hadde omtalt som <quote>Boston-kveleren for amerikansk " +"filmindustri</quote> (verre enn dette, det var en <emphasis>japansk</" +"emphasis> Boston-kveler for amerikansk filmindustri)— var en ulovlig " +"teknologi.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. PAGE BREAK 90 +#. type: Content of: <book><part><chapter><section><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 hÃ¸yesterett omstÃ¸tte avgjÃ¸relsen til niende appellsirkel. Og i sin " +"avgjÃ¸relse formulerte domstolen klart sin forstÃ¥else av nÃ¥r og om domstoler " +"burde intervenere i slike konflikter. Som retten skrev," + +#. f23 +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." +msgstr "" +"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Sound policy, as well as history, supports our consistent deference to " +"Congress when major technological innovations alter the market for " +"copyrighted materials. Congress has the constitutional authority and the " +"institutional ability to accommodate fully the varied permutations of " +"competing interests that are inevitably implicated by such new technology." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Fornuftig policy, og vÃ¥r historie, stÃ¸tter vÃ¥r konsistente henvisning til " +"kongressen nÃ¥r store teknologiske nyvinninger endrer markedet for " +"opphavsrettsbeskyttet materiale. Kongressen har den konstituelle " +"autoriteten og institusjonsevnen til Ã¥ ta fullt hensyn til de forskjellige " +"sammensetningene av konkurrerende interesser som uunngÃ¥elig blir involvert " +"av slik ny teknologi.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 " +"<quote>taking</quote> notwithstanding. If we put these cases together, a " +"pattern is clear:" +msgstr "" +"Kongressen ble bedt om Ã¥ svare pÃ¥ avgjÃ¸relsen fra HÃ¸yesterett. Men pÃ¥ samme " +"mÃ¥te som med appellen fra plateartistene om radiokringkastinger, ignorerte " +"kongressen denne forespÃ¸rselen. Kongressen var overbevist om at Amerikansk " +"film fikk nok, pÃ¥ tross av at det her ble <quote>tatt</quote>. Hvis vi " +"samler disse saken, trer et mÃ¸nster frem:" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "CASE" +msgstr "Tilfelle" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "WHOSE VALUE WAS <quote>PIRATED</quote>" +msgstr "Hvems verdi ble <quote>rÃ¸vet</quote>" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "RESPONSE OF THE COURTS" +msgstr "Responsen til domstolene" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "RESPONSE OF CONGRESS" +msgstr "Responsen til Kongressen" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Recordings" +msgstr "Innspillinger" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Composers" +msgstr "Komponister" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "No protection" +msgstr "Ingen beskyttelse" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Statutory license" +msgstr "Lovbestemt lisens" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Recording artists" +msgstr "Plateartister" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "N/A" +msgstr "" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Nothing" +msgstr "Ingenting" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Broadcasters" +msgstr "Kringkastere" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "VCR" +msgstr "Videospiller / opptaker" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Film creators" +msgstr "Filmskapere" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"These are the most important instances in our history, but there are other " +"cases as well. The technology of digital audio tape (DAT), for example, was " +"regulated by Congress to minimize the risk of piracy. The remedy Congress " +"imposed did burden DAT producers, by taxing tape sales and controlling the " +"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " +"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " +"4237, codified at 17 U.S.C. Â§1001. Again, however, this regulation did not " +"eliminate the opportunity for free riding in the sense I've described. See " +"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From " +"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law " +"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" " +"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Dette er de viktigste forekomstene i vÃ¥r historie, men det er ogsÃ¥ andre " +"tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT) " +"regulert av kongressen for Ã¥ minimere risikoen for piratkopiering. " +"Medisinen som kongressen valgte pÃ¥fÃ¸rte en belastning for DAT-produsenter, " +"ved Ã¥ legge en skatt pÃ¥ kassettsalg og ved Ã¥ kontrollere DAT-teknologien. Se " +"Audio Home Recording Act fra 1992 (overskrift 17 i <citetitle>United States " +"Code</citetitle>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S." +"C. Â§1001. Igjen eliminerte heller ikke denne regulereringen muligheten for " +"gratispassasjerer slik jeg har beskrevet. Se Lessig <citetitle>Future</" +"citetitle>, 71. Se ogsÃ¥ Picker, <quote>From Edison to the Broadcast Flag,</" +"quote> <citetitle>University of Chicago Law Review</citetitle> 70 (2003): " +"293–96. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In each case throughout our history, a new technology changed the way " +"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " +"case, throughout our history, that change meant that someone got a " +"<quote>free ride</quote> on someone else's work." +msgstr "" +"I hvert tilfelle gjennom vÃ¥r historie har ny teknologi endret hvordan " +"innhold ble distribuert.<placeholder type=\"footnote\" id=\"0\"/> I hvert " +"tilfelle, gjennom hele vÃ¥r historie, har den endringen fÃ¸rt til at noen ble " +"<quote>gratispassasjer</quote> pÃ¥ noen andres verk." + +#. PAGE BREAK 91 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In <emphasis>none</emphasis> of these cases did either the courts or " +"Congress eliminate all free riding. In <emphasis>none</emphasis> of these " +"cases did the courts or Congress insist that the law should assure that the " +"copyright holder get all the value that his copyright created. In every " +"case, the copyright owners complained of <quote>piracy.</quote> In every " +"case, Congress acted to recognize some of the legitimacy in the behavior of " +"the <quote>pirates.</quote> In each case, Congress allowed some new " +"technology to benefit from content made before. It balanced the interests at " +"stake." +msgstr "" +"I <emphasis>ingen</emphasis> av disse tilfellene eliminerte domstolene og " +"kongressen alle gratispassasjerer. I <emphasis>ingen</emphasis> av disse " +"tilfellene insisterte domstolene og kongressen at loven skulle sikre at " +"opphavsrettsinnehaveren skulle fÃ¥ all verdi som hans opphavsrett hadde " +"skapt. I hvert tilfelle klaget opphavsrettseieren om " +"<quote>piratvirksomhet</quote>. I hvert tilfelle valgte kongressen Ã¥ ta " +"hensyn til noe av legitimiteten til oppfÃ¸rselen hos <quote>piratene</" +"quote>. I hvert tilfelle tillot kongressen noe ny teknologi a ha fordel av " +"innhold laget tidligere. Den balanserte interessene pÃ¥ spill." + +#. type: Content of: <book><part><chapter><section><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 "" +"NÃ¥r du tenker over disse eksemplene, og de andre eksemplene som utgjÃ¸r de " +"fÃ¸rste fire kapittelene i denne avdelingen, sÃ¥ gir denne balansen mening. " +"Var Walt Disney en pirat? Ville doujinshi vÃ¦re bedre hvis skaperne mÃ¥tte be " +"om tillatelse? BÃ¸r verktÃ¸y som gjÃ¸r det mulig for andre Ã¥ fange og spre " +"bilder som en mÃ¥te Ã¥ kultivere og kritisere vÃ¥r kultur vÃ¦re bedre hvis den " +"var regulert? Er det virkelig riktig at a bygge en sÃ¸kemotor bÃ¸r eksponere " +"deg for krav om $15 millioner i erstatning. Ville det ha vÃ¦rt bedre om " +"Edison hadde kontrollert all film? Burde et hvert cover-band mÃ¥tte hyre inn " +"en advokat for Ã¥ fÃ¥ tillatelse til Ã¥ spille inn en sang?" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "on balance of interests in copyright law" - msgstr "pÃ¥ balanse mellom interesser i lov om opphavsrett" ++msgstr "om interesseavveininger i opphavsrettslovgivning" + +#. f25 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." +msgstr "" +"<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"We could answer yes to each of these questions, but our tradition has " +"answered no. In our tradition, as the Supreme Court has stated, copyright " +"<quote>has never accorded the copyright owner complete control over all " +"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> " +"Instead, the particular uses that the law regulates have been defined by " +"balancing the good that comes from granting an exclusive right against the " +"burdens such an exclusive right creates. And this balancing has historically " +"been done <emphasis>after</emphasis> a technology has matured, or settled " +"into the mix of technologies that facilitate the distribution of content." +msgstr "" +"Vi kunne svart ja pÃ¥ hvert av disse spÃ¸rsmÃ¥lene, men vÃ¥r tradisjon har svart " +"nei. I vÃ¥r tradisjon, som hÃ¸yesterett uttalte har opphavsretten " +"<quote>aldri gitt opphavsrettseieren fullstendig kontroll over all mulig " +"bruk av hans verk</quote>.<placeholder type=\"footnote\" id=\"0\"/> I stedet " +"har de spesifikke bruksomrÃ¥der som loven regulerer vÃ¦rt definert ved Ã¥ " +"balansere de goder som kommer fra Ã¥ dele ut en eksklusiv rettighet mot " +"ulempene en slik eksklusiv rettighet skaper. Og denne balanseringen har " +"historisk vÃ¦rt gjort <emphasis>etter</emphasis> at teknologien har modnet, " +"eller landet pÃ¥ en blanding av teknologier som bidrar til distribusjonen av " +"innhold." + +#. type: Content of: <book><part><chapter><section><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 <quote>stealing</quote> from artists. But neither should the law " +"become a tool to entrench one particular way in which artists (or more " +"accurately, distributors) get paid. As I describe in some detail in the last " +"chapter of this book, we should be securing income to artists while we allow " +"the market to secure the most efficient way to promote and distribute " +"content. This will require changes in the law, at least in the interim. " +"These changes should be designed to balance the protection of the law " +"against the strong public interest that innovation continue." +msgstr "" +"Vi burde gjÃ¸re det samme i dag. Teknologien pÃ¥ Internettet endrer seg " +"raskt. MÃ¥ten folk kobler seg til Internettet (trÃ¥dbasert eller trÃ¥dlÃ¸st) " +"endrer seg veldig raskt. Uten tvil bÃ¸r ikke nettverket bli et verktÃ¸y for " +"<quote>stjeling</quote> fra kunstnere. Men loven bÃ¸r heller ikke bli et " +"verktÃ¸y for Ã¥ tvinge igjennom en bestemt mÃ¥te som kunstnere (eller mer " +"korrekt, distributÃ¸rer) fÃ¥r betalt. Som jeg beskriver i litt detalj i det " +"siste kapittelet i denne boken, bÃ¸r vi sikre inntekter til kunstnere mens vi " +"tillater markedet Ã¥ fÃ¥ pÃ¥ plass den mest effektive mÃ¥ten Ã¥ fremme og " +"distribuere innhold. Dette vil kreve endringer i loven, i hvert fall i en " +"mellomperiode. Disse endringene burde utformes slik at de balanserer " +"beskyttelsen gitt i loven mot den sterke folkeinteressen for at nyskapning " +"fortsetter." + +#. f26 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " +"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 " +"September 2003, C3." +msgstr "" +"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " +"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22. " +"september 2003, C3." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This is especially true when a new technology enables a vastly superior mode " +"of distribution. And this p2p has done. P2p technologies can be ideally " +"efficient in moving content across a widely diverse network. Left to " +"develop, they could make the network vastly more efficient. Yet these " +"<quote>potential public benefits,</quote> as John Schwartz writes in " +"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the " +"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Dette er spesielt riktig nÃ¥r en ny teknologi muliggjÃ¸r en svÃ¦rt overlegen " +"mÃ¥te Ã¥ distribuere pÃ¥. Og dette har p2p gjort. P2p-teknologier kan vÃ¦re " +"ideelt effektivt for Ã¥ flytte innhold pÃ¥ tvers av et stort og variert " +"nettverk. Utviklet videre sÃ¥ kan de gjÃ¸re nettverkene mye mer effektivt. " +"Likevel kan disse <quote>potensielle fordelene for folket</quote>, som John " +"Schwartz skriver i <citetitle>The New York Times</citetitle>, <quote>bli " +"forsinket av p2p-kampen</quote>.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about " +"<quote>balance,</quote> the copyright warriors raise a different argument. " +"<quote>All this hand waving about balance and incentives,</quote> they say, " +"<quote>misses a fundamental point. Our content,</quote> the warriors insist, " +"<quote>is our <emphasis>property</emphasis>. Why should we wait for Congress " +"to `rebalance' our property rights? Do you have to wait before calling the " +"police when your car has been stolen? And why should Congress deliberate at " +"all about the merits of this theft? Do we ask whether the car thief had a " +"good use for the car before we arrest him?</quote>" +msgstr "" +"<emphasis role='strong'>Men nÃ¥r noen</emphasis> begynner Ã¥ snakke om " +"<quote>balanse</quote>, kommer opphavsrettskrigerne med et annet argument. " +"<quote>All denne varme luften om balanse og insentiver</quote>, sier de, " +"<quote>gÃ¥r glipp av det fundamentale poenget. VÃ¥rt innhold</quote>, " +"insisterer krigerne, <quote>er vÃ¥r <emphasis>eiendom</emphasis>. Hvorfor " +"burde vi vente pÃ¥ at kongressen skal finne en ny balanse for vÃ¥re " +"eiendomsretter? MÃ¥ vi vente fÃ¸r vi kontakter politiet nÃ¥r bilen vÃ¥r har " +"blitt stjÃ¥let? Og hvorfor burde kongressen i det hele tatt debattere nytten " +"av dette tyveriet? SpÃ¸r vi dem om biltyven hadde god bruk for bilen fÃ¸r vi " +"arresterer han?</quote>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. " +"<quote>And it should be protected just as any other property is protected.</" +"quote>" +msgstr "" +"<quote>Det er <emphasis>vÃ¥r eiendom</emphasis>,</quote> insisterer krigerne. " +"<quote>og den bÃ¸r vÃ¦re beskyttet pÃ¥ samme mÃ¥te som all annen eiendom er " +"beskyttet.</quote>" + +#. type: Content of: <book><part><title> +msgid "<quote>PROPERTY</quote>" +msgstr "<quote>Eiendom</quote>" + +#. PAGE BREAK 94 +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role='strong'>The copyright warriors</emphasis> are right: A " +"copyright is a kind of property. It can be owned and sold, and the law " +"protects against its theft. Ordinarily, the copyright owner gets to hold out " +"for any price he wants. Markets reckon the supply and demand that partially " +"determine the price she can get." +msgstr "" +"<emphasis role='strong'>Opphavsretts-krigerne</emphasis> har rett: " +"Opphavsretten er en type eiendom. Den kan eies og selges, og loven beskytter " +"mot at den blir stjÃ¥let. Vanligvis, kan opphavsrettseieren be om hvilken som " +"helst pris som han Ã¸nsker. Markeder bestemmer tilbud og etterspÃ¸rsel som i " +"hvert tilfelle bestemmer prisen hun kan fÃ¥." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"But in ordinary language, to call a copyright a <quote>property</quote> " +"right is a bit misleading, for the property of copyright is an odd kind of " +"property. Indeed, the very idea of property in any idea or any expression " +"is very odd. I understand what I am taking when I take the picnic table you " +"put in your backyard. I am taking a thing, the picnic table, and after I " +"take it, you don't have it. But what am I taking when I take the good " +"<emphasis>idea</emphasis> you had to put a picnic table in the " +"backyard—by, for example, going to Sears, buying a table, and putting " +"it in my backyard? What is the thing I am taking then?" +msgstr "" +"Men i vanlig sprÃ¥k er det Ã¥ kalle opphavsrett for en <quote>eiendoms</quote>-" +"rett litt misvisende, for eiendommen i opphavsretten er en merkelig type " +"eiendom. Selve idÃ©en om eierrettigheter til en idÃ© eller et uttrykk er " +"nemlig veldig merkelig. Jeg forstÃ¥r hva jeg tar nÃ¥r jeg tar en piknik-bord " +"som du plasserte i din bakhage. Jeg tar en ting, piknik-bordet, og etter at " +"jeg tar det har ikke du det. Men hva tar jeg nÃ¥r jeg tar den gode " +"<emphasis>idÃ©en</emphasis> som du hadde om Ã¥ plassere piknik-bordet i " +"bakhagen—ved Ã¥ for eksempel dra til butikken Sears, kjÃ¸pe et bord, og " +"plassere det i min egen bakhage? Hva er tingen jeg tar da?" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Jefferson, Thomas" +msgstr "Jefferson, Thomas" + +#. f1 +#. type: Content of: <book><part><partintro><para><footnote><para> +msgid "" +"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " +"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " +"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." +msgstr "" +"Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i " +"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " +"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The point is not just about the thingness of picnic tables versus ideas, " +"though that's an important difference. The point instead is that in the " +"ordinary case—indeed, in practically every case except for a narrow " +"range of exceptions—ideas released to the world are free. I don't take " +"anything from you when I copy the way you dress—though I might seem " +"weird if I did it every day, and especially weird if you are a woman. " +"Instead, as Thomas Jefferson said (and as is especially true when I copy the " +"way someone else dresses), <quote>He who receives an idea from me, receives " +"instruction himself without lessening mine; as he who lights his taper at " +"mine, receives light without darkening me.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Poenget er ikke bare om hvorvidt piknik-bord og idÃ©er er ting, selv om det " +"er en viktig forskjell. Poenget er istedet at i det vanlige tilfelle—" +"faktisk i praktisk talt ethvert tilfelle unntatt en begrenset rekke med " +"unntak—er idÃ©er sluppet ut i verden frie. Jeg tar ingenting fra deg " +"nÃ¥r jeg kopierer mÃ¥ten du kler deg—selv om det ville se sÃ¦rt ut hvis " +"jeg gjorde det hver dag, og spesielt sÃ¦rt hvis du er en kvinne. Istedet, " +"som Thomas Jefferson sa (og det er spesielt sant nÃ¥r jeg kopierer hvordan " +"noen andre kler seg), <quote>Den som mottar en idÃ© fra meg, fÃ¥r selv " +"informasjon uten Ã¥ ta noe fra meg, pÃ¥ samme mÃ¥te som den som tenner sitt lys " +"fra min veike fÃ¥r lys uten Ã¥ forlate meg i mÃ¸rket</quote>.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><indexterm><secondary> - #, mtrans, fuzzy +msgid "intangibility of" - msgstr "intangibility av" ++msgstr "ubegripelighet av" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"The exceptions to free use are ideas and expressions within the reach of the " +"law of patent and copyright, and a few other domains that I won't discuss " +"here. Here the law says you can't take my idea or expression without my " +"permission: The law turns the intangible into property." +msgstr "" +"Unntakene til fri bruk er idÃ©er og uttrykk innenfor dekningsomrÃ¥det til " +"loven om patent og opphavsrett, og noen fÃ¥ andre omrÃ¥der som jeg ikke vil " +"diskutere her. Her sier loven at du ikke kan ta min idÃ© eller uttrykk uten " +"min tillatelse: Loven gjÃ¸r det immaterielle til eiendom. " + +#. f2 +#. type: Content of: <book><part><partintro><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, " +"<quote>What Is Property? Putting the Pieces Back Together,</quote> " +"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241." +msgstr "" +"Slik de juridiske realistene lÃ¦rte bort amerikansk lov, var alle " +"eiendomsretter immaterielle. En eiendomsrett er ganske enkelt den retten " +"som et individ har mot verden til Ã¥ gjÃ¸re eller ikke gjÃ¸re visse ting som er " +"eller ikke er knyttet til et fysisk objekt. Retten i seg selv er " +"immateriell, selv om objektet som det er (metafysisk) knyttet til er " +"materielt. Se Adam Mossoff, <quote>What Is Property? Putting the Pieces " +"Back Together,</quote> <citetitle>Arizona Law Review</citetitle> 45 (2003): " +"373, 429 n. 241." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"But how, and to what extent, and in what form—the details, in other " +"words—matter. To get a good sense of how this practice of turning the " +"intangible into property emerged, we need to place this <quote>property</" +"quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Men hvordan, og i hvilken utstrekning, og i hvilken form—detaljene, " +"med andre ord—betyr noe. For Ã¥ fÃ¥ en god forstÃ¥else om hvordan denne " +"praksis om Ã¥ gjÃ¸re det immaterielle om til eiendom vokste frem, trenger vi Ã¥ " +"plassere denne <quote>eiendom</quote> i sin rette sammenheng.<placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><partintro><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 <quote>copyright material " +"is property</quote> in context. Where did the idea come from? What are its " +"limits? How does it function in practice? After these stories, the " +"significance of this true statement—<quote>copyright material is " +"property</quote>— will be a bit more clear, and its implications will " +"be revealed as quite different from the implications that the copyright " +"warriors would have us draw." +msgstr "" +"Min strategi for Ã¥ gjÃ¸re dette er den samme som min strategi i den " +"foregÃ¥ende del. Jeg tilbyr fire historier som bidrar til Ã¥ plassere " +"<quote>opphavsrettsmateriale er eiendom</quote> i sammenheng. Hvor kom " +"idÃ©en fra? Hva er dens begrensninger? Hvordan fungerer dette i praksis. " +"Etter disse historiene vil betydningen til dette sanne utsagnet—" +"<quote>opphavsrettsmateriale er eiendom</quote>— bli litt mer klart, " +"og dets implikasjoner vil bli avslÃ¸rt som ganske forskjellig fra " +"implikasjonene som opphavsrettskrigerne vil at vi skal forstÃ¥." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER SIX: Founders" +msgstr "Kapittel seks: Grunnleggerne" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "English copyright law developed for" +msgstr "Engelsk Ã¥ndsverkslov utviklet for" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "England, copyright laws developed in" +msgstr "England, Ã¥ndsverkslov utviklet i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "United Kingdom" +msgstr "Storbritannia" + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "history of copyright law in" - msgstr "historie om opphavsrett i" ++msgstr "historie av opphavsrettslovgivning i" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Branagh, Kenneth" +msgstr "Branagh, Kenneth" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Henry V" +msgstr "Henry V" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Romeo and Juliet (Shakespeare)" +msgstr "Romeo og Julie (Shakespeare)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>William Shakespeare</emphasis> wrote " +"<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first " +"published in 1597. It was the eleventh major play that Shakespeare had " +"written. He would continue to write plays through 1613, and the plays that " +"he wrote have continued to define Anglo-American culture ever since. So " +"deeply have the works of a sixteenth-century writer seeped into our culture " +"that we often don't even recognize their source. I once overheard someone " +"commenting on Kenneth Branagh's adaptation of Henry V: <quote>I liked it, " +"but Shakespeare is so full of clichÃ©s.</quote>" +msgstr "" +"<emphasis role='strong'>William Shakespeare</emphasis> skrev " +"<citetitle>Romeo og Julie</citetitle> i 1595. Skuespillet ble fÃ¸rst utgitt i " +"1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han " +"fortsatte Ã¥ skrive skuespill helt til 1613, og stykkene han skrev har " +"fortsatt Ã¥ definere angloamerikansk kultur siden. SÃ¥ dypt har verkene av en " +"1500-talls forfatter sunket inn i vÃ¥r kultur at vi ofte ikke engang kjenner " +"kilden. Jeg overhÃ¸rte en gang noen som kommentere Kenneth Branaghs utgave av " +"Henry V: <quote>Jeg likte det, men Shakespeare er sÃ¥ full av klisjeer.</" +"quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Conger" +msgstr "Conger" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Tonson, Jacob" +msgstr "Tonson, Jacob" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Jonson, Ben" +msgstr "Jonson, Ben" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Dryden, John" +msgstr "Dryden, John" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Jacob Tonson is typically remembered for his associations with " +"prominent eighteenth-century literary figures, especially John Dryden, and " +"for his handsome <quote>definitive editions</quote> of classic works. In " +"addition to <citetitle>Romeo and Juliet</citetitle>, he published an " +"astonishing array of works that still remain at the heart of the English " +"canon, including collected works of Shakespeare, Ben Jonson, John Milton, " +"and John Dryden. See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> " +"<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets " +"litterÃ¦re storheter, spesielt John Dryden, og for hans kjekke<quote>ferdige " +"versjoner</quote> av klassiske verk. I tillegg til <citetitle>Romeo og " +"Julie</citetitle>, utga han en utrolig rekke liste av verk som ennÃ¥ er " +"hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben " +"Jonson, John Milton, og John Dryden. Se Keith Walker: <quote>Jacob Tonson, " +"Bookseller</quote>, <citetitle>American Scholar</citetitle> 61:3 (1992): 424-Â" +"31." + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." +msgstr "" +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." + +#. PAGE BREAK 97 +#. type: Content of: <book><part><chapter><para> +msgid "" +"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " +"written, the <quote>copy-right</quote> for the work was still thought by " +"many to be the exclusive right of a single London publisher, Jacob Tonson." +"<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a " +"small group of publishers called the Conger<placeholder type=\"footnote\" id=" +"\"1\"/> who controlled bookselling in England during the eighteenth century. " +"The Conger claimed a perpetual right to control the <quote>copy</quote> of " +"books that they had acquired from authors. That perpetual right meant that " +"no one else could publish copies of a book to which they held the " +"copyright. Prices of the classics were thus kept high; competition to " +"produce better or cheaper editions was eliminated." +msgstr "" +"I 1774, nesten 180 Ã¥r etter at <citetitle>Romeo og Julie</citetitle> ble " +"skrevet, mente mange at <quote>opphavsretten</quote> kun tilhÃ¸rte Ã©n eneste " +"utgiver i London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> " +"Tonson var den mest fremstÃ¥ende av en liten gruppe utgivere kalt <quote>the " +"Conger</quote><placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte " +"boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde " +"en evigvarende rett over <quote>kopier</quote> av bÃ¸ker de hadde fÃ¥tt av " +"forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere " +"kopier av disse bÃ¸kene. Slik ble prisen pÃ¥ klassiske bÃ¸ker holdt oppe; alle " +"konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "British Parliament" +msgstr "Britiske parlamentet, det" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> - #, mtrans, fuzzy +msgid "renewability of" - msgstr "fornyelsesevne av" ++msgstr "fornyelsesevnen til" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> - #, mtrans, fuzzy +msgid "Statute of Anne (1710)" - msgstr "Vedtektene for anne (1710)" ++msgstr "Statute of Anne (1710)" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> As Siva Vaidhyanathan nicely " +"argues, it is erroneous to call this a <quote>copyright law.</quote> See " +"Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Som Siva Vaidhyanathan sÃ¥ pent " +"argumenterer, er det feilaktige Ã¥ kalle dette en <quote>Ã¥ndsverkslov</" +"quote>. Se Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, " +"40." + +#. type: Content of: <book><part><chapter><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 " +"<quote>copyright</quote> act. Known as the Statute of Anne, the act stated " +"that all published works would get a copyright term of fourteen years, " +"renewable once if the author was alive, and that all works already published " +"by 1710 would get a single term of twenty-one additional years.<placeholder " +"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</" +"citetitle> should have been free in 1731. So why was there any issue about " +"it still being under Tonson's control in 1774?" +msgstr "" +"Men altsÃ¥, det er noe spennende med Ã¥ret 1774 for alle som vet litt om " +"opphavsretts-lovgivning. Det mest kjente Ã¥ret for opphavsrett er 1710, da " +"det britiske parlamentet vedtok den fÃ¸rste loven. Denne loven er kjent som " +"<quote>Statute of Anne</quote> og sa at alle publiserte verk skulle vÃ¦re " +"beskyttet i fjorten Ã¥r, en periode som kunne fornyes Ã©n gang dersom " +"forfatteren ennÃ¥ levde, og at alle verk publisert i eller fÃ¸r 1710 skulle ha " +"en ekstraperiode pÃ¥ 22 tilleggsÃ¥r.<placeholder type=\"footnote\" id=\"0\"/> " +"PÃ¥ grunn av denne loven, sÃ¥ skulle <citetitle>Romeo og Julie</citetitle> ha " +"falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over " +"verket i 1774?" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "common vs. positive" +msgstr "felles vs. positive" + +#. type: Content of: <book><part><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "positive law" - msgstr "positiv lov" ++msgstr "positiv rett" + +#. type: Content of: <book><part><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "Licensing Act (1662)" - msgstr "lisensiering act (1662)" ++msgstr "Licensing Act (1662)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The reason is that the English hadn't yet agreed on what a <quote>copyright</" +"quote> was—indeed, no one had. At the time the English passed the " +"Statute of Anne, there was no other legislation governing copyrights. The " +"last law regulating publishers, the Licensing Act of 1662, had expired in " +"1695. That law gave publishers a monopoly over publishing, as a way to make " +"it easier for the Crown to control what was published. But after it " +"expired, there was no positive law that said that the publishers, or " +"<quote>Stationers,</quote> had an exclusive right to print books." +msgstr "" +"Ãrsaken var ganske enkelt at engelskmennene ennÃ¥ ikke hadde bestemt hva " +"opphavsrett innebar -- faktisk hadde ingen i verden det. PÃ¥ den tiden da " +"engelskmennene vedtok <quote>Statute of Anne</quote>, var det ingen annen " +"lovgivning om opphavsrett. Den siste loven som regulerte utgivere var " +"lisensieringsloven av 1662, utlÃ¸pt i 1695. At loven ga utgiverne monopol " +"over publiseringen, noe som gjorde det enklere for kronen Ã¥ kontrollere hva " +"ble publisert. Men etter at det har utlÃ¸pt, var det ingen positiv lov som sa " +"at utgiverne hadde en eksklusiv rett til Ã¥ trykke bÃ¸ker." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "common law" +msgstr "sedvanerett" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"There was no <emphasis>positive</emphasis> law, but that didn't mean that " +"there was no law. The Anglo-American legal tradition looks to both the words " +"of legislatures and the words of judges to know the rules that are to govern " +"how people are to behave. We call the words from legislatures " +"<quote>positive law.</quote> We call the words from judges <quote>common law." +"</quote> The common law sets the background against which legislatures " +"legislate; the legislature, ordinarily, can trump that background only if it " +"passes a law to displace it. And so the real question after the licensing " +"statutes had expired was whether the common law protected a copyright, " +"independent of any positive law." +msgstr "" +"At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " +"det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de " +"til lover skapt av politikere (det lovgivende statsorgen)og til lover " +"(prejudikater) skapt av domstolene for Ã¥ bestemme hvordan folket skal leve. " +"Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " +"dommerne sedvanerett.<quote>Common law</quote> angir bakgrunnen for de " +"lovgivendes lovgivning; retten til lovgiving, vanligvis kan trumfe at " +"bakgrunnen bare hvis det gÃ¥r gjennom en lov til Ã¥ forskyve den. Og sÃ¥ var " +"det virkelige spÃ¸rsmÃ¥let etter lisensiering lover hadde utlÃ¸pt om felles lov " +"beskyttet opphavsretten, uavhengig av lovverket positiv." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Scottish publishers" +msgstr "Skotske utgivere" + +#. PAGE BREAK 98 +#. type: Content of: <book><part><chapter><para> +msgid "" +"This question was important to the publishers, or <quote>booksellers,</" +"quote> as they were called, because there was growing competition from " +"foreign publishers. The Scottish, in particular, were increasingly " +"publishing and exporting books to England. That competition reduced the " +"profits of the Conger, which reacted by demanding that Parliament pass a law " +"to again give them exclusive control over publishing. That demand ultimately " +"resulted in the Statute of Anne." +msgstr "" +"Dette spÃ¸rsmÃ¥let var viktig for utgiverne eller <quote>bokselgere</quote>, " +"som de ble kalt, fordi det var Ã¸kende konkurranse fra utenlandske utgivere, " +"SÃ¦rlig fra Skottland hvor publiseringen og eksporten av bÃ¸ker til England " +"hadde Ã¸kt veldig. Denne konkurransen reduserte fortjenesten til <quote>The " +"Conger</quote>, som derfor krevde at parlamentet igjen skulle vedta en lov " +"for Ã¥ gi dem eksklusiv kontroll over publisering. Dette kravet resulterte i " +"<quote>Statute of Anne</quote>." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "as narrow monopoly right" +msgstr "som smal monopolrett" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Statute of Anne granted the author or <quote>proprietor</quote> of a " +"book an exclusive right to print that book. In an important limitation, " +"however, and to the horror of the booksellers, the law gave the bookseller " +"that right for a limited term. At the end of that term, the copyright " +"<quote>expired,</quote> and the work would then be free and could be " +"published by anyone. Or so the legislature is thought to have believed." +msgstr "" +"<quote>Statute of Anne</quote> ga forfatteren eller <quote>eieren</quote> av " +"en bok en eksklusiv rett til Ã¥ publisere denne boken. Men det var, til " +"bokhandlernes forferdelse en viktig begrensning, nemlig hvor lenge denne " +"retten skulle vare. Etter dette gikk trykkeretten bort og verket falt i det " +"fri og kunne trykkes av hvem som helst. Det var ihvertfall det lovgiverne " +"hadde tenkt." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Now, the thing to puzzle about for a moment is this: Why would Parliament " +"limit the exclusive right? Not why would they limit it to the particular " +"limit they set, but why would they limit the right <emphasis>at all?</" +"emphasis>" +msgstr "" +"Men nÃ¥ det mest interessante med dette: Hvorfor ville parlamentet begrense " +"trykkeretten? SpÃ¸rsmÃ¥let er ikke hvorfor de bestemte seg for denne perioden, " +"men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For the booksellers, and the authors whom they represented, had a very " +"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " +"That play was written by Shakespeare. It was his genius that brought it into " +"the world. He didn't take anybody's property when he created this play " +"(that's a controversial claim, but never mind), and by his creating this " +"play, he didn't make it any harder for others to craft a play. So why is it " +"that the law would ever allow someone else to come along and take " +"Shakespeare's play without his, or his estate's, permission? What reason is " +"there to allow someone else to <quote>steal</quote> Shakespeare's work?" +msgstr "" +"Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " +"krav. Ta <citetitle>Romeo og Julie</citetitle> som et eksempel: Skuespillet " +"ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " +"verden. Han krenket ikke noens rett da han skrev dette verket (det er en " +"kontroversiell pÃ¥standen, men det er ikke relevant), og med sin egen rett " +"skapte han verket, han gjorde det ikke noe vanskeligere for andre til Ã¥ lage " +"skuespill. SÃ¥ hvorfor skulle loven tillate at noen annen kunne komme og ta " +"Shakespeares verk uten hans, eller hans arvingers, tillatelse? Hvilke " +"grunner finnes for Ã¥ tillate at noen <quote>stjeler</quote> Shakespeares " +"verk?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The answer comes in two parts. We first need to see something special about " +"the notion of <quote>copyright</quote> that existed at the time of the " +"Statute of Anne. Second, we have to see something important about " +"<quote>booksellers.</quote>" +msgstr "" +"Svaret er todel. FÃ¸rst mÃ¥ vi se pÃ¥ noe spesielt med oppfatningen av " +"opphavsrett som fantes pÃ¥ tidspunktet da <quote>Statute of Anne</quote> ble " +"vedtatt. Deretter mÃ¥ vi se pÃ¥ noe spesielt med bokhandlerne." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "usage restrictions attached to" +msgstr "bruksbegrensninger knyttet til" + +#. PAGE BREAK 99 +#. type: Content of: <book><part><chapter><para> +msgid "" +"First, about copyright. In the last three hundred years, we have come to " +"apply the concept of <quote>copyright</quote> ever more broadly. But in " +"1710, it wasn't so much a concept as it was a very particular right. The " +"copyright was born as a very specific set of restrictions: It forbade others " +"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right " +"to use a particular machine to replicate a particular work. It did not go " +"beyond that very narrow right. It did not control any more generally how a " +"work could be <emphasis>used</emphasis>. Today the right includes a large " +"collection of restrictions on the freedom of others: It grants the author " +"the exclusive right to copy, the exclusive right to distribute, the " +"exclusive right to perform, and so on." +msgstr "" +"FÃ¸rst om opphavsretten. I de siste tre hundre Ã¥r har vi kommet til Ã¥ bruke " +"begrepet <quote>copyright</quote> i stadig videre forstand. Men i 1710 var " +"det ikke sÃ¥ mye et konsept som det var en bestemt rett. Opphavsretten ble " +"fÃ¸dt som et svÃ¦rt spesifikt sett med begrensninger: den forbÃ¸d andre Ã¥ " +"reprodusere en bok. I 1710 var <quote>kopi-rett</quote> en rett til Ã¥ bruke " +"en bestemt maskin til Ã¥ replikere en bestemt arbeid. Den gikk ikke utover " +"dette svÃ¦rt smale formÃ¥let. Den kontrollerte ikke mer generelt hvordan et " +"verk kunne <emphasis>brukes</emphasis>. Idag inkluderer retten en stor " +"samling av restriksjoner pÃ¥ andres frihet: den gir forfatteren eksklusiv " +"rett til Ã¥ kopiere, eksklusiv rett til Ã¥ distribuere, eksklusiv rett til Ã¥ " +"fremfÃ¸re, og sÃ¥ videre." + +#. type: Content of: <book><part><chapter><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 " +"<quote>copy-right</quote> was only an exclusive right to print—no " +"less, of course, but also no more." +msgstr "" +"SÃ¥ selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, " +"betydde det under den opprinnelige betydningen av begrepet at ingen kunne " +"trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den " +"ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne " +"fremfÃ¸res, om verket kunne oversettes eller om Kenneth Branagh ville hatt " +"lov til Ã¥ lage filmer. <quote>Kopi-retten</quote> var bare en eksklusiv rett " +"til Ã¥ trykke--ikke noe mindre, selvfÃ¸lgelig, men heller ikke mer." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Henry VIII, King of England" +msgstr "Henry VIII, Konge av England" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "monopoly, copyright as" +msgstr "monopol, opphavsrett som" + +#. type: Content of: <book><part><chapter><indexterm><primary> - #, mtrans, fuzzy +msgid "Statute of Monopolies (1656)" - msgstr "Rhuddlan monopoler (1656)" ++msgstr "Statute of Monopolis (1656)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Even that limited right was viewed with skepticism by the British. They had " +"had a long and ugly experience with <quote>exclusive rights,</quote> " +"especially <quote>exclusive rights</quote> granted by the Crown. The English " +"had fought a civil war in part about the Crown's practice of handing out " +"monopolies—especially monopolies for works that already existed. King " +"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to " +"print playing cards. The English Parliament began to fight back against this " +"power of the Crown. In 1656, it passed the Statute of Monopolies, limiting " +"monopolies to patents for new inventions. And by 1710, Parliament was eager " +"to deal with the growing monopoly in publishing." +msgstr "" +"Selv denne begrensede retten ble mÃ¸tt med skepsis av britene. De hadde hatt " +"en lang og stygg erfaring med <quote>eksklusive rettigheter</quote>, " +"spesielt <quote>enerett</quote> gitt av kronen. Engelskmennene hadde " +"utkjempet en borgerkrig delvis mot kronens praksis med Ã¥ dele ut monopoler--" +"spesielt monopoler for verk som allerede eksisterte. Kong Henrik VIII hadde " +"gitt patent til Ã¥ trykke Bibelen og monopol til Darcy for Ã¥ lage spillkort. " +"Det engelske parlamentet begynte Ã¥ kjempe tilbake mot denne makten hos " +"kronen. I 1656 ble <quote>Statute of Monopolis</quote> vedtatt for Ã¥ " +"begrense monopolene pÃ¥ patenter for nye oppfinnelser. Og i 1710 var " +"parlamentet ivrig etter Ã¥ hÃ¥ndtere det voksende monopolet pÃ¥ publisering." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was " +"naturally viewed as a right that should be limited. (However convincing the " +"claim that <quote>it's my property, and I should have it forever,</quote> " +"try sounding convincing when uttering, <quote>It's my monopoly, and I should " +"have it forever.</quote>) The state would protect the exclusive right, but " +"only so long as it benefited society. The British saw the harms from " +"specialinterest favors; they passed a law to stop them." +msgstr "" +"Dermed ble <quote>kopi-retten</quote>, nÃ¥r den sees pÃ¥ som en monopolrett, " +"en rettighet som bÃ¸r vÃ¦re begrenset. (Uansett hvor overbevisende pÃ¥standen " +"om at <quote>det er min eiendom, og jeg skal ha for alltid,</quote> prÃ¸v " +"hvor overbevisende det er nÃ¥r men sier <quote>det er mitt monopol, og jeg " +"skal ha det for alltid.</quote>) Staten ville beskytte eneretten, men bare " +"sÃ¥ lenge det gavnet samfunnet. Britene sÃ¥ skadene sÃ¦rinteressene kunne " +"skape; de vedtok en lov for Ã¥ stoppe dem." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Milton, John" +msgstr "Milton, John" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "booksellers, English" +msgstr "bokselgere, Engelske" + +#. f4 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." +msgstr "" +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Second, about booksellers. It wasn't just that the copyright was a monopoly. " +"It was also that it was a monopoly held by the booksellers. Booksellers " +"sound quaint and harmless to us. They were not viewed as harmless in " +"seventeenth-century England. Members of the Conger were increasingly seen as " +"monopolists of the worst kind—tools of the Crown's repression, selling " +"the liberty of England to guarantee themselves a monopoly profit. The " +"attacks against these monopolists were harsh: Milton described them as " +"<quote>old patentees and monopolizers in the trade of book-selling</quote>; " +"they were <quote>men who do not therefore labour in an honest profession to " +"which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. " +"Det var ogsÃ¥ et monopol holdt av bokhandlerne. En bokhandler hÃ¸res greie og " +"ufarlige ut for oss, men slik var det ikke i syttenhundretallets England. " +"Medlemmene i <quote>the Conger</quote> ble av en voksende mengde sett pÃ¥ som " +"monopolister av verste sort - et verktÃ¸y for kronens undertrykkelse, de " +"solgte Englands frihet mot Ã¥ vÃ¦re garantert en monopolskinntekt. Men " +"monopolistene ble kvast kritisert: Milton beskrev dem som <quote>gamle " +"patentholdere og monopolister i bokhandlerkunsten</quote>; de var " +"<quote>menn som derfor ikke hadde et Ã¦rlig arbeide hvor utdanning er " +"nÃ¸dvendig.</quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Enlightenment" +msgstr "opplysningstiden" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "knowledge, freedom of" +msgstr "kunnskap, frihet for" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Many believed the power the booksellers exercised over the spread of " +"knowledge was harming that spread, just at the time the Enlightenment was " +"teaching the importance of education and knowledge spread generally. The " +"idea that knowledge should be free was a hallmark of the time, and these " +"powerful commercial interests were interfering with that idea." +msgstr "" +"Mange trodde at den makten bokhandlerne utÃ¸vde over spredning av kunnskap, " +"var til skade for selve spredningen, men pÃ¥ dette tidspunktet viste " +"Opplysningen viktigheten av utdannelse og kunnskap for alle. idÃ©en om at " +"kunnskap burde vÃ¦re gratis er et kjennetegn for tiden, og disse kraftige " +"kommersielle interesser forstyrret denne idÃ©en." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"To balance this power, Parliament decided to increase competition among " +"booksellers, and the simplest way to do that was to spread the wealth of " +"valuable books. Parliament therefore limited the term of copyrights, and " +"thereby guaranteed that valuable books would become open to any publisher to " +"publish after a limited time. Thus the setting of the term for existing " +"works to just twenty-one years was a compromise to fight the power of the " +"booksellers. The limitation on terms was an indirect way to assure " +"competition among publishers, and thus the construction and spread of " +"culture." +msgstr "" +"For Ã¥ balansere denne makten, besluttet Parlamentet Ã¥ Ã¸ke konkurransen blant " +"bokhandlerne, og den enkleste mÃ¥ten Ã¥ gjÃ¸re det pÃ¥, var Ã¥ spre mengden av " +"verdifulle bÃ¸ker. Parlamentet begrenset derfor begrepet om opphavsrett, og " +"garantert slik at verdifulle bÃ¸ker ville bli frie for alle utgiver Ã¥ " +"publisere etter en begrenset periode. Slik ble det Ã¥ gi eksisterende verk en " +"periode pÃ¥ tjueen Ã¥r et kompromiss for Ã¥ bekjempe bokhandlernes makt. " +"Begrensninger med dato var en indirekte mÃ¥te Ã¥ skape konkurranse mellom " +"utgivere, og slik en skapelse og spredning av kultur." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in perpetuity" +msgstr "for evig" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"When 1731 (1710 + 21) came along, however, the booksellers were getting " +"anxious. They saw the consequences of more competition, and like every " +"competitor, they didn't like them. At first booksellers simply ignored the " +"Statute of Anne, continuing to insist on the perpetual right to control " +"publication. But in 1735 and 1737, they tried to persuade Parliament to " +"extend their terms. Twenty-one years was not enough, they said; they needed " +"more time." +msgstr "" +"NÃ¥r 1731 (1710+21) kom, ble bokhandlerne engstelige. De sÃ¥ konsekvensene av " +"mer konkurranse, og som alle konkurrenter, likte de det ikke. FÃ¸rst " +"ignorerte bokhandlere ganske enkelt <quote>Statute of Anne</quote>, og " +"fortsatte Ã¥ kreve en evigvarende rett til Ã¥ kontrollere publiseringen. Men i " +"1735 og 1737 de prÃ¸vde Ã¥ tvinge Parlamentet til Ã¥ utvide periodene. Tjueen " +"Ã¥r var ikke nok, sa de; de trengte mer tid." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Parliament rejected their requests. As one pamphleteer put it, in words that " +"echo today," +msgstr "" +"Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennÃ¥ " +"idag," + +#. f5 +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +msgid "" +"A Letter to a Member of Parliament concerning the Bill now depending in the " +"House of Commons, for making more effectual an Act in the Eighth Year of the " +"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " +"Vesting the Copies of Printed Books in the Authors or Purchasers of such " +"Copies, during the Times therein mentioned (London, 1735), in Brief Amici " +"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." +msgstr "" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"I see no Reason for granting a further Term now, which will not hold as well " +"for granting it again and again, as often as the Old ones Expire; so that " +"should this Bill pass, it will in Effect be establishing a perpetual " +"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " +"great Cramp to Trade, a Discouragement to Learning, no Benefit to the " +"Authors, but a general Tax on the Publick; and all this only to increase the " +"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Jeg ser ingen grunn til Ã¥ gi en utvidet perioden nÃ¥ som ikke ville kunne gi " +"utvidelser om igjen og om igjen, sÃ¥ fort de gamle utgÃ¥r; sÃ¥ dersom dette " +"lovforslaget blir vedtatt, vil effekten vÃ¦re: at et evig monopol blir skapt, " +"et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for " +"forfatterne, men en stor avgift for folket; og alt dette kun for Ã¥ Ã¸ke " +"bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>property</quote> and " +"use it without his permission. The Statute of Anne, the booksellers argued, " +"didn't change that. Therefore, just because the protections of the Statute " +"of Anne expired, that didn't mean the protections of the common law expired: " +"Under the common law they had the right to ban the publication of a book, " +"even if its Statute of Anne copyright had expired. This, they argued, was " +"the only way to protect authors." +msgstr "" +"Etter Ã¥ ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke " +"saker. Deres argument var enkelt og direkte: <quote>Statute of Anne</quote> " +"ga forfatterne en viss beskyttelse gjennom positiv loven, men denne " +"beskyttelsen var ikke ment som en erstatning for felles lov. Istedet var de " +"ment Ã¥ supplere felles lov. IfÃ¸lge sedvanerett var det galt Ã¥ ta en annen " +"persons kreative eiendom og bruke den uten hans tillatelse. <quote>Statute " +"of Anne</quote>, hevdet bokhandlere, endret ikke dette faktum. Derfor " +"betydde ikke det at beskyttelsen gitt av <quote>Statute of Anne</quote> " +"utlÃ¸p, at beskyttelsen fra sedvaneretten utlÃ¸p: IfÃ¸lge sedvaneretten hadde " +"de rett til Ã¥ fordÃ¸mme publiseringen av en bok, selv fÃ¸lgelig om " +"<quote>Statute of Anne</quote> sa at de var falt i det fri. Dette, mente de, " +"var den eneste mÃ¥ten Ã¥ beskytte forfatterne." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Patterson, Raymond" +msgstr "Patterson, Raymond" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use," +"</quote> <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " +"wonderfully compelling account, see Vaidhyanathan, 37–48." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use</" +"quote>, <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " +"fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48." + +#. type: Content of: <book><part><chapter><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, <quote>The publishers " +"… had as much concern for authors as a cattle rancher has for cattle." +"</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care " +"squat for the rights of the author. His concern was the monopoly profit " +"that the author's work gave." +msgstr "" +"Dette var et godt argument, og hadde stÃ¸tte fra flere av den tidens ledende " +"jurister. Det viste ogsÃ¥ en ekstraordinÃ¦r chutzpah. Inntil da, som " +"jusprofessor Raymond Pattetson har sagt, <quote>var utgiverne … like " +"bekymret for forfatterne som en gjeter for sine lam.</quote><placeholder " +"type=\"footnote\" id=\"0\"/> Bokselgerne brydde seg ikke det spor om " +"forfatternes rettigheter. Deres bekymring var den monopolprofitten " +"forfatterens verk ga." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Donaldson, Alexander" +msgstr "Donaldson, Alexander" + +#. f7 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For a compelling account, see David Saunders, <citetitle>Authorship and " +"Copyright</citetitle> (London: Routledge, 1992), 62–69." +msgstr "" +"For en fascinerende fremstilling, se David Saunders, <citetitle>Authorship " +"and Copyright</citetitle> (London: Routledge, 1992), 62–69." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The booksellers' argument was not accepted without a fight. The hero of " +"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " +"type=\"footnote\" id=\"0\"/>" +msgstr "" +"Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne " +"kampen var den skotske bokselgeren Alexander Donaldson.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Boswell, James" +msgstr "Boswell, James" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Erskine, Andrew" +msgstr "Erskine, Andrew" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Rose, Mark" +msgstr "Rose, Mark" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. f9 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Ibid., 93." +msgstr "Ibid., 93." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Donaldson was an outsider to the London Conger. He began his career in " +"Edinburgh in 1750. The focus of his business was inexpensive reprints " +"<quote>of standard works whose copyright term had expired,</quote> at least " +"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> " +"Donaldson's publishing house prospered and became <quote>something of a " +"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor " +"Mark Rose writes, was <quote>the young James Boswell who, together with his " +"friend Andrew Erskine, published an anthology of contemporary Scottish poems " +"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" +"Donaldson var en fremmed for Londons <quote>the Conger</quote>. Han startet " +"in karriere i Edinburgh i 1750. Hans forretningsidÃ© var billige kopier av " +"standardverk falt i det fri, ihvertfall fri ifÃ¸lge <quote>Statute of Anne</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/> Donaldsons forlag vokste og " +"ble <quote>et sentrum for litterÃ¦re skotter.</quote> <quote>Blant dem,</" +"quote> skriver professor Mark Rose, var <quote>den unge James Boswell som, " +"sammen med sin venn Andrew Erskine, publiserte en hel antologi av skotsk " +"samtidspoesi sammen med Donaldson.</quote><placeholder type=\"footnote\" id=" +"\"1\"/>" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " +"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting " +"Borwell)." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, " +"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (der Borwell " +"blir sitert)." + +#. type: Content of: <book><part><chapter><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 <quote>of the most popular English books, in defiance of the " +"supposed common law right of Literary Property.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to 50 " +"percent, and he rested his right to compete upon the ground that, under the " +"Statute of Anne, the works he was selling had passed out of protection." +msgstr "" +"Da Londons bokselgere prÃ¸vde Ã¥ fÃ¥ stengt Donaldsons butikk i Skottland, sÃ¥ " +"flyttet han butikken til London. Her solgte han billige utgaver av <quote>de " +"mest populÃ¦re, engelske bÃ¸ker, i kamp mot sedvanerettens rett til litterÃ¦r " +"eiendom.</quote> <placeholder type=\"footnote\" id=\"0\"/> BÃ¸kene hans var " +"mellom 30% og 50% billigere enn <quote>the Conger</quote>s, og han baserte " +"sin rett til denne konkurransen pÃ¥ at bÃ¸kene, takket vÃ¦re <quote>Statute of " +"Anne</quote>, var falt i det fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Millar v. Taylor" +msgstr "Millar mot taylor" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The London booksellers quickly brought suit to block <quote>piracy</quote> " +"like Donaldson's. A number of actions were successful against the " +"<quote>pirates,</quote> the most important early victory being " +"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>." +msgstr "" +"Londons bokselgere begynte straks Ã¥ slÃ¥ ned mot <quote>pirater</quote> som " +"Donaldson. Flere tiltak var vellykkede, den viktigste var den tidlig seieren " +"i kampen mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</" +"citetitle>." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Thomson, James" +msgstr "Thomson, James" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Seasons, The (Thomson)" +msgstr "Seasons, The (Thomson)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Taylor, Robert" +msgstr "Taylor, Robert" + +#. f11 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " +"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law " +"Review</citetitle> 29 (1983): 1152." +msgstr "" +"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " +"Exploding the Myth of Common Law Copyright</quote>, <citetitle>Wayne Law " +"Review</citetitle> 29 (1983): 1152." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Millar was a bookseller who in 1729 had purchased the rights to James " +"Thomson's poem <quote>The Seasons.</quote> Millar complied with the " +"requirements of the Statute of Anne, and therefore received the full " +"protection of the statute. After the term of copyright ended, Robert Taylor " +"began printing a competing volume. Millar sued, claiming a perpetual common " +"law right, the Statute of Anne notwithstanding.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"Millar var en bokhandler som i 1729 hadde kjÃ¸pt opp rettighetene til James " +"Thomsons dikt <quote>The Seasons</quote>. Millar hadde da full beskyttelse " +"gjennom <quote>Statute of Anne</quote>, men etter at denne beskyttelsen var " +"utlÃ¸pt, begynte Robert Taylor Ã¥ trykke et konkurrerende bind. Millar gikk " +"til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva " +"<quote>Statute of Anne</quote> sa.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>pirates.</quote> Mansfield's answer was " +"yes: The common law would bar Taylor from reprinting Thomson's poem without " +"Millar's permission. That common law rule thus effectively gave the " +"booksellers a perpetual right to control the publication of any book " +"assigned to them." +msgstr "" +"Til moderne juristers forblÃ¸ffelse, var en av, ikke bare datidens, men en av " +"de stÃ¸rste dommere i engelsk historie, Lord Mansfield, enig med " +"bokhandlerne. Uansett hvilken beskyttelse <quote>Statute of Anne</quote> gav " +"bokhandlerne, sÃ¥ sa han at den ikke fortrengte noe fra sedvaneretten. " +"SpÃ¸rsmÃ¥let var hvorvidt sedvaneretten beskyttet forfatterne mot " +"<quote>pirater</quote>. Mansfield svar var ja: Sedvaneretten nektet Taylor Ã¥ " +"reprodusere Thomsons dikt uten Millars tillatelse. Slik gav sedvaneretten " +"bokselgerne en evig publiseringsrett til bÃ¸ker solgt til dem." + +#. PAGE BREAK 103 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Considered as a matter of abstract justice—reasoning as if justice " +"were just a matter of logical deduction from first principles—" +"Mansfield's conclusion might make some sense. But what it ignored was the " +"larger issue that Parliament had struggled with in 1710: How best to limit " +"the monopoly power of publishers? Parliament's strategy was to offer a term " +"for existing works that was long enough to buy peace in 1710, but short " +"enough to assure that culture would pass into competition within a " +"reasonable period of time. Within twenty-one years, Parliament believed, " +"Britain would mature from the controlled culture that the Crown coveted to " +"the free culture that we inherited." +msgstr "" +"Ser man pÃ¥ det som et spÃ¸rsmÃ¥l innen abstrakt jus - dersom man resonnere som " +"om rettferdighet bare var logisk deduksjon fra de fÃ¸rste bud - kunne " +"Mansfields konklusjon gitt mening. Men den oversÃ¥ det Parlamentet hadde " +"kjempet for i 1710: Hvordan man pÃ¥ best mulig vis kunne innskrenke " +"utgivernes monopolmakt. Parlamentets strategi hadde vÃ¦rt Ã¥ kjÃ¸pe fred " +"gjennom Ã¥ tilby en beskyttelsesperiode ogsÃ¥ for eksisterende verk, men " +"perioden mÃ¥tte vÃ¦re sÃ¥ kort at kulturen ble utsatt for konkurranse innen " +"rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under " +"kronen, inn i en fri og Ã¥pen kultur." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The fight to defend the limits of the Statute of Anne was not to end there, " +"however, and it is here that Donaldson enters the mix." +msgstr "" +"Kampen for Ã¥ forsvare <quote>Statute of Anne</quote>s begrensninger sluttet " +"uansett ikke der, for nÃ¥ kommer Donaldson." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Beckett, Thomas" +msgstr "Beckett, Thomas" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "House of Lords" +msgstr "Overhuset, det britiske" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "House of Lords vs." +msgstr "Overhuset, det britiske mot" + +#. f12 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Ibid., 1156." +msgstr "Ibid., 1156." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Millar died soon after his victory, so his case was not appealed. His estate " +"sold Thomson's poems to a syndicate of printers that included Thomas Beckett." +"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " +"unauthorized edition of Thomson's works. Beckett, on the strength of the " +"decision in <citetitle>Millar</citetitle>, got an injunction against " +"Donaldson. Donaldson appealed the case to the House of Lords, which " +"functioned much like our own Supreme Court. In February of 1774, that body " +"had the chance to interpret the meaning of Parliament's limits from sixty " +"years before." +msgstr "" +"Millar dÃ¸de kort tid etter sin seier. Boet hans solgte rettighetene over " +"Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." +"<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " +"utgave av Thomsons verk. Etter avgjÃ¸relsen i <citetitle>Millar</citetitle>-" +"saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " +"Overhuset, som da fungerte som en slags hÃ¸yesterett. I februar 1774 hadde " +"dette organet muligheten til Ã¥ tolke Parlamentets mening med utlÃ¸psdatoen " +"fra seksti Ã¥r fÃ¸r." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Donaldson v. Beckett" +msgstr "Donaldson mot beckett" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " +"<citetitle>Beckett</citetitle> drew an enormous amount of attention " +"throughout Britain. Donaldson's lawyers argued that whatever rights may have " +"existed under the common law, the Statute of Anne terminated those rights. " +"After passage of the Statute of Anne, the only legal protection for an " +"exclusive right to control publication came from that statute. Thus, they " +"argued, after the term specified in the Statute of Anne expired, works that " +"had been protected by the statute were no longer protected." +msgstr "" +"Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" +"citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " +"advokater mente at selv om det fÃ¸r fantes en del rettigheter i " +"sedvaneretten, sÃ¥ var disse fortrengt av <quote>Statute of Anne</quote>. " +"Etter at <quote>Statute of Anne</quote> var blitt vedtatt, skulle den eneste " +"lovlige beskyttelse for trykkerett kom derfra. Og derfor, mente de, i trÃ¥d " +"med vilkÃ¥rene i <quote>Statute of Anne</quote>, falle i det fri sÃ¥ fort " +"beskyttelsesperioden var over." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The House of Lords was an odd institution. Legal questions were presented to " +"the House and voted upon first by the <quote>law lords,</quote> members of " +"special legal distinction who functioned much like the Justices in our " +"Supreme Court. Then, after the law lords voted, the House of Lords generally " +"voted." +msgstr "" +"Overhuset var en merkelig institusjon. Juridiske spÃ¸rsmÃ¥l ble presentert for " +"huset, og ble fÃ¸rst stemt over av <quote>juslorder</quote>, medlemmer av en " +"spesiell rettslig gruppe som fungerte nesten slik som justiariusene i vÃ¥r " +"HÃ¸yesterett. Deretter, etter at <quote>juslordene</quote> hadde stemt, " +"stemte resten av Overhuset." + +#. type: Content of: <book><part><chapter><indexterm><secondary> - #, mtrans, fuzzy +msgid "English legal establishment of" - msgstr "engelsk juridisk etableringen av" ++msgstr "den engelske juridiske etableringen av" + +#. PAGE BREAK 104 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The reports about the law lords' votes are mixed. On some counts, it looks " +"as if perpetual copyright prevailed. But there is no ambiguity about how the " +"House of Lords voted as whole. By a two-to-one majority (22 to 11) they " +"voted to reject the idea of perpetual copyrights. Whatever one's " +"understanding of the common law, now a copyright was fixed for a limited " +"time, after which the work protected by copyright passed into the public " +"domain." +msgstr "" +"Rapportene om juslordene stemmer er uenige. PÃ¥ enkelte punkter ser det ut " +"som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om " +"hvordan resten av Overhuset stemte. Med en majoritet pÃ¥ to mot en (22 mot " +"11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man " +"hadde tolket sedvaneretten, var nÃ¥ kopiretten begrenset til en periode, og " +"etter denne ville verket falle i det fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Bacon, Francis" +msgstr "Bacon, Francis" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Bunyan, John" +msgstr "Bunyan, John" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Johnson, Samuel" +msgstr "Johnson, Samuel" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</" +"citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a " +"public domain in England. Before 1774, there was a strong argument that " +"common law copyrights were perpetual. After 1774, the public domain was " +"born. For the first time in Anglo-American history, the legal control over " +"creative works expired, and the greatest works in English history—" +"including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—" +"were free of legal restraint." +msgstr "" +"<quote>Ã falle i det fri</quote>. FÃ¸r rettssaken <citetitle>Donaldson</" +"citetitle> mot <citetitle>Beckett</citetitle> var det ingen klar oppfatning " +"om hva Ã¥ falle i det fri innebar. FÃ¸r 1774 var det jo en allmenn oppfatning " +"om at kopiretten var evigvarende. Men etter 1774 ble Public Domain fÃ¸dt. For " +"fÃ¸rste gang i angloamerikansk historie var den lovlige beskyttelsen av et " +"verk utgÃ¥tt, og de stÃ¸rste verk i engelsk historie - inkludert Shakespeare, " +"Bacon, Milton, Johnson og Bunyan - var frie." + +#. f13 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "Rose, 97." +msgstr "Rose, 97." + +#. type: Content of: <book><part><chapter><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 <quote>pirate publishers</quote> did their work, people celebrated " +"the decision in the streets. As the <citetitle>Edinburgh Advertiser</" +"citetitle> reported, <quote>No private cause has so much engrossed the " +"attention of the public, and none has been tried before the House of Lords " +"in the decision of which so many individuals were interested.</quote> " +"<quote>Great rejoicing in Edinburgh upon victory over literary property: " +"bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Vi kan knapt forestille oss det, men denne avgjÃ¸relsen fra Overhuset fyrte " +"opp under en svÃ¦rt populÃ¦r og politisk reaksjon. I Skottland, hvor de fleste " +"piratutgiverne hadde holdt til, ble avgjÃ¸relsen feiret i gatene. Som " +"<citetitle>Edinburgh Advertiser</citetitle> skrev <quote>Ingen privatsak har " +"noen gang fÃ¥tt slik oppmerksomhet fra folket, og ingen sak som har blitt " +"prÃ¸vet i Overhuset har interessert sÃ¥ mange enkeltmennesker.</quote> " +"<quote>Stor glede i Edinburgh etter seieren over litterÃ¦r eiendom: bÃ¥l og " +"*illuminations*.</quote><placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In London, however, at least among publishers, the reaction was equally " +"strong in the opposite direction. The <citetitle>Morning Chronicle</" +"citetitle> reported:" +msgstr "" +"I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " +"motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"By the above decision … near 200,000 pounds worth of what was " +"honestly purchased at public sale, and which was yesterday thought property " +"is now reduced to nothing. The Booksellers of London and Westminster, many " +"of whom sold estates and houses to purchase Copy-right, are in a manner " +"ruined, and those who after many years industry thought they had acquired a " +"competency to provide for their families now find themselves without a " +"shilling to devise to their successors.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Gjennom denne avgjÃ¸relsen … er verdier til nesten 200 000 pund, som " +"er blitt Ã¦rlig kjÃ¸pt gjennom allment salg, og som i gÃ¥r var eiendom, er nÃ¥ " +"redusert til ingenting. Bokselgerne i London og Westminster, mange av dem " +"har solgt hus og eiendom for Ã¥ kjÃ¸pe kopirettigheter, er med ett ruinerte, " +"og mange som gjennom mange Ã¥r har opparbeidet kompetanse for Ã¥ brÃ¸dfÃ¸ " +"familien, sitter nÃ¥ uten en shilling til sine.<placeholder type=\"footnote\" " +"id=\"0\"/>" + +#. PAGE BREAK 105 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Ruined</quote> is a bit of an exaggeration. But it is not an " +"exaggeration to say that the change was profound. The decision of the House " +"of Lords meant that the booksellers could no longer control how culture in " +"England would grow and develop. Culture in England was thereafter " +"<emphasis>free</emphasis>. Not in the sense that copyrights would not be " +"respected, for of course, for a limited time after a work was published, the " +"bookseller had an exclusive right to control the publication of that book. " +"And not in the sense that books could be stolen, for even after a copyright " +"expired, you still had to buy the book from someone. But <emphasis>free</" +"emphasis> in the sense that the culture and its growth would no longer be " +"controlled by a small group of publishers. As every free market does, this " +"free market of free culture would grow as the consumers and producers chose. " +"English culture would develop as the many English readers chose to let it " +"develop— chose in the books they bought and wrote; chose in the memes " +"they repeated and endorsed. Chose in a <emphasis>competitive context</" +"emphasis>, not a context in which the choices about what culture is " +"available to people and how they get access to it are made by the few " +"despite the wishes of the many." +msgstr "" +"<quote>Ruinert</quote> er en overdrivelse. Men det er ingen overdrivelse Ã¥ " +"si at endringen var stor. Vedtaket fra Overhuset betydde at bokhandlerne " +"ikke lenger kunnen kontrollere hvordan kulturen i England ville vokse og " +"utvikle seg. Kulturen i England var etter dette <emphasis>fri</emphasis>. " +"Ikke i den betydning at kopiretten ble ignorert, for utgiverne hadde i en " +"begrenset periode rett over trykkingen. Og heller ikke i den betydningen at " +"bÃ¸ker kunne stjeles, for selv etter at boken var falt i det fri, sÃ¥ mÃ¥tte " +"den kjÃ¸pes. Men <emphasis>fri</emphasis> i betydningen at kulturen og dens " +"vekst ikke lenger var kontrollert av en liten gruppe utgivere. Som alle frie " +"markeder, ville dette markedet vokse og utvikle seg etter tilbud og " +"etterspÃ¸rsel. Den engelske kulturen ble nÃ¥ formet slik flertallet Englands " +"lesere ville at det skulle formes - gjennom valget av hva de kjÃ¸pte og " +"skrev, gjennom valget av memer de gjentok og beundret. Valg i en " +"<emphasis>konkurrerende sammenheng</emphasis>, ikke der hvor valgene var om " +"hvilken kultur som skulle vÃ¦re tilgjengelig for folket og hvor deres tilgang " +"til den ble styrt av noen fÃ¥, pÃ¥ tros av flertallets Ã¸nsker." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"At least, this was the rule in a world where the Parliament is antimonopoly, " +"resistant to the protectionist pleas of publishers. In a world where the " +"Parliament is more pliant, free culture would be less protected." +msgstr "" +"Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " +"holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett Ã¥ " +"pÃ¥virke, vil den frie kultur vÃ¦re mindre beskyttet." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER SEVEN: Recorders" +msgstr "Kapittel sju: Innspillerne" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "fair use and" +msgstr "rimelig bruk og" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "documentary film" +msgstr "dokumentarfilm" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Else, Jon" +msgstr "Else, Jon" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "fair use" +msgstr "rimelig bruk" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in documentary film" +msgstr "i dokumentarfilm" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "fair use of copyrighted material in" +msgstr "rimelig bruk av opphavsrettsbeskyttet materiale i" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best known " +"for his documentaries and has been very successful in spreading his art. He " +"is also a teacher, and as a teacher myself, I envy the loyalty and " +"admiration that his students feel for him. (I met, by accident, two of his " +"students at a dinner party. He was their god.)" +msgstr "" +"<emphasis role='strong'>Jon Else</emphasis> er en filmskaper. Han er mest " +"kjent for sine dokumentarer og har pÃ¥ ypperlig vis klart Ã¥ spre sin kunst. " +"Han er ogsÃ¥ en lÃ¦rer, som meg selv, og jeg misunner den lojaliteten og " +"beundringen hans studenter har for ham. (Ved et uhell mÃ¸tte jeg to av hans " +"studenter i et middagsselskap og han var deres Gud.)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Else worked on a documentary that I was involved in. At a break, he told me " +"a story about the freedom to create with film in America today." +msgstr "" +"Else arbeidet med en dokumentarfilm hvor ogsÃ¥ jeg var involvert. I en pause " +"sÃ¥ fortalte han meg om hvordan det kunne vÃ¦re Ã¥ skape film i dagens Amerika." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Wagner, Richard" +msgstr "Wagner, Richard" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "San Francisco Opera" +msgstr "San Francisco Opera" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " +"focus was stagehands at the San Francisco Opera. Stagehands are a " +"particularly funny and colorful element of an opera. During a show, they " +"hang out below the stage in the grips' lounge and in the lighting loft. They " +"make a perfect contrast to the art on the stage." +msgstr "" +"I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var pÃ¥ " +"scenearbeidere pÃ¥ San Francisco Opera. Scenearbeiderne er spesielt morsomme " +"og fargerike innslag i en opera. I lÃ¸pet av forestillingen oppholder de seg " +"blant publikum og pÃ¥ lysloftet. De er en perfekt kontrast til kunsten pÃ¥ " +"scenen." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Simpsons, The" +msgstr "Simpsons, The" + +#. PAGE BREAK 107 +#. type: Content of: <book><part><chapter><para> +msgid "" +"During one of the performances, Else was shooting some stagehands playing " +"checkers. In one corner of the room was a television set. Playing on the " +"television set, while the stagehands played checkers and the opera company " +"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " +"this touch of cartoon helped capture the flavor of what was special about " +"the scene." +msgstr "" +"Under en forestilling, filmet Else noen scenearbeidere som spilte dam. I et " +"hjÃ¸rne av rommet stod det et fjernsynsapparat. PÃ¥ fjernsynet, mens " +"forestillingen pÃ¥gikk, mens scenearbeiderne spilte dam og operakompaniet " +"spilte Wagner, gikk <citetitle>The Simpsons</citetitle>. Slik Else sÃ¥ det, " +"sÃ¥ hjalp dette tegnefilm-innslaget med Ã¥ fange det spesielle med scenen." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "multiple copyrights associated with" +msgstr "flere opphavsrettigheter knyttet" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Years later, when he finally got funding to complete the film, Else " +"attempted to clear the rights for those few seconds of <citetitle>The " +"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " +"of course, to use copyrighted material you need the permission of the " +"copyright owner, unless <quote>fair use</quote> or some other privilege " +"applies." +msgstr "" +"SÃ¥ noen Ã¥r senere, da han endelig hadde fÃ¥tt ordnet den siste " +"finansieringen, ville Else skaffe rettigheter til Ã¥ bruke disse fÃ¥ sekundene " +"med <citetitle>The Simpson</citetitle>. For disse fÃ¥ sekundene var selvsagt " +"beskyttet av opphavsretten, og for Ã¥ bruke beskyttet materiale mÃ¥ man ha " +"tillatelse fra eieren, dersom det ikke er <quote>rimelig bruk</quote> eller " +"det foreligger spesielle avtaler." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Gracie Films" +msgstr "Gracie Films" + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "Groening, Matt" +msgstr "Groening, Matt" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " +"to get permission. Groening approved the shot. The shot was a four-and-a-" +"halfsecond image on a tiny television set in the corner of the room. How " +"could it hurt? Groening was happy to have it in the film, but he told Else " +"to contact Gracie Films, the company that produces the program." +msgstr "" +"Else kontaktet <citetitle>Simpson</citetitle>-skaper Matt Groenings kontor " +"for Ã¥ fÃ¥ tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om " +"fire og et halvt sekund pÃ¥ et lite fjernsyn, bakerst i et hjÃ¸rne av rommet. " +"Hvordan kunne det skade? Groening var glad for Ã¥ fÃ¥ ha det med i filmen, men " +"han ba Else om Ã¥ kontakte Gracie Films, firmaet som produserer programmet." + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "Fox (film company)" +msgstr "Fox (filmselskap)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Gracie Films was okay with it, too, but they, like Groening, wanted to be " +"careful. So they told Else to contact Fox, Gracie's parent company. Else " +"called Fox and told them about the clip in the corner of the one room shot " +"of the film. Matt Groening had already given permission, Else said. He was " +"just confirming the permission with Fox." +msgstr "" +"Gracie Films sa ogsÃ¥ at det var greit, men de, slik som Groening, Ã¸nsket Ã¥ " +"vÃ¦re forsiktige, og ba Else om Ã¥ kontakte Fox, konsernet som eide Gracie. Og " +"Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i " +"hjÃ¸rnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt " +"sin tillatelse, sa Else. Han ville bare fÃ¥ det avklart med Fox." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Then, as Else told me, <quote>two things happened. First we discovered " +"… that Matt Groening doesn't own his own creation—or at least " +"that someone [at Fox] believes he doesn't own his own creation.</quote> And " +"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to " +"use this four-point-five seconds of … entirely unsolicited " +"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>" +msgstr "" +"Deretter, fortalte Else: <quote>skjedde to ting. FÃ¸rst oppdaget vi … " +"at Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos " +"Fox] trodde at han ikke eide sitt eget verk.</quote> Som det andre krevde " +"Fox <quote>ti tusen dollar i lisensavgift for disse fire og et halvt " +"sekundene med … fullstendig tilfeldig <citetitle>Simpson</citetitle> " +"som var i et hjÃ¸rne i ett opptak.</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Herrera, Rebecca" +msgstr "Herrera, Rebecca" + +#. type: Content of: <book><part><chapter><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, <quote>There must be some mistake here. … We're asking for " +"your educational rate on this.</quote> That was the educational rate, " +"Herrera told Else. A day or so later, Else called again to confirm what he " +"had been told." +msgstr "" +"Ellers var sikker pÃ¥ at det var en feil. Han fikk tak i noen som han trodde " +"var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at " +"<quote>det mÃ¥ vÃ¦re en feil her … Vi ber deg om en utdanningssats pÃ¥ " +"dette.</quote> Og de hadde fÃ¥tt utdanningssats, fortalte Herrera. Kort tid " +"etter ringte Else igjen for Ã¥ fÃ¥ dette bekreftet." + +#. PAGE BREAK 108 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>I wanted to make sure I had my facts straight,</quote> he told me. " +"<quote>Yes, you have your facts straight,</quote> she said. It would cost " +"$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner " +"of a shot in a documentary film about Wagner's Ring Cycle. And then, " +"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you " +"over to our attorneys.</quote> As an assistant to Herrera told Else later " +"on, <quote>They don't give a shit. They just want the money.</quote>" +msgstr "" +"<quote>Jeg mÃ¥tte vÃ¦re sikker pÃ¥ at jeg hadde riktige opplysninger foran meg</" +"quote>, sa han. <quote>Ja, du har riktige opplysninger</quote>, sa hun. Det " +"ville koste $10 000 Ã¥ bruke dette lille klippet av <citetitle>The Simpson</" +"citetitle>, plassert bakerst i et hjÃ¸rne i en scene i en dokumentar om " +"Wagners Ring Cycle. Som om det ikke var nok, forblÃ¸ffet Herrera Else med Ã¥ " +"si <quote>Og om du siterer meg, vil du hÃ¸re fra vÃ¥re advokater.</quote> En " +"av Herreras assistenter fortalte Else at <quote>De bryr seg ikke i det hele " +"tatt. Alt de vil ha er pengene.</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Day After Trinity, The" +msgstr "Day After Trinity, The" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Else didn't have the money to buy the right to replay what was playing on " +"the television backstage at the San Francisco Opera. To reproduce this " +"reality was beyond the documentary filmmaker's budget. At the very last " +"minute before the film was to be released, Else digitally replaced the shot " +"with a clip from another film that he had worked on, <citetitle>The Day " +"After Trinity</citetitle>, from ten years before." +msgstr "" +"Men Else hadde ikke penger til Ã¥ kjÃ¸pe lisens for klippet. SÃ¥ Ã¥ gjenskape " +"denne delen av virkeligheten, lÃ¥ langt utenfor hans budsjett. Like fÃ¸r " +"dokumentaren skulle slippes, redigerte Else inn et annet klipp pÃ¥ " +"fjernsynet, et klipp fra en av hans andre filmer <citetitle>The Day After " +"Trinity</citetitle> fra ti Ã¥r tidligere." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"There's no doubt that someone, whether Matt Groening or Fox, owns the " +"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " +"property. To use that copyrighted material thus sometimes requires the " +"permission of the copyright owner. If the use that Else wanted to make of " +"the <citetitle>Simpsons</citetitle> copyright were one of the uses " +"restricted by the law, then he would need to get the permission of the " +"copyright owner before he could use the work in that way. And in a free " +"market, it is the owner of the copyright who gets to set the price for any " +"use that the law says the owner gets to control." +msgstr "" +"Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier " +"rettighetene til <citetitle>The Simpsons</citetitle>. Rettighetene er deres " +"eiendom. For Ã¥ bruke beskyttet materiale, kreves det ofte at men fÃ¥r " +"tillatelse fra eieren eller eierne. Dersom Else Ã¸nsket Ã¥ bruke " +"<citetitle>The Simpsons</citetitle> til noe hvor loven gir verket " +"beskyttelse, sÃ¥ mÃ¥ han innhente tillatelse fra eieren fÃ¸r han kan bruke det. " +"Og i et fritt marked er det eieren som bestemmer hvor mye han/hun vil ta for " +"hvilken som helst bruk (hvor loven krever tillatelse fra eier)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For example, <quote>public performance</quote> is a use of <citetitle>The " +"Simpsons</citetitle> that the copyright owner gets to control. If you take a " +"selection of favorite episodes, rent a movie theater, and charge for tickets " +"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then " +"you need to get permission from the copyright owner. And the copyright owner " +"(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. " +"That's her right, as set by the law." +msgstr "" +"For eksempel <quote>offentlig fremvisning</quote> av <citetitle>The Simpson</" +"citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du " +"velger ut dine favorittepisoder, leier en kinosal og selger billetter til " +"<quote>Mine <citetitle>Simpson</citetitle>-favoritter</quote>, sÃ¥ mÃ¥ du ha " +"tillatelse fra rettighetsinnehaveren (eieren). Og eieren kan (med rette, " +"slik jeg ser det) kreve hvor mye han vil; $10 eller $1 000 000. " +"Det er hans rett ifÃ¸lge loven." + +#. f1 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"For an excellent argument that such use is <quote>fair use,</quote> but that " +"lawyers don't permit recognition that it is <quote>fair use,</quote> see " +"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory " +"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file " +"with author), University of Chicago Law School, 5 August 2003." +msgstr "" +"Ãnsker du Ã¥ lese en flott redegjÃ¸relse om hvordan dette er <quote>fair use</" +"quote>, og hvordan advokatene ikke anerkjenner det, sÃ¥ les Richard A. Posner " +"og William F. Patry, <quote>Fair Use and Statutory Reform in the Wake of " +"<citetitle>Eldred</citetitle> </quote> (utkast arkivert hos forfatteren), " +"University of Chicago Law School, 5. august 2003." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But when lawyers hear this story about Jon Else and Fox, their first thought " +"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's " +"use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" +"citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" +"citetitle>—and fair use does not require the permission of anyone." +msgstr "" +"Men nÃ¥r jurister hÃ¸rer denne historien om Jon Else og Fox, sÃ¥ er deres " +"fÃ¸rste tanke <quote>rimelig bruk</quote>.<placeholder type=\"footnote\" id=" +"\"0\"/> Elses bruk av 4,5 sekunder med et indirekte klipp av en " +"<citetitle>Simpsons</citetitle>-episode er et klart eksempel pÃ¥ " +"<quote>rimelig bruk</quote> av <citetitle>The Simpsons</citetitle>— og " +"<quote>rimelig bruk</quote> krever ingen tillatelse fra noen." + +#. PAGE BREAK 109 +#. type: Content of: <book><part><chapter><para> +msgid "" +"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's " +"his reply:" +msgstr "" +"SÃ¥ jeg spurte Else om hvorfor han ikke bare stolte pÃ¥ <quote>fair use</" +"quote>. Og her er hans svar:" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "legal intimidation tactics against" +msgstr "juridiske trusler taktikk mot" + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " +"gulf between what lawyers find irrelevant in some abstract sense, and what " +"is crushingly relevant in practice to those of us actually trying to make " +"and broadcast documentaries. I never had any doubt that it was " +"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't " +"rely on the concept in any concrete way. Here's why:" +msgstr "" +"<citetitle>Simpsons</citetitle>-fiaskoen lÃ¦rte meg om hvor stor avstand det " +"var mellom det jurister ikke finner relevant pÃ¥ en abstrakt mÃ¥te, og hva som " +"er knusende relevant pÃ¥ en konkret mÃ¥te for oss som prÃ¸ver Ã¥ lage og " +"kringkaste dokumentarer. Jeg tvilte aldri pÃ¥ at dette helt klart var " +"<quote>rimelig bruk</quote>, men jeg kunne ikke stole pÃ¥ konseptet pÃ¥ noen " +"konkret mÃ¥te. Og dette er grunnen:" + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +#, mtrans, fuzzy +msgid "Errors and Omissions insurance" +msgstr "feil og utelatelser forsikring" + +#. 1. +#. type: Content of: <book><part><chapter><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 <quote>visual cue " +"sheet</quote> listing the source and licensing status of each shot in the " +"film. They take a dim view of <quote>fair use,</quote> and a claim of " +"<quote>fair use</quote> can grind the application process to a halt." +msgstr "" +"FÃ¸r vÃ¥re filmer kan kringkastes, krever nettverket at vi kjÃ¸per en " +"<quote>Errors and Omissions</quote>-forsikring. Den krever en detaljert " +"<quote>visual cue sheet</quote> med alle kilder og lisens-status pÃ¥ alle " +"scener i filmen. De har et smalt syn pÃ¥ <quote>fair use</quote>, og Ã¥ pÃ¥stÃ¥ " +"at noe er nettopp det kan forsinke, og i verste fall stoppe, prosessen." + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "Lucas, George" +msgstr "Lucas, George" + +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary> +msgid "<citetitle>Star Wars</citetitle>" +msgstr "<citetitle>Star Wars</citetitle>" + +#. 2. +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> +msgid "" +"I probably never should have asked Matt Groening in the first place. But I " +"knew (at least from folklore) that Fox had a history of tracking down and " +"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " +"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " +"usage. So I decided to play by the book, thinking that we would be granted " +"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " +"a documentary producer working to exhaustion on a shoestring, the last thing " +"I wanted was to risk legal trouble, even nuisance legal trouble, and even to " +"defend a principle." +msgstr "" +"Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste " +"(ihvertfall fra rykter) at Fox tidligere hadde brukt Ã¥ jakte pÃ¥ og stoppe " +"ulisensiert bruk av <citetitle>The Simpsons</citetitle>, pÃ¥ samme mÃ¥te som " +"George Lucas var veldig ivrig pÃ¥ Ã¥ forfÃ¸lge bruken av <citetitle>Star Wars</" +"citetitle>. SÃ¥ jeg bestemte meg for Ã¥ fÃ¸lge boka, og trodde at vi kulle fÃ¥ " +"til en gratis, i alle fall rimelig, avtale for fire sekunders bruk av " +"<citetitle>The Simpsons</citetitle>. Som en dokumentarskaper, arbeidende pÃ¥ " +"randen av utryddelse, var det siste jeg Ã¸nsket en juridisk strid, selv for Ã¥ " +"forsvare et prinsipp." + +#. 3. +#. PAGE BREAK 110 +#. type: Content of: <book><part><chapter><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 <quote>depose and litigate you to within an inch of your life,</quote> " +"regardless of the merits of my claim. He made clear that it would boil down " +"to who had the bigger legal department and the deeper pockets, me or them." +msgstr "" +"Jeg snakket faktisk med en av dine kolleger pÃ¥ Stanford Law School … " +"som bekreftet at dette var rimelig bruk. Han bekreftet ogsÃ¥ at Fox ville " +"<quote>depose and litigate you to within an inch of your life</quote>, " +"uavhengig av sannheten i mine krav. Han gjorde det klart at alt ville koke " +"ned til hvem som hadde flest jurister og dypest lommer, jeg eller dem." + +#. 4. +#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> +msgid "" +"The question of fair use usually comes up at the end of the project, when we " +"are up against a release deadline and out of money." +msgstr "" +"SpÃ¸rsmÃ¥let om <quote>fair use</quote> dukker om regel opp helt mot slutten " +"av prosjektet, nÃ¥r vi nÃ¦rmer oss siste frist og er tomme for penger." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In theory, fair use means you need no permission. The theory therefore " +"supports free culture and insulates against a permission culture. But in " +"practice, fair use functions very differently. The fuzzy lines of the law, " +"tied to the extraordinary liability if lines are crossed, means that the " +"effective fair use for many types of creators is slight. The law has the " +"right aim; practice has defeated the aim." +msgstr "" +"I teorien betyr <quote>fair use</quote> at du ikke trenger tillatelse. " +"Teorien stÃ¸tter derfor den frie kultur og arbeider mot tillatelseskulturen. " +"Men i praksis fungerer <quote>fair use</quote> helt annerledes. Men de " +"uklare linjene i lovverket, samt de fryktelige konsekvensene dersom man tar " +"feil, gjÃ¸r at mange kunstnere ikke stoler pÃ¥ <quote>fair use</quote>. Loven " +"har en svÃ¦rt god hensikt, men praksisen har ikke fulgt opp." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This practice shows just how far the law has come from its eighteenth-" +"century roots. The law was born as a shield to protect publishers' profits " +"against the unfair competition of a pirate. It has matured into a sword that " +"interferes with any use, transformative or not." +msgstr "" +"Dette eksempelet viser hvor langt denne loven har kommet fra sine " +"syttenhundretalls rÃ¸tter. Loven som skulle beskytte utgiverne mot " +"urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned pÃ¥ " +"_all_ bruk, transformativ* eller ikke." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER EIGHT: Transformers" +msgstr "Kapittel Ã¥tte: Omformerne" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Allen, Paul" +msgstr "Allen, Paul" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Alben, Alex" +msgstr "Alben, Alex" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer working " +"at Starwave, Inc. Starwave was an innovative company founded by Microsoft " +"cofounder Paul Allen to develop digital entertainment. Long before the " +"Internet became popular, Starwave began investing in new technology for " +"delivering entertainment in anticipation of the power of networks." +msgstr "" +"<emphasis role='strong'>I 1993</emphasis> var Alex Alben en jurist som " +"arbeidet hos Starwave Inc. Starwave var et innovativt firma grunnlagt av " +"Paul Allen, som ogsÃ¥ hadde vÃ¦rt med pÃ¥ Ã¥ grunnlegge Microsoft.Starwaves mÃ¥l " +"var Ã¥ utvikle digital underholdning. Lenge fÃ¸r Internett ble superpopulÃ¦rt, " +"forsket Starwave pÃ¥ ny teknologi for Ã¥ levere underholdning uten nettverk." + +#. type: Content of: <book><part><chapter><indexterm><secondary> ++#, mtrans, fuzzy +msgid "retrospective compilations on" - msgstr "retrospektiv samling av" ++msgstr "retrospektiv samleplater pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "CD-ROMs, film clips used in" +msgstr "CD-ROMer, filmklipp brukt i" + +#. type: Content of: <book><part><chapter><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 var veldig interessert i ny teknologi. Han var fascinert av det " +"voksende markedet for CD-ROM-teknologi—ikke for Ã¥ distribuere film, " +"men for Ã¥ gjÃ¸re ting med filmen som fÃ¸r ville vÃ¦rt svÃ¦rt vanskelig. I 1993 " +"lanserte han idÃ©en om Ã¥ utvikle et produkt for Ã¥ vise retrospectives* rundt " +"verkene av en bestemt kunstner. Den fÃ¸rste skuespilleren som ble valgt, var " +"Clint Eastwood. IdÃ©en var Ã¥ vise alle Eastwoods verker, sammen med klipp fra " +"filmene hans og intervjuer av personer som hadde vÃ¦rt viktige i hans " +"karriere." + +#. type: Content of: <book><part><chapter><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 "" +"PÃ¥ den tiden hadde Eastwood lagd over femti filmer, bÃ¥de som skuespiller og " +"som regissÃ¸r. Alben begynte med en serie intervjuer med Eastwood, hvor tema " +"var hans karriere. Siden Starwave produserte disse intervjuene, kunne de " +"fritt ha dem med pÃ¥ CD-en." + +#. PAGE BREAK 112 +#. type: Content of: <book><part><chapter><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 "" +"Men det alene hadde ikke blitt noe interessant produkt, sÃ¥ Starwave Ã¸nsket Ã¥ " +"legge til litt innhold fra noen av Eastwoods filmer, noen plakater, manus og " +"andre ting som kunne knyttes til filmene hans. Mesteparten av Eastwoods " +"karriere hadde foregÃ¥tt hos Warner Brothers og det var relativt enkelt Ã¥ fÃ¥ " +"tillatelse for det materialet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Then Alben and his team decided to include actual film clips. <quote>Our " +"goal was that we were going to have a clip from every one of Eastwood's " +"films,</quote> Alben told me. It was here that the problem arose. <quote>No " +"one had ever really done this before,</quote> Alben explained. <quote>No one " +"had ever tried to do this in the context of an artistic look at an actor's " +"career.</quote>" +msgstr "" +"Deretter Ã¸nsket Alben og hans team Ã¥ bruke noen faktiske klipp fra aktuelle " +"filmer. <quote>VÃ¥rt mÃ¥l var Ã¥ ha et klipp fra alle Eastwoods filmer</quote> " +"fortalte Alben meg. Det var her problemene startet. <quote>Ingen hadde " +"noensinne gjort dette fÃ¸r</quote>, forklarte Alben. <quote>Ingen hadde prÃ¸vd " +"Ã¥ presentere et slikt kunstnerisk overblikk over en skuespillers karriere.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " +"<quote>Well, what will it take?</quote>" +msgstr "" +"Alben tok idÃ©en videre til Michael Slade, leder for Starwave. Slade spurte " +"<quote>Vel, hvor mye vil det kreve?</quote>" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary> +msgid "publicity rights on images of" +msgstr "offentliggjÃ¸ringsrettigheter for bilder av" + +#. type: Content of: <book><part><chapter><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 <quote>Rip, Mix, Burn</quote> " +"creativity, as this chapter evinces. <placeholder type=\"indexterm\" id=" +"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Teknisk sett var rettighetene som Alben mÃ¥tte klarere i hovedsak de om " +"publisitet—rettigheten en artist har til Ã¥ kontrollere den " +"kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster " +"ogsÃ¥ <quote>rip, miks, brenn</quote>-kreativiteten slik dette kapittelet " +"demonstrerer. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Alben replied, <quote>Well, we're going to have to clear rights from " +"everyone who appears in these films, and the music and everything else that " +"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for " +"it.</quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Alben svarte, <quote>Tja, vi mÃ¥ innhente tillatelse fra alle som opptrer i " +"disse filmene, for musikken og for alt annet som er i disse filmklippene.</" +"quote> Slade svarte <quote>Flott! GjÃ¸r det.</quote><placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 forstod hva det innebar Ã¥ innhente " +"disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav pÃ¥ " +"royalties for bruk av sin film. Men CD-ROM hadde ikke vÃ¦rt spesifisert i " +"skuespillernes kontrakter, sÃ¥ ingen visste helt hva Starwave skulle gjÃ¸re." + +#. type: Content of: <book><part><chapter><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 om hvordan han lÃ¸ste problemet. Med en tydelig stolthet som " +"overskygget hvor bisarr historien var, sÃ¥ fortalte han hva de gjorde:" + +#. type: Content of: <book><part><chapter><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 <quote>Make my day</quote> clip from <citetitle>Dirty " +"Harry</citetitle>. But you then need to get the guy on the ground who's " +"wiggling under the gun and you need to get his permission. And then you " +"have to decide what you are going to pay him." +msgstr "" +"SÃ¥ vi dro og fant frem filmene og gjorde noen kunstneriske beslutninger om " +"hvilke klipp som skulle vÃ¦re med. Selvsagt skulle vi bruke <quote>Make my " +"day</quote>-scenen fra Dirty Harry. Men da mÃ¥tte vi oppsÃ¸ke den personen som " +"ligger pÃ¥ bakken under gevÃ¦ret og fÃ¥ hans tillatelse. Og sÃ¥ mÃ¥tte vi " +"bestemme hva han skulle fÃ¥ betalt." + +#. PAGE BREAK 113 +#. type: Content of: <book><part><chapter><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 bestemte at det ville vÃ¦re rettferdig hvis vi tilbydde dem en dagspiller-" +"sats for retten til Ã¥ bruke klippet. Vi snakker tross alt om et klipp pÃ¥ " +"under et minutt, men satsen for Ã¥ bruke klippet pÃ¥ CD-ROM lÃ¥ pÃ¥ den tiden pÃ¥ " +"$600. SÃ¥ vi mÃ¥tte identifisere personene - noen var vanskelig Ã¥ " +"identifisere, siden det ofte er vanskelig Ã¥ vite hvem som er skuespilleren " +"og hvem som er stuntmannen i Eastwoods filmer. Og deretter samlet vi oss en " +"gjeng og begynte Ã¥ ringe rundt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Sutherland, Donald" +msgstr "Sutherland, Donald" + +#. type: Content of: <book><part><chapter><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, <quote>Hey, can I pay " +"you $600 or maybe if you were in two films, you know, $1,200?</quote> And " +"they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</" +"quote> And some of course were a bit difficult (estranged ex-wives, in " +"particular). But eventually, Alben and his team had cleared the rights to " +"this retrospective CD-ROM on Clint Eastwood's career." +msgstr "" +"Noen skuespillere var glade for Ã¥ kunne hjelpe — Donald Sutherland " +"fulgte for eksempel opp saken personlig for Ã¥ sÃ¸rge for at alt var greit. " +"Andre brydde seg mest om pengene. Alben kunne spÃ¸rre <quote>Hei, kan jeg " +"betale deg $600, eller hvis du var i to filmer $1200?</quote> Og de kunne " +"svare <quote>Er det sant? Jeg vil svÃ¦rt gjerne ha $1200.</quote> Og noen " +"kunne vÃ¦re litt vanskelige av seg (sÃ¦rlig krevende eks-koner). Men til slutt " +"greide Alben og hans team Ã¥ gjÃ¸re rede for alle rettighetene til CD-en om " +"Clint Eastwoods karriere." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"It was one <emphasis>year</emphasis> later—<quote>and even then we " +"weren't sure whether we were totally in the clear.</quote>" +msgstr "" +"Det gÃ¥tt ett <emphasis>Ã¥r</emphasis> <quote>og selv da var vi ikke sikre pÃ¥ " +"om alt var helt klart.</quote>" + +#. type: Content of: <book><part><chapter><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 stolt av arbeidet sitt. Prosjektet var det fÃ¸rste av sitt slag, og " +"fÃ¸rste gang han hadde hÃ¸rt om et team som hadde tatt pÃ¥ seg sÃ¥ mye arbeid " +"for Ã¥ gi ut en *retrospective*." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"Everyone thought it would be too hard. Everyone just threw up their hands " +"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the " +"music, there's the screenplay, there's the director, there's the actors.</" +"quote> But we just broke it down. We just put it into its constituent parts " +"and said, <quote>Okay, there's this many actors, this many directors, " +"… this many musicians,</quote> and we just went at it very " +"systematically and cleared the rights." +msgstr "" +"Alle hadde trodd det skulle bli for vanskelig. De hadde kastet hendene i " +"vÃ¦ret og sagt <quote>Oi, en film. Det er sÃ¥ mange rettigheter; det er " +"musikk, det er scenekusten, det er skuespillere, det er regissÃ¸rer.</quote> " +"Men vi gjorde det! Vi tok delen fra hverandre og sa <quote>okei, det er sÃ¥ " +"mange skuespillere, sÃ¥ mange regissÃ¸rer ... sÃ¥ mange musikere</quote>, sÃ¥ " +"gikk vi systematisk igjennom det og fikk tak i rettighetene." + +#. PAGE BREAK 114 +#. type: Content of: <book><part><chapter><para> +msgid "" +"And no doubt, the product itself was exceptionally good. Eastwood loved it, " +"and it sold very well." +msgstr "" +"Og produktet ble uten tvil sÃ¦rdeles godt. Eastwood elsket det og det solgte " +"veldig godt." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Drucker, Peter" +msgstr "Drucker, Peter" + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"U.S. Department of Commerce Office of Acquisition Management, " +"<citetitle>Seven Steps to Performance-Based Services Acquisition</" +"citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#22</ulink>." +msgstr "" +"U.S. Department of Commerce Office of Acquisition Management, " +"<citetitle>Seven Steps to Performance-Based Services Acquisition</" +"citetitle>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #22</ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But I pressed Alben about how weird it seems that it would have to take a " +"year's work simply to clear rights. No doubt Alben had done this " +"efficiently, but as Peter Drucker has famously quipped, <quote>There is " +"nothing so useless as doing efficiently that which should not be done at all." +"</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " +"Alben, that this is the way a new work has to be made?" +msgstr "" +"Men jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt Ã¥r " +"bare Ã¥ fÃ¥ orden pÃ¥ rettigheter. Alben hadde gjort det hele svÃ¦rt effektivt, " +"men som Peter Drucker sÃ¥ berÃ¸mmelig har sagt <quote>Det er ikke noe som er " +"sÃ¥ ubrukelig Ã¥ gjÃ¸re effektivt enn det som egentlig ikke gjÃ¸res i det hele " +"tatt.</quote><placeholder type=\"footnote\" id=\"0\"/> Var det noe fornuft i " +"at det var slik et nye verk skulle skapes, spurte jeg Alben." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For, as he acknowledged, <quote>very few … have the time and " +"resources, and the will to do this,</quote> and thus, very few such works " +"would ever be made. Does it make sense, I asked him, from the standpoint of " +"what anybody really thought they were ever giving rights for originally, " +"that you would have to go clear rights for these kinds of clips?" +msgstr "" +"For, som han innrÃ¸mmet, <quote>veldig fÃ¥ ... har tid og ressurser, og ikke " +"minst vilje til Ã¥ gjÃ¸re dette</quote>, og veldig fÃ¥ slike verk har blitt " +"lagd, Gir det noen mening, spurte jeg ham, ********* at du mÃ¥ gjÃ¸re alt " +"dette for Ã¥ fÃ¥ rett til Ã¥ bruke disse klippene?" + +#. type: Content of: <book><part><chapter><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. NÃ¥r en skuespiller gjengir en forestilling i en film, fÃ¥r " +"han eller hun veldig godt betalt … Og derfor, nÃ¥r 30 sekunder av " +"denne forestillingen blir brukt i et nytt produkt som er et tilbakeblikk pÃ¥ " +"noens karriere, sÃ¥ tror jeg ikke at den personen … burde fÃ¥ " +"kompensasjon for det." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Or at least, is this <emphasis>how</emphasis> the artist should be " +"compensated? Would it make sense, I asked, for there to be some kind of " +"statutory license that someone could pay and be free to make derivative use " +"of clips like this? Did it really make sense that a follow-on creator would " +"have to track down every artist, actor, director, musician, and get explicit " +"permission from each? Wouldn't a lot more be created if the legal part of " +"the creative process could be made to be more clean?" +msgstr "" +"Eller er det kanskje <emphasis>slik</emphasis> en kunstner burde fÃ¥ " +"kompensasjon? Gir det noen mening, spurte jeg, om det var en form for " +"lovbestemt lisens som noen kan betale og fritt videreutvikle og bearbeide " +"klipp som disse? Ga det virkelig mening at en videreutviklende skaper " +"skulle mÃ¥tte spore opp hver eneste artist, skuespiller, regissÃ¸r, musiker og " +"fÃ¥ eksplisitt tillatelse fra hver av dem. Ville ikke mye mer bli laget hvis " +"den juridiske delen av den kreative prosessen kunne gjÃ¸res enklere." + +#. PAGE BREAK 115 +#. type: Content of: <book><part><chapter><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, <quote>Oh, I want a hundred minutes of something " +"and I have no idea what it's going to cost me, and a certain number of " +"people are going to hold me up for money,</quote> then it becomes difficult " +"to put one of these things together." +msgstr "" +"Absolutt. Jeg tror at hvis det fantes en form for " +"lisensieringsmekanisme—hvor du ikke risikerte Ã¥ bli offer for " +"forglemmelser eller problematiske ekskoner—ville man kanskje ha sett " +"mange flere av denne typen verk, rett og slett fordi det ikke ville sett sÃ¥ " +"skrekkinngytende ut Ã¥ sette sammen et tilbakeblikk pÃ¥ noens karriere og Ã¥ " +"bruke mange media-illustrasjoner fra dennes karriere. Du ville kunne lage en " +"budsjettpost pÃ¥ dette. Sette opp en kostnad pÃ¥ X dollar til talentet som " +"fremfÃ¸rte. Og det ville vÃ¦re en kjent kostnad. Det er kanskje " +"kjerneproblemet med Ã¥ produsere slike produkter. Hvis man visste at man " +"hadde 100 minutter med film, kunne man si at dette vil koste meg sÃ¥ og sÃ¥ " +"mange dollar, og lage et budsjett rundt det. Deretter kan du skaffe " +"investorer og alt annet som trengs for Ã¥ produsere det. Men dersom man kun " +"kan si <quote>Hm, jeg Ã¸nsker 100 minutter med noe, og jeg aner ikke hvor mye " +"det vil koste meg, og et bestemt antall personer vil kreve penger</quote>, " +"vil det vÃ¦re ganske vanskelig Ã¥ fÃ¥ til slike ting." + +#. type: Content of: <book><part><chapter><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?" +msgstr "" +"Alben jobbet for et stort selskap. Hans selskap var stÃ¸ttet av noen av de " +"rikeste investorene i verden. Derfor hadde han myndighet og ressurser som en " +"gjennomsnittlig webdesigner ikke kunne drÃ¸mme om. SÃ¥ hvis det tok ham et Ã¥r, " +"hvor lang tid ville det ta noen andre? Og hvor mye kreativitet fÃ¥r aldri " +"form pÃ¥ grunn av kostnadene rundt Ã¥ kartlegge og skaffe rettigheter? " + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These costs are the burdens of a kind of regulation. Put on a Republican hat " +"for a moment, and get angry for a bit. The government defines the scope of " +"these rights, and the scope defined determines how much it's going to cost " +"to negotiate them. (Remember the idea that land runs to the heavens, and " +"imagine the pilot purchasing flythrough rights as he negotiates to fly from " +"Los Angeles to San Francisco.) These rights might well have once made " +"sense; but as circumstances change, they make no sense at all. Or at least, " +"a well-trained, regulationminimizing Republican should look at the rights " +"and ask, <quote>Does this still make sense?</quote>" +msgstr "" +"Disse kostnadene er byrdene av en form for regulering. Vi kan prÃ¸ve Ã¥ ta pÃ¥ " +"oss en republikanerhatt og bli sinte for et Ã¸yeblikk. Staten styrer disse " +"rettighetenes dekningsomrÃ¥de, og dekningsomrÃ¥det bestemmer hvor mye det vil " +"koste Ã¥ krenke disse rettighetene. (Husker dere idÃ©en om at en eiendom " +"strakte seg til universets grense? Og se for dere piloten som mÃ¥ betale for " +"Ã¥ krysse eiendommen som han krenker ved Ã¥ fly fra Los Angeles til San " +"Francisco.) Disse rettighetene gav sikkert mening en gang, men nÃ¥ som " +"forholdene har endret seg, er meningen borte. Ihvertfall sÃ¥ burde en " +"veltrenet, reguleringsfiendtlig republikaner se pÃ¥ rettighetene og spÃ¸rre " +"<quote>Gir dette mening nÃ¥?</quote>" + +#. PAGE BREAK 116 +#. type: Content of: <book><part><chapter><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 glimt av gjenkjennelse pÃ¥ dette punktet, men bare noen fÃ¥ " +"ganger. FÃ¸rste gang var pÃ¥ en konferanse for fÃ¸derale dommere i California. " +"Dommerne var samlet for Ã¥ diskutere det Ã¸kende temaet cyber-lov. Jeg ble " +"spurt om Ã¥ sitte i panelet. Harvey Saferstein, en respektert advokat fra et " +"firma i Los Angeles, introduserte en film han og hans venn Robert Fairbank " +"hadde laget for panelet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The video was a brilliant collage of film from every period in the twentieth " +"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " +"episode. The execution was perfect, down to the sixty-minute stopwatch. The " +"judges loved every minute of it." +msgstr "" +"Videoen var en glimrende sammenstilling av filmer fra hver periode i det " +"tjuende Ã¥rhundret, rammet inn rundt idÃ©en om en episode i TV-serien " +"<citetitle>60 Minutes</citetitle>. UtfÃ¸relsen var perfekt, ned til seksti " +"minutter stoppeklokken. Dommerne elsket enhver minutt av den." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Nimmer, David" +msgstr "Nimmer, David" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"When the lights came up, I looked over to my copanelist, David Nimmer, " +"perhaps the leading copyright scholar and practitioner in the nation. He had " +"an astonished look on his face, as he peered across the room of over 250 " +"well-entertained judges. Taking an ominous tone, he began his talk with a " +"question: <quote>Do you know how many federal laws were just violated in " +"this room?</quote>" +msgstr "" +"Da lysene kom pÃ¥, kikket jeg over til min medpaneldeltager, David Nimmer, " +"kanskje den ledende opphavsrettakademiker og utÃ¸ver i nasjonen. Han hadde en " +"forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over " +"250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin " +"tale med et spÃ¸rsmÃ¥l: <quote>Vet dere hvor mange fÃ¸derale lover som nettopp " +"brutt i dette rommet?</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Boies, David" +msgstr "Boies, David" + +#. type: Content of: <book><part><chapter><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 "" +"Og selvsagt hadde ikke disse to briljante talentene gjort hva Alben hadde " +"gjort. De hadde ikke ordnet alle rettighetene til klippene de brukte. Rent " +"teknisk hadde de brutt loven. Men ingen kom til Ã¥ straffeforfÃ¸lge disse to " +"(selv om de viste den for 250 dommere og en gjeng fÃ¸derale marshaller\". Men " +"Nimmer hadde et viktig poeng: Et Ã¥r fÃ¸r noen hadde hÃ¸rt ordet Napster, og to " +"Ã¥r fÃ¸r et annet medlem av panelet, David Boies, ville forsvare Napster for " +"den niende Circuit Court of Appeals, prÃ¸vde Nimmer Ã¥ fÃ¥ dommerne til Ã¥ " +"forstÃ¥ at loven ikke var sÃ¦rlig Ã¥pen for de nye kapasitetene den nye " +"teknologien ville gi. Teknologi betyr at du kan gjÃ¸re fantastiske ting, " +"enkelt. Men du kan ikke nÃ¸dvendigvis gjÃ¸re dem enkelt, lovlig." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"We live in a <quote>cut and paste</quote> culture enabled by technology. " +"Anyone building a presentation knows the extraordinary freedom that the cut " +"and paste architecture of the Internet created—in a second you can " +"find just about any image you want; in another second, you can have it " +"planted in your presentation." +msgstr "" +"Vi lever i en <quote>klippe og lime</quote>-kultur som er muliggjort av " +"dagens teknologi. Alle som lager presentasjoner vet hvilken eksepsjonell " +"frihet Internettets <quote>klippe og lime</quote>-arkitektur gir—pÃ¥ et " +"sekund kan du finne akkurat det bildet du vil ha, og du kan fÃ¥ den inn i " +"presentasjonen din." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Camp Chaos" +msgstr "Camp Chaos" + +#. PAGE BREAK 117 +#. type: Content of: <book><part><chapter><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 " +"dets arkiver, er musikere i stand til Ã¥ sy sammen nye lydmikser som ingen " +"hadde kunnet forestille seg; filmskapere er i stand til Ã¥ lage filmer ut av " +"klipp pÃ¥ datamaskiner rundt om i verden. Et spesielt nettsted i Sverige tar " +"bilder av politikere og blander dem med musikk Ã¥ skape bitende politiske " +"kommentarer. En nettside kalt Camp Chaos har skapt noe av den skarpeste " +"kritikken som finnes mot musikkindustrien, gjennom Ã¥ mikse Flash! og musikk." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"All of these creations are technically illegal. Even if the creators wanted " +"to be <quote>legal,</quote> the cost of complying with the law is impossibly " +"high. Therefore, for the law-abiding sorts, a wealth of creativity is never " +"made. And for that part that is made, if it doesn't follow the clearance " +"rules, it doesn't get released." +msgstr "" +"Men alt dette er rent teknisk ulovlig. Selv om skaperen Ã¸nsket Ã¥ holde seg " +"pÃ¥ rett side av loven, ville kostnadene ved Ã¥ fÃ¸lge loven vÃ¦rt " +"umenneskelige. Derfor vil de som Ã¸nsker Ã¥ fÃ¸lge loven bli hindret i Ã¥ bruke " +"sin kreativitet, og mye blir aldri skapt. Og det som er skapt, vil ikke bli " +"publisert fordi det ikke fÃ¸lger *clearence-rules*." + +#. type: Content of: <book><part><chapter><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 <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, " +"the system could simply make it easy for follow-on creators to compensate " +"artists without requiring an army of lawyers to come along: a rule, for " +"example, that says <quote>the royalty owed the copyright owner of an " +"unregistered work for the derivative reuse of his work will be a flat 1 " +"percent of net revenues, to be held in escrow for the copyright owner.</" +"quote> Under this rule, the copyright owner could benefit from some royalty, " +"but he would not have the benefit of a full property right (meaning the " +"right to name his own price) unless he registers the work." +msgstr "" +"Noen ser synes at denne historien kommer med et forslag til forbedring: La " +"oss fjerne miksen av rettigheter slik at folk fritt kan bygge pÃ¥ vÃ¥r kultur. " +"Fritt Ã¥ legge til eller mikse som de synes det passer. Vi kunne innfÃ¸re " +"dette uten at det ble fritt som i <quote>fri bar</quote>. I stedet kunne " +"systemet gjÃ¸re det lettere for nye kunstnere Ã¥ kompensere den originale " +"artisten uten at det krever en hÃ¦r av jurister. Hva med regler som f. eks. " +"<quote>kompensasjon til en opphavsrettholder for uregistrerte verk vil for " +"avledede verk fÃ¸re 1% av netto overskudd (*to be held in escrow for the " +"copyright owner.*)</quote> Med en slik regel ville opphavsrettholderen fÃ¥ en " +"inntekt, men han vil ikke ha en full eiendomsrett over opphavsretten (som " +"betyr retten til Ã¥ sette sin egen pris) uten Ã¥ ha registrert verket." + +#. type: Content of: <book><part><chapter><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 vil nekte Ã¥ bli med pÃ¥ det? Og hvilke grunner finner for Ã¥ nekte dette? " +"Vi snakker om et verk som ikke blir lagd akkurat nÃ¥, men om det blir lagd " +"under denne planen, vil det skape inntekter for artistene. Hvilke baktanker " +"kan noen ha for motarbeide det?" + +#. PAGE BREAK 118 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In February 2003</emphasis>, DreamWorks studios " +"announced an agreement with Mike Myers, the comic genius of " +"<citetitle>Saturday Night Live</citetitle> and Austin Powers. According to " +"the announcement, Myers and Dream-Works would work together to form a " +"<quote>unique filmmaking pact.</quote> Under the agreement, DreamWorks " +"<quote>will acquire the rights to existing motion picture hits and classics, " +"write new storylines and—with the use of stateof-the-art digital " +"technology—insert Myers and other actors into the film, thereby " +"creating an entirely new piece of entertainment.</quote>" +msgstr "" +"<emphasis role='strong'>I februar 2003</emphasis> kunne DreamWorks studios " +"kunngjÃ¸re at de hadde fÃ¥tt en avtale med komikeren Mike Myers (mannen bak " +"Saturday Night Liva og Austin Powers). IfÃ¸lge kunngjÃ¸ringen skulle " +"DreamWorks og Myers arbeide for Ã¥ skape en <quote>unik filmskaperavtale</" +"quote>. Og under denne avtalen ville DreamWorks <quote>fÃ¥ rett til Ã¥ benytte " +"eksisterende filmklipp, skrive nye storylines* og - med hjelp av *stateof-" +"the-art-teknologi - sette inn Myers og andre skuespillere i filmene, og slik " +"skape et helt nytt stykke underholdning.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The announcement called this <quote>film sampling.</quote> As Myers " +"explained, <quote>Film Sampling is an exciting way to put an original spin " +"on existing films and allow audiences to see old movies in a new light. Rap " +"artists have been doing this for years with music and now we are able to " +"take that same concept and apply it to film.</quote> Steven Spielberg is " +"quoted as saying, <quote>If anyone can create a way to bring old films to " +"new audiences, it is Mike.</quote>" +msgstr "" +"Dette ble kalt <quote>film sampling</quote>, og som Myers forklarte var " +"<quote>film sampling en fantastisk mÃ¥te Ã¥ fÃ¥ ny vri pÃ¥ eksisterende filmer " +"og lar publikum se gamle filmer i et nytt lys. Rap-artister har gjort slikt " +"i en Ã¥rrekke og nÃ¥ kan vi ta det samme konseptet og bruke det pÃ¥ film.</" +"quote> Steven Spielberg er sitert med fÃ¸lgende utsagn <quote>Hvis noen kan " +"klare Ã¥ bringe gamle filmer til et nytt publikum, sÃ¥ er det Mike.</quote>" + +#. type: Content of: <book><part><chapter><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 har rett. Film sampling med Myers ville vÃ¦rt briljant. Men hvis du " +"ikke fÃ¸lger godt med, sÃ¥ vil du overse det forblÃ¸ffende med denne " +"kunngjÃ¸ringen. Siden den aller stÃ¸rste delen av vÃ¥r filmarv fortsetter Ã¥ " +"vÃ¦re regulert av loven, sÃ¥ er den virkelige meningen i DreamWorks " +"kunngjÃ¸ring fÃ¸lgende: Det er Mike Myers og kun Mike Myers som har lov til Ã¥ " +"gjÃ¸re slikt. All generell frihet til Ã¥ fortsette Ã¥ bygge pÃ¥ verdens " +"filmkultur, en frihet som i andre sammenhenger er en selvfÃ¸lge, er et " +"privilegium forbeholdt de morsomme og berÃ¸mte - og antakelig rike." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This privilege becomes reserved for two sorts of reasons. The first " +"continues the story of the last chapter: the vagueness of <quote>fair use.</" +"quote> Much of <quote>sampling</quote> should be considered <quote>fair use." +"</quote> But few would rely upon so weak a doctrine to create. That leads to " +"the second reason that the privilege is reserved for the few: The costs of " +"negotiating the legal rights for the creative reuse of content are " +"astronomically high. These costs mirror the costs with fair use: You either " +"pay a lawyer to defend your fair use rights or pay a lawyer to track down " +"permissions so you don't have to rely upon fair use rights. Either way, the " +"creative process is a process of paying lawyers—again a privilege, or " +"perhaps a curse, reserved for the few." +msgstr "" +"Dette privilegiet er sÃ¥pass reservert av to grunner: FÃ¸rste grunn er en " +"fortsettelse av forrige kapittel, vagheten i <quote>rimelig bruk</quote>. " +"Mye av denne <quote>samplingen</quote> vil nok betraktes som <quote>rimelig " +"bruk</quote>, men ingen vÃ¥ger Ã¥ stole pÃ¥ et sÃ¥ vagt prinsipp. Det leder oss " +"til neste grunn for at privilegiet er forbeholdt fÃ¥: Kostnadene ved Ã¥ krenke " +"opphavsretten ved kreativt gjenbruk er astronomiske. Disse kostnadene " +"speiler kostnaden for <quote>rimelig bruk</quote>: Enten betaler du en " +"jurist til Ã¥ forsvare dine <quote>rimelig bruk</quote>-rettigheter, eller sÃ¥ " +"betaler du en jurist for Ã¥ oppspore og ordne med rettighetene du trenger, " +"slik at du slipper Ã¥ stole pÃ¥ rimelig bruk. I begge tilfeller er den " +"kreative prosessen blitt en prosess med Ã¥ betale jurister—igjen, et " +"privilegium forbeholdt de fÃ¥." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER NINE: Collectors" +msgstr "Kapittel ni: Samlere" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "archives, digital" +msgstr "arkiver, digitale" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "bots" +msgstr "boter" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In April 1996</emphasis>, millions of <quote>bots</" +"quote>—computer codes designed to <quote>spider,</quote> or " +"automatically search the Internet and copy content—began running " +"across the Net. Page by page, these bots copied Internet-based information " +"onto a small set of computers located in a basement in San Francisco's " +"Presidio. Once the bots finished the whole of the Internet, they started " +"again. Over and over again, once every two months, these bits of code took " +"copies of the Internet and stored them." +msgstr "" +"<emphasis role='strong'>I april 1996</emphasis> hadde millioner av " +"<quote>bots</quote> dataprogramkode utformet for Ã¥ <quote>kravle</quote> " +"eller automatisk sÃ¸king pÃ¥ Internettet og kopiering av innhold—gikk i " +"gang over nettet. Side for side kopierte disse botene internet-basert " +"informasjon til et lite sett maskiner plassert i en kjeller i San Franciscos " +"Presidio. Da botene var ferdig med hele Internettet startet de pÃ¥ nytt. " +"Igjen og igjen, en gang hver to mÃ¥neder, tok disse bitene med kode kopier av " +"Internettet og lagret dem." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Way Back Machine" +msgstr "Way Back Machine" + +#. type: Content of: <book><part><chapter><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 <quote>the Way Back Machine,</quote> you could enter a Web " +"page, and see all of its copies going back to 1996, as well as when those " +"pages changed." +msgstr "" +"I oktober 2001 hadde botene samlet mer enn fem Ã¥r med kopier. Og ved en " +"liten kunngjÃ¸ring i Berkeley, Californa, ble arkivene som disse kopiene " +"utgjorde, Internettarkivet, Ã¥pnet for verden. Ved Ã¥ bruke en teknologi ved " +"navn <quote>Way Back machine</quote> kan du skrive inn en nettside og se " +"alle dets kopier helt tilbake til 1996, samt se nÃ¥r disse sidene endret seg." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Orwell, George" +msgstr "Orwell, George" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"This is the thing about the Internet that Orwell would have appreciated. In " +"the dystopia described in <citetitle>1984</citetitle>, old newspapers were " +"constantly updated to assure that the current view of the world, approved of " +"by the government, was not contradicted by previous news reports." +msgstr "" +"Dette er en egenskap med Internettet som Orwell visse satt pris pÃ¥. I den " +"dystre verden beskrevet i <citetitle>1984</citetitle> ble gamle aviser " +"kontinuerlig oppdatert for Ã¥ sikre at gjeldende oppfattning av verden, " +"godkjent av myndighetene, ikke ble motsagt av gamle nyhetsmeldinger." + +#. PAGE BREAK 120 +#. type: Content of: <book><part><chapter><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 arbeidere redigerte konstant fortiden, hvilket gjorde at det " +"aldri var mulig Ã¥ vite om historien du leste i dag var historien som ble " +"trykket den datoen som sto fÃ¸rt opp pÃ¥ papiret." + +#. type: Content of: <book><part><chapter><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 Internettet. Hvis du besÃ¸ker en nettside i dag sÃ¥ har " +"du ingen mÃ¥te Ã¥ vite om innholdte du leser nÃ¥ er det samme som innholdet du " +"leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt " +"vÃ¦r helt annerledes. Internettet er Orwells bibliotek—kontinuerlig " +"oppdatert, uten en pÃ¥litelig hukommelse." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "White House press releases" +msgstr "pressemeldinger fra det hvite hus" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the " +"White House changes its own press releases without notice. A May 13, 2003, " +"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> " +"That was later changed, without notice, to <quote>Major Combat Operations in " +"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det " +"hvite hus endrer sine egne pressemeldinger uten varsel. En pressemelding " +"fra 13. mai 2003 inneholdt <quote>Kampoperasjoner i Irak er over</quote>. " +"Det ble senere endret, uten varsel, til <quote>StÃ¸rre kampoperasjoner i Irak " +"er over</quote>. Epost fra Brewster Kahle, 1. desember 2003." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Until the Way Back Machine, at least. With the Way Back Machine, and the " +"Internet Archive underlying it, you can see what the Internet was. You have " +"the power to see what you remember. More importantly, perhaps, you also have " +"the power to find what you don't remember and what others might prefer you " +"forget.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I hvert fall fÃ¸r Way Back Machine dukket opp. Ved hjelp av Way Back " +"Machine, og Internettarkivet som ligger til grunn for denne, sÃ¥ kan du se " +"hvordan Internettet var. Du har mulighet til Ã¥ se det du husker. Og " +"kanskje viktigere, sÃ¥ har du mulighet til Ã¥ finne det du ikke husker og det " +"andre kanskje fortrekker at du glemmer.<placeholder type=\"footnote\" id=" +"\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "history, records of" +msgstr "historien, arkiv over" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>We take it</emphasis> for granted that we can go " +"back to see what we remember reading. Think about newspapers. If you wanted " +"to study the reaction of your hometown newspaper to the race riots in Watts " +"in 1965, or to Bull Connor's water cannon in 1963, you could go to your " +"public library and look at the newspapers. Those papers probably exist on " +"microfiche. If you're lucky, they exist in paper, too. Either way, you are " +"free, using a library, to go back and remember—not just what it is " +"convenient to remember, but remember something close to the truth." +msgstr "" +"<emphasis role='strong'>Vi tar det</emphasis> for gitt at vi kan gÃ¥ tilbake " +"Ã¥ se det vi husker Ã¥ ha lest. Tenk for eksempel pÃ¥ aviser. Hvis du Ã¸nsker Ã¥ " +"studenere reaksjonene i lokalavisen din om raseopprÃ¸rene i Watts i 1965, " +"eller til vannkanonen til Bull Connor i 1963, sÃ¥ kan du gÃ¥ til ditt lokale " +"bibliotek og se i avisene. Disse artiklene finnes sannsynligvis pÃ¥ " +"microfiche. Hvis du er heldig, sÃ¥ eksisterer de ogsÃ¥ pÃ¥ papir. Uansett, sÃ¥ " +"stÃ¥r du fritt til, ved Ã¥ bruke et bibliotek, Ã¥ gÃ¥ tilbake for Ã¥ huske—" +"ikke bare det som er behagelig Ã¥ huske, men Ã¥ huske noe som er nÃ¦r sannheten." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"It is said that those who fail to remember history are doomed to repeat it. " +"That's not quite correct. We <emphasis>all</emphasis> forget history. The " +"key is whether we have a way to go back to rediscover what we forget. More " +"directly, the key is whether an objective past can keep us honest. Libraries " +"help do that, by collecting content and keeping it, for schoolchildren, for " +"researchers, for grandma. A free society presumes this knowedge." +msgstr "" +"Det sies at de som ikke husker historien er dÃ¸mt til Ã¥ gjenta den. Det er " +"ikke helt riktig. Vi <emphasis>alle</emphasis> glemmer historien. NÃ¸kkelen " +"er hvorvidt vi har en mÃ¥te Ã¥ gÃ¥ tilbake for Ã¥ gjenoppdage det vi har glemt. " +"Helt konkret er nÃ¸kkelen hvorvidt en objektiv fortid kan holde oss Ã¦rlige. " +"Biblioteker bidrar til dette, ved Ã¥ samle innhold og ta vare pÃ¥ det, for " +"skolebarn, for forskere, for bestemor. Et fritt samfunn forutsetter denne " +"kunnskapen." + +#. PAGE BREAK 121 +#. type: Content of: <book><part><chapter><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 "" +"Internettet var en unntak fra denne forutsetningen. FÃ¸r Internettarkivet " +"var det ikke mulig Ã¥ gÃ¥ tilbake. Internettet var i essens et flyktig " +"medium. Og likevel, etter hvert som det ble viktigere og viktigere i Ã¥ " +"forme og reformere samfunnet, sÃ¥ blir det viktigere og viktigere Ã¥ bevare " +"det i en eller annen historisk form. Det er helt sÃ¦rt Ã¥ tenke pÃ¥ at vi har " +"masse arkiver med aviser fra smÃ¥ tettsteder rundt om i hele verden, men det " +"finnes bare en kopi av Internettet—den som blir oppbevart av " +"Internettarkivet." + +#. type: Content of: <book><part><chapter><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 stifter av Internettarkivet. Han var en svÃ¦rt vellykket " +"Internett-entreprenÃ¸r etter at han hadde vÃ¦rt en vellykket data-forsker. PÃ¥ " +"1990-tallet bestemte Kahle seg at han hadde hatt nok suksess som " +"forretningsmann, og at det var pÃ¥ tide Ã¥ lykkes pÃ¥ et annet omrÃ¥de. Derfor " +"lanserte han en serie prosjekter som ble utformet for Ã¥ arkivere menneskelig " +"kunnskap. Internettarkivet var bare det fÃ¸rste av prosjektene til denne " +"*Andrew Carnige* for Internettet. I desember 2002 hadde arkivet over ti " +"milliard sider, og det vokste med omtrent en milliard sider i mÃ¥neden." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Library of Congress" +msgstr "Kongress-biblioteket" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Television Archive" +msgstr "TV-arkivet" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Vanderbilt University" +msgstr "Vanderbilt University" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "libraries" +msgstr "biblioteker" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "archival function of" +msgstr "arkiveringsfunksjonen til" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Way Back Machine is the largest archive of human knowledge in human " +"history. At the end of 2002, it held <quote>two hundred and thirty terabytes " +"of material</quote>—and was <quote>ten times larger than the Library " +"of Congress.</quote> And this was just the first of the archives that Kahle " +"set out to build. In addition to the Internet Archive, Kahle has been " +"constructing the Television Archive. Television, it turns out, is even more " +"ephemeral than the Internet. While much of twentieth-century culture was " +"constructed through television, only a tiny proportion of that culture is " +"available for anyone to see today. Three hours of news are recorded each " +"evening by Vanderbilt University—thanks to a specific exemption in the " +"copyright law. That content is indexed, and is available to scholars for a " +"very low fee. <quote>But other than that, [television] is almost unavailable," +"</quote> Kahle told me. <quote>If you were Barbara Walters you could get " +"access to [the archives], but if you are just a graduate student?</quote> As " +"Kahle put it," +msgstr "" +"Way Back Machine er det stÃ¸rste arkivet over menneskelig kunnskap i " +"menneskehetens historie. Ved slutten av 2002 inneholdt det <quote>to hundre " +"og tredve terrabyte med materiale</quote>—og var <quote>ti ganger " +"stÃ¸rre enn kongressbiblioteket</quote>. Og dette var bare det fÃ¸rste av " +"arkivene som Kahle gikk i gang med Ã¥ bygge. I tillegg til Internettarkivet " +"er Kahle i gang med Ã¥ konstruere TV-arkivet. TV, viser det seg, er enda mer " +"flyktig enn Internettet. Selv om mye av kulturen i det tjuende Ã¥rhundret ble " +"til gjennom fjernsyn, sÃ¥ er bare en liten andel av den kulturen tilgjengelig " +"for de som vil se det i dag. Tre timer med nyheter blir tatt opp hver kveld " +"av Vanderbilt University—takket vÃ¦re et spesifikt unntak i " +"opphavsrettsloven. Det innholdet blir gjort sÃ¸kbart og er tilgjengelig for " +"forskere for en svÃ¦rt lav avgift. <quote>Men bortsett fra det, sÃ¥ er [TV] " +"nesten fullstendig utilgjengelig</quote>, fortalte Kahle meg. <quote>Hvis " +"du er Barbara Walters sÃ¥ kan du fÃ¥ tilgang til [arkivene], men hva hvis du " +"bare er en student?</quote> Som Kahle formulete det," + +#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> +msgid "Quayle, Dan" +msgstr "Quayle, Dan" + +#. type: Content of: <book><part><chapter><blockquote><indexterm><primary> +msgid "60 Minutes" +msgstr "60 Minutes" + +#. PAGE BREAK 122 +#. type: Content of: <book><part><chapter><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 <citetitle>60 Minutes</citetitle> episode that came out " +"after it … it would be almost impossible. … Those materials " +"are almost unfindable. …" +msgstr "" +"Husker du da Dan Quayle snakket med Murphy Brown? Husker du den uvirkelige " +"opplevelsen av samtalen som gikk frem og tilbake mellom en politiker og en " +"fiktig TV-karakter? Hvis du var en student som Ã¸nsket Ã¥ studere dette, og " +"du Ã¸nsket Ã¥ fÃ¥ tak i den originale samtalen som gikk frem og tilbake mellom " +"de to og <citetitle>60 Minutes</citetitle>-episoden som kom ut etter dette " +"… sÃ¥ ville det vÃ¦re nesten umulig … Dette materialet er nesten " +"umulig Ã¥ finne. …" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "newspapers" +msgstr "aviser" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "archives of" +msgstr "arkiver over" + +#. type: Content of: <book><part><chapter><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 slik? Hvor er den delen av kulturen vÃ¥r som er lagret i " +"aviser tilgjengelige til evig tid, mens ikke den delen som er lagret pÃ¥ " +"videobÃ¥nd er det? Hvorfor har vi laget en verden der forskere som forsÃ¸ker " +"a forstÃ¥ effekten av media pÃ¥ Amerika i det nittende Ã¥rhundre har en enklere " +"jobb enn forskere som forsÃ¸ker Ã¥ forstÃ¥ effekten av media pÃ¥ Amerika i det " +"tjuende Ã¥rhundre?" + +#. type: Content of: <book><part><chapter><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 pÃ¥ grunn av loven. Opphavsrettseiere var tidlig i " +"amerikansk opphavsrettslov nÃ¸dt til Ã¥ deponere kopier av sine verk i " +"biblioteker. Disse kopiene skulle bÃ¥de sikre spredning av kunnskap, og " +"sikre at det fantes en kopi av verket tilgjenggelig nÃ¥r vernetiden utlÃ¸p, " +"slik at andre kunne fÃ¥ tilgang til og kopiere verket." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "archive of" +msgstr "arkiv for" + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " +"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" +"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " +"Won't Wait: A History of Film Preservation in the United States</citetitle> " +"( Jefferson, N.C.: McFarland & Co., 1992), 36." +msgstr "" +"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " +"the Library of Congress,</quote> <citetitle>Film Library Quarterly</" +"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " +"Won't Wait: A History of Film Preservation in the United States</citetitle> " +"( Jefferson, N.C.: McFarland & Co., 1992), 36." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These rules applied to film as well. But in 1915, the Library of Congress " +"made an exception for film. Film could be copyrighted so long as such " +"deposits were made. But the filmmaker was then allowed to borrow back the " +"deposits—for an unlimited time at no cost. In 1915 alone, there were " +"more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when " +"the copyrights to films expire, there is no copy held by any library. The " +"copy exists—if it exists at all—in the library archive of the " +"film company.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Disse reglene gjalt ogsÃ¥ for filmer. Men i 1915 gjorde kongressbiblioteket " +"et unntak for film. Filmer kunne bli opphavsrettsbeskyttet sÃ¥ lenge det ble " +"gjort slik deponering. Men filmskaperne fikk sÃ¥ lov til Ã¥ lÃ¥ne tilbake de " +"deponerte filmene—sÃ¥ lenge de ville uten noe kostnad. Bare i 1915 var " +"det mer enn 5475 filmer deponert og <quote>lÃ¥nt tilbake</quote>. Dermed var " +"det ikke noe eksemplar i noe bibliotek nÃ¥r vernetiden til filmen utlÃ¸p. " +"Eksemplaret eksisterer—hvis den finnes i det hele tatt—i " +"arkivbiblioteket til filmselskapet.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>theft.</quote> But as technology enabled " +"capturing, broadcasters relied increasingly upon the law. The law required " +"they make a copy of each broadcast for the work to be <quote>copyrighted.</" +"quote> But those copies were simply kept by the broadcasters. No library had " +"any right to them; the government didn't demand them. The content of this " +"part of American culture is practically invisible to anyone who would look." +msgstr "" +"Det samme er generelt sett sant ogsÃ¥ for TV. Fjernsynssendinger var " +"opprinnelig ikke oppphavsrettsbeskyttet—det fantes ingen mÃ¥te Ã¥ ta opp " +"kringkastinger, sÃ¥ det var ikke noe frykt for <quote>tyveri</quote>. Men " +"etter hvert som teknologien gjorde det mulig Ã¥ ta opp TV-sendinger, baserte " +"kringkastere seg i stÃ¸rre grad pÃ¥ loven. Loven krevde at de laget et " +"eksemplar av hver kringkastingssending for at verk skulle bli " +"<quote>opphavsrettsbeskyttet</quote>. Men disse eksemplarene ble kun lagret " +"hos kringkastingsselskapene. Intet bibliotek hadde noen rettigheter knyttet " +"til dem, og myndighetene gjorde ikke krav pÃ¥ dem. Innholdet fra denne delen " +"av amerikansk kultur er i praksis usynlig for alle som kunne tenke seg Ã¥ se " +"den." + +#. PAGE BREAK 123 +#. type: Content of: <book><part><chapter><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 ivret etter Ã¥ rette pÃ¥ dette. FÃ¸r 11. september 2001 hadde han og " +"hans allierte begynt Ã¥ ta opp TV. De valgte tjue stasjoner rundt om i " +"verden og trykket pÃ¥ opptaksknappen. Etter 11. september jobbet Kahle med " +"et dusin andre og valgte tjue stasjoner verden rundt og 11. oktober 2001 ut " +"alt dekningen derfra for uken rundt 11. september fritt tilgjengelig pÃ¥ " +"nett. Envher kunne se hvordan nyhetsmeldingene verden rundt dekket " +"hendelsene den dagen." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Movie Archive" +msgstr "Movie Archive" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "archive.org" +msgstr "archive.org" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Internet Archive" +msgstr "Internettarkivet" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Duck and Cover film" +msgstr "Dukk og skjul deg-film" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "ephemeral films" +msgstr "flyktige filmer" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Prelinger, Rick" +msgstr "Prelinger, Rick" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Kahle had the same idea with film. Working with Rick Prelinger, whose " +"archive of film includes close to 45,000 <quote>ephemeral films</quote> " +"(meaning films other than Hollywood movies, films that were never " +"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle " +"digitize 1,300 films in this archive and post those films on the Internet to " +"be downloaded for free. Prelinger's is a for-profit company. It sells copies " +"of these films as stock footage. What he has discovered is that after he " +"made a significant chunk available for free, his stock footage sales went up " +"dramatically. People could easily find the material they wanted to use. Some " +"downloaded that material and made films on their own. Others purchased " +"copies to enable other films to be made. Either way, the archive enabled " +"access to this important part of our culture. Want to see a copy of the " +"<quote>Duck and Cover</quote> film that instructed children how to save " +"themselves in the middle of nuclear attack? Go to archive.org, and you can " +"download the film in a few minutes—for free." +msgstr "" +"Kahle hadde samme idÃ© for film. I samarbeid med Rick Relinger, hvis " +"filmarkiv inneholder nesten 45 000 <quote>flyktige filmer</quote> (i " +"betydningen filmer som ikke er Hollywood-filmer, filmer som aldri ble " +"opphavsrettsbeskyttet), etablerte Kahle Filmarkivet. Prelinger lot Kahle " +"digitalisere 1 300 filmer i dette arkivet og publisere disse filmene pÃ¥ " +"Internettet for gratis nedlasting. Prelingers selskap er et kommersielt " +"selskap og selger eksemplarer av disse filmene som klipparkiv. Det han " +"oppdaget etter at han gjorde en anseelig andel gratis tilgjengelig, var at " +"salget av klipparkivmaterialet steg dramatisk. Folk kunne nÃ¥ enkelt finne " +"materialet som de Ã¸nsket Ã¥ bruke. Noen lastet ned materialet og laget " +"filmer pÃ¥ egen hÃ¥nd. Andre kjÃ¸pte kopier for Ã¥ gjÃ¸re det mulig Ã¥ lage andre " +"filmer. Uansett gjorde arkivet det mulig Ã¥ fÃ¥ tilgang til denne viktige " +"delen av vÃ¥r kultur. Vil du se et eksemplar av <quote>Dukk og skjul deg</" +"quote>-filmen som gir barn instrukser om hvordan de skal redde seg selv " +"under et atomangrep? BesÃ¸k archive.org og du kan laste ned filmen pÃ¥ noen " +"fÃ¥ minutter—gratis." + +#. type: Content of: <book><part><chapter><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 "" +"Nok en gang gir Kahle tilgang til en del av vÃ¥r kultur som vi ellers ikke " +"ville fÃ¥tt enkel tilgang til, hvis vi i det hele tatt fikk tilgang. Det er " +"nok en del av det som definerer det tjuende Ã¥rhundret som er tapt i " +"historien. Loven krever ikke at disse eksemplarene oppevares av noen, eller " +"at de skal deponeres for Ã¥ arkiveres av noen. Dermed er det ikke noen enkel " +"mÃ¥te Ã¥ finne dem." + +#. type: Content of: <book><part><chapter><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 "" +"Og nÃ¸kkelen her er tilgang, ikke pris. Kahle Ã¸nsker Ã¥ gjÃ¸re det mulig Ã¥ fÃ¥ " +"ubegrenset tilgang til dette innholdet, men han Ã¸nsker ogsÃ¥ at andre skal ha " +"mulighet til Ã¥ selge tilgang til det. MÃ¥let hans er Ã¥ sikre konkurranse " +"rundt tilgang til denne viktige delen av kuturen vÃ¥r. Ikke i den " +"kommersielle delen av en kreativ eiendoms liv, men i lÃ¸pet av det andre " +"liven som all kreativ eiendom har—et ikke-kommersielt liv." + +#. PAGE BREAK 124 +#. type: Content of: <book><part><chapter><para> +msgid "" +"For here is an idea that we should more clearly recognize. Every bit of " +"creative property goes through different <quote>lives.</quote> In its first " +"life, if the creator is lucky, the content is sold. In such cases the " +"commercial market is successful for the creator. The vast majority of " +"creative property doesn't enjoy such success, but some clearly does. For " +"that content, commercial life is extremely important. Without this " +"commercial market, there would be, many argue, much less creativity." +msgstr "" +"For her er en idÃ© som vi bÃ¸r kjenne bedre. Hver bit av kreativ eiendom gÃ¥r " +"igjennom ulike <quote>liv</quote>. I dens fÃ¸rste liv, hvis skaperen er " +"heldig, blir innholdet solgt. I slike tilfeller er det kommersielle " +"markedet en suksess for skaperen. Det store flertallet av kreativ eiendom " +"nyter ikke slik suksess, men noen gjÃ¸r helt klart dette. For det innholdet " +"er kommersielt liv ekstremt viktig. Uten dette kommersielle markedet hevder " +"mange at det ville vÃ¦rt mindre kreativitet." + +#. type: Content of: <book><part><chapter><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 at det kommersielle livet til kreativ eiendom har tatt slutt, har vÃ¥r " +"tradisjon alltid stÃ¸ttet opp om et andre liv. En avis leverer nyheter hver " +"dag pÃ¥ dÃ¸rkarmen til Amerika. Neste dag blir det brukt til Ã¥ pakke inn fiks " +"eller fylle bokser med skjÃ¸re gaver eller til Ã¥ bygge et arkiv med kunnskap " +"om vÃ¥r historie. Dette er det andre live, der innholdet kan fortsatt " +"informere selv om informasjonen ikke lenger blir solgt." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " +"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " +"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5 " +"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " +"only 2.2 percent were in print in 2002. R. Anthony Reese, <quote>The First " +"Sale Doctrine in the Era of Digital Networks,</quote> <citetitle>Boston " +"College Law Review</citetitle> 44 (2003): 593 n. 51." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling " +"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter " +"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5. " +"september 1997, ved Metro Lake 1L. For bÃ¸ker publisert mellom 1927 og 1946, " +"var kun 2,2 prosent fortsatt tilgjengelig fra forlaget 2002. R. Anthony " +"Reese, <quote>The First Sale Doctrine in the Era of Digital Networks,</" +"quote> <citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51." +"Dave barns, \"fledgling karriere i antikke bÃ¸ker: woodstock utleier, bar " +"eier starter et nytt kapittel ved Ã¥ innta virksomhet,\" chicago tribune, 5 " +"september 1997, pÃ¥ t lake 1 l. bÃ¸ker publisert mellom 1927 og 1946, bare 2,2 " +"prosent var i Skriv ut i 2002. r. anthony reese, \"den fÃ¸rste salg doktrinen " +"i tid med digitale nettverk,\" boston college lov gÃ¥ gjennom 44 (2003): 593 " +"n. 51." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The same has always been true about books. A book goes out of print very " +"quickly (the average today is after about a year<placeholder type=\"footnote" +"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " +"without the copyright owner getting anything and stored in libraries, where " +"many get to read the book, also for free. Used book stores and libraries are " +"thus the second life of a book. That second life is extremely important to " +"the spread and stability of culture." +msgstr "" +"Det samme har alltid vÃ¦rt tilfelle for bÃ¸ker. En bok blir utsolgt fra " +"forlaget svÃ¦rt raskt (i dag skjer det i snitt etter et Ã¥r<placeholder type=" +"\"footnote\" id=\"0\"/>). Etter at den er utsolgt fra forlaget kan den " +"selges i bruktbokhandler uten at opphavsrettsinnehaveren fÃ¥r noe. Den kan " +"ogsÃ¥ oppbevares i biblioteker, hvor mange fÃ¥r mulighet til Ã¥ lese boken, " +"helt gratis. Bruktbokhandler og biblioteker er dermed det andre livet til en " +"bok. Dette andre livet er ekstremt viktig for spredningen og stabiliteten " +"til kulturen." + +#. type: Content of: <book><part><chapter><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 "" +"Likevel gjelder i stadig mindre grad antagelsen om et stabilt annet liv for " +"kreativ eiendom de viktigste komponentene som utgjÃ¸r populÃ¦rkulturen i det " +"tjuende og tjuefÃ¸rste Ã¥rhundre. For disse—TV, filmer, musikk, radio, " +"Internettet—finnes det ingen garanti for et annet liv. For denne " +"typen kultur, er det som om vi har byttet ut biblioteker med Barnes & " +"Noble-supermarkeder. Med denne kulturen er det ingenting annet tilgjengelig " +"enn det som et visst begrenset marked etterspÃ¸r. Ut over det forsvinner " +"kulturen." + +#. PAGE BREAK 125 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>For most of</emphasis> the twentieth century, it was " +"economics that made this so. It would have been insanely expensive to " +"collect and make accessible all television and film and music: The cost of " +"analog copies is extraordinarily high. So even though the law in principle " +"would have restricted the ability of a Brewster Kahle to copy culture " +"generally, the real restriction was economics. The market made it impossibly " +"difficult to do anything about this ephemeral culture; the law had little " +"practical effect." +msgstr "" +"<emphasis role='strong'>I det meste</emphasis> av det tjuende Ã¥rhundre var " +"det Ã¸konomi som sÃ¸rget for dette. Det ville vÃ¦rt sinnsykt dyrt a samle og " +"gjÃ¸re alt av TV, film og musikk tilgjengelig: Kostnaden for analoge " +"eksemplarer er ekstremt hÃ¸y. SÃ¥ selv om loven i prinsippet ville ha " +"begrenset muligheten for en som Brewster Kahle til Ã¥ kopiere kulturen " +"generelt, sÃ¥ var den reelle begresningen Ã¸konomi. Markedet gjorde det helt " +"umulig Ã¥ gjÃ¸re noe med denne flyktige kulturen. Loven hadde liten praktisk " +"effekt." + +#. type: Content of: <book><part><chapter><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 den viktigste enkeltegenskapen i den digitale revolusjonen er at for " +"fÃ¸rste gang siden biblioteket i Aleksandria er det gjennomfÃ¸rbart Ã¥ tenke " +"seg Ã¥ lage et arkiv som kan holde all kultur som er produsert eller " +"distribuert offentlig. Teknologien gjÃ¸r det mulig Ã¥ forestille seg et arkiv " +"med alle bÃ¸ker som er publisert, og gjÃ¸r det stadig enklere Ã¥ forestille seg " +"et arkiv over alle bevegelige bilder og lyd." + +#. type: Content of: <book><part><chapter><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 for dette potensielle arkivet er noe vi aldri har forstilt oss " +"fÃ¸r. Folk som Brewster Kahle har drÃ¸mt om det opp igjennom historien, men " +"vi er for fÃ¸rste gang ved et punkt der denne drÃ¸mmen er mulig. Som Kahle " +"beskriver det," + +#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary> +msgid "total number of" +msgstr "totalt antall" + +#. type: Content of: <book><part><chapter><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 til at det er omtrent to til tre millioner opptak av musikk. I " +"gjennom hele historien. Det er omtrent hundre tusen kinofilmer utgitt, " +"… og omtrent en til to millioner filmer [distribuert] i lÃ¸pet av det " +"tjuende Ã¥rhundret. Det finnes omtrente tjueseks millioner ulike boktitler. " +"Alt dette vil fÃ¥ plass pÃ¥ datamaskiner som ville fÃ¥ plas i dette rommet og " +"et lite firma villa ha rÃ¥d til det. SÃ¥ vi er ved et vendepunkt i " +"historien. Universell tilgang er mÃ¥let. Og utsikten til Ã¥ fÃ¥ et annet liv " +"basert pÃ¥ dette er … spennende. Det kan bli en av de tingene som " +"menneskeheten ville vÃ¦re mest stolt av. Helt der oppe blant biblioteket i " +"Aleksandria, plassere en mann pÃ¥ mÃ¥nen, og oppfinnelsen av trykkpressen." + +#. PAGE BREAK 126 +#. type: Content of: <book><part><chapter><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. <emphasis>When</emphasis> the commercial " +"life of creative property ends, I don't know. But it does. And whenever it " +"does, Kahle and his archive hint at a world where this knowledge, and " +"culture, remains perpetually available. Some will draw upon it to understand " +"it; some to criticize it. Some will use it, as Walt Disney did, to re-create " +"the past for the future. These technologies promise something that had " +"become unimaginable for much of our past—a future <emphasis>for</" +"emphasis> our past. The technology of digital arts could make the dream of " +"the Library of Alexandria real again." +msgstr "" +"Kahle er ikke den eneste bibliotekaren. Internetarkivet er ikke det eneste " +"arkivet. Men Kahle og Internetarkivet antyder hva fremtiden for biblioteker " +"eller arkiver kunne vÃ¦re. Jeg vet ikke <emphasis>nÃ¥r</emphasis> det " +"kommersielle liven til kreativ eiendom tar slutt. Men det gjÃ¸r det. Og " +"uansett nÃ¥r det skjer, hinter Kahle og hans arkiv om en verden hvor denne " +"kunnskapen, og kulturen, forblir tilgjengelig til evig tid. Noen vil bruke " +"det for Ã¥ forstÃ¥ det. Andre for Ã¥ kritisere det. Noen vil bruke det, slik " +"Walt Disney gjorde, for Ã¥ gjenskape fortiden for fremtiden. Disse " +"teknologiene har lovnaden om noe som hadde blitt umulig Ã¥ tenke seg i store " +"deler av vÃ¥r fortid—en fremtid <emphasis>for</emphasis> vÃ¥r fortid. " +"Teknologien til digital kunst kunne gjÃ¸re drÃ¸mmen om biblioteket i " +"Aleksandria virkelig igjen." + +#. type: Content of: <book><part><chapter><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 <quote>archives,</quote> as warm as the idea of a <quote>library</" +"quote> might seem, the <quote>content</quote> that is collected in these " +"digital spaces is also someone's <quote>property.</quote> And the law of " +"property restricts the freedoms that Kahle and others would exercise." +msgstr "" +"Teknologer har dermed fjernet den Ã¸konomiske kostnaden med Ã¥ bygge et slikt " +"arkiv. Men advokatkostnadene bestÃ¥r. For uansett hvor mye vi Ã¸nsker Ã¥ " +"kalle dette <quote>arkiver</quote>, og uansett hvor koselig idÃ©en om et " +"<quote>bibliotek</quote> kan virke, sÃ¥ er <quote>innholdet</quote> som er " +"samlet i disse digitale omrÃ¥dene ogsÃ¥ noens <quote>eiendom</quote>. Og " +"eiendoms-lover begrenser friheten til folk som Kahle." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER TEN: <quote>Property</quote>" +msgstr "Kapittel ti: <quote>Eiendom</quote>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Johnson, Lyndon" +msgstr "Johnson, Lyndon" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Kennedy, John F." +msgstr "Kennedy, John F." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of " +"the Motion Picture Association of America since 1966. He first came to " +"Washington, D.C., with Lyndon Johnson's administration—literally. The " +"famous picture of Johnson's swearing-in on Air Force One after the " +"assassination of President Kennedy has Valenti in the background. In his " +"almost forty years of running the MPAA, Valenti has established himself as " +"perhaps the most prominent and effective lobbyist in Washington." +msgstr "" +"<emphasis role='strong'>Jack Valenti</emphasis> har vÃ¦rt president for " +"Motion Picture Assication of America siden 1966. Han ankom Washing D.C. med " +"Lyndon Johnson-administrasjonen—bokstavlig talt. PÃ¥ det berÃ¸mte " +"bildet av edsavleggingen til Johnson pÃ¥ Air Force One etter snikmordet pÃ¥ " +"president Kennedy befinner Valenti seg i bakgrunnen. I sine nesten fÃ¸rt Ã¥r " +"som leder av MPAA har Valenti etablert seg som kanskje den mest synlige og " +"effektive lobbyisten i Washington." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Sony Pictures Entertainment" +msgstr "Sony Pictures Entertainment" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "MGM" +msgstr "MGM" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Paramount Pictures" +msgstr "Paramount Pictures" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Twentieth Century Fox" +msgstr "Twentieth Century Fox" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Universal Pictures" +msgstr "Universal Pictures" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Warner Brothers" +msgstr "Warner Brothers" + +#. type: Content of: <book><part><chapter><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 grenen av den internasjonale filmforeningen. Den ble " +"stiftet i 1922 som en handelsforening hvis mÃ¥l var Ã¥ forsvare amerikanske " +"filmer mot Ã¸kende kritikk innenlands. Organisasjonen representerer nÃ¥ ikke " +"bare filmskapere, med ogsÃ¥ produsenter og distributÃ¸rer av underholdning for " +"TV, video og kabel-TV. Styret er satt sammen av styrelederne og " +"presidentene i de syv stÃ¸rste produsentene og distributÃ¸rene for film og TV-" +"programmer i USA: Walt Disney, Sony Pictures Entertainment, MGM, Paramount " +"Pictures, Twentieth Centory Fox, Universal Studios og Warner Brothers." + +#. PAGE BREAK 128 +#. type: Content of: <book><part><chapter><para> +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 den tredje presidenten for MPAA. Ingen president fÃ¸r han har " +"hatt like mye innflytelse over organisasjonen, eller over Washington. " +"Valenti, som kommer fra Texas, har mestret den viktigste politiske " +"enkeltferdighet som trengs av en fra sÃ¸rstatene—evnen til Ã¥ fremstÃ¥ " +"enkel og treg mens en skjuler sitt lynraske intellekt. Valenti spiller " +"fortsatt en enkel og ydmyk man. Men denne mannen, med MBA fra Harward har " +"skrevet fire bÃ¸ker, fullfÃ¸rt videregÃ¥ende skole i en alder av femten Ã¥r og " +"flÃ¸yet mer enn femti kampoppdrag under andre verdenskrig, er ingen Mr. " +"Smith. Da Valenti dro til Washington mestret han byen like godt som en " +"innfÃ¸dt." + +#. type: Content of: <book><part><chapter><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 " +"<quote>creative property.</quote>" +msgstr "" +"Ved Ã¥ forsvare kunstnerisk frihet og ytringsfrihet som vÃ¥r kultur er " +"avhengig av, sÃ¥ har MPAA gjort viktig og positivt arbeide. Ved Ã¥ utarbeide " +"MPAAs klassifiseringsystem har de antagelig unngÃ¥tt betydelig skade pÃ¥ " +"talefriheten. Men det er et aspekt ved organisasjonens mÃ¥l som bÃ¥de er det " +"mest radikale og det viktigste. Dette er organisasjonens innsats, " +"personifisert i alt Valenti gjÃ¸r, for Ã¥ omdefiniere betydningen av " +"<quote>kreativ eiendom</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In 1982, Valenti's testimony to Congress captured the strategy perfectly:" +msgstr "" +"Valentis vitnemÃ¥l i 1982 til kongressen fanget denne strategien perfekt:" + +#. f1 +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. " +"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, " +"Civil Liberties, and the Administration of Justice of the Committee on the " +"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 " +"(testimony of Jack Valenti)." +msgstr "" +"Hjem registrering av opphavsrettslig beskyttet verk: hearings pÃ¥ hr 4783, hr " +"4794, hr 4808, hr 5250, hr 5488 og hr 5705 fÃ¸r subcommittee on domstoler, " +"borgerrettigheter og administrasjonen av rettferdighet av committee on " +"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 " +"(vitnesbyrd om jack valenti)." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"No matter the lengthy arguments made, no matter the charges and the counter-" +"charges, no matter the tumult and the shouting, reasonable men and women " +"will keep returning to the fundamental issue, the central theme which " +"animates this entire debate: <emphasis>Creative property owners must be " +"accorded the same rights and protection resident in all other property " +"owners in the nation</emphasis>. That is the issue. That is the question. " +"And that is the rostrum on which this entire hearing and the debates to " +"follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 129 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The strategy of this rhetoric, like the strategy of most of Valenti's " +"rhetoric, is brilliant and simple and brilliant because simple. The " +"<quote>central theme</quote> to which <quote>reasonable men and women</" +"quote> will return is this: <quote>Creative property owners must be accorded " +"the same rights and protections resident in all other property owners in the " +"nation.</quote> There are no second-class citizens, Valenti might have " +"continued. There should be no second-class property owners." +msgstr "" +"Strategien for denne retorikken, som strategien til det meste av Valentis " +"retorikk, er strÃ¥lende og enkel og strÃ¥lede fordi den er enkel. Det " +"<quote>sentrale temaet</quote> som <quote>fornuftige menn og kvinner</quote> " +"vil komme tilbake til er dette: <quote>Kreative eiendomseiere mÃ¥ fÃ¥ de samme " +"rettigheter og beskyttelse som gis til alle andre eiendomseiere i nasjonen</" +"quote>. Det finnes ikke annenrangs borgere, kunne Valenti fortsatt. Det " +"bÃ¸r ikke finnes noen annenrangs eiendomseiere." + +#. type: Content of: <book><part><chapter><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 <emphasis>anyone</emphasis> who is serious in this debate than this " +"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " +"perhaps the nation's foremost extremist when it comes to the nature and " +"scope of <quote>creative property.</quote> His views have <emphasis>no</" +"emphasis> reasonable connection to our actual legal tradition, even if the " +"subtle pull of his Texan charm has slowly redefined that tradition, at least " +"in Washington." +msgstr "" +"Denne pÃ¥standen har en Ã¥penbar og kraftig intuitiv appell. Den er uttrykt " +"med slik klarhet for Ã¥ gjÃ¸re idÃ©en like Ã¥penbar som oppfatningen om at vi " +"bruker avstemming for Ã¥ velge presidenter. Men faktum er at det ikke er mer " +"ekstreme pÃ¥stander fremmet av <quote>noen</quote> som er seriÃ¸s i denne " +"debatten enn denne pÃ¥standen fra Valenti. Jack Valenti, uansett hvor " +"hyggelig og brilliant han fremstÃ¥r, er kanskje nasjonens fremste ekstremist " +"nÃ¥r det gjelder egenskapene og rekkeviden for <quote>kreativ eiendom</" +"quote>. Hans syn har <emphasis>ingen</emphasis> fornuftig forbindelse til " +"vÃ¥r faktiske juridiske tradisjon, selv om subtile pÃ¥virkning fra hans Texas-" +"sjarm sakte har endret definisjonen pÃ¥ denne tradisjonen, i hvert fall i " +"Washington." + +#. f2 +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a " +"bundle of rights that are sometimes associated with a particular object. " +"Thus, my <quote>property right</quote> to my car gives me the right to " +"exclusive use, but not the right to drive at 150 miles an hour. For the best " +"effort to connect the ordinary meaning of <quote>property</quote> to " +"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property " +"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), " +"26–27." +msgstr "" +"Advokater snakker ikke om <quote>eiendom</quote> som en absolutt ting, men " +"som en samling med rettigheter som noen ganger er knyttet til et bestemt " +"objekt. Dermed gir <quote>eiendomsretten</quote> min til bilen min meg en " +"ekslusiv rett til Ã¥ bruke den, men ikke retten til Ã¥ kjÃ¸re i 200 kilometer i " +"timen. For det beste forsÃ¸ket pÃ¥ Ã¥ knytte den vanlige betydningen av " +"<quote>eiendom</quote> til <quote>advokatsprÃ¥k</quote>, se Bruce Ackerman, " +"<citetitle>Private Property and the Constitution</citetitle> (New Haven: " +"Yale University Press 1977), 26–27." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"While <quote>creative property</quote> is certainly <quote>property</quote> " +"in a nerdy and precise sense that lawyers are trained to understand," +"<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor " +"should it be, that <quote>creative property owners</quote> have been " +"<quote>accorded the same rights and protection resident in all other " +"property owners.</quote> Indeed, if creative property owners were given the " +"same rights as all other property owners, that would effect a radical, and " +"radically undesirable, change in our tradition." +msgstr "" +"Mens <quote>kreativ eiendom</quote> helt klart er <quote>property</quote> pÃ¥ " +"en nerdete og presis mÃ¥te som advokater er trent til Ã¥ forstÃ¥,<placeholder " +"type=\"footnote\" id=\"0\"/> sÃ¥ har det aldri vÃ¦rt tilfelle, og det bÃ¸r det " +"heller ikke vÃ¦re, at <quote>eiere av kreativ eiendom</quote> har fÃ¥tt " +"<quote>tildelt de samme rettigheter og beskyttelser som alle andre " +"eiendomseiere</quote>. Faktisk ville det vÃ¦re en radikal og radikalt " +"uÃ¸nsket endring i vÃ¥r tradisjon hvis eiere av kreativ eiendom ble gitt de " +"samme rettighetene som alle andre eiendomseiere." + +#. type: Content of: <book><part><chapter><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 snakker pÃ¥ vegne av en industri som ikke bryr " +"seg om vÃ¥r tradisjon og verdiene den representerer. Han snakker i stedet " +"for en industri som sloss for Ã¥ gjeninnfÃ¸re tradisjonen som britene gjorde " +"slutt pÃ¥ i 1710. I verden skapt av endringene Valenti foreslÃ¥r, vil noen fÃ¥ " +"mektige aktÃ¸rer utÃ¸ve kraftig kontroll over hvordan vÃ¥r kreative kultur fÃ¥r " +"utvikle seg." + +#. PAGE BREAK 130 +#. type: Content of: <book><part><chapter><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 formÃ¥l med dette kapittelet. Dte fÃ¸rste er Ã¥ overbevise deg om " +"at historisk sett er Valentis pÃ¥stander helt gale. Det andre er Ã¥ " +"overbevise deg om at det ville vÃ¦re forferdelig galt av oss Ã¥ avvise fÃ¥r " +"historie. Vi har alltid behandlet kreative eiendomsretter forskjellig fra " +"rettighetene som hÃ¸rer til alle andre eiendomseiere. De har aldri vÃ¦rt " +"like. Og de bÃ¸r aldri bli like, uansett hvor lite intititivt det kan virke, " +"for Ã¥ gjÃ¸re dem like ville vÃ¦re Ã¥ fundamentalt svekke muligheten for nye " +"skapere til Ã¥ skape. Kreativitet er avhengig av at eierne av kreativitet " +"ikke har perfekt kontroll." + +#. type: Content of: <book><part><chapter><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." +msgstr "" +"Organisasjoner som MPAA, der styret inkluderer de mektigste av den gamle " +"garde, hra liten interesse, pÃ¥ tross av deres retorikk, i Ã¥ sikre at det nye " +"kan erstatte dem. Ingen organisasjon har det. Ingen person har det. (SpÃ¸r " +"for eksempel meg om ansettelsestrygghet.) Men det som er bra for MPA er " +"ikke nÃ¸dvendigvis bra for Amerika. Et samfunn som forsvarer idealene til en " +"fri kultur mÃ¥ ta vare pÃ¥ spesielt muligheten for ny kreativitet til Ã¥ true " +"den gamle." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>To get</emphasis> just a hint that there is " +"something fundamentally wrong in Valenti's argument, we need look no further " +"than the United States Constitution itself." +msgstr "" +"<emphasis role='strong'>For Ã¥ fÃ¥</emphasis> et lite hint om at det er noe " +"fundamentalt galt med Valentis argument trenger vi ikke se lenger en til " +"grunnloven til USA." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The framers of our Constitution loved <quote>property.</quote> Indeed, so " +"strongly did they love property that they built into the Constitution an " +"important requirement. If the government takes your property—if it " +"condemns your house, or acquires a slice of land from your farm—it is " +"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay " +"you <quote>just compensation</quote> for that taking. The Constitution thus " +"guarantees that property is, in a certain sense, sacred. It cannot " +"<emphasis>ever</emphasis> be taken from the property owner unless the " +"government pays for the privilege." +msgstr "" +"Forfatterne av vÃ¥r grunnlov elsket <quote>eiendom</quote>. De elsket de " +"eiendom sÃ¥ sterkt at de bygde inn en viktig forutsetning i grunnloven. Hvis " +"myndigheten tar din eiendom—hvis den kondemnerer huset ditt eller " +"eksproprierer et stykke land fra gÃ¥rden din—sÃ¥ er det et krav, i fÃ¸lge " +"det femte grunnlovstilleggets <quote>beslagleggings-avsnitt</quote>, at du " +"mÃ¥ fÃ¥ <quote>rimelig kompensasjon</quote> hvis noe blir beslaglagt. " +"Grunnloven garanterer dermed at eiendom pÃ¥ en mÃ¥te er urenkelig. Den kan " +"<emphasis>aldri</emphasis> tas fra eiendomseieren med mindre myndighetene " +"betaler for det privilegiet." + +#. PAGE BREAK 131 +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet the very same Constitution speaks very differently about what Valenti " +"calls <quote>creative property.</quote> In the clause granting Congress the " +"power to create <quote>creative property,</quote> the Constitution " +"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> " +"Congress take back the rights that it has granted and set the " +"<quote>creative property</quote> free to the public domain. Yet when " +"Congress does this, when the expiration of a copyright term <quote>takes</" +"quote> your copyright and turns it over to the public domain, Congress does " +"not have any obligation to pay <quote>just compensation</quote> for this " +"<quote>taking.</quote> Instead, the same Constitution that requires " +"compensation for your land requires that you lose your <quote>creative " +"property</quote> right without any compensation at all." +msgstr "" +"Likevel snakker den samme grunnloven svÃ¦rt annerledes om det Valenti " +"kaller <quote>kreativ eiendom</quote>. I *clause* som gir kongressen " +"myndighet til Ã¥ skape <quote>creativ eiendom</quote>, " +"<emphasis>krever</emphasis> grunnloven at kongressen etter en " +"<quote>begrenset tid</quote> tar tilbake rettighetene den har delt ut " +"og lar den <quote>kreative eiendommen</quote> falle i det fri og bli " +"allemannseie. Men nÃ¥r kongressen gjÃ¸r dette, nÃ¥r utlÃ¸pet av " +"vernetiden <quote>tar</quote> din opphavsrett og overleverer den til " +"allemannseiet, sÃ¥ har ikke kongressen noe pÃ¥legg om Ã¥ betale " +"<quote>rimelig kompensasjon</quote> for denne <quote>beslaget</quote>. " +"I stedet krever den samme konstitusjonen som krever kompensasjon nÃ¥r " +"det gjelder landomrÃ¥der at du skal miste din <quote>kreative " +"eiendom</quote> helt uten kompensasjon overhodet." + +#. type: Content of: <book><part><chapter><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 "" +"Grunnloven sier dermed rett frem at disse to formene for eiendom ikke skal " +"tildeles de samme rettighetene. De skal tydelig behandles forskjellig. " +"Valenti ber dermed ikke bare om at vÃ¥r tradisjon skal endres nÃ¥r an " +"argumenterer med at eiere av kreativ eiendom skal fÃ¥ de samme rettighetene " +"som enhver annen eiendomseier. Han argumenterer i effekt for Ã¥ endre " +"grunnloven selv." + +#. type: Content of: <book><part><chapter><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 "" +"Ã argumentere for en endring i grunnlvoen vÃ¥r er ikke nÃ¸dvendigvis galt. " +"Det var mye i vÃ¥r originale grunnlov som helt tydelig var galt. Grunnloven " +"av 1789 *entrenched* slaveri. Den sa at senatorer skulle utnevnes i stedet " +"for Ã¥ bli valgt. Den gjorde det mulig Ã¥ fÃ¥ en valgforsamling som ga like " +"mange stemmer til presidenten og hans egen visepresident (som den gjorde i " +"1800). Grunnlovsforfatterne var uten tvil ekstraordinÃ¦re, men jeg vil vÃ¦re " +"den fÃ¸rste til Ã¥ innrÃ¸mme at de gjorde store feil. Vi har siden avvist noen " +"av disse feilene, og det er uten tvil andre som vi ogsÃ¥ burde avvise. SÃ¥ " +"argumentet mitt er ikke at bare pÃ¥ grunn av at Jefferson gjorde det, sÃ¥ bÃ¸r " +"vi ogsÃ¥ gjÃ¸re det." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Instead, my argument is that because Jefferson did it, we should at least " +"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " +"property types that they were, reject the claim that creative property be " +"given the same rights as all other property? Why did they require that for " +"creative property there must be a public domain?" +msgstr "" +"I stedet er mitt argument at pÃ¥ grunn av at Jefferson gjorde det, bÃ¸r vi i " +"det minste forsÃ¸ke Ã¥ forstÃ¥ <emphasis>hvorfor</emphasis>. Hvorfor avviste " +"grunnlovsforfatterne, som jo var fanatiske eiendomstilhengere, avvise " +"pÃ¥standen om at kreativ eiendom skulle tildeles de samme rettighetene som " +"all annen eiendom? Hvorfor krevde de at for kreativ eiendom mÃ¥ det finnes " +"et allemannseie?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"To answer this question, we need to get some perspective on the history of " +"these <quote>creative property</quote> rights, and the control that they " +"enabled. Once we see clearly how differently these rights have been " +"defined, we will be in a better position to ask the question that should be " +"at the core of this war: Not <emphasis>whether</emphasis> creative property " +"should be protected, but how. Not <emphasis>whether</emphasis> we will " +"enforce the rights the law gives to creative-property owners, but what the " +"particular mix of rights ought to be. Not <emphasis>whether</emphasis> " +"artists should be paid, but whether institutions designed to assure that " +"artists get paid need also control how culture develops." +msgstr "" +"For Ã¥ besvare dette spÃ¸rsmÃ¥let trenger vi Ã¥ fÃ¥ litt perspektiv pÃ¥ " +"historien til disse <quote>kreativ eiendomsrettene</quote>, og " +"kontrollen de har muliggjort. NÃ¥r vi klarere ser hvor forskjellig " +"disse rettighetene har vÃ¦rt definert, sÃ¥ har vi bedre mulighet til Ã¥ " +"stille spÃ¸rsmÃ¥lene som bÃ¸r vÃ¦re i kjernen av denne krigen: Ikke " +"<emphasis>hvorvidt</emphasis> kreativ eiendom bÃ¸r beskyttes, men " +"hvordan. Ikke <emphasis>hvorvidt</emphasis> vi vil hÃ¥ndheve " +"rettighetene som lovverket gir til eiere av kreativ eiendom, men " +"hvordan den spesifikk blandingen av rettigheter bÃ¸r vÃ¦re. Ikke " +"<emphasis>hvorvidt</emphasis> artister bÃ¸r fÃ¥ betalt, men hvorvidt " +"institusjoner utformet for Ã¥ sikre at artister fÃ¥r betalt ogsÃ¥ mÃ¥ " +"kontrollere hvordan kultur utvilker seg." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "four modalities of constraint on" +msgstr "fire modalitetene for begrensningen pÃ¥" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "regulation" +msgstr "regulering" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "four modalities of" +msgstr "fire modalitetene for" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "as ex post regulation modality" +msgstr "som ex post regulering modality" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "as constraint modality" +msgstr "som betingelse modality" + +#. PAGE BREAK 132 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"To answer these questions, we need a more general way to talk about how " +"property is protected. More precisely, we need a more general way than the " +"narrow language of the law allows. In <citetitle>Code and Other Laws of " +"Cyberspace</citetitle>, I used a simple model to capture this more general " +"perspective. For any particular right or regulation, this model asks how " +"four different modalities of regulation interact to support or weaken the " +"right or regulation. I represented it with this diagram:" +msgstr "" +"Hvis du vil svare pÃ¥ disse spÃ¸rsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " +"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " +"generell mÃ¥te enn smale sprÃ¥ket i loven tillater. i koden og andre lover av " +"cyberspace brukte jeg en enkel modell for Ã¥ fange dette mer generelle " +"perspektivet. for en bestemt rettighet eller regulering, denne modellen spÃ¸r " +"hvordan fire forskjellige modalitetene for regulering samhandler for Ã¥ " +"stÃ¸tte eller svekke hÃ¸yre eller regulering. Jeg representerte det med dette " +"diagrammet:" + +#. type: Content of: <book><part><chapter><figure><title> +#, mtrans, fuzzy +msgid "" +"How four different modalities of regulation interact to support or weaken " +"the right or regulation." +msgstr "" +"Hvordan fire forskjellige modalitetene for regulering samhandle Ã¥ stÃ¸tte " +"eller svekke hÃ¸yre eller regulering." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1331.png\"></graphic>" +msgstr "<graphic fileref=\"images/1331.png\"></graphic>" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"At the center of this picture is a regulated dot: the individual or group " +"that is the target of regulation, or the holder of a right. (In each case " +"throughout, we can describe this either as regulation or as a right. For " +"simplicity's sake, I will speak only of regulations.) The ovals represent " +"four ways in which the individual or group might be regulated— either " +"constrained or, alternatively, enabled. Law is the most obvious constraint " +"(to lawyers, at least). It constrains by threatening punishments after the " +"fact if the rules set in advance are violated. So if, for example, you " +"willfully infringe Madonna's copyright by copying a song from her latest CD " +"and posting it on the Web, you can be punished with a $150,000 fine. The " +"fine is an ex post punishment for violating an ex ante rule. It is imposed " +"by the state. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"midt pÃ¥ dette bildet er et regulert punkt: pÃ¥ personen eller gruppen som er " +"mÃ¥let 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 " +"mÃ¥ter der personen eller gruppen kan reguleres—enten begrenset eller, " +"alternativt, aktivert. loven er den mest Ã¥penbare begrensningen (til " +"advokater, minst). den begrenser ved truende straffene etter faktum Hvis " +"reglene satt pÃ¥ forhÃ¥nd er brutt. sÃ¥ hvis for eksempel du willfully krenke " +"madonna's copyright ved Ã¥ kopiere en sang fra hennes siste CD-ROMen, og " +"bokfÃ¸re det\\/den pÃ¥ weben, kan du bli straffet med en $150.000 fine. fine " +"er en ex post straff for Ã¥ bryte en ex ante regelen. Det er pÃ¥lagt av staten." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "norms, regulatory influence of" +msgstr "normer, reguleringspÃ¥virkning fra" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Norms are a different kind of constraint. They, too, punish an individual " +"for violating a rule. But the punishment of a norm is imposed by a " +"community, not (or not only) by the state. There may be no law against " +"spitting, but that doesn't mean you won't be punished if you spit on the " +"ground while standing in line at a movie. The punishment might not be harsh, " +"though depending upon the community, it could easily be more harsh than many " +"of the punishments imposed by the state. The mark of the difference is not " +"the severity of the rule, but the source of the enforcement." +msgstr "" +"normer er en annen type betingelse. de, ogsÃ¥, straffe en person for Ã¥ bryte " +"en regel. men straffen av en normen er pÃ¥lagt 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 pÃ¥ bakken mens du " +"stÃ¥r i kÃ¸ pÃ¥ en film. straff kan ikke vÃ¦re harde, men avhengig av samfunnet, " +"det kan lett bli mer harde enn mange av straffene pÃ¥lagt av staten. Merk av " +"differansen er ikke av alvorlighetsgraden av regelen, men kilden for " +"hÃ¥ndhevelse." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "market constraints" +msgstr "markedskonsentrasjon" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The market is a third type of constraint. Its constraint is effected through " +"conditions: You can do X if you pay Y; you'll be paid M if you do N. These " +"constraints are obviously not independent of law or norms—it is " +"property law that defines what must be bought if it is to be taken legally; " +"it is norms that say what is appropriately sold. But given a set of norms, " +"and a background of property and contract law, the market imposes a " +"simultaneous constraint upon how an individual or group might behave." +msgstr "" +"markedet er en tredje type betingelse. betingelsen er berÃ¸rt gjennom " +"betingelser: du kan gjÃ¸re x Hvis du betaler y; vil du fÃ¥ betalt m Hvis du " +"gjÃ¸r n. slike betingelser er Ã¥penbart ikke uavhengig av loven eller " +"normer—det er regler som definerer hva mÃ¥ kjÃ¸pes Hvis det er Ã¥ bli " +"tatt lovlig; Det er normer som sier hva selges pÃ¥ riktig mÃ¥te. men gitt et " +"sett av normer og bakgrunn av eiendom og kontrakt lov, markedet pÃ¥legger en " +"samtidige begrensning pÃ¥ hvor en person eller gruppe kan oppfÃ¸re seg." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "architecture, constraint effected through" +msgstr "arkitektur, begrensninger med opphav i" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Finally, and for the moment, perhaps, most mysteriously, " +"<quote>architecture</quote>—the physical world as one finds it—" +"is a constraint on behavior. A fallen bridge might constrain your ability " +"to get across a river. Railroad tracks might constrain the ability of a " +"community to integrate its social life. As with the market, architecture " +"does not effect its constraint through ex post punishments. Instead, also as " +"with the market, architecture effects its constraint through simultaneous " +"conditions. These conditions are imposed not by courts enforcing contracts, " +"or by police punishing theft, but by nature, by <quote>architecture.</quote> " +"If a 500-pound boulder blocks your way, it is the law of gravity that " +"enforces this constraint. If a $500 airplane ticket stands between you and a " +"flight to New York, it is the market that enforces this constraint." +msgstr "" +"til slutt, og for Ã¸yeblikket, kanskje mest mysteriously \"arkitektur\"—" +"den fysiske verden som en finner den—er en begrensning pÃ¥ atferd. en " +"falne bro kan begrense din evne til Ã¥ komme over en elv. Railroad tracks kan " +"begrense evnen til et fellesskap for Ã¥ integrere sin sosiale liv. som med " +"markedet, pÃ¥virker ingen arkitektur betingelsen gjennom ex post straffene. i " +"stedet, ogsÃ¥ som med markedet, arkitektur effekter betingelsen gjennom " +"samtidige forhold. disse betingelsene er pÃ¥lagt ikke av domstolene hÃ¥ndheve " +"kontrakter, eller av politiet straffe tyveri, men av natur, \"arkitektur.\" " +"Hvis en 500-pund kampestein blokkerer deg, det er lov av tyngdekraften som " +"gjennomfÃ¸rer denne betingelsen. Hvis en $500 flybillett stÃ¥r mellom deg og " +"et fly til new york, er det markedet som hÃ¥ndhever denne betingelsen." + +#. PAGE BREAK 134 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"So the first point about these four modalities of regulation is obvious: " +"They interact. Restrictions imposed by one might be reinforced by another. " +"Or restrictions imposed by one might be undermined by another." +msgstr "" +"sÃ¥ det fÃ¸rste punktet om disse fire metoder av regulering er Ã¥penbare: de " +"samhandler. restriksjoner pÃ¥lagt av en kan bli forsterket av en annen. eller " +"restriksjoner pÃ¥lagt av en kan bli undergravd av en annen." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The second point follows directly: If we want to understand the effective " +"freedom that anyone has at a given moment to do any particular thing, we " +"have to consider how these four modalities interact. Whether or not there " +"are other constraints (there may well be; my claim is not about " +"comprehensiveness), these four are among the most significant, and any " +"regulator (whether controlling or freeing) must consider how these four in " +"particular interact." +msgstr "" +"det andre punktet fÃ¸lger direkte: Hvis vi Ã¸nsker Ã¥ forstÃ¥ effektiv friheten " +"som noen har pÃ¥ et gitt Ã¸yeblikk Ã¥ gjÃ¸re noen bestemt ting, vi har til Ã¥ " +"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser " +"(det kan godt vÃ¦re; min pÃ¥stand er ikke om objektivitet), disse fire er " +"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjÃ¸r) " +"mÃ¥ vurdere hvordan disse fire spesielt samhandle." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "driving speed, constraints on" +msgstr "kjÃ¸rehastighet, begrensninger pÃ¥" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "speeding, constraints on" +msgstr "hastighet, begrensning av" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"So, for example, consider the <quote>freedom</quote> to drive a car at a " +"high speed. That freedom is in part restricted by laws: speed limits that " +"say how fast you can drive in particular places at particular times. It is " +"in part restricted by architecture: speed bumps, for example, slow most " +"rational drivers; governors in buses, as another example, set the maximum " +"rate at which the driver can drive. The freedom is in part restricted by the " +"market: Fuel efficiency drops as speed increases, thus the price of gasoline " +"indirectly constrains speed. And finally, the norms of a community may or " +"may not constrain the freedom to speed. Drive at 50 mph by a school in your " +"own neighborhood and you're likely to be punished by the neighbors. The same " +"norm wouldn't be as effective in a different town, or at night." +msgstr "" +"sÃ¥, for eksempel vurdere \"friheten\" Ã¥ kjÃ¸re bil til en hÃ¸y hastighet. at " +"frihet er delvis begrenset av lover: fartsgrenser som sier hvor fort du kan " +"kjÃ¸re spesielt steder pÃ¥ bestemte tidspunkter. Det er delvis begrenset av " +"arkitektur: hastighet stÃ¸t, for eksempel sakte mest rasjonell drivere; " +"GuvernÃ¸rer i busser, som et annet eksempel, angir den maksimale hastigheten " +"som driveren kan kjÃ¸re. frihet er delvis begrenset av markedet: " +"drivstoffeffektivitet drops som farten Ã¸ker, dermed bensinprisen indirekte " +"begrenser hastighet. og endelig normer for et fellesskap kan eller kan ikke " +"begrense friheten til Ã¥ Ã¸ke. kjÃ¸re pÃ¥ 50 mph av en skole i nabolaget ditt " +"eget og du sannsynligvis til Ã¥ bli straffet av naboene. samme normen ville " +"ikke vÃ¦re sÃ¥ effektiv i en annen by, eller om natten." + +#. f3 +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"By describing the way law affects the other three modalities, I don't mean " +"to suggest that the other three don't affect law. Obviously, they do. Law's " +"only distinction is that it alone speaks as if it has a right self-" +"consciously to change the other three. The right of the other three is more " +"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of " +"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " +"Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal " +"Studies</citetitle>, June 1998." +msgstr "" +"ved Ã¥ beskrive hvordan trenger ikke loven pÃ¥virker andre tre metoder, jeg " +"bety Ã¥ foreslÃ¥ at tre andre ikke pÃ¥virker lov. SelvfÃ¸lgelig, de gjÃ¸r. law's " +"eneste forskjellen er at det alene snakker som om den har en rett " +"selvbevisst til Ã¥ endre de andre tre. hÃ¸yre for tre andre uttrykkes mer " +"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new " +"york: grunnleggende bÃ¸ker, 1999): 90Â95; Lawrence lessig, \"den nye chicago " +"skolen,\" journal of Jusstudier, Juni 1998." + +#. PAGE BREAK 135 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The final point about this simple model should also be fairly clear: While " +"these four modalities are analytically independent, law has a special role " +"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " +"other words, sometimes operates to increase or decrease the constraint of a " +"particular modality. Thus, the law might be used to increase taxes on " +"gasoline, so as to increase the incentives to drive more slowly. The law " +"might be used to mandate more speed bumps, so as to increase the difficulty " +"of driving rapidly. The law might be used to fund ads that stigmatize " +"reckless driving. Or the law might be used to require that other laws be " +"more strict—a federal requirement that states decrease the speed " +"limit, for example—so as to decrease the attractiveness of fast " +"driving." +msgstr "" + +#. type: Content of: <book><part><chapter><figure><title> +msgid "Law has a special role in affecting the three." +msgstr "Lovverket har en spesiell rolle i Ã¥ pÃ¥virke disse tre." + +#. type: Content of: <book><part><chapter><figure> +msgid "<graphic fileref=\"images/1361.png\"></graphic>" +msgstr "<graphic fileref=\"images/1361.png\"></graphic>" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "Americans with Disabilities Act (1990)" +msgstr "amerikanerne med funksjonshemminger act (1990)" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Commons, John R." +msgstr "Commons, John R." + +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Some people object to this way of talking about <quote>liberty.</quote> They " +"object because their focus when considering the constraints that exist at " +"any particular moment are constraints imposed exclusively by the government. " +"For instance, if a storm destroys a bridge, these people think it is " +"meaningless to say that one's liberty has been restrained. A bridge has " +"washed out, and it's harder to get from one place to another. To talk about " +"this as a loss of freedom, they say, is to confuse the stuff of politics " +"with the vagaries of ordinary life. I don't mean to deny the value in this " +"narrower view, which depends upon the context of the inquiry. I do, however, " +"mean to argue against any insistence that this narrower view is the only " +"proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come " +"from a long tradition of political thought with a broader focus than the " +"narrow question of what the government did when. John Stuart Mill defended " +"freedom of speech, for example, from the tyranny of narrow minds, not from " +"the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</" +"citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons " +"famously defended the economic freedom of labor from constraints imposed by " +"the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom " +"Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected " +"Essays</citetitle> (London: Routledge: 1997), 62. The Americans with " +"Disabilities Act increases the liberty of people with physical disabilities " +"by changing the architecture of certain public places, thereby making access " +"to those places easier; 42 <citetitle>United States Code</citetitle>, " +"section 12101 (2000). Each of these interventions to change existing " +"conditions changes the liberty of a particular group. The effect of those " +"interventions should be accounted for in order to understand the effective " +"liberty that each of these groups might face. <placeholder type=\"indexterm" +"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" +"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" +msgstr "" +"noen mennesker objektet til denne mÃ¥ten av snakker om \"frihet.\" de " +"objektet fordi deres fokus nÃ¥r de vurderer begrensninger som finnes pÃ¥ et " +"bestemt tidspunkt er begrensninger pÃ¥lagt utelukkende av regjeringen. for " +"eksempel, hvis en storm Ã¸delegger en bro, tror disse folk det er meningslÃ¸st " +"Ã¥ si at en frihet har vÃ¦rt behersket. en bro er vasket ut, og det er " +"vanskeligere for Ã¥ fÃ¥ fra ett sted til et annet. Ã¥ snakke om dette som et " +"tap av frihet, de sier, er Ã¥ forvirre ting av politikk med vagaries av " +"ordinÃ¦rt liv. Jeg trenger ikke bety Ã¥ nekte verdien i denne smalere " +"visningen, som er avhengig av konteksten for henvendelsen. Jeg gjÃ¸r, men " +"mener Ã¥ argumentere mot eventuelle insisterte pÃ¥ 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 " +"spÃ¸rsmÃ¥let om hva regjeringen gjorde nÃ¥r. John stuart mill forsvarte " +"ytringsfriheten, for eksempel fra tyranni av trange sinn, ikke fra frykt for " +"regjeringen rettsforfÃ¸lgelse; John stuart mill, pÃ¥ frihet (indiana: hackett " +"publishing co., 1978), 19. John r. commons forsvarte famously Ã¸konomiske " +"friheten av arbeidskraft fra begrensninger pÃ¥lagt 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 Ã¸ker frihet for personer med " +"funksjonshemninger ved Ã¥ endre arkitekturen i visse offentlige steder, og " +"dermed gjÃ¸r tilgang til de plasserer enklere; 42 united states code, delen " +"12101 (2000). hver av disse intervensjoner for Ã¥ endre eksisterende " +"betingelser, endres frihet Ã¥ en bestemt gruppe. effekten av disse tiltakene " +"bÃ¸r tas med i betraktningen for Ã¥ forstÃ¥ den effektive frihet at hver av " +"disse gruppene kan gjÃ¸re ansiktet." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"These constraints can thus change, and they can be changed. To understand " +"the effective protection of liberty or protection of property at any " +"particular moment, we must track these changes over time. A restriction " +"imposed by one modality might be erased by another. A freedom enabled by one " +"modality might be displaced by another.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><title> +msgid "Why Hollywood Is Right" +msgstr "Hvorfor Hollywood har rett" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "four regulatory modalities on" +msgstr "fire regulatoriske modaliteter pÃ¥" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The most obvious point that this model reveals is just why, or just how, " +"Hollywood is right. The copyright warriors have rallied Congress and the " +"courts to defend copyright. This model helps us see why that rallying makes " +"sense." +msgstr "" +"det mest Ã¥penbare punktet som denne modellen avslÃ¸rer er bare hvorfor eller " +"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og " +"domstolene Ã¥ forsvare copyright. Denne modellen hjelper oss se hvorfor denne " +"samlingspunkt fornuftig." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let's say this is the picture of copyright's regulation before the Internet:" +msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" + +#. type: Content of: <book><part><chapter><section><figure><title> +#, mtrans, fuzzy +msgid "Copyright's regulation before the Internet." +msgstr "La oss si at dette er bilde av copyright's regulering fÃ¸r Internett:" + +#. PAGE BREAK 136 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There is balance between law, norms, market, and architecture. The law " +"limits the ability to copy and share content, by imposing penalties on those " +"who copy and share content. Those penalties are reinforced by technologies " +"that make it hard to copy and share content (architecture) and expensive to " +"copy and share content (market). Finally, those penalties are mitigated by " +"norms we all recognize—kids, for example, taping other kids' records. " +"These uses of copyrighted material may well be infringement, but the norms " +"of our society (before the Internet, at least) had no problem with this form " +"of infringement." +msgstr "" +"Det er balansen mellom lov, normer, markedet og arkitektur. loven begrenser " +"muligheten til Ã¥ kopiere og dele innhold, ved Ã¥ angi strafferammer for de " +"som kopiere og dele innhold. disse straffer er forsterket av teknologier som " +"gjÃ¸r det vanskelig Ã¥ kopiere og dele innhold (arkitektur) og det er dyrt Ã¥ " +"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 vÃ¦re brudd, men normer for " +"vÃ¥rt samfunn (fÃ¸r Internett, minst) hadde ingen problemer med denne form for " +"krenkelse av." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright regulatory balance lost with" +msgstr "opphavsrett regulatoriske balanse mistet med" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "regulatory balance lost in" +msgstr "regulatoriske balanse tapt i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MP3s" +msgstr "MP3-er" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Enter the Internet, or, more precisely, technologies such as MP3s and p2p " +"sharing. Now the constraint of architecture changes dramatically, as does " +"the constraint of the market. And as both the market and architecture relax " +"the regulation of copyright, norms pile on. The happy balance (for the " +"warriors, at least) of life before the Internet becomes an effective state " +"of anarchy after the Internet." +msgstr "" +"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. " +"nÃ¥ begrensningen av arkitektur endres dramatisk, som gjÃ¸r begrensningen av " +"markedet. og som bÃ¥de markedet og arkitektur kan du slappe av med regulering " +"av copyright, normer haug pÃ¥. happy saldoen (for krigere, minst) av livet " +"fÃ¸r Internett blir en effektiv stat av anarchy etter Internett." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "technology" +msgstr "teknologi" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "established industries threatened by changes in" +msgstr "etablert industri truet av endringer i" + +#. PAGE BREAK 137 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Thus the sense of, and justification for, the warriors' response. " +"Technology has changed, the warriors say, and the effect of this change, " +"when ramified through the market and norms, is that a balance of protection " +"for the copyright owners' rights has been lost. This is Iraq after the fall " +"of Saddam, but this time no government is justifying the looting that " +"results." +msgstr "" +"SÃ¥ledes fÃ¸lelse av, og den begrunnelsen for warriors' svar. teknologi er " +"endret, krigere, sier, og effekten av denne endringen, nÃ¥r ramified gjennom " +"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes " +"rettigheter har gÃ¥tt tapt. Dette er Irak etter fallet av saddam, men denne " +"gangen ingen regjering er rettferdiggjÃ¸rende looting resultater." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "effective state of anarchy after the Internet." +msgstr "effektiv tilstand av anarki etter Internettet." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1381.png\"></graphic>" +msgstr "<graphic fileref=\"images/1381.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Commerce, U.S. Department of" +msgstr "handel-setningsdelen i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "as establishment protectionism" +msgstr "som etablering proteksjonistisk" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Neither this analysis nor the conclusions that follow are new to the " +"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce " +"Department (one heavily influenced by the copyright warriors) in 1995, this " +"mix of regulatory modalities had already been identified and the strategy to " +"respond already mapped. In response to the changes the Internet had " +"effected, the White Paper argued (1) Congress should strengthen intellectual " +"property law, (2) businesses should adopt innovative marketing techniques, " +"(3) technologists should push to develop code to protect copyrighted " +"material, and (4) educators should educate kids to better protect copyright." +msgstr "" +"Denne analysen verken konklusjonene som fÃ¸lger er en ny warriors. faktisk i " +"en \"hvitbok\" utarbeidet av commerce department (en sterkt pÃ¥virket av " +"opphavsrett warriors) i 1995, denne blandingen av regulatoriske modaliteter " +"hadde allerede identifisert og strategi for Ã¥ svare allerede tilordnet. svar " +"pÃ¥ endringene Internett hadde berÃ¸rt, hevdet den tekniske beskrivelsen (1) " +"Kongressen bÃ¸r styrke lovgivning for immaterielle, (2) bedrifter skal vedta " +"innovativ markedsfÃ¸ring teknikker, (3) Teknologorganisasjon push for Ã¥ " +"utvikle kode for Ã¥ beskytte opphavsrettsbeskyttet materiale og (4) lÃ¦rere " +"skal utdanne barn Ã¥ bedre beskytte opphavsretten." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "farming" +msgstr "landbruk" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "steel industry" +msgstr "stÃ¥lindustri" + +#. PAGE BREAK 138 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This mixed strategy is just what copyright needed—if it was to " +"preserve the particular balance that existed before the change induced by " +"the Internet. And it's just what we should expect the content industry to " +"push for. It is as American as apple pie to consider the happy life you have " +"as an entitlement, and to look to the law to protect it if something comes " +"along to change that happy life. Homeowners living in a flood plain have no " +"hesitation appealing to the government to rebuild (and rebuild again) when a " +"flood (architecture) wipes away their property (law). Farmers have no " +"hesitation appealing to the government to bail them out when a virus " +"(architecture) devastates their crop. Unions have no hesitation appealing to " +"the government to bail them out when imports (market) wipe out the U.S. " +"steel industry." +msgstr "" +"Dette blandet strategi er bare hva copyright needed—Hvis det var Ã¥ " +"bevare bestemt saldoen som eksisterte fÃ¸r endringen indusert av Internett. " +"og det er akkurat hva vi kan forvente innhold industrien Ã¥ presse for. Det " +"er sÃ¥ amerikanske som eplepai Ã¥ vurdere det lykkelige liv som du har som en " +"rettighet, og for Ã¥ se til lov til Ã¥ beskytte det hvis noe kommer til Ã¥ " +"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nÃ¸le " +"appellere til regjeringen Ã¥ gjenoppbygge (og gjenoppbygging igjen) nÃ¥r en " +"flom (arkitektur) tÃ¸rke bort deres eiendom (lov). bÃ¸nder har ingen nÃ¸le " +"appellere til regjeringen Ã¥ kausjon dem ut nÃ¥r et virus (arkitektur) " +"devastates deres BeskjÃ¦r. fagforeninger har ingen nÃ¸le appellere til " +"regjeringen Ã¥ kausjon dem. NÃ¥r import (markedet) tÃ¸rke ut amerikanske stÃ¥l " +"industrien." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Thus, there's nothing wrong or surprising in the content industry's campaign " +"to protect itself from the harmful consequences of a technological " +"innovation. And I would be the last person to argue that the changing " +"technology of the Internet has not had a profound effect on the content " +"industry's way of doing business, or as John Seely Brown describes it, its " +"<quote>architecture of revenue.</quote>" +msgstr "" +"SÃ¥ledes, det er ingenting galt eller overraskende i innhold bransjens " +"kampanje til Ã¥ beskytte seg fra skadelige konsekvensene av en teknologisk " +"innovasjon. og jeg vil vÃ¦re den siste personen som hevder at den endrede " +"teknologien pÃ¥ Internett ikke har hatt en dyp effekt pÃ¥ innhold bransjens " +"mÃ¥ten Ã¥ drive virksomhet, eller som john seely brown beskriver den, dens " +"\"arkitektur av inntekter.\"" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "railroad industry" +msgstr "jernbaneindustri" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "remote channel changers" +msgstr "Medieskiftere for ekstern kanal" + +#. f5 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</" +"quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of " +"Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak " +"Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But just because a particular interest asks for government support, it " +"doesn't follow that support should be granted. And just because technology " +"has weakened a particular way of doing business, it doesn't follow that the " +"government should intervene to support that old way of doing business. " +"Kodak, for example, has lost perhaps as much as 20 percent of their " +"traditional film market to the emerging technologies of digital cameras." +"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " +"should ban digital cameras just to support Kodak? Highways have weakened the " +"freight business for railroads. Does anyone think we should ban trucks from " +"roads <emphasis>for the purpose of</emphasis> protecting the railroads? " +"Closer to the subject of this book, remote channel changers have weakened " +"the <quote>stickiness</quote> of television advertising (if a boring " +"commercial comes on the TV, the remote makes it easy to surf ), and it may " +"well be that this change has weakened the television advertising market. But " +"does anyone believe we should regulate remotes to reinforce commercial " +"television? (Maybe by limiting them to function only once a second, or to " +"switch to only ten channels within an hour?)" +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "free market, technological changes in" +msgstr "frie marked, teknologiske endringer i" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Brezhnev, Leonid" +msgstr "Brezhnev, Leonid" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Gates, Bill" +msgstr "Gates, Bill" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "market competition" +msgstr "markedskonkurranse" + +#. f6 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " +"1994), 170–71." +msgstr "" +"Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The obvious answer to these obviously rhetorical questions is no. In a free " +"society, with a free market, supported by free enterprise and free trade, " +"the government's role is not to support one way of doing business against " +"others. Its role is not to pick winners and protect them against loss. If " +"the government did this generally, then we would never have any progress. As " +"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " +"patents, <quote>established companies have an interest in excluding future " +"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative " +"to a startup, established companies also have the means. (Think RCA and FM " +"radio.) A world in which competitors with new ideas must fight not only the " +"market but also the government is a world in which competitors with new " +"ideas will not succeed. It is a world of stasis and increasingly " +"concentrated stagnation. It is the Soviet Union under Brezhnev." +msgstr "" +"Det Ã¥penbare svaret pÃ¥ disse Ã¥penbart retoriske spÃ¸rsmÃ¥lene er nei. I et " +"fritt samfunn, med et fritt marked, stÃ¸ttet av frie markedsaktÃ¸rer og fri " +"handel, er ikke myndighetenes rolle Ã¥ stÃ¸tte en bestemt mÃ¥te Ã¥ gjÃ¸re " +"forretninger mot andre mÃ¥ter. Deres rolle er ikke Ã¥ velge vinnere og " +"beskytte dem mot tap. Hvis myndighetene gjorde dette generelt, sÃ¥ ville vi " +"aldri fÃ¥ noen fremgang. Bill Gates, styrelederen i Microsoft, skrev i 1991 " +"i et notat soma kritiserte programvarepatenter at <quote>etablerte selskaper " +"har interesse av Ã¥ eksludere fremtidige konkurrenter</quote>.<placeholder " +"type=\"footnote\" id=\"0\"/> Og i forhold til et nystartet selskap har " +"etablerte selskaper ogsÃ¥ andre virkemidler. (Tenk RCA og FM-radio.) En " +"verden hvor konkurrenter med nye idÃ©er mÃ¥ sloss ikke bare mot markedet men " +"ogsÃ¥ mot myndighetene er en verden hvor konkurrenter med nye idÃ©er ikke vil " +"lykkes. Det er en verden i stillstand og Ã¸kende konsentrert stagnering. " +"Det er sovjetunionen under Brezhnev." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Thus, while it is understandable for industries threatened with new " +"technologies that change the way they do business to look to the government " +"for protection, it is the special duty of policy makers to guarantee that " +"that protection not become a deterrent to progress. It is the duty of policy " +"makers, in other words, to assure that the changes they create, in response " +"to the request of those hurt by changing technology, are changes that " +"preserve the incentives and opportunities for innovation and change." +msgstr "" +"dermed mens det er forstÃ¥elig for bransjer som er truet med nye teknologier " +"som endrer mÃ¥ten de gjÃ¸r forretninger Ã¥ se til regjeringen for beskyttelse, " +"er det en spesiell plikt for beslutningstakere Ã¥ garantere at beskyttelse " +"ikke blir et avskrekkende til fremgang. Det er plikten til " +"beslutningstakere, med andre ord, Ã¥ sikre at endringene de oppretter, svar " +"pÃ¥ forespÃ¸rsel fra de vondt ved Ã¥ endre teknologi, er endringer som bevare " +"insentiver og muligheter for innovasjon og endre." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "speech, freedom of" +msgstr "talefrihet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional guarantee of" +msgstr "konstitusjonelle garanti for" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In the context of laws regulating speech—which include, obviously, " +"copyright law—that duty is even stronger. When the industry " +"complaining about changing technologies is asking Congress to respond in a " +"way that burdens speech and creativity, policy makers should be especially " +"wary of the request. It is always a bad deal for the government to get into " +"the business of regulating speech markets. The risks and dangers of that " +"game are precisely why our framers created the First Amendment to our " +"Constitution: <quote>Congress shall make no law … abridging the " +"freedom of speech.</quote> So when Congress is being asked to pass laws that " +"would <quote>abridge</quote> the freedom of speech, it should ask— " +"carefully—whether such regulation is justified." +msgstr "" +"i sammenheng med lover som regulerer tale—, og som omfatter, " +"tydeligvis, copyright lov—at plikt er enda sterkere. NÃ¥r industrien " +"klagende om hvordan du endrer teknologier ber Kongressen til Ã¥ svare pÃ¥ en " +"mÃ¥te som byrder tale og kreativitet, bÃ¸r beslutningstakere vÃ¦re spesielt " +"skeptisk til forespÃ¸rselen. Det er alltid en dÃ¥rlig deal for regjeringen Ã¥ " +"komme inn i virksomheten av regulerer tale markeder. risikoer og farer av " +"spillet er nÃ¸yaktig hvorfor vÃ¥re underskrev opprettet den fÃ¸rste endringen " +"til vÃ¥r grunnlov: \"Kongressen skal gjÃ¸re ingen lov... abridging friheten " +"til tale.\" sÃ¥ nÃ¥r Kongressen blir bedt om Ã¥ passere lovgivning som ville " +"\"abridge\" ytringsfriheten, det bÃ¸r spÃ¸rre—nÃ¸ye—om slike " +"regulering er begrunnet." + +#. PAGE BREAK 140 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My argument just now, however, has nothing to do with whether the changes " +"that are being pushed by the copyright warriors are <quote>justified.</" +"quote> My argument is about their effect. For before we get to the question " +"of justification, a hard question that depends a great deal upon your " +"values, we should first ask whether we understand the effect of the changes " +"the content industry wants." +msgstr "" +"mitt argument akkurat nÃ¥, men har ingenting Ã¥ gjÃ¸re med om endringene som " +"skyves av opphavsrett krigerne er \"blokkjustert.\" mitt argument er om " +"deres effekt. for fÃ¸r vi komme til spÃ¸rsmÃ¥let om berettigelse, et vanskelig " +"spÃ¸rsmÃ¥l som mye avhenger av verdier, bÃ¸r vi fÃ¸rst be om vi forstÃ¥r effekten " +"av endringene innhold industrien Ã¸nsker." + +#. type: Content of: <book><part><chapter><section><para> +msgid "Here's the metaphor that will capture the argument to follow." +msgstr "Her kommer metaforen som vil forklare argumentet." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MÃ¼ller, Paul Hermann" +msgstr "MÃ¼ller, Paul Hermann" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "DDT" +msgstr "DDT" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "insecticide, environmental consequences of" +msgstr "insektmiddel, miljÃ¸konsekvensene fra" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul " +"Hermann MÃ¼ller 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 kjemikaliet DDT syntesert fÃ¸rste gang. I 1948 vant den " +"sveitsiske kjemikeren Paul Hermann MÃ¼ller nobelprisen for sitt arbeide med Ã¥ " +"demonstrere de insektsdrepende egenskapene til DDT. I lÃ¸pet av 1950-tallet " +"ble insektsmiddelet mye brukt rundt om i verden for Ã¥ drepe sykdomsbÃ¦rende " +"skadedyr. Det ble ogsÃ¥ brukt til Ã¥ Ã¸ke landbruksproduksjon." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"No one doubts that killing disease-carrying pests or increasing crop " +"production is a good thing. No one doubts that the work of MÃ¼ller was " +"important and valuable and probably saved lives, possibly millions." +msgstr "" +"Ingen tviler pÃ¥ at det er en god ting Ã¥ drepe sykdomsbÃ¦rende skadedyr eller " +"Ã¥ Ã¸ke avlingene. Og ingen tviler pÃ¥ at arbeidet til MÃ¼ller var viktig og " +"verdifult, og antagelig sparte liv, kanskje millioner av liv." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Carson, Rachel" +msgstr "Carson, Rachel" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Silent Spring (Carson)" +msgstr "Silent Spring (Carson)" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "environmentalism" +msgstr "environmentalism" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " +"which argued that DDT, whatever its primary benefits, was also having " +"unintended environmental consequences. Birds were losing the ability to " +"reproduce. Whole chains of the ecology were being destroyed." +msgstr "" +"men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " +"dens primÃ¦re fordeler, hadde ogsÃ¥ utilsiktede miljÃ¸messige konsekvenser. " +"fugler var Ã¥ miste muligheten til Ã¥ reprodusere. hele kjeder av Ã¸kologi ble " +"blir Ã¸delagt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"No one set out to destroy the environment. Paul MÃ¼ller 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 Ã¥ Ã¸delegge miljÃ¸et. Paul mÃ¼ller sikkert ikke mÃ¥l Ã¥ skade " +"noen fugler. men arbeidet med Ã¥ lÃ¸se ett sett med problemer produsert et " +"annet sett som i visningen av noen, var langt verre enn problemene som " +"opprinnelig ble angrepet. eller mer nÃ¸yaktig problemer ddt forÃ¥rsaket var " +"verre enn problemer det lÃ¸st, minst nÃ¥r de vurderer den andre, mer " +"miljÃ¸vennlig mÃ¥ten Ã¥ lÃ¸se problemer som ddt var ment Ã¥ lÃ¸se." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Boyle, James" +msgstr "Boyle, James" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "innovative freedom balanced with fair compensation in" +msgstr "nyskapende frihet balansert med rettferdig kompensasjon i" + +#. f7 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See, for example, James Boyle, <quote>A Politics of Intellectual Property: " +"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" +"citetitle> 47 (1997): 87." +msgstr "" +"Se for eksempel James Boyle, <quote>A Politics of Intellectual Property: " +"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" +"citetitle> 47 (1997): 87." + +#. PAGE BREAK 141 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"It is to this image precisely that Duke University law professor James Boyle " +"appeals when he argues that we need an <quote>environmentalism</quote> for " +"culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I " +"want to develop in the balance of this chapter, is not that the aims of " +"copyright are flawed. Or that authors should not be paid for their work. Or " +"that music should be given away <quote>for free.</quote> The point is that " +"some of the ways in which we might protect authors will have unintended " +"consequences for the cultural environment, much like DDT had for the natural " +"environment. And just as criticism of DDT is not an endorsement of malaria " +"or an attack on farmers, so, too, is criticism of one particular set of " +"regulations protecting copyright not an endorsement of anarchy or an attack " +"on authors. It is an environment of creativity that we seek, and we should " +"be aware of our actions' effects on the environment." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My argument, in the balance of this chapter, tries to map exactly this " +"effect. No doubt the technology of the Internet has had a dramatic effect on " +"the ability of copyright owners to protect their content. But there should " +"also be little doubt that when you add together the changes in copyright law " +"over time, plus the change in technology that the Internet is undergoing " +"just now, the net effect of these changes will not be only that copyrighted " +"work is effectively protected. Also, and generally missed, the net effect of " +"this massive increase in protection will be devastating to the environment " +"for creativity." +msgstr "" +"mitt argument, i balanse av dette kapitlet, prÃ¸ver Ã¥ tilordne nÃ¸yaktig denne " +"effekten. teknologi pÃ¥ Internett har ingen tvil hadde en dramatisk effekt pÃ¥ " +"evnen til eiere av opphavsretter Ã¥ beskytte innholdet sitt. men det bÃ¸r ogsÃ¥ " +"vÃ¦re liten tvil om at nÃ¥r du legger sammen endringene i lov om opphavsrett " +"over tid, i tillegg til endringen i teknologi som Internett er under akkurat " +"nÃ¥, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet " +"arbeid effektivt er beskyttet. ogsÃ¥, og generelt savnet, vil netto effekt av " +"denne massive Ã¸kningen i beskyttelse vÃ¦re Ã¸deleggende for miljÃ¸et for " +"kreativitet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In a line: To kill a gnat, we are spraying DDT with consequences for free " +"culture that will be far more devastating than that this gnat will be lost." +msgstr "" +"i en linje: for Ã¥ drepe en mygg, er vi sprÃ¸yting ddt med konsekvenser, for " +"fri kultur som vil vÃ¦re langt mer Ã¸deleggende enn denne mygg, vil gÃ¥ tapt." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Beginnings" +msgstr "Opphav" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "on creative property" +msgstr "pÃ¥ kreative eiendom" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright purpose established in" +msgstr "opphavsrett formÃ¥l som er etablert i" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "Progress Clause of" +msgstr "fremdrift-setningsdelen i" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional purpose of" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional tradition on" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Progress Clause" +msgstr "handel-setningsdelen i" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"America copied English copyright law. Actually, we copied and improved " +"English copyright law. Our Constitution makes the purpose of <quote>creative " +"property</quote> rights clear; its express limitations reinforce the English " +"aim to avoid overly powerful publishers." +msgstr "" +"Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og forbedret " +"engelsk lov om opphavsrett. vÃ¥r grunnlov gjÃ¸r formÃ¥let med \"creative " +"property\" fjerner du rettigheter; uttrykkelig begrensninger forsterke den " +"engelske mÃ¥l Ã¥ unngÃ¥ altfor kraftig utgivere." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "in constitutional Progress Clause" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The power to establish <quote>creative property</quote> rights is granted to " +"Congress in a way that, for our Constitution, at least, is very odd. Article " +"I, section 8, clause 8 of our Constitution states that:" +msgstr "" +"makt til Ã¥ etablere \"kreative\" eiendomsrettigheter gis til Kongressen pÃ¥ " +"en mÃ¥te som for vÃ¥r grunnlov, minst, er veldig rart. artikkel, del 8, 8-" +"setningsdelen i vÃ¥r grunnlov sier at:" + +#. PAGE BREAK 142 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Congress has the power to promote the Progress of Science and useful Arts, " +"by securing for limited Times to Authors and Inventors the exclusive Right " +"to their respective Writings and Discoveries. We can call this the " +"<quote>Progress Clause,</quote> for notice what this clause does not say. It " +"does not say Congress has the power to grant <quote>creative property rights." +"</quote> It says that Congress has the power <emphasis>to promote progress</" +"emphasis>. The grant of power is its purpose, and its purpose is a public " +"one, not the purpose of enriching publishers, nor even primarily the purpose " +"of rewarding authors." +msgstr "" +"Kongressen har makt til Ã¥ fremme utviklingen av vitenskap og nyttig kunst, " +"ved Ã¥ sikre begrenset ganger til forfattere og oppfinnere den eksklusive " +"retten til deres respektive skrifter og funn. Vi kan kalle dette den " +"\"fremgang setningen,\" for Ã¥ se hva denne bestemmelsen ikke si. Det er ikke " +"si Kongressen har makt til Ã¥ gi \"kreative egenskapen rettigheter.\" det " +"stÃ¥r at Kongressen har makt til Ã¥ fremme fremdrift. grant strÃ¸m er formÃ¥let, " +"og formÃ¥let er en offentlig, ikke hensikten med berikende utgivere, eller " +"med hovedsakelig formÃ¥let med givende forfatternes." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "history of American" +msgstr "historie for Amerikansk" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Progress Clause expressly limits the term of copyrights. As we saw in " +"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the " +"English limited the term of copyright so as to assure that a few would not " +"exercise disproportionate control over culture by exercising " +"disproportionate control over publishing. We can assume the framers followed " +"the English for a similar purpose. Indeed, unlike the English, the framers " +"reinforced that objective, by requiring that copyrights extend <quote>to " +"Authors</quote> only." +msgstr "" +"fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. som " +"vi sÃ¥ i kapittel 6, ville engelsk begrenset av copyright Ã¥ forsikre om at " +"noen ikke utÃ¸ve uforholdsmessig kontroll over kultur ved Ã¥ trene " +"uforholdsmessig kontroll over publisering. Vi kan anta underskrev etterfulgt " +"engelsk for lignende formÃ¥l. faktisk, i motsetning til engelsk, underskrev " +"forsterket det mÃ¥let ved Ã¥ kreve at opphavsretten utvide \"til forfattere\" " +"bare." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Senate, U.S." +msgstr "Senatet i USA" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "structural checks and balances of" +msgstr "strukturelle sjekker og Periodenes" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "electoral college" +msgstr "valgkollegiet" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The design of the Progress Clause reflects something about the " +"Constitution's design in general. To avoid a problem, the framers built " +"structure. To prevent the concentrated power of publishers, they built a " +"structure that kept copyrights away from publishers and kept them short. To " +"prevent the concentrated power of a church, they banned the federal " +"government from establishing a church. To prevent concentrating power in the " +"federal government, they built structures to reinforce the power of the " +"states—including the Senate, whose members were at the time selected " +"by the states, and an electoral college, also selected by the states, to " +"select the president. In each case, a <emphasis>structure</emphasis> built " +"checks and balances into the constitutional frame, structured to prevent " +"otherwise inevitable concentrations of power." +msgstr "" +"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " +"design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " +"vil hindre at konsentrert strÃ¸m av utgivere, bygget de en struktur som holdt " +"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at " +"konsentrert strÃ¸m av en kirke, forbudt de den fÃ¸derale regjeringen fra Ã¥ " +"etablere en kirke. Ã¥ hindre konsentrere seg makten i den fÃ¸derale " +"regjeringen, de bygget strukturer for Ã¥ forsterke kraften i USA—" +"inkludert Senatet, der medlemmene var pÃ¥ tiden som er valgt av USA, og en " +"valg college, ogsÃ¥ valgt av USA, Ã¥ velge presidenten. i hvert tilfelle, en " +"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, " +"strukturert for Ã¥ hindre at ellers uunngÃ¥elig konsentrasjoner av makt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I doubt the framers would recognize the regulation we call <quote>copyright</" +"quote> today. The scope of that regulation is far beyond anything they ever " +"considered. To begin to understand what they did, we need to put our " +"<quote>copyright</quote> in context: We need to see how it has changed in " +"the 210 years since they first struck its design." +msgstr "" +"Jeg tviler underskrev ville anerkjenne regulering vi kaller \"copyright\" i " +"dag. omfanget av denne forskriften er langt overgÃ¥r alt de noensinne " +"vurdert. Hvis du vil begynne Ã¥ forstÃ¥ hva de gjorde, vi trenger Ã¥ sette vÃ¥r " +"\"copyright\" i sammenheng: vi trenger Ã¥ se hvordan det har endret i 210 " +"Ã¥rene siden de fÃ¸rst slo sin design." + +#. PAGE BREAK 143 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Some of these changes come from the law: some in light of changes in " +"technology, and some in light of changes in technology given a particular " +"concentration of market power. In terms of our model, we started here:" +msgstr "" +"noen av disse endringene kommer fra loven: noen i lys av endringer i " +"teknologi, og noen i lys av endringer i teknologi gitt en bestemt " +"konsentrasjon av markedets makt. NÃ¥r det gjelder vÃ¥r modell startet vi her:" + +#. type: Content of: <book><part><chapter><section><para> +msgid "We will end here:" +msgstr "Vi kommer til Ã¥ ende opp her:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "<quote>Copyright</quote> today." +msgstr "<quote>Opphavsrett</quote> i dag." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1442.png\"></graphic>" +msgstr "<graphic fileref=\"images/1442.png\"></graphic>" + +#. PAGE BREAK 144 +#. type: Content of: <book><part><chapter><section><para> +msgid "Let me explain how." +msgstr "La meg forklare hvordan." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Law: Duration" +msgstr "Loven: Varighet" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Copyright Act (1790)" +msgstr "Berlin act (1908)" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "common law protections of" +msgstr "komponister, copyright beskyttelse av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "balance of U.S. content in" +msgstr "balanse mellom you.s. innhold i" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Crosskey, William W." +msgstr "Crosskey, William W." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"William W. Crosskey, <citetitle>Politics and the Constitution in the History " +"of the United States</citetitle> (London: Cambridge University Press, 1953), " +"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the " +"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " +"or were supposed by some to have, under the Common Law</emphasis></quote> " +"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"William W. Crosskey, politikk og Grunnloven i historien av USA (London: " +"Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved " +"vanlig implikasjon av\"Ã¸verstkommanderende lov av land\", evigvarende " +"rettigheter som forfattere hadde eller skulle etter noen Ã¥ ha, under felles " +"lov\" (vekt legges til)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"When the first Congress enacted laws to protect creative property, it faced " +"the same uncertainty about the status of creative property that the English " +"had confronted in 1774. Many states had passed laws protecting creative " +"property, and some believed that these laws simply supplemented common law " +"rights that already protected creative authorship.<placeholder type=" +"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " +"domain in the United States in 1790. If copyrights were protected by the " +"common law, then there was no simple way to know whether a work published in " +"the United States was controlled or free. Just as in England, this lingering " +"uncertainty would make it hard for publishers to rely upon a public domain " +"to reprint and distribute works." +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "federal vs. state" +msgstr "fÃ¸derale vs. tilstand" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"That uncertainty ended after Congress passed legislation granting " +"copyrights. Because federal law overrides any contrary state law, federal " +"protections for copyrighted works displaced any state law protections. Just " +"as in England the Statute of Anne eventually meant that the copyrights for " +"all English works expired, a federal statute meant that any state copyrights " +"expired as well." +msgstr "" +"Det usikkerheten tok slutt da kongressen vedtok lovgivning som tildelte " +"opphavsrettigheter. Da fÃ¸deral lov overstyrer medlemsstatenes lov, " +"fortrengte fÃ¸deral beskyttelse av opphavsrettslig beskyttet verk noen staten " +"lov beskyttelse. akkurat som i england betydde Vedtektene for anne til slutt " +"at opphavsretten for alle engelsk arbeider utlÃ¸pt, en fÃ¸derale vedtekter " +"betydde at staten opphavsrettigheter utlÃ¸pt ogsÃ¥." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1790, Congress enacted the first copyright law. It created a federal " +"copyright and secured that copyright for fourteen years. If the author was " +"alive at the end of that fourteen years, then he could opt to renew the " +"copyright for another fourteen years. If he did not renew the copyright, his " +"work passed into the public domain." +msgstr "" +"i 1790 vedtatt Kongressen den fÃ¸rste lov om opphavsrett. den opprettet en " +"fÃ¸derale copyright og sikret at copyright for fjorten Ã¥r. Hvis forfatteren " +"var Live pÃ¥ slutten av at fjorten Ã¥r, kan han velge for Ã¥ fornye " +"opphavsretten for en annen fjorten Ã¥r. Hvis han ikke fornye opphavsretten, " +"bestÃ¥tt hans arbeid i public domain." + +#. f9 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Although 13,000 titles were published in the United States from 1790 to " +"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " +"History of Book Publishing in the United States</citetitle>, vol. 1, " +"<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " +"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " +"twelve were copyrighted under the 1790 act; William J. Maher, " +"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " +"1790 in Historical Context</citetitle>, 7–10 (2002), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " +"overwhelming majority of works fell immediately into the public domain. Even " +"those works that were copyrighted fell into the public domain quickly, " +"because the term of copyright was short. The initial term of copyright was " +"fourteen years, with the option of renewal for an additional fourteen years. " +"Copyright Act of May 31, 1790, Â§1, 1 stat. 124." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"While there were many works created in the United States in the first ten " +"years of the Republic, only 5 percent of the works were actually registered " +"under the federal copyright regime. Of all the work created in the United " +"States both before 1790 and from 1790 through 1800, 95 percent immediately " +"passed into the public domain; the balance would pass into the pubic domain " +"within twenty-eight years at most, and more likely within fourteen years." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Selv om det ble skapt mange verker i USA i de fÃ¸rste 10 Ã¥rene til " +"republikken, sÃ¥ ble kun 5 prosent av verkene registrert under det fÃ¸derale " +"opphavsrettsregimet. Av alle verker skapt i USA bÃ¥de fÃ¸r 1790 og fra 1790 " +"fram til 1800, sÃ¥ ble 95 prosent Ã¸yeblikkelig allemannseie (public domain). " +"Resten ble allemannseie etter maksimalt 20 Ã¥r, og som oftest etter 14 Ã¥r." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. PAGE BREAK 145 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This system of renewal was a crucial part of the American system of " +"copyright. It assured that the maximum terms of copyright would be granted " +"only for works where they were wanted. After the initial term of fourteen " +"years, if it wasn't worth it to an author to renew his copyright, then it " +"wasn't worth it to society to insist on the copyright, either." +msgstr "" +"Dette fornyelsessystemet var en avgjÃ¸rende del av det amerikanske systemet " +"for opphavsrett. Det sikret at maksimal vernetid i opphavsretten bare ble " +"gitt til verker der det var Ã¸nsket. Etter den fÃ¸rste perioden pÃ¥ fjorten Ã¥r, " +"hvis forfatteren ikke sÃ¥ verdien av Ã¥ fornye sin opphavsrett, var det heller " +"ikke verdt det for samfunnet Ã¥ hÃ¥ndheve opphavsretten." + +#. f10 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Few copyright holders ever chose to renew their copyrights. For instance, of " +"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " +"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " +"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on " +"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), " +"618. For a more recent and comprehensive analysis, see William M. Landes and " +"Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> " +"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, " +"498–501, and accompanying figures." +msgstr "" +"noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " +"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " +"1910. for et Ã¥r etter Ã¥r analyse av opphavsrett fornyelse priser, kan du se " +"barbara a. ringer, \"studere nr. 31: fornyelse av opphavsrett,\" studier pÃ¥ " +"opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. Hvis " +"en nyere og omfattende analyse, se william m landes og richard en. Posner, " +"\"pÃ¥ ubestemt tid fornybar copyright,\" university of chicago lov gÃ¥ gjennom " +"70 (2003): 471, 498Â501 og tilhÃ¸rende tallene." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Fourteen years may not seem long to us, but for the vast majority of " +"copyright owners at that time, it was long enough: Only a small minority of " +"them renewed their copyright after fourteen years; the balance allowed their " +"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. f11 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "See Ringer, ch. 9, n. 2." +msgstr "Se Ringer, kap. 9, n. 2." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Even today, this structure would make sense. Most creative work has an " +"actual commercial life of just a couple of years. Most books fall out of " +"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " +"happens, the used books are traded free of copyright regulation. Thus the " +"books are no longer <emphasis>effectively</emphasis> controlled by " +"copyright. The only practical commercial use of the books at that time is to " +"sell the books as used books; that use—because it does not involve " +"publication—is effectively free." +msgstr "" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright terms extended by" +msgstr "opphavsrett hensikt endret av" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "term extensions in" +msgstr "sikt utvidelser i" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In the first hundred years of the Republic, the term of copyright was " +"changed once. In 1831, the term was increased from a maximum of 28 years to " +"a maximum of 42 by increasing the initial term of copyright from 14 years to " +"28 years. In the next fifty years of the Republic, the term increased once " +"again. In 1909, Congress extended the renewal term of 14 years to 28 years, " +"setting a maximum term of 56 years." +msgstr "" +"i de fÃ¸rste hundre Ã¥r av republikken ble av copyright endret Ã©n gang. i " +"1831, ble begrepet Ã¸kt fra maksimum 28 Ã¥r til maksimalt 42 ved Ã¥ Ã¸ke fÃ¸rste " +"begrepet av opphavsrett fra 14 Ã¥r til 28 Ã¥r. i de neste femti Ã¥rene av " +"Republikken begrepet Ã¸kt igjen. i 1909 utvidet Kongressen begrepet fornyelse " +"av 14 Ã¥r til 28 Ã¥r, angi en maksimal periode pÃ¥ 56 Ã¥r." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)" +msgstr "Sonny bono opphavsrett begrepet filtypen handle (ctea) (1998)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "future patents vs. future copyrights in" +msgstr "fremtidige patenter vs. fremtidige opphavsrettigheter i" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Then, beginning in 1962, Congress started a practice that has defined " +"copyright law since. Eleven times in the last forty years, Congress has " +"extended the terms of existing copyrights; twice in those forty years, " +"Congress extended the term of future copyrights. Initially, the extensions " +"of existing copyrights were short, a mere one to two years. In 1976, " +"Congress extended all existing copyrights by nineteen years. And in 1998, " +"in the Sonny Bono Copyright Term Extension Act, Congress extended the term " +"of existing and future copyrights by twenty years." +msgstr "" +"sÃ¥, begynner i 1962, Kongressen begynte en praksis som har definert " +"opphavsrett siden. elleve ganger i de siste 40 Ã¥rene, har Kongressen utvidet " +"vilkÃ¥rene i eksisterende opphavsrettigheter; to ganger i de fÃ¸rti Ã¥r utvidet " +"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var " +"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to Ã¥r. i " +"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten Ã¥r. " +"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen " +"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue Ã¥r." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "patents" +msgstr "patenter" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "in public domain" +msgstr "i allemannseie (public domain)" + +#. PAGE BREAK 146 +#. type: Content of: <book><part><chapter><section><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 utvidelsene er ganske enkelt Ã¥ skattlegge, eller forsinke, " +"nÃ¥r verk faller i det fri og blir allemannseie. Denne siste utvidelsen " +"betyr at allemannseie vil ha blitt skattlagt for trettivi av femtifem Ã¥r, " +"eller 70 prosent av tiden siden 1962. Dermed vil det i de tjue Ã¥rene etter " +"Sonny Bono-loven, samtidig som en million patenter har blitt allemannseie, " +"ikke vÃ¦re et eneste opphavsrettsbeskyttet verk som har falt i det fri takket " +"vÃ¦re utlÃ¸p av vernetiden i opphavsretten." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The effect of these extensions has been exacerbated by another, little-" +"noticed change in the copyright law. Remember I said that the framers " +"established a two-part copyright regime, requiring a copyright owner to " +"renew his copyright after an initial term. The requirement of renewal meant " +"that works that no longer needed copyright protection would pass more " +"quickly into the public domain. The works remaining under protection would " +"be those that had some continuing commercial value." +msgstr "" +"effekten av disse tilleggene har blitt forverret av en annen, lite merke " +"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt " +"opphavsrett regime, som krever en rettighetsinnehaveren Ã¥ fornye sin " +"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som " +"ikke lenger nÃ¸dvendig opphavsrettsbeskyttelse ville passere raskere i public " +"domain. works gjenvÃ¦rende under beskyttelse vil vÃ¦re de som hadde noen " +"vedvarende kommersiell verdi." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "of natural authors vs. corporations" +msgstr "av naturlige forfattere vs. selskaper" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "corporations" +msgstr "selskaper" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright terms for" +msgstr "opphavsrett vilkÃ¥r for" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The United States abandoned this sensible system in 1976. For all works " +"created after 1978, there was only one copyright term—the maximum " +"term. For <quote>natural</quote> authors, that term was life plus fifty " +"years. For corporations, the term was seventy-five years. Then, in 1992, " +"Congress abandoned the renewal requirement for all works created before " +"1978. All works still under copyright would be accorded the maximum term " +"then available. After the Sonny Bono Act, that term was ninety-five years." +msgstr "" +"USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet " +"etter 1978, var det bare en opphavsrett term—den maksimale " +"betegnelsen. for \"naturlige\" forfattere var dette ordet livet pluss femti " +"Ã¥r. for bedrifter var begrepet sytti-fem Ã¥r. deretter, i 1992, Kongressen " +"forlatt fornyelse kravet for alle arbeider opprettet fÃ¸r 1978. alle fungerer " +"fortsatt under opphavsrett ville substansiell den maksimale betegnelsen " +"deretter tilgjengelig. etter sonny bono loven, at begrepet var fem og nitti " +"Ã¥r." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This change meant that American law no longer had an automatic way to assure " +"that works that were no longer exploited passed into the public domain. And " +"indeed, after these changes, it is unclear whether it is even possible to " +"put works into the public domain. The public domain is orphaned by these " +"changes in copyright law. Despite the requirement that terms be " +"<quote>limited,</quote> we have no evidence that anything will limit them." +msgstr "" +"Denne endringen betydde at amerikansk lov ikke lenger en automatisk mÃ¥te Ã¥ " +"forsikre som fungerer som utnyttes ikke lenger sendes til public domain. og " +"faktisk, etter disse endringene, er det uklart om det er ogsÃ¥ mulig Ã¥ sette " +"fungerer i public domain. public domain er foreldrelÃ¸se av disse endringene " +"i lov om opphavsrett. til tross for kravet om at vilkÃ¥rene vÃ¦re \"begrenset" +"\", har vi ingen bevis for at noe vil begrense dem." + +#. f12 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"These statistics are understated. Between the years 1910 and 1962 (the first " +"year the renewal term was extended), the average term was never more than " +"thirty-two years, and averaged thirty years. See Landes and Posner, " +"<quote>Indefinitely Renewable Copyright,</quote> loc. cit." +msgstr "" +"disse statistikkene er undervurdert. i Ã¥rene 1910 og 1962 (det fÃ¸rste Ã¥ret " +"fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri mer enn " +"tretti-to Ã¥r, og tretti Ã¥r i gjennomsnitt. se landes og posner, \"pÃ¥ " +"ubestemt tid fornybar copyright,\" loc. cit." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The effect of these changes on the average duration of copyright is " +"dramatic. In 1973, more than 85 percent of copyright owners failed to renew " +"their copyright. That meant that the average term of copyright in 1973 was " +"just 32.2 years. Because of the elimination of the renewal requirement, the " +"average term of copyright is now the maximum term. In thirty years, then, " +"the average term has tripled, from 32.2 years to 95 years.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><title> +msgid "Law: Scope" +msgstr "Loven: VirkeomrÃ¥de" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "scope of" +msgstr "omfanget av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The <quote>scope</quote> of a copyright is the range of rights granted by " +"the law. The scope of American copyright has changed dramatically. Those " +"changes are not necessarily bad. But we should understand the extent of the " +"changes if we're to keep this debate in context." +msgstr "" +"<quote>DekningsomrÃ¥det</quote> for opphavsretten er den rekken av " +"rettighetsomrÃ¥der tildelt gjennom lovverket. DekningsomrÃ¥det for amerikansk " +"opphavsrett har endret seg dramatisk. Disse endringene er ikke nÃ¸dvendigvis " +"dÃ¥rlige, men vi bÃ¸r forstÃ¥ omfanget av endringer hvis vi skal forholde oss " +"til sammenhengen i denne debatten." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "historical shift in copyright coverage of" +msgstr "historisk endring i opphavsrettslig dekning av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1790, that scope was very narrow. Copyright covered only <quote>maps, " +"charts, and books.</quote> That means it didn't cover, for example, music or " +"architecture. More significantly, the right granted by a copyright gave the " +"author the exclusive right to <quote>publish</quote> copyrighted works. That " +"means someone else violated the copyright only if he republished the work " +"without the copyright owner's permission. Finally, the right granted by a " +"copyright was an exclusive right to that particular book. The right did not " +"extend to what lawyers call <quote>derivative works.</quote> It would not, " +"therefore, interfere with the right of someone other than the author to " +"translate a copyrighted book, or to adapt the story to a different form " +"(such as a drama based on a published book)." +msgstr "" +"i 1790 var at omfanget svÃ¦rt smale. Copyright dekket bare \"kart, diagrammer " +"og bÃ¸ker.\", 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 pÃ¥ nytt. Endelig, retten som er " +"innvilget av en opphavsrett var en eksklusiv rett til den aktuelle boken. " +"hÃ¸yre ikke strekker seg til det advokater kaller \"avledede works.\" det vil " +"ikke, derfor forstyrre retten av andre enn forfatteren Ã¥ oversette en " +"opphavsrettsbeskyttet bok, eller Ã¥ tilpasse historien til et annet skjema " +"(for eksempel et drama basert pÃ¥ en publiserte bok)." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This, too, has changed dramatically. While the contours of copyright today " +"are extremely hard to describe simply, in general terms, the right covers " +"practically any creative work that is reduced to a tangible form. It covers " +"music as well as architecture, drama as well as computer programs. It gives " +"the copyright owner of that creative work not only the exclusive right to " +"<quote>publish</quote> the work, but also the exclusive right of control " +"over any <quote>copies</quote> of that work. And most significant for our " +"purposes here, the right gives the copyright owner control over not only his " +"or her particular work, but also any <quote>derivative work</quote> that " +"might grow out of the original work. In this way, the right covers more " +"creative work, protects the creative work more broadly, and protects works " +"that are based in a significant way on the initial creative work." +msgstr "" +"Dette, ogsÃ¥, har endret seg dramatisk. mens konturene av copyright i dag er " +"ekstremt vanskelig Ã¥ beskrive bare, i generelle termer, dekker hÃ¸yre nesten " +"ethvert skapende arbeid som er redusert til en hÃ¥ndgripelig form. den dekker " +"musikk sÃ¥ vel som arkitektur, drama og programmer pÃ¥ datamaskinen. Det gir " +"eieren av opphavsretten av det kreative arbeidet ikke bare den eksklusive " +"retten til \"Publiser\" arbeidet, men ogsÃ¥ den etablerte eneretten for " +"kontroll over alle \"Kopier\" av dem som fungerer. og mest betydningsfulle " +"for vÃ¥rt formÃ¥l her, hÃ¸yre gir opphavsrettsinnehaveren-kontroll over ikke " +"bare hans eller hennes bestemt arbeid, men ogsÃ¥ noen \"avledet arbeid\" som " +"kan vokse ut av det opprinnelige arbeidet. pÃ¥ denne mÃ¥ten, hÃ¸yre dekker mer " +"kreativt arbeid, beskytter det kreative arbeidet mer forstand, og beskytter " +"verk som er basert pÃ¥ en betydelig mÃ¥te pÃ¥ det fÃ¸rste skapende arbeidet." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "marking of" +msgstr "merking av" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "formalities" +msgstr "formaliteter" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "registration requirement of" +msgstr "registreringskrav for" + +#. PAGE BREAK 148 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"At the same time that the scope of copyright has expanded, procedural " +"limitations on the right have been relaxed. I've already described the " +"complete removal of the renewal requirement in 1992. In addition to the " +"renewal requirement, for most of the history of American copyright law, " +"there was a requirement that a work be registered before it could receive " +"the protection of a copyright. There was also a requirement that any " +"copyrighted work be marked either with that famous © or the word " +"<emphasis>copyright</emphasis>. And for most of the history of American " +"copyright law, there was a requirement that works be deposited with the " +"government before a copyright could be secured." +msgstr "" +"pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " +"begrensninger til hÃ¸yre 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 fÃ¸r den kan motta beskyttelse av opphavsretten. Det " +"var ogsÃ¥ et krav at opphavsrettsbeskyttet arbeid merkes enten med det " +"berÃ¸mte Â© eller word-copyright. og for de fleste av historien til amerikansk " +"lov om opphavsrett, det var et krav at works settes med regjeringen fÃ¸r " +"opphavsretten som kan sikres." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The reason for the registration requirement was the sensible understanding " +"that for most works, no copyright was required. Again, in the first ten " +"years of the Republic, 95 percent of works eligible for copyright were never " +"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't " +"need copyright, so registration narrowed the regulation of the law to the " +"few that did. The same reasoning justified the requirement that a work be " +"marked as copyrighted—that way it was easy to know whether a copyright " +"was being claimed. The requirement that works be deposited was to assure " +"that after the copyright expired, there would be a copy of the work " +"somewhere so that it could be copied by others without locating the original " +"author." +msgstr "" +"Ã¥rsaken til registreringskrav var fornuftig forstÃ¥elsen om at for de fleste " +"arbeider, ingen opphavsrett var nÃ¸dvendig. igjen, i de fÃ¸rste ti Ã¥rene 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—mÃ¥ten " +"det var lett Ã¥ vite om en copyright ble hevdet. kravet som fungerer vÃ¦re var " +"avsatt Ã¥ sikre at etter at opphavsretten utlÃ¸pt, det ville vÃ¦re en kopi av " +"arbeidet et sted slik at den kan kopieres av andre uten Ã¥ finne den " +"opprinnelige forfatteren." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "European" +msgstr "europeiske" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"All of these <quote>formalities</quote> were abolished in the American " +"system when we decided to follow European copyright law. There is no " +"requirement that you register a work to get a copyright; the copyright now " +"is automatic; the copyright exists whether or not you mark your work with a " +"©; and the copyright exists whether or not you actually make a copy " +"available for others to copy." +msgstr "" +"alle disse \"formaliteter\" ble avskaffet i det amerikanske systemet nÃ¥r vi " +"besluttet Ã¥ fÃ¸lge europeiske lov om opphavsrett. Det er ingen krav at du " +"registrerer et arbeid for Ã¥ fÃ¥ en copyright; opphavsretten nÃ¥ er automatisk; " +"opphavsretten finnes om du merker arbeidet med en Â©; og opphavsretten finnes " +"om du faktisk lage en kopi tilgjengelig for andre Ã¥ kopiere." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Consider a practical example to understand the scope of these differences." +msgstr "" +"La oss se pÃ¥ et praktisk eksempel for Ã¥ forstÃ¥ omfanget av disse " +"forskjellene." + +#. f13 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the " +"Creation of American Literature,</quote> 29 <citetitle>New York University " +"Journal of International Law and Politics</citetitle> 255 (1997), and James " +"Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., " +"1987)." +msgstr "" +"se thomas bender og david sampliner, \"poeter, pirater og etableringen av " +"amerikansk litteratur,\" 29 new york university journal of internasjonal lov " +"og politikk 255 (1997), og james gilraeth, ed., fÃ¸derale opphavsrett " +"records, 1790Â1800 (US g.p.o., 1987)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"If, in 1790, you wrote a book and you were one of the 5 percent who actually " +"copyrighted that book, then the copyright law protected you against another " +"publisher's taking your book and republishing it without your permission. " +"The aim of the act was to regulate publishers so as to prevent that kind of " +"unfair competition. In 1790, there were 174 publishers in the United States." +"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " +"regulation of a tiny proportion of a tiny part of the creative market in the " +"United States—publishers." +msgstr "" +"Hvis du i 1790 skrev en bok og du var en av de fem prosentene som faktisk " +"registrerte opphavsretten for den boken, sÃ¥ ville opphavsrettsloven beskytte " +"deg mot at andre utgivere tok boken din og publiserte den pÃ¥ nytt uten din " +"tillatelse. MÃ¥let med loven var Ã¥ regulere utgivere for Ã¥ hindre denne " +"typen urimelig konkurranse. I 1790 var det 174 utgivere i USA.<placeholder " +"type=\"footnote\" id=\"0\"/> Opphavsrettslovgivingen var dermed en liten " +"regulering av en liten andel av et liten del av det kreative markedet i " +"USA—utgivere." + +#. PAGE BREAK 149 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The act left other creators totally unregulated. If I copied your poem by " +"hand, over and over again, as a way to learn it by heart, my act was totally " +"unregulated by the 1790 act. If I took your novel and made a play based upon " +"it, or if I translated it or abridged it, none of those activities were " +"regulated by the original copyright act. These creative activities remained " +"free, while the activities of publishers were restrained." +msgstr "" +"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet " +"for hÃ¥nd, igjen og igjen, som en mÃ¥te Ã¥ lÃ¦re det ved hjertet, var min " +"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en " +"spiller som er basert pÃ¥ det, eller hvis jeg har oversatt eller utdrag det, " +"var ingen av disse aktivitetene regulert av opprinnelige copyright act. " +"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere " +"var behersket." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Today the story is very different: If you write a book, your book is " +"automatically protected. Indeed, not just your book. Every e-mail, every " +"note to your spouse, every doodle, <emphasis>every</emphasis> creative act " +"that's reduced to a tangible form—all of this is automatically " +"copyrighted. There is no need to register or mark your work. The protection " +"follows the creation, not the steps you take to protect it." +msgstr "" +"i dag historien er svÃ¦rt 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 hÃ¥ndgripelig form—alt dette automatisk beskyttet med " +"kopirettigheter. Det er ikke nÃ¸dvendig Ã¥ registrere deg eller merke arbeidet " +"ditt. beskyttelse fÃ¸lger etablering, ikke trinnene du ta for Ã¥ beskytte den." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"That protection gives you the right (subject to a narrow range of fair use " +"exceptions) to control how others copy the work, whether they copy it to " +"republish it or to share an excerpt." +msgstr "" +"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use " +"unntak) til Ã¥ kontrollere hvordan andre kopierer arbeidet, om de kopiere den " +"til Ã¥ publisere den pÃ¥ nytt, eller for Ã¥ dele et utdrag." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"That much is the obvious part. Any system of copyright would control " +"competing publishing. But there's a second part to the copyright of today " +"that is not at all obvious. This is the protection of <quote>derivative " +"rights.</quote> If you write a book, no one can make a movie out of your " +"book without permission. No one can translate it without permission. " +"CliffsNotes can't make an abridgment unless permission is granted. All of " +"these derivative uses of your original work are controlled by the copyright " +"holder. The copyright, in other words, is now not just an exclusive right to " +"your writings, but an exclusive right to your writings and a large " +"proportion of the writings inspired by them." +msgstr "" +"Det er mye den Ã¥penbare delen. et system av copyright ville styre " +"konkurrerende publisering. men det er en andre del til opphavsretten i dag " +"som er overhodet ikke Ã¥penbart. 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 gjÃ¸re ikke en forkortelse, med mindre tillatelse er gitt. alle disse " +"avledede bruksomrÃ¥dene for det originale arbeidet er styrt av " +"opphavsrettsinnehaveren. opphavsretten, med andre ord, er nÃ¥ ikke bare en " +"eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en stor " +"andel av skrifter som er inspirert av dem." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"It is this derivative right that would seem most bizarre to our framers, " +"though it has become second nature to us. Initially, this expansion was " +"created to deal with obvious evasions of a narrower copyright. If I write a " +"book, can you change one word and then claim a copyright in a new and " +"different book? Obviously that would make a joke of the copyright, so the " +"law was properly expanded to include those slight modifications as well as " +"the verbatim original work." +msgstr "" +"Det er denne derivat hÃ¸yre som vil synes mest bisarre til vÃ¥re underskrev, " +"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne " +"ekspansjonen opprettet for Ã¥ hÃ¥ndtere Ã¥penbare 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 gjÃ¸re en " +"spÃ¸k av opphavsretten, slik loven ble riktig utvidet til Ã¥ omfatte disse smÃ¥ " +"endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal " +"Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Jonathan Zittrain, <quote>The Copyright Cage</quote>, <citetitle>Legal " +"Affairs</citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In preventing that joke, the law created an astonishing power within a free " +"culture—at least, it's astonishing when you understand that the law " +"applies not just to the commercial publisher but to anyone with a computer. " +"I understand the wrong in duplicating and selling someone else's work. But " +"whatever <emphasis>that</emphasis> wrong is, transforming someone else's " +"work is a different wrong. Some view transformation as no wrong at all—" +"they believe that our law, as the framers penned it, should not protect " +"derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> Whether " +"or not you go that far, it seems plain that whatever wrong is involved is " +"fundamentally different from the wrong of direct piracy." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Rubenfeld, Jeb" +msgstr "Rubenfeld, Jeb" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Professor Rubenfeld has presented a powerful constitutional argument about " +"the difference that copyright law should draw (from the perspective of the " +"First Amendment) between mere <quote>copies</quote> and derivative works. " +"See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's " +"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 " +"(2002): 1–60 (see especially pp. 53–59). <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"professor rubenfeld har presentert en kraftig konstitusjonelle argument om " +"forskjellen som lov om opphavsrett bÃ¸r trekke (fra perspektivet til den " +"fÃ¸rste endringen) bare \"Kopier\" og avledede produkter. se jed rubenfeld, " +"\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\" yale law " +"journal 112 (2002): 1Â60 (se spesielt s. 53Â59)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Yet copyright law treats these two different wrongs in the same way. I can " +"go to court and get an injunction against your pirating my book. I can go to " +"court and get an injunction against your transformative use of my book." +"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " +"creative work are treated the same." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This again may seem right to you. If I wrote a book, then why should you be " +"able to write a movie that takes my story and makes money from it without " +"paying me or crediting me? Or if Disney creates a creature called " +"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse " +"toys and be the one to trade on the value that Disney originally created?" +msgstr "" +"Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, sÃ¥ hvorfor skal " +"du kunne skrive en film som tar min historie og gjÃ¸r penger fra det uten Ã¥ " +"betale meg eller kreditering meg? eller hvis disney oppretter en skapning " +"kalt \"Mikke Mus\", hvorfor skal du kunne gjÃ¸re Mikke Mus leker og vÃ¦re en " +"til Ã¥ handle pÃ¥ verdien som disney opprinnelig opprettet?" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"These are good arguments, and, in general, my point is not that the " +"derivative right is unjustified. My aim just now is much narrower: simply to " +"make clear that this expansion is a significant change from the rights " +"originally granted." +msgstr "" +"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat hÃ¸yre " +"er grunnlÃ¸s. meg sikte akkurat nÃ¥ er mye smalere: bare for Ã¥ gjÃ¸re det klart " +"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Law and Architecture: Reach" +msgstr "Lov og arkitektur: Rekkevidde" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copies as core issue of" +msgstr "Kopier som kjernen utgave av" + +#. f16 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"This is a simplification of the law, but not much of one. The law certainly " +"regulates more than <quote>copies</quote>—a public performance of a " +"copyrighted song, for example, is regulated even though performance per se " +"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section " +"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; " +"17 <citetitle>United States Code</citetitle>, section 112(a). But the " +"presumption under the existing law (which regulates <quote>copies;</quote> " +"17 <citetitle>United States Code</citetitle>, section 102) is that if there " +"is a copy, there is a right." +msgstr "" +"Dette er en forenkling av loven, men ikke mye av en. loven absolutt " +"regulerer mer enn \"Kopier\"—en offentlig fremfÃ¸ring av en " +"kopibeskyttet sang, for eksempel er regulert selv om ytelse per se ikke " +"gjÃ¸re en kopi; 17 united states code, delen 106(4). og det sikkert noen " +"ganger regulere ikke en \"kopi\"; 17 united states code, delen 112(a). men " +"antagelse under den eksisterende lov (som regulerer \"Kopier\"; 17 united " +"states code, avsnitt 102) er at hvis det er en kopi, det er rett." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Whereas originally the law regulated only publishers, the change in " +"copyright's scope means that the law today regulates publishers, users, and " +"authors. It regulates them because all three are capable of making copies, " +"and the core of the regulation of copyright law is copies.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "other property rights vs." +msgstr "andre eiendomsretter vs." + +#. PAGE BREAK 151 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<quote>Copies.</quote> That certainly sounds like the obvious thing for " +"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's " +"argument at the start of this chapter, that <quote>creative property</quote> " +"deserves the <quote>same rights</quote> as all other property, it is the " +"<emphasis>obvious</emphasis> that we need to be most careful about. For " +"while it may be obvious that in the world before the Internet, copies were " +"the obvious trigger for copyright law, upon reflection, it should be obvious " +"that in the world with the Internet, copies should <emphasis>not</emphasis> " +"be the trigger for copyright law. More precisely, they should not " +"<emphasis>always</emphasis> be the trigger for copyright law." +msgstr "" +"\"Kopier.\" som absolutt hÃ¸res ut som det Ã¥penbare tingen for opphavsrett Ã¥ " +"regulere. men som med jack valenti argumentet i begynnelsen av dette " +"kapitlet, at \"kreative property\" fortjener \"samme rettigheter\" som alle " +"andre eiendom, det er Ã¥penbart at vi trenger Ã¥ vÃ¦re mest forsiktig med. for " +"mens det kan vÃ¦re opplagt at i verden fÃ¸r Internett, Kopier var Ã¥penbare " +"utlÃ¸ser for opphavsrett, pÃ¥ refleksjon, bÃ¸r det vÃ¦re Ã¥penbart at i verden " +"med Internett, Kopier ikke bÃ¸r vÃ¦re utlÃ¸ser for lov om opphavsrett. mer " +"presist, bÃ¸r de ikke alltid vÃ¦re utlÃ¸ser for lov om opphavsrett." + +#. f17 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Thus, my argument is not that in each place that copyright law extends, we " +"should repeal it. It is instead that we should have a good argument for its " +"extending where it does, and should not determine its reach on the basis of " +"arbitrary and automatic changes caused by technology." +msgstr "" +"SÃ¥ledes, mitt argument er ikke at i hvert sett at lov om opphavsrett " +"utvider, vi bÃ¸r oppheve den. Det er i stedet at vi bÃ¸r ha et godt argument " +"for dens utvidelse der den does, og bÃ¸r ikke avgjÃ¸re sin rekkevidde pÃ¥ " +"grunnlag av vilkÃ¥rlig og automatiske endringer forÃ¥rsaket av teknologi." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This is perhaps the central claim of this book, so let me take this very " +"slowly so that the point is not easily missed. My claim is that the Internet " +"should at least force us to rethink the conditions under which the law of " +"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " +"because it is clear that the current reach of copyright was never " +"contemplated, much less chosen, by the legislators who enacted copyright law." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"We can see this point abstractly by beginning with this largely empty circle." +msgstr "" +"Vi kan se dette poenget helt abstrakt ved Ã¥ starte med denne i hovedsak " +"tomme sirkel." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "All potential uses of a book." +msgstr "Alle potensielle bruksomrÃ¥der for en bok." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1521.png\"></graphic>" +msgstr "<graphic fileref=\"images/1521.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "three types of uses of" +msgstr "tre typer bruk av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright applicability altered by technology of" +msgstr "opphavsrett anvendbarhet endret av teknologien i" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright intent altered by" +msgstr "opphavsrett hensikt endret av" + +#. PAGE BREAK 152 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Think about a book in real space, and imagine this circle to represent all " +"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " +"by copyright law, because the uses don't create a copy. If you read a book, " +"that act is not regulated by copyright law. If you give someone the book, " +"that act is not regulated by copyright law. If you resell a book, that act " +"is not regulated (copyright law expressly states that after the first sale " +"of a book, the copyright owner can impose no further conditions on the " +"disposition of the book). If you sleep on the book or use it to hold up a " +"lamp or let your puppy chew it up, those acts are not regulated by copyright " +"law, because those acts do not make a copy." +msgstr "" +"Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " +"representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene 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 fÃ¸rste salg av en bok, eieren av opphavsretten kan pÃ¥legge uten " +"ytterligere betingelser om tilstanden i boken). Hvis du sove pÃ¥ boken eller " +"bruke den til Ã¥ 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 gjÃ¸r en kopi." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Examples of unregulated uses of a book." +msgstr "Eksempler pÃ¥ uregulert bruk av en bok." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1531.png\"></graphic>" +msgstr "<graphic fileref=\"images/1531.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Obviously, however, some uses of a copyrighted book are regulated by " +"copyright law. Republishing the book, for example, makes a copy. It is " +"therefore regulated by copyright law. Indeed, this particular use stands at " +"the core of this circle of possible uses of a copyrighted work. It is the " +"paradigmatic use properly regulated by copyright regulation (see first " +"diagram on next page)." +msgstr "" +"Ã¥penbart, 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 stÃ¥r bruk i kjernen av denne " +"kretsen av mulige bruksomrÃ¥der for et opphavsrettslig beskyttet verk. Det er " +"paradigmatic bruk riktig regulert av opphavsrett regulering (se fÃ¸rste " +"diagrammet pÃ¥ neste side)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Finally, there is a tiny sliver of otherwise regulated copying uses that " +"remain unregulated because the law considers these <quote>fair uses.</quote>" +msgstr "" +"Til slutt er det en tynn skive av ellers regulert kopierings-bruk som " +"forblir uregluert pÃ¥ grunn av at loven anser dette som <quote>rimelig bruk</" +"quote>." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "" +"Republishing stands at the core of this circle of possible uses of a " +"copyrighted work." +msgstr "" +"Ã gi ut pÃ¥ nytt stÃ¥r i midten av denne sirkelen av mulige bruksomrÃ¥der for " +"et opphavsrettsbeskyttet verk." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1541.png\"></graphic>" +msgstr "<graphic fileref=\"images/1541.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"These are uses that themselves involve copying, but which the law treats as " +"unregulated because public policy demands that they remain unregulated. You " +"are free to quote from this book, even in a review that is quite negative, " +"without my permission, even though that quoting makes a copy. That copy " +"would ordinarily give the copyright owner the exclusive right to say whether " +"the copy is allowed or not, but the law denies the owner any exclusive right " +"over such <quote>fair uses</quote> for public policy (and possibly First " +"Amendment) reasons." +msgstr "" +"disse er bruker at selv innebÃ¦re kopiering, men som det lov behandler som " +"unregulated fordi public policy krever at de forblir unregulated. du er fri " +"til Ã¥ 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 Ã¥ si om kopien er " +"tillatt eller ikke, men loven fornekter eieren av en eksklusiv rett over " +"slike \"fair bruker\" for offentlig politikk (og muligens first endring) " +"grunner." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Unregulated copying considered <quote>fair uses.</quote>" +msgstr "Uregulert kopiering anses som <quote>rimelig bruk</quote>." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1542.png\"></graphic>" +msgstr "<graphic fileref=\"images/1542.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "" +"Uses that before were presumptively unregulated are now presumptively " +"regulated." +msgstr "" +"Bruk som tidligere var antatt Ã¥ ikke vÃ¦re regulert er nÃ¥ antatt Ã¥ vÃ¦re " +"regulert." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1551.png\"></graphic>" +msgstr "<graphic fileref=\"images/1551.png\"></graphic>" + +#. PAGE BREAK 154 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In real space, then, the possible uses of a book are divided into three " +"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that " +"are nonetheless deemed <quote>fair</quote> regardless of the copyright " +"owner's views." +msgstr "" +"i virkelige rommet, deretter mulige bruksomrÃ¥der 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." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on Internet" +msgstr "pÃ¥ internet" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "books on" +msgstr "bÃ¸ker pÃ¥" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "Internet burdens on" +msgstr "Internett byrder pÃ¥" + +#. f18 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"I don't mean <quote>nature</quote> in the sense that it couldn't be " +"different, but rather that its present instantiation entails a copy. Optical " +"networks need not make copies of content they transmit, and a digital " +"network could be designed to delete anything it copies so that the same " +"number of copies remain." +msgstr "" +"Jeg trenger ikke bety \"natur\" i den forstand at det kunne ikke vÃ¦re " +"annerledes, men heller at sin nÃ¥vÃ¦rende objektforekomst innebÃ¦rer en kopi. " +"optisk nettverk ikke trenger lage kopier av innhold de overfÃ¸re, og en " +"digital network kan vÃ¦re utformet for Ã¥ slette noe det kopierer slik at det " +"samme antallet kopier forblir." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Enter the Internet—a distributed, digital network where every use of a " +"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> " +"And because of this single, arbitrary feature of the design of a digital " +"network, the scope of category 1 changes dramatically. Uses that before were " +"presumptively unregulated are now presumptively regulated. No longer is " +"there a set of presumptively unregulated uses that define a freedom " +"associated with a copyrighted work. Instead, each use is now subject to the " +"copyright, because each use also makes a copy—category 1 gets sucked " +"into category 2. And those who would defend the unregulated uses of " +"copyrighted work must look exclusively to category 3, fair uses, to bear the " +"burden of this shift." +msgstr "" + +#. PAGE BREAK 155 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"So let's be very specific to make this general point clear. Before the " +"Internet, if you purchased a book and read it ten times, there would be no " +"plausible <emphasis>copyright</emphasis>-related argument that the copyright " +"owner could make to control that use of her book. Copyright law would have " +"nothing to say about whether you read the book once, ten times, or every " +"night before you went to bed. None of those instances of use—" +"reading— could be regulated by copyright law because none of those " +"uses produced a copy." +msgstr "" +"sÃ¥ la oss vÃ¦re svÃ¦rt spesifikke Ã¥ gjÃ¸re herfra Generelt og fjerner. fÃ¸r " +"Internett, hvis du kjÃ¸pte en bok og Les det ti ganger, ville det ikke " +"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan " +"gjÃ¸re for Ã¥ kontrollere at bruk av hennes bok. lov om opphavsrett har " +"ingenting Ã¥ si om hvorvidt du lese boken en gang, ti ganger eller hver natt " +"fÃ¸r du gikk til sengs. Ingen av disse forekomstene av bruk—" +"lesing—kan reguleres av lov om opphavsrett, fordi ingen av de bruker " +"produsert en kopi." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "e-books" +msgstr "e-bÃ¸ker" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "technological developments and" +msgstr "teknologisk utvikling og" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But the same book as an e-book is effectively governed by a different set of " +"rules. Now if the copyright owner says you may read the book only once or " +"only once a month, then <emphasis>copyright law</emphasis> would aid the " +"copyright owner in exercising this degree of control, because of the " +"accidental feature of copyright law that triggers its application upon there " +"being a copy. Now if you read the book ten times and the license says you " +"may read it only five times, then whenever you read the book (or any portion " +"of it) beyond the fifth time, you are making a copy of the book contrary to " +"the copyright owner's wish." +msgstr "" +"men den samme bok som en e-bok styres effektivt av et annet sett med regler. " +"nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare Ã©n gang, eller " +"bare en gang i mÃ¥neden, sÃ¥ lov om opphavsrett skulle hjelpe eieren av " +"opphavsretten i utÃ¸velse slik grad av kontroll, pÃ¥ grunn av funksjonen " +"tilfeldig i lov om opphavsrett som utlÃ¸ser sin sÃ¸knad pÃ¥ det Ã¥ vÃ¦re en kopi. " +"nÃ¥ 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, gjÃ¸r du en kopi av boken i strid med opphavsrett eierens Ã¸nske." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There are some people who think this makes perfect sense. My aim just now is " +"not to argue about whether it makes sense or not. My aim is only to make " +"clear the change. Once you see this point, a few other points also become " +"clear:" +msgstr "" +"Det er noen folk som tror dette gjÃ¸r perfekt forstand. meg sikte er akkurat " +"nÃ¥ ikke Ã¥ krangle om hvorvidt det er fornuftig eller ikke. min mÃ¥let er bare " +"Ã¥ gjÃ¸re det klart endringen. NÃ¥r du ser dette punktet, bli noen andre " +"punkter ogsÃ¥ klar:" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"First, making category 1 disappear is not anything any policy maker ever " +"intended. Congress did not think through the collapse of the presumptively " +"unregulated uses of copyrighted works. There is no evidence at all that " +"policy makers had this idea in mind when they allowed our policy here to " +"shift. Unregulated uses were an important part of free culture before the " +"Internet." +msgstr "" +"FÃ¸rst gjÃ¸r 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 pÃ¥ " +"alle at beslutningstakere hadde denne idÃ©en i tankene nÃ¥r de tillater vÃ¥r " +"policy her for Ã¥ skifte. unregulated bruker var en viktig del av fri kultur " +"fÃ¸r Internett." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Second, this shift is especially troubling in the context of transformative " +"uses of creative content. Again, we can all understand the wrong in " +"commercial piracy. But the law now purports to regulate <emphasis>any</" +"emphasis> transformation you make of creative work using a machine. " +"<quote>Copy and paste</quote> and <quote>cut and paste</quote> become " +"crimes. Tinkering with a story and releasing it to others exposes the " +"tinkerer to at least a requirement of justification. However troubling the " +"expansion with respect to copying a particular work, it is extraordinarily " +"troubling with respect to transformative uses of creative work." +msgstr "" +"andre, dette skiftet er spesielt troubling i sammenheng med transformative " +"bruk av kreative innholdet. igjen, kan vi alle forstÃ¥ feil i kommersielle " +"piratkopiering. men loven nÃ¥ hensikt Ã¥ regulere alle transformasjoner som du " +"gjÃ¸r 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 Ã¥ minst et krav for justering. " +"troubling utvidelse med hensyn til kopiere et bestemt arbeid, men det er " +"svÃ¦rt troubling med hensyn til transformative bruk av skapende arbeid." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "fair use vs." +msgstr "rettferdig bruk vs." + +#. PAGE BREAK 156 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Third, this shift from category 1 to category 2 puts an extraordinary burden " +"on category 3 (<quote>fair use</quote>) that fair use never before had to " +"bear. If a copyright owner now tried to control how many times I could read " +"a book on-line, the natural response would be to argue that this is a " +"violation of my fair use rights. But there has never been any litigation " +"about whether I have a fair use right to read, because before the Internet, " +"reading did not trigger the application of copyright law and hence the need " +"for a fair use defense. The right to read was effectively protected before " +"because reading was not regulated." +msgstr "" +"tredje, dette skiftet fra Kategori 1 til kategori 2 setter en ekstraordinÃ¦re " +"belastning pÃ¥ kategori 3 (\"fair use\"), som rettferdig bruk aldri fÃ¸r hadde " +"Ã¥ bÃ¦re. Hvis en opphavsrettsinnehaveren nÃ¥ prÃ¸vde Ã¥ kontrollere hvor mange " +"ganger jeg kunne lese en bok pÃ¥ nettet, ville den naturlige reaksjon vÃ¦re Ã¥ " +"hevde at dette er et brudd pÃ¥ mine fair use-rettigheter. men det har aldri " +"vÃ¦rt noen rettssaker jeg ha en rettferdig bruk hÃ¸yre for Ã¥ lese, fordi fÃ¸r " +"Internett, leser ikke utlÃ¸se anvendelsen av lov om opphavsrett og dermed " +"behovet for en rettferdig bruk forsvar. retten til Ã¥ lese var effektivt " +"beskyttet fÃ¸r fordi lesing ikke ble regulert." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This point about fair use is totally ignored, even by advocates for free " +"culture. We have been cornered into arguing that our rights depend upon fair " +"use—never even addressing the earlier question about the expansion in " +"effective regulation. A thin protection grounded in fair use makes sense " +"when the vast majority of uses are <emphasis>unregulated</emphasis>. But " +"when everything becomes presumptively regulated, then the protections of " +"fair use are not enough." +msgstr "" +"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " +"kultur. Vi har vÃ¦rt cornered til kranglet at vÃ¥re rettigheter er avhengige " +"av fair use—adressering aldri selv tidligere spÃ¸rsmÃ¥let om utvidelse i " +"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig nÃ¥r det " +"store flertallet av bruker er unregulated. men nÃ¥r alt blir presumptively " +"regulert, deretter beskyttelse av fair use er ikke nok." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Video Pipeline" +msgstr "video rÃ¸rledningen" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "film industry" +msgstr "filmindustri" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "trailer advertisements of" +msgstr "Trailer reklame av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The case of Video Pipeline is a good example. Video Pipeline was in the " +"business of making <quote>trailer</quote> advertisements for movies " +"available to video stores. The video stores displayed the trailers as a way " +"to sell videos. Video Pipeline got the trailers from the film distributors, " +"put the trailers on tape, and sold the tapes to the retail stores." +msgstr "" +"tilfelle av video rÃ¸rledning er et godt eksempel. video rÃ¸rledningen var i " +"bransjen for Ã¥ gjÃ¸re \"trailer\" reklame for filmer tilgjengelig til video " +"butikker. video butikkene vises tilhengere som en mÃ¥te Ã¥ selge videoer. " +"video rÃ¸rledningen fikk tilhengere fra trevare, sette tilhengere pÃ¥ bÃ¥nd, og " +"solgt kassetter til selge i detalj butikker." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +#, mtrans, fuzzy +msgid "browsing" +msgstr "surfing" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The company did this for about fifteen years. Then, in 1997, it began to " +"think about the Internet as another way to distribute these previews. The " +"idea was to expand their <quote>selling by sampling</quote> technique by " +"giving on-line stores the same ability to enable <quote>browsing.</quote> " +"Just as in a bookstore you can read a few pages of a book before you buy the " +"book, so, too, you would be able to sample a bit from the movie on-line " +"before you bought it." +msgstr "" +"selskapet gjorde dette i omtrent femten Ã¥r. deretter, i 1997, det begynte Ã¥ " +"tenke pÃ¥ Internett som en mÃ¥te Ã¥ distribuere disse forhÃ¥ndsvisninger. idÃ©en " +"var Ã¥ utvide sin \"selger ved prÃ¸vetaking\" teknikk ved Ã¥ gi on-line " +"butikker samme muligheten til Ã¥ aktivere \"surfing.\" akkurat som i en " +"bokhandel du kan lese noen fÃ¥ sider av en bok fÃ¸r du kjÃ¸per boken, sÃ¥, du " +"vil ogsÃ¥ kunne smake litt fra filmen on-line fÃ¸r du kjÃ¸pte den." + +#. PAGE BREAK 157 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1998, Video Pipeline informed Disney and other film distributors that it " +"intended to distribute the trailers through the Internet (rather than " +"sending the tapes) to distributors of their videos. Two years later, Disney " +"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to " +"talk about the matter—he had built a business on distributing this " +"content as a way to help sell Disney films; he had customers who depended " +"upon his delivering this content. Disney would agree to talk only if Video " +"Pipeline stopped the distribution immediately. Video Pipeline thought it " +"was within their <quote>fair use</quote> rights to distribute the clips as " +"they had. So they filed a lawsuit to ask the court to declare that these " +"rights were in fact their rights." +msgstr "" +"i 1998 informert video rÃ¸rledningen disney og andre trevare at det ment Ã¥ " +"distribuere tilhengere gjennom Internett (i stedet for Ã¥ sende bÃ¥ndene) til " +"distributÃ¸rer av deres videoer. to Ã¥r senere, fortalte disney video " +"rÃ¸rledning til Ã¥ stoppe. eieren av video rÃ¸rledningen spurte disney Ã¥ snakke " +"om saken, hadde han bygget en bedrift pÃ¥ distribuere dette innholdet som en " +"mÃ¥te Ã¥ hjelp Selg disney filmer; Han hadde kunder som var avhengig av hans " +"leverer dette innholdet. Disney aksepterer Ã¥ snakke bare hvis video " +"rÃ¸rledningen stoppet fordelingen umiddelbart. video rÃ¸rledningen trodde det " +"var innenfor sine \"fair use\"-rettigheter til Ã¥ distribuere utklippene som " +"de hadde. sÃ¥ de anlagt en sak Ã¥ be retten Ã¥ erklÃ¦re at disse rettighetene " +"var faktisk sine rettigheter." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "willful infringement findings in" +msgstr "willful krenkelse funnene i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "willful infringement" +msgstr "willful krenkelse" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Disney countersued—for $100 million in damages. Those damages were " +"predicated upon a claim that Video Pipeline had <quote>willfully infringed</" +"quote> on Disney's copyright. When a court makes a finding of willful " +"infringement, it can award damages not on the basis of the actual harm to " +"the copyright owner, but on the basis of an amount set in the statute. " +"Because Video Pipeline had distributed seven hundred clips of Disney movies " +"to enable video stores to sell copies of those movies, Disney was now suing " +"Video Pipeline for $100 million." +msgstr "" +"Disney countersued—for $100 millioner i skader. disse skader ble " +"predicated upon et krav at video rÃ¸rledningen hadde \"willfully krenket\" pÃ¥ " +"disney's copyright. NÃ¥r en domstol gjÃ¸r en oppdagelse av willful brudd, kan " +"den prisen skader ikke pÃ¥ grunnlag av den faktiske skaden for eieren av " +"opphavsretten, men pÃ¥ grunnlag av et belÃ¸p som er angitt i vedtektene. fordi " +"video rÃ¸rledningen hadde distribuert syv hundre klipp av disney film Ã¥ " +"aktivere video butikker Ã¥ selge kopier av disse filmene, var disney nÃ¥ suing " +"video rÃ¸rledning for $100 millioner." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Disney has the right to control its property, of course. But the video " +"stores that were selling Disney's films also had some sort of right to be " +"able to sell the films that they had bought from Disney. Disney's claim in " +"court was that the stores were allowed to sell the films and they were " +"permitted to list the titles of the films they were selling, but they were " +"not allowed to show clips of the films as a way of selling them without " +"Disney's permission." +msgstr "" +"Disney har rett til Ã¥ kontrollere sin eiendom, selvfÃ¸lgelig. men video " +"butikkene som solgte Disneys filmer hadde ogsÃ¥ en slags rett til Ã¥ vÃ¦re i " +"stand til Ã¥ selge filmer som de hadde kjÃ¸pt fra disney. disney's krav i " +"domstol var at butikkene ble tillatt Ã¥ selge filmene og de ble tillatt Ã¥ " +"vise titlene pÃ¥ filmene de solgte, men de var ikke lov til Ã¥ vise klipp av " +"filmer som en mÃ¥te Ã¥ selge dem uten disney's tillatelse." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "first-sale doctrine" +msgstr "fÃ¸rste salg doktrine" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Now, you might think this is a close case, and I think the courts would " +"consider it a close case. My point here is to map the change that gives " +"Disney this power. Before the Internet, Disney couldn't really control how " +"people got access to their content. Once a video was in the marketplace, the " +"<quote>first-sale doctrine</quote> would free the seller to use the video as " +"he wished, including showing portions of it in order to engender sales of " +"the entire movie video. But with the Internet, it becomes possible for " +"Disney to centralize control over access to this content. Because each use " +"of the Internet produces a copy, use on the Internet becomes subject to the " +"copyright owner's control. The technology expands the scope of effective " +"control, because the technology builds a copy into every transaction." +msgstr "" +"NÃ¥ kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser det " +"som en Lukk saken. Mitt poeng her er Ã¥ tilordne endringen som gir disney " +"denne makten. fÃ¸r Internett, kunne ikke disney virkelig styre hvordan folk " +"har tilgang til innholdet. NÃ¥r en video var i markedet, ville \"fÃ¸rste-salg " +"doktrine\" gratis selgeren for Ã¥ bruke videoen som han Ã¸nsket, inkludert " +"viser deler av det for Ã¥ skape salg av hele filmen video. men med Internett, " +"blir det mulig for disney Ã¥ sentralisere kontroll over tilgang til dette " +"innholdet. fordi hver bruk av Internett gir en kopi, blir copyrighteieren " +"kontroll en bruk pÃ¥ Internett. teknologien utvider omfanget av effektiv " +"kontroll, fordi teknologien bygger en kopi til hver transaksjon." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Barnes & Noble" +msgstr "Barnes & Noble" + +#. PAGE BREAK 158 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"No doubt, a potential is not yet an abuse, and so the potential for control " +"is not yet the abuse of control. Barnes & Noble has the right to say you " +"can't touch a book in their store; property law gives them that right. But " +"the market effectively protects against that abuse. If Barnes & Noble " +"banned browsing, then consumers would choose other bookstores. Competition " +"protects against the extremes. And it may well be (my argument so far does " +"not even question this) that competition would prevent any similar danger " +"when it comes to copyright. Sure, publishers exercising the rights that " +"authors have assigned to them might try to regulate how many times you read " +"a book, or try to stop you from sharing the book with anyone. But in a " +"competitive market such as the book market, the dangers of this happening " +"are quite slight." +msgstr "" +"ingen tvil, et potensial er ikke et misbruk, og sÃ¥ potensialet for kontroll " +"er ikke ennÃ¥ misbruk av kontroll. Barnes & noble har rett til Ã¥ si du " +"ikke rÃ¸re en bok i deres store; Ã¥ndsverkslovgivningen 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 vÃ¦re (mitt argument " +"sÃ¥ langt ikke selv spÃ¸rsmÃ¥let dette) at konkurransen ville hindre noen " +"lignende fare nÃ¥r det gjelder opphavsrett. sikker, kan utgivere utÃ¸ve " +"rettigheter som forfattere har tildelt dem prÃ¸ver Ã¥ regulere hvor mange " +"ganger du leser en bok, eller prÃ¸v Ã¥ opphÃ¸re du fra deler av boken med noen. " +"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer " +"er ganske liten." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Again, my aim so far is simply to map the changes that this changed " +"architecture enables. Enabling technology to enforce the control of " +"copyright means that the control of copyright is no longer defined by " +"balanced policy. The control of copyright is simply what private owners " +"choose. In some contexts, at least, that fact is harmless. But in some " +"contexts it is a recipe for disaster." +msgstr "" +"igjen, mitt mÃ¥l sÃ¥ langt er ganske enkelt Ã¥ kartlegge endringene som er at " +"dette endret arkitekturen aktiverer. aktivere teknologien Ã¥ hÃ¥ndheve " +"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger " +"definert av balansert policyen. kontroll pÃ¥ opphavsrett er bare hva privat " +"eiere velge. i enkelte sammenhenger, minst, er det faktum harmlÃ¸se. men det " +"er en oppskrift pÃ¥ katastrofe i enkelte sammenhenger." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Architecture and Law: Force" +msgstr "Arkitektur og lov: Makt" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The disappearance of unregulated uses would be change enough, but a second " +"important change brought about by the Internet magnifies its significance. " +"This second change does not affect the reach of copyright regulation; it " +"affects how such regulation is enforced." +msgstr "" +"forsvinningen av unregulated bruker ville vÃ¦re endre nok, men andre viktige " +"endringer forÃ¥rsaket av Internett Ã¸ker sin betydning. denne andre endringen " +"pÃ¥virker ikke rekkevidden av opphavsrett regulering; det pÃ¥virker hvordan " +"slike regulering fremtvinges." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "technology as automatic enforcer of" +msgstr "teknologi som automatisk inndriver av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "copyright enforcement controlled by" +msgstr "opphavsrett hensikt endret av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In the world before digital technology, it was generally the law that " +"controlled whether and how someone was regulated by copyright law. The law, " +"meaning a court, meaning a judge: In the end, it was a human, trained in the " +"tradition of the law and cognizant of the balances that tradition embraced, " +"who said whether and how the law would restrict your freedom." +msgstr "" +"i verden fÃ¸r digital teknologi var det generelt loven som kontrollerte om og " +"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en " +"court, som betyr en dommer: til slutt, det var et menneske, utdannet i " +"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa " +"om og hvordan loven ville begrense friheten." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Casablanca" +msgstr "Casablanca" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Marx Brothers" +msgstr "BrÃ¸drene Marx" + +#. f19 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See David Lange, <quote>Recognizing the Public Domain,</quote> " +"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73." +msgstr "" +"Se David Lange, <quote>Recognizing the Public Domain</quote>, <citetitle>Law " +"and Contemporary Problems</citetitle> 44 (1981): 172–73." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"There's a famous story about a battle between the Marx Brothers and Warner " +"Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" +"citetitle>. Warner Brothers objected. They wrote a nasty letter to the " +"Marxes, warning them that there would be serious legal consequences if they " +"went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Det er en berÃ¸mt historie om en kamp mellom Marx-brÃ¸drene (the Marx " +"Brothers) og Warner Brothers. Marx-brÃ¸drene planla Ã¥ lage en parodi av " +"<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " +"ufint brev til Marx-brÃ¸drene og advarte dem om at det ville fÃ¥ seriÃ¸se " +"juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. See also Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. Se ogsÃ¥ Vaidhyanathan, " +"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"This led the Marx Brothers to respond in kind. They warned Warner Brothers " +"that the Marx Brothers <quote>were brothers long before you were.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " +"owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " +"insisted on trying to control <citetitle>Casablanca</citetitle>, then the " +"Marx Brothers would insist on control over <citetitle>brothers</citetitle>." +msgstr "" +"Dette fikk Marx-brÃ¸drene til Ã¥ svare tilbake med samme mynt. De advarte " +"Warner Brothers om at Marx-brÃ¸drene <quote>var brÃ¸dre lenge fÃ¸r dere var " +"det</quote>.<placeholder type=\"footnote\" id=\"0\"/> Marx-brÃ¸drene eide " +"derfor ordet <citetitle>Brothers</citetitle>, og hvis Warner Brothers " +"insisterte pÃ¥ Ã¥ forsÃ¸ke Ã¥ kontrollere <citetitle>Casablanca</citetitle>, sÃ¥ " +"ville Marx-brÃ¸drene insistere pÃ¥ kontroll over <citetitle>Brothers</" +"citetitle>." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"An absurd and hollow threat, of course, because Warner Brothers, like the " +"Marx Brothers, knew that no court would ever enforce such a silly claim. " +"This extremism was irrelevant to the real freedoms anyone (including Warner " +"Brothers) enjoyed." +msgstr "" +"Det var en absurd og hul trussel, selvfÃ¸lgelig, fordi Warner Brothers, pÃ¥ " +"samme mÃ¥te som Marx-brÃ¸drene, visste at ingen domstol noensinne ville " +"hÃ¥ndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte " +"friheter som alle (inkludert Warner Brothers) nÃ¸t godt av." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"On the Internet, however, there is no check on silly rules, because on the " +"Internet, increasingly, rules are enforced not by a human but by a machine: " +"Increasingly, the rules of copyright law, as interpreted by the copyright " +"owner, get built into the technology that delivers copyrighted content. It " +"is code, rather than law, that rules. And the problem with code regulations " +"is that, unlike law, code has no shame. Code would not get the humor of the " +"Marx Brothers. The consequence of that is not at all funny." +msgstr "" +"PÃ¥ Internett, er det derimot ingen kontroll mot dum regler, fordi pÃ¥ " +"Internett, i Ã¸kende grad, blir regler ikke hÃ¥ndhevet av et menneske, men av " +"en maskin: i Ã¸kende grad reglene om opphavsrett, som tolkes av eieren av " +"opphavsretten fÃ¥ 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 fÃ¥ humor av the marx brothers. Konsekvensen av dette er overhodet " +"ikke morsomt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Adobe eBook Reader" +msgstr "Adobe eBok-leser" + +#. type: Content of: <book><part><chapter><section><para> +msgid "Consider the life of my Adobe eBook Reader." +msgstr "La oss se pÃ¥ livet til min Adobe eBook Reader." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"An e-book is a book delivered in electronic form. An Adobe eBook is not a " +"book that Adobe has published; Adobe simply produces the software that " +"publishers use to deliver e-books. It provides the technology, and the " +"publisher delivers the content by using the technology." +msgstr "" +"En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok " +"som Adobe har publisert. Adobe produserer kun programvaren som utgivere " +"bruker Ã¥ levere e-bÃ¸ker. Den bidrar med teknologien, og utgiveren leverer " +"innholdet ved hjelp av teknologien." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"On the next page is a picture of an old version of my Adobe eBook Reader." +msgstr "" +"pÃ¥ neste er siden et bilde av en gammel versjon av min adobe eBok-leser." + +#. PAGE BREAK 160 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"As you can see, I have a small collection of e-books within this e-book " +"library. Some of these books reproduce content that is in the public domain: " +"<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " +"Some of them reproduce content that is not in the public domain: My own book " +"<citetitle>The Future of Ideas</citetitle> is not yet within the public " +"domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " +"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " +"cover, and then a button at the bottom called Permissions." +msgstr "" +"som du ser, har jeg en liten samling av e-bÃ¸ker i denne e-boken biblioteket. " +"noen av disse bÃ¸kene 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 idÃ©er er ennÃ¥ ikke i public domain. " +"vurdere middlemarch fÃ¸rst. Hvis du klikker pÃ¥ min e-bok-kopi av middlemarch, " +"vil du se en fancy cover og deretter en knapp pÃ¥ bunnen kalt tillatelser." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Picture of an old version of Adobe eBook Reader" +msgstr "Bilde av en gammel versjon av Adobe eBook Reader." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1611.png\"></graphic>" +msgstr "<graphic fileref=\"images/1611.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If you click on the Permissions button, you'll see a list of the permissions " +"that the publisher purports to grant with this book." +msgstr "" +"Hvis du klikker pÃ¥ knappen tillatelser, ser du en liste over tillatelsene " +"som utgiveren hensikt Ã¥ gi med denne boken." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "List of the permissions that the publisher purports to grant." +msgstr "Liste med tillatelser som utgiveren har til hensikt Ã¥ gi." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1612.png\"></graphic>" +msgstr "<graphic fileref=\"images/1612.png\"></graphic>" + +#. PAGE BREAK 161 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"According to my eBook Reader, I have the permission to copy to the clipboard " +"of the computer ten text selections every ten days. (So far, I've copied no " +"text to the clipboard.) I also have the permission to print ten pages from " +"the book every ten days. Lastly, I have the permission to use the Read Aloud " +"button to hear <citetitle>Middlemarch</citetitle> read aloud through the " +"computer." +msgstr "" +"IfÃ¸lge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " +"datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " +"til utklippstavlen.) Jeg har ogsÃ¥ tillatelse til Ã¥ skrive ut ti sider fra " +"boken ti dager. til slutt, jeg har tillatelse til Ã¥ bruke lese hÃ¸yt knapp " +"for Ã¥ hÃ¸re middlemarch lest hÃ¸yt gjennom datamaskinen." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Aristotle" +msgstr "Aristoteles" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "<citetitle>Politics</citetitle>, (Aristotle)" +msgstr "<citetitle>Politikk</citetitle>, (Aristotles)" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Here's the e-book for another work in the public domain (including the " +"translation): Aristotle's <citetitle>Politics</citetitle>." +msgstr "" +"Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): " +"Aristoteles <citetitle>Politikk</citetitle>." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "E-book of Aristotle;s <quote>Politics</quote>" +msgstr "E-bok av Aristoteles <quote>Politikk</quote>" + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1621.png\"></graphic>" +msgstr "<graphic fileref=\"images/1621.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"According to its permissions, no printing or copying is permitted at all. " +"But fortunately, you can use the Read Aloud button to hear the book." +msgstr "" +"i henhold til tillatelsene, ingen utskrift eller kopiering er tillatt i det " +"hele tatt. men heldigvis kan du bruke lese hÃ¸yt knappen for Ã¥ hÃ¸re boken." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "List of the permissions for Aristotle;s <quote>Politics</quote>." +msgstr "Liste med tillatelser for Aristotles "Politikk"." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1622.png\"></graphic>" +msgstr "<graphic fileref=\"images/1622.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Future of Ideas, The (Lessig)" +msgstr "fremtiden for ideer, (lessig)" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Lessig, Lawrence" +msgstr "Lessig, Lawrence" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Finally (and most embarrassingly), here are the permissions for the original " +"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" +msgstr "" +"Endelig (og mest embarrassingly), her er du tillatelsene for den " +"opprinnelige e-bok-versjonen av boken min siste, fremtiden for idÃ©er:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "List of the permissions for <quote>The Future of Ideas</quote>." +msgstr "Liste med tillatelser for <quote>The Future of Ideas</quote>." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1631.png\"></graphic>" +msgstr "<graphic fileref=\"images/1631.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +msgid "No copying, no printing, and don't you dare try to listen to this book!" +msgstr "" +"Ingen kopiering, ingen utskrift, og vÃ¥g ikke Ã¥ prÃ¸ve Ã¥ lytte til denne boken!" + +#. f21 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"In principle, a contract might impose a requirement on me. I might, for " +"example, buy a book from you that includes a contract that says I will read " +"it only three times, or that I promise to read it three times. But that " +"obligation (and the limits for creating that obligation) would come from the " +"contract, not from copyright law, and the obligations of contract would not " +"necessarily pass to anyone who subsequently acquired the book." +msgstr "" +"i prinsippet, kan en kontrakt pÃ¥legge et krav pÃ¥ meg. Jeg kan, for eksempel " +"kjÃ¸pe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den " +"bare tre ganger, eller at jeg lover Ã¥ lese den tre ganger. men at " +"forpliktelse (og grensene for Ã¥ opprette denne plikten) ville komme fra " +"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville " +"ikke nÃ¸dvendigvis gÃ¥ til alle som senere kjÃ¸pt boken." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Now, the Adobe eBook Reader calls these controls <quote>permissions</" +"quote>— as if the publisher has the power to control how you use these " +"works. For works under copyright, the copyright owner certainly does have " +"the power—up to the limits of the copyright law. But for work not " +"under copyright, there is no such copyright power.<placeholder type=" +"\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> " +"says I have the permission to copy only ten text selections into the memory " +"every ten days, what that really means is that the eBook Reader has enabled " +"the publisher to control how I use the book on my computer, far beyond the " +"control that the law would enable." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The control comes instead from the code—from the technology within " +"which the e-book <quote>lives.</quote> Though the e-book says that these are " +"permissions, they are not the sort of <quote>permissions</quote> that most " +"of us deal with. When a teenager gets <quote>permission</quote> to stay out " +"till midnight, she knows (unless she's Cinderella) that she can stay out " +"till 2 A.M., but will suffer a punishment if she's caught. But when the " +"Adobe eBook Reader says I have the permission to make ten copies of the text " +"into the computer's memory, that means that after I've made ten copies, the " +"computer will not make any more. The same with the printing restrictions: " +"After ten pages, the eBook Reader will not print any more pages. It's the " +"same with the silly restriction that says that you can't use the Read Aloud " +"button to read my book aloud—it's not that the company will sue you if " +"you do; instead, if you push the Read Aloud button with my book, the machine " +"simply won't read aloud." +msgstr "" +"kontrollen kommer i stedet fra koden—fra teknologi som e-bok \"liv.\" " +"om e-boken sier at disse er tillatelsene, de er ikke typen \"tillatelser\" " +"som de fleste av oss hÃ¥ndtere. NÃ¥r en tenÃ¥ring blir \"tillatelse\" til Ã¥ " +"vÃ¦re ute til midnatt, vet hun (med mindre hun er cinderella) at hun kan vÃ¦re " +"ute til 2 am, men vil lide en straff hvis hun er fanget. men nÃ¥r adobe eBok " +"reader sier jeg har tillatelse til Ã¥ lage ti Kopier teksten inn i " +"datamaskinens minne, som betyr at etter at jeg har gjort ti eksemplarer, " +"datamaskinen ikke vil gjÃ¸re noe mer. det samme med utskrift begrensninger: " +"eBok-leser ikke skrives ut flere sider etter ti sider. Det er det samme med " +"dum stÃ¸rrelsesbegrensningen som sier at du ikke kan bruke lese hÃ¸yt knappen " +"til Ã¥ lese boken min hÃ¸yt—det er ikke at selskapet vil saksÃ¸ke deg " +"hvis du gjÃ¸r; i stedet, hvis du presse lese hÃ¸yt knappen med min bok, " +"maskinen bare vil ikke lese hÃ¸yt." + +#. PAGE BREAK 163 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"These are <emphasis>controls</emphasis>, not permissions. Imagine a world " +"where the Marx Brothers sold word processing software that, when you tried " +"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from " +"the sentence." +msgstr "" +"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " +"brÃ¸drene solgte tekstbehandling programvare som, da du prÃ¸vde Ã¥ skrive inn " +"\"warner brothers,\" slettet \"brÃ¸dre\" fra setningen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is the future of copyright law: not so much copyright <emphasis>law</" +"emphasis> as copyright <emphasis>code</emphasis>. The controls over access " +"to content will not be controls that are ratified by courts; the controls " +"over access to content will be controls that are coded by programmers. And " +"whereas the controls that are built into the law are always to be checked by " +"a judge, the controls that are built into the technology have no similar " +"built-in check." +msgstr "" +"Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ 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 vÃ¦re kontroller som er kodet av programmerere. og mens " +"kontrollene som er innebygd i loven er alltid skal kontrolleres av en " +"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende " +"innebygde kontroller." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"How significant is this? Isn't it always possible to get around the controls " +"built into the technology? Software used to be sold with technologies that " +"limited the ability of users to copy the software, but those were trivial " +"protections to defeat. Why won't it be trivial to defeat these protections " +"as well?" +msgstr "" +"hvor betydelig er dette? er det ikke alltid mulig Ã¥ komme seg rundt " +"kontrollene som er innebygd i teknologien? programvaren brukes til Ã¥ bli " +"solgt med teknologier som begrenset mulighet til brukere Ã¥ kopiere " +"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke " +"vÃ¦re trivielt Ã¥ beseire slik beskyttelse ogsÃ¥?" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"We've only scratched the surface of this story. Return to the Adobe eBook " +"Reader." +msgstr "" +"Vi har kun sÃ¥vidt berÃ¸rt overflaten til denne historien. La oss gÃ¥ tilbake " +"til Adobe eBook reader." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Alice's Adventures in Wonderland (Carroll)" +msgstr "Alice i Eventyrland (Carroll)" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "e-book restrictions on" +msgstr "ebok-begrensninger pÃ¥" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Early in the life of the Adobe eBook Reader, Adobe suffered a public " +"relations nightmare. Among the books that you could download for free on the " +"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</" +"citetitle>. This wonderful book is in the public domain. Yet when you " +"clicked on Permissions for that book, you got the following report:" +msgstr "" +"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bÃ¸kene " +"som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " +"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennÃ¥ nÃ¥r " +"du klikket pÃ¥ tillatelser for boken, fikk du det fulgte rapporten:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "" +"List of the permissions for <quote>Alice's Adventures in Wonderland</quote>." +msgstr "Liste med tillatelser for <quote>Alice i Eventyrland</quote>." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1641.png\"></graphic>" +msgstr "<graphic fileref=\"images/1641.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Here was a public domain children's book that you were not allowed to copy, " +"not allowed to lend, not allowed to give, and, as the <quote>permissions</" +"quote> indicated, not allowed to <quote>read aloud</quote>!" +msgstr "" +"Her var et frivare barnebok som du ikke var tillatt for Ã¥ kopiere, ikke lov " +"til Ã¥ lÃ¥ne, ikke lov til Ã¥ gi og, som \"tillatelser\" angitt, ikke lov til Ã¥ " +"\"lese hÃ¸yt\"!" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The public relations nightmare attached to that final permission. For the " +"text did not say that you were not permitted to use the Read Aloud button; " +"it said you did not have the permission to read the book aloud. That led " +"some people to think that Adobe was restricting the right of parents, for " +"example, to read the book to their children, which seemed, to say the least, " +"absurd." +msgstr "" +"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si " +"at du ikke var tillatt Ã¥ bruke lese hÃ¸yt knappen; det sa du ikke har " +"tillatelse til Ã¥ lese boken hÃ¸yt. som ledet noen folk Ã¥ tenke at adobe var " +"begrense hÃ¸yre for foreldre, for eksempel Ã¥ lese boken til sine barn, som " +"syntes Ã¥ si mildt, absurd." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Adobe responded quickly that it was absurd to think that it was trying to " +"restrict the right to read a book aloud. Obviously it was only restricting " +"the ability to use the Read Aloud button to have the book read aloud. But " +"the question Adobe never did answer is this: Would Adobe thus agree that a " +"consumer was free to use software to hack around the restrictions built into " +"the eBook Reader? If some company (call it Elcomsoft) developed a program to " +"disable the technological protection built into an Adobe eBook so that a " +"blind person, say, could use a computer to read the book aloud, would Adobe " +"agree that such a use of an eBook Reader was fair? Adobe didn't answer " +"because the answer, however absurd it might seem, is no." +msgstr "" +"Adobe svarte raskt at det var absurd Ã¥ tro at den prÃ¸vde Ã¥ begrense " +"rettigheten til Ã¥ lese en bok hÃ¸yt. Det ble Ã¥penbart bare begrense " +"muligheten til Ã¥ bruke lese hÃ¸yt knappen for Ã¥ fÃ¥ boken lest hÃ¸yt. Men " +"spÃ¸rsmÃ¥let adobe aldri svar er dette: er adobe dermed enig at en forbruker " +"var fri til Ã¥ bruke programvare for Ã¥ banalisere rundt restriksjoner som er " +"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et " +"program for Ã¥ deaktivere teknologiske beskyttelsen som er innebygd i en " +"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til Ã¥ lese " +"boken hÃ¸yt, vil adobe vÃ¦re enig at slik bruk av en eBok-leser var " +"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er " +"ingen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The point is not to blame Adobe. Indeed, Adobe is among the most innovative " +"companies developing strategies to balance open access to content with " +"incentives for companies to innovate. But Adobe's technology enables " +"control, and Adobe has an incentive to defend this control. That incentive " +"is understandable, yet what it creates is often crazy." +msgstr "" +"Poenget er ikke Ã¥ klandre adobe. faktisk, adobe er blant de mest innovative " +"selskapene som utvikler strategier for Ã¥ balansere Ã¥pen tilgang til innhold " +"med insentiver for bedriftene Ã¥ skape noe nytt. men Adobes teknologi gjÃ¸r " +"det mulig for kontroll, og adobe har et insentiv til Ã¥ forsvare denne " +"kontrollen. dette insentiv er forstÃ¥elig, men hva som skaper er ofte gal." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"To see the point in a particularly absurd context, consider a favorite story " +"of mine that makes the same point." +msgstr "" +"Hvis du vil se punktet i en spesielt absurd sammenheng, bÃ¸r du vurdere en " +"favoritt historien om mine som gjÃ¸r det samme punktet." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Aibo robotic dog" +msgstr "Aibo robothund" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "robotic dog" +msgstr "robothund" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Sony" +msgstr "Sony" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "Aibo robotic dog produced by" +msgstr "Aibo robothund produsert av" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo " +"learns tricks, cuddles, and follows you around. It eats only electricity and " +"that doesn't leave that much of a mess (at least in your house)." +msgstr "" +"vurdere robotic hunden gjort av sony kalt \"aibo.\" i aibo lÃ¦rer triks, " +"cuddles, og fÃ¸lger deg. det spiser bare elektrisitet og som ikke la sÃ¥ mye " +"av et rot (i det minste i huset)." + +#. PAGE BREAK 165 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Aibo is expensive and popular. Fans from around the world have set up " +"clubs to trade stories. One fan in particular set up a Web site to enable " +"information about the Aibo dog to be shared. This fan set 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 populÃ¦re. fans fra hele verden har satt opp klubber til " +"handel historier. en vifte spesielt satt opp et webomrÃ¥de slik at " +"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com " +"(og aibohack.com, men de lÃ¸ser til det samme omrÃ¥det), og han gitt " +"informasjon om hvordan du lÃ¦re en aibo Ã¥ gjÃ¸re triks i tillegg til de sony " +"hadde lÃ¦rt det pÃ¥ det omrÃ¥det." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<quote>Teach</quote> here has a special meaning. Aibos are just cute " +"computers. You teach a computer how to do something by programming it " +"differently. So to say that aibopet.com was giving information about how to " +"teach the dog to do new tricks is just to say that aibopet.com was giving " +"information to users of the Aibo pet about how to hack their computer " +"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)." +msgstr "" +"\"lÃ¦re\" har her en spesiell betydning. aibos er bare sÃ¸t datamaskiner. du " +"lÃ¦re en datamaskin hvor Ã¥ gjÃ¸re noe ved programmering det annerledes. sÃ¥ Ã¥ " +"si at aibopet.com var Ã¥ gi informasjon om hvordan du lÃ¦re hunden Ã¥ gjÃ¸re nye " +"triks er bare Ã¥ si at aibopet.com var Ã¥ gi informasjon til brukere av aibo-" +"pet om hvordan Ã¥ hacke datamaskinen \"hund\" slik at den gjÃ¸r nye triks " +"(derfor aibohack.com)." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "hacks" +msgstr "Hacks" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If you're not a programmer or don't know many programmers, the word " +"<citetitle>hack</citetitle> has a particularly unfriendly connotation. " +"Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " +"worse. But to programmers, or coders, as I call them, <citetitle>hack</" +"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " +"means code that enables the program to do something it wasn't originally " +"intended or enabled to do. If you buy a new printer for an old computer, you " +"might find the old computer doesn't run, or <quote>drive,</quote> the " +"printer. If you discovered that, you'd later be happy to discover a hack on " +"the Net by someone who has written a driver to enable the computer to drive " +"the printer you just bought." +msgstr "" +"Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har det " +"ord banalisere en spesielt unfriendly connotation. nonprogrammers banalisere " +"busker eller ugress. nonprogrammers i horror filmer gjÃ¸re enda verre. men " +"programmerere eller coders, som jeg kaller dem, banalisere er et mye mer " +"positiv begrep. banalisere betyr bare kode som gjÃ¸r at programmet til Ã¥ " +"gjÃ¸re noe det ikke var opprinnelig ment eller aktivert Ã¥ gjÃ¸re. Hvis du " +"kjÃ¸per en ny skriver for en gammel datamaskin, kan du finne den gamle " +"datamaskinen ikke kjÃ¸rer, eller \"drive\", skriveren. Hvis du oppdaget at, " +"vil du senere gjerne til Ã¥ oppdage en hack pÃ¥ nettet av noen som har skrevet " +"en driver for Ã¥ aktivere datamaskinen til Ã¥ kjÃ¸re skriveren du nettopp kjÃ¸pt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Some hacks are easy. Some are unbelievably hard. Hackers as a community like " +"to challenge themselves and others with increasingly difficult tasks. " +"There's a certain respect that goes with the talent to hack well. There's a " +"well-deserved respect that goes with the talent to hack ethically." +msgstr "" +"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap " +"liker Ã¥ utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er " +"en viss respekt som gÃ¥r med talent Ã¥ hacke godt. Det er en velfortjent " +"respekt som gÃ¥r med talent Ã¥ hacke etisk." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Aibo fan was displaying a bit of both when he hacked the program and " +"offered to the world a bit of code that would enable the Aibo to dance jazz. " +"The dog wasn't programmed to dance jazz. It was a clever bit of tinkering " +"that turned the dog into a more talented creature than Sony had built." +msgstr "" +"fan aibo var vise litt av begge nÃ¥r han hacket programmet og tilbÃ¸d Ã¥ verden " +"litt kode som ville gjÃ¸re det mulig for aibo Ã¥ danse jazz. hunden var ikke " +"programmert Ã¥ danse jazz. Det var en smart bit av fiksing og triksing som " +"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget." + +#. PAGE BREAK 166 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I've told this story in many contexts, both inside and outside the United " +"States. Once I was asked by a puzzled member of the audience, is it " +"permissible for a dog to dance jazz in the United States? We forget that " +"stories about the backcountry still flow across much of the world. So let's " +"just be clear before we continue: It's not a crime anywhere (anymore) to " +"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " +"be a crime (though we don't have a lot to go on here) to teach your robot " +"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " +"that the owner of aibopet.com thought, <emphasis>What possible problem could " +"there be with teaching a robot dog to dance?</emphasis>" +msgstr "" +"Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " +"NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " +"hunden Ã¥ danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles " +"flyter gjennom store deler av verden. sÃ¥ la oss vÃ¦re klare fÃ¸r vi " +"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) Ã¥ danse jazz. " +"heller ikke er det en forbrytelse Ã¥ lÃ¦re din hunden Ã¥ danse jazz. heller " +"ikke bÃ¸r det vÃ¦re en forbrytelse (selv om vi ikke har mye Ã¥ gÃ¥ pÃ¥ her) Ã¥ " +"lÃ¦re hunden din robot Ã¥ danse jazz. dans jazz er en helt lovlig aktivitet. " +"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det vÃ¦re " +"med undervisning en robot hunden Ã¥ danse?" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "government case against" +msgstr "regjeringen sak mot" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let's put the dog to sleep for a minute, and turn to a pony show— not " +"literally a pony show, but rather a paper that a Princeton academic named Ed " +"Felten prepared for a conference. This Princeton academic is well known and " +"respected. He was hired by the government in the Microsoft case to test " +"Microsoft's claims about what could and could not be done with its own code. " +"In that trial, he demonstrated both his brilliance and his coolness. Under " +"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not " +"about to be bullied into being silent about something he knew very well." +msgstr "" +"La oss sette hunden Ã¥ sove litt, og slÃ¥ til en ponni Vis—ikke " +"bokstavelig talt en ponni show, men heller et papir som en princeton " +"akademiske kalt ed felten forberedt pÃ¥ en konferanse. Denne princeton " +"akademiske er godt kjent og respektert. Han ble ansatt av regjeringen i " +"microsoft-saken til Ã¥ teste Microsofts krav om hva kunne og ikke kunne " +"gjÃ¸res med en egen kode. i denne rettssaken demonstrerte han bÃ¥de hans " +"herlighet og hans coolness. under tung badgering av microsoft advokater, ed " +"felten stÃ¥tt sin bakken. Han var ikke om Ã¥ bli mobba til Ã¥ vÃ¦re stille om " +"noe han visste godt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Electronic Frontier Foundation" +msgstr "Elektronisk forpost-stiftelsen (EFF)" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</" +"quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, " +"<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks," +"</quote> <citetitle>American Prospect</citetitle>, January 2002; " +"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> " +"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 " +"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech " +"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, " +"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic " +"Frontier Foundation, <quote>Frequently Asked Questions about " +"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " +"Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"But Felten's bravery was really tested in April 2001.<placeholder type=" +"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " +"to be submitted at conference. The paper was intended to describe the " +"weakness in an encryption system being developed by the Secure Digital Music " +"Initiative as a technique to control the distribution of music." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The SDMI coalition had as its goal a technology to enable content owners to " +"exercise much better control over their content than the Internet, as it " +"originally stood, granted them. Using encryption, SDMI hoped to develop a " +"standard that would allow the content owner to say <quote>this music cannot " +"be copied,</quote> and have a computer respect that command. The technology " +"was to be part of a <quote>trusted system</quote> of control that would get " +"content owners to trust the system of the Internet much more." +msgstr "" +"sdmi-koalisjonen hadde som mÃ¥l en teknologi for Ã¥ aktivere innholdseiere Ã¥ " +"utÃ¸ve mye bedre kontroll over deres innhold enn Internett, som den " +"opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi hÃ¥pet Ã¥ utvikle " +"en standard som ville tillate innholdseieren Ã¥ si \"denne musikken ikke kan " +"kopieres\", og har en datamaskin respekterer kommandoen. teknologien var Ã¥ " +"vÃ¦re del av et \"klarert system\" av kontroll som ville fÃ¥ innholdseiere kan " +"stole pÃ¥ systemet av Internett mye mer." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"When SDMI thought it was close to a standard, it set up a competition. In " +"exchange for providing contestants with the code to an SDMI-encrypted bit of " +"content, contestants were to try to crack it and, if they did, report the " +"problems to the consortium." +msgstr "" +"NÃ¥r sdmi trodde det var nÃ¦r en standard, satt det opp en konkurranse. i " +"bytte for Ã¥ gi contestants med koden til en sdmi-krypterte bit av innholdet, " +"var contestants Ã¥ prÃ¸ve Ã¥ sprekk det, og hvis de gjorde, kan du rapportere " +"problemer til konsortiet." + +#. PAGE BREAK 167 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Felten and his team figured out the encryption system quickly. He and the " +"team saw the weakness of this system as a type: Many encryption systems " +"would suffer the same weakness, and Felten and his team thought it " +"worthwhile to point this out to those who study encryption." +msgstr "" +"felten og teamet hans funnet ut kryptering systemet raskt. Han og teamet sÃ¥ " +"svakheten av dette systemet som en type: mange kryptering systemer vil lide " +"samme svakhet, og felten og teamet hans trodde det verdt Ã¥ pÃ¥peke dette til " +"de som studerer kryptering." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let's review just what Felten was doing. Again, this is the United States. " +"We have a principle of free speech. We have this principle not just because " +"it is the law, but also because it is a really great idea. A strongly " +"protected tradition of free speech is likely to encourage a wide range of " +"criticism. That criticism is likely, in turn, to improve the systems or " +"people or ideas criticized." +msgstr "" +"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et " +"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er " +"loven, men ogsÃ¥ fordi det er en virkelig god idÃ©. en sterkt beskyttet " +"tradisjon av ytringsfriheten er sannsynlig Ã¥ oppmuntre til et bredt spekter " +"av kritikk. at kritikk er sannsynlig, i sin tur til Ã¥ forbedre systemer " +"eller personer eller idÃ©er kritisert." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"What Felten and his colleagues were doing was publishing a paper describing " +"the weakness in a technology. They were not spreading free music, or " +"building and deploying this technology. The paper was an academic essay, " +"unintelligible to most people. But it clearly showed the weakness in the " +"SDMI system, and why SDMI would not, as presently constituted, succeed." +msgstr "" +"Hva felten og hans kolleger gjorde var publisering en papiret beskriver " +"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og " +"distribusjon av denne teknologien. papiret var en faglige essay, uleselig " +"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi " +"ville ikke, sÃ¥ dag konstituert, lykkes." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"What links these two, aibopet.com and Felten, is the letters they then " +"received. Aibopet.com received a letter from Sony about the aibopet.com " +"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:" +msgstr "" +"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter " +"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. " +"Selv om en jazz-dans hunden er helt lovlig, skrev sony:" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"Your site contains information providing the means to circumvent AIBO-ware's " +"copy protection protocol constituting a violation of the anti-circumvention " +"provisions of the Digital Millennium Copyright Act." +msgstr "" +"nettstedet inneholder informasjon metoder for Ã¥ omgÃ¥ aibo-ware " +"kopibeskyttelse protokollen utgjÃ¸r et brudd pÃ¥ anti-omgÃ¥else bestemmelsene i " +"digital millennium copyright act." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"And though an academic paper describing the weakness in a system of " +"encryption should also be perfectly legal, Felten received a letter from an " +"RIAA lawyer that read:" +msgstr "" +"og selv om en akademisk papiret beskriver svakhet i et system av kryptering " +"bÃ¸r ogsÃ¥ vÃ¦re helt lovlig, felten mottatt et brev fra en riaa advokat som " +"lese:" + +#. PAGE BREAK 168 +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"Any disclosure of information gained from participating in the Public " +"Challenge would be outside the scope of activities permitted by the " +"Agreement and could subject you and your research team to actions under the " +"Digital Millennium Copyright Act (<quote>DMCA</quote>)." +msgstr "" +"enhver formidling av informasjon fra Ã¥ delta i offentlig challenge ville " +"vÃ¦re utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen og " +"kunne utsettes du og din undersÃ¸kelsesgruppen for handlinger under digital " +"millennium copyright act (\"dmca\")." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In both cases, this weirdly Orwellian law was invoked to control the spread " +"of information. The Digital Millennium Copyright Act made spreading such " +"information an offense." +msgstr "" +"i begge tilfeller ble denne nifs orwellian loven startet for Ã¥ kontrollere " +"spredningen av informasjon. digital millennium copyright act gjort sprer seg " +"slik informasjon en krenkelser." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The DMCA was enacted as a response to copyright owners' first fear about " +"cyberspace. The fear was that copyright control was effectively dead; the " +"response was to find technologies that might compensate. These new " +"technologies would be copyright protection technologies— technologies " +"to control the replication and distribution of copyrighted material. They " +"were designed as <emphasis>code</emphasis> to modify the original " +"<emphasis>code</emphasis> of the Internet, to reestablish some protection " +"for copyright owners." +msgstr "" +"dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes fÃ¸rste frykt om " +"cyberspace. frykt var at opphavsrett kontroll var effektivt dÃ¸d; svaret var " +"Ã¥ finne teknologier som kan kompensere. disse nye teknologiene ville vÃ¦re " +"opphavsrettsbeskyttelse teknologier—teknologier for Ã¥ kontrollere " +"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble " +"utviklet som kode for Ã¥ endre den opprinnelige koden for Internett, for Ã¥ " +"gjenopprette noe beskyttelse for eiere av opphavsretter." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The DMCA was a bit of law intended to back up the protection of this code " +"designed to protect copyrighted material. It was, we could say, " +"<emphasis>legal code</emphasis> intended to buttress <emphasis>software " +"code</emphasis> which itself was intended to support the <emphasis>legal " +"code of copyright</emphasis>." +msgstr "" +"dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " +"koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " +"var vi kunne si, Juridisk Lisenstekst ment Ã¥ buttress programvarekode som " +"selv var ment Ã¥ stÃ¸tte Juridisk Lisenstekst av opphavsrett." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But the DMCA was not designed merely to protect copyrighted works to the " +"extent copyright law protected them. Its protection, that is, did not end at " +"the line that copyright law drew. The DMCA regulated devices that were " +"designed to circumvent copyright protection measures. It was designed to ban " +"those devices, whether or not the use of the copyrighted material made " +"possible by that circumvention would have been a copyright violation." +msgstr "" +"men dmca ble ikke utformet for bare Ã¥ beskytte opphavsrettslig beskyttet " +"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si " +"ikke slutten pÃ¥ linjen som trakk av lov om opphavsrett. dmca regulert " +"enheter som ble utviklet for Ã¥ omgÃ¥ opphavsrettsbeskyttelse tiltak. den ble " +"utformet for Ã¥ forby disse enheter, om bruk av opphavsrettslig materiale " +"gjort mulig ved at omgÃ¥else ville ha vÃ¦rt et brudd pÃ¥ opphavsretten." + +#. PAGE BREAK 169 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Aibopet.com and Felten make the point. The Aibo hack circumvented a " +"copyright protection system for the purpose of enabling the dog to dance " +"jazz. That enablement no doubt involved the use of copyrighted material. But " +"as aibopet.com's site was noncommercial, and the use did not enable " +"subsequent copyright infringements, there's no doubt that aibopet.com's hack " +"was fair use of Sony's copyrighted material. Yet fair use is not a defense " +"to the DMCA. The question is not whether the use of the copyrighted material " +"was a copyright violation. The question is whether a copyright protection " +"system was circumvented." +msgstr "" +"aibopet.com og felten gjÃ¸re punktet. det aibo banalisere omgikk et system " +"for opphavsrettsbeskyttelse for Ã¥ aktivere hunden Ã¥ danse jazz. at " +"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men " +"som aibopet.com's omrÃ¥det var ikke-kommersielt, og bruk ikke aktiverte " +"etterfÃ¸lgende opphavsrett infringements, er det ingen tvil om at aibopet.com " +"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. " +"rettferdig bruk er ennÃ¥ ikke krenkelser av dmca. spÃ¸rsmÃ¥let er ikke om bruk " +"av opphavsrettslig materiale var et brudd pÃ¥ opphavsretten. spÃ¸rsmÃ¥let er om " +"et system for opphavsrettsbeskyttelse var omgikk." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The threat against Felten was more attenuated, but it followed the same line " +"of reasoning. By publishing a paper describing how a copyright protection " +"system could be circumvented, the RIAA lawyer suggested, Felten himself was " +"distributing a circumvention technology. Thus, even though he was not " +"himself infringing anyone's copyright, his academic paper was enabling " +"others to infringe others' copyright." +msgstr "" +"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med " +"resonnement. ved Ã¥ publisere en papir som beskriver hvordan et system for " +"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslÃ¥tt, felten " +"selv var distribuere en omgÃ¥else-teknologi. SÃ¥ledes, selv om han ikke var " +"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre " +"til Ã¥ krenke andres opphavsrett." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Rogers, Fred" +msgstr "Rogers, Fred" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Conrad, Paul" +msgstr "Conrad, Paul" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by " +"Paul Conrad. At that time, a court in California had held that the VCR could " +"be banned because it was a copyright-infringing technology: It enabled " +"consumers to copy films without the permission of the copyright owner. No " +"doubt there were uses of the technology that were legal: Fred Rogers, aka " +"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified " +"in that case that he wanted people to feel free to tape Mr. Rogers' " +"Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av " +"paul conrad. pÃ¥ den tiden, en domstol i california hadde holdt at " +"videoopptakeren kan bli utestengt fordi det var en copyright-krenkende " +"teknologi: det aktivert forbrukere til Ã¥ 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 sÃ¥ " +"fall at han Ã¸nsket Ã¥ fremkalle gratis Ã¥ tape mr. rogers' neighborhood." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <citetitle>Sony Corporation of " +"America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., " +"464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the " +"VCR. See James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, " +"and the Onslaught of the VCR</citetitle> (New York: W. W. Norton, 1987), " +"270–71. <placeholder type=\"indexterm\" id=\"1\"/>" +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), 270Â71." + +#. type: Content of: <book><part><chapter><section><blockquote><para> +msgid "" +"Some public stations, as well as commercial stations, program the " +"<quote>Neighborhood</quote> at hours when some children cannot use it. I " +"think that it's a real service to families to be able to record such " +"programs and show them at appropriate times. I have always felt that with " +"the advent of all of this new technology that allows people to tape the " +"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the " +"<quote>Neighborhood</quote> because that's what I produce, that they then " +"become much more active in the programming of their family's television " +"life. Very frankly, I am opposed to people being programmed by others. My " +"whole approach in broadcasting has always been <quote>You are an important " +"person just the way you are. You can make healthy decisions.</quote> Maybe " +"I'm going on too long, but I just feel that anything that allows a person to " +"be more active in the control of his or her life, in a healthy way, is " +"important.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. PAGE BREAK 170 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Even though there were uses that were legal, because there were some uses " +"that were illegal, the court held the companies producing the VCR " +"responsible." +msgstr "" +"Selv om det var bruker som var juridiske, fordi det var noen bruksomrÃ¥der " +"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This led Conrad to draw the cartoon below, which we can adopt to the DMCA. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Dette fÃ¸rte conrad Ã¥ trekke tegneserie nedenfor, som vi kan vedta Ã¥ dmca." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "No argument I have can top this picture, but let me try to get close." +msgstr "" +"ingen argument jeg har kan topp dette bildet, men la meg prÃ¸ve Ã¥ komme nÃ¦r." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The anticircumvention provisions of the DMCA target copyright circumvention " +"technologies. Circumvention technologies can be used for different ends. " +"They can be used, for example, to enable massive pirating of copyrighted " +"material—a bad end. Or they can be used to enable the use of " +"particular copyrighted materials in ways that would be considered fair " +"use—a good end." +msgstr "" +"anticircumvention bestemmelsene i dmca mot opphavsrett omgÃ¥else teknologier. " +"omgÃ¥else teknologiene kan brukes for ulike ender. de kan brukes, for " +"eksempel Ã¥ aktivere massiv pirating av opphavsrettsbeskyttet materiale—" +"en dÃ¥rlig slutt. eller de kan brukes til Ã¥ aktivere bruken av bestemt " +"opphavsrettsbeskyttet materiale pÃ¥ mÃ¥ter som vil anses rimelig bruk—en " +"god slutt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "handguns" +msgstr "hÃ¥ndvÃ¥pen" + +#. PAGE BREAK 171 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"A handgun can be used to shoot a police officer or a child. Most would agree " +"such a use is bad. Or a handgun can be used for target practice or to " +"protect against an intruder. At least some would say that such a use would " +"be good. It, too, is a technology that has both good and bad uses." +msgstr "" +"en pistol kan brukes til Ã¥ skyte en politimann eller et barn. de fleste vil " +"vÃ¦re enige slik bruk er dÃ¥rlig. eller en pistol kan brukes for mÃ¥let " +"praksis, eller for Ã¥ beskytte mot en inntrenger. minst noen vil si at slik " +"bruk ville vÃ¦rt bra. det, ogsÃ¥, er en teknologi som har bÃ¥de gode og dÃ¥rlige " +"bruker." + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "VCR/handgun cartoon." +msgstr "" + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1711.png\"></graphic>" +msgstr "<graphic fileref=\"images/1711.png\"></graphic>" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The obvious point of Conrad's cartoon is the weirdness of a world where guns " +"are legal, despite the harm they can do, while VCRs (and circumvention " +"technologies) are illegal. Flash: <emphasis>No one ever died from copyright " +"circumvention</emphasis>. Yet the law bans circumvention technologies " +"absolutely, despite the potential that they might do some good, but permits " +"guns, despite the obvious and tragic harm they do." +msgstr "" +"den Ã¥penbare punkt conrad's tegneserie er weirdness av en verden der guns er " +"juridisk, til tross for skade som de kan gjÃ¸re, mens videospillere (og " +"omgÃ¥else teknologier) er ulovlig. Flash: ingen noensinne dÃ¸de fra " +"opphavsrett omgÃ¥else. ennÃ¥ forbud lov omgÃ¥else teknologier absolutt, til " +"tross for potensialet som de kan gjÃ¸re noe godt, men tillater vÃ¥pen, til " +"tross for den Ã¥penbare og tragisk skaden de gjÃ¸r." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Aibo and RIAA examples demonstrate how copyright owners are changing the " +"balance that copyright law grants. Using code, copyright owners restrict " +"fair use; using the DMCA, they punish those who would attempt to evade the " +"restrictions on fair use that they impose through code. Technology becomes a " +"means by which fair use can be erased; the law of the DMCA backs up that " +"erasing." +msgstr "" +"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som " +"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter " +"fair use; bruker dmca, straffe de de som vil forsÃ¸ke Ã¥ unngÃ¥ begrensningene " +"pÃ¥ rimelig bruk som de innfÃ¸re gjennom koden. teknologien blir et middel som " +"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " +"controls built into the technology of copy and access protection become " +"rules the violation of which is also a violation of the law. In this way, " +"the code extends the law—increasing its regulation, even if the " +"subject it regulates (activities that would otherwise plainly constitute " +"fair use) is beyond the reach of the law. Code becomes law; code extends the " +"law; code thus extends the control that copyright owners effect—at " +"least for those copyright holders with the lawyers who can write the nasty " +"letters that Felten and aibopet.com received." +msgstr "" +"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " +"for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " +"pÃ¥ loven. pÃ¥ denne mÃ¥ten utvider koden loven—Ã¸ke sin regulering, selv " +"om emnet den regulerer (aktiviteter som ellers tydelig utgjÃ¸r rimelig bruk) " +"er utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode " +"dermed utvider kontrollen som eiere av opphavsretter effekt—minst for " +"de innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene " +"som felten og aibopet.com som er mottatt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There is one final aspect of the interaction between architecture and law " +"that contributes to the force of copyright's regulation. This is the ease " +"with which infringements of the law can be detected. For contrary to the " +"rhetoric common at the birth of cyberspace that on the Internet, no one " +"knows you're a dog, increasingly, given changing technologies deployed on " +"the Internet, it is easy to find the dog who committed a legal wrong. The " +"technologies of the Internet are open to snoops as well as sharers, and the " +"snoops are increasingly good at tracking down the identity of those who " +"violate the rules." +msgstr "" +"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til " +"styrken av copyright's regulering. Dette er enkelt som infringements av " +"loven som kan oppdages. for i motsetning til retorikken felles fÃ¸dselen av " +"cyberspace at pÃ¥ Internett, ingen vet du er en hunden, i Ã¸kende grad er gitt " +"skiftende teknologier som er deployert pÃ¥ Internett, det enkelt Ã¥ finne " +"hunden som har begÃ¥tt en juridisk feil. teknologien av Internett er Ã¥pne for " +"snoops, sÃ¥ vel som brukere, og snoops er stadig gode pÃ¥ sporing ned " +"identiteten til de som bryter reglene." + +#. f24 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal " +"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> " +"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 " +"(1997): 651." +msgstr "" +"for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-" +"fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles " +"underholdning law journal 17 (1997): 651." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " +"club. You gathered every month to share trivia, and maybe to enact a kind of " +"fan fiction about the show. One person would play Spock, another, Captain " +"Kirk. The characters would begin with a plot from a real story, then simply " +"continue it.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Before the Internet, this was, in effect, a totally unregulated activity. " +"No matter what happened inside your club room, you would never be interfered " +"with by the copyright police. You were free in that space to do as you " +"wished with this part of our culture. You were allowed to build on it as you " +"wished without fear of legal control." +msgstr "" +"fÃ¸r 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 Ã¥ gjÃ¸re som du vil. med denne delen " +"av vÃ¥r kultur. du ble tillatt Ã¥ bygge videre pÃ¥ det som du selv Ã¸nsker, uten " +"frykt for juridisk kontroll." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But if you moved your club onto the Internet, and made it generally " +"available for others to join, the story would be very different. Bots " +"scouring the Net for trademark and copyright infringement would quickly find " +"your site. Your posting of fan fiction, depending upon the ownership of the " +"series that you're depicting, could well inspire a lawyer's threat. And " +"ignoring the lawyer's threat would be extremely costly indeed. The law of " +"copyright is extremely efficient. The penalties are severe, and the process " +"is quick." +msgstr "" +"men hvis du har flyttet din klubb til Internett, og gjorde det vanligvis " +"tilgjengelig for andre til Ã¥ delta, historien ville vÃ¦re svÃ¦rt forskjellige. " +"robotsÃ¸keprogrammer scouring nettet for varemerke- og copyright infringement " +"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av " +"eierskap av serien som du som viser, kan ogsÃ¥ inspirere en advokat trussel. " +"og ignorerer den advokat trussel ville vÃ¦re uhyre kostbart faktisk. loven om " +"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er " +"rask." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This change in the effective force of the law is caused by a change in the " +"ease with which the law can be enforced. That change too shifts the law's " +"balance radically. It is as if your car transmitted the speed at which you " +"traveled at every moment that you drove; that would be just one step before " +"the state started issuing tickets based upon the data you transmitted. That " +"is, in effect, what is happening here." +msgstr "" +"Denne endringen i effektiv makt i loven er forÃ¥rsaket av en endring i lett " +"som kan hÃ¥ndheves loven. at endringen ogsÃ¥ skifter loven er balansere " +"radikalt. Det er som om bilen overfÃ¸res hastigheten som du reist pÃ¥ hvert " +"Ã¸yeblikk som du kjÃ¸rte; det ville vÃ¦re bare ett trinn fÃ¸r staten begynte Ã¥ " +"utstede billetter basert pÃ¥ dataene du har overfÃ¸rt. det vil si, hva som " +"skjer her." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Market: Concentration" +msgstr "Marked: Konsentrasjon" + +#. PAGE BREAK 173 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"So copyright's duration has increased dramatically—tripled in the past " +"thirty years. And copyright's scope has increased as well—from " +"regulating only publishers to now regulating just about everyone. And " +"copyright's reach has changed, as every action becomes a copy and hence " +"presumptively regulated. And as technologists find better ways to control " +"the use of content, and as copyright is increasingly enforced through " +"technology, copyright's force changes, too. Misuse is easier to find and " +"easier to control. This regulation of the creative process, which began as a " +"tiny regulation governing a tiny part of the market for creative work, has " +"become the single most important regulator of creativity there is. It is a " +"massive expansion in the scope of the government's control over innovation " +"and creativity; it would be totally unrecognizable to those who gave birth " +"to copyright's control." +msgstr "" +"Slik copyright's varighet har Ã¸kt dramatisk—tredoblet de siste tretti " +"Ã¥rene. og copyright's omfang har Ã¸kt samt—fra regulerer bare utgivere " +"Ã¥ regulere nÃ¥ omtrent alle. og copyright's rekkevidde har endret, som hver " +"handling blir en kopi og dermed presumptively regulert. og som " +"Teknologorganisasjon finne bedre mÃ¥ter Ã¥ kontrollere bruken av innhold, og " +"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft " +"endringer, ogsÃ¥. misbruk er enklere Ã¥ finne og enklere Ã¥ 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 Ã¸kning i " +"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville " +"vÃ¦re helt ugjenkjennelige til de som fÃ¸dte copyright's kontroll." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Still, in my view, all of these changes would not matter much if it weren't " +"for one more change that we must also consider. This is a change that is in " +"some sense the most familiar, though its significance and scope are not well " +"understood. It is the one that creates precisely the reason to be concerned " +"about all the other changes I have described." +msgstr "" +"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det " +"ikke var for en enda en endring som mÃ¥ vi ogsÃ¥ vurdere. Dette er en endring " +"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er " +"godt forstÃ¥tt. Det er den som oppretter nettopp grunnen til Ã¥ vÃ¦re bekymret " +"for alle andre endringer jeg har beskrevet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is the change in the concentration and integration of the media. In " +"the past twenty years, the nature of media ownership has undergone a radical " +"alteration, caused by changes in legal rules governing the media. Before " +"this change happened, the different forms of media were owned by separate " +"media companies. Now, the media is increasingly owned by only a few " +"companies. Indeed, after the changes that the FCC announced in June 2003, " +"most expect that within a few years, we will live in a world where just " +"three companies control more than percent of the media." +msgstr "" +"Dette er endring i konsentrasjon og integrering av media. i de siste tjue " +"Ã¥rene, har natur av media eierskapet gjennomgÃ¥tt en radikal endring, " +"forÃ¥rsaket av endringer i juridiske reglene som styrer media. fÃ¸r denne " +"endringen skjedde, var de ulike formene for media eid av egen media " +"selskapene. media eies nÃ¥, i Ã¸kende grad av bare et par selskaper. faktisk, " +"etter endringene som fcc annonsert i juni 2003, mest forventer at innen fÃ¥ " +"Ã¥r vil vi lever i en verden der bare tre selskaper kontrollere mer enn " +"prosent av media." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"These changes are of two sorts: the scope of concentration, and its nature." +msgstr "" +"Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "BMG" +msgstr "BMG" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "EMI" +msgstr "EMI" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "McCain, John" +msgstr "McCain, John" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Universal Music Group" +msgstr "Universal music group" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "Warner Music Group" +msgstr "Warner music group" + +#. f25 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"FCC Oversight: Hearing Before the Senate Commerce, Science and " +"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement " +"of Senator John McCain)." +msgstr "" +"FCC oversight: hÃ¸ring fÃ¸r Senatet commerce, science and transport komiteen, " +"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)." + +#. f26 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to " +"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002." +msgstr "" +"lynette holloway, \"til tross for en markedsfÃ¸ring blitz cd salg fortsette Ã¥ " +"skyve,\" new york times, 23 desember 2002." + +#. f27 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> " +"<citetitle>Charleston Gazette</citetitle>, 31 May 2003." +msgstr "" +"Molly ivins, \"media konsolidering mÃ¥ stoppes,\" charleston gazette, 31 kan " +"2003." + +#. type: Content of: <book><part><chapter><section><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, " +"<quote>five companies control 85 percent of our media sources.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> The five recording labels of " +"Universal Music Group, BMG, Sony Music Entertainment, Warner Music Group, " +"and EMI control 84.8 percent of the U.S. music market.<placeholder type=" +"\"footnote\" id=\"1\"/> The <quote>five largest cable companies pipe " +"programming to 74 percent of the cable subscribers nationwide.</" +"quote><placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" + +#. PAGE BREAK 174 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The story with radio is even more dramatic. Before deregulation, the " +"nation's largest radio broadcasting conglomerate owned fewer than seventy-" +"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 " +"stations. During that period of consolidation, the total number of radio " +"owners dropped by 34 percent. Today, in most markets, the two largest " +"broadcasters control 74 percent of that market's revenues. Overall, just " +"four companies control 90 percent of the nation's radio advertising revenues." +msgstr "" +"historien med radio er enda mer dramatisk. fÃ¸r dereguleringen, landets " +"stÃ¸rste radio sendinger konglomerat eid fÃ¦rre 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 stÃ¸rste broadcasters 74 prosent av dette " +"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets " +"radio annonsering inntekter." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Newspaper ownership is becoming more concentrated as well. Today, there are " +"six hundred fewer daily newspapers in the United States than there were " +"eighty years ago, and ten companies control half of the nation's " +"circulation. There are twenty major newspaper publishers in the United " +"States. The top ten film studios receive 99 percent of all film revenue. The " +"ten largest cable companies account for 85 percent of all cable revenue. " +"This is a market far from the free press the framers sought to protect. " +"Indeed, it is a market that is quite well protected— by the market." +msgstr "" +"avisen eierskap er i ferd med Ã¥ bli mer konsentrert ogsÃ¥. i dag, er det seks " +"hundre fÃ¦rre daglige aviser i USA enn det var Ã¥tti Ã¥r 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 " +"stÃ¸rste kabelselskaper konto for 85 prosent av alle inntekter for kabel. " +"Dette er et marked langt fra fri presse underskrev sÃ¸kt Ã¥ beskytte. Det er " +"faktisk et marked som er svÃ¦rt godt beskyttet—av markedet." + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Fallows, James" +msgstr "Fallows, James" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Concentration in size alone is one thing. The more invidious change is in " +"the nature of that concentration. As author James Fallows put it in a recent " +"article about Rupert Murdoch, <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"konsentrasjon i stÃ¸rrelse alene er Ã©n ting. mer invidious endringen er i " +"natur at konsentrasjon. som forfatter james fallows sette den i en fersk " +"artikkel om rupert murdoch," + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic " +"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " +"id=\"0\"/>" +msgstr "" +"James Fallows, <quote>The Age of Murdoch</quote>, <citetitle>Atlantic " +"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The pattern with Murdoch is the pattern of modern media. Not just large " +"companies owning many radio stations, but a few companies owning as many " +"outlets of media as possible. A picture describes this pattern better than a " +"thousand words could do:" +msgstr "" +"mÃ¸nsteret med murdoch er mÃ¸nsteret av moderne medier. ikke bare store " +"selskaper Ã¥ eie mange radiostasjoner, men noen selskaper Ã¥ eie sÃ¥ mange " +"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjÃ¸re " +"dette mÃ¸nsteret:" + +#. type: Content of: <book><part><chapter><section><figure><title> +msgid "Pattern of modern media ownership." +msgstr "MÃ¸nster for moderne mediaeierskap." + +#. type: Content of: <book><part><chapter><section><figure> +msgid "<graphic fileref=\"images/1761.png\"></graphic>" +msgstr "<graphic fileref=\"images/1761.png\"></graphic>" + +#. PAGE BREAK 175 +#. type: Content of: <book><part><chapter><section><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 "" +"Betyr denne konsentrasjonen noe? PÃ¥virker det hva som blir laget, eller hva " +"som blir distribuert? Eller er det bare en mer effektiv mÃ¥te Ã¥ produsere og " +"distribuere innhold?" + +#. type: Content of: <book><part><chapter><section><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 "" +"Mitt syn var at konsentrasjonen ikke betÃ¸d noe. Jeg tenkte det ikke var noe " +"mer enn en mer effektiv finansiell struktur. Men nÃ¥, etter Ã¥ ha lest og " +"hÃ¸rt pÃ¥ en haug av skapere prÃ¸ve Ã¥ overbevise meg om det motsatte, har jeg " +"begynt Ã¥ endre mening." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Here's a representative story that begins to suggest how this integration " +"may matter." +msgstr "" +"Her er en representativ historie som kan foreslÃ¥ hvorfor denne integreringen " +"er viktig." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Lear, Norman" +msgstr "Lear, Norman" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "All in the Family" +msgstr "alle i familien" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</" +"citetitle>. He took the pilot to ABC. The network didn't like it. It was too " +"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy " +"than the first. ABC was exasperated. You're missing the point, they told " +"Lear. We wanted less edgy, not more." +msgstr "" +"I 1969 laget Norman Lear en polit for <citetitle>All in the Family</" +"citetitle>. Han tok piloten til ABC, og nettverket likte det ikke. Da sa " +"til Lear at det var for pÃ¥ kanten. GjÃ¸r det om igjen. Lear lagde piloten pÃ¥ " +"nytt, mer pÃ¥ kanten enn den fÃ¸rste. ABC ble fra seg. Du fÃ¥r ikke med deg " +"poenget, fortalte de Lear. Vi vil ha det mindre pÃ¥ kanten, ikke mer." + +#. f29 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum " +"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> " +"St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the " +"Lear story, not included in the prepared remarks, see <ulink url=\"http://" +"free-culture.cc/notes/\">link #29</ulink>)." +msgstr "" + +#. type: Content of: <book><part><chapter><section><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 "" +"I stedet for Ã¥ fÃ¸ye seg, to Lear ganske enkelt serien sin til noen andre. " +"CBS var glad for Ã¥ ha seriene, og ABC kunne ikke stoppe Lear fra Ã¥ gÃ¥ til " +"andre. Opphavsretten som Lear hadde sikret uavhengighet fra nettverk-" +"kontroll.<placeholder type=\"footnote\" id=\"0\"/>" + +#. PAGE BREAK 176 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The network did not control those copyrights because the law forbade the " +"networks from controlling the content they syndicated. The law required a " +"separation between the networks and the content producers; that separation " +"would guarantee Lear freedom. And as late as 1992, because of these rules, " +"the vast majority of prime time television—75 percent of it—was " +"<quote>independent</quote> of the networks." +msgstr "" +"nettverket ikke kontrollere mâÃte av opphavsrettighetene fordi lov forbÃ¸d " +"nettverk fra controlling the content de skal grupperes. loven kreves et " +"skille mellom nettverkene og innhold produsenter; at separasjon ville " +"garantere lear frihet. og sÃ¥ sent som i 1992, pÃ¥ grunn av disse reglene, det " +"store flertallet av prime-time TV—75 prosent av det—var " +"\"uavhengige\" av nettverk." + +#. f30 +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><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. <quote>In 1992, only 15 percent of " +"new series were produced for a network by a company it controlled. Last " +"year, the percentage of shows produced by controlled companies more than " +"quintupled to 77 percent.</quote> <quote>In 1992, 16 new series were " +"produced independently of conglomerate control, last year there was one.</" +"quote><placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime " +"time television was owned by the networks that ran it. <quote>In the ten-" +"year period between 1992 and 2002, the number of prime time television hours " +"per week produced by network studios increased over 200%, whereas the number " +"of prime time television hours per week produced by independent studios " +"decreased 63%.</quote><placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Today, another Norman Lear with another <citetitle>All in the Family</" +"citetitle> would find that he had the choice either to make the show less " +"edgy or to be fired: The content of any show developed for a network is " +"increasingly owned by the network." +msgstr "" +"i dag, en annen norman lear med en annen alle i familien ville finne at han " +"mÃ¥tte velge Ã¥ gjÃ¸re showet mindre irritabel eller sparken: innholdet i et " +"hvilket som helst Vis utviklet for et nettverk er i Ã¸kende grad eid av " +"nettverket." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Diller, Barry" +msgstr "Diller, Barry" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Moyers, Bill" +msgstr "Moyers, Bill" + +#. type: Content of: <book><part><chapter><section><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 Ã¸kt dramatisk, har eierskapet til disse kanalene " +"snevret inn fra fÃ¥ til stadig fÃ¦rre. Som Barry Diller sa til Bill Moyers," + +#. f32 +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with " +"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>." +msgstr "" +"<quote>Barry Diller Takes on Media Deregulation</quote>, <citetitle>Now with " +"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, redigert avskrift " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #31</" +"ulink>." + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This narrowing has an effect on what is produced. The product of such large " +"and concentrated networks is increasingly homogenous. Increasingly safe. " +"Increasingly sterile. The product of news shows from networks like this is " +"increasingly tailored to the message the network wants to convey. This is " +"not the communist party, though from the inside, it must feel a bit like the " +"communist party. No one can question without risk of consequence—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 pÃ¥ 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 Ã¸nsker Ã¥ formidle. Dette er ikke det " +"kommunistiske parten, selv om fra innsiden, mÃ¥ det fÃ¸les litt som det " +"kommunistiske parten. Ingen kan spÃ¸rsmÃ¥let uten risiko for konsekvens—" +"ikke nÃ¸dvendigvis banishment til Sibir, men straff likevel. uavhengige, " +"kritiske, forskjellige visninger er Ã¸dela. Dette er ikke miljÃ¸ for et " +"demokrati." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Clark, Kim B." +msgstr "Clark, Kim B." + +#. f33 +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " +"Revolutionary National Bestseller that Changed the Way We Do Business</" +"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen " +"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. " +"Clark, <quote>The Interaction of Design Hierarchies and Market Concepts in " +"Technological Evolution,</quote> <citetitle>Research Policy</citetitle> 14 " +"(1985): 235–51. For a more recent study, see Richard Foster and Sarah " +"Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to " +"Last Underperform the Market—and How to Successfully Transform Them</" +"citetitle> (New York: Currency/Doubleday, 2001)." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Economics itself offers a parallel that explains why this integration " +"affects creativity. Clay Christensen has written about the " +"<quote>Innovator's Dilemma</quote>: the fact that large traditional firms " +"find it rational to ignore new, breakthrough technologies that compete with " +"their core business. The same analysis could help explain why large, " +"traditional media companies would find it rational to ignore new cultural " +"trends.<placeholder type=\"footnote\" id=\"0\"/> Lumbering giants not only " +"don't, but should not, sprint. Yet if the field is only open to the giants, " +"there will be far too little sprinting. <placeholder type=\"indexterm\" id=" +"\"1\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I don't think we know enough about the economics of the media market to say " +"with certainty what concentration and integration will do. The efficiencies " +"are important, and the effect on culture is hard to measure." +msgstr "" +"Jeg tror ikke vi vet nok om Ã¸konomien i media markedet Ã¥ si med sikkerhet " +"hva konsentrasjon og integrering vil gjÃ¸re. effektiviteten er viktig, og " +"effekten pÃ¥ kultur er vanskelig Ã¥ mÃ¥le." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But there is a quintessentially obvious example that does strongly suggest " +"the concern." +msgstr "men det er en typiske Ã¥penbare eksempel som sterkt at bekymringen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In addition to the copyright wars, we're in the middle of the drug wars. " +"Government policy is strongly directed against the drug cartels; criminal " +"and civil courts are filled with the consequences of this battle." +msgstr "" +"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. " +"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker " +"og sivile domstolene er fylt med konsekvensene av denne kampen." + +#. PAGE BREAK 178 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Let me hereby disqualify myself from any possible appointment to any " +"position in government by saying I believe this war is a profound mistake. I " +"am not pro drugs. Indeed, I come from a family once wrecked by drugs—" +"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 Ã¥ 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 sÃ¥ stor at gjÃ¸re fÃ¸re krig galskap. " +"NÃ¥r du legger til sammen byrdene pÃ¥ det strafferettslige systemet, " +"desperasjon generasjoner av barna som har bare ekte Ã¸konomiske muligheter er " +"som narkotika krigere, queering av konstitusjonelle vern pÃ¥ grunn av " +"konstant overvÃ¥king krever at denne krigen, og, mest dypt total Ã¸deleggelse " +"av juridiske systemer av mange sÃ¸ramerikanske land pÃ¥ grunn av kraften i " +"lokale stoffet cartelsJeg finner det umulig Ã¥ tro at marginal nytte i " +"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse " +"kostnadene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"You may not be convinced. That's fine. We live in a democracy, and it is " +"through votes that we are to choose policy. But to do that, we depend " +"fundamentally upon the press to help inform Americans about these issues." +msgstr "" +"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og " +"det er gjennom stemmer at vi skal velge policyen. men for Ã¥ gjÃ¸re det, vi " +"avhengig fundamentalt pressen for Ã¥ informere amerikanerne om disse " +"problemene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Beginning in 1998, the Office of National Drug Control Policy launched a " +"media campaign as part of the <quote>war on drugs.</quote> The campaign " +"produced scores of short film clips about issues related to illegal drugs. " +"In one series (the Nick and Norm series) two men are in a bar, discussing " +"the idea of legalizing drugs as a way to avoid some of the collateral damage " +"from the war. One advances an argument in favor of drug legalization. The " +"other responds in a powerful and effective way against the argument of the " +"first. In the end, the first guy changes his mind (hey, it's television). " +"The plug at the end is a damning attack on the pro-legalization campaign." +msgstr "" +"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 Ã©n serie (nick og normen-serie) to menn er i en bar, diskuterer " +"idÃ©en om legalizing narkotika som en mÃ¥te Ã¥ unngÃ¥ noen av " +"sikkerhetsstillelse skade fra krigen. en avanserer et argument for narkotika " +"legalization. de andre svarer pÃ¥ en kraftig og effektiv mÃ¥te mot argumentet " +"av fÃ¸rste. til slutt, den fÃ¸rste mann forandrer mening (Hei, det er TV). " +"pluggen pÃ¥ slutten er en damning angrep pÃ¥ pro-legalization kampanjen." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Fair enough. It's a good ad. Not terribly misleading. It delivers its " +"message well. It's a fair and reasonable message." +msgstr "" +"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding " +"godt. Det er en rettferdig og rimelig melding." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But let's say you think it is a wrong message, and you'd like to run a " +"countercommercial. Say you want to run a series of ads that try to " +"demonstrate the extraordinary collateral harm that comes from the drug war. " +"Can you do it?" +msgstr "" +"men la oss si at du tror det er en feil melding, og du Ã¸nsker Ã¥ kjÃ¸re en " +"countercommercial. si du vil kjÃ¸re en rekke annonser som prÃ¸ver Ã¥ " +"demonstrere den ekstraordinÃ¦re sikkerhetsstillelse skaden som kommer fra " +"stoffet krigen. kan du gjÃ¸re det?" + +#. PAGE BREAK 179 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Well, obviously, these ads cost lots of money. Assume you raise the money. " +"Assume a group of concerned citizens donates all the money in the world to " +"help you get your message out. Can you be sure your message will be heard " +"then?" +msgstr "" +"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve " +"penger. Anta at en gruppe av berÃ¸rte borgere donerer alle pengene i verden " +"for Ã¥ hjelpe deg Ã¥ fÃ¥ budskapet. kan du vÃ¦re sikker pÃ¥ at meldingen vil " +"deretter bli hÃ¸rt?" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Comcast" +msgstr "Comcast" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "Marijuana Policy Project" +msgstr "marihuana policy project" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "NBC" +msgstr "NBC" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "WJOA" +msgstr "WJOA" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "WRC" +msgstr "WRC" + +#. type: Content of: <book><part><chapter><section><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 <quote>against [their] " +"policy.</quote> The local NBC affiliate, WRC, rejected the ads without " +"reviewing them. The local ABC affiliate, WJOA, originally agreed to run the " +"ads and accepted payment to do so, but later decided not to run the ads and " +"returned the collected fees. Interview with Neal Levine, 15 October 2003. " +"These restrictions are, of course, not limited to drug policy. See, for " +"example, Nat Ives, <quote>On the Issue of an Iraq War, Advocacy Ads Meet " +"with Rejection from TV Networks,</quote> <citetitle>New York Times</" +"citetitle>, 13 March 2003, C4. Outside of election-related air time there " +"is very little that the FCC or the courts are willing to do to even the " +"playing field. For a general overview, see Rhonda Brown, <quote>Ad Hoc " +"Access: The Regulation of Editorial Advertising on Television and Radio,</" +"quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): " +"449–79, and for a more recent summary of the stance of the FCC and the " +"courts, see <citetitle>Radio-Television News Directors Association</" +"citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872 (D.C. Cir. 1999). " +"Municipal authorities exercise the same authority as the networks. In a " +"recent example from San Francisco, the San Francisco transit authority " +"rejected an ad that criticized its Muni diesel buses. Phillip Matier and " +"Andrew Ross, <quote>Antidiesel Group Fuming After Muni Rejects Ad,</quote> " +"SFGate.com, 16 June 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #32</ulink>. The ground was that the criticism was <quote>too " +"controversial.</quote> <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=" +"\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/> " +"<placeholder type=\"indexterm\" id=\"6\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"No. You cannot. Television stations have a general policy of avoiding " +"<quote>controversial</quote> ads. Ads sponsored by the government are deemed " +"uncontroversial; ads disagreeing with the government are controversial. " +"This selectivity might be thought inconsistent with the First Amendment, but " +"the Supreme Court has held that stations have the right to choose what they " +"run. Thus, the major channels of commercial media will refuse one side of a " +"crucial debate the opportunity to present its case. And the courts will " +"defend the rights of the stations to be this biased.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +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 vÃ¦re glad for Ã¥ 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 hÃ¥ndfull selskaper kontrollere " +"tilgangen til media, og at hÃ¥ndfull selskaper kommer til Ã¥ bestemme hvilke " +"politiske holdninger som den gjÃ¸r det mulig Ã¥ bli forfremmet pÃ¥ sine " +"kanaler, sÃ¥ i en Ã¥penbare og viktig mÃ¥te, konsentrasjon teller. du kanskje " +"liker posisjoner hÃ¥ndfull selskaper velger. men du bÃ¸r ikke liker en verden " +"der bare en noen kommer til Ã¥ bestemme hvilke problemer med resten av oss fÃ¥ " +"vite om." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Together" +msgstr "Sammen" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"There is something innocent and obvious about the claim of the copyright " +"warriors that the government should <quote>protect my property.</quote> In " +"the abstract, it is obviously true and, ordinarily, totally harmless. No " +"sane sort who is not an anarchist could disagree." +msgstr "" +"Det er noe uskyldig og Ã¥penbar om kravet om opphavsrett warriors at " +"regjeringen bÃ¸r \"beskytte min egenskapen.\" i abstrakt, det er Ã¥penbart " +"sann og, vanligvis helt ufarlig. Ingen forstandig sortering som ikke er en " +"Anarkisten kan uenige." + +#. PAGE BREAK 180 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But when we see how dramatically this <quote>property</quote> 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 <quote>property</quote> rights granted by copyright fundamentally " +"changes the freedom within this culture to cultivate and build upon our " +"past, then we have to ask whether this property should be redefined." +msgstr "" +"men nÃ¥r vi ser hvor dramatisk denne \"property\" er endret—nÃ¥r vi " +"innser hvor den kan nÃ¥ kommunisere med bÃ¥de teknologi og markeder Ã¥ bety at " +"effektiv begrensningen pÃ¥ den frihet Ã¥ dyrke vÃ¥r kultur er dramatisk " +"annerledes—kravet begynner Ã¥ synes mindre uskyldig og Ã¥penbar. gitt " +"(1) den kraftige teknologi til Ã¥ supplere lovens kontroll, og (2) makt " +"konsentrert markeder for Ã¥ svekke muligheten for dissens, hvis strengt " +"hÃ¥ndheve massivt utvidet \"property\"-rettigheter som er gitt av copyright " +"fundamentalt endres frihet i denne kulturen til Ã¥ dyrke og bygge pÃ¥ vÃ¥r " +"fortid, sÃ¥ mÃ¥ vi spÃ¸rre om denne egenskapen skal defineres." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Not starkly. Or absolutely. My point is not that we should abolish copyright " +"or go back to the eighteenth century. That would be a total mistake, " +"disastrous for the most important creative enterprises within our culture " +"today." +msgstr "" +"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bÃ¸r avskaffe " +"copyright eller gÃ¥ tilbake til 1700-tallet. det ville vÃ¦re en totalt feil, " +"katastrofalt for de viktigste kreative bedriftene i vÃ¥r kultur i dag." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But there is a space between zero and one, Internet culture " +"notwithstanding. And these massive shifts in the effective power of " +"copyright regulation, tied to increased concentration of the content " +"industry and resting in the hands of technology that will increasingly " +"enable control over the use of culture, should drive us to consider whether " +"another adjustment is called for. Not an adjustment that increases " +"copyright's power. Not an adjustment that increases its term. Rather, an " +"adjustment to restore the balance that has traditionally defined copyright's " +"regulation—a weakening of that regulation, to strengthen creativity." +msgstr "" +"men det er et mellomrom mellom null og Ã©n, Internett-kultur til tross for. " +"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet " +"til Ã¸kt konsentrasjon av innhold industrien og hvile i hendene pÃ¥ teknologi " +"som i Ã¸kende grad vil aktivere kontroll over bruken av kultur, bÃ¸r kjÃ¸re oss " +"til Ã¥ vurdere om en annen justering kalles for. ikke en justering som Ã¸ker " +"copyright's strÃ¸m. ikke en justering som Ã¸ker sin sikt. snarere en justering " +"for Ã¥ gjenopprette balansen som tradisjonelt har definert copyright's " +"regulering—en svekkelse av den reguleringen, Ã¥ styrke kreativitet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Copyright law has not been a rock of Gibraltar. It's not a set of constant " +"commitments that, for some mysterious reason, teenagers and geeks now flout. " +"Instead, copyright power has grown dramatically in a short period of time, " +"as the technologies of distribution and creation have changed and as " +"lobbyists have pushed for more control by copyright holders. Changes in the " +"past in response to changes in technology suggest that we may well need " +"similar changes in the future. And these changes have to be " +"<emphasis>reductions</emphasis> in the scope of copyright, in response to " +"the extraordinary increase in control that technology and the market enable." +msgstr "" +"lov om opphavsrett har ikke vÃ¦rt en rock of gibraltar. Det er ikke et sett " +"med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " +"geeks nÃ¥ 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 pÃ¥ at vi kan godt trenger " +"lignende endringer i fremtiden. og disse endringene mÃ¥ vÃ¦re reduksjoner i " +"omfanget av opphavsrett, svar pÃ¥ det ekstraordinÃ¦re Ã¸kning i kontrollen som " +"teknologi og markedet aktivere." + +#. PAGE BREAK 181 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"For the single point that is lost in this war on pirates is a point that we " +"see only after surveying the range of these changes. When you add together " +"the effect of changing law, concentrated markets, and changing technology, " +"together they produce an astonishing conclusion: <emphasis>Never in our " +"history have fewer had a legal right to control more of the development of " +"our culture than now</emphasis>." +msgstr "" +"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi " +"ser bare etter kartlegging pÃ¥ rekke disse endringene. NÃ¥r du legger sammen " +"til effekten av Ã¥ endre loven, konsentrert markeder, og endre teknologien, " +"sammen de produserer en forblÃ¸ffende konklusjon: aldri i vÃ¥r historie har " +"fÃ¦rre hadde en lovfestet rett til Ã¥ styre flere av utviklingen av vÃ¥r kultur " +"enn nÃ¥." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan captures a " +"similar point in his <quote>four surrenders</quote> of copyright law in the " +"digital age. See Vaidhyanathan, 159–60." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan fanger et " +"lignende poeng i hans <quote>fire kapitulasjoner</quote> for Ã¥ndsverksloven " +"i den digitale tidsalder. Se Vaidhyanathan, 159–60." + +#. type: Content of: <book><part><chapter><section><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. " +"<emphasis>Never</emphasis> has copyright protected such a wide range of " +"rights, against as broad a range of actors, for a term that was remotely as " +"long. This form of regulation—a tiny regulation of a tiny part of the " +"creative energy of a nation at the founding—is now a massive " +"regulation of the overall creative process. Law plus technology plus the " +"market now interact to turn this historically benign regulation into the " +"most significant regulation of culture that our free society has known." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point " +"can now be briefly stated." +msgstr "Dette har vÃ¦rt en lang kapittel. sitt punkt kan nÃ¥ kort oppgis." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"At the start of this book, I distinguished between commercial and " +"noncommercial culture. In the course of this chapter, I have distinguished " +"between copying a work and transforming it. We can now combine these two " +"distinctions and draw a clear map of the changes that copyright law has " +"undergone. In 1790, the law looked like this:" +msgstr "" +"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell " +"kultur. i lÃ¸pet av dette kapitlet, har jeg skilte mellom kopiere et arbeid " +"og transformerer det. Vi kan nÃ¥ kombinere disse to utmerkelser og tegne en " +"Fjern tilordning av endringene som har gjennomgÃ¥tt en lov om opphavsrett. i " +"1790, loven sÃ¥ ut som dette:" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "PUBLISH" +msgstr "Publisere" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "TRANSFORM" +msgstr "Omforme" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Commercial" +msgstr "Kommersiell" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "©" +msgstr "©" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Free" +msgstr "Fri" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "Noncommercial" +msgstr "Ikke-kommersiell" + +#. PAGE BREAK 182 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The act of publishing a map, chart, and book was regulated by copyright law. " +"Nothing else was. Transformations were free. And as copyright attached only " +"with registration, and only those who intended to benefit commercially would " +"register, copying through publishing of noncommercial work was also free." +msgstr "" +"loven av publisering pÃ¥ 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 Ã¥ gagne " +"kommersielt ville registrere, kopiere gjennom publisering av ikke-" +"kommersielt arbeid var ogsÃ¥ gratis." + +#. type: Content of: <book><part><chapter><section><para> +msgid "By the end of the nineteenth century, the law had changed to this:" +msgstr "" +"PÃ¥ slutten av det nittende Ã¥rhundre hadde loven blitt endret til dette:" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +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 nÃ¥ regulert av lov om opphavsrett—Hvis publisert, som " +"igjen, gitt Ã¸konomien i publisering pÃ¥ tiden, betyr hvis tilbudt " +"kommersielt. men ikke-kommersiell publisering og transformasjon var fortsatt " +"hovedsakelig gratis." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In 1909 the law changed to regulate copies, not publishing, and after this " +"change, the scope of the law was tied to technology. As the technology of " +"copying became more prevalent, the reach of the law expanded. Thus by 1975, " +"as photocopying machines became more common, we could say the law began to " +"look like this:" +msgstr "" +"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne " +"endringen omfanget av loven var knyttet til teknologi. som teknologi med Ã¥ " +"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, " +"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte Ã¥ se " +"slik ut:" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> +msgid "COPY" +msgstr "Kopiere" + +#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> +msgid "©/Free" +msgstr "©/Fri" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The law was interpreted to reach noncommercial copying through, say, copy " +"machines, but still much of copying outside of the commercial market " +"remained free. But the consequence of the emergence of digital technologies, " +"especially in the context of a digital network, means that the law now looks " +"like this:" +msgstr "" +"loven ble tolket for Ã¥ nÃ¥ reklamefrie kopiering gjennom, si, kopimaskiner, " +"men fortsatt mye med Ã¥ kopiere utenfor det kommersielle markedet vÃ¦rt " +"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i " +"sammenheng med en digital network, betyr at loven nÃ¥ ser slik ut:" + +#. PAGE BREAK 183 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Every realm is governed by copyright law, whereas before most creativity was " +"not. The law now regulates the full range of creativity— commercial or " +"not, transformative or not—with the same rules designed to regulate " +"commercial publishers." +msgstr "" +"hver riket er underlagt lov om opphavsrett, mens fÃ¸r de fleste kreativitet " +"ikke var. loven regulerer nÃ¥ hele omfanget av kreativitet—kommersielle " +"eller ikke, transformative eller ikke â med de samme reglene som er utformet " +"for Ã¥ regulere kommersielle utgivere." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Obviously, copyright law is not the enemy. The enemy is regulation that does " +"no good. So the question that we should be asking just now is whether " +"extending the regulations of copyright law into each of these domains " +"actually does any good." +msgstr "" +"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som " +"virker ikke godt. SÃ¥ spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre akkurat nÃ¥ er enten utvide " +"forskrifter om opphavsrett i hver av disse domenene faktisk gjÃ¸r noe bra." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I have no doubt that it does good in regulating commercial copying. But I " +"also have no doubt that it does more harm than good when regulating (as it " +"regulates just now) noncommercial copying and, especially, noncommercial " +"transformation. And increasingly, for the reasons sketched especially in " +"chapters <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> and " +"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, one " +"might well wonder whether it does more harm than good for commercial " +"transformation. More commercial transformative work would be created if " +"derivative rights were more sharply restricted." +msgstr "" +"Jeg har ingen tvil om at den gjÃ¸r bra i regulerer kommersielle kopiering. " +"men jeg har ingen tvil om at det gjÃ¸r mer skade enn bra nÃ¥r regulerer (som " +"den regulerer akkurat nÃ¥) ikke-kommersiell kopiering og, spesielt, ikke-" +"kommersiell transformasjon ogsÃ¥. og i Ã¸kende grad av Ã¥rsaker som skisserte " +"spesielt i kapitlene 7 og 8, en kan vel rart om det gjÃ¸r mer skade enn godt " +"for kommersielle transformasjon. mer kommersielt transformative arbeid vil " +"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "legal realist movement" +msgstr "juridiske realist bevegelse" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"It was the single most important contribution of the legal realist movement " +"to demonstrate that all property rights are always crafted to balance public " +"and private interests. See Thomas C. Grey, <quote>The Disintegration of " +"Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland " +"Pennock and John W. Chapman, eds. (New York: New York University Press, " +"1980). <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for Ã¥ " +"demonstrere at alle eiendomsrettigheter alltid er laget for Ã¥ balansere " +"offentlige og private interesser. se thomas c. grey, \"opplÃ¸sningen av " +"eiendom,\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, Red. " +"(new york: new york university press, 1980)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The issue is therefore not simply whether copyright is property. Of course " +"copyright is a kind of <quote>property,</quote> and of course, as with any " +"property, the state ought to protect it. But first impressions " +"notwithstanding, historically, this property right (as with all property " +"rights<placeholder type=\"footnote\" id=\"0\"/>) has been crafted to " +"balance the important need to give authors and artists incentives with the " +"equally important need to assure access to creative work. This balance has " +"always been struck in light of new technologies. And for almost half of our " +"tradition, the <quote>copyright</quote> did not control <emphasis>at all</" +"emphasis> the freedom of others to build upon or transform a creative work. " +"American culture was born free, and for almost 180 years our country " +"consistently protected a vibrant and rich free culture." +msgstr "" + +#. PAGE BREAK 184 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"We achieved that free culture because our law respected important limits on " +"the scope of the interests protected by <quote>property.</quote> The very " +"birth of <quote>copyright</quote> as a statutory right recognized those " +"limits, by granting copyright owners protection for a limited time only (the " +"story of chapter 6). The tradition of <quote>fair use</quote> is animated by " +"a similar concern that is increasingly under strain as the costs of " +"exercising any fair use right become unavoidably high (the story of chapter " +"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 oppnÃ¥dde at fri kultur fordi vÃ¥r lov respektert viktig begrensninger pÃ¥ " +"omfanget av interessene beskyttet av \"egenskapen.\" svÃ¦rt fÃ¸dselen av " +"\"copyright\" som en lovfestet rett gjenkjennes disse grensene, ved Ã¥ 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 Ã¥ utÃ¸ve noen rettferdig bruk hÃ¸yre " +"bli uunngÃ¥elig hÃ¸y (historien om kapittel 7). legge lovbestemte rettigheter " +"der markeder kan kveler innovasjon er en annen kjent grensen pÃ¥ eiendommen " +"hÃ¸yre at opphavsretten er (kapittel 8). og gi arkiver og biblioteker en bred " +"frihet til Ã¥ samle inn, pÃ¥stander om egenskapen tross, er en avgjÃ¸rende 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 svÃ¦rt forskjellig fra ekstremistgrupper visjonen som dominerer " +"debatten i dag." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Free culture is increasingly the casualty in this war on piracy. In response " +"to a real, if not yet quantified, threat that the technologies of the " +"Internet present to twentieth-century business models for producing and " +"distributing culture, the law and technology are being transformed in a way " +"that will undermine our tradition of free culture. The property right that " +"is copyright is no longer the balanced right that it was, or was intended to " +"be. The property right that is copyright has become unbalanced, tilted " +"toward an extreme. The opportunity to create and transform becomes weakened " +"in a world in which creation requires permission and creativity must check " +"with a lawyer." +msgstr "" +"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar pÃ¥ " +"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 pÃ¥ en mÃ¥te som vil " +"undergrave vÃ¥r tradisjon for fri kultur. eiendommen er copyright ikke lenger " +"rettigheten balansert som det var, eller var ment Ã¥ vÃ¦re. egenskapen akkurat " +"det vil si opphavsrett har blitt ubalansert, skrÃ¥stilt mot en ekstrem. " +"muligheten til Ã¥ opprette og transformere blir svekket i en verden der " +"oppretting krever tillatelse og kreativitet mÃ¥ kontrollere med en advokat." + +#. type: Content of: <book><part><title> +msgid "PUZZLES" +msgstr "NÃ¸tter" + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER ELEVEN: Chimera" +msgstr "Kapittel elleve: Fantasifoster" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "chimeras" +msgstr "fantasifoster/chimera" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Wells, H. G." +msgstr "Wells, H. G." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "<quote>Country of the Blind, The</quote> (Wells)" +msgstr "<quote>Country of the Blind, The</quote> (Wells)" + +#. f1. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See H. G. " +"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " +"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." +msgstr "" +"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). Se H. G. " +"Wells, <citetitle>The Country of the Blind and Other Stories</citetitle>, " +"Michael Sherborne, ed. (New York: Oxford University Press, 1996)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In a well-known</emphasis> short story by H. G. " +"Wells, a mountain climber named Nunez trips (literally, down an ice slope) " +"into an unknown and isolated valley in the Peruvian Andes.<placeholder type=" +"\"footnote\" id=\"0\"/> The valley is extraordinarily beautiful, with " +"<quote>sweet water, pasture, an even climate, slopes of rich brown soil with " +"tangles of a shrub that bore an excellent fruit.</quote> But the villagers " +"are all blind. Nunez takes this as an opportunity. <quote>In the Country of " +"the Blind,</quote> he tells himself, <quote>the One-Eyed Man is King.</" +"quote> So he resolves to live with the villagers to explore life as a king." +msgstr "" +"<emphasis role='strong'>I en velkjent</emphasis> novelle av H. G. Wells, " +"snublet en fjellklatrer ved navn Nunez ned en is-skrÃ¥ning inn i en ukjent og " +"isolert dal i de Peruanske Andesfjellene.<placeholder type=\"footnote\" id=" +"\"0\"/> Dalen er utrolig vakker, med <quote>friskt vann, *pasture*, et jevnt " +"klima og sletter med rik brun jord med *tangles* av buskas som bar en " +"utmerket frukt</quote>. Men landsbybeboerne er alle blinde. Nunez ser " +"dette som en mulighet. <quote>I de blindes rike</quote>, forteller han seg " +"selv, <quote>er den enÃ¸yde konge</quote>. SÃ¥ han bestemmer seg for Ã¥ slÃ¥ " +"seg ned hos landsbybeboerne for Ã¥ utforske livet som konge." + +#. type: Content of: <book><part><chapter><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 <quote>blind." +"</quote> They don't have the word <citetitle>blind</citetitle>. They think " +"he's just thick. Indeed, as they increasingly notice the things he can't do " +"(hear the sound of grass being stepped on, for example), they increasingly " +"try to control him. He, in turn, becomes increasingly frustrated. " +"<quote>`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!'</quote>" +msgstr "" +"Ting blir ikke helt som han har planlagt. Han forsÃ¸ker Ã¥ forklare idÃ©en om " +"syn til landsbybeboerne. De forstÃ¥r ikke. Han forteller dem at de er " +"<quote>blind</quote>. De mangler et ord for <citetitle>blind</citetitle>. " +"De tror han bare er treg. Etterhvert som de oppdager tingene ha ikke kan " +"gjÃ¸re (for eksempel hÃ¸re lyden av gress som blir trÃ¥kket pÃ¥), forsÃ¸ker de " +"mer og mer Ã¥ kontrollere ham. Han blir dermed mer og mer frustrert. " +"<quote><quote>Dere forstÃ¥r ikke</quote>, ropte han, i en stemme som var ment " +"Ã¥ vÃ¦re storslÃ¥tt og bestemt, og som skar ut. <quote>Dere er blinde og jeg " +"kan se. La meg vÃ¦re i fred!</quote></quote>" + +#. PAGE BREAK 187 +#. type: Content of: <book><part><chapter><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 <quote>the most beautiful thing in the whole " +"of creation,</quote> understands the beauty of sight. Nunez's description of " +"what he sees <quote>seemed to her the most poetical of fancies, and she " +"listened to his description of the stars and the mountains and her own sweet " +"white-lit beauty as though it was a guilty indulgence.</quote> <quote>She " +"did not believe,</quote> Wells tells us, and <quote>she could only half " +"understand, but she was mysteriously delighted.</quote>" +msgstr "" +"Landsbybeboerne lot han ikke vÃ¦re i fred. Og de ser (for Ã¥ si det slik) " +"ikke det fine i hans spesielle krefter. Ikke en gang det ultimale mÃ¥let for " +"hans hengivenhet, en ung kvinde som for han synes <quote>den vakreste tingen " +"i hele skapelsen</quote>, forstÃ¥r skjÃ¸nnheten i Ã¥ kunne se. Ninez sine " +"beskrivelser av det han ser <quote>virket for henne Ã¥ vÃ¦re de mest poetiske " +"av fantasier, og hun hÃ¸rte pÃ¥ hans beskrivelser av stjernene og fjellene og " +"hennes egen sÃ¸te hvit-lysende skjÃ¸nnhet som om det var en skylding " +"tilfredsstillelse </quote>. <quote>Hun trodde ikke</quote>, forteller Wells " +"oss, og <quote>hun kunne bare halvveis forstÃ¥, men hun var underlig gledet</" +"quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"When Nunez announces his desire to marry his <quote>mysteriously delighted</" +"quote> love, the father and the village object. <quote>You see, my dear,</" +"quote> her father instructs, <quote>he's an idiot. He has delusions. He " +"can't do anything right.</quote> They take Nunez to the village doctor." +msgstr "" +"NÃ¥r Nuez kunngjÃ¸r sitt Ã¸nske om Ã¥ gifte seg med sin <quote>underlig gledet</" +"quote> kjÃ¦rlighet, protesterte faaren og landsbyen. <quote>Du skjÃ¸nner, " +"kjÃ¦re</quote>, instruerer hennes far, <quote>han er en idiot. Han har " +"vrangforestillinger. Han kan ikke gjÃ¸re noe riktig.</quote> De tar Nunez " +"til landsbylegen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"After a careful examination, the doctor gives his opinion. <quote>His brain " +"is affected,</quote> he reports." +msgstr "" +"Etter en nÃ¸ye undersÃ¸kelse gir legen sin vurdering. <quote>Hjernen hans er " +"pÃ¥virket</quote>, rapporterer han." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>What affects it?</quote> the father asks. <quote>Those queer things " +"that are called the eyes … are diseased … in such a way as to " +"affect his brain.</quote>" +msgstr "" +"<quote>Hva pÃ¥virker den?</quote> spÃ¸r faren. <quote>De sÃ¦re tingene som " +"kalles Ã¸yene … er sykelige … pÃ¥ en mÃ¥te som pÃ¥virker hjernen " +"hans.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The doctor continues: <quote>I think I may say with reasonable certainty " +"that in order to cure him completely, all that we need to do is a simple and " +"easy surgical operation—namely, to remove these irritant bodies [the " +"eyes].</quote>" +msgstr "" +"Legen fortsetter: <quote>Jeg tror jeg med rimelig sikkerhet kan si at for Ã¥ " +"kunne helbrede han er alt vi trenger Ã¥ gjÃ¸re en enkel og lett kirurgisk " +"operasjon—nemlig Ã¥ fjerne disse irriterte organene [Ã¸ynene].</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Thank Heaven for science!</quote> says the father to the doctor. They " +"inform Nunez of this condition necessary for him to be allowed his bride. " +"(You'll have to read the original to learn what happens in the end. I " +"believe in free culture, but never in giving away the end of a story.)" +msgstr "" +"<quote>Takk gud for vitenskapen!</quote> sier faren til doktoren. De " +"forteller Nunez om dette kravet som han mÃ¥ oppfylle for Ã¥ fÃ¥ sin brud. (Du " +"fÃ¥r lese originalen for Ã¥ lÃ¦re hvordan historien ender. Jeg tror pÃ¥ fri " +"kultur, men ikke pÃ¥ Ã¥ avslÃ¸re hvordan en historie slutter.)" + +#. PAGE BREAK 188 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>It sometimes</emphasis> happens that the eggs of " +"twins fuse in the mother's womb. That fusion produces a <quote>chimera.</" +"quote> A chimera is a single creature with two sets of DNA. The DNA in the " +"blood, for example, might be different from the DNA of the skin. This " +"possibility is an underused plot for murder mysteries. <quote>But the DNA " +"shows with 100 percent certainty that she was not the person whose blood was " +"at the scene. …</quote>" +msgstr "" +"<emphasis role='strong'>Det skjer</emphasis> noen ganger at eggene til " +"tvillinger sveises sammen i morens livmor. Den sammensveisingen skaper et " +"<quote>fantasifoster/chimera</quote>. Et fantasifoster er en enkelt " +"skapning med to sett med DNA. DNA-et i bloet kan for eksempel vÃ¦re " +"forskjellig fra DNA-et i huden. Denne muligheten er et for lite brukt " +"handling i mordmysterer. <quote>Men DNA-et viser med 100 prosent sikkerhet " +"at hennes blod ikke var det som var pÃ¥ Ã¥stedet. …</quote>" + +#. type: Content of: <book><part><chapter><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 <quote>person</quote> should " +"reflect this reality." +msgstr "" +"FÃ¸r jeg hadde lest om fantasifoster, sÃ¥ ville jeg ha sagt at de var umulig. " +"En enkelt person kan ikke ha to sett med DNA. Selve idÃ©en med DNA er at det " +"er koden til et individ. Likevel er det jo faktisk slik at ikke bare kan to " +"individer ha samme sett med DNA (identiske tvillinger), men en person kan ha " +"to ulike sett med DNA (et fantasifoster). Var forstÃ¥else av en " +"<quote>person</quote> bÃ¸r gjenspeile denne virkeligheten." + +#. type: Content of: <book><part><chapter><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, <quote>the copyright wars,</quote> the more I think we're dealing " +"with a chimera. For example, in the battle over the question <quote>What is " +"p2p file sharing?</quote> both sides have it right, and both sides have it " +"wrong. One side says, <quote>File sharing is just like two kids taping each " +"others' records—the sort of thing we've been doing for the last thirty " +"years without any question at all.</quote> That's true, at least in part. " +"When I tell my best friend to try out a new CD that I've bought, but rather " +"than just send the CD, I point him to my p2p server, that is, in all " +"relevant respects, just like what every executive in every recording company " +"no doubt did as a kid: sharing music." +msgstr "" +"Jo mer jeg arbeider for Ã¥ forstÃ¥ den nÃ¥vÃ¦rende <quote>opphavsrettskrigen</" +"quote> rundt opphavsrett og kultur, som jeg bÃ¥de har kalt urettferdig og " +"ikke urettferdig nok, jo mer tenker jeg at det er et fantasifoster vi " +"snakker om. For eksempel i kampen om spÃ¸rsmÃ¥let <quote>Hva er p2p-fildeling?" +"</quote> har begge sider rett, og begge sider tar feil. En side sier, " +"<quote>fildeling er akkurat som om to unger tar opp hverandres plater pÃ¥ " +"bÃ¥nd—akkurat slik vi har gjort det de siste tredve Ã¥rene uten at noen " +"har stilt spÃ¸rsmÃ¥l ved det i det hele tatt</quote>. Det er riktig, i hvert " +"fall delvis. NÃ¥r jeg ber min beste venn om Ã¥ hÃ¸re pÃ¥ en ny CD jeg har kjÃ¸pt " +"og i stedet for Ã¥ bare sende CDen sÃ¥ peker jeg han til min p2p-tjener, sÃ¥ er " +"det pÃ¥ alle relevante mÃ¥ter akkurat slik enhver leder i ethvert plateselskap " +"uten tvil gjorde som barn: deling av musikk." + +#. type: Content of: <book><part><chapter><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 <quote>friends</" +"quote> beyond recognition to say <quote>my ten thousand best friends</quote> " +"can get access. Whether or not sharing my music with my best friend is what " +"<quote>we have always been allowed to do,</quote> we have not always been " +"allowed to share music with <quote>our ten thousand best friends.</quote>" +msgstr "" +"Men beskrivelsen er ogsÃ¥ delvis uriktig. For nÃ¥r min p2p-tjener er pÃ¥ et " +"p2p-nettverk der enhver kan fÃ¥ tilgang til min musikk, sÃ¥ kan helt klart " +"mine venner fÃ¥ tilgang, men det strekker betydningen av <quote>venner</" +"quote> forbi bristepunktet nÃ¥r en sier <quote>mine ti tusen beste venner</" +"quote> kan fÃ¥ tilgang. Uansett om <quote>vi alltid har hatt lov til</quote> " +"Ã¥ dele min musikk med min beste venner, sÃ¥ har vi ikke alltid hatt lov til Ã¥ " +"dele musikk med <quote>vÃ¥re ti tusen beste venner</quote>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Likewise, when the other side says, <quote>File sharing is just like walking " +"into a Tower Records and taking a CD off the shelf and walking out with it,</" +"quote> that's true, at least in part. If, after Lyle Lovett (finally) " +"releases a new album, rather than buying it, I go to Kazaa and find a free " +"copy to take, that is very much like stealing a copy from Tower. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Tilsvarende, nÃ¥r den andre siden sier, <quote>Fildeling er som Ã¥ gÃ¥ inn hos " +"Tower Records Ã¥ ta en CD fra hylla og gÃ¥ ut av butikken med den</quote>, sÃ¥ " +"er det riktig, i hvert fall delvis. Hvis jeg, etter at Lyle Lovett " +"(endelig) gir ut et nytt album, i stedet for Ã¥ kjÃ¸pe den gÃ¥r pÃ¥ Kazaa og " +"finner et gratis eksemplar jeg kan ta, sÃ¥ er det veldig likt det Ã¥ stjele et " +"eksemplar fra Tower.<placeholder type=\"indexterm\" id=\"0\"/>" + +#. PAGE BREAK 189 +#. type: Content of: <book><part><chapter><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 som Ã¥ sjele fra Tower. Tross alt har Tower Record en " +"mindre CD de kan selge nÃ¥r jeg tar en CD fra Tower. Og nÃ¥r jeg tar en CD " +"fra Tower Records, sÃ¥ fÃ¥r jeg en bit plastik og et omslag, og noe Ã¥ vise " +"frem pÃ¥ hyllene mine. (Og nÃ¥r vi fÃ¸rst er i gang, bÃ¸r vi ogsÃ¥ ta med at nÃ¥r " +"jeg tar en CD fra Tower Records, sÃ¥ er den masimale boten jeg kan pÃ¥rda meg, " +"i hvert fall i fÃ¸lge loven i California, $1 000. I fÃ¸lge RIAA kan jeg, " +"derimot, hvis jeg laster ned en ti-sangs CD, bli ansvarlig for " +"$1 500 000 i erstatning.)" + +#. type: Content of: <book><part><chapter><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 beskrivelsen fra begge sider er feil. Poenget er at " +"begge sider har rett—bÃ¥de som RIAA beskriver det og som Kazaa " +"beskriver det. Det er et fantasifoster. Og i stedet for Ã¥ ganske enkelt " +"benekte det den andre siden hevder, sÃ¥ mÃ¥ vi begynne Ã¥ Ã¥ tenke pÃ¥ hvordan vi " +"kan svare pÃ¥ dette fantasifosteret. Hvilke regler bÃ¸r styre det?" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "ISPs (Internet service providers), user identities revealed by" +msgstr "ISPer (Internet-tilbydere), brukeridentiteter avslÃ¸rt av" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Conyers, John, Jr." +msgstr "Conyers, John, Jr." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Berman, Howard L." +msgstr "Berman, Howard L." + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> For an excellent summary, see the " +"report prepared by GartnerG2 and the Berkman Center for Internet and Society " +"at Harvard Law School, <quote>Copyright and Digital Media in a Post-Napster " +"World,</quote> 27 June 2003, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #33</ulink>. Reps. John Conyers Jr. (D-Mich.) and Howard L. " +"Berman (D-Calif.) have introduced a bill that would treat unauthorized on-" +"line copying as a felony offense with punishments ranging as high as five " +"years imprisonment; see Jon Healey, <quote>House Bill Aims to Up Stakes on " +"Piracy,</quote> <citetitle>Los Angeles Times</citetitle>, 17 July 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " +"Civil penalties are currently set at $150,000 per copied song. For a recent " +"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " +"the identity of a user accused of sharing more than 600 songs through a " +"family computer, see <citetitle>RIAA</citetitle> v. <citetitle>Verizon " +"Internet Services (In re. Verizon Internet Services)</citetitle>, 240 F. " +"Supp. 2d 24 (D.D.C. 2003). Such a user could face liability ranging as high " +"as $90 million. Such astronomical figures furnish the RIAA with a powerful " +"arsenal in its prosecution of file sharers. Settlements ranging from $12,000 " +"to $17,500 for four students accused of heavy file sharing on university " +"networks must have seemed a mere pittance next to the $98 billion the RIAA " +"could seek should the matter proceed to court. See Elizabeth Young, " +"<quote>Downloading Could Lead to Fines,</quote> redandblack.com, August " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #35</" +"ulink>. For an example of the RIAA's targeting of student file sharing, and " +"of the subpoenas issued to universities to reveal student file-sharer " +"identities, see James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to " +"Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8 August 2003, " +"D3, available at <ulink url=\"http://free-culture.cc/notes/\">link #36</" +"ulink>. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" +"\"indexterm\" id=\"2\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><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 "" +"Vi kunne svare ved Ã¥ ganske enkelt late som om det ikke er et " +"fantasifoster. Vi kunne, sammen med RIAA, bestemme at hver eneste fildeling " +"bÃ¸r vÃ¦re en forbrytelse. Vi kan straffeforfÃ¸lge familier for millioner av " +"dollar i skader kun pÃ¥ bakgrunn av at fildelingen skjedde pÃ¥ en av familiens " +"datamaskiner. Og vi kan fÃ¥ universiteter til Ã¥ overvÃ¥ke all datatrafikk for " +"Ã¥ sikre at ingen datamaskin blir brukt til Ã¥ gjennomfÃ¸re denne " +"forbrytelsen. Disse svarene er kanskje ekstreme, men hver av dem har enten " +"blitt foreslÃ¥tt eller er allerede gjennomfÃ¸rt.<placeholder type=\"footnote\" " +"id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 pÃ¥ fildeling slik mange unger oppfÃ¸rer seg som om " +"vi har svart. Vi kan legalisere det fullstendig. Fjern alt ansvar for " +"brudd pÃ¥ opphavsretten, bÃ¥de sivilt og strafferettslig, nÃ¥r en gjÃ¸r " +"opphavsrettsbeskyttet materiale tilgjengelig pÃ¥ nettet. GjÃ¸r fildeling som " +"sladder: regulert av sosiale normer i stedet for med lov, hvis det er " +"regulert i det hele tatt." + +#. type: Content of: <book><part><chapter><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 " +"<emphasis>either</emphasis> extreme would be worse than a reasonable " +"alternative. But I believe the zero-tolerance solution would be the worse " +"of the two extremes." +msgstr "" +"Begge svarene er mulige. Jeg tror hver av dem ville vÃ¦re en tabbe. I stedet " +"for Ã¥ velge en av disse to ekstremene, sÃ¥ bÃ¸r vi velge noe som gjenkjenner " +"sannheten i begge. Og selv om jeg avslutter denne boken med en sksse til et " +"system som gjÃ¸r akkurat det, sÃ¥ er mÃ¥let mitt med neste kapittel Ã¥ vise " +"akkurat hvor grufult det ville vÃ¦re for oss om vi adopterer nulltoleranse-" +"ekstremet. Jeg tror <emphasis>begge</emphasis> ekstremene vil vÃ¦re verre " +"enn et rimelig alternativ. Men jeg tror nulltoleranse-lÃ¸sningen vil vÃ¦re " +"den verste av de to ekstremene." + +#. PAGE BREAK 190 +#. type: Content of: <book><part><chapter><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 "" +"Likevel er nulltoleranse i stadig stÃ¸rre grad vÃ¥re myndigheters politikk. " +"Midt i dette kaoset som Internettet har skapt, finner en ekstraordinÃ¦r *land " +"grab* sted. Retten og teknologien endres til Ã¥ gi innholdsinnehaverne en " +"type kontroll over kulturen vÃ¥r som de aldri har hatt fÃ¸r. Og i denne " +"ekstremiteten vil mange muligheter for nye oppfinnelser og ny kreativitet gÃ¥ " +"tapt." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"I'm not talking about the opportunities for kids to <quote>steal</quote> " +"music. My focus instead is the commercial and cultural innovation that this " +"war will also kill. We have never seen the power to innovate spread so " +"broadly among our citizens, and we have just begun to see the innovation " +"that this power will unleash. Yet the Internet has already seen the passing " +"of one cycle of innovation around technologies to distribute content. The " +"law is responsible for this passing. As the vice president for global public " +"policy at one of these new innovators, eMusic.com, put it when criticizing " +"the DMCA's added protection for copyrighted material," +msgstr "" +"Jeg snakker ikke om mulighetene for unger til Ã¥ <quote>stjele</quote> " +"musikk. Min fokus er i stedet pÃ¥ den kommersielle og kulturelle " +"nyskapningen som denne krigen ogsÃ¥ vil ta knekken pÃ¥. Vi har aldri fÃ¸r sett " +"muligheten til Ã¥ skape spre seg sÃ¥ bredt blant vÃ¥re borgere, og vi har bare " +"sÃ¥ vidt begynt Ã¥ se nyskapingen som denne muligheten vil slippe fri. " +"Likevel har Internettet allerede sett slutten pÃ¥ en generasjon av nyskaping " +"rundt teknologier for Ã¥ distribuere innhold. Loven er ansvarlig for at den " +"forsvant. Som visepresidenten for global offentlig politikk hos en av disse " +"nye oppfinnerne, eMusic.com, formulerte det da han kritiserte hvordan DMCA " +"la til vern for opphavsrettsbeskyttet materiale." + +#. type: Content of: <book><part><chapter><blockquote><para> +msgid "" +"eMusic opposes music piracy. We are a distributor of copyrighted material, " +"and we want to protect those rights." +msgstr "" +"eMusic er imot piratkopiering av musikk. Vi er en distributÃ¸r av " +"opphavsrettsbeskyttet materiale, og vi Ã¸nsker Ã¥ beskytte disse rettighetene." + +#. type: Content of: <book><part><chapter><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 Ã¥ bygge en teknologisk festning som inn interessene til de store " +"plateselskapene er ikke nÃ¸dvendigvis den eneste mÃ¥ten Ã¥ beskytte " +"opphavsrettsinteresser, og heller ikke nÃ¸dvendige den beste. Det er ganske " +"enkelt for tidlig Ã¥ svare pÃ¥ det spÃ¸rsmÃ¥let. Markedskrefter som opererer " +"fritt kan godt gi en helt annen indistri-modell." + +#. f3. +#. type: Content of: <book><part><chapter><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital " +"Entertainment on the Internet and Other Media: Hearing Before the " +"Subcommittee on Telecommunications, Trade, and Consumer Protection, House " +"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, " +"vice president, Global Public Policy and Standards, EMusic.com), available " +"in LEXIS, Federal Document Clearing House Congressional Testimony File." +msgstr "" +"WIPO og dmca ett Ã¥r senere: vurdering av forbruker tilgang til digital " +"underholdning pÃ¥ Internett og andre medier: hÃ¸re fÃ¸r 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, " +"fÃ¸derale dokumentet Ã¥ fjerne huset Kongressens vitnesbyrd fil." + +#. type: Content of: <book><part><chapter><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 "" +"Dette er et kritisk poeng. Valgene som industrisektorer gjÃ¸r relatert til " +"disse systemene vil pÃ¥ mange vis direkte forme markedet for digitale media " +"og hvordan digitale medier blir distribuert. Dette pÃ¥virker sÃ¥ hvilke valg " +"som er tilgjengelig for forbrukere, bÃ¥de nÃ¥r det gjelder hvor enkelt de vil " +"vÃ¦re i stand til Ã¥ fÃ¥ tilgang til digitale medier, og utstyret som de vil " +"kreve for Ã¥ gjÃ¸re dette. DÃ¥rlige valg som gjÃ¸res tidlig i dette spillet vil " +"hemme veksten i dette markedet og skade alles interesser.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Vivendi Universal" +msgstr "Vivendi Universal" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In April 2001, eMusic.com was purchased by Vivendi Universal, one of " +"<quote>the major labels.</quote> Its position on these matters has now " +"changed. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"I april 2001 ble eMusic.com kjÃ¸pt opp av Vivendi Universal, et av <quote>de " +"store plateselskapene</quote>. Selskapets holdning i disse saken har nÃ¥ " +"endret seg. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 "" +"Ã nÃ¥ reversere vÃ¥r tolerante tradisjon vil ikke bare knuse piratvirksomhet. " +"Det vil ofre verdier som er viktige for denne kulturen, og det vil drepe " +"muligheter som kan vÃ¦re svÃ¦rt verdifulle." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER TWELVE: Harms" +msgstr "Kapittel tolv: Skader" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to " +"protect <quote>property,</quote> the content industry has launched a war. " +"Lobbying and lots of campaign contributions have now brought the government " +"into this war. As with any war, this one will have both direct and " +"collateral damage. As with any war of prohibition, these damages will be " +"suffered most by our own people." +msgstr "" +"<emphasis role='strong'>Ved Ã¥ bekjempe</emphasis> <quote>piratvirksomhet</" +"quote> for Ã¥ beskytte <quote>eiendom</quote> har innholdsindustrien erklÃ¦rt " +"krig. Lobbyering og mange valgkampbidrag har nÃ¥ dratt myndighetene inn i " +"denne krigen. Og som med enhver krig vil en bÃ¥de ha direkte og utilsiktet " +"Ã¸deleggelse. Og som med enhver forbudskrig, er det mest vÃ¥re egne folk som " +"lider under disse Ã¸deleggelsene." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"My aim so far has been to describe the consequences of this war, in " +"particular, the consequences for <quote>free culture.</quote> But my aim now " +"is to extend this description of consequences into an argument. Is this war " +"justified?" +msgstr "" +"SÃ¥ langt har mÃ¥let mitt vÃ¦rt Ã¥ beskrive konsekvensene av denne krigen, og " +"spesielt konsekvensene for <quote>fri kultur</quote>. Men nÃ¥ er mÃ¥let mitt " +"Ã¥ utvide denne beskrivelsen av konsekvensene til et argument. Er dette en " +"godt begrunnet krig?" + +#. type: Content of: <book><part><chapter><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 <quote>intellectual property</quote> is at its greatest " +"in our history." +msgstr "" +"Etter mitt syn er den ikke det. Det er ingen god grunn nÃ¥, for fÃ¸rste gang, " +"at loven burde forsvare det gamle mot det nye, akkurat nÃ¥r makten til " +"eiendomsretten som kalles <quote>immateriell eiendom</quote> er stÃ¸rre en " +"den noen gang har vÃ¦rt i vÃ¥r historie." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Yet <quote>common sense</quote> does not see it this way. Common sense is " +"still on the side of the Causbys and the content industry. The extreme " +"claims of control in the name of property still resonate; the uncritical " +"rejection of <quote>piracy</quote> still has play." +msgstr "" +"Likevel ser ikke <quote>sunn fornuft</quote> det slik. Sunn fornuft er " +"fortsatt enig med Causby-ene og innholdsindustrien. Det ekstreme krav om " +"kontroll som fremmes pÃ¥ vegne av eiendomsrett aksepteres fortsatt. " +"<quote>Piratvirksomhet</quote> avvises fortsatt ukritisk." + +#. PAGE BREAK 193 +#. type: Content of: <book><part><chapter><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 vÃ¦re mange konsekvenser ved Ã¥ fortsette denne krigen. Jeg Ã¸nsker Ã¥ " +"beskrive kun tre. Alle tre kan sies Ã¥ vÃ¦re utilsiktet. Jeg er ganske " +"sikker pÃ¥ at den tredje er utilsiktet, men jeg er mindre sikker om de fÃ¸rste " +"to. De fÃ¸rste to beskytter de moderne RCA-ene, men det er ingen Howard " +"Armstrong pÃ¥ flankene for Ã¥ sloss mot dagens kulturmonopolister." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Constraining Creators" +msgstr "Legger bÃ¥nd pÃ¥ skaperne" + +#. type: Content of: <book><part><chapter><section><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 Ã¥rene vil vi se en eksplosjon av digitale teknologier. Disse " +"teknologiene vil gjÃ¸re det mulig for nesten hvem som helst Ã¥ lagre og dele " +"innhold. Ã lagre og dele innhold er naturligvis det mennesker har gjort " +"siden historiens begynnelse. Det er slik vi lÃ¦rer og kommuniserer. Men " +"lagring og deling ved hjelp av digital teknologi er annerledes. " +"Gjengivelsen og kraften er forskjellig. Du kunne sende en epost og fortalt " +"noen om en vits du sÃ¥ pÃ¥ Comedy Central, eller du kan sende selve klippet. " +"Du kan skrive et innlegg om inkonsekvenser i argumentene til en politiker " +"som du elsker Ã¥ hate, eller du kan lage en kort film som setter uttalelser " +"mot hverandre. Du kan skrive et dikt som uttrykker din kjÃ¦rlighet, eller du " +"kan veve sammen en trÃ¥d—en nettfletting— av sanger fra dine " +"favorittartister i en collage og gjÃ¸re den tilgjengelig pÃ¥ nettet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This digital <quote>capturing and sharing</quote> is in part an extension of " +"the capturing and sharing that has always been integral to our culture, and " +"in part it is something new. It is continuous with the Kodak, but it " +"explodes the boundaries of Kodak-like technologies. The technology of " +"digital <quote>capturing and sharing</quote> promises a world of " +"extraordinarily diverse creativity that can be easily and broadly shared. " +"And as that creativity is applied to democracy, it will enable a broad range " +"of citizens to use technology to express and criticize and contribute to the " +"culture all around." +msgstr "" +"Denne digitale \"fange inn og dele\" er delvis en utvidelse for Ã¥ registrere " +"og dele det har alltid vÃ¦rt del av vÃ¥r 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\" lÃ¸fter en " +"verden av svÃ¦rt mangfoldig kreativitet som kan enkelt og forstand deles. og " +"sÃ¥ at kreativiteten brukes til demokrati, det vil muliggjÃ¸re et bredt " +"spekter av borgere Ã¥ bruke teknologi for Ã¥ uttrykke og kritisere og bidra " +"til kultur rundt." + +#. PAGE BREAK 194 +#. type: Content of: <book><part><chapter><section><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 Ã¥ gjÃ¸re noe med kultur som " +"bare har vÃ¦rt mulig for enkeltpersoner i smÃ¥ grupper, isolert fra andre " +"grupper. Forestill deg en gammel mann som forteller en historie til en " +"samling med naboer i en liten landsby. Forestill deg sÃ¥ den samme " +"historiefortellingen utvidet til Ã¥ nÃ¥ over hele verden." + +#. type: Content of: <book><part><chapter><section><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 "" +"Likevel er alt dette kun mulig hvis aktiviteten antas Ã¥ vÃ¦re lovlig. I " +"dagens juridiske reguleringsregime er det ikke det. La oss glemme fildeling " +"et Ã¸yeblikk. Tenk pÃ¥ dine fantastiske favorittsteder pÃ¥ nettet. Nettsteder " +"som tilbyr oppsummeringer av handlingen for glemte TV-serier, steder som " +"samler tegneserier fra 1960-tallet, steder som mikser bilde og lyd for Ã¥ " +"kritisere politikere eller bedrifter, steder som samler avisartikler fra " +"smale tema om vitenskap eller kultur. Det er store mengder kreativte verker " +"spredt rundt om pÃ¥ Internettet. Men slik loven er satt sammen i dag er " +"disse verkene antatt Ã¥ vÃ¦re ulovlig." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Worldcom" +msgstr "Worldcom" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "doctors malpractice claims against" +msgstr "legers feilbehandlingsanklager mot" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at " +"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; " +"for details of the settlement, see MCI press release, <quote>MCI Wins U.S. " +"District Court Approval for SEC Settlement</quote> (7 July 2003), available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</" +"citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for " +"detaljer om dette forliket, se pressemelding fra MCI, <quote>MCI Wins U.S. " +"District Court Approval for SEC Settlement</quote> (7. juli 2003), " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #37</" +"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Bush, George W." +msgstr "Bush, George W." + +#. type: Content of: <book><part><chapter><section><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, <quote>Measure Stalls in Senate: `We'll Be " +"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and " +"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #39</ulink>. " +"President Bush has continued to urge tort reform in recent months. " +"<placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Lovforslaget, som var modellerert etter Califorias *tort reform*-modell, ble " +"vedtatt i Representantenes hus men stoppet i Senatet i juli 2003. For en " +"oversikt, se Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,' " +"Say Tort Reformers</quote>, amednews.com, 28. juli 2003, tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, og " +"<quote>Senate Turns Back Malpractice Caps</quote>, CBSNews.com, 9. juli " +"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#39</ulink>. President Bush har fortsatt Ã¥ argumentere for *tort reform* de " +"siste mÃ¥nedene. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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 "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "art, underground" +msgstr "kunst, undergrunns" + +#. f3. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> " +"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #40</ulink>. For an overview of the " +"exhibition, see <ulink url=\"http://free-culture.cc/notes/\">link #41</" +"ulink>." +msgstr "" +"Se Danit Lidor, <quote>Artists Just Wanna Be Free</quote>, <citetitle>Wired</" +"citetitle>, 7. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #40</ulink>. For en oversikt over utstillingen, se <ulink " +"url=\"http://free-culture.cc/notes/\">link #41</ulink>." + +#. type: Content of: <book><part><chapter><section><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 <quote>pirates.</" +"quote> We make it impossible for businesses to rely upon a public domain, " +"because the boundaries of the public domain are designed to be unclear. It " +"never pays to do anything except pay for the right to create, and hence only " +"those who can pay are allowed to create. As was the case in the Soviet " +"Union, though for very different reasons, we will begin to see a world of " +"underground art—not because the message is necessarily political, or " +"because the subject is controversial, but because the very act of creating " +"the art is legally fraught. Already, exhibits of <quote>illegal art</quote> " +"tour the United States.<placeholder type=\"footnote\" id=\"0\"/> In what " +"does their <quote>illegality</quote> consist? In the act of mixing the " +"culture around us with an expression that is critical or reflective." +msgstr "" +"Konsekvensen av denne juridiske usikkerheten, sammen med desse ekstreme hÃ¸ye " +"straffene, er at en ekstraordinÃ¦r mengde kreativitet aldri vil gjennomfÃ¸res, " +"eller aldri vil gjennomfÃ¸res Ã¥pnelyst. Vi tvinger denne kreative prosessen " +"under jorda ved Ã¥ hevde at de moderne Walt Disney-ene er <quote>pirater</" +"quote>. Vi gjÃ¸r det umulig for bedrifter Ã¥ basere seg pÃ¥ et allemannseie pÃ¥ " +"grunn av at grensene for allemannsienet er laget for Ã¥ vÃ¦re uklare. Det " +"betaler seg aldri Ã¥ gjÃ¸re noe annet enn Ã¥ betale for retten til Ã¥ skape, og " +"dermed vil kun de som kan betale fÃ¥ lov til Ã¥ skape. Slik det var tilfelle " +"i Sovjetunionen, dog av helt andre Ã¥rsaker, sÃ¥ vil vi begynne Ã¥ se en verden " +"av undergrunns-kust—ikke fordi budskapet nÃ¸dvendigvis er politisk, " +"eller fordi temaet er kontroversielt, men pÃ¥ grunn av at selve det Ã¥ skape " +"denne kunsten er juridisk skummelt. Allerede har utstillinger med " +"<quote>ulovlig kunst</quote> vÃ¦rt pÃ¥ turnÃ© i USA.<placeholder type=\"footnote" +"\" id=\"0\"/> Hva bestÃ¥r deres <quote>ulovlighet</quote> i? I det Ã¥ mikse " +"kulturen rundt oss med et uttrykk som er kritisk eller ettertenksomt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Part of the reason for this fear of illegality has to do with the changing " +"law. I described that change in detail in chapter <xref xrefstyle=\"select: " +"labelnumber\" linkend=\"property-i\"/>. But an even bigger part has to do " +"with the increasing ease with which infractions can be tracked. As users of " +"file-sharing systems discovered in 2002, it is a trivial matter for " +"copyright owners to get courts to order Internet service providers to reveal " +"who has what content. It is as if your cassette tape player transmitted a " +"list of the songs that you played in the privacy of your own home that " +"anyone could tune into for whatever reason they chose." +msgstr "" +"en del av Ã¥rsaken til denne frykten for illegality har Ã¥ gjÃ¸re med endring " +"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda " +"stÃ¸rre del har Ã¥ gjÃ¸re med den Ã¸kende enkelt som brudd kan spores. som " +"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell " +"sak for opphavsrett eiere Ã¥ fÃ¥ domstoler Ã¥ bestille Internett-leverandÃ¸rer Ã¥ " +"avslÃ¸re 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><part><chapter><section><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 fÃ¸r i vÃ¥r historie har en maler trengt Ã¥ bekymre seg om hans maleri " +"krenker noen andres verk. Men en moderne maler, som bruker verktÃ¸yene til " +"Photoshop og deler innholdet pÃ¥ nettet, mÃ¥ bekymre seg for dette hele " +"tiden. Bilder er over alt, men de eneste trygge bildene Ã¥ bruke i " +"skapelsesprosessen er de som er kjÃ¸pt fra Corbis eller en annen av " +"bildebutikkene. Og i denne kjÃ¸psprosessen skjer det sensurering. Det er et " +"fritt marked for blyanter. Vi trenger ikke bekymre oss for dets effekt pÃ¥ " +"kreativiteten. Men det er en strengt regulert og monopolisert marked for " +"kulturelle ikoner, retten til Ã¥ kultivere og endre pÃ¥ dem er ikke " +"tilsvarende fritt." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Lawyers rarely see this because lawyers are rarely empirical. As I described " +"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, " +"in response to the story about documentary filmmaker Jon Else, I have been " +"lectured again and again by lawyers who insist Else's use was fair use, and " +"hence I am wrong to say that the law regulates such a use." +msgstr "" +"Advokater ser sjelden dette pÃ¥ grunn av at advokater er sjelden empiriske. " +"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"recorders\"/>, som respons pÃ¥ historien om dokumentarfilmskaper Jon Else, " +"har jeg blitt belÃ¦rt gang pÃ¥ gang av advokater som insisterer pÃ¥ at Elses " +"bruk var rimelig bruk. Og at jeg derfor tok feil nÃ¥r jeg sa at loven " +"regulerer slik bruk." + +#. PAGE BREAK 196 +#. type: Content of: <book><part><chapter><section><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 USA betyr bare en har rett til Ã¥ hyre inn en advokat til " +"Ã¥ forsvare din rett til Ã¥ skape. Og som advokater liker Ã¥ glemme er vÃ¥rt " +"system for Ã¥ forsvare ens rett utrolig dÃ¥rlig—i nÃ¦r sagt enhver " +"sammenheng, men spesielt her. Det koster for mye, det leverer for tregt, og " +"det som blir levert har ofte liten tilknytning til rettferdigheten i det " +"underliggende kravet. Rettssystemet er kanskje tolererbart for de veldig " +"rike. Men for alle andre er det pinlig for en tradisjon som ellers liker Ã¥ " +"vÃ¦re stolt av rettssikkerheten." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Judges and lawyers can tell themselves that fair use provides adequate " +"<quote>breathing room</quote> between regulation by the law and the access " +"the law should allow. But it is a measure of how out of touch our legal " +"system has become that anyone actually believes this. The rules that " +"publishers impose upon writers, the rules that film distributors impose upon " +"filmmakers, the rules that newspapers impose upon journalists— these " +"are the real laws governing creativity. And these rules have little " +"relationship to the <quote>law</quote> with which judges comfort themselves." +msgstr "" +"Dommere og advokater kan fortelle hverandre at rimelig bruk gir " +"tilstrekkelig <quote>pusterom</quote> mellom lovregulering og tilgangen som " +"loven bÃ¸r tillate. Men det viser hvor fjernt vÃ¥rt juridiske system har " +"blitt at noen faktisk kan tro dette. Reglene som utgivere pÃ¥legger " +"forfattere, reglene som filmdistributÃ¸rer pÃ¥legger filmskapere, reglene som " +"aviser pÃ¥legger journalister—dette er de virkelige lovene som styrer " +"kreativitet. Og disse reglene har lite til felles med <quote>loven</quote> " +"som dommerne trÃ¸ster hverandre med." + +#. type: Content of: <book><part><chapter><section><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 <quote>copyright</quote> silence speech and " +"creativity. And in that world, it takes a studied blindness for people to " +"continue to believe they live in a culture that is free." +msgstr "" +"For i en verden som truer med $150 000 i erstatningskrav for et enkelt " +"opphavsrettsbrudd gjort med hensikt, og som krever titusener av dollar bare " +"for Ã¥ forsvare seg mot en pÃ¥stand om Ã¥ ha brutt oppahvsretten, og som aldri " +"vil gi de som er feilaktig anklaget noen av de kostnadene hun ble pÃ¥fÃ¸rt for " +"Ã¥ forsvare sin rett til Ã¥ uttale seg—i den verden, knebler de utrolig " +"vidtrekkende reguleringene som gÃ¥r under navnet <quote>opphavsrett</quote> " +"bÃ¥de tale og kreativitet. Og i den verden kreves det en utstudert blindhet " +"for at noen fortsatt skal tro at de lever i en fri kultur." + +#. type: Content of: <book><part><chapter><section><para> +msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me," +msgstr "" +"Som Jed Horovitz, forretningsmannen som stÃ¥r bak Video Pipelie sa til meg," + +#. PAGE BREAK 197 +#. type: Content of: <book><part><chapter><section><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, <quote>This has been cleared.</quote> You're not even going " +"to get it on PBS without that kind of permission. That's the point at which " +"they control it." +msgstr "" +"Vi mister [kreative] muligheter over alt. Kreative folk blir tvunget til Ã¥ " +"ikke uttrykke seg. Mange tanker kommer aldri ned pÃ¥ papiret. Og mens en " +"masse ting kanskje [fortsatt] blir skapt, sÃ¥ blir det ikke distribuert. " +"Selv om tingene blir laget … sÃ¥ fÃ¥r du ikke distribuert det i de " +"tradisjonelle mediene med mindre du har en liten lapp fra en advokat som " +"sier <quote>dette er blitt klarert</quote>. Du klarer ikke en gang Ã¥ fÃ¥ det " +"pÃ¥ PBS uten slik tillatelse. Det er poenget med den type kontroll de har." + +#. type: Content of: <book><part><chapter><section><title> +msgid "Constraining Innovators" +msgstr "Legger bÃ¥nd pÃ¥ oppfinnere" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "innovation hampered by" +msgstr "nyskapning hemmet av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "industry establishment opposed to" +msgstr "industrien etablering motsetning til" + +#. type: Content of: <book><part><chapter><section><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 i den siste delen var en knasende venstreorientert historie—" +"kreativitet knust, artister fÃ¥r ikke uttrykke seg, bla bla bla. Kanskje " +"slikt ikke overbeviser deg. Kanskje du mener det er nok sÃ¦r kunst der ute, " +"og uttrykk som er kritiske til omtrent alt mulig. Og hvis du tenker slik, " +"sÃ¥ mener du kanskje at det er lite i den historien Ã¥ bekymre deg over." + +#. type: Content of: <book><part><chapter><section><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, " +"<xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> pages into a " +"book like this), then you can see this other aspect by substituting " +"<quote>free market</quote> every place I've spoken of <quote>free culture.</" +"quote> The point is the same, even if the interests affecting culture are " +"more fundamental." +msgstr "" +"Men det er det en fasett med denne historien som over hodet ikke er " +"venstrevridd. Faktisk er det en fasett som kunne vÃ¦rt skrevet av den mest " +"ekstreme ideologiske forkjemper for markedet. hvis du er en av disse (og en " +"svÃ¦rt spesiell en, <xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> sider inn i en bok som denne), sÃ¥ kan du se denne " +"andre fasetten ved Ã¥ bytte inn <quote>fritt marked</quote> hver gang jeg har " +"snakket om <quote>fri kultur</quote>. Poenget er det samme, selv om " +"interessene som pÃ¥virker kultur er mer fundamentale." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The charge I've been making about the regulation of culture is the same " +"charge free marketers make about regulating markets. Everyone, of course, " +"concedes that some regulation of markets is necessary—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 vÃ¦rt Ã¥ gjÃ¸re om regulering av kultur er samme tillegget gratis " +"markedsfÃ¸rere gjÃ¸re om regulerer markeder. enhver, selvfÃ¸lgelig innrÃ¸mme at " +"noen regulering av markeder er nÃ¸dvendig—et minimum, vi trenger " +"reglene for egenskapen og kontrakt og domstolene for Ã¥ hÃ¥ndheve begge. pÃ¥ " +"samme mÃ¥te i denne kultur debatten innrÃ¸mme enhver at minst noen rammen av " +"copyright er ogsÃ¥ nÃ¸dvendig. men begge perspektiver insisterer vehemently at " +"bare fordi noen regulering er bra, ikke det fÃ¸lger at mer regulering er " +"bedre. og begge perspektiver er stadig attuned til mÃ¥tene i hvilke " +"regulering aktiverer bare de kraftige industriene i dag for Ã¥ beskytte seg " +"mot konkurrenter i morgen." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Barry, Hank" +msgstr "Barry, Hank" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "venture capitalists" +msgstr "venture kapitalister" + +#. PAGE BREAK 198 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This is the single most dramatic effect of the shift in regulatory strategy " +"that I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>. The consequence of this massive threat of liability tied " +"to the murky boundaries of copyright law is that innovators who want to " +"innovate in this space can safely innovate only if they have the sign-off " +"from last generation's dominant industries. That lesson has been taught " +"through a series of cases that were designed and executed to teach venture " +"capitalists a lesson. That lesson—what former Napster CEO Hank Barry " +"calls a <quote>nuclear pall</quote> 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 " +"Ã¸nsker Ã¥ skape noe nytt i denne plassen kan trygt innovate bare hvis de har " +"avlogging fra siste generasjon dominerende bransjer. denne leksjonen har " +"lÃ¦rt gjennom en rekke tilfeller som ble utformet og utfÃ¸rt for Ã¥ lÃ¦re " +"venture kapitalister en leksjon. denne leksjonen—hva tidligere napster " +"ceo hank barry kaller en \"kjernefysisk pall\" som har falt over dalen—" +"har blitt lÃ¦rt." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"Consider one example to make the point, a story whose beginning I told in " +"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way " +"that even I (pessimist extraordinaire) would never have predicted." +msgstr "" +"Her er et eksempel for Ã¥ demonstrere dette poenget, en historie jeg fortalte " +"starten av i <citetitle>The Future of Ideas</citetitle> og som har utviklet " +"seg pÃ¥ en mÃ¥te som selv ikke jeg (en ekstraordinÃ¦r pessimist) kunne ha spÃ¥dd." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MP3.com" +msgstr "MP3.com" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "my.mp3.com" +msgstr "my.mp3.com" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Roberts, Michael" +msgstr "Roberts, Michael" + +#. type: Content of: <book><part><chapter><section><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 etablerte Michael Roberts et selskap ved navn MP3.com. MP3.com var " +"ute etter Ã¥ endre pÃ¥ musikkbransjen. MÃ¥let deres var ikke bare Ã¥ bidra til " +"nye mÃ¥ter Ã¥ fÃ¥ tilgang til innhold. MÃ¥let var ogsÃ¥ Ã¥ bidra til nye mÃ¥ter Ã¥ " +"skape innhold. Til forskjell fra de store plateselskapene tilbÃ¸d MP3.com " +"opphavspersonene en arena for Ã¥ distribuere sin kreativitet, uten Ã¥ kreve et " +"eksklusivt engasjement fra opphavspersonene." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "preference data on" +msgstr "preferanse data pÃ¥" + +#. type: Content of: <book><part><chapter><section><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 "" +"Men for Ã¥ fÃ¥ dette systemet til Ã¥ virke, trengte MP3.com en pÃ¥litelig mÃ¥te Ã¥ " +"anbefale musikk til sine brukere. IdÃ©en bak dette alternativet var Ã¥ " +"utnytte musikklytternes eksponerte musikkvalg for Ã¥ anbefale nye artister. " +"Hvis du liker Lyle Lovett, sÃ¥ vil du antagelig nyte Bonnie Raitt. Og sÃ¥ " +"videre." + +#. type: Content of: <book><part><chapter><section><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 "" +"Denne idÃ©en krevde et enkel mÃ¥te Ã¥ samle inn data om hva brukerne " +"foretrekker. MP3.com kom opp med en svÃ¦rt snedig mÃ¥te Ã¥ samle inn data om " +"hva brukerne foretrakk. Januar 2000 lanserte selskapet tjenesten my.mp3." +"com. Ved Ã¥ bruke programvare fra MP3.com logget brukeren inn pÃ¥ en konto og " +"satte sÃ¥ en CD inn i datamaskinen sin. Programvaren ville kjenne igjen CDen " +"og sÃ¥ gi brukeren tilgang til det innholdet. Dermed kunne du hvis du f." +"eks. satte inn en CD av Jill Sobule, fÃ¥ tilgang til den musikken uansett " +"hvor du var—pÃ¥ jobb eller hjemme—sÃ¥ snart du hadde logget inn pÃ¥ " +"konto. Systemet var dermed en slags lÃ¥sbart musikk-skrin." + +#. PAGE BREAK 199 +#. type: Content of: <book><part><chapter><section><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 "" +"Det er ingen tvil om at noen kunne bruke dette systemet til Ã¥ kopiere " +"ulovlig innhold. Men den muligheten eksisterte bÃ¥de fÃ¸r og etter MP3.com. " +"MÃ¥let med my.mpr.com-tjenesten var Ã¥ gi brukere tilgang til deres eget " +"innhold, og som et biprodukt av Ã¥ se hva slags innhold de allerede eide, " +"oppdage hva slags innhold brukerne likte." + +#. type: Content of: <book><part><chapter><section><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 "" +"Men for Ã¥ fÃ¥ dette systemet til Ã¥ fungere, mÃ¥tte MP3.com kopiere 50 000 " +"CD-er til en tjener. (I prinsippet kunne det vÃ¦rt brukerne som lastet opp " +"musikken, men det ville tatt svÃ¦rt mye tid, og det ville gjort at produktet " +"hadde tvilsom kvalitet.) Det kjÃ¸pte derfor 50 000 CDer fra en butikk " +"og gikk igang med Ã¥ kopiere disse CD-ene. Og nok en gang, selskapet ville " +"ikke gi ut innholdet fra disse kopiene til noen andre enn de som kunne " +"bekrefte at de allerede hadde et eksemplar av Cd-en de Ã¸nsket tilgang til. " +"SÃ¥ selv pom dette var 50 000 kopier, sÃ¥ var det 50 000 kopier som " +"ble tilbudt for Ã¥ gi kunder noe de allerede hadde kjÃ¸pt." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "distribution technology targeted in" +msgstr "distribusjon-teknologi mÃ¥l for" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "outsize penalties of" +msgstr "Ã¸kte straffer ved" + +#. type: Content of: <book><part><chapter><section><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 at MP3.com lanserte sin tjeneste anla de fem store " +"plateselskapene, under ledelse av RIAA, sak mot MP3.com. MP3.com inngikk " +"forlik med fire av de fem. Ni mÃ¥neder senere avgjorde en fÃ¸deral dommer at " +"MP3.com hadde vÃ¦rt skyldig i Ã¥ med hensikt ha brutt opphavsretten nÃ¥r det " +"gjalt den femte. Ved Ã¥ anvende loven slik den er utformet nÃ¥ ila dommeren " +"MP3.com en bot pÃ¥ $118 millioner. MP3.com inngikk sÃ¥ et forlik med den " +"gjenstÃ¥ende saksÃ¸ker, Vivendi Universal, og betalte mer enn $54 millioner. " +"Vivendi kjÃ¸pte MP3.com omtrent et Ã¥r senere." + +#. type: Content of: <book><part><chapter><section><para> +msgid "That part of the story I have told before. Now consider its conclusion." +msgstr "Den delen av historien har jeg fortalt fÃ¸r. NÃ¥ kommer konklusjonen." + +#. type: Content of: <book><part><chapter><section><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 kjÃ¸pte MP3.com, snudde Vivendi seg rundt og saksÃ¸kte for " +"pliktforsÃ¸mmelse de advokatene som hadde gitt rÃ¥d om at selskapet i god tro " +"kunne hevde at tjenesten selskapet Ã¸nsket Ã¥ tilby ville bli ansett som " +"lovlig i henhold til opphavsretten. Dette sÃ¸ksmÃ¥let hevdet at det burde ha " +"vÃ¦rt Ã¥penbart at domstolene ville anse denne oppfÃ¸rselen for ulovlig. " +"Dermed forsÃ¸kte dette sÃ¸ksmÃ¥let Ã¥ straffe enhver advokat som vÃ¥get Ã¥ foreslÃ¥ " +"at loven var mindre restrektiv en plateselskapene krevde." + +#. PAGE BREAK 200 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The clear purpose of this lawsuit (which was settled for an unspecified " +"amount shortly after the story was no longer covered in the press) was to " +"send an unequivocal message to lawyers advising clients in this space: It is " +"not just your clients who might suffer if the content industry directs its " +"guns against them. It is also you. So those of you who believe the law " +"should be less restrictive should realize that such a view of the law will " +"cost you and your firm dearly." +msgstr "" +"Den Ã¥penbare hensikten med dette sÃ¸ksmÃ¥let (som ble avsluttet med et forlik " +"for et uspesifisert belÃ¸p like etter at saken ikke lenger fikk " +"pressedekning), var Ã¥ sende en melding som ikke kan misforstÃ¥s til advokater " +"som gir rÃ¥d til klienter pÃ¥ dette omrÃ¥det: Det er ikke bare dine klienter " +"som fÃ¥r lide hvis innholdsindustrien retter sine vÃ¥pen mot dem. Det fÃ¥r " +"ogsÃ¥ du. SÃ¥ de av dere som tror loven burde vÃ¦re mindre restriktiv bÃ¸r " +"innse at et slikt syn pÃ¥ loven vil koste deg og ditt firma dyrt." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "BMW" +msgstr "BMW" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "cars, MP3 sound systems in" +msgstr "biler, MP3-lydsystem i" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Hummer, John" +msgstr "Hummer, John" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Hummer Winblad" +msgstr "Hummer Winblad" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "MP3 players" +msgstr "MP3-spillere" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "venture capital for" +msgstr "risikovillig kapital for" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> +msgid "Needleman, Rafe" +msgstr "Needleman, Rafe" + +#. f4. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> " +"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel " +"argument about the effects on innovation in the distribution of music, see " +"Janelle Brown, <quote>The Music Revolution Will Not Be Digitized,</quote> " +"Salon.com, 1 June 2001, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #42</ulink>. See also Jon Healey, <quote>Online Music " +"Services Besieged,</quote> <citetitle>Los Angeles Times</citetitle>, 28 May " +"2001." +msgstr "" + +#. type: Content of: <book><part><chapter><section><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 <citetitle>Business 2.0</citetitle>, " +"Rafe Needleman describes a discussion with BMW:" +msgstr "" + +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +msgid "" +"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> " +"<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #43</ulink>. I am grateful to Dr. " +"Mohammad Al-Ubaydli for this example. <placeholder type=\"indexterm\" id=" +"\"0\"/>" +msgstr "" +"Rafe Needleman, <quote>Driving in Cars with MP3s</quote>, " +"<citetitle>Business 2.0</citetitle>, 16. juni 2003, tilgjengelig via <ulink " +"url=\"http://free-culture.cc/notes/\">link #43</ulink>. Jeg er takknemlig " +"til Dr. Mohammad Al-Ubaydli for dette eksemplet. <placeholder type=" +"\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +msgid "" +"This is the world of the mafia—filled with <quote>your money or your " +"life</quote> offers, governed in the end not by courts but by the threats " +"that the law empowers copyright holders to exercise. It is a system that " +"will obviously and necessarily stifle new innovation. It is hard enough to " +"start a company. It is impossibly hard if that company is constantly " +"threatened by litigation." +msgstr "" +"Dette er verden til mafiaen—fylt med <quote>penger eller livet</quote>-" +"trusler, som ikke er regulert av domstolene men av trusler som loven gir " +"rettighetsinnehaver mulighet til Ã¥ komme med. Det er et system som Ã¥penbart " +"og nÃ¸dvendigvis vil kvele ny innovasjon. Det er vanskelig nok Ã¥ starte et " +"selskap. Det blir helt umulig hvis selskapet er stadig truet av sÃ¸ksmÃ¥l." + +#. PAGE BREAK 201 +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"The point is not that businesses should have a right to start illegal " +"enterprises. The point is the definition of <quote>illegal.</quote> The law " +"is a mess of uncertainty. We have no good way to know how it should apply to " +"new technologies. Yet by reversing our tradition of judicial deference, and " +"by embracing the astonishingly high penalties that copyright law imposes, " +"that uncertainty now yields a reality which is far more conservative than is " +"right. If the law imposed the death penalty for parking tickets, we'd not " +"only have fewer parking tickets, we'd also have much less driving. The same " +"principle applies to innovation. If innovation is constantly checked by this " +"uncertain and unlimited liability, we will have much less vibrant innovation " +"and much less creativity." +msgstr "" +"Poenget er ikke at virksomheter skal ha lov til Ã¥ starte ulovlig aktivitet. " +"Poenget er definisjonen av <quote>ulovlig</quote>. Loven er et rot av " +"usikkerhet. Vi har ingen god mÃ¥te Ã¥ vite hvordan den bÃ¸r anvendes pÃ¥ nye " +"teknologier. Og likevel, ved Ã¥ reverse vÃ¥r tradisjon for juridisk " +"hensynsfullhet og omfavne det forblÃ¸ffende hÃ¸ye straffenivÃ¥et som pÃ¥legges " +"av opphavsretten, gir denne usikkerheten nÃ¥ en virkelighet som er mye mer " +"konservativ enn det som er rett. Hvis loven pÃ¥la dÃ¸dsstraff for Ã¥ parkere " +"ulovlig, sÃ¥ ville vi ikke bare ha fÃ¦rre ulovlige parkeringer, vi ville ogsÃ¥ " +"ha mye mindre kjÃ¸ring. Det samme prinsippet gjelder for nyskapning. Hvis " +"innovasjon stadig kontrolleres av denne usikre og ubegrensede " +"strafferettsansvaret, sÃ¥ vil vi ha mye mindre levende nyskapning og mye " +"mindre kreativitet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The point is directly parallel to the crunchy-lefty point about fair use. " +"Whatever the <quote>real</quote> law is, realism about the effect of law in " +"both contexts is the same. This wildly punitive system of regulation will " +"systematically stifle creativity and innovation. It will protect some " +"industries and some creators, but it will harm industry and creativity " +"generally. Free market and free culture depend upon vibrant competition. " +"Yet the effect of the law today is to stifle just this kind of competition. " +"The effect is to produce an overregulated culture, just as the effect of too " +"much control in the market is to produce an 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 Ã¥ " +"undertrykke akkurat denne type konkurranse. effekten er Ã¥ produsere en " +"overregulated kultur, akkurat som effekten av for mye kontroll i markedet er " +"Ã¥ produsere en overregulatedregulated markedet." + +#. PAGE BREAK 202 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The building of a permission culture, rather than a free culture, is the " +"first important way in which the changes I have described will burden " +"innovation. A permission culture means a lawyer's culture—a culture in " +"which the ability to create requires a call to your lawyer. Again, I am not " +"antilawyer, at least when they're kept in their proper place. I am certainly " +"not antilaw. But our profession has lost the sense of its limits. And " +"leaders in our profession have lost an appreciation of the high costs that " +"our profession imposes upon others. The inefficiency of the law is an " +"embarrassment to our tradition. And while I believe our profession should " +"therefore do everything it can to make the law more efficient, it should at " +"least do everything it can to limit the reach of the law where the law is " +"not doing any good. The transaction costs buried within a permission culture " +"are enough to bury a wide range of creativity. Someone needs to do a lot of " +"justifying to justify that result." +msgstr "" +"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den fÃ¸rste " +"viktige mÃ¥ten der vil endringene jeg har beskrevet byrden innovasjon. en " +"tillatelse kultur betyr en advokat kultur—en kultur der muligheten til " +"Ã¥ opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke " +"antilawyer, minst nÃ¥r de er holdt i deres riktig sted. Jeg er sikkert ikke " +"antilaw. Men vÃ¥rt yrke har mistet fÃ¸lelsen av sine grenser. og ledere i vÃ¥r " +"profesjon har mistet en styrking av de hÃ¸ye kostnadene som vÃ¥rt yrke " +"pÃ¥legger over andre. ineffektiviteten i loven er en forlegenhet til vÃ¥r " +"tradisjon. og mens jeg tror vÃ¥rt yrke bÃ¸r derfor gjÃ¸re alt den kan for Ã¥ " +"effektivisere loven, det bÃ¸r minst gjÃ¸re alt den kan for Ã¥ begrense " +"rekkevidden av loven der loven ikke gjÃ¸r noe bra. transaksjonskostnader " +"begravde innen en tillatelse kultur er nok Ã¥ begrave et bredt spekter av " +"kreativitet. noen mÃ¥ gjÃ¸re en masse rettferdiggjÃ¸rende for Ã¥ rettferdiggjÃ¸re " +"dette resultatet. Usikkerheten av loven er en byrde pÃ¥ innovasjon. Det er en " +"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen " +"innhold for Ã¥ bruke loven til Ã¥ regulere direkte teknologi pÃ¥ Internett slik " +"at det bedre beskytter innholdet." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>The uncertainty</emphasis> of the law is one burden " +"on innovation. There is a second burden that operates more directly. This is " +"the effort by many in the content industry to use the law to directly " +"regulate the technology of the Internet so that it better protects their " +"content." +msgstr "" +"<emphasis role='strong'>Usikkerheten</emphasis> i loven er en av byrdene som " +"legges pÃ¥ nyskapningen. Det er en annen byrde som virker mer direkte. " +"Dette er effekten fra mange i innholdsindustrien som bruker loven til Ã¥ " +"direkte regulere teknologien pÃ¥ Internettet slik at den beskytter deres " +"innhold bedre." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The motivation for this response is obvious. The Internet enables the " +"efficient spread of content. That efficiency is a feature of the Internet's " +"design. But from the perspective of the content industry, this feature is a " +"<quote>bug.</quote> The efficient spread of content means that content " +"distributors have a harder time controlling the distribution of content. " +"One obvious response to this efficiency is thus to make the Internet less " +"efficient. If the Internet enables <quote>piracy,</quote> then, this " +"response says, we should break the kneecaps of the Internet." +msgstr "" +"motivasjon for dette svaret er Ã¥penbart. Internett gjÃ¸r 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 " +"distributÃ¸rer har en hardere tid kontrollere distribusjon av innhold. ettall " +"Ã¥penbare svaret Ã¥ denne effektiviteten er derfor Ã¥ gjÃ¸re Internett mindre " +"effektivt. Hvis Internett gjÃ¸r at \"piratkopiering\", deretter dette svaret " +"sier, vi bÃ¸r bryte kneecaps av Internett." + +#. f6. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<quote>Copyright and Digital Media in a Post-Napster World,</quote> " +"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law " +"School (2003), 33–35, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #44</ulink>." +msgstr "" + +#. f7. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "GartnerG2, 26–27." +msgstr "GartnerG2, 26–27." + +#. type: Content of: <book><part><chapter><section><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 <quote>broadcast flag</quote> that would be required on any " +"device capable of transmitting digital video (i.e., a computer), and that " +"would disable the copying of any content that is marked with a broadcast " +"flag. Other members of Congress have proposed immunizing content providers " +"from liability for technology they might deploy that would hunt down " +"copyright violators and disable their machines.<placeholder type=\"footnote" +"\" id=\"1\"/>" +msgstr "" + +#. PAGE BREAK 203 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In one sense, these solutions seem sensible. If the problem is the code, why " +"not regulate the code to remove the problem. But any regulation of technical " +"infrastructure will always be tuned to the particular technology of the day. " +"It will impose significant burdens and costs on the technology, but will " +"likely be eclipsed by advances around exactly those requirements." +msgstr "" +"i en forstand synes disse lÃ¸sningene fornuftig. Hvis problemet er koden, " +"hvorfor ikke regulere koden for Ã¥ fjerne problemet. men noen regulering av " +"tekniske infrastruktur vil alltid er stilt inn pÃ¥ bestemt teknologi av " +"dagen. det vil innfÃ¸re betydelig byrder og kostnader pÃ¥ teknologi, men vil " +"trolig vÃ¦re eclipsed av fremskritt rundt akkurat disse kravene." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Intel" +msgstr "Intel" + +#. f8. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> " +"Newsbytes, February 2002 (Entertainment)." +msgstr "" +"se david mcguire, \"tech execs torget off over piratkopiering,\" newsbytes, " +"februar 2002 (underholdning)." + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +msgid "" +"<emphasis role='strong'>There is one</emphasis> more obvious way in which " +"this war has harmed innovation—again, a story that will be quite " +"familiar to the free market crowd." +msgstr "" +"<emphasis role='strong'>Det er en</emphasis> mer Ã¥penbar mÃ¥te som denne " +"krigen har skadet nyskapning—igjen, en historie som vil vÃ¦re ganske " +"familiÃ¦r for de som stÃ¸tter det frie markedet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Copyright may be property, but like all property, it is also a form of " +"regulation. It is a regulation that benefits some and harms others. When " +"done right, it benefits creators and harms leeches. When done wrong, it is " +"regulation the powerful use to defeat competitors." +msgstr "" +"Copyright kanskje eiendom, men som all eiendom, det er ogsÃ¥ en form for " +"regulering. Det er en forordning som fordeler noen og skader andre. NÃ¥r det " +"gjÃ¸res riktig, det fordeler skaperne og skader leeches. NÃ¥r gjort galt, det " +"er regulering kraftig bruk Ã¥ beseire konkurrenter." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Digital Copyright (Litman)" +msgstr "Digital Copyright (Litman)" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: " +"Prometheus Books, 2001). <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/>" +msgstr "" +"Jessica litman, digitale copyright (amherst, n.y.: prometheus bÃ¸ker, 2001)." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, despite this feature of copyright as regulation, and " +"subject to important qualifications outlined by Jessica Litman in her book " +"<citetitle>Digital Copyright</citetitle>,<placeholder type=\"footnote\" id=" +"\"0\"/> overall this history of copyright is not bad. As chapter 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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But that pattern of deference to new technologies has now changed with the " +"rise of the Internet. Rather than striking a balance between the claims of a " +"new technology and the legitimate rights of content creators, both the " +"courts and Congress have imposed legal restrictions that will have the " +"effect of smothering the new to benefit the old." +msgstr "" +"men dette mÃ¸nsteret av deference til nye teknologier er nÃ¥ endret med " +"veksten av Internett. i stedet for Ã¥ treffe en balanse mellom kravene til en " +"ny teknologi og legitime rettighetene til skapere av innhold, har bÃ¥de " +"domstoler og Kongressen innfÃ¸rt juridiske restriksjoner som vil ha effekten " +"av smothering ny for Ã¥ dra nytte av gamle." + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "radio on" +msgstr "radio pÃ¥" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Grokster, Ltd." +msgstr "Grokster, Ltd." + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> The only circuit court exception " +"is found in <citetitle>Recording Industry Association of America (RIAA)</" +"citetitle> v. <citetitle>Diamond Multimedia Systems</citetitle>, 180 F. 3d " +"1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit " +"reasoned that makers of a portable MP3 player were not liable for " +"contributory copyright infringement for a device that is unable to record or " +"redistribute music (a device whose only copying function is to render " +"portable a music file already stored on a user's hard drive). At the " +"district court level, the only exception is found in <citetitle>Metro-" +"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</" +"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found " +"the link between the distributor and any given user's conduct too attenuated " +"to make the distributor liable for contributory or vicarious infringement " +"liability." +msgstr "" +"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 bÃ¦rbar 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 Ã¥ gjengi bÃ¦rbare en musikkfil som " +"allerede er lagret pÃ¥ brukerens harddisk). pÃ¥ district court-nivÃ¥, 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 distributÃ¸ren og noen gitt bruker 's " +"gjennomfÃ¸re for attenuated Ã¥ gjÃ¸re distributÃ¸ren ansvarlig for krenkelse av " +"medvirkende eller stedfortredende erstatningsansvar." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Tauzin, Billy" +msgstr "Tauzin, Billy" + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +msgid "Hollings, Fritz" +msgstr "Hollings, Fritz" + +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> For example, in July 2002, " +"Representative Howard Berman introduced the Peer-to-Peer Piracy Prevention " +"Act (H.R. 5211), which would immunize copyright holders from liability for " +"damage done to computers when the copyright holders use technology to stop " +"copyright infringement. In August 2002, Representative Billy Tauzin " +"introduced a bill to mandate that technologies capable of rebroadcasting " +"digital copies of films broadcast on TV (i.e., computers) respect a " +"<quote>broadcast flag</quote> that would disable copying of that content. " +"And in March of the same year, Senator Fritz Hollings introduced the " +"Consumer Broadband and Digital Television Promotion Act, which mandated " +"copyright protection technology in all digital media devices. See GartnerG2, " +"<quote>Copyright and Digital Media in a Post-Napster World,</quote> 27 June " +"2003, 33–34, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #44</ulink>. <placeholder type=\"indexterm\" id=\"1\"/> " +"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " +"id=\"3\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"pirates\"/>, when a radio station plays a song, the recording artist " +"doesn't get paid for that <quote>radio performance</quote> unless he or she " +"is also the composer. So, for example if Marilyn Monroe had recorded a " +"version of <quote>Happy Birthday</quote>—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 <quote>Happy Birthday</quote> would get some money, whereas " +"Marilyn Monroe would not." +msgstr "" +"som jeg beskrevet i kapittel 4, nÃ¥r en radiostasjon spiller en sang, fÃ¥r " +"ikke innspillingen artisten betalt for at \"radio ytelse\" med mindre han " +"eller hun er ogsÃ¥ komponisten. sÃ¥, for eksempel hvis marilyn monroe hadde " +"spilt inn en versjon av \"happy birthday\"—for Ã¥ memorialize sin " +"berÃ¸mte opptreden fÃ¸r president kennedy i madison square garden—" +"deretter nÃ¥r denne innspillingen ble spilt pÃ¥ radio, gjeldende opphavsrett " +"eierne av \"happy birthday\" ville fÃ¥ noen penger, mens marilyn monroe ville " +"ikke." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The reasoning behind this balance struck by Congress makes some sense. The " +"justification was that radio was a kind of advertising. The recording artist " +"thus benefited because by playing her music, the radio station was making it " +"more likely that her records would be purchased. Thus, the recording artist " +"got something, even if only indirectly. Probably this reasoning had less to " +"do with the result than with the power of radio stations: Their lobbyists " +"were quite good at stopping any efforts to get Congress to require " +"compensation to the recording artists." +msgstr "" +"begrunnelsen bak denne balansen truffet av Kongressen gjÃ¸r noe fornuftig. " +"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte " +"dermed fordi ved Ã¥ spille musikken hennes, radiostasjonen var Ã¥ gjÃ¸re det " +"mer sannsynlig at hennes poster ville vÃ¦re kjÃ¸pt. dermed Plateartist fikk " +"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre Ã¥ " +"gjÃ¸re med resultatet enn med makten av radiostasjoner: deres lobbyister var " +"ganske god til Ã¥ stoppe enhver innsats for Ã¥ fÃ¥ Kongressen til Ã¥ kreve " +"kompensasjon for artistene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Enter Internet radio. Like regular radio, Internet radio is a technology to " +"stream content from a broadcaster to a listener. The broadcast travels " +"across the Internet, not across the ether of radio spectrum. Thus, I can " +"<quote>tune in</quote> to an Internet radio station in Berlin while sitting " +"in San Francisco, even though there's no way for me to tune in to a regular " +"radio station much beyond the San Francisco metropolitan area." +msgstr "" +"Skriv inn Internett-radio. som vanlige radio er Internett-radio en teknologi " +"Ã¥ direktesende innhold fra en kringkasteren til en lytter. kringkastingen " +"reiser over Internett, ikke pÃ¥ tvers av Eter av radio spectrum. SÃ¥ledes, jeg " +"kan \"stille inn\" til Internett-radiostasjonen i berlin mens du sitter i " +"san francisco, selv om det er ingen mÃ¥te for meg Ã¥ stille inn pÃ¥ en vanlig " +"radiostasjon langt utover san francisco metropolitan area." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This feature of the architecture of Internet radio means that there are " +"potentially an unlimited number of radio stations that a user could tune in " +"to using her computer, whereas under the existing architecture for broadcast " +"radio, there is an obvious limit to the number of broadcasters and clear " +"broadcast frequencies. Internet radio could therefore be more competitive " +"than regular radio; it could provide a wider range of selections. And " +"because the potential audience for Internet radio is the whole world, niche " +"stations could easily develop and market their content to a relatively large " +"number of users worldwide. According to some estimates, more than eighty " +"million users worldwide have tuned in to this new form of radio." +msgstr "" +"Denne funksjonen i arkitekturen av Internett-radio betyr at det er " +"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn " +"til Ã¥ bruke sin datamaskin, mens under den eksisterende arkitekturen for " +"kringkasting, det er en Ã¥penbar grense for hvor mange broadcasters og fjerne " +"kringkastingsfrekvenser. Internett-radio kan derfor vÃ¦re 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 markedsfÃ¸re innholdet til et relativt " +"stort antall brukere over hele verden. IfÃ¸lge noen anslag har mer enn Ã¥tti " +"millioner brukere over hele verden stilt inn pÃ¥ denne nye formen for radio." + +#. PAGE BREAK 205 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Internet radio is thus to radio what FM was to AM. It is an improvement " +"potentially vastly more significant than the FM improvement over AM, since " +"not only is the technology better, so, too, is the competition. Indeed, " +"there is a direct parallel between the fight to establish FM radio and the " +"fight to protect Internet radio. As one author describes Howard Armstrong's " +"struggle to enable FM radio," +msgstr "" +"Internett-radio er dermed til radio hva fm var Ã¥ am. Det er en forbedring " +"potensielt vesentlig stÃ¸rre betydning enn fm-forbedring over am, siden ikke " +"bare er teknologien bedre, sÃ¥, ogsÃ¥, er konkurransen. faktisk er det en " +"direkte parallell mellom kampen for Ã¥ etablere fm-radio og kampen for Ã¥ " +"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp " +"for Ã¥ aktivere fm-radio," + +#. f12. +#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> +#, mtrans, fuzzy +msgid "Lessing, 239." +msgstr "Lessing, 239." + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "Ibid., 229." +msgstr "ibid., 229." + +#. type: Content of: <book><part><chapter><section><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 " +"<quote>vested interests, habits, customs and legislation</quote><placeholder " +"type=\"footnote\" id=\"0\"/> to retard the growth of this competing " +"technology." +msgstr "" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Now the very same claim could be made about Internet radio. For again, there " +"is no technical limitation that could restrict the number of Internet radio " +"stations. The only restrictions on Internet radio are those imposed by the " +"law. Copyright law is one such law. So the first question we should ask is, " +"what copyright rules would govern Internet radio?" +msgstr "" +"nÃ¥ kunne samme kravet gjort om Internett-radio. for pÃ¥ nytt finnes det ingen " +"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de " +"eneste begrensningene pÃ¥ Internett-radio som er pÃ¥lagt av loven. lov om " +"opphavsrett er en slik lov. sÃ¥ det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r spÃ¸rre er, " +"hvilke opphavsrett regler ville styre Internett-radio?" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on radio" +msgstr "om radio" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "Internet radio hampered by" +msgstr "Internett-radio som er hemmet av" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +msgid "on Internet radio fees" +msgstr "om radio-avgifter pÃ¥ internet" + +#. PAGE BREAK 206 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But here the power of the lobbyists is reversed. Internet radio is a new " +"industry. The recording artists, on the other hand, have a very powerful " +"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet " +"radio in 1995, the lobbyists had primed Congress to adopt a different rule " +"for Internet radio than the rule that applies to terrestrial radio. While " +"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " +"it plays her hypothetical recording of <quote>Happy Birthday</quote> on the " +"air, <emphasis>Internet radio does</emphasis>. Not only is the law not " +"neutral toward Internet radio—the law actually burdens Internet radio " +"more than it burdens terrestrial radio." +msgstr "" +"men her kraften i lobbyister tilbakefÃ¸res. Internett-radio er en ny " +"industri. artister, derimot, har en svÃ¦rt kraftig lobby, riaa. dermed hadde " +"Kongressen vurdert nÃ¥r fenomenet Internett-radio i 1995, lobbyister primed " +"Kongressen Ã¥ adoptere en annen regel for Internett-radio enn regelen som " +"gjelder bakkesendte radio. mens bakkesendte radio ikke trenger Ã¥ betale vÃ¥re " +"hypotetisk marilyn monroe nÃ¥r den spilles hennes hypotetisk innspillingen av " +"\"happy birthday\" pÃ¥ luften, Internett-radio gjÃ¸r. ikke bare er loven ikke " +"nÃ¸ytral mot Internett-radio—loven faktisk byrder Internettradio mer " +"enn det byrder bakkesendte radio." + +#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> +#, mtrans, fuzzy +msgid "CARP (Copyright Arbitration Royalty Panel)" +msgstr "Carp (opphavsrett voldgift royalty-panelet)" + +#. type: Content of: <book><part><chapter><section><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, <quote>Copyright as " +"Entry Policy: The Case of Digital Distribution,</quote> <citetitle>Antitrust " +"Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was not confusion, " +"these are just old-fashioned entry barriers. Analog radio stations are " +"protected from digital entrants, reducing entry in radio and diversity. Yes, " +"this is done in the name of getting royalties to copyright holders, but, " +"absent the play of powerful interests, that could have been done in a media-" +"neutral way.</quote> <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" +msgstr "" + +#. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The burden is not financial only. Under the original rules that were " +"proposed, an Internet radio station (but not a terrestrial radio station) " +"would have to collect the following data from <emphasis>every listening " +"transaction</emphasis>:" +msgstr "" +"byrden er ikke Ã¸konomiske bare. under de opprinnelige reglene som ble " +"foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " +"ville ha til Ã¥ samle inn fÃ¸lgende data fra hver lytting transaksjon:" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "name of the service;" +msgstr "navn pÃ¥ tjenesten," + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "channel of the program (AM/FM stations use station ID);" +msgstr "kanalen til programmet (AM/FM-stasjoner bruker stasjons-ID);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "type of program (archived/looped/live);" +msgstr "type program (fra arkivet/i lÃ¸kke/direkte);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "date of transmission;" +msgstr "dato for sending;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "time of transmission;" +msgstr "tidspunkt for sending;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "time zone of origination of transmission;" +msgstr "tidssone til opprinnelsen for sending;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "" +"numeric designation of the place of the sound recording within the program;" +msgstr "numeriske angivelsen av i stedet for lydopptak programmet;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "duration of transmission (to nearest second);" +msgstr "varigheten av sending (til nÃ¦rmeste sekund):" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "sound recording title;" +msgstr "lydinnspilling-tittel;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "ISRC code of the recording;" +msgstr "ISRC-kode for opptaket;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "" +"release year of the album per copyright notice and in the case of " +"compilation albums, the release year of the album and copy- right date of " +"the track;" +msgstr "" +"gi Ã¥r av albumet per opphavsrett og nÃ¥r det gjelder samlealbum, utgivelsesÃ¥r " +"av albumet og kopi hÃ¸yre datoen for spor;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "featured recording artist;" +msgstr "spillende plateartist;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "retail album title;" +msgstr "tittel pÃ¥ album i butikker;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "recording label;" +msgstr "plateselskap;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "UPC code of the retail album;" +msgstr "UPC-koden for albumet i butikker;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "catalog number;" +msgstr "katalognummer;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "copyright owner information;" +msgstr "informasjon om opphavsrettsinnehaver;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "musical genre of the channel or program (station format);" +msgstr "musikksjanger for kanal eller programmet (stasjonsformat);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "name of the service or entity;" +msgstr "navn pÃ¥ tjenesten eller selskap;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "channel or program;" +msgstr "kanal eller program;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "date and time that the user logged in (in the user's time zone);" +msgstr "datoen og klokkeslettet da brukeren logget pÃ¥ (i brukerens tidssone);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "date and time that the user logged out (in the user's time zone);" +msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +#, mtrans, fuzzy +msgid "time zone where the signal was received (user);" +msgstr "tidssone der signalet ble mottatt (bruker);" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "unique user identifier;" +msgstr "unik bruker-identifikator;" + +#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para> +msgid "the country in which the user received the transmissions." +msgstr "landet til brukeren som mottok sendingene." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The Librarian of Congress eventually suspended these reporting requirements, " +"pending further study. And he also changed the original rates set by the " +"arbitration panel charged with setting rates. But the basic difference " +"between Internet radio and terrestrial radio remains: Internet radio has to " +"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does " +"not." +msgstr "" +"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " +"ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " +"voldgift panelet belastet med angivelse av priser. men den grunnleggende " +"forskjellen mellom Internett-radio og bakkesendte radio gjenstÃ¥r: Internett " +"radio har Ã¥ betale en type opphavsrett gebyr som bakkesendte radio ikke." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Why? What justifies this difference? Was there any study of the economic " +"consequences from Internet radio that would justify these differences? Was " +"the motive to protect artists against piracy?" +msgstr "" +"hvorfor? Hva rettferdiggjÃ¸r denne forskjellen? var det noen studier av " +"Ã¸konomiske konsekvensene fra Internett-radio som ville forsvare disse " +"forskjellene? var motivet Ã¥ beskytte kunstnere mot piratkopiering?" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Real Networks" +msgstr "Real Networks" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In a rare bit of candor, one RIAA expert admitted what seemed obvious to " +"everyone at the time. As Alex Alben, vice president for Public Policy at " +"Real Networks, told me," +msgstr "" +"i sjeldne litt candor innrÃ¸mmet Ã©n riaa ekspert hva syntes Ã¥penbar for alle " +"samtidig. som alex alben fortalte visepresident for public policy pÃ¥ real " +"networks, meg:" + +#. PAGE BREAK 208 +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"The RIAA, which was representing the record labels, presented some testimony " +"about what they thought a willing buyer would pay to a willing seller, and " +"it was much higher. It was ten times higher than what radio stations pay to " +"perform the same songs for the same period of time. And so the attorneys " +"representing the webcasters asked the RIAA, … <quote>How do you come " +"up with a rate that's so much higher? Why is it worth more than radio? " +"Because here we have hundreds of thousands of webcasters who want to pay, " +"and that should establish the market rate, and if you set the rate so high, " +"you're going to drive the small webcasters out of business. …</quote>" +msgstr "" +"riaa, som var som representerer plateselskapene, presentert noen vitnesbyrd " +"om hva de tenkte en villig kjÃ¸per betaler til en villig selger, og det var " +"mye hÃ¸yere. Det var ti ganger hÃ¸yere enn hva radiostasjoner betale for Ã¥ " +"utfÃ¸re de samme sangene i samme periode av tid. og sÃ¥ advokater som " +"representerer webcasters spurte riaa... \"hvordan kan du komme opp med en " +"hastighet som er sÃ¥ mye hÃ¸yere? Hvorfor er det verdt mer enn radio? fordi " +"her har vi hundretusener av webcasters som Ã¸nsker Ã¥ betale, og som bÃ¸r " +"etablere markedet rate, og hvis du angir satsen sÃ¥ hÃ¸yt, du kommer til Ã¥ " +"drive smÃ¥ webcasters ut av business.... \"" + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"And the RIAA experts said, <quote>Well, we don't really model this as an " +"industry with thousands of webcasters, <emphasis>we think it should be an " +"industry with, you know, five or seven big players who can pay a high rate " +"and it's a stable, predictable market</emphasis>.</quote> (Emphasis added.)" +msgstr "" +"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med " +"tusenvis av webcasters, vi tror det bÃ¸r vÃ¦re en bransje med, du vet, fem " +"eller sju store spillere som kan betale en hÃ¸y hastighet, og det er en " +"stabil, forutsigbar marked.\" (vekt legges)." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Translation: The aim is to use the law to eliminate competition, so that " +"this platform of potentially immense competition, which would cause the " +"diversity and range of content available to explode, would not cause pain to " +"the dinosaurs of old. There is no one, on either the right or the left, who " +"should endorse this use of the law. And yet there is practically no one, on " +"either the right or the left, who is doing anything effective to prevent it." +msgstr "" +"oversettelse: mÃ¥let er Ã¥ bruke loven til Ã¥ eliminere konkurranse, slik at " +"denne plattformen av potensielt enorme konkurransen, som ville fÃ¸re til " +"mangfoldet og omfanget av innholdet tilgjengelig til Ã¥ eksplodere, ikke " +"ville forÃ¥rsake smerte til dinosaurs av gamle. Det er ingen, enten til hÃ¸yre " +"eller venstre, som bÃ¸r bifaller denne bruken av loven. og ennÃ¥ er det " +"praktisk talt ingen, enten til hÃ¸yre eller venstre, som gjÃ¸r noe effektivt " +"for Ã¥ hindre den." + +#. type: Content of: <book><part><chapter><section><title> +#, mtrans, fuzzy +msgid "Corrupting Citizens" +msgstr "Ã¸delegge borgere" + +#. type: Content of: <book><part><chapter><section><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 "" +"For mye regulering knebler kretiviteten. Den kveler nyskapning. Den gir " +"dinosaurer vetorett over fremtiden. Den kaster bort den ekstraordinÃ¦re " +"muligheten for en demokratisk kreativitet som digital teknologi gjÃ¸r mulig." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"In addition to these important harms, there is one more that was important " +"to our forebears, but seems forgotten today. Overregulation corrupts " +"citizens and weakens the rule of law." +msgstr "" +"i tillegg til disse viktige skadene er det en mer som var viktig for vÃ¥re " +"forfedre, men synes glemt i dag. overregulation skader borgere og svekker " +"rettssikkerhet." + +#. f15. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> " +"Pew Internet and American Life Project (24 April 2001), available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #46</ulink>. The Pew Internet " +"and American Life Project reported that 37 million Americans had downloaded " +"music files from the Internet by early 2001." +msgstr "" + +#. PAGE BREAK 209 +#. type: Content of: <book><part><chapter><section><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 <citetitle>The New York Times</citetitle>, 43 " +"million Americans downloaded music in May 2002.<placeholder type=\"footnote" +"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million " +"Americans is a felony. We thus have a set of rules that transform 20 percent " +"of America into criminals. As the RIAA launches lawsuits against not only " +"the Napsters and Kazaas of the world, but against students building search " +"engines, and increasingly against ordinary users downloading content, the " +"technologies for sharing will advance to further protect and hide illegal " +"use. It is an arms race or a civil war, with the extremes of one side " +"inviting a more extreme response by the other." +msgstr "" + +#. f16. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA Case,</" +"quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business." +msgstr "" +"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" " +"los angeles times, 10 september 2003, business." + +#. type: Content of: <book><part><chapter><section><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 "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "alcohol prohibition" +msgstr "alkohol forbud" + +#. f17. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During " +"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, no. " +"2 (1991): 242." +msgstr "" +"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" " +"amerikanske Ã¸konomiske anmeldelse 81, no. 2 (1991): 242." + +#. f18. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"National Drug Control Policy: Hearing Before the House Government Reform " +"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. " +"Walters, director of National Drug Control Policy)." +msgstr "" +"nasjonale narkotikapolitikken kontroll: hÃ¸re fÃ¸r house government reform " +"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, " +"direktÃ¸r for nasjonale narkotikapolitikken kontroll)." + +#. f19. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax " +"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 " +"(1998): 818 (survey of compliance literature)." +msgstr "" +"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" " +"journal av Ã¸konomiske litteratur 36 (1998): 818 (undersÃ¸kelse av samsvar " +"litteratur)." + +#. type: Content of: <book><part><chapter><section><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 <quote>free society,</" +"quote> but an endless array of ordinary behavior is regulated within our " +"society. And as a result, a huge proportion of Americans regularly violate " +"at least some law." +msgstr "" + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +#, mtrans, fuzzy +msgid "law schools" +msgstr "Jusstudier" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This state of affairs is not without consequence. It is a particularly " +"salient issue for teachers like me, whose job it is to teach law students " +"about the importance of <quote>ethics.</quote> As my colleague Charlie " +"Nesson told a class at Stanford, each year law schools admit thousands of " +"students who have illegally downloaded music, illegally consumed alcohol and " +"sometimes drugs, illegally worked without paying taxes, illegally driven " +"cars. These are kids for whom behaving illegally is increasingly the norm. " +"And then we, as law professors, are supposed to teach them how to behave " +"ethically—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 <quote>normally</quote> entails " +"a certain degree of illegality." +msgstr "" +"denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt " +"fremtredende spÃ¸rsmÃ¥let for lÃ¦rere som meg, hvis jobb er det Ã¥ undervise law " +"studenter om betydningen av \"etikk.\" som min kollega charlie nesson " +"fortalte en klasse ved stanford, hvert Ã¥r lov skoler innrÃ¸mme tusenvis av " +"studentene som har ulovlig lastet ned musikk, ulovlig konsumert alkohol og " +"noen ganger narkotika, ulovlig arbeidet uten Ã¥ betale skatt, ulovlig drevet " +"biler. disse er barna som oppfÃ¸rer seg ulovlig er stadig normen. og deretter " +"vi, som loven professorer, skal lÃ¦re dem hvordan Ã¥ oppfÃ¸re seg etisk—" +"hvordan Ã¥ si nei til bestikkelser, holde klienten midler atskilt eller Ã¦re " +"et krav til Ã¥ avslÃ¸re 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 bÃ¥de normalt og lovlig, siden \"normalt\" innebÃ¦rer en viss grad av " +"illegality." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"The response to this general illegality is either to enforce the law more " +"severely or to change the law. We, as a society, have to learn how to make " +"that choice more rationally. Whether a law makes sense depends, in part, at " +"least, upon whether the costs of the law, both intended and collateral, " +"outweigh the benefits. If the costs, intended and collateral, do outweigh " +"the benefits, then the law ought to be changed. Alternatively, if the costs " +"of the existing system are much greater than the costs of an alternative, " +"then we have a good reason to consider the alternative." +msgstr "" +"response til denne generelle illegality er Ã¥ hÃ¥ndheve loven mer alvorlig " +"eller endre loven. Vi har som et samfunn Ã¥ lÃ¦re hvordan du gjÃ¸r mer " +"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om " +"kostnadene ved loven, bÃ¥de tiltenkte og sikkerhetsstillelse, oppveier " +"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, " +"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet " +"er mye stÃ¸rre enn kostnadene for et alternativ, vi har en god grunn til Ã¥ " +"vurdere alternativet." + +#. PAGE BREAK 211 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My point is not the idiotic one: Just because people violate a law, we " +"should therefore repeal it. Obviously, we could reduce murder statistics " +"dramatically by legalizing murder on Wednesdays and Fridays. But that " +"wouldn't make any sense, since murder is wrong every day of the week. A " +"society is right to ban murder always and everywhere." +msgstr "" +"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bÃ¸r " +"derfor oppheve den. Vi kan selvfÃ¸lgelig redusere mord statistikk dramatisk " +"ved legalizing drap for pÃ¥ onsdager og fredager. men det ville ikke gi noen " +"mening, siden drap er galt hver dag i uken. et samfunn er rett Ã¥ utestenge " +"drap alltid og overalt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My point is instead one that democracies understood for generations, but " +"that we recently have learned to forget. The rule of law depends upon people " +"obeying the law. The more often, and more repeatedly, we as citizens " +"experience violating the law, the less we respect the law. Obviously, in " +"most cases, the important issue is the law, not respect for the law. I don't " +"care whether the rapist respects the law or not; I want to catch and " +"incarcerate the rapist. But I do care whether my students respect the law. " +"And I do care if the rules of law sow increasing disrespect because of the " +"extreme of regulation they impose. Twenty million Americans have come of " +"age since the Internet introduced this different idea of <quote>sharing.</" +"quote> We need to be able to call these twenty million Americans " +"<quote>citizens,</quote> not <quote>felons.</quote>" +msgstr "" +"Mitt poeng er i stedet en som demokratier forstÃ¥tt i generasjoner, men som " +"vi nylig har lÃ¦rt Ã¥ glemme. rettssikkerhet, er avhengig av folk som fÃ¸lge " +"loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve brudd pÃ¥ " +"loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste tilfeller, " +"det viktige spÃ¸rsmÃ¥let er lov, ikke respekt for loven. jeg ikke bryr seg om " +"voldtektsforbryter respekterer loven eller ikke; Jeg Ã¸nsker Ã¥ fange og " +"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer " +"loven. og jeg bryr seg Hvis reglene for loven purke Ã¸kende aktelse pÃ¥ grunn " +"av ekstreme regulering de innfÃ¸re. fem millioner amerikanere har kommet av " +"alder siden Internett innfÃ¸rt denne annen idÃ© om \"deling.\" vi trenger Ã¥ " +"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"When at least forty-three million citizens download content from the " +"Internet, and when they use tools to combine that content in ways " +"unauthorized by copyright holders, the first question we should be asking is " +"not how best to involve the FBI. The first question should be whether this " +"particular prohibition is really necessary in order to achieve the proper " +"ends that copyright law serves. Is there another way to assure that artists " +"get paid without transforming forty-three million Americans into felons? " +"Does it make sense if there are other ways to assure that artists get paid " +"without transforming America into a nation of felons?" +msgstr "" +"NÃ¥r minst fÃ¸rti - tre millioner innbyggere dataoverfÃ¸re innhold fra " +"Internett, og nÃ¥r de bruker verktÃ¸y til Ã¥ kombinere at innhold pÃ¥ mÃ¥ter " +"uautorisert ved innehaver av opphavsrett, det fÃ¸rste spÃ¸rsmÃ¥let som vi bÃ¸r " +"spÃ¸rre ikke er hvordan man best kan innebÃ¦re fbi. det fÃ¸rste spÃ¸rsmÃ¥let bÃ¸r " +"vÃ¦re om dette bestemte forbudet er virkelig nÃ¸dvendig for Ã¥ oppnÃ¥ riktig " +"ender som serverer lov om opphavsrett. er det en annen mÃ¥te Ã¥ forsikre at " +"artister fÃ¥r betalt uten Ã¥ transformere fÃ¸rti - tre millioner amerikanere i " +"felons? betyr det fornuftig hvis det finnes andre mÃ¥ter Ã¥ sikre at artister " +"fÃ¥r betalt uten Ã¥ transformere Amerika til en nasjon av felons?" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "This abstract point can be made more clear with a particular example." +msgstr "Denne abstrakte punkt kan gjÃ¸res mer tydelig med en bestemt eksempel." + +#. PAGE BREAK 212 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"We all own CDs. Many of us still own phonograph records. These pieces of " +"plastic encode music that in a certain sense we have bought. The law " +"protects our right to buy and sell that plastic: It is not a copyright " +"infringement for me to sell all my classical records at a used record store " +"and buy jazz records to replace them. That <quote>use</quote> 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 kjÃ¸pt. loven beskytter vÃ¥r " +"rett til Ã¥ kjÃ¸pe og selge den plasten: det er ikke en krenkelse av " +"opphavsrett for meg Ã¥ selge min klassisk poster pÃ¥ en brukte platebutikk og " +"kjÃ¸pe jazz poster hvis du vil erstatte dem. \"Bruk\" av opptak er gratis." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"But as the MP3 craze has demonstrated, there is another use of phonograph " +"records that is effectively free. Because these recordings were made without " +"copy-protection technologies, I am <quote>free</quote> to copy, or " +"<quote>rip,</quote> music from my records onto a computer hard disk. Indeed, " +"Apple Corporation went so far as to suggest that <quote>freedom</quote> was " +"a right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, " +"Burn</quote> capacities of digital technologies." +msgstr "" +"men som mp3-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 Ã¥ kopiere eller \"rip\" musikk fra min poster pÃ¥ en " +"harddisk pÃ¥ datamaskinen. faktisk apple corporation gikk sÃ¥ langt som Ã¥ " +"foreslÃ¥ at \"friheten\" var en rett: i en rekke reklamefilmer, apple " +"godkjent \"rip, mikse, brenne\" kapasiteter digitale teknologier." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "Andromeda" +msgstr "Andromeda" + +#. type: Content of: <book><part><chapter><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "mix technology and" +msgstr "blande teknologi og" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"This <quote>use</quote> of my records is certainly valuable. I have begun a " +"large process at home of ripping all of my and my wife's CDs, and storing " +"them in one archive. Then, using Apple's iTunes, or a wonderful program " +"called Andromeda, we can build different play lists of our music: Bach, " +"Baroque, Love Songs, Love Songs of Significant Others—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 vÃ¥re musikk: bach, " +"barokk, love songs, love songs av betydelige andre—potensialet er " +"uendelige. og ved Ã¥ redusere kostnadene ved Ã¥ blande spillelister, disse " +"teknologier hjelpe bygge en kreativitet med spille lister som selv er " +"uavhengig verdifull. samlinger av sanger er kreative og meningsfull i egen " +"rett." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +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 ogsÃ¥ aktivere fildeling. fildeling truer (eller sÃ¥ innhold " +"industrien mener) evne til skaperne Ã¥ tjene en god avkastning fra sin " +"kreativitet. og dermed mange begynner Ã¥ eksperimentere med teknologier for Ã¥ " +"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere " +"CDer som ikke blir rippet. eller de kan aktivere spion programmer Ã¥ " +"identifisere rippede innhold pÃ¥ folks maskiner." + +#. PAGE BREAK 213 +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If these technologies took off, then the building of large archives of your " +"own music would become quite difficult. You might hang in hacker circles, " +"and get technology to disable the technologies that protect the content. " +"Trading in those technologies is illegal, but maybe that doesn't bother you " +"much. In any case, for the vast majority of people, these protection " +"technologies would effectively destroy the archiving use of CDs. The " +"technology, in other words, would force us all back to the world where we " +"either listened to music by manipulating pieces of plastic or were part of a " +"massively complex <quote>digital rights management</quote> 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 fÃ¥ " +"teknologi for Ã¥ 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 " +"Ã¸delegge arkivering bruk av CDer. teknologi, med andre ord, vil tvinge oss " +"alle tilbake til verden der vi lyttet til musikk ved Ã¥ manipulere stykker av " +"plast eller var del av en svÃ¦rt kompleks \"digital rights management\" " +"systemet." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"If the only way to assure that artists get paid were the elimination of the " +"ability to freely move content, then these technologies to interfere with " +"the freedom to move content would be justifiable. But what if there were " +"another way to assure that artists are paid, without locking down any " +"content? What if, in other words, a different system could assure " +"compensation to artists while also preserving the freedom to move content " +"easily?" +msgstr "" +"Hvis den eneste mÃ¥ten Ã¥ sikre at artister fÃ¥r betalt var eliminering av " +"muligheten til Ã¥ fritt flytte innhold, ville sÃ¥ disse teknologiene Ã¥ " +"forstyrre bevege innhold vÃ¦re forsvarlig. men hva hvis det var en annen mÃ¥te " +"Ã¥ forsikre at kunstnere er betalt, uten Ã¥ lÃ¥se ned innhold? Hva om, med " +"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig " +"som du beholder ogsÃ¥ bevege innhold lett?" + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"My point just now is not to prove that there is such a system. I offer a " +"version of such a system in the last chapter of this book. For now, the only " +"point is the relatively uncontroversial one: If a different system achieved " +"the same legitimate objectives that the existing copyright system achieved, " +"but left consumers and creators much more free, then we'd have a very good " +"reason to pursue this alternative—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 nÃ¥ ikke for Ã¥ bevise at det er et slikt system. Jeg " +"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for " +"nÃ¥, det eneste punktet er den relativt ukontroversiell: Hvis et annet system " +"oppnÃ¥dd mÃ¥lene er samme legitime som eksisterende opphavsretten til systemet " +"oppnÃ¥dd, men forlot forbrukere og skaperne mye mer gratis, sÃ¥ vi ville ha en " +"svÃ¦rt god grunn til Ã¥ forfÃ¸lge denne alternative—nemlig frihet. valg, " +"med andre ord, ville ikke vÃ¦re mellom eiendom og piratkopiering; valget " +"ville vÃ¦re mellom forskjellige eiendom systemer og frihetene hver tillatt." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"I believe there is a way to assure that artists are paid without turning " +"forty-three million Americans into felons. But the salient feature of this " +"alternative is that it would lead to a very different market for producing " +"and distributing creativity. The dominant few, who today control the vast " +"majority of the distribution of content in the world, would no longer " +"exercise this extreme of control. Rather, they would go the way of the horse-" +"drawn buggy." +msgstr "" +"Jeg tror det er en mÃ¥te Ã¥ sikre at kunstnere er betalt uten Ã¥ slÃ¥ fÃ¸rti - " +"tre millioner amerikanere i felons. men funksjonen fremspringende i denne " +"alternativ er at det ville fÃ¸re til en svÃ¦rt forskjellige markedet for " +"produksjon og distribusjon av kreativitet. de dominerende fÃ¥, som i dag " +"kontrollerer det store flertallet av distribusjon av innhold i verden, ville " +"ikke lenger utÃ¸ve denne ekstreme av kontroll. de ville heller gÃ¥ veien for " +"hest trukket buggy." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"Except that this generation's buggy manufacturers have already saddled " +"Congress, and are riding the law to protect themselves against this new form " +"of competition. For them the choice is between fortythree million Americans " +"as criminals and their own survival." +msgstr "" +"bortsett fra at denne generasjon vognen produsenter har allerede saddled " +"Kongressen, og sykle loven for Ã¥ 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><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"It is understandable why they choose as they do. It is not understandable " +"why we as a democracy continue to choose as we do. Jack Valenti is charming; " +"but not so charming as to justify giving up a tradition as deep and " +"important as our tradition of free culture." +msgstr "" +"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " +"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " +"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " +"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur." + +#. type: Content of: <book><part><chapter><section><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>There's one more</emphasis> aspect to this " +"corruption that is particularly important to civil liberties, and follows " +"directly from any war of prohibition. As Electronic Frontier Foundation " +"attorney Fred von Lohmann describes, this is the <quote>collateral damage</" +"quote> that <quote>arises whenever you turn a very large percentage of the " +"population into criminals.</quote> This is the collateral damage to civil " +"liberties generally." +msgstr "" +"Det er forstÃ¥elig hvorfor de velger som de gjÃ¸r. Det er ikke forstÃ¥elig " +"hvorfor vi som et demokrati fortsette Ã¥ velge som vi gjÃ¸r. Jack valenti er " +"sjarmerende; men ikke sÃ¥ sjarmerende som Ã¥ rettferdiggjÃ¸re Ã¥ gi opp en " +"tradisjon som dypt og viktig som vÃ¥r tradisjon for fri kultur. Det er en mer " +"aspekt til dette kan fÃ¸re til minnefeil som er spesielt viktig for " +"borgerrettigheter, og fÃ¸lger direkte fra noen krig av forbudet. som " +"electronic frontier foundation advokat fred von sang beskriver, dette er den " +"\"sikkerhetsstillelse skaden\" som \"oppstÃ¥r nÃ¥r du slÃ¥r en veldig stor " +"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse " +"skader pÃ¥ borgerrettigheter vanligvis." + +#. type: Content of: <book><part><chapter><section><indexterm><primary> +msgid "von Lohmann, Fred" +msgstr "von Lohmann, Fred" + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"<quote>If you can treat someone as a putative lawbreaker,</quote> von " +"Lohmann explains," +msgstr "" +"<quote>Hvis du kan behandle noen som en antatt lovbryter</quote>, forklarer " +"von Lohmann," + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"then all of a sudden a lot of basic civil liberty protections evaporate to " +"one degree or another. … If you're a copyright infringer, how can you " +"hope to have any privacy rights? If you're a copyright infringer, how can " +"you hope to be secure against seizures of your computer? How can you hope to " +"continue to receive Internet access? … Our sensibilities change as " +"soon as we think, <quote>Oh, well, but that person's a criminal, a " +"lawbreaker.</quote> Well, what this campaign against file sharing has done " +"is turn a remarkable percentage of the American Internet-using population " +"into <quote>lawbreakers.</quote>" +msgstr "" +"sÃ¥ plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe " +"til en grad eller annen.... Hvis du er en opphavsrett pÃ¥ lovgivningen, " +"hvordan kan du hÃ¥per Ã¥ ha noen personvernet? Hvis du er en opphavsrett pÃ¥ " +"lovgivningen, hvordan kan du hÃ¥per Ã¥ bli sikker mot beslag av datamaskinen? " +"Hvordan kan du hÃ¥per Ã¥ fortsette Ã¥ motta Internett-tilgang? ... vÃ¥r " +"sensibilities endre sÃ¥ snart vi tror, \"oh, vel, men denne personen er en " +"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er " +"Ã¥ slÃ¥ en bemerkelsesverdig prosent av den amerikanske Internett-bruker " +"befolkningen i \"lawbreakers.\"" + +#. type: Content of: <book><part><chapter><section><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 konsekvensen av denne transformeringen av det amerikanske folket til " +"kriminelle er at det blir trivielt, i trÃ¥d med god rettspraksis, og " +"effektivt sett radere ut mye av personvernet som de fleste tar for gitt." + +#. type: Content of: <book><part><chapter><section><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 pÃ¥ Internettet begynte Ã¥ se dette generelt i 2003 da RIAA lanserte " +"sin kampanje for Ã¥ tvinge InternettleverandÃ¸rer til Ã¥ overlevere navnene pÃ¥ " +"kundene som RIAA trodde brÃ¸t opphavsrettloven. Verizon kjempet mot dette " +"kravet og tapte. Men en enkel forespÃ¸rsel til en dommer, og uten Ã¥ gi " +"beskjed til kunden i det hele tatt, blir identiteten til en internetbruker " +"avslÃ¸rt." + +#. f20. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " +"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " +"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, " +"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry " +"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs " +"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</" +"citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording Industry " +"Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September 2003, " +"4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop Fan, " +"Either,</quote> <citetitle>New York Times</citetitle>, 25 September 2003, " +"C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> <citetitle>Toronto " +"Star</citetitle>, 18 September 2003, P7." +msgstr "" +"se frank ahrens, \"riaa's sÃ¸ksmÃ¥l mÃ¸te overrasket over mÃ¥l; enkelt mor i " +"California, 12-Ã¥r gammel jente i ny blant saksÃ¸kte,\"washington post, 10 " +"september 2003, e1; Chris cobbs, \"bekymret foreldre trekke pluggen pÃ¥ filen" +"\"stjele\"; med musikkbransjen cracking ned pÃ¥ Filbytte, er foreldre prÃ¸ver " +"Ã¥ lure programvare fra hjemme-PC Ã¥ unngÃ¥ blir saksÃ¸kte,\"orlando sentinel " +"tribune, 30 august 2003, c1; Jefferson graham, \"innspillingen industri sues " +"foreldre,\" usa today, 15 september 2003, 4 d; John schwartz, \"hun sier hun " +"er ingen musikk pirat. ikke snoop fan, enten,\"new york times, 25 september " +"2003, c1; Margo varadi, \"er brianna en kriminell?\" toronto star, 18 " +"september 2003, p7." + +#. type: Content of: <book><part><chapter><section><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 "" +"RIAA utvidet sÃ¥ denne kampanjen ved Ã¥ annonsere en generell strategi om Ã¥ " +"saksÃ¸ke individuelle brukere av Internettet som blir anklaget for Ã¥ ha " +"lastet ned opphavsrettsbeskyttet musikk fra fildelingssystemer. Men som vi " +"har sett er de potensielle skadene fra slike sÃ¸ksmÃ¥l astronomiske: Hvis en " +"families datamaskin blir brukt til Ã¥ laste ned musikk tilsvarende en enkelt " +"CD, sa kan familien risikere Ã¥ mÃ¥tte betale 2 millioner dollar i " +"erstatning. Dette stoppet ikke RIAA fra Ã¥ saksÃ¸ke et antall av disse " +"familiene, pÃ¥ samme mÃ¥te som de hadde saksÃ¸kt Jesse Jordan.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. f21. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses " +"Some Methods Used,</quote> CNN.com, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #47</ulink>." +msgstr "" +"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" +"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#49</ulink>." + +#. type: Content of: <book><part><chapter><section><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 <quote>fingerprint.</quote>" +msgstr "" +"Selv dette undervurderer spioneringen som blir gjennomfÃ¸rt av RIAA. I en " +"rapport fra CNN sent sist sommer beskriver en strategi som RIAA har adoptert " +"for Ã¥ spore Napster-brukere.<placeholder type=\"footnote\" id=\"0\"/> Ved Ã¥ " +"bruke en sofistikert hashings-algoritme tok RIAA det som effektivt sett er " +"et fingeravtrykk av hver eneste sang i Napster-katalogen. Enhver kopi av " +"disse MP3-ene vil ha samme <quote>fingerprint</quote>." + +#. f22. +#. type: Content of: <book><part><chapter><section><para><footnote><para> +msgid "" +"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</" +"quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; " +"Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry Group " +"Targets File Sharing at Colleges,</quote> <citetitle>Washington Post</" +"citetitle>, 4 April 2003, E1; Elizabeth Armstrong, <quote>Students `Rip, " +"Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science Monitor</" +"citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, " +"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed " +"Over; Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 " +"July 2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on Universities," +"</quote> <citetitle>Internet News</citetitle>, 30 January 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny " +"Evangelista, <quote>Download Warning 101: Freshman Orientation This Fall to " +"Include Record Industry Warnings Against File Sharing,</quote> " +"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; " +"<quote>Raid, Letters Are Weapons at Universities,</quote> <citetitle>USA " +"Today</citetitle>, 26 September 2000, 3D." +msgstr "" + +#. type: Content of: <book><part><chapter><section><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 <quote>cooperating</quote> with the RIAA's " +"espionage, and she hasn't properly protected her content from the network " +"(do you know how to do that yourself ?), then the RIAA will be able to " +"identify your daughter as a <quote>criminal.</quote> And under the rules " +"that universities are beginning to deploy,<placeholder type=\"footnote\" id=" +"\"0\"/> your daughter can lose the right to use the university's computer " +"network. She can, in some cases, be expelled." +msgstr "" +"SÃ¥ se for deg det fÃ¸lgende ikke usannsynlige scenariet: Tenk at en venn gir " +"en CD til din datter—en samling med sanger lik de kasettene du laget " +"som barn. Hverken du eller din datter vet hvor disse sangene kom fra. Men " +"hun kopierer disse sangene inn pÃ¥ datamaskinen sin, og tar sÃ¥ maskinen med " +"seg til universitetet og kobler den pÃ¥ universitetsnettverket. Hvis " +"universitetsnettet <quote>samarbeider</quote> med RIAAs spionering, og hun " +"ikke har beskyttet sitt innhold pÃ¥ riktig vis (vet du selv hvordan du gjÃ¸r " +"dette?), sÃ¥ vil RIAA kunne identifisere din datter som en <quote>kriminell</" +"quote>. Og i henhold til de reglene som universiteter er i gang med Ã¥ rulle " +"ut,<placeholder type=\"footnote\" id=\"0\"/> sÃ¥ kan din datter miste retten " +"til Ã¥ bruke universitetets datanettverk. Hun kan i noen tilfeller bli " +"utvist." + +#. PAGE BREAK 216 +#. type: Content of: <book><part><chapter><section><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 <quote>contraband</" +"quote> as presumptive of guilt. And as any number of college students have " +"already learned, our presumptions about innocence disappear in the middle of " +"wars of prohibition. This war is no different. Says von Lohmann," +msgstr "" +"NÃ¥ har hun selvfÃ¸lgelig rett til Ã¥ forsvare seg selv. Du kan leie inn en " +"advokat til henne (til $300 per time, hvis du er heldig), og hun kan hevde " +"at hun ikke visste noenting om hvor sangene kom fra eller at de kom fra " +"Napster. Og det kan godt hende at universitetet tror henne. Men det kan " +"ogsÃ¥ godt hende at universitetet ikke tror henne. Og som et antall " +"universitetsstudenter allerede har lÃ¦rt, forsvinner vÃ¥r antagelse om Ã¥ vÃ¦re " +"uskylding inntil det motsatte er bevist nÃ¥r en er midt i en forbudskrig. " +"Denne krigen er ikke annerledes. Som von Lohmann sier det," + +#. type: Content of: <book><part><chapter><section><blockquote><para> +#, mtrans, fuzzy +msgid "" +"So when we're talking about numbers like forty to sixty million Americans " +"that are essentially copyright infringers, you create a situation where the " +"civil liberties of those people are very much in peril in a general matter. " +"[I don't] think [there is any] analog where you could randomly choose any " +"person off the street and be confident that they were committing an unlawful " +"act that could put them on the hook for potential felony liability or " +"hundreds of millions of dollars of civil liability. Certainly we all speed, " +"but speeding isn't the kind of an act for which we routinely forfeit civil " +"liberties. Some people use drugs, and I think that's the closest analog, " +"[but] many have noted that the war against drugs has eroded all of our civil " +"liberties because it's treated so many Americans as criminals. Well, I think " +"it's fair to say that file sharing is an order of magnitude larger number of " +"Americans than drug use. … If forty to sixty million Americans have " +"become lawbreakers, then we're really on a slippery slope to lose a lot of " +"civil liberties for all forty to sixty million of them." +msgstr "" +"NÃ¥r vi snakker om tall som fÃ¸rti til seksti millioner amerikanere som i " +"essensen bryter opphavsretten, sÃ¥ skaper du en situasjon der " +"borgerrettighetene til disse folkene er stÃ¥r i fare for Ã¥ forsvinne i " +"praksis. [Jeg] tror [ikke det finnes noen] tilsvarende tilfeller hvor du kan " +"velge en tilfeldig person pÃ¥ gata og vÃ¦re trygg pÃ¥ at de har brutt loven pÃ¥ " +"en mÃ¥te som gjÃ¸r at de risikerer straffedom eller Ã¥ mÃ¥tte betale milloner av " +"dollar i sivil erstatning. Vi kjÃ¸rer alle for fort, men Ã¥ kjÃ¸re for fort er " +"ikke den type handlinger hvor vi pÃ¥ rutine fratar folk borgerrettigheter. " +"Noen folk bruker narkotika, og jeg tror det er den nÃ¦rmeste analogien, [men] " +"mange har kommentert at krigen mot narkotika har radert alle vÃ¥re " +"borgerrettigheter pÃ¥ grunn av at det behandler sÃ¥ mange amerikanere som " +"kriminelle. Jeg tror det er rimelig Ã¥ si at fildeling gjelder en " +"stÃ¸rrelsesorden flere amerikanere enn burk av narkotika. … Hvis fÃ¸rti " +"til seksti millioner amerikanere har blitt lovbrytere, da er vi pÃ¥ en " +"*slippery slope* der vi kan miste borgerrettighetene for alle disse fÃ¸rti " +"til seksti personene." + +#. type: Content of: <book><part><chapter><section><para> +msgid "" +"When forty to sixty million Americans are considered <quote>criminals</" +"quote> under the law, and when the law could achieve the same " +"objective— securing rights to authors—without these millions " +"being considered <quote>criminals,</quote> who is the villain? Americans or " +"the law? Which is American, a constant war on our own people or a concerted " +"effort through our democracy to change our law?" +msgstr "" +"NÃ¥r fÃ¸rti til seksti millioner amerikanere i fÃ¸lge loven anses som " +"<quote>kriminelle</quote>, og nÃ¥r loven kunne oppnÃ¥ det samme mÃ¥let—" +"sikre rettigheter til forfattere— uten at disse millionene anses Ã¥ " +"vÃ¦re <quote>kriminelle</quote>, hvem er det da som er skurken? Amerikanerne " +"eller loven? Hva er amerikansk, en konstant krig mot vÃ¥rt eget folk, eller " +"en felles innsats i vÃ¥rt demokrati for Ã¥ endre loven vÃ¥r?" + +#. type: Content of: <book><part><title> +msgid "BALANCES" +msgstr "Maktfordeling" + +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role='strong'>So here's</emphasis> the picture: You're standing at " +"the side of the road. Your car is on fire. You are angry and upset because " +"in part you helped start the fire. Now you don't know how to put it out. " +"Next to you is a bucket, filled with gasoline. Obviously, gasoline won't put " +"the fire out." +msgstr "" +"<emphasis role='strong'>SÃ¥ her</emphasis> er bildet: Du stÃ¥r pÃ¥ siden av " +"veien. Bilen din er pÃ¥ brann. Du er sint og opprÃ¸rt fordi du delvis bidro " +"til Ã¥ starte brannen. NÃ¥ vet du ikke hvordan du slokker den. Ved siden av " +"deg er en bÃ¸tte, fylt med bensin. Bensin vil Ã¥penbart ikke slukke brannen." + +#. type: Content of: <book><part><partintro><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 "" +"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper " +"hun bÃ¸tta, og fÃ¸r du har hatt sjansen til Ã¥ be henne stoppe—eller fÃ¸r " +"hun forstÃ¥r hvorfor hun bÃ¸r stoppe—er bÃ¸tten i svevet. Bensinen er pÃ¥ " +"tur mot den brennende bilen. Og brannen som bensinen kommer til Ã¥ fyre opp " +"vil straks sette fyr pÃ¥ alt i omgivelsene." + +#. type: Content of: <book><part><partintro><para> +msgid "" +"<emphasis role='strong'>A war</emphasis> 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 "" +"<emphasis role='strong'>En krig</emphasis> om opphavsrett pÃ¥gÃ¥r over " +"alt— og vi fokuserer alle pÃ¥ feil ting. Det er ingen tvil om at " +"dagens teknologier truer eksisterende virksomheter. Uten tvil kan de true " +"artister. Men teknologier endrer seg. Industrien og teknologer har en " +"rekke mÃ¥ter Ã¥ bruke teknologi til Ã¥ beskytte dem selv mot dagens trusler pÃ¥ " +"Internet. Dette er en brann som overlatt til seg selv vil brenne ut." + +#. PAGE BREAK 219 +#. type: Content of: <book><part><partintro><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 "" +"Likevel er ikke besluttningstagere villig til Ã¥ la denne brannen i fred. " +"Ladet med masse penger fra lobbyister er de lystne pÃ¥ Ã¥ gÃ¥ i mellom for Ã¥ " +"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det " +"er ikke den reelle trusselen som denne kulturen stÃ¥r med ansiktet mot. For " +"mens vi ser pÃ¥ denne lille brannen i hjÃ¸rnet er det en massiv endring i " +"hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " + +#. type: Content of: <book><part><partintro><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 "" +"PÃ¥ en eller annen mÃ¥te mÃ¥ vi klare Ã¥ snu oppmerksomheten mot dette mer " +"viktige og fundametale problemet. Vi mÃ¥ finne en mÃ¥te Ã¥ unngÃ¥ Ã¥ helle " +"bensin pÃ¥ denne brannen." + +#. type: Content of: <book><part><partintro><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 funne denne mÃ¥ten ennÃ¥. Istedet synes vi Ã¥ vÃ¦re fanget i en " +"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser pÃ¥ for Ã¥ " +"gjÃ¸re rammen for debatten litt bredere, er det dette enkle sort-hvit-synet " +"som bestÃ¥r. Vi kjÃ¸rer sakte forbi og stirrer pÃ¥ brannen nÃ¥r vi i stedet " +"burde holde Ã¸ynene pÃ¥ veien." + +#. type: Content of: <book><part><partintro><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 vÃ¦rt livet mitt de siste Ã¥rene. Det har ogsÃ¥ vÃ¦rt " +"min falitt. I de to neste kapitlene, beskriver jeg en liten innsats, sÃ¥ " +"langt uten suksess, pÃ¥ Ã¥ finne en mÃ¥te Ã¥ endre fokus pÃ¥ denne debatten. Vi " +"mÃ¥ forstÃ¥ disse mislyktede forsÃ¸kene hvis vi skal forstÃ¥ hva som kreves for " +"Ã¥ lykkes." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER THIRTEEN: Eldred" +msgstr "Kapittel tretten: Eldred" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Eldred, Eric" +msgstr "Eldred, Eric" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Hawthorne, Nathaniel" +msgstr "Hawthorne, Nathaniel" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In 1995</emphasis>, a father was frustrated that his " +"daughters didn't seem to like Hawthorne. No doubt there was more than one " +"such father, but at least one did something about it. Eric Eldred, a retired " +"computer programmer living in New Hampshire, decided to put Hawthorne on the " +"Web. An electronic version, Eldred thought, with links to pictures and " +"explanatory text, would make this nineteenth-century author's work come " +"alive." +msgstr "" +"<emphasis role='strong'>I 1995</emphasis> var en far frustrert over at hans " +"dÃ¸tre ikke syntes Ã¥ like Hawthorne. Det var uten tvil mer enn en slik far, " +"men i hvert fall en gjorde noe med det. Eric Eldred, en pensjonert " +"dataprogrammerer som bodde i New Hampshire, bestemte seg for Ã¥ putte " +"Hawthorne pÃ¥ nettet. En elektronisk versjon, tenkte Eldred, med lenker til " +"bilder og forklarende tekst, ville gjÃ¸re denne nittenhundretalls-" +"forfatterens verk mer levende." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "of public-domain literature" +msgstr "av allemannseid litteratur" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "library of works derived from" +msgstr "bibliotek av verker avledet fra" + +#. type: Content of: <book><part><chapter><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 "" +"Det virket ikke—i hvert fall ikke for hans dÃ¸tre. De fant ikke " +"Hawthorne noe mer interessant enn tidligere. Men Eldreds eksperiment ga " +"opphavet til en hobby, og hobbyen hans ga opphav til et kall: Eldred ville " +"lage et bibliotek over verk i det fri ved Ã¥ scanne disse og gjÃ¸re dem gratis " +"tilgjengelig." + +#. PAGE BREAK 221 +#. type: Content of: <book><part><chapter><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 "" +"Biblioteket til Eldred var ikke bare en kopi av visse verk i det fri, selv " +"om en kopi ville vÃ¦rt av stor verdi for folk rundt om i verden som ikke kan " +"fÃ¥ tilgang til papirutgaver av disse verkene. I stedet laget Eldred " +"avledede verk fra disse allemannseide verkene. PÃ¥ samme mÃ¥te som Disney " +"gjorde Grimm om til historier som var mer tilgjengelige i det tjuende " +"Ã¥rhundret, formet Eldred om pÃ¥ Hawthorne og mange andre til noe mer " +"tilgjengelig—teknisk tilgjengelig—i dag." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Scarlet Letter, The (Hawthorne)" +msgstr "Scarlet Letter, The (Hawthorne)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Eldred's freedom to do this with Hawthorne's work grew from the same source " +"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed " +"into the public domain in 1907. It was free for anyone to take without the " +"permission of the Hawthorne estate or anyone else. Some, such as Dover Press " +"and Penguin Classics, take works from the public domain and produce printed " +"editions, which they sell in bookstores across the country. Others, such as " +"Disney, take these stories and turn them into animated cartoons, sometimes " +"successfully (<citetitle>Cinderella</citetitle>), sometimes not " +"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure " +"Planet</citetitle>). These are all commercial publications of public domain " +"works." +msgstr "" +"Eldreds frihet til Ã¥ gjÃ¸re dette med Hawthornes verk kom fra samme kilde som " +"Disneys. Hawthornes <citetitle>Scarlet Letter</citetitle> hadde falt i det " +"fri i 1907. Alle hadde frihet til Ã¥ ta det uten tillatelse fra boet etter " +"Hawthorne eller noen andre. Noen, slik som Dover Press og Penguin Classics, " +"tar verk som er falt i det fri og lager papirutgaver som de selger i " +"bokhandler rundt om i landet. Andre, slik som Disney, tar disse historiene " +"og gjÃ¸r dem om til tegnefilmer. Noen ganger med suksess " +"((<citetitle>Askepott</citetitle>) og noen ganger uten (<citetitle>Ringeren " +"i Notre Dame</citetitle>, <citetitle>Treasure Planet</citetitle>). Disse er " +"alle kommersielle publiseringer av verk i det fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "pornography" +msgstr "pornografi" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with " +"pornography that is a bit hard to describe, but it's a strong one. One " +"phenomenon that the Internet created was a world of noncommercial " +"pornographers—people who were distributing porn but were not making " +"money directly or indirectly from that distribution. Such a class didn't " +"exist before the Internet came into being because the costs of distributing " +"porn were so high. Yet this new class of distributors got special attention " +"in the Supreme Court, when the Court struck down the Communications Decency " +"Act of 1996. It was partly because of the burden on noncommercial speakers " +"that the statute was found to exceed Congress's power. The same point could " +"have been made about noncommercial publishers after the advent of the " +"Internet. The Eric Eldreds of the world before the Internet were extremely " +"few. Yet one would think it at least as important to protect the Eldreds of " +"the world as to protect noncommercial pornographers." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> Det er en parallell her til " +"pornografi som er litt vanskelig Ã¥ beskrive men som er veldig sterk. Et " +"fenomen som Internettet skapte var en verden av ikke-kommersiell " +"pornografi—folk som distribuerte porno men som ikke tjente penger " +"direkte eller indirekte fra denne distribusjonen. Noe slikt eksisterte ikke " +"fÃ¸r Internettet dukket opp, pÃ¥ grunn av at kostnaden med Ã¥ distribuere porno " +"var sÃ¥ hÃ¸y. Likevel fikk denne nye klassen av distributÃ¸rer spesiell " +"oppmerksomhet fra hÃ¸yesterett, da retten slo ned pÃ¥ Anstendig Kommunikasjons-" +"loven fra 1996. Det var delvis pÃ¥ grunn av byrden pÃ¥ ikke-kommersielle " +"talere at loven ble funnet Ã¥ gÃ¥ ut over kongressens myndighet. Det samme " +"poenget kan sies Ã¥ gjelde for ikke-kommersielle utgivere etter at " +"Internettet dukket opp. Alle Eric Eldred-ene i verden fÃ¸r internettet var " +"ekstremt fÃ¥. Likevel skulle en tro at det er minst like viktig Ã¥ beskytte " +"alle Eldred-ene i verden som det er Ã¥ beskytte ikkekommersielle pornografer." + +#. type: Content of: <book><part><chapter><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 " +"<quote>noncommercial publishing industry,</quote> which before the Internet " +"was limited to people with large egos or with political or social causes. " +"But with the Internet, it includes a wide range of individuals and groups " +"dedicated to spreading culture generally.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Internettet skapte muligheten for ikke-kommersiell publisering av verk i det " +"fri. Eldreds publisering er bare ett eksempel. Det finnes bokstavlig talt " +"tusenvis andre. Hundretusenvis rundt om i verden har oppdaget denne " +"platformen for Ã¥ uttrykke seg og bruker den til Ã¥ dele verk som, i fÃ¸lge " +"loven, kan tas fritt. Dette har skapt det vi kan kalle den " +"<quote>ikkekommersielle utgiverindustrien</quote>, hvilket fÃ¸r Internettet " +"var begrenset til folk med store ego eller med politiske eller sosiale " +"kall. Men med Internettet inkluderer det en lang rekke med individer og " +"grupper som er dedikert til Ã¥ spre kultur generelt.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Frost, Robert" +msgstr "Frost, Robert" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "New Hampshire (Frost)" +msgstr "New Hampshire (Frost)" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " +"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the " +"public domain. Eldred wanted to post that collection in his free public " +"library. But Congress got in the way. As I described in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, in 1998, for the " +"eleventh time in forty years, Congress extended the terms of existing " +"copyrights—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 Hapshire. I 1998 skulle diktsamlingen " +"<citetitle>New Hampshire</citetitle> av Robert Frost falle i det fri. Eldred " +"Ã¸nsket Ã¥ legge den samlingen til i hans fritt tilgjengelige bibliotek. Men " +"kongressen kom i veien. Som jeg beskrev i kapittel <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"property-i\"/>, utvidet kongressen for " +"ellevte gang pÃ¥ fÃ¸rti Ã¥r, vernetiden for eksisterende opphavsrett—" +"denne gang med tjue Ã¥r. Eldred ville ikke stÃ¥ fritt til Ã¥ legge inn verker " +"nyere enn 1923 til sin samlig fÃ¸r 2019. Faktisk vil ikke et eneste " +"opphavsrettsbeskyttet verk falle i det fri fÃ¸r det Ã¥ret (og ikke en gang da, " +"hvis kongressen utvidet vernetiden igjen). Som kontrast ville mer enn en " +"million patenter falle i det fri i samme periode." + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Bono, Mary" +msgstr "Bono, Mary" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "Bono, Sonny" +msgstr "Bono, Sonny" + +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of " +"copyright protection to last forever. I am informed by staff that such a " +"change would violate the Constitution. I invite all of you to work with me " +"to strengthen our copyright laws in all of the ways available to us. As you " +"know, there is also Jack Valenti's proposal for a term to last forever less " +"one day. Perhaps the Committee may look at that next Congress,</quote> 144 " +"Cong. Rec. H9946, 9951-2 (October 7, 1998)." +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/> Hele teksten er: <quote>Sonny [Bono] Ã¸nsket at vernetiden i " +"opphavsretten skulle vare evig. Jeg er informert av ansatte at en slik " +"endring ville vÃ¦re i strid med grunnloven. Jeg inviterer dere alle til Ã¥ " +"jobbe sammen med meg for Ã¥ styrke vÃ¥re opphavsrettslover pÃ¥ alle mÃ¥ter som " +"er tilgjengelig for oss. Som dere vet, er det ogsÃ¥ et forslag fra Jack " +"Valenti om en vernetid som varer evig minus en dag. Kanskje komiteen kan se " +"pÃ¥ i neste periode.</quote> 144 Kongr. Ref. H9946, 9951-2 (7. oktober 1998)." + +#. type: Content of: <book><part><chapter><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 <quote>copyrights should be forever.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Dette var Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA), lagt " +"frem til minne om kongressrepresentant og tidligere musiker Sonny Bony, som " +"i fÃ¸lge hans enke Mari Bony mente at <quote>opphavsreten bÃ¸r vare evig</" +"quote>.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "felony punishment for infringement of" +msgstr "" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "NET (No Electronic Theft) Act (1998)" +msgstr "NET(Nei til Elektronisk Tyveri)-loven (1998)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "No Electronic Theft (NET) Act (1998)" +msgstr "Nei til Elektronisk Tyveri(NET)-loven (1998)" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "felony punishments for" +msgstr "" + +#. type: Content of: <book><part><chapter><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 bestemte seg for Ã¥ sloss mot denne loven. Han valgte fÃ¸rst Ã¥ " +"bekjempe den gjennom sivil ulydighet. I en serie intervjuer annonserte " +"Eldred at han kom til Ã¥ publisere som planlagt, pÃ¥ tross av CTEA. Men pÃ¥ " +"grunn av en annen lov som ble vedtatt i 1998, NET-loven (Nei til Elektronisk " +"Tyveri), sÃ¥ ville det Ã¥ publisere gjÃ¸re Eldred til en kriminell—uanset " +"om noen protesteret eller ikke. Dette var en varlig strategi Ã¥ gjennomfÃ¸re " +"for en handikappet programmerer." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "constitutional powers of" +msgstr "konstitusjonelle formÃ¥let med" + +#. type: Content of: <book><part><chapter><indexterm><secondary> +msgid "Eldred case involvement of" +msgstr "" + +#. type: Content of: <book><part><chapter><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 jeg ble involvert i Eldreds kamp. Jeg var en grunnlovsforsker " +"hvis fÃ¸rste lidenskap var grunnlovstolkning. Og selv om grunnlovskursene " +"aldri fokuserer pÃ¥ <quote>fremme</quote>-delen av grunnloven, sÃ¥ har det at " +"den er forskjellig fra resten alltid slÃ¥tt meg som viktig. Som du vet sier " +"grunnloven fÃ¸lgende," + +#. type: Content of: <book><part><chapter><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 myndighet til Ã¥ fremme utviklingen av vitenskapen…ved " +"Ã¥ sikre forfattere, i et begrenset tidsrom, … eksklusive rettigheter " +"til sine … skrifter. …" + +#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> or " +"<quote>declare War.</quote> But here, the <quote>something</quote> is " +"something quite specific—to <quote>promote … Progress</" +"quote>—through means that are also specific— by <quote>securing</" +"quote> <quote>exclusive Rights</quote> (i.e., copyrights) <quote>for limited " +"Times.</quote>" +msgstr "" +"Som jeg har beskrevet er denne bestemmelsen unik innenfor bestemmelsene som " +"deler ut myndighet i artikkel I, seksjon 8, av vÃ¥r grunnlov. Alle de andre " +"bestemmelsene deler ut myndighet til kongressen ved Ã¥ ganske enkelt si at " +"kongressen har myndighet til Ã¥ gjÃ¸re noe—for eksempel til Ã¥ regulere " +"<quote>handel mellom flere stater</quote> eller <quote>erklÃ¦re krig</" +"quote>. Men her er dette <quote>noe</quote> ganske spesifikt—Ã¥ " +"<quote>fremme utviklingen</quote>—gjennom virkemidler som ogsÃ¥ er " +"ganske spesifikke—ved Ã¥ <quote>sikre</quote> <quote>eksklusive " +"rettigheter</quote> (det vil si opphavsretten) <quote>i et begrenset " +"tidsrom</quote>." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Jaszi, Peter" +msgstr "Jaszi, Peter" + +#. PAGE BREAK 223 +#. type: Content of: <book><part><chapter><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 <quote>limited</quote> will have no practical " +"effect. If every time a copyright is about to expire, Congress has the power " +"to extend its term, then Congress can achieve what the Constitution plainly " +"forbids—perpetual terms <quote>on the installment plan,</quote> as " +"Professor Peter Jaszi so nicely put it." +msgstr "" +"I de siste fÃ¸rti Ã¥rene har kongressen lagt seg pÃ¥ en praksis med Ã¥ utvide " +"eksisterende vernetid i opphavsretten. Det som ga meg hodebry var at hvis " +"kongressen hadde myndighet til Ã¥ utvide eksisterende vernetid, da ville " +"grunnlovens krav om at vernetiden skulle vÃ¦re <quote>begrenset</quote> ikke " +"ha noen praktisk effekt. Hvis kongressen hadde myndighet til Ã¥ utvide " +"vernetiden, hver gang vernetiden holder pÃ¥ Ã¥ gÃ¥ ut, sÃ¥ kunne kongressen " +"oppnÃ¥ det grunnloven tydelig forbyr—evigvarende vernetid <quote>pÃ¥ " +"avbetaling</quote> som professor Peter Jaszi sÃ¥ pent formulerte det." + +#. type: Content of: <book><part><chapter><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 akademiker var min fÃ¸rste reaksjon Ã¥ vende meg til bÃ¸kene. Jeg husker " +"at jeg satt sent pÃ¥ kontoret og sÃ¸kte gjennom nett-databaser etter enhver " +"seriÃ¸s vurdering av spÃ¸rsmÃ¥let. Ingen hadde noen gang utfordret kongressens " +"praksis med Ã¥ utvide eksisterende verneperioder. Den feilen kan vÃ¦re deler " +"av Ã¥rsaken til at kongressen virket sÃ¥ ubekymret i sin praksis. Det, og det " +"faktum at denne praksisen hadde blitt sÃ¥ lukrativ for konressen. Kongressen " +"vet at opphavsrettseiere vil vÃ¦re villig til Ã¥ betale mye penger for Ã¥ se " +"utvidelser i vernetiden for opphavsretten. Og dermed er kongressen ganske " +"fornÃ¸yd med Ã¥ fortsatt kunne fÃ¥ disse lettjente pengene." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"For this is the core of the corruption in our present system of government. " +"<quote>Corruption</quote> not in the sense that representatives are bribed. " +"Rather, <quote>corruption</quote> in the sense that the system induces the " +"beneficiaries of Congress's acts to raise and give money to Congress to " +"induce it to act. There's only so much time; there's only so much Congress " +"can do. Why not limit its actions to those things it must do—and those " +"things that pay? Extending copyright terms pays." +msgstr "" +"For dette er kjernen i korrupsjonen av vÃ¥rt nÃ¥vÃ¦rende styringssystem. " +"<quote>Korrupsjon</quote> ikke i den forstand at representanter blir " +"bestukket. I stedet, <quote>korrupsjon</quote> pÃ¥ den mÃ¥ten at systemet " +"legger opp til at de som har fordeler av det som gjÃ¸res i kongressens skal " +"skaffe og gi penger til kongressen for Ã¥ legge opp til at bestemte ting blir " +"gjort. Det er begresnset med tid, og det er sÃ¥ mye kongressen kan gjÃ¸re. " +"Hvorfor ikke begrense det den gjÃ¸r til de tingene den mÃ¥ gjÃ¸re— og de " +"tingene som betaler seg? Ã utvide vernetiden i opphavsretten betaler seg." + +#. type: Content of: <book><part><chapter><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 Ã¥penbart for deg, vurder fÃ¸lgende: La oss si at du er en av " +"de heldige fÃ¥ opphavsrettseierne hvis opphavsrett fortsetter Ã¥ skaffe penger " +"ett hundre Ã¥r etter at den ble tildelt. Boet etter Robert Frost er et godt " +"eksempel. Frost dÃ¸de i 1963. Hans poesi forsetter Ã¥ vÃ¦rÃ¦ svÃ¦rt verdifull. " +"Dermed har boet etter Robert Frost store fordeler av en utvidelse av " +"opphavsretten, siden ingen utgiver ville betale boet penger hvis diktene " +"Frost skrev kunne gis gratis ut av enhver." + +#. type: Content of: <book><part><chapter><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 "" +"Forestill deg sÃ¥ at boet etter Robert Frost tjener $100 000 hvert Ã¥r " +"fra tre av diktene til Frist. Og forestill deg sÃ¥ at disse diktene snart " +"faller i det fri. Du sitter i styret for boet etter Robert Frost. Din " +"Ã¸konomirÃ¥dgiver kommer til styremÃ¸tet med en veldig dyster rapport:" + +#. PAGE BREAK 224 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Next year,</quote> the adviser announces, <quote>our copyrights in " +"works A, B, and C will expire. That means that after next year, we will no " +"longer be receiving the annual royalty check of $100,000 from the publishers " +"of those works.</quote>" +msgstr "" +"<quote>Neste Ã¥r</quote>, kunngjÃ¸r rÃ¥dgiveren, <quote>vil verkene A, B og C " +"falle i det fri. Det betyr at etter neste Ã¥r vil vi ikke lenger motta den " +"Ã¥rlige vederlags-sjekken pÃ¥ $100 000 fra utgiverne av disse verkene.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>There's a proposal in Congress, however,</quote> she continues, " +"<quote>that could change this. A few congressmen are floating a bill to " +"extend the terms of copyright by twenty years. That bill would be " +"extraordinarily valuable to us. So we should hope this bill passes.</quote>" +msgstr "" +"<quote>Men det er et forslag i kongressen</quote>, forsetter hun, <quote>som " +"kan endre dette. Noen kongressrepresentanter har lansert et lovforslag om Ã¥ " +"utvide vernetiden i opphavsretten med tjue Ã¥r. Det forslaget vil vÃ¦re " +"ekstremt verdifullt for oss. SÃ¥ vi bÃ¸r hÃ¥pe at den loven blir vedtatt.</" +"quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing " +"something about it?</quote>" +msgstr "" +"<quote>HÃ¥pe?</quote>, sier en kollega i styret. <quote>Kan vi ikke gjÃ¸re " +"mer enn det?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could " +"contribute to the campaigns of a number of representatives to try to assure " +"that they support the bill.</quote>" +msgstr "" +"<quote>Vel, jo, selvfÃ¸lgelig</quote>, svarer rÃ¥dgiveren. <quote>Vi kan " +"bidra til valgkampanjene til et antall representanter for Ã¥ forsÃ¸ke Ã¥ sikre " +"at de vil stÃ¸tte lovforslaget.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"You hate politics. You hate contributing to campaigns. So you want to know " +"whether this disgusting practice is worth it. <quote>How much would we get " +"if this extension were passed?</quote> you ask the adviser. <quote>How much " +"is it worth?</quote>" +msgstr "" +"Du hater politikk. Du hater Ã¥ bidra til valgkampanjer. SÃ¥ du Ã¸nsker Ã¥ vite " +"hvorvidt denne motbydelige praksisen er verdt det. <quote>Hvor mye vil vi " +"fÃ¥ hvis denne utvidelsen blir vedtatt?</quote> spÃ¸r du rÃ¥dgiveren. " +"<quote>Hvor mye er det verdt?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Well,</quote> the adviser says, <quote>if you're confident that you " +"will continue to get at least $100,000 a year from these copyrights, and you " +"use the `discount rate' that we use to evaluate estate investments (6 " +"percent), then this law would be worth $1,146,000 to the estate.</quote>" +msgstr "" +"<quote>Vel</quote>, sier rÃ¥dgiveren og fortsetter. <quote>Hvis du er sikker " +"pÃ¥ at du vil fortsette Ã¥ fÃ¥ minst $100 000 i Ã¥ret for disse " +"opphavsrettene, og du bruker samme <quote>diskonteringssats</quote> som vi " +"bruker for Ã¥ vurdere eiendomsinvesteringer (6 prosent), sÃ¥ vil denne loven " +"vÃ¦re verdt $1 146 000 til boet.</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"You're a bit shocked by the number, but you quickly come to the correct " +"conclusion:" +msgstr "" +"Du blir litt sjokkert over tallet, men du kommer raskt frem til riktig " +"konklusjon:" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>So you're saying it would be worth it for us to pay more than " +"$1,000,000 in campaign contributions if we were confident those " +"contributions would assure that the bill was passed?</quote>" +msgstr "" +"<quote>SÃ¥ du sier at det vil vÃ¦re verdt det for oss Ã¥ betale mer enn " +"$1 000 000 i valgkampbidrag hvis vi var trygge pÃ¥ at disse " +"bidragene ville sikre at loven ble vedtatt?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>Absolutely,</quote> the adviser responds. <quote>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.</quote>" +msgstr "" +"<quote>Aboslutt</quote>, svarer rÃ¥dgiveren. <quote>Det er verdt det hvis du " +"bidrar med opp til dagens verdi av inntektene du forventer fra disse " +"opphavsrettene. Hvilket for oss betyr over $1 000 000.</quote>" + +#. PAGE BREAK 225 +#. type: Content of: <book><part><chapter><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 tar raskt poenget—du som medlem av styret og, regner jeg med, du " +"som leser. Hver gang opphavsretten holder pÃ¥ Ã¥ lÃ¸pe ut, har hver eneste " +"mottaker i samme posisjon som boet etter Robert Frost det samme valget: Hvis " +"de bidrar til Ã¥ fÃ¥ en lov vedtatt som utvider opphavsretten sÃ¥ vil de ha " +"stor nytte av den utvidelsen. SÃ¥ hver eneste gang opphavsretten er i ferd " +"med Ã¥ lÃ¸pe ut, sÃ¥ er det en massiv lobbyering for Ã¥ fÃ¥ " +"opphavsrettsvernetiden utvidet." + +#. type: Content of: <book><part><chapter><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 har vi en kongressbasert evighetsmaskin: SÃ¥ lenge lovgiving kan " +"kjÃ¸pes (riktignok indirekte), sÃ¥ vil det vÃ¦re alle insentiver i verden for Ã¥ " +"kjÃ¸pe ytterligere utvidelser av opphavsretten." + +#. f3. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " +"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> " +"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22." +msgstr "" +"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey " +"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years</quote>, " +"<citetitle>Chicago Tribune</citetitle>, 17. oktober 1998, 22." + +#. f4. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age,</" +"quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #49</" +"ulink>." +msgstr "" +"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information Age</" +"quote>, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#49</ulink>." + +#. f5. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> " +"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>." +msgstr "" +"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars</quote>, " +"<citetitle>Congressional Quarterly This Week</citetitle>, 8. august 1990, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #50</" +"ulink>." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"In the lobbying that led to the passage of the Sonny Bono Copyright Term " +"Extension Act, this <quote>theory</quote> about incentives was proved real. " +"Ten of the thirteen original sponsors of the act in the House received the " +"maximum contribution from Disney's political action committee; in the " +"Senate, eight of the twelve sponsors received contributions.<placeholder " +"type=\"footnote\" id=\"0\"/> The RIAA and the MPAA are estimated to have " +"spent over $1.5 million lobbying in the 1998 election cycle. They paid out " +"more than $200,000 in campaign contributions.<placeholder type=\"footnote\" " +"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to " +"reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>" +msgstr "" +"I lobbyeringen som fÃ¸rte til at Sonny Bono utvidelse av opphavsrettsvernetid-" +"loven ble vedtatt ble denne <quote>teorien</quote> om insentiver bevist Ã¥ " +"vÃ¦re riktig. Ti av de tretten originale sponsorene til loven i overhuset " +"mottok maksimalt bidrag fra Disneys politiske handlingskomite. I senatet " +"mottok Ã¥tte av de tolv sponsorene bidrag.<placeholder type=\"footnote\" id=" +"\"0\"/> RIAA og MPAA er estimert Ã¥ ha brukt mer enn $1,5 lobby-millioner i " +"1998-valgperioden. De betalte ut mer enn $200 000 i kampanjebidrag." +"<placeholder type=\"footnote\" id=\"1\"/> Disney er estimert Ã¥ ha bidratt " +"med mer enn $800 000 i gjenvelgelseskampaner den perioden.<placeholder " +"type=\"footnote\" id=\"2\"/>" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>Constitutional law</emphasis> is not oblivious to " +"the obvious. Or at least, it need not be. So when I was considering Eldred's " +"complaint, this reality about the never-ending incentives to increase the " +"copyright term was central to my thinking. In my view, a pragmatic court " +"committed to interpreting and applying the Constitution of our framers would " +"see that if Congress has the power to extend existing terms, then there " +"would be no effective constitutional requirement that terms be " +"<quote>limited.</quote> If they could extend it once, they would extend it " +"again and again and again." +msgstr "" +"konstitusjonelle loven er ikke oblivious til det Ã¥penbare. eller i det " +"minste, det trenger ikke vÃ¦re. sÃ¥ nÃ¥r jeg var vurderer eldred's klage, denne " +"virkeligheten om never-ending insentiver til Ã¥ Ã¸ke opphavsrett begrepet var " +"sentral til min tenkning. i min mening, vil en pragmatisk domstol forpliktet " +"til Ã¥ tolke og bruke Grunnloven av vÃ¥re underskrev se at hvis Kongressen har " +"makt til Ã¥ utvide eksisterende vilkÃ¥r, og det vil vÃ¦re ingen effektiv " +"konstitusjonelle krav at vilkÃ¥rene vÃ¦re \"begrenset.\" Hvis de kunne " +"forlenge det en gang, de ville utvide den igjen og igjen og igjen." + +#. PAGE BREAK 226 +#. type: Content of: <book><part><chapter><para> +msgid "" +"It was also my judgment that <emphasis>this</emphasis> Supreme Court would " +"not allow Congress to extend existing terms. As anyone close to the Supreme " +"Court's work knows, this Court has increasingly restricted the power of " +"Congress when it has viewed Congress's actions as exceeding the power " +"granted to it by the Constitution. Among constitutional scholars, the most " +"famous example of this trend was the Supreme Court's decision in 1995 to " +"strike down a law that banned the possession of guns near schools." +msgstr "" +"Det var ogsÃ¥ min vurdering at <emphasis>denne</emphasis> hÃ¸yesteretten ikke " +"ville tillate kongressen Ã¥ utvide den eksisterende vernetiden. Som alle som " +"kjenner hÃ¸yestretts arbeid vet, har denne retten i stadig stÃ¸rre grad " +"begrenset myndigheten til kongressen nÃ¥r den har vurdert at kongressens " +"vedtak gÃ¥r ut over myndigheten tildelt dem i grunnloven. Blant " +"grunnlovsforskere var det mest berÃ¸mte eksemplet pÃ¥ denne trenden " +"avgjÃ¸relsen fra hÃ¸yesterett i 1995 om Ã¥ slÃ¥ ned pÃ¥ en lov som forbÃ¸d " +"besittelse av vÃ¥pen nÃ¦r skoler." + +#. type: Content of: <book><part><chapter><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 <quote>commerce among the several states</quote> (aka <quote>interstate " +"commerce</quote>), the Supreme Court had interpreted that power to include " +"the power to regulate any activity that merely affected interstate commerce." +msgstr "" +"Siden 1937 hadde hÃ¸yesterett tolket kongressens tildelte myndighet svÃ¦rt " +"bredt. SÃ¥ mens grunnloven gir kongressen myndighet til Ã¥ kun regulere " +"<quote>handel mellom stater</quote> (aka <quote>mellomstatlig handel</" +"quote>), sÃ¥ hadde hÃ¸yesterett tolket den myndigheten til Ã¥ inneholde " +"myndigheten til Ã¥ regulere enhver aktivitet som kun berÃ¸rer mellomstatlig " +"handel." + +#. type: Content of: <book><part><chapter><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 "" +"Etter hvert som Ã¸konomien vokste, betÃ¸d denne standarden i stadig stÃ¸rre " +"grad at det ikke var noen grenser for kongressens myndighet til Ã¥ regulere, " +"siden omtrent hver eneste aktivitet, nÃ¥r en vurderte det pÃ¥ nasjonal skala, " +"pÃ¥virker mellomstatlig handel. En grunnlov utformet for Ã¥ begrense " +"kongressens myndighet ble istedet tolket til Ã¥ ikke ha noen grense." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Rehnquist, William H." +msgstr "Rehnquist, William H." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Supreme Court, under Chief Justice Rehnquist's command, changed that in " +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The " +"government had argued that possessing guns near schools affected interstate " +"commerce. Guns near schools increase crime, crime lowers property values, " +"and so on. In the oral argument, the Chief Justice asked the government " +"whether there was any activity that would not affect interstate commerce " +"under the reasoning the government advanced. The government said there was " +"not; if Congress says an activity affects interstate commerce, then that " +"activity affects interstate commerce. The Supreme Court, the government " +"said, was not in the position to second-guess Congress." +msgstr "" +"HÃ¸yesterett endret, under ledelse av hÃ¸yesterettsjustitiarius " +"Rehnquist, det i <citetitle>United States</citetitle> mot " +"<citetitle>Lopez</citetitle>. Staten hadde argumentert med at Ã¥ bÃ¦re " +"vÃ¥pen nÃ¦r skoler pÃ¥virket mellomstatlig handel. VÃ¥pen nÃ¦r skoler Ã¸ker " +"kriminalitet, kriminalitet reduserte eiendomsverdier, og sÃ¥ videre. I " +"den muntlige argumentasjonen spurte hÃ¸yesterettsjustitiariusen staten " +"om det fantes noen aktivitet som ikke ville pÃ¥virke mellomstatlig " +"handel i henhold til resoneringen som staten fremfÃ¸rte. Staten sa at " +"det fantes ikke. Hvis kongressen sa at en aktivitet pÃ¥virket " +"mellomstatlig handel, sÃ¥ pÃ¥virket den aktiviteten mellomstatlig " +"handel. Staten sa at HÃ¸yesterett ikke var i posisjon til Ã¥ etterprÃ¸ve " +"kongressen." + +#. f6. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U." +"S. 549, 564 (1995)." +msgstr "" +"<citetitle>United States</citetitle> mot <citetitle>Lopez</citetitle>, 514 U." +"S. 549, 564 (1995)." + +#. f7. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 " +"U.S. 598 (2000)." +msgstr "" +"<citetitle>United States</citetitle> mot <citetitle>Morrison</citetitle>, " +"529 U.S. 598 (2000)." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>We pause to consider the implications of the government's arguments,</" +"quote> the Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If " +"anything Congress says is interstate commerce must therefore be considered " +"interstate commerce, then there would be no limit to Congress's power. The " +"decision in <citetitle>Lopez</citetitle> was reaffirmed five years later in " +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>." +"<placeholder type=\"footnote\" id=\"1\"/>" +msgstr "" + +#. f8. +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"If it is a principle about enumerated powers, then the principle carries " +"from one enumerated power to another. The animating point in the context of " +"the Commerce Clause was that the interpretation offered by the government " +"would allow the government unending power to regulate commerce—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 <quote>limited times</quote> " +"notwithstanding." +msgstr "" +"Hvis det er et prinsipp om nummerert kreftene, deretter bÃ¦rer 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 Ã¥ regulere handel—begrenset til " +"utdanningen handel til tross for. det samme punktet er sant i forbindelse " +"med opphavsrett-setningsdel. her ogsÃ¥, regjeringens tolkning ville tillate " +"regjeringen unending makt til Ã¥ regulere opphavsrett—begrenset til " +"\"begrenset ganger\" til tross for." + +#. PAGE BREAK 227 +#. type: Content of: <book><part><chapter><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 " +"<quote>stopping point</quote> to Congress's power over terms, though the " +"Constitution expressly states that there is such a limit. Thus, the same " +"principle applied to the power to grant copyrights should entail that " +"Congress is not allowed to extend the term of existing copyrights." +msgstr "" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis>If</emphasis>, that is, the principle announced in " +"<citetitle>Lopez</citetitle> stood for a principle. Many believed the " +"decision in <citetitle>Lopez</citetitle> stood for politics—a " +"conservative Supreme Court, which believed in states' rights, using its " +"power over Congress to advance its own personal political preferences. But I " +"rejected that view of the Supreme Court's decision. Indeed, shortly after " +"the decision, I wrote an article demonstrating the <quote>fidelity</quote> " +"in such an interpretation of the Constitution. The idea that the Supreme " +"Court decides cases based upon its politics struck me as extraordinarily " +"boring. I was not going to devote my life to teaching constitutional law if " +"these nine Justices were going to be petty politicians." +msgstr "" +"Det vil si <emphasis>hvis</emphasis> prinsippet annonsert i " +"<citetitle>Lopez</citetitle> sto for et prinsipp. Mange mente " +"avgjÃ¸relsen i <citetitle>Lopez</citetitle> sto for politikk—en " +"konservativ hÃ¸yesterett, som trodde pÃ¥ statenes rettigheter, brukte " +"sin myndighet over kongressen til Ã¥ fremme sine egne personlige " +"politiske preferanser. Men jeg avviste det synet pÃ¥ avgjÃ¸relsen fra " +"hÃ¸yesterett. Jeg hadde til og med skrevet en artikkel like etter " +"avgjÃ¸relsen som demonstrerte hvor <quote>tro mot opphavet</quote> en " +"slik tolking var mot Grunnloven. IdÃ©en om at hÃ¸yesterett avgjorde " +"saker basert pÃ¥ sin politiske overbevisning slo meg som Ã¥ usedvanlig " +"kjedelig. Jeg kom ikke til Ã¥ dedikere mitt liv til Ã¥ lÃ¦re bort " +"grunnlovsjus hvis disse ni dommerne kun skulle vÃ¦re smÃ¥lige " +"politikere." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>Now let's pause</emphasis> for a moment to make sure " +"we understand what the argument in <citetitle>Eldred</citetitle> was not " +"about. By insisting on the Constitution's limits to copyright, obviously " +"Eldred was not endorsing piracy. Indeed, in an obvious sense, he was " +"fighting a kind of piracy—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 "" +"NÃ¥ la oss pause for et Ã¸yeblikk Ã¥ sÃ¸rge for at vi forstÃ¥r hva argumentet i " +"eldred ikke var om. ved Ã¥ insistere pÃ¥ grunnlovens grenser for opphavsrett, " +"var Ã¥penbart eldred ikke stÃ¸ttet piratkopiering. faktisk i en Ã¥penbar " +"forstand kjemper han en form for piratkopiering—piratkopiering av den " +"offentlige sfÃ¦ren. da robert frost skrev hans arbeid og nÃ¥r walt disney " +"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks Ã¥r. pÃ¥ " +"grunn av midlertidige endringer, hadde frost og disney allerede likte " +"monopol sytti-fem Ã¥r for deres arbeid. de hadde fÃ¥tt fordelen av handel som " +"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-" +"seks Ã¥r, de opprettet nytt arbeid. men nÃ¥ disse enhetene bruker deres " +"makt—uttrykt gjennom strÃ¸mmen av lobbyister penger—for Ã¥ fÃ¥ en " +"annen tyve Ã¥rs dollop av monopol. at tyve Ã¥rs Dollop dollop ville bli Hentet " +"fra public domain. Eric eldred var kjemper en piratkopiering som pÃ¥virker " +"oss alle." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Nashville Songwriters Association" +msgstr "Nashville sangforfatterforening" + +#. f9. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Brief of the Nashville Songwriters Association, <citetitle>Eldred</" +"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " +"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #51</ulink>." +msgstr "" +"Orientering fra Nashvillesangforfatterforening, <citetitle>Eldred</" +"citetitle> mot <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " +"01-618), n.10, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #51</ulink>." + +#. type: Content of: <book><part><chapter><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 <quote>legal piracy.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> But it is not piracy when the law allows it; and in " +"our constitutional system, our law requires it. Some may not like the " +"Constitution's requirements, but that doesn't make the Constitution a " +"pirate's charter." +msgstr "" +"Noen folk ser pÃ¥ allemannseiet med forakt. I notatet de sendt til " +"hÃ¸yesterett, skrev Nashville sangforfatterforening at allemannseiet ikke var " +"noe annet enn <quote>lovlig piratvirksomhet</quote>.<placeholder type=" +"\"footnote\" id=\"0\"/> Men det er ikke piratvirksomhet nÃ¥r loven tillater " +"det. Og i vÃ¥rt konstituelle system krever loven dette. Noen liker kanskje " +"ikke kravene i grunnloven vÃ¥r, men det gjÃ¸r ikke grunnloven til en " +"piratkodeks." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"As we've seen, our constitutional system requires limits on copyright as a " +"way to assure that copyright holders do not too heavily influence the " +"development and distribution of our culture. Yet, as Eric Eldred discovered, " +"we have set up a system that assures that copyright terms will be repeatedly " +"extended, and extended, and extended. We have created the perfect storm for " +"the public domain. Copyrights have not expired, and will not expire, so long " +"as Congress is free to be bought to extend them again." +msgstr "" +"som vi har sett, krever systemet vÃ¥rt konstitusjonelle begrensninger pÃ¥ " +"opphavsrett som en mÃ¥te Ã¥ sikre at innehaver av opphavsrett ikke for sterkt " +"pÃ¥virke utviklingen og distribueringen av vÃ¥r kultur. ennÃ¥, som eric eldred " +"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkÃ¥rene vil " +"vÃ¦re gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den " +"perfekte stormen for public domain. opphavsrett er utlÃ¸pt ikke, og utlÃ¸per " +"ikke, sÃ¥ lenge congress er gratis kjÃ¸pes for Ã¥ utvide dem igjen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>It is valuable</emphasis> copyrights that are " +"responsible for terms being extended. Mickey Mouse and <quote>Rhapsody in " +"Blue.</quote> These works are too valuable for copyright owners to ignore. " +"But the real harm to our society from copyright extensions is not that " +"Mickey Mouse remains Disney's. Forget Mickey Mouse. Forget Robert Frost. " +"Forget all the works from the 1920s and 1930s that have continuing " +"commercial value. The real harm of term extension comes not from these " +"famous works. The real harm is to the works that are not famous, not " +"commercially exploited, and no longer available as a result." +msgstr "" +"<emphasis role='strong'>Det er verdifull</emphasis> opphavsrett som er " +"ansvarlig for at verneperioden blir utvidet. Mikke Mus og <quote>Rhapsody " +"in Blue</quote>. Disse verkene er for verdifulle til at opphavsrettseierene " +"kan ignorere dem. Men den egentlige skaden fra opphavsrettsutvidelser for " +"vÃ¥rt samfunn er ikke at Mikke Mus forblir Disneys. Glem Mikke Mus. Glem " +"Robert Frost. Glem alle verk fra tjue-tallet og tredve-tallet som fortsatt " +"har kommersiell verdi. Den egentlige skaden fra utvidelse av vernetiden " +"kommer ikke fra disse berÃ¸mte verkene. Den egenelige skaden er fra de " +"verkene som ikke er berÃ¸mte, ikke kommersielt utnytttet, og dermed heller " +"ikke lenger tilgjengelig." + +#. f10. +#. type: Content of: <book><part><chapter><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, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #52</ulink>." +msgstr "" +"Tallet 2 prosent er en ektrapolering fra en undersÃ¸kelse gjort av " +"kongressens forskningstjeneste, med bakgrunn i de estimerte " +"fornyelsespennene. Se Brief of Petitioners, <citetitle>Eldred</citetitle> " +"mot <citetitle>Ashcroft</citetitle>, 7, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #52</ulink>." + +#. type: Content of: <book><part><chapter><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 "" +"Hvis du ser pÃ¥ arbeider laget i de fÃ¸rste tjue Ã¥rene (1923 til 1942) " +"pÃ¥virket av Sonny Bono utvidelse av opphavsrettsvernetid-loven, sÃ¥ har 2 " +"prosent av disse verkene fortsatt kommersielle verdi. Det var " +"opphavsrettsinnehaverne for disse 2 prosentene som fikk igjennom CTEA. Men " +"loven og dens effekt var ikke begresnet til disse 2 prosentene. Loven " +"utvidet vernetiden til opphavsretten generelt.<placeholder type=\"footnote\" " +"id=\"0\"/>" + +#. PAGE BREAK 229 +#. type: Content of: <book><part><chapter><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 om konsekvensen av denne utvidelsen—praktisk som en " +"forretningsmann, ikke som en advokat ivrig etter mer juridisk arbeide. I " +"1930 ble 10047 bÃ¸ker publisert. I 2000 var 174 av disse bÃ¸kene fortsatt " +"tilgjengelig fra forlaget. La oss anta at du var Brewster Kahle, og du " +"Ã¸nsket Ã¥ gjÃ¸re de resterende 9873 tilgjengelig for verden i ditt iArkiv-" +"prosjekt. Hva ville du mÃ¥tte gjÃ¸re?" + +#. type: Content of: <book><part><chapter><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, fÃ¸rst mÃ¥ du finne ut hvilke av disse 9873 bÃ¸kene som fortsatt er vernet " +"av opphavsretten. Det krever at du gÃ¥r til biblioteket (den informasjonen " +"er ikke tilgjengelig pÃ¥ nettet) og blar igjennom haller med bÃ¸ker mens du " +"kryss-sjekker titler og forfatterne av disse 9873 bÃ¸kene med " +"opphavsrettsregistreringene og fornyingsmeldingene for verker publisert i " +"1930. Dette vil gi en liste med bÃ¸ker som fortsatt er vernet av " +"opphavsretten." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Then for the books still under copyright, you would need to locate the " +"current copyright owners. How would you do that?" +msgstr "" +"SÃ¥ for bÃ¸kerne som fortsatt er vernet av opphavsretten mÃ¥ en finne de " +"nÃ¥vÃ¦rende opphavsrettseiere. Hvordan vil du gjÃ¸re det?" + +#. type: Content of: <book><part><chapter><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 folk tenker at det mÃ¥ vÃ¦re en liste over disse opphavsrettseierne " +"en eller annen plass. Praktiske folk tenker slik. Hvordan kan det vÃ¦re " +"tusener pÃ¥ tusener av monopoler delt ut av myndighetene uten at det i hvert " +"fall finnes en liste?" + +#. type: Content of: <book><part><chapter><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 vÃ¦re et navn fra 1930, og deretter i 1959, " +"for personen som registrerte opphavsretten. Men bare tenkt praktisk rundt " +"hvor utrolig vanskelig det vil vÃ¦re Ã¥ spore opp tusenvis av slike " +"arkivoppfÃ¸ringer—spesielt siden personen som er registrert ikke " +"nÃ¸dvendigvis er den nÃ¥vÃ¦rende eier. Og vi snakker kun om 1930!" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>But there isn't a list of who owns property generally,</quote> the " +"apologists for the system respond. <quote>Why should there be a list of " +"copyright owners?</quote>" +msgstr "" +"<quote>Men det er ikke generelt en liste over hvem som eier eiendom</quote> " +"svarer forsvarerne av systemet. <quote>Hvorfor skulle det finnes en liste " +"over opphavsrettseiere?</quote>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty " +"of lists of who owns what property. Think about deeds on houses, or titles " +"to cars. And where there isn't a list, the code of real space is pretty " +"good at suggesting who the owner of a bit of property is. (A swing set in " +"your backyard is probably yours.) So formally or informally, we have a " +"pretty good way to know who owns what tangible property." +msgstr "" +"Vel, egentlig, nÃ¥r du tenker pÃ¥ det, sÃ¥ <emphasis>finnes</emphasis> det " +"mange lister over hvem som eier hvilken eiendom. Tenk pÃ¥ skjÃ¸ter for hus, " +"eller hvem som eier biler. Og der det ikke finnes en liste, sÃ¥ er koden for " +"den virkelige verden ganske god til Ã¥ foreslÃ¥ hvem som eier en bit eiendom " +"(en huske plassert i bakhagen din er sannsynlig vis din) SÃ¥ formelt eller " +"uformelt har vi en ganske god mÃ¥te Ã¥ vite hvem som eier hvilken hÃ¥ndgripelig " +"eiendom." + +#. PAGE BREAK 230 +#. type: Content of: <book><part><chapter><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 "" +"Dermed: Du vandrer ned en gate og ser et hus. Du kan vite hvem som eier " +"huset ved Ã¥ slÃ¥ opp i kommunehusets register. Hvis du ser en bil, sÃ¥ er det " +"normal et bilskilt som vil knytte eieren til bilen. Hvis du ser en haug med " +"barneleker som ligger pÃ¥ plenen forran et hus, sÃ¥ er det rimelig enkelt Ã¥ " +"finne ut hvem som eier lekene. Og hvis du tilfeldigvis ser en baseball som " +"ligger i grÃ¸fta pÃ¥ siden av veien, sÃ¥ se deg rundt et Ã¸yeblikk etter unger " +"som spiller ball. Hvis du ikke ser noen barn, sÃ¥ ok: her er det en bit " +"eiedom hvis eier vi ikke enkelt kan lokalisere. Dette er unntaket som " +"bekrefter regelen: at vi normalt vet veldig godt hvem som eier hvilken " +"eiendom." + +#. type: Content of: <book><part><chapter><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 "" +"Sammenlig denne historien med immateriell eiendom. Du gÃ¥r inn i et " +"bibliotek. Biblioteket eier bÃ¸kene. Men hvem eier opphavsretten? Som jeg " +"allerede har beskrevet, sÃ¥ finnes det ingen liste med opphavsrettseiere. " +"Det er navnene til forfattere, naturligvis, men deres opphavsrett kan ha " +"blitt overfÃ¸rt, eller blitt arvet til et bo lik bestemors gamle smykker. " +"For Ã¥ vite hvem som eier hva, sÃ¥ mÃ¥ du hyre en privatdetektiv. Det en " +"sitter igjen med er at eieren kan ikke enkelt finnes. Og med et regime som " +"vÃ¥rt, der det er en forbrytelse Ã¥ bruke slik eiendom uten tillatelse fra " +"eiendomseieren, sÃ¥ vil eiendommen ikke bli brukt." + +#. type: Content of: <book><part><chapter><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 "" +"Konsekvensen men gamle bÃ¸ker er at de ikke vil bli digitalisert, og dermed " +"ganske enkelt vil rotne bort pÃ¥ hyller. Men konsekvensen for andre kreative " +"arbeider er mye mer alvorlig." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Agee, Michael" +msgstr "Agee, Michael" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Hal Roach Studios" +msgstr "Hal Roach Studios" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Laurel and Hardy Films" +msgstr "Helan og Halvan-filmene" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Lucky Dog, The" +msgstr "heldig hunden, den" + +#. f11. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"See David G. Savage, <quote>High Court Scene of Showdown on Copyright Law,</" +"quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David " +"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " +"Hears Arguments Today on Striking Down Copyright Extension,</quote> " +"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002." +msgstr "" +"Se David G. Savage, <quote>High Court Scene of Showdown on Copyright Law</" +"quote>, <citetitle>Los Angeles Times</citetitle>, 6. oktober 2002, David " +"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court " +"Hears Arguments Today on Striking Down Copyright Extension</quote>, " +"<citetitle>Orlando Sentinel Tribune</citetitle>, 9. oktober 2002." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Consider the story of Michael Agee, chairman of Hal Roach Studios, which " +"owns the copyrights for the Laurel and Hardy films. Agee is a direct " +"beneficiary of the Bono Act. The Laurel and Hardy films were made between " +"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</" +"citetitle>, is currently out of copyright. But for the CTEA, films made " +"after 1923 would have begun entering the public domain. Because Agee " +"controls the exclusive rights for these popular films, he makes a great deal " +"of money. According to one estimate, <quote>Roach has sold about 60,000 " +"videocassettes and 50,000 DVDs of the duo's silent films.</" +"quote><placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Se pÃ¥ historien til Michael Agee, styreleder ved Hal Roach Studios, som eier " +"opphavsrettene for Helan og Halvan-filmene. Agee har dermed direkte fordel " +"av Bono-loven. Helan og Halvan-filmene ble laget mellom 1921 og 1951. Kun " +"en av disse filmene, <citetitle>The Lucky Dog</citetitle>, har sÃ¥ langt falt " +"i det fri. Men hadde det ikke vÃ¦rt for CTEA, ville filmer laget etter 1923 " +"begynt Ã¥ falle i det fri. Da Agee kontrollerer de eksklusive rettighetene " +"for disse populÃ¦re filmene sÃ¥ tjener an en god del penger. I fÃ¸lge et " +"estimat, <quote>har Roach solgt omtrent 60 000 videokassetter og " +"50 000 DVDer av filmene til denne stumfilmduoen.</quote><placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 "" +"Likevel gikk Agee mot CTEA. Hans begrunnelse en sjelden dyd i denne " +"kulturen: uselviskhet. Han argumenterte i sitt innlegg foran hÃ¸yesteretten " +"at Sonny Bono utvidelse av opphavsrettsvernetid-loven vil, hvis den ble " +"stÃ¥ende, Ã¸delegge en hel generasjon med amerikansk film." + +#. PAGE BREAK 231 +#. type: Content of: <book><part><chapter><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 "" +"Argumentet hans er enkelt. En liten brÃ¸kdel av disse verkene har vedvarende " +"kommersiell verdi. Resten—i den grad de overlever i det hele " +"tatt—ligger i et hvelv og samler stÃ¸v. Det kan vÃ¦re vÃ¦re at at noen " +"av disse verkene som nÃ¥ ikke er kommersielt verdifulle vil bli vurdert Ã¥ " +"vÃ¦re verdifulle av eierne av hvelvene. For at det skal skje, mÃ¥ den " +"kommersielle gevinsten fra verkene overstige kostnaden med Ã¥ gjÃ¸re verket " +"tilgjengelig for distribusjon." + +#. f12. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " +"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</" +"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus " +"Curiae filed on behalf of Petitioners by the Internet Archive, " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>." +msgstr "" + +#. type: Content of: <book><part><chapter><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 8 mm film.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Vi kan ikke vite gevinsten, men vi vet mye om konstnadene. For det meste av " +"filmhistorien har kostnaden med Ã¥ restaurere film vÃ¦rt veldig hÃ¸y. Digital " +"teknologi har redusert disse konstnadene betydelig. Mens det i 1993 kostet " +"mer enn $10 000 for Ã¥ restaurere en nittiminutters sort-hvit-film, sÃ¥ " +"kan det nÃ¥ koste sÃ¥ lite som $100 a digitalisere en times 8-millimeterfilm." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 "" +"Restaureringsteknologien er ikke den eneste kostnaden, og heller ikke den " +"viktigste. Advokater er ogsÃ¥ en kostnad, og i stadig stÃ¸rre grad, en veldig " +"viktig del. I tillegg til Ã¥ preservere filmen, sÃ¥ mÃ¥ en distributÃ¸r sikre " +"seg rettighetene. Og for Ã¥ sikre seg rettighetene til en film som er vernet " +"av opphavsretten, sÃ¥ mÃ¥ du finne opphavsrettseieren." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't " +"only a single copyright associated with a film; there are many. There isn't " +"a single person whom you can contact about those copyrights; there are as " +"many as can hold the rights, which turns out to be an extremely large " +"number. Thus the costs of clearing the rights to these films is " +"exceptionally high." +msgstr "" +"Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, <emphasis>eiere</emphasis>. Som vi har sett " +"er det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. " +"Det er ikke en enkelt person som du kan kontakte om disse opphavsrettene. " +"Det er like mange som det er opphavsretter knyttet til den, hvilket viser " +"seg kan vÃ¦re et ekstremt hÃ¸yt tall. Dermed blir kostnaden med Ã¥ klarere " +"rettighetene for disse filmene eksepsjonelt hÃ¸y." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>But can't you just restore the film, distribute it, and then pay the " +"copyright owner when she shows up?</quote> Sure, if you want to commit a " +"felony. And even if you're not worried about committing a felony, when she " +"does show up, she'll have the right to sue you for all the profits you have " +"made. So, if you're successful, you can be fairly confident you'll be " +"getting a call from someone's lawyer. And if you're not successful, you " +"won't make enough to cover the costs of your own lawyer. Either way, you " +"have to talk to a lawyer. And as is too often the case, saying you have to " +"talk to a lawyer is the same as saying you won't make any money." +msgstr "" +"<quote>Men kan du ikke bare restaurere filmen, distribuere den, og sÃ¥ betale " +"opphavsrettseieren nÃ¥r hun dukker opp?</quote> Jovisst, hvis du Ã¸nsker Ã¥ " +"gjÃ¸re deg selv til kriminiell. Og selv om du ikke er bekymret over Ã¥ begÃ¥ " +"en forbrytelse, sÃ¥ vil hun nÃ¥r hun dukker opp ha rett til Ã¥ saksÃ¸ke deg for " +"all fortjeneste du har hatt. SÃ¥ hvis du lykkes, sÃ¥ kan du vÃ¦re rimelig " +"sikker pÃ¥ at du fÃ¥r besÃ¸k fra noens advokat. Og hvis du ikke lykkess, sÃ¥ " +"vil du ikke ha tjent nok til Ã¥ dekke konstnaden for din egen advokat. " +"Uansett vil du vÃ¦re nÃ¸dt til Ã¥ snakke med en advokat. Og det Ã¥ si at du mÃ¥ " +"snakke med en advokat er ofte det samme som Ã¥ si at du ikke vil tjene noen " +"penger." + +#. PAGE BREAK 232 +#. type: Content of: <book><part><chapter><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 det hende gevinsten fra Ã¥ gi ut filmen vil overskride " +"disse kostnadene. Men for de aller fleste av dem er det ingen mulighet for " +"at gevinsten vil oppveie de juridiske kostnadene. Dermed vil de aller fleste " +"gamle filmer, argumenterte AGee, ikke bli restaurert og distribuert fÃ¸r " +"opphavsretten lÃ¸per ut." + +#. type: Content of: <book><part><chapter><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 innen opphavsretten for disse filmene er utlÃ¸pt, vil filmen ha gÃ¥tt " +"tapt. Disse filmene ble produsert pÃ¥ nitrat-baserte filmruller, og " +"nitratfilm gÃ¥r i opplÃ¸sning over tid. De vil vÃ¦re borte, og metalleskene " +"der de nÃ¥ blir lagret vil kun inneholde stÃ¸v." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Of all the</emphasis> creative work produced by " +"humans anywhere, a tiny fraction has continuing commercial value. For that " +"tiny fraction, the copyright is a crucially important legal device. For that " +"tiny fraction, the copyright creates incentives to produce and distribute " +"the creative work. For that tiny fraction, the copyright acts as an " +"<quote>engine of free expression.</quote>" +msgstr "" +"<emphasis role='strong'>Av alle de</emphasis> kreative verk produsert av " +"mennesker i verden, sÃ¥ er det kun en liten brÃ¸kdel som fortsetter Ã¥ ha " +"kommersiell verdi. For en liten brÃ¸kdel er opphavsretten en kritisk viktig " +"juridisk mekanisme. For den lille brÃ¸kdelen skaper opphavsretten insentiver " +"til Ã¥ produsere og distribuere kreative verker. For den lille brÃ¸kdelen " +"fungerer opphavsrett som en <quote>motor for uttrykksfrihet</quote>." + +#. type: Content of: <book><part><chapter><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 denne lille brÃ¸kdelen, sÃ¥ er den faktiske tiden som det " +"kreative arbeidet har kommersiellt liv ekstremt kort. Som jeg indikerte " +"tidligere blir de fleste bÃ¸ker utsolgt fra forlaget innen et Ã¥r. Det samme " +"er sant for musikk og film. Kommersiell kultur er som et rovdyr. Den mÃ¥ " +"fortsette Ã¥ bevege seg. Og nÃ¥r et kreativt arbeid ikke lenger fÃ¥r godviljen " +"fra en kommersell distributÃ¸r, sÃ¥ tar det kommersielle livet slutt." + +#. type: Content of: <book><part><chapter><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 "" +"Likevel betyr ikke dette at livet til det kreative arbeidet tar slutt. Vi " +"har ikke biblioteker for Ã¥ konkurrere med Barnes & Noble og vi har ikke " +"filmarkiver fordi vi forventer at folk skal velge mellom Ã¥ tilbringe " +"fredagskvelden med Ã¥ se nye filme eller tilbringe fredagskvelden med Ã¥ se en " +"nyhetsdokumentar fra 1930. Det ikke-kommersielle livet til kulturen er " +"viktig og verdifullt—for underholdning men ogsÃ¥, og viktigere, for " +"kunnskap. For Ã¥ forstÃ¥ hvem vi er, hvor vi kom fra og hvordan vi gjorde de " +"feil vi har gjort, sÃ¥ mÃ¥ vi ha tilgang til denne historien." + +#. PAGE BREAK 233 +#. type: Content of: <book><part><chapter><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 "" +"Opphavsretten i denne sammenhengen utgjÃ¸r ikke en motor for uttrykksfrihet. " +"I denne sammenhengen er det ikke behov for en eksklusiv rettighet. " +"Opphavsretten i denne sammenhengen bidrar ikke positivt." + +#. type: Content of: <book><part><chapter><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 " +"<emphasis>copyright-related use</emphasis> that would be inhibited by an " +"exclusive right. When a book went out of print, you could not buy it from a " +"publisher. But you could still buy it from a used book store, and when a " +"used book store sells it, in America, at least, there is no need to pay the " +"copyright owner anything. Thus, the ordinary use of a book after its " +"commercial life ended was a use that was independent of copyright law." +msgstr "" +"Men for det meste av vÃ¥r historie gjorde den liten skade. For det meste av " +"vÃ¥r historie, nÃ¥r det kommersielle livet til et verk tok slutt, sÃ¥ var det " +"ikke noe <emphasis>opphavsrettsrelatert bruk</emphasis> som ville bli " +"blokkert av en eksklusiv rett. NÃ¥r en bok ble utsolgt fra forlaget, sÃ¥ " +"kunne du ikke kjÃ¸pe det fra et forlag. Men du kunne fortsatt kjÃ¸pe den fra " +"en brukbokhandel. Og nÃ¥r en bruktbokhandel selger den, i hvert fall i " +"Amerika, sÃ¥ er det ikke nÃ¸dvendig Ã¥ betale noe til opphavsrettseieren. " +"Dermed var den vanlige bruken av en bok etter at det kommersielle livet tok " +"slutt en bruk som var uavhengig av opphavsrettslov." + +#. type: Content of: <book><part><chapter><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 praktisk sett sant ogsÃ¥ for film. PÃ¥ grunn av kostnadene med " +"Ã¥ restaurere en film—de egentlige Ã¸konomiske kostnadene, ikke " +"advokatkoastnadene—var sÃ¥ hÃ¸ye, sÃ¥ var det aldri praktisk mulig Ã¥ ta " +"vare pÃ¥ eller restaurere film. Omtrent som med restene etter en flott " +"middag, nÃ¥r den er over sÃ¥ er den over. NÃ¥r det kommersielle livet til en " +"film var over, sÃ¥ kan den ha blitt arkivert en stund, men det var slutten pÃ¥ " +"filmens liv sÃ¥ lenge markedet ikke hadde noe mer Ã¥ tilby." + +#. type: Content of: <book><part><chapter><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, selv om opphavsrettsbeskyttelsen har vÃ¦rt relativt kort for " +"det meste av vÃ¥r historie, sa ville ikke lang opphavsrettsbeskyttelse gjort " +"noe forskjell for arbeider som har mistet sin kommersielle verdi. Lang " +"opphavsrettsbeskyttelse for disse verkene ville ikke forstyrret noe." + +#. type: Content of: <book><part><chapter><para> +msgid "But this situation has now changed." +msgstr "Men denne situasjonen er nÃ¥ endret." + +#. type: Content of: <book><part><chapter><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 veldig viktig konsekvens av fremveksten av digitale teknologier er Ã¥ " +"muliggjÃ¸re arkivet som Brewster Kahle drÃ¸mmer om. Digitale teknologier gjÃ¸r " +"det nÃ¥ mulig Ã¥ ta vare pÃ¥ og gi tilgnag til alle typer kunnskap. NÃ¥r en bok " +"er utsolgt fra forlaget, sÃ¥ kan vi forestille oss Ã¥ digitalisere den og " +"gjÃ¸re den tilgjengelig for alle, til evig tid. NÃ¥r en film ikke lenger er " +"tilgjengelig fra distributÃ¸r kan vi digitalisere den og gjÃ¸re den " +"tilgjengleig for alle, til evig tid. Digitale teknologier gir nytt til vil " +"opphavsrettsbeskyttet materiale etter at det trer ut av sitt kommersielle " +"liv. Det er nÃ¥ mulig Ã¥ ta vare pÃ¥ og sikre universell tilgang til denne " +"kunskapen og kulturen, mens det tidligere ikke var mulig." + +#. PAGE BREAK 234 +#. type: Content of: <book><part><chapter><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 nÃ¥ kommer opphavsrettsloven i veien. Hvert steg som trengs for Ã¥ " +"produsere dette digitale arkivet over vÃ¥r kultur krenker den eksklusive " +"retten i opphavsretten. Ã digitalisere en bok er Ã¥ kopiere den. For Ã¥ " +"gjÃ¸re det mÃ¥ en ha tillatelse fra opphavsrettseieren. Det samme gjelder " +"musikk, film og ethvert annet aspekt av vÃ¥r kultur som er beskyttet av " +"opphavsretten. Innsatsen som trengs for Ã¥ gjÃ¸re disse tingene tilgjengelig " +"for fremtiden, eller til forskere, eler for de som bare Ã¸nsker Ã¥ utforske " +"den, er nÃ¥ hindret av det sett med regler som ble skrevet for en radikalt " +"forskjellig omgivelse." + +#. type: Content of: <book><part><chapter><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 <emphasis>copyright</" +"emphasis> purpose, for the purpose of copyright is to enable the commercial " +"market that spreads culture. No, we are talking about culture after it has " +"lived its commercial life. In this context, copyright is serving no purpose " +"<emphasis>at all</emphasis> related to the spread of knowledge. In this " +"context, copyright is not an engine of free expression. Copyright is a brake." +msgstr "" +"Her er kjernen av skaden som kommer fra Ã¥ utvide verneperiodene: NÃ¥ som " +"teknolgi gjÃ¸r det mulig for oss Ã¥ gjenoppbygge biblioteket i Alexandria, " +"kommer loven i veien. Og den kommer ikke i veien pÃ¥ grunn av et nyttig " +"<emphasis>opphavsretts</emphasis>-formÃ¥l,, som jo er Ã¥ gjÃ¸re det mulig for " +"det kommersielle markedet Ã¥ spre kultur. Nei, vi snakker om kultur etter at " +"den levd sitt kommersielle liv. I denne sammenhengen tjener opphavsretten " +"ikke noe formÃ¥l <emphasis>i det hele tatt</emphasis>, relatert til spredning " +"av kunskap. I denne sammenhengen er ikke opphavsrett en motor for " +"uttrykksfrihet. Opphavsrett er en bremse." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"You may well ask, <quote>But if digital technologies lower the costs for " +"Brewster Kahle, then they will lower the costs for Random House, too. So " +"won't Random House do as well as Brewster Kahle in spreading culture widely?" +"</quote>" +msgstr "" +"Du kan godt spÃ¸rre, <quote>Men hvis digitale teknologier reduserer kostnaden " +"for Brewster Kahle, sÃ¥ reduserer de ogsÃ¥ kostnadene for Random House. Vil " +"da ikke Random House spre kultur like vidt som Brewster Kahle?</quote>" + +#. type: Content of: <book><part><chapter><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 <quote>the market</quote> 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 "" +"Mulig det. En eller annen dag. Men det finnes ingen indisier som tyder pÃ¥ " +"at utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble " +"tilbÃ¸d utlÃ¥n av bÃ¸ker fra sine lager til en lavere pris, ville det eliminere " +"behovet for biblioteker? Kun hvis du mener at den eneste rollen et " +"bibliotek skal tjene er den <quote>markedet</quote> etterspÃ¸r. Men hvis du " +"mener rollen til et bibliotek er stÃ¸rre en dette—hvis du mener dets " +"rolle er Ã¥ arkivere kultur, uavhengig av om det er en etterspÃ¸rsel etter en " +"bestemt bit av den kulturen eller ikke—da kan vi ikke basere oss pÃ¥ at " +"det kommersielle markedet vil gjÃ¸re biblioteksjobben for oss." + +#. f13. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> " +"20 December 2002, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #54</ulink>." +msgstr "" +"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory</quote>, " +"20 December 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #54</ulink>." + +#. type: Content of: <book><part><chapter><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 1923 and 1946 is not commercially " +"available. However much you love the commercial market, if access is a " +"value, then 6 percent is a failure to provide that value.<placeholder type=" +"\"footnote\" id=\"0\"/>" +msgstr "" +"Jeg er blant de fÃ¸rste til Ã¥ vÃ¦re enig i at det skal gjÃ¸re sÃ¥ mye som det " +"kan: Vi bÃ¸r basere oss pÃ¥ markedet sÃ¥ mye som mulig for Ã¥ spre og muliggjÃ¸re " +"kultur. Mitt budskap er absolutt ikke imot markedet. Men der vi ser at " +"markedet ikek gjÃ¸r jobben, da bÃ¸r vi tillate krefter utenfor markedet " +"friheten til Ã¥ fylle hullene. En forsker beregnet for amerikansk kultur at " +"94 prosent av filmer, bÃ¸ker og musikk produsert mellom 1923 og 1946 er ikke " +"kommersielt tilgjengelig. Uansett hvor mye du elsker markedet, sÃ¥ er 6 " +"prosent en svikt hvis tilgang er et mÃ¥leparameter.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>In January 1999</emphasis>, we filed a lawsuit on " +"Eric Eldred's behalf in federal district court in Washington, D.C., asking " +"the court to declare the Sonny Bono Copyright Term Extension Act " +"unconstitutional. The two central claims that we made were (1) that " +"extending existing terms violated the Constitution's <quote>limited Times</" +"quote> requirement, and (2) that extending terms by another twenty years " +"violated the First Amendment." +msgstr "" +"<emphasis role='strong'>I januar 1999</emphasis> anla vi sak pÃ¥ vegne av " +"Eric Eldred ved den fÃ¸derale distriktsretten i Washington, D.C., og ba " +"retten om Ã¥ erklÃ¦re at Sonny Bono utvidelse av opphavsrettsvernetid-loven " +"var i strid med grunnloven. De to sentrale pÃ¥standene vi kom med var (1) at " +"Ã¥ utvide eksisterende vernetid var i strid med grunnlovens krav om <quote>et " +"begrenset tidsrom</quote>, og (2) at Ã¥ utvide vernetiden med tjue nye Ã¥r var " +"i strid med fÃ¸rste grunnlovstillegg." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The district court dismissed our claims without even hearing an argument. A " +"panel of the Court of Appeals for the D.C. Circuit also dismissed our " +"claims, though after hearing an extensive argument. But that decision at " +"least had a dissent, by one of the most conservative judges on that court. " +"That dissent gave our claims life." +msgstr "" +"district court avvist pÃ¥stander om vÃ¥re uten Ã¥ selv hÃ¸re et argument. et " +"panel av court of appeals for DC-kretsen ogsÃ¥ oppsagt vÃ¥re krav, men etter " +"hÃ¸re et omfattende argument. men at beslutningen hadde minst en dissens, av " +"en av de mest konservative dommerne pÃ¥ at domstolen. at ga dissens livet " +"vÃ¥rt krav." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Judge David Sentelle said the CTEA violated the requirement that copyrights " +"be for <quote>limited Times</quote> only. His argument was as elegant as it " +"was simple: If Congress can extend existing terms, then there is no " +"<quote>stopping point</quote> to Congress's power under the Copyright " +"Clause. The power to extend existing terms means Congress is not required to " +"grant terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, " +"the court had to interpret the term <quote>limited Times</quote> to give it " +"meaning. And the best interpretation, Judge Sentelle argued, would be to " +"deny Congress the power to extend existing terms." +msgstr "" +"Dommer David Sentelle sa at CTEA kun brÃ¸t med krav om at opphavsrett skal " +"gis for <quote>et begrenset tidsrom</quote>. Hans argument var like elegant " +"som det var enkelt. Hvis kongressen kan utvide eksisterende vernetid, sÃ¥ " +"finnes det ikke noe <quote>endepunkt</quote> til kongressens myndighet i " +"fÃ¸lge opphavsrettsbestemmelsen. Myndigheten til Ã¥ utvide vernetiden betyr at " +"kongressen ikke er nÃ¸dt til Ã¥ dele ut vernetider som er <quote>begrenset</" +"quote>. Dermed argumenterte dommer Sentelle at retten mÃ¥tte tolke begrepet " +"<quote>begrenset tidsrom</quote> for at det skulle ha mening. Og dommer " +"Sentelle argumenterte at den beste tolkningen ville vÃ¦re Ã¥ nekte kongressen " +"myndighet til Ã¥ utvide eksisterende vernetid." + +#. type: Content of: <book><part><chapter><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 <quote>en banc</quote> to hear the case." +msgstr "" +"Vi spurte hele ankedomstolen for D.C. ankekretsen om Ã¥ ta opp saken. Saker " +"tas normalt opp i et panel med tre deltagere, med unntak av viktige saker " +"eller saker som tar opp tema som er spesifikk for kretsen som helhet, der " +"domstolen vil samles <quote>en banc</quote> for Ã¥ ta opp saken." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Tatel, David" +msgstr "Tatel, David" + +#. PAGE BREAK 236 +#. type: Content of: <book><part><chapter><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 "" +"Ankedomstolen avviste vÃ¥r anmodning om Ã¥ ta opp saken en banc. Denne gangen " +"fikk dommer Sentelle fÃ¸lge av det mest liberale medlemmet av ankekretsen i D." +"C., dommer David Tatel. BÃ¥de de mest konservative og den mest liberale " +"dommerne i ankekretsen i D.C. mente kongressen hadde gÃ¥tt over side grenser." + +#. type: Content of: <book><part><chapter><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 de fleste forventet at Eldred mot Ashcroft ville dÃ¸, for " +"hÃ¸yesterett tar sjelden opp en avgjÃ¸relse gjort av en ankedomstol. (Den tar " +"opp omtrent hundre saker i Ã¥ret, ut av mer enn fem tusen anker.) Og den " +"revurderer praktiskt talt aldri en avgjÃ¸relse som opprettholder en regel nÃ¥r " +"ingen annen domstol sÃ¥ langt har revurdert regelen." + +#. type: Content of: <book><part><chapter><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 overrasket hÃ¸yesterett verden ved Ã¥ innvilge vÃ¥r " +"forespÃ¸rsel om Ã¥ ta opp avgjÃ¸relsen fra D.C.-kretsen. Argumentasjonen ble " +"fastsat til oktober 2002. Sommeren ble tilbrakt med Ã¥ skrive innlegg og " +"forberede oss for argumentasjonen." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>It is over</emphasis> a year later as I write these " +"words. It is still astonishingly hard. If you know anything at all about " +"this story, you know that we lost the appeal. And if you know something more " +"than just the minimum, you probably think there was no way this case could " +"have been won. After our defeat, I received literally thousands of missives " +"by well-wishers and supporters, thanking me for my work on behalf of this " +"noble but doomed cause. And none from this pile was more significant to me " +"than the e-mail from my client, Eric Eldred." +msgstr "" +"<emphasis role='strong'>Det er mer</emphasis> enn et Ã¥r senere nÃ¥r jeg " +"skriver disse ordene. Det er fortsatt utrolig vanskelig. Hvis du vet noe " +"om denne historien, sÃ¥ vet du at vi tapte anken. Og hvis du vet noe mer enn " +"bare litt, sÃ¥ tror du antagelig at det var ingen mÃ¥te denne saken kunne " +"blitt vunnet. Etter vÃ¥rt nederlag fikk jeg jeg bokstavlig talt tusenvis av " +"meldinger fra stÃ¸ttespillere og folk som ville Ã¸nske meg lykke til, som " +"takket meg for min innsats pÃ¥ vegne av denne noble men fortapte sak. Og " +"ingen fra denne haugen var viktigere for meg enn eposten fra min klient, " +"Eric Eldred." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"But my client and these friends were wrong. This case could have been won. " +"It should have been won. And no matter how hard I try to retell this story " +"to myself, I can never escape believing that my own mistake lost it." +msgstr "" +"Men min klient og disse vennene tok feil. Denne saken kunne vÃ¦rt vunnet. Det " +"burde ha vÃ¦rt vunnet. Og uansett hvor hardt jeg prÃ¸ver Ã¥ fortelle den " +"historien til meg selv, kan jeg aldri unnslippe troen pÃ¥ at det er min feil " +"at vi ikke vant." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Steward, Geoffrey" +msgstr "Steward, Geoffrey" + +#. PAGE BREAK 237 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The mistake</emphasis> was made early, though it " +"became obvious only at the very end. Our case had been supported from the " +"very beginning by an extraordinary lawyer, Geoffrey Stewart, and by the law " +"firm he had moved to, Jones, Day, Reavis and Pogue. Jones Day took a great " +"deal of heat from its copyright-protectionist clients for supporting us. " +"They ignored this pressure (something that few law firms today would ever " +"do), and throughout the case, they gave it everything they could." +msgstr "" +"<emphasis role='strong'>Feilen</emphasis> ble gjort tidlig, skjÃ¸nt det ble " +"fÃ¸rst Ã¥penbart pÃ¥ slutten. VÃ¥r sak hadde hatt stÃ¸tte hos en ekstraordinÃ¦r " +"advokat, Geoffrey Stewart, helt fra starten, og hos advokatfirmaet hadde han " +"flyttet til, Jones, Day, Reavis og Pogue. Jones Day mottok mye press fra " +"sine opphavsrettsbeskyttende klienter pÃ¥ grunn av sin stÃ¸tte til oss. De " +"ignorert dette presset (noe veldig fÃ¥ advokatfirmaer noen sinne ville " +"gjÃ¸re), og ga alt de hadde gjennom hele saken." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Ayer, Don" +msgstr "Ayer, Don" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Bromberg, Dan" +msgstr "Bromberg, Dan" + +#. type: Content of: <book><part><chapter><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 <quote>important</quote> to the Supreme Court. It had to seem as " +"if dramatic harm were being done to free speech and free culture; otherwise, " +"they would never vote against <quote>the most powerful media companies in " +"the world.</quote>" +msgstr "" +"Det var tre viktige advokater pÃ¥ saken fra Jones DaY. Geoff Stewart var den " +"fÃ¸rst, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og " +"Ayer spesielt hadde en felles oppfatning om hvordan denne saken ville bli " +"vunnet: vi ville bare vinne, fortalte de gjentatte ganger til meg, hvis vi " +"fÃ¥ problemet til Ã¥ virke <quote>viktig</quote> for HÃ¸yesterett. Det mÃ¥tte " +"synes som om dramatisk skade ble gjort til ytringsfriheten og fri kultur, " +"ellers ville de aldri stemt mot <quote>de mektigste mediaselskapene i " +"verden</quote>." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"I hate this view of the law. Of course I thought the Sonny Bono Act was a " +"dramatic harm to free speech and free culture. Of course I still think it " +"is. But the idea that the Supreme Court decides the law based on how " +"important they believe the issues are is just wrong. It might be " +"<quote>right</quote> as in <quote>true,</quote> I thought, but it is " +"<quote>wrong</quote> as in <quote>it just shouldn't be that way.</quote> As " +"I believed that any faithful interpretation of what the framers of our " +"Constitution did would yield the conclusion that the CTEA was " +"unconstitutional, and as I believed that any faithful interpretation of what " +"the First Amendment means would yield the conclusion that the power to " +"extend existing copyright terms is unconstitutional, I was not persuaded " +"that we had to sell our case like soap. Just as a law that bans the " +"swastika is unconstitutional not because the Court likes Nazis but because " +"such a law would violate the Constitution, so too, in my view, would the " +"Court decide whether Congress's law was constitutional based on the " +"Constitution, not based on whether they liked the values that the framers " +"put in the Constitution." +msgstr "" +"Jeg hater dette synet pÃ¥ loven. SelvfÃ¸lgelig trodde jeg Sonny Bono-loven var " +"en dramatisk skade pÃ¥ ytringsfriheten og fri kultur. SelvfÃ¸lgelig tror jeg " +"fortsatt dette. Men idÃ©en om at HÃ¸yesterett bestemmer loven basert pÃ¥ hvor " +"viktig de tror problemene er er bare galt. Det kan vÃ¦re \"riktig\" som i " +"\"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bÃ¸r ikke vÃ¦re den " +"mÃ¥ten.\" som jeg mente at alle trofaste tolkning av forfatterne av vÃ¥r " +"grunnlov gjorde gi konklusjonen at ctea var forfatningsstridig, og som jeg " +"mente at alle trofaste tolkning av hva den fÃ¸rste endring betyr ville gi " +"konklusjonen som strÃ¸m for Ã¥ forlenge eksisterende opphavsrett vilkÃ¥rene er " +"unconstitutionalJeg var ikke overbevist om at vi mÃ¥tte selge vÃ¥rt tilfelle " +"som sÃ¥pe. akkurat som en lov som forbud swastika er unconstitutional ikke " +"fordi retten liker nazistene, men fordi slik lov ville bryte Grunnloven, sÃ¥ " +"ogsÃ¥, i min mening, ville domstol bestemmer om congress's lov var " +"konstitusjonelle basert pÃ¥ Grunnloven, ikke basert pÃ¥ om de likte verdiene " +"som underskrev de innlegge Grunnloven." + +#. type: Content of: <book><part><chapter><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 "" +"Jeg tenkte uansett at domstolen allerede mÃ¥ se faren og skaden forÃ¥rsaket av " +"dette type lov. Hvorfor skulle de ellers gÃ¥ med pÃ¥ Ã¥ ta opp saken? Det var " +"ingen grunn til Ã¥ ta opp saken i hÃ¸yesterett hvis de ikke var overbevist om " +"at dette lovverket var skadelig. Dermed var det etter mitt syn ikke " +"nÃ¸dvendig Ã¥ overbevise den om at denne loven var ille. Vi trengte Ã¥ vise " +"den hvorfor den var i strid med grunnloven." + +#. PAGE BREAK 238 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"There was one way, however, in which I felt politics would matter and in " +"which I thought a response was appropriate. I was convinced that the Court " +"would not hear our arguments if it thought these were just the arguments of " +"a group of lefty loons. This Supreme Court was not about to launch into a " +"new field of judicial review if it seemed that this field of review was " +"simply the preference of a small political minority. Although my focus in " +"the case was not to demonstrate how bad the Sonny Bono Act was but to " +"demonstrate that it was unconstitutional, my hope was to make this argument " +"against a background of briefs that covered the full range of political " +"views. To show that this claim against the CTEA was grounded in " +"<emphasis>law</emphasis> and not politics, then, we tried to gather the " +"widest range of credible critics—credible not because they were rich " +"and famous, but because they, in the aggregate, demonstrated that this law " +"was unconstitutional regardless of one's politics." +msgstr "" +"Det var en mÃ¥te, men i som jeg fÃ¸lte politikk ville saken og som jeg trodde " +"et svar var riktig. Jeg var overbevist om at domstolen ikke ville hÃ¸re vÃ¥re " +"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty " +"loons. Denne HÃ¸yesterett var ikke om Ã¥ 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 Ã¥ " +"demonstrere hvor ille sonny bono handle var, men for Ã¥ demonstrere at det " +"var forfatningsstridig, mitt hÃ¥p var Ã¥ gjÃ¸re dette argumentet mot et " +"bakteppe av truser som dekket hele spekteret av politiske synspunkter. Ã¥ " +"vise at denne pÃ¥standen mot ctea ble jordet i loven og ikke politikk, sÃ¥ vi " +"prÃ¸vde Ã¥ samle sÃ¥ mange sÃ¸keordresultater troverdig kritikere—" +"troverdig ikke fordi de var rike og berÃ¸mte, men fordi de, i samlet, vist at " +"denne loven var forfatningsstridig uavhengig av ens politikk." + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Eagle Forum" +msgstr "Eagle forum" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Schlafly, Phyllis" +msgstr "Schlafly, Phyllis" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The first step happened all by itself. Phyllis Schlafly's organization, " +"Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. " +"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she " +"wrote a stinging editorial attacking the Republican Congress for allowing " +"the law to pass. As she wrote, <quote>Do you sometimes wonder why bills that " +"create a financial windfall to narrow special interests slide easily through " +"the intricate legislative process, while bills that benefit the general " +"public seem to get bogged down?</quote> The answer, as the editorial " +"documented, was the power of money. Schlafly enumerated Disney's " +"contributions to the key players on the committees. It was money, not " +"justice, that gave Mickey Mouse twenty more years in Disney's control, " +"Schlafly argued." +msgstr "" +"det fÃ¸rste trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, " +"eagle forum, hadde vÃ¦rt 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 Ã¥ la loven " +"skjedde. som hun skrev, \"noen ganger lurer du hvorfor regninger som " +"oppretter en finansiell nedfallsfrukt for Ã¥ begrense spesielle interesser " +"skyv lett gjennom den intrikate lovgivende prosessen, mens regninger at " +"fordelen allmennheten synes Ã¥ komme bogged ned?\", som de redaksjonelle " +"dokumentert, var svaret strÃ¸mmen av penger. schlafly nummerert disney's " +"bidrag til sentrale aktÃ¸rer pÃ¥ komiteene. Det var penger, ikke " +"rettferdighet, som ga Mikke Mus tjue Ã¥r i disney's kontroll, schlafly hevdet." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"In the Court of Appeals, Eagle Forum was eager to file a brief supporting " +"our position. Their brief made the argument that became the core claim in " +"the Supreme Court: If Congress can extend the term of existing copyrights, " +"there is no limit to Congress's power to set terms. That strong " +"conservative argument persuaded a strong conservative judge, Judge Sentelle." +msgstr "" +"i lagmannsrett var eagle forum ivrig etter Ã¥ inngi en kort som stÃ¸tter vÃ¥r " +"posisjon. sine kort gjort argumentet om at ble kjernen kravet i HÃ¸yesterett: " +"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen " +"grense for Kongressens makt til Ã¥ angi vilkÃ¥r. som sterkt konservativ " +"argumentet overtalt en sterk konservative dommer, dommer sentelle." + +#. PAGE BREAK 239 +#. type: Content of: <book><part><chapter><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><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "American Association of Law Libraries" +msgstr "American association of lov biblioteker" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "National Writers Union" +msgstr "nasjonale forfattere union" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Those briefs framed a legal argument. Then to support the legal argument, " +"there were a number of powerful briefs by libraries and archives, including " +"the Internet Archive, the American Association of Law Libraries, and the " +"National Writers Union." +msgstr "" +"disse truser innrammet et juridisk argument. deretter for Ã¥ stÃ¸tte " +"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><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"But two briefs captured the policy argument best. One made the argument I've " +"already described: A brief by Hal Roach Studios argued that unless the law " +"was struck, a whole generation of American film would disappear. The other " +"made the economic argument absolutely clear." +msgstr "" +"men to truser fanget argumentet policyen best. en gjort argumentet jeg har " +"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven " +"ble truffet, en hel generasjon av american film ville forsvinne. den andre " +"gjort argumentet Ã¸konomiske helt klart." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Akerlof, George" +msgstr "Akerlof, George" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Arrow, Kenneth" +msgstr "Arrow, Kenneth" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Buchanan, James" +msgstr "Buchanan, James" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Coase, Ronald" +msgstr "Coase, Ronald" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Friedman, Milton" +msgstr "Friedman, Milton" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This economists' brief was signed by seventeen economists, including five " +"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton " +"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of " +"Nobel winners demonstrates, spanned the political spectrum. Their " +"conclusions were powerful: There was no plausible claim that extending the " +"terms of existing copyrights would do anything to increase incentives to " +"create. Such extensions were nothing more than <quote>rent-seeking</" +"quote>—the fancy term economists use to describe special-interest " +"legislation gone wild." +msgstr "" +"Denne Ã¸konomer kort ble signert av sytten Ã¸konomer, inkludert fem " +"Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton " +"friedman, kenneth pilen og george akerlof. Ã¸konomer, spredte som viser " +"listen over nobel vinnere, det politiske spektret. deres konklusjoner var " +"kraftig: det var ingen sannsynlig hevder at utvide vilkÃ¥rene i eksisterende " +"opphavsrettigheter ville gjÃ¸re noe for Ã¥ Ã¸ke insentiver til Ã¥ opprette. " +"slike utvidelser var ingenting mer enn \"leie-sÃ¸ker\"—fancy sikt " +"Ã¸konomer bruk Ã¥ beskrive spesielle interesser lovgivning gone wild." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Fried, Charles" +msgstr "Fried, Charles" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Morrison, Alan" +msgstr "Morrison, Alan" + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "Public Citizen" +msgstr "offentlige borger" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Reagan, Ronald" +msgstr "Reagan, Ronald" + +#. PAGE BREAK 240 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The same effort at balance was reflected in the legal team we gathered to " +"write our briefs in the case. The Jones Day lawyers had been with us from " +"the start. But when the case got to the Supreme Court, we added three " +"lawyers to help us frame this argument to this Court: Alan Morrison, a " +"lawyer from Public Citizen, a Washington group that had made constitutional " +"history with a series of seminal victories in the Supreme Court defending " +"individual rights; my colleague and dean, Kathleen Sullivan, who had argued " +"many cases in the Court, and who had advised us early on about a First " +"Amendment strategy; and finally, former solicitor general Charles Fried." +msgstr "" +"samme innsats pÃ¥ balanse ble reflektert i det juridiske teamet vi samles for " +"Ã¥ skrive vÃ¥re truser i tilfelle. jones dag advokater hadde blitt med oss fra " +"starten. men da saken kom til HÃ¸yesterett, vi har lagt tre advokater for Ã¥ " +"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 HÃ¸yesterett " +"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde " +"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en " +"fÃ¸rste endring strategi; og endelig, tidligere advokat general charles stekt." + +#. type: Content of: <book><part><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "Commerce Clause of" +msgstr "handel-setningsdelen i" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Fried was a special victory for our side. Every other former solicitor " +"general was hired by the other side to defend Congress's power to give media " +"companies the special favor of extended copyright terms. Fried was the only " +"one who turned down that lucrative assignment to stand up for something he " +"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. " +"He had helped craft the line of cases that limited Congress's power in the " +"context of the Commerce Clause. And while he had argued many positions in " +"the Supreme Court that I personally disagreed with, his joining the cause " +"was a vote of confidence in our argument." +msgstr "" +"stekt var en spesiell seier for vÃ¥r side. hver andre tidligere advokat " +"generelt ble ansatt av den andre siden, Ã¥ forsvare congress's kraft til Ã¥ gi " +"medieselskaper spesiell gunst utvidet opphavsrett vilkÃ¥rene. stekt var den " +"eneste som slÃ¥tt ned lukrative tildelingen til Ã¥ stÃ¥ opp for noe han mente " +"i. han hadde vÃ¦rt ronald reagan's sjef advokat i HÃ¸yesterett. Han hadde " +"bidratt til Ã¥ skape linjen i tilfeller som begrenset Kongressens makt i " +"forbindelse med handel-setningsdel. og mens han hadde hevdet mange " +"posisjoner i HÃ¸yesterett som jeg personlig uenige med, hans begynte Ã¥rsaken " +"var en stemme av tilliten i vÃ¥r argumentet." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The government, in defending the statute, had its collection of friends, as " +"well. Significantly, however, none of these <quote>friends</quote> included " +"historians or economists. The briefs on the other side of the case were " +"written exclusively by major media companies, congressmen, and copyright " +"holders." +msgstr "" +"regjeringen, i Ã¥ forsvare statutten, hadde sin samling av venner, ogsÃ¥. " +"betydelig, men ingen av disse \"vennene\" inkludert historikere eller " +"Ã¸konomer. truser pÃ¥ den andre siden av saken ble skrevet utelukkende av " +"store medieselskaper, congressmen og innehaver av opphavsrett." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The media companies were not surprising. They had the most to gain from the " +"law. The congressmen were not surprising either—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 Ã¥ tjene pÃ¥ loven. " +"congressmen var ikke overraskende enten—de var Ã¥ forsvare sin makt, og " +"indirekte, KjÃ¸ttsaft tog av bidrag slik makt indusert. og selvfÃ¸lgelig var " +"det ikke overraskende at rettighetshavere ville forsvare idÃ©en om at de bÃ¸r " +"fortsette Ã¥ ha rett til Ã¥ kontrollere hvem som gjorde hva med innhold de " +"Ã¸nsket Ã¥ kontroll." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Gershwin, George" +msgstr "Gershwin, George" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Porgy and Bess" +msgstr "Porgy and Bess" + +#. f14. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19." +msgstr "" +"Orientering fra Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</" +"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. " +"01-618), 19." + +#. f15. +#. type: Content of: <book><part><chapter><para><footnote><para> +msgid "" +"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " +"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March " +"1998, B7." +msgstr "" +"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse " +"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28. mars " +"1998, B7." + +#. PAGE BREAK 241 +#. type: Content of: <book><part><chapter><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 " +"<quote>glorify drugs or to create pornography.</quote><placeholder type=" +"\"footnote\" id=\"0\"/> That was also the motive of the Gershwin estate, " +"which defended its <quote>protection</quote> of the work of George Gershwin. " +"They refuse, for example, to license <citetitle>Porgy and Bess</citetitle> " +"to anyone who refuses to use African Americans in the cast.<placeholder type=" +"\"footnote\" id=\"1\"/> That's their view of how this part of American " +"culture should be controlled, and they wanted this law to help them effect " +"that control." +msgstr "" +"Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre " +"at boet etter Dr. Seuss kontrollerte hva som skjedde med verkene til Dr. " +"Seuss—bedre enn Ã¥ la det falle i det fri—pÃ¥ grunn av at hvis " +"denne kreativiteten var allemannseie sÃ¥ ville folk bruke dem til Ã¥ " +"<quote>forherlige narkotika og skape pornografi</quote>.<placeholder type=" +"\"footnote\" id=\"0\"/> Dette var ogsÃ¥ motivet til boet etter Gershwin, som " +"forsvarte sin <quote>beskyttelse</quote> av verkene til George Gershwin. De " +"avviste for eksempel Ã¥ lisensiere ut <citetitle>Progy and Bess</citetitle> " +"til enhver som nektet Ã¥ bruke Afrikans-amerikanere i rollelista.<placeholder " +"type=\"footnote\" id=\"1\"/> Det er deres syn pÃ¥ hovrdan denne delen av " +"amerikansk kultur bÃ¸r kontrolleres, og de Ã¸nsket hjelp fra denne lovel til Ã¥ " +"effektuere denne kontrollen." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This argument made clear a theme that is rarely noticed in this debate. " +"When Congress decides to extend the term of existing copyrights, Congress is " +"making a choice about which speakers it will favor. Famous and beloved " +"copyright owners, such as the Gershwin estate and Dr. Seuss, come to " +"Congress and say, <quote>Give us twenty years to control the speech about " +"these icons of American culture. We'll do better with them than anyone else." +"</quote> Congress of course likes to reward the popular and famous by giving " +"them what they want. But when Congress gives people an exclusive right to " +"speak in a certain way, that's just what the First Amendment is " +"traditionally meant to block." +msgstr "" +"Dette argumentet gjort klart et tema som er sjelden merke i denne debatten. " +"NÃ¥r Kongressen beslutter Ã¥ forlenge eksisterende opphavsrettigheter, gjÃ¸r " +"Kongressen et valg om hvilke hÃ¸yttalere det prioriteres. berÃ¸mte og elskede " +"opphavsrett eiere, for eksempel gershwin eiendom og dr. seuss, komme til " +"Kongressen og si, \"gi oss tjue Ã¥r Ã¥ kontrollere tale om disse ikonene av " +"den amerikanske kulturen. Vi vil gjÃ¸re bedre med dem enn noen andre." +"\"Kongressen liker selvfÃ¸lgelig Ã¥ belÃ¸nne de populÃ¦re og berÃ¸mte ved Ã¥ gi " +"dem det de Ã¸nsker. men nÃ¥r Kongressen gir folk en eksklusiv rett til Ã¥ " +"snakke pÃ¥ en bestemt mÃ¥te, det er akkurat hva den fÃ¸rste endringen er " +"tradisjonelt ment Ã¥ blokkere." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"We argued as much in a final brief. Not only would upholding the CTEA mean " +"that there was no limit to the power of Congress to extend copyrights—" +"extensions that would further concentrate the market; it would also mean " +"that there was no limit to Congress's power to play favorites, through " +"copyright, with who has the right to speak." +msgstr "" +"Vi hevdet sÃ¥ mye i en endelige kort. ikke bare vil opprettholde ctea bety at " +"det var ingen grense for strÃ¸m av Kongressen for Ã¥ forlenge " +"opphavsrett—utvidelser som ytterligere konsentrere seg markedet; det " +"vil ogsÃ¥ bety at det var ingen grense congress's kraft til Ã¥ spille " +"favoritter, gjennom opphavsrett, med som har rett til Ã¥ 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><part><chapter><para> +msgid "" +"<emphasis role='strong'>Between February</emphasis> and October, there was " +"little I did beyond preparing for this case. Early on, as I said, I set the " +"strategy." +msgstr "" +"<emphasis role='strong'>Mellom februar</emphasis> og kotober gjorde jeg lite " +"ut over Ã¥ forberede meg for denne saken. Som jeg nevnte tidligere, satte " +"jeg strategien tidlig." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "O'Connor, Sandra Day" +msgstr "O'Connor, Sandra Day" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The Supreme Court was divided into two important camps. One camp we called " +"<quote>the Conservatives.</quote> The other we called <quote>the Rest.</" +"quote> The Conservatives included Chief Justice Rehnquist, Justice O'Connor, " +"Justice Scalia, Justice Kennedy, and Justice Thomas. These five had been the " +"most consistent in limiting Congress's power. They were the five who had " +"supported the <citetitle>Lopez/Morrison</citetitle> line of cases that said " +"that an enumerated power had to be interpreted to assure that Congress's " +"powers had limits." +msgstr "" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Breyer, Stephen" +msgstr "Breyer, Stephen" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Ginsburg, Ruth Bader" +msgstr "Ginsburg, Ruth Bader" + +#. PAGE BREAK 242 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +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 pÃ¥ " +"Kongressens makt. disse fire—rettferdighet stevens, rettferdighet " +"souter, rettferdighet ginsburg og rettferdighet breyer—hadde gjentatte " +"ganger hevdet at grunnloven gir Kongressen bred skjÃ¸nn Ã¥ bestemme hvordan du " +"best Ã¥ implementere sin myndighet. i sak etter sak, hadde disse to andre " +"justiariusene hevdet at retten rolle bÃ¸r vÃ¦re en av deference. om stemmene " +"til disse fire justiariusene var stemmene som jeg personlig hadde mest " +"konsekvent avtalt med, var de ogsÃ¥ stemmene som vi var minst sannsynlig Ã¥ fÃ¥." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"In particular, the least likely was Justice Ginsburg's. In addition to her " +"general view about deference to Congress (except where issues of gender are " +"involved), she had been particularly deferential in the context of " +"intellectual property protections. She and her daughter (an excellent and " +"well-known intellectual property scholar) were cut from the same " +"intellectual property cloth. We expected she would agree with the writings " +"of her daughter: that Congress had the power in this context to do as it " +"wished, even if what Congress wished made little sense." +msgstr "" +"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes " +"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjÃ¸nn er " +"involvert), hadde hun vÃ¦rt 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 vÃ¦re enig med skriftene til datteren: at Kongressen hadde " +"makt i denne sammenheng Ã¥ gjÃ¸re som det Ã¸nsket, selv om hva Kongressen " +"Ã¸nsket gjort lite fornuftig." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Close behind Justice Ginsburg were two justices whom we also viewed as " +"unlikely allies, though possible surprises. Justice Souter strongly favored " +"deference to Congress, as did Justice Breyer. But both were also very " +"sensitive to free speech concerns. And as we strongly believed, there was a " +"very important free speech argument against these retrospective extensions." +msgstr "" +"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi ogsÃ¥ sett pÃ¥ " +"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter " +"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. " +"men begge var ogsÃ¥ svÃ¦rt sensitive til ytringsfriheten bekymringer. og som " +"vi sterkt mente, det var en svÃ¦rt viktig ytringsfriheten argument mot disse " +"retrospektiv utvidelser." + +#. type: Content of: <book><part><chapter><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 stemmen vi kunne vÃ¦re trygg pÃ¥ hvar den til dommer Stevens. " +"Historien viser at dommer Stevens er en av de stÃ¸rste dommerne i denne " +"domstolen. Han stemmer har vÃ¦rt konsistent selektiv, hvilket bare betyr at " +"ikke noen enkel ideologi forklarer hvordan vil stille seg. Men han hadde " +"konsistent argumentert for begresninger i sammenheng med immaterielle eiedom " +"generelt. Vi var rimelig sikre pÃ¥ at han ville kjenne igjen begresningene " +"her." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This analysis of <quote>the Rest</quote> showed most clearly where our focus " +"had to be: on the Conservatives. To win this case, we had to crack open " +"these five and get at least a majority to go our way. Thus, the single " +"overriding argument that animated our claim rested on the Conservatives' " +"most important jurisprudential innovation—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 vÃ¥rt fokus mÃ¥tte vÃ¦re: " +"pÃ¥ hÃ¸yre. for Ã¥ vinne dette tilfellet, vi hadde Ã¥ sprekk Ã¥pne disse fem og " +"fÃ¥ minst et flertall Ã¥ gÃ¥ pÃ¥ vÃ¥r mÃ¥te. dermed enkelt overstyrende argument " +"som animert vÃ¥re krav hvilte pÃ¥ HÃ¸yres viktigste jurisprudential innovasjon " +"- argumentet at dommer sentelle hadde grunnlag i lagmannsrett, at " +"Kongressens makt mÃ¥ tolkes slik at dens nummerert kreftene har begrensninger." + +#. PAGE BREAK 243 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"This then was the core of our strategy—a strategy for which I am " +"responsible. We would get the Court to see that just as with the " +"<citetitle>Lopez</citetitle> case, under the government's argument here, " +"Congress would always have unlimited power to extend existing terms. If " +"anything was plain about Congress's power under the Progress Clause, it was " +"that this power was supposed to be <quote>limited.</quote> Our aim would be " +"to get the Court to reconcile <citetitle>Eldred</citetitle> with " +"<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce was " +"limited, then so, too, must Congress's power to regulate copyright be " +"limited." +msgstr "" +"Dette var deretter kjernen i vÃ¥r strategi—en strategi som jeg er " +"ansvarlig. Vi ville fÃ¥ retten Ã¥ se at akkurat som du er med under " +"regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha " +"ubegrenset makt til Ã¥ utvide eksisterende vilkÃ¥r. Hvis noe var vanlig om " +"Kongressens makt under setningsdelen fremdrift, det var at dette makt var " +"ment for Ã¥ vÃ¦re \"begrenset.\" vÃ¥rt mÃ¥l vil vÃ¦re Ã¥ fÃ¥ retten Ã¥ avstemme " +"eldred med lopez: Hvis Kongressens makt til Ã¥ regulere handel var begrenset, " +"deretter sÃ¥, ogsÃ¥, congress's makt til Ã¥ regulere copyright skal begrenses." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The argument</emphasis> on the government's side " +"came down to this: Congress has done it before. It should be allowed to do " +"it again. The government claimed that from the very beginning, Congress has " +"been extending the term of existing copyrights. So, the government argued, " +"the Court should not now say that practice is unconstitutional." +msgstr "" +"<emphasis role='strong'>Argumentet</emphasis> pÃ¥ regjerningens side kokte " +"ned til dette: Kongressen har gjort det fÃ¸r, og bÃ¸r fÃ¥ lov til Ã¥ gjÃ¸re det " +"igjen. Regjeringen hevdet at helt fra starten har kongressen utvidet " +"vernetiden til eksisterende opphavsrett. Derfor, argumenterte regjeringen, " +"burde ikke retten nÃ¥ si at praksisen var i strid med grunnloven." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"There was some truth to the government's claim, but not much. We certainly " +"agreed that Congress had extended existing terms in 1831 and in 1909. And of " +"course, in 1962, Congress began extending existing terms regularly—" +"eleven times in forty years." +msgstr "" +"Det var noe sant i regjeringens pÃ¥stand, men ikke mye. Vi var helt klart " +"enig i at kongressen hadde utvidet verntiden i 1831 og i 1909. Og i 1962, " +"selvfÃ¸lgelig, begynte kongressen regelmessig Ã¥ utvide eksisterende " +"vernetid—elleve ganger pÃ¥ fÃ¸rti Ã¥r." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"But this <quote>consistency</quote> should be kept in perspective. Congress " +"extended existing terms once in the first hundred years of the Republic. It " +"then extended existing terms once again in the next fifty. Those rare " +"extensions are in contrast to the now regular practice of extending existing " +"terms. Whatever restraint Congress had had in the past, that restraint was " +"now gone. Congress was now in a cycle of extensions; there was no reason to " +"expect that cycle would end. This Court had not hesitated to intervene where " +"Congress was in a similar cycle of extension. There was no reason it " +"couldn't intervene here." +msgstr "" +"men dette \"konsistens\" bÃ¸r holdes i perspektiv. Kongressen utvidet " +"eksisterende vilkÃ¥rene en gang i fÃ¸rste hundre Ã¥r av Republikken. det " +"deretter utvidet eksisterende vilkÃ¥rene igjen i de neste femti. disse " +"sjeldne utvidelser er i motsetning til nÃ¥ vanlig praksis for Ã¥ utvide " +"eksisterende vilkÃ¥r. Uansett selvbeherskelse Kongressen hadde hatt i siste, " +"at selvbeherskelse nÃ¥ var borte. Kongressen var nÃ¥ i en syklus av " +"utvidelser; Det var ingen grunn til Ã¥ forvente at syklus ville end. denne " +"domstolen hadde ikke vil nÃ¸le med Ã¥ 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 fÃ¸rste uken i oktober. Jeg " +"ankom i DC to uker fÃ¸r argumentet. i lÃ¸pet av de to ukene, ble jeg gjentatte " +"ganger \"mooted\" av advokater som hadde frivillig til Ã¥ hjelpe i tilfelle. " +"slike \"moots\" er i utgangspunktet praksis runder, der wannabe " +"justiariusene brann spÃ¸rsmÃ¥l pÃ¥ wannabe vinnere." + +#. PAGE BREAK 244 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>Oral argument</emphasis> was scheduled for the first " +"week in October. I arrived in D.C. two weeks before the argument. During " +"those two weeks, I was repeatedly <quote>mooted</quote> by lawyers who had " +"volunteered to help in the case. Such <quote>moots</quote> are basically " +"practice rounds, where wannabe justices fire questions at wannabe winners." +msgstr "" +"<emphasis role='strong'>Muntlig argumentasjon</emphasis> var fastsatt til " +"fÃ¸rste uke i oktober. Jeg ankom D.C. to uker fÃ¸r dette. I lÃ¸pet av disse " +"to ukene ble jeg gang pÃ¥ gang <quote>opponert</quote> av advokater som hadde " +"meldt seg frivillig til Ã¥ hjelpe til i saken. Slike <quote>opponeringsÃ¸kter</" +"quote> er i grunnen Ã¸velsesrunder hvor de som vil vÃ¦re dommere fyrer av " +"spÃ¸rsmÃ¥l mot de som vil vinne." + +#. type: Content of: <book><part><chapter><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 Ã¥ vinne, mÃ¥tte jeg holde retten fokusert pÃ¥ et " +"enkelt poeng: hvis denne utvidelsen ble akseptert sÃ¥ ville det ikke vÃ¦re " +"noen grenser for myndigheten til Ã¥ vedta vernetid. Ã vÃ¦re enig med " +"regjeringen ville bety at vernetiden effektivt sett ville vÃ¦re uten " +"begrensing. Ã vÃ¦re enig med oss ville gi kongressen en klar linje Ã¥ fÃ¸lge: " +"Ikke utvid den eksisterende vernetiden. Opponeringsrundene var effektiv " +"trening. Jeg fant mÃ¥ter Ã¥ bringe hvert eneste spÃ¸rsmÃ¥l tilbake til den " +"sentrale idÃ©en." + +#. type: Content of: <book><part><chapter><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 opponeringsrunde var foran advokatene hos Jones Day. Don Ayer var " +"skeptikeren. Han hadde tjenestegjort i justisdepartementet under Reagen med " +"riksadvokat Charles Fried. Han hadde presentert mange saker foran " +"hÃ¸yesterett. Og i sin oppsummering av opponeringsrunden kom han med sin " +"bekymring:" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<quote>I'm just afraid that unless they really see the harm, they won't be " +"willing to upset this practice that the government says has been a " +"consistent practice for two hundred years. You have to make them see the " +"harm—passionately get them to see the harm. For if they don't see " +"that, then we haven't any chance of winning.</quote>" +msgstr "" +"<quote>Jeg er bare redd for at med mindre de virkelig ser skaden, sÃ¥ vil de " +"ikke vÃ¦re villige til Ã¥ bryte denne praksisen som regjeringen sier har vÃ¦rt " +"konsistent praksis for to hundre Ã¥r. Du mÃ¥ fÃ¥ dem til Ã¥ se skaden—med " +"ettertrykk fÃ¥ dem til Ã¥ se skaden. Hvis de ikke ser den, sÃ¥ har vi ingen " +"sjanse til Ã¥ vinne.</quote>" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"He may have argued many cases before this Court, I thought, but he didn't " +"understand its soul. As a clerk, I had seen the Justices do the right " +"thing—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." +msgstr "" +"han kanskje har hevdet mange tilfeller fÃ¸r denne retten, jeg tenkte, men han " +"forstod ikke sin sjel. Jeg hadde sett justiariusene gjÃ¸re rette—ikke " +"pÃ¥ grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde " +"tilbrakt livet undervise elevene mine at denne retten gjÃ¸r rette—ikke " +"pÃ¥ grunn av politikk som en lov professor, men fordi det er riktig. da jeg " +"lyttet til ayer's pÃ¥stand om lidenskap i presserende politikk, jeg forsto " +"hans punkt, og jeg avviste den. VÃ¥rt argument var rett. Det var nok. La " +"politikerne lÃ¦re Ã¥ se at det var ogsÃ¥ god. natten fÃ¸r argumentet, en linje " +"av mennesker begynte Ã¥ form foran HÃ¸yesterett. saken hadde blitt et fokus av " +"pressen og bevegelse for fri kultur. hundrevis sto i kÃ¸ for sjansen til Ã¥ se " +"proceedings. score tilbragte natten pÃ¥ HÃ¸yesterett trinnene slik at de ville " +"vÃ¦re trygg pÃ¥ et sete." + +#. PAGE BREAK 245 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The night before</emphasis> the argument, a line of " +"people began to form in front of the Supreme Court. The case had become a " +"focus of the press and of the movement to free culture. Hundreds stood in " +"line for the chance to see the proceedings. Scores spent the night on the " +"Supreme Court steps so that they would be assured a seat." +msgstr "" +"<emphasis role='strong'>Natten fÃ¸r</emphasis> argumentasjonen begynte en kÃ¸ " +"av folk Ã¥ dukke opp foran hÃ¸yesterett. Saken hadde fÃ¥tt oppmerksomhet fra " +"pressen og fri kultur-bevegelsen. Hundrevis sto pÃ¥ rekke for Ã¥ fÃ¥ en sjanse " +"til Ã¥ se forhandlingen. Flokkevis tilbrakte natten pÃ¥ trappen til " +"hÃ¸yesterett for Ã¥ sikre seg et sete." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Not everyone has to wait in line. People who know the Justices can ask for " +"seats they control. (I asked Justice Scalia's chambers for seats for my " +"parents, for example.) Members of the Supreme Court bar can get a seat in a " +"special section reserved for them. And senators and congressmen have a " +"special place where they get to sit, too. And finally, of course, the press " +"has a gallery, as do clerks working for the Justices on the Court. As we " +"entered that morning, there was no place that was not taken. This was an " +"argument about intellectual property law, yet the halls were filled. As I " +"walked in to take my seat at the front of the Court, I saw my parents " +"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting " +"in the special section ordinarily reserved for family of the Justices." +msgstr "" +"ikke alle har til Ã¥ vente pÃ¥ 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 HÃ¸yesterett baren kan " +"fÃ¥ et sete i en spesiell del reservert for dem. og senators og congressmen " +"har et spesielt sted hvor de fÃ¥r Ã¥ sitte, ogsÃ¥. og til slutt, selvfÃ¸lgelig, " +"pressen har et galleri som gjÃ¸r clerks som jobber for de to andre " +"justiariusene pÃ¥ 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. sÃ¥ jeg gikk i Ã¥ ta min plass pÃ¥ forsiden " +"av retten, sÃ¥ jeg mine foreldre som sitter til venstre. som jeg satte meg " +"ned ved bordet, sÃ¥ jeg jack valenti sitter i delen spesielle vanligvis " +"forbeholdt familie av de to andre justiariusene." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"When the Chief Justice called me to begin my argument, I began where I " +"intended to stay: on the question of the limits on Congress's power. This " +"was a case about enumerated powers, I said, and whether those enumerated " +"powers had any limit." +msgstr "" +"NÃ¥r justisministeren ringte meg Ã¥ starte mitt argument, jeg begynte hvor jeg " +"skal bo: pÃ¥ spÃ¸rsmÃ¥let om begrensninger pÃ¥ Kongressens makt. Dette var en " +"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen " +"grense." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Justice O'Connor stopped me within one minute of my opening. The history " +"was bothering her." +msgstr "" +"Dommer O'Connor stoppet meg fÃ¸r det jeg var kommet et minutt inn i " +"Ã¥pningsforedraget mitt. Historien plaget henne." + +#. type: Content of: <book><part><chapter><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 "" +"Dommer O'Connor: Kongressen har utvidet vernetiden sÃ¥ mange ganger etter " +"hvert. Hvis du har rett, risikerer vi ikke Ã¥ forstyrre tidligere utvidelser " +"av vernetiden? Jeg mener, dette virker Ã¥ vÃ¦re en praksis som startet med " +"den aller fÃ¸rste lovendringen?" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"She was quite willing to concede <quote>that this flies directly in the face " +"of what the framers had in mind.</quote> But my response again and again was " +"to emphasize limits on Congress's power." +msgstr "" +"Hun var ganske villig til Ã¥ innrÃ¸mme \"at dette flyr direkte i mÃ¸te med hva " +"underskrev hadde i tankene.\", men mitt svar var igjen og igjen Ã¥ " +"understreke begrensninger pÃ¥ Kongressens makt." + +#. PAGE BREAK 246 +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"mr. lessig: Well, if it flies in the face of what the framers had in mind, " +"then the question is, is there a way of interpreting their words that gives " +"effect to what they had in mind, and the answer is yes." +msgstr "" +"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, " +"sÃ¥ spÃ¸rsmÃ¥let er, er det en mÃ¥te Ã¥ tolke sine ord som gir kraft til hva de " +"hadde i tankene, og svaret er Ja." + +#. type: Content of: <book><part><chapter><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 poenger i dette argumentet der jeg burde ha sett hvor retten var " +"pÃ¥ vei. Det fÃ¸rste var et spÃ¸rsmÃ¥l fra dommer Kennedy, som observerte," + +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"justice kennedy: Well, I suppose implicit in the argument that the '76 act, " +"too, should have been declared void, and that we might leave it alone " +"because of the disruption, is that for all these years the act has impeded " +"progress in science and the useful arts. I just don't see any empirical " +"evidence for that." +msgstr "" +"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, " +"ogsÃ¥, bÃ¸r har blitt gjort ugyldige, og at vi kan la det vÃ¦re pÃ¥ grunn av " +"avbrudd, er som for alle disse Ã¥rene loven har hindret fremgang i vitenskap " +"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Here follows my clear mistake. Like a professor correcting a student, I " +"answered," +msgstr "" +"Her fÃ¸lger min Ã¥penbare feil. Som en professor som korrigerer en student, " +"svarte jeg," + +#. type: Content of: <book><part><chapter><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: Dommer, det er ikke en empirisk pÃ¥stand i det hele tatt. " +"Ingenting i pÃ¥standen om vÃ¥r opphavsrettsbestemmelse baserer seg pÃ¥ den " +"empiriske antagelsen om Ã¥ hindre fremgang. VÃ¥rt eneste argument er at dette " +"er en strukturell begrensning som er nÃ¸dvendig for Ã¥ sikre at det som ellers " +"ville vÃ¦re en evigvarende vernetid ikke blir tillatt i opphavsrettsloven." + +#. type: Content of: <book><part><chapter><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 et riktig svar, men det var ikke det riktige svaret. Det riktige " +"svaret var i stedet at det var Ã¥penbar og dyptgripende skade. En rekke " +"orienteringer hadde blitt skrevet om den. Han Ã¸nsket Ã¥ hÃ¸re det. Og det " +"var her rÃ¥det fra Don Ayer burde ha hatt betydning. Dette var en lett " +"pasning, og mitt svar bommet fullstendig." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The second came from the Chief, for whom the whole case had been crafted. " +"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, " +"and we hoped that he would see this case as its second cousin." +msgstr "" +"andre kom fra sjefen, som hele saken hadde blitt utformet. for " +"justisministeren hadde utformet lopez avgjÃ¸relse, og vi hÃ¥pet at ville han " +"se denne saken som sin andre fetter." + +#. PAGE BREAK 247 +#. type: Content of: <book><part><chapter><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 ett sekund inn i hans spÃ¸rsmÃ¥l at han overhode ikke hadde " +"sympati med oss. For ham var vi en gjeng med anarkister. Han spurte sÃ¥," + +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"chief justice: Well, but you want more than that. You want the right to copy " +"verbatim other people's books, don't you?" +msgstr "" +"Chief justice: godt, men du Ã¸nsker mer enn som. du vil ha rett til Ã¥ kopiere " +"ordrett andres bÃ¸ker, ikke du?" + +#. type: Content of: <book><part><chapter><blockquote><para> +#, mtrans, fuzzy +msgid "" +"mr. lessig: We want the right to copy verbatim works that should be in the " +"public domain and would be in the public domain but for a statute that " +"cannot be justified under ordinary First Amendment analysis or under a " +"proper reading of the limits built into the Copyright Clause." +msgstr "" +"Mr. lessig: vi vil ha rett til Ã¥ kopiere ordrett verk som bÃ¸r vÃ¦re i den " +"offentlige sfÃ¦ren, og ville vÃ¦re allemannseie, men for en vedtekter som ikke " +"kan begrunnes under vanlige fÃ¸rste endring analyse eller under en riktig " +"lesing av grensene som er innebygd i setningsdelen opphavsrett." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Olson, Theodore B." +msgstr "Olson, Theodore B." + +#. type: Content of: <book><part><chapter><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 nÃ¥r regjerningen presenterte sitt " +"Ã¥pniningsforedrag. For nÃ¥ tok retten tak i kjernen i vÃ¥re pÃ¥stander. Dommer " +"Scalia spurte regjeringsadvokat Olson," + +#. type: Content of: <book><part><chapter><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 "" +"Dommer Scalia: Du sier at den funksjonelle ekvivalenten til en ubegrenset " +"vernetid ville vÃ¦re i strid [med grunnloven], men det er jo nÃ¸yaktig det " +"argumentet som fremmes av *petitioners* her, at en begrenset vernetid som er " +"utvidbar er den funksjonelle ekvivalenten til en ubegrenset vernetid." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"When Olson was finished, it was my turn to give a closing rebuttal. Olson's " +"flailing had revived my anger. But my anger still was directed to the " +"academic, not the practical. The government was arguing as if this were the " +"first case ever to consider limits on Congress's Copyright and Patent Clause " +"power. Ever the professor and not the advocate, I closed by pointing out the " +"long history of the Court imposing limits on Congress's power in the name of " +"the Copyright and Patent Clause— 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 "" +"NÃ¥r olson var ferdig, var det min tur til Ã¥ 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 fÃ¸rste tilfellet noensinne Ã¥ vurdere begrensninger pÃ¥ congress's " +"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg " +"lukket noensinne ved Ã¥ peke pÃ¥ den lange historien av domstolen innfÃ¸re " +"begrensninger pÃ¥ Kongressens makt i navnet pÃ¥ opphavsrett og patent-" +"setningsdel—faktisk, det aller fÃ¸rste tilfellet stÃ¸tning en lov av " +"Kongressen som overskrider en bestemt, nummerert makt var basert pÃ¥ " +"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til Ã¥ flytte " +"retten til min side." + +#. PAGE BREAK 248 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>As I left</emphasis> the court that day, I knew " +"there were a hundred points I wished I could remake. There were a hundred " +"questions I wished I had answered differently. But one way of thinking about " +"this case left me optimistic." +msgstr "" +"<emphasis role='strong'>Da jeg dro</emphasis>fra retten den dagen visste jeg " +"det var hundrevis av ting jeg skulle Ã¸nske jeg hadde gjort pÃ¥ nytt. Det var " +"hundrevis av spÃ¸rsmÃ¥l jeg skulle Ã¸nske jeg hadde svart annerledes. Men en " +"mÃ¥te Ã¥ tenke pÃ¥ denne saken gjorde jeg optimistisk." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"The government had been asked over and over again, what is the limit? Over " +"and over again, it had answered there is no limit. This was precisely the " +"answer I wanted the Court to hear. For I could not imagine how the Court " +"could understand that the government believed Congress's power was unlimited " +"under the terms of the Copyright Clause, and sustain the government's " +"argument. The solicitor general had made my argument for me. No matter how " +"often I tried, I could not understand how the Court could find that " +"Congress's power under the Commerce Clause was limited, but under the " +"Copyright Clause, unlimited. In those rare moments when I let myself believe " +"that we may have prevailed, it was because I felt this Court—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 Ã¥ hÃ¸re. for jeg ikke kan forestille meg hvordan domstol " +"kunne forstÃ¥ 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 forsÃ¸kt, kunne jeg ikke forstÃ¥ hvordan domstol finner at " +"Kongressens makt under handel-setningsdel var begrenset, men under den " +"opphavsrett setningen, ubegrenset. i de sjeldne Ã¸yeblikkene nÃ¥r jeg la meg " +"tro at vi kan ha kommet, det var fordi jeg fÃ¸lte denne retten—spesielt " +"ville konservative—fÃ¸le seg begrenset av rettssikkerhet at det hadde " +"etablert andre steder." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"<emphasis role='strong'>The morning</emphasis> of January 15, 2003, I was " +"five minutes late to the office and missed the 7:00 A.M. call from the " +"Supreme Court clerk. Listening to the message, I could tell in an instant " +"that she had bad news to report.The Supreme Court had affirmed the decision " +"of the Court of Appeals. Seven justices had voted in the majority. There " +"were two dissents." +msgstr "" +"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og " +"ubesvarte anropet 7: 00 am fra HÃ¸yesterett kontorist. lytte til meldingen, " +"jeg kunne fortelle pÃ¥ et Ã¸yeblikk at hun hadde dÃ¥rlige nyheter til report." +"the hadde HÃ¸yesterett bekreftet avgjÃ¸relsen til court of appeals. syv " +"justiariusene hadde stemt i fleste. Det var to Dissensene." + +#. type: Content of: <book><part><chapter><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 fÃ¥ sekunder senere ankom domsavsigelsen via epost. Jeg tok " +"telefonrÃ¸ret av krogen, la ut en kunngjÃ¸ring pÃ¥ bloggen vÃ¥r, og satte meg sÃ¥ " +"ned for Ã¥ se hvor jeg hadde tatt feil i min argumentasjon." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money " +"in the world against <emphasis>reasoning</emphasis>. And here was the last " +"naÃ¯ve law professor, scouring the pages, looking for reasoning." +msgstr "" +"Min <emphasis>argumentasjon</emphasis>. Her var et tilfelle der alle alle " +"pengene i verden var satset mot <emphasis>argumentasjon</emphasis>. Og her " +"satt den siste naive juss-professor og trÃ¥let igjennom sidene pÃ¥ jakt etter " +"argumentasjon." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"I first scoured the opinion, looking for how the Court would distinguish the " +"principle in this case from the principle in <citetitle>Lopez</citetitle>. " +"The argument was nowhere to be found. The case was not even cited. The " +"argument that was the core argument of our case did not even appear in the " +"Court's opinion." +msgstr "" +"FÃ¸rst trÃ¥let jeg domsavsigelsen for Ã¥ finne hvordan domstolen ville skille " +"prinsippet i denne saken fra prinsippet i <citetitle>Lopez</citetitle>. Jeg " +"fant ikke argumentet noe sted. Saken var ikke en gang sitert. Argumentet " +"som var kjerneargumenet i vÃ¥r sak var ikke en gang tilstede i domstolens " +"domsavsigelse." + +#. PAGE BREAK 249 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Justice Ginsburg simply ignored the enumerated powers argument. Consistent " +"with her view that Congress's power was not limited generally, she had found " +"Congress's power not limited here." +msgstr "" +"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. " +"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, " +"hun hadde funnet Kongressens makt ikke begrenset her." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Her opinion was perfectly reasonable—for her, and for Justice Souter. " +"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to " +"expect them to write an opinion that recognized, much less explained, the " +"doctrine they had worked so hard to defeat." +msgstr "" +"Hennes mening var helt rimelig—for henne og for dommer Souter. Ingen " +"av dem tror pÃ¥ <citetitle>Lopez</citetitle>. Det ville vÃ¦re for mye Ã¥ " +"forvente at de skulle skrive en domsavsigelse som annerkjente, langt mindre " +"forklarte, den doktrinen som de hadde jobbet sÃ¥ hardt for Ã¥ bekjempe." + +#. type: Content of: <book><part><chapter><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 <emphasis>by not addressing the argument</emphasis>. There was no " +"inconsistency because they would not talk about the two together. There was " +"therefore no principle that followed from the <citetitle>Lopez</citetitle> " +"case: In that context, Congress's power would be limited, but in this " +"context it would not." +msgstr "" +"Men etter hvert som jeg innsÃ¥ hva som hadde skjedd, sÃ¥ kunne jeg ikke helt " +"tro det jeg leste. Jeg hadde sagt at det ikke var mulig for domstolen Ã¥ " +"*reconcile* begrenset myndighet for handels-bestemmelsen og ubegrenset " +"myndighet for fremgangs-bestemmelsen. Det hadde aldri slÃ¥tt meg at de kunne " +"*reconcile* de to ved Ã¥ ganske enkelt <emphasis>ikke bry seg om argumentet</" +"emphasis>. Det var ingen manglende konsistens ganske enkelt fordi de lot " +"vÃ¦re Ã¥ omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte fra " +"<citetitle>Lopez</citetitle>-saken: I den sammenhengen var kongressens " +"myndighet begrenset, men i denne sammenhengen var den ikke begrenset." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Yet by what right did they get to choose which of the framers' values they " +"would respect? By what right did they—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 "" +"ennÃ¥ ved hvilken rett de fikk til Ã¥ velge hvilke av de underskrev verdiene " +"de ville respekt? ved hvilken rett gjorde de—de stille fem—fÃ¥r Ã¥ " +"velge delen av Grunnloven de ville hÃ¥ndheve basert pÃ¥ verdiene de trodde " +"viktig? Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg " +"hadde mislyktes med Ã¥ overbevise dem om at problemet her var viktig, og jeg " +"hadde unnlot Ã¥ innse at det er systemet vi har, men mye jeg kan hater et " +"system der domstolen fÃ¥r velge konstitusjonelle verdiene som det vil " +"respektere,." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion " +"was crafted internal to the law: He argued that the tradition of " +"intellectual property law should not support this unjustified extension of " +"terms. He based his argument on a parallel analysis that had governed in the " +"context of patents (so had we). But the rest of the Court discounted the " +"parallel—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 bÃ¸r stÃ¸tter dette uberettiget forlengelse " +"av vilkÃ¥rene. han basert hans argument pÃ¥ en parallell analyse som hadde " +"styrt i sammenheng med patenter (sÃ¥ hadde vi). men resten av domstolen " +"nedsatte parallelt—uten Ã¥ forklare hvordan de samme ord i fremgang-" +"setningsdelen kan komme til Ã¥ bety helt forskjellige ting som er avhengig av " +"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens " +"kostnad gÃ¥ ubesvart." + +#. PAGE BREAK 250 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Justice Breyer's opinion, perhaps the best opinion he has ever written, was " +"external to the Constitution. He argued that the term of copyrights has " +"become so long as to be effectively unlimited. We had said that under the " +"current term, a copyright gave an author 99.8 percent of the value of a " +"perpetual term. Breyer said we were wrong, that the actual number was " +"99.9997 percent of a perpetual term. Either way, the point was clear: If the " +"Constitution said a term had to be <quote>limited,</quote> 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 sÃ¥ lenge som Ã¥ vÃ¦re 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 mÃ¥tte vÃ¦re \"begrenset\", og eksisterende " +"begrepet var sÃ¥ langt som Ã¥ vÃ¦re effektivt ubegrenset, sÃ¥ det var " +"forfatningsstridig." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"These two justices understood all the arguments we had made. But because " +"neither believed in the <citetitle>Lopez</citetitle> case, neither was " +"willing to push it as a reason to reject this extension. The case was " +"decided without anyone having addressed the argument that we had carried " +"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince." +msgstr "" +"disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " +"ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " +"grunn til Ã¥ 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><part><chapter><para> +msgid "" +"<emphasis role='strong'>Defeat brings depression</emphasis>. They say it is " +"a sign of health when depression gives way to anger. My anger came quickly, " +"but it didn't cure the depression. This anger was of two sorts." +msgstr "" +"<emphasis role='strong'>Tap gir depresjon</emphasis>. De sier det er et " +"sunnhetstegn nÃ¥r depresjon mÃ¥ vike for sinne. Mitt sinne kom raskt, men det " +"kurerte ikke depresjonen. Sinnet gikk i to retninger." + +#. type: Content of: <book><part><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "originalism" +msgstr "originalism" + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"It was first anger with the five <quote>Conservatives.</quote> It would have " +"been one thing for them to have explained why the principle of " +"<citetitle>Lopez</citetitle> didn't apply in this case. That wouldn't have " +"been a very convincing argument, I don't believe, having read it made by " +"others, and having tried to make it myself. But it at least would have been " +"an act of integrity. These justices in particular have repeatedly said that " +"the proper mode of interpreting the Constitution is <quote>originalism</" +"quote>—to first understand the framers' text, interpreted in their " +"context, in light of the structure of the Constitution. That method had " +"produced <citetitle>Lopez</citetitle> and many other <quote>originalist</" +"quote> rulings. Where was their <quote>originalism</quote> now?" +msgstr "" +"Det var fÃ¸rste sinne pÃ¥ fem \"konservative.\" det ville ha vÃ¦rt en ting for " +"dem Ã¥ har forklart hvorfor prinsippet om lopez ikke bruk i dette tilfellet. " +"ikke som ville vÃ¦rt et veldig overbevisende argument, jeg ikke tror, etter Ã¥ " +"ha lest det gjort av andre, og at de hadde prÃ¸vd Ã¥ gjÃ¸re det selv. men i " +"alle fall ville det ha vÃ¦rt en handling av integritet. disse to andre " +"justiariusene spesielt har gjentatte ganger sagt at riktig tolke Grunnloven " +"er \"originalism\"—Ã¥ fÃ¸rst forstÃ¥ 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\" " +"nÃ¥?" + +#. PAGE BREAK 251 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Here, they had joined an opinion that never once tried to explain what the " +"framers had meant by crafting the Progress Clause as they did; they joined " +"an opinion that never once tried to explain how the structure of that clause " +"would affect the interpretation of Congress's power. And they joined an " +"opinion that didn't even try to explain why this grant of power could be " +"unlimited, whereas the Commerce Clause would be limited. In short, they had " +"joined an opinion that did not apply to, and was inconsistent with, their " +"own method for interpreting the Constitution. This opinion may well have " +"yielded a result that they liked. It did not produce a reason that was " +"consistent with their own principles." +msgstr "" +"her, de hadde med seg en oppfatning at aldri en gang prÃ¸vde Ã¥ forklare hva " +"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de " +"sluttet seg en oppfatning at aldri en gang forsÃ¸kt Ã¥ forklare hvordan " +"strukturen i som ledd vil pÃ¥virke tolkningen av Kongressens makt. og de med " +"seg en mening som ikke engang forsÃ¸ke Ã¥ forklare hvorfor dette stipendet av " +"makt kan vÃ¦re ubegrenset, mens handel-setningsdel ville vÃ¦re 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 ogsÃ¥ har gitt et " +"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin " +"egen prinsipper." + +#. type: Content of: <book><part><chapter><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 mot de konservative ga raskt etter for sinnet mot meg selv. For " +"jeg hadde latt en holdning til loven som jeg likte forstyrre en holdning til " +"loven slik den er." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"Most lawyers, and most law professors, have little patience for idealism " +"about courts in general and this Supreme Court in particular. Most have a " +"much more pragmatic view. When Don Ayer said that this case would be won " +"based on whether I could convince the Justices that the framers' values were " +"important, I fought the idea, because I didn't want to believe that that is " +"how this Court decides. I insisted on arguing this case as if it were a " +"simple application of a set of principles. I had an argument that followed " +"in logic. I didn't need to waste my time showing it should also follow in " +"popularity." +msgstr "" +"de fleste jurister og de fleste lov professorer, har liten tÃ¥lmodighet for " +"idealismen om domstoler Generelt og denne HÃ¸yesterett spesielt. de fleste " +"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet " +"basert pÃ¥ om jeg kunne overbevise de to andre justiariusene at verdiene for " +"de underskrev var viktig, jeg kjempet idÃ©en, fordi jeg ikke Ã¸nsker Ã¥ tro at " +"det er hvordan denne retten bestemmer. jeg insisterte pÃ¥ kranglet denne " +"saken som om den var en enkel PÃ¥fÃ¸ring av et sett prinsipper. Jeg hadde et " +"argument som fulgte i logikken. Jeg trengte ikke Ã¥ kaste bort min tid viser " +"det bÃ¸r ogsÃ¥ fÃ¸lge i popularitet." + +#. PAGE BREAK 252 +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"As I read back over the transcript from that argument in October, I can see " +"a hundred places where the answers could have taken the conversation in " +"different directions, where the truth about the harm that this unchecked " +"power will cause could have been made clear to this Court. Justice Kennedy " +"in good faith wanted to be shown. I, idiotically, corrected his question. " +"Justice Souter in good faith wanted to be shown the First Amendment harms. " +"I, like a math teacher, reframed the question to make the logical point. I " +"had shown them how they could strike this law of Congress if they wanted to. " +"There were a hundred places where I could have helped them want to, yet my " +"stubbornness, my refusal to give in, stopped me. I have stood before " +"hundreds of audiences trying to persuade; I have used passion in that effort " +"to persuade; but I refused to stand before this audience and try to persuade " +"with the passion I had used elsewhere. It was not the basis on which a court " +"should decide the issue." +msgstr "" +"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg " +"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, " +"der sannheten om skade som denne ukontrollert makt vil forÃ¥rsake kunne vÃ¦rt " +"gjort klart til denne retten. rettferdighet kennedy i god tro ville vÃ¦re " +"vist. Jeg, idiotically, rettet opp sine spÃ¸rsmÃ¥l. rettferdighet souter i god " +"tro ville vÃ¦re vist den fÃ¸rste endringen skader. Jeg, reframed som en " +"matematikk-lÃ¦rer spÃ¸rsmÃ¥l for Ã¥ gjÃ¸re 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 Ã¥ gi i, stoppet meg. Jeg har stÃ¥tt fÃ¸r hundrevis av mÃ¥lgrupper prÃ¸ver " +"Ã¥ overtale; Jeg har brukt lidenskap i at forsÃ¸k pÃ¥ Ã¥ overtale; men jeg " +"nektet Ã¥ stÃ¥ denne mÃ¥lgruppen og prÃ¸ver Ã¥ overtale med lidenskap jeg hadde " +"brukt et annet sted. Det var ikke grunnlag som en domstol bÃ¸r avgjÃ¸re " +"problemet." + +#. type: Content of: <book><part><chapter><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 gÃ¥tt annerledes hvis jeg hadde argumentert litt forskjellig? " +"Ville det ha gÃ¥tt annerledes hvis Don Ayer hadde argumentert? Eller Charles " +"Fried? Eller Kathleen Sullivan?" + +#. type: Content of: <book><part><chapter><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 samlet seg rundt meg for Ã¥ insistere pÃ¥ at det ville det ikke. " +"Domstolen var ikke klar, insisterte mine venner. Det var et tap bestemt av " +"skjebnen. Det ville kreve mye mer for Ã¥ vise samfunnet vÃ¥rt hvorfor " +"grunnlovsforsamlingen hadde rett. Og nÃ¥r vi gjÃ¸r det, sÃ¥ vil vi vÃ¦rÃ¦ i " +"stand til Ã¥ vise det til domstolen." + +#. type: Content of: <book><part><chapter><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 "" +"Mulig det, men jeg tviler. Disse dommerne hadde ingen Ã¸konomiske " +"interesser i Ã¥ gjÃ¸re noe annet en det som var riktig. De blir ikke " +"lobbiert. De har liten interesse i for Ã¥ ikke gjÃ¸re det som er " +"riktig. Jeg klarer ikke la vÃ¦re Ã¥ tenke at om jeg hadde gitt slipp pÃ¥ " +"min pene bilde av justis uten fÃ¸lelser, sÃ¥ hadde jeg overbevist dem." + +#. type: Content of: <book><part><chapter><para> +#, mtrans, fuzzy +msgid "" +"And even if I couldn't, then that doesn't excuse what happened in January. " +"For at the start of this case, one of America's leading intellectual " +"property professors stated publicly that my bringing this case was a " +"mistake. <quote>The Court is not ready,</quote> 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 Ã¥ bringe denne saken var en feil. " +"-domstolen ikke er klar,\"sagt peter jaszi, Dette problemet bÃ¸r ikke heves " +"fÃ¸r det er." + +#. type: Content of: <book><part><chapter><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." +msgstr "" +"Etter argumentasjonen og etter avgjÃ¸relsen sa Peter til meg, og offentlig, " +"at han tok feil. Men hvis domstolen faktisk ikke kunne bli overbevist, sÃ¥ " +"er det igjen alt bevis som trengs for Ã¥ vite at her hadde Peter nok en gang " +"rett. Enten var ikke jeg klar til Ã¥ argumentere for denne saken pÃ¥ en mÃ¥te " +"som ville bidra positivt, eller sÃ¥ var de ikke klare for Ã¥ ta opp denne " +"saken pÃ¥ en mÃ¥te som ville bidra positivt. Uansett var avgjÃ¸relsen om Ã¥ " +"fremme denne saken feil—en avgjÃ¸relse jeg hadde tatt fire Ã¥r tidligere." + +#. PAGE BREAK 253 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>While the reaction</emphasis> to the Sonny Bono Act " +"itself was almost unanimously negative, the reaction to the Court's decision " +"was mixed. No one, at least in the press, tried to say that extending the " +"term of copyright was a good idea. We had won that battle over ideas. Where " +"the decision was praised, it was praised by papers that had been skeptical " +"of the Court's activism in other cases. Deference was a good thing, even if " +"it left standing a silly law. But where the decision was attacked, it was " +"attacked because it left standing a silly and harmful law. <citetitle>The " +"New York Times</citetitle> wrote in its editorial," +msgstr "" +"<emphasis role='strong'>Mens reaksjonen</emphasis>pÃ¥ Sonny Bono-loven selv " +"var nesten enstemming negativ, sÃ¥ var reaksjonen pÃ¥ domstolens avgjÃ¸relse " +"blandet. Ikke en eneste, i hvert fall i pressen, forsÃ¸kte Ã¥ si at det var " +"en god idÃ© Ã¥ utvide vernetiden i opphavsretten. Vi hadde vunnet kampen om " +"idÃ©en. AvgjÃ¸relsen fikk stÃ¸tte fra aviser som hadde vÃ¦rt skeptisk til " +"domstolens aktivisme i andre saker. Ã holde hendene unna var en god ting, " +"selv om den lot en dum lov bli stÃ¥ende. Men der avgjÃ¸relsen ble angrepet sÃ¥ " +"ble den angrepet pÃ¥ grunn av at den lot en dum og skadelig bli stÃ¥ende. " +"<citetitle>The New York Times</citetitle> skrev i sin leder," + +#. type: Content of: <book><part><chapter><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 "" +"Effekten er at beslutningen i HÃ¸yesterett gjÃ¸r det sannsynlig at vi ser " +"starten pÃ¥ slutten til allemannseie, og fÃ¸dselen til evig opphavsrett. " +"Allemannseie har vÃ¦rt et storslÃ¥tt eksperiment, som ikke bÃ¸r fÃ¥ lov til Ã¥ " +"dÃ¸. Evnen til Ã¥ trekke uten begresning pÃ¥ hele den kreative produksjonen " +"til menneskeheten er en av grunnene til at vi lever i en tid med sÃ¥ " +"fruktbart kreativt vekstmiljÃ¸." + +#. type: Content of: <book><part><chapter><figure><indexterm><primary> +msgid "Bolling, Ruben" +msgstr "Bolling, Ruben" + +#. type: Content of: <book><part><chapter><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 (<xref linkend=" +"\"fig-18\"/>). The <quote>powerful and wealthy</quote> line is a bit unfair. " +"But the punch in the face felt exactly like that. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"De beste responsene dukket opp i tegneseriene. Det var en haug veldig " +"morsome tegninger—av Mikke i fengsel og dets like. Det beste fra mitt " +"stÃ¥sted i saken, var fra Ruben Bolling, og er gjengitt pÃ¥ den neste siden " +"(<xref linkend=\"fig-18\"/>). Tekstlinjen om <quote>mektig og rik</quote> " +"er litt urettferdig. Men slaget i ansiktet fÃ¸ltes akkurat slik ut." +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><figure><title> +msgid "Tom the Dancing Bug cartoon" +msgstr "Tom the Dancing Bug-tegneserie" + +#. type: Content of: <book><part><chapter><figure> +msgid "" +"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" +"\" id=\"0\"/>" +msgstr "" +"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm" +"\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"The image that will always stick in my head is that evoked by the quote from " +"<citetitle>The New York Times</citetitle>. That <quote>grand experiment</" +"quote> we call the <quote>public domain</quote> is over? When I can make " +"light of it, I think, <quote>Honey, I shrunk the Constitution.</quote> But I " +"can rarely make light of it. We had in our Constitution a commitment to free " +"culture. In the case that I fathered, the Supreme Court effectively " +"renounced that commitment. A better lawyer would have made them see " +"differently." +msgstr "" +"Bildet som for alltid stÃ¥r inne i hodet mitt er det som ble utlÃ¸st av et " +"sitat fra <citetitle>New York Times</citetitle>. At <quote>det store " +"eksperimentet</quote> vi kaller <quote>allemannseie</quote> er over? NÃ¥r " +"jeg kan ta lett pÃ¥ det, sÃ¥ tenker jeg <quote>KjÃ¦re, jeg krympet grunnloven</" +"quote>. Men jeg klarer sjelden Ã¥ ta lett pÃ¥ det. Vi hadde i grunnloven vÃ¥r " +"en forpliktelse til Ã¥ frigjÃ¸re kultur. I den saken som jeg hadde ansvar " +"for, ga hÃ¸yesterett effektivt avkall pÃ¥ den forpliktelsen. En bedre advokat " +"ville fÃ¥tt dem til Ã¥ annerledes pÃ¥ det." + +#. type: Content of: <book><part><chapter><title> +msgid "CHAPTER FOURTEEN: Eldred II" +msgstr "Kapittel fjorten: Eldred II" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>The day</emphasis> <citetitle>Eldred</citetitle> was " +"decided, fate would have it that I was to travel to Washington, D.C. (The " +"day the rehearing petition in <citetitle>Eldred</citetitle> was denied—" +"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 "" +"<emphasis role='strong'>Dagen</emphasis> <citetitle>Eldred</citetitle> ble " +"avgjort, ville skjebnen det at jeg skulle reise til Washington, D.C. (Dagen " +"da en forespÃ¸rsel ny hÃ¸ring for <citetitle>Eldred</citetitle> ble " +"avslÃ¥tt—som betÃ¸d at saken endelig var avsluttet—skjebnen gjorde " +"at jeg holdt en tale til teknologer ved Disney World.) Dette var en " +"spesielt lang flytur til byen jeg setter minst pris pÃ¥. KjÃ¸returen inn til " +"byen fra Dulles flyplass var forsinket pÃ¥ grunn av trafikken, sa jeg Ã¥pnet " +"opp datamaskinen og skrev en kronikk." + +#. type: Content of: <book><part><chapter><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: " +"<quote>For all these years the act has impeded progress in science and the " +"useful arts. I just don't see any empirical evidence for that.</quote> And " +"so, having failed in the argument of constitutional principle, finally, I " +"turned to an argument of politics." +msgstr "" +"Det var en botsÃ¸velse. Gjennom hele flyturen fra San Francisco til " +"Washington hadde jeg i mitt indre Ã¸re hÃ¸rt om og om igjen det samme rÃ¥det " +"fra Don Ayer: Du mÃ¥ fÃ¥ dem til Ã¥ forstÃ¥ hvorfor det er viktig. Og innimellom " +"dette rÃ¥det var spÃ¸rsmÃ¥let fra dommer Kennedy: <quote>I alle disse Ã¥rene som " +"loven har hemmet fremgang i vitenskap og nyttige kunstarter, sÃ¥ ser jeg " +"intet empirisk bevis for dette.</quote> Og dermed, etter Ã¥ ha feilet i Ã¥ " +"argumentere med konstituelle prinsipper, forsÃ¸kte jeg til slutt meg med Ã¥ " +"argumentere politisk." + +#. PAGE BREAK 256 +#. type: Content of: <book><part><chapter><para> +msgid "" +"<citetitle>The New York Times</citetitle> published the piece. In it, I " +"proposed a simple fix: Fifty years after a work has been published, the " +"copyright owner would be required to register the work and pay a small fee. " +"If he paid the fee, he got the benefit of the full term of copyright. If he " +"did not, the work passed into the public domain." +msgstr "" +"<citetitle>New York Times</citetitle> publiserte stykket. I det foreslo jeg " +"en enkel fiks: Femti Ã¥r etter at et verk har blitt publisert, bÃ¸r " +"opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ registrere verket og betale en liten " +"avgift. Hvis han betalte avgiften fikk han fordelene av hele vernetiden for " +"opphavstiden. Hvis han ikke gjorde det, falt verket i det fri." + +#. type: Content of: <book><part><chapter><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 dette Eldred-loven, men det var kun for Ã¥ gi det et navn. Eric " +"Eldred var snill nok til Ã¥ la sitt navn brukes nok en gang, men han sa tidig " +"at den ikke ville bli vedtatt med mindre den fikk et annet navn." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"Or another two names. For depending upon your perspective, this is either " +"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright " +"Term Deregulation Act.</quote> Either way, the essence of the idea is clear " +"and obvious: Remove copyright where it is doing nothing except blocking " +"access and the spread of knowledge. Leave it for as long as Congress allows " +"for those works where its worth is at least $1. But for everything else, let " +"the content go." +msgstr "" +"Eller to andre navn. For avhengig av synsvinkel, sÃ¥ er dette enten " +"<quote>Forbedring av allemannseie-loven</quote> eller <quote>Avregulering av " +"opphavsrettsvernetids-loven</quote>. Uansett er essensen i idÃ©en klar og " +"tydelig: Fjern opphavsretten der den ikke gjÃ¸r noe annet enn Ã¥ blokkere for " +"tilgang og spredning av kunnskap. La den eksistere sÃ¥ lenge som kongressen " +"tillater det for de verk der verdien er minst en dollar. For alt annet, " +"slipp innholdet fri." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Forbes, Steve" +msgstr "Forbes, Steve" + +#. type: Content of: <book><part><chapter><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 "" +"Reaksjonen pÃ¥ denne idÃ©en var utrolig sterk. Steve Forbes gikk god for den " +"i en leder, og jeg mottok et skred av epost og brev med stÃ¸tte. NÃ¥r du " +"fokuserer temaet pÃ¥ tapt kreativitet, sÃ¥ ser folk at opphavsrettssystemet " +"ikke gir mening. En god republikaner kunne si at her kommer ganske enkelt " +"myndigentsregulering i veien for nyskapning og kreativitet. Og en god " +"demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang og " +"spredning av kunnskap. Det er faktisk ingen reell forskjell mellom " +"demokrater og republikanere rundt dette temaet. Enhver kan gjenkjenne de " +"idiotiske skadene som dagens ordning gir." + +#. type: Content of: <book><part><chapter><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 ser mange de Ã¥penbare fordelene med registreringskravet. For en av " +"de vanskeligste tingene med dagens system for folk som Ã¸nsker Ã¥ lisensiere " +"innhold er at det ikke er noen Ã¥penbar plass Ã¥ se etter gjeldende " +"opphavsrettseiere. Siden registrering ikke er pÃ¥krevd, sÃ¥ er det ofte " +"blokkerende vanskelig Ã¥ spore opp opphavsrettseiere for Ã¥ spÃ¸rre om " +"tillatelse til Ã¥ bruke eller lisensiere deres verk. Dette systemet ville " +"redusere disse kostnadene ved Ã¥ etablere i hvert fall et register hvor " +"opphavsrettseierene kan identifiseres." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Berlin Act (1908)" +msgstr "Berlinvedtaket (1908)" + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Berne Convention (1908)" +msgstr "Bern-konvensjonen (1908)" + +#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> +msgid "German copyright law" +msgstr "Tysk Ã¥ndsverkslov" + +#. type: Content of: <book><part><chapter><para><footnote><para> +#, mtrans, fuzzy +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> Until the 1908 Berlin Act of the " +"Berne Convention, national copyright legislation sometimes made protection " +"depend upon compliance with formalities such as registration, deposit, and " +"affixation of notice of the author's claim of copyright. However, starting " +"with the 1908 act, every text of the Convention has provided that <quote>the " +"enjoyment and the exercise</quote> of rights guaranteed by the Convention " +"<quote>shall not be subject to any formality.</quote> The prohibition " +"against formalities is presently embodied in Article 5(2) of the Paris Text " +"of the Berne Convention. Many countries continue to impose some form of " +"deposit or registration requirement, albeit not as a condition of copyright. " +"French law, for example, requires the deposit of copies of works in national " +"repositories, principally the National Museum. Copies of books published in " +"the United Kingdom must be deposited in the British Library. The German " +"Copyright Act provides for a Registrar of Authors where the author's true " +"name can be filed in the case of anonymous or pseudonymous works. Paul " +"Goldstein, <citetitle>International Intellectual Property Law, Cases and " +"Materials</citetitle> (New York: Foundation Press, 2001), 153–54." +msgstr "" +"fÃ¸r 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 \"fÃ¥ glede og Ã¸velsen\" av rettigheter garanteres ved " +"konvensjonen \"skal ikke vÃ¦re gjenstand for alle formalitet.\" forbud mot " +"formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten i berne " +"konvensjonen. mange land fortsatt Ã¥ innfÃ¸re noen form for innskudd eller " +"registrering kravet, om enn ikke som en betingelse for opphavsrett. Fransk " +"lov, krever for eksempel innskudd pÃ¥ kopier av works i nasjonale, for, " +"hovedsakelig nasjonalmuseet. Kopier av bÃ¸ker som er utgitt i Storbritannia " +"mÃ¥ settes i british library. tysk opphavsrett lov gir en registrar av " +"forfattere der forfatterens sanne navn kan vÃ¦re arkivert i tilfelle av " +"anonym eller pseudonymous fungerer. Paul goldstein, lovgivning for " +"immaterielle, saker og materialer (new york: foundation press, 2001), 153Â54." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, formalities in copyright law were removed in 1976, when " +"Congress followed the Europeans by abandoning any formal requirement before " +"a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The " +"Europeans are said to view copyright as a <quote>natural right.</quote> " +"Natural rights don't need forms to exist. Traditions, like the Anglo-" +"American tradition that required copyright owners to follow form if their " +"rights were to be protected, did not, the Europeans thought, properly " +"respect the dignity of the author. My right as a creator turns on my " +"creativity, not upon the special favor of the government." +msgstr "" +"Som jeg beskrev i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/> ble formaliteter fjernet fra opphavsrettsloven i 1976, da " +"kongressen fulgte etter europeerne i Ã¥ avskaffe alle formelle krav fÃ¸r " +"opphavsretten ble innvilget.<placeholder type=\"footnote\" id=\"0\"/> " +"Europeerne sies Ã¥ anse opphavsrett som en <quote>naturlig rettighet</" +"quote>. Naturlige rettigheter trenger ingen formaliterer for Ã¥ eksistere. " +"Tradisjoner lik den anglo-amerikanske som har krevd at opphavsrettseiere mÃ¥ " +"fÃ¸lge visse formaliteter hvis deres rettigheter skal bli beskyttet, mente " +"europeerne at ikke respekterte forfatterens verdighet skikkelig. Mine " +"skaper-rettigheter stammer fra min kreativitet, ikke noe som deles ut av " +"myndighetene." + +#. type: Content of: <book><part><chapter><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 <quote>Walt " +"Disney creativity</quote> is destroyed when there is no simple way to know " +"what's protected and what's not." +msgstr "" +"Det er flott retorikk, og det hÃ¸res vidunderlig romatisk ut. Men det er " +"absurd opphavsrettspolitikk. Det er absurd spesielt for forfattere, fordi " +"en verden uten formaliterer skader den som skaper. Muligheten til Ã¥ spre " +"<quote>Walt Disney-kreativtet</quote> er fjernet nÃ¥r det ikke er noen enkel " +"mÃ¥te Ã¥ vite hva som er beskyttet og hva som ikke er det." + +#. type: Content of: <book><part><chapter><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 " +"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the " +"loss of widows' only income." +msgstr "" +"Kampen mot formaliteter oppnÃ¥dde sin fÃ¸rste virkelige seier i Berlig i " +"1908. Internasjonale opphavsrettsadvokater fikk pÃ¥ plass et tillegg i Bern-" +"konvensjonen i 1909 som krevde opphavsrettslig verneperiode som rakk hele " +"livet pluss femti Ã¥r, i tillegg til Ã¥ avskaffe opphavsrettsformaliteter. " +"Formalitetene var hatet pÃ¥ grunn av historiene om utilsiktet tap ble mer og " +"mer vanlige. Det var som om en karakter fra Charles Dickets drev alle " +"opphavsrettskontorene, og Ã¥ glemme Ã¥ sette prikken over en <citetitle>i</" +"citetitle> eller glemme Ã¥ streke igjennom en <citetitle>t</citetitle> fÃ¸rte " +"til at en enke mistet sin eneste inntekt." + +#. type: Content of: <book><part><chapter><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 klagene var reelle og fornuftige. Og hvor strengt formalitetene ble " +"hÃ¥ndhevd, spesielt i USA, var absurd. Loven bÃ¸r alltid ha mÃ¥ter Ã¥ tilgi " +"uskyldige feil. Det er ingen grunn til at ikke ogsÃ¥ Ã¥ndsverksloven skulle " +"kunne det. I stedet for Ã¥ droppen formaliteter helt, sÃ¥ burde responsen i " +"Berlin vÃ¦rt Ã¥ omfavne et mer rettverdig registreringssystem." + +#. type: Content of: <book><part><chapter><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 det ville dog fÃ¥tt motstand, pÃ¥ grunn av at registrering fortsatt var " +"kostbart i det nittende og tjuende Ã¥rhundret. Det var ogsÃ¥ en plage. " +"Avviklingen av formaliteter ga ikke bare lovnad om Ã¥ redde sultende enker, " +"men ogsÃ¥ Ã¥ redusere en unÃ¸dvendig regulatorisk belastning som var pÃ¥tvunget " +"skapere." + +#. PAGE BREAK 258 +#. type: Content of: <book><part><chapter><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 <quote>naturally,</quote> and he can assert " +"that right against anyone who would steal the table, whether or not he has " +"informed the government of his ownership of the table." +msgstr "" +"I tillegg til de praktiske klagene fra forfatterne i 1908, sÃ¥ var det ogsÃ¥ " +"moralske innsigelser. Det var ingen grunn til at kreative " +"eiendomsrettigheter skulle vÃ¦re en annenrangs type eiendom. Hvis en snekker " +"lager et bord, sÃ¥ er ikke hans rettigheter over dette bordet avhengig av av " +"han sender inn et skjema til myndighetene. Han har en <quote>naturgitt</" +"quote> eiendomsrett til bordet og kan hevde denne retten mot enhver som " +"forsÃ¸ker Ã¥ stjele bordet, uansett om han har informert myndighetene om sitt " +"eierskap til bordet." + +#. type: Content of: <book><part><chapter><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 dets implikasjoner er misvisende. For " +"argumenter i favÃ¸r av formaliteter er ikke avhengig av at kreative eiendom " +"er annerangs eiendom. Argumentet i favÃ¸r av formaliteter kretser rundt de " +"spesielle problemene som kreativ eiendom gir oss. Loven om formaliteter er " +"et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for a " +"sikre at den kan spres effektivt og rettferdig." + +#. type: Content of: <book><part><chapter><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 "" +"For eksempel er det ingen som mener at landomrÃ¥der er annenklasses eiendom " +"kun fordi du mÃ¥ tinglyse et skjÃ¸te hvis ditt salg av land skal ta effekt. " +"Og fÃ¥ mener at en bil er annenklasses eiendom bare pÃ¥ grunn av at du mÃ¥ " +"registrere bilen hos biltilsynet og merke den med et bilskilt. I begge " +"disse tilfellene ser alle at det er viktige grunner til Ã¥ kreve " +"registrering—bÃ¥de pÃ¥ grunn av at det gjÃ¸r markedet mer effektivt, og " +"pÃ¥ grunn av at det bedre sikrer rettighetene til eieren. Uten et " +"registreringssystem for landomrÃ¥der mÃ¥tte landeiere hele tiden vokte sin " +"eiendom. Met registrering kan de ganske enkelt vise politiet et skjÃ¸te. " +"Uten et registreringssystem for biler ville biltyveri vÃ¦re mye enklere. Med " +"et registreringssystem blir det mye vanskeligere for tyven Ã¥ fÃ¥ solgt den " +"stjÃ¥lne bilen. En liten byrde blir lagt pÃ¥ eiendomseieren, men disse " +"byrdene gir et generelt settq mye bedre system for Ã¥ beskytte eiendom." + +#. type: Content of: <book><part><chapter><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, <emphasis>lawyer</emphasis> transactions " +"take their place. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Det er lignende spesielle fysiske egenskaper som gjÃ¸r formaliteter viktig i " +"opphavsrettslovgiving. I motsetning til en snekkers bord, er det ingenting " +"i naturen som gjÃ¸r det relativt Ã¥penbart hvem som kan eie en bestemt bit av " +"kreativ eiendom. Et opptak av Lyle Lovetts siste album kan eksistere en " +"milliard steder uten at noe nÃ¸dvendigvis peker tilbake til en bestemt eier. " +"Og pÃ¥ samme mÃ¥te som en bil, er det ingen mÃ¥te Ã¥ vÃ¦re trygg ved kjÃ¸p og salg " +"av kreativ eiendom med mindre det finnes en enkel mÃ¥te Ã¥ bekrefte hvem som " +"er forfatteren og hvilke rettigheter han har. Enkle transaksjoner blir " +"umulige i en verden uten formaliteter. Kompliserte, dyre, " +"<emphasis>advokat</emphasis>-transaksjoner trer inn i stedet. <placeholder " +"type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><part><chapter><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 <quote>get.</" +"quote> Because we live in a system without formalities, there is no way " +"easily to build upon or use culture from our past. If copyright terms were, " +"as Justice Story said they would be, <quote>short,</quote> then this " +"wouldn't matter much. For fourteen years, under the framers' system, a work " +"would be presumptively controlled. After fourteen years, it would be " +"presumptively uncontrolled." +msgstr "" +"Dette var forstÃ¥elsen av problemet med Sonny Bono-loven som vi forsÃ¸kte Ã¥ " +"demonstrere for retten. Dette var den delen som den ikke <quote>tok</" +"quote>. Fordi vi lever i et system uten formaliteter, sÃ¥ er det ikke noen " +"enkel mÃ¥te Ã¥ bygge pÃ¥ eller bruke kulturen fra vÃ¥r fortid. Hvis vernetiden " +"i opphavsretten var, slik dommer Story sa den ville vÃ¦re, <quote>kort</" +"quote>, da ville ikke dette bety stort. I fjorten Ã¥r, i fÃ¸lge systemet til " +"de som skrev grunnloven, ville et verk kunne antas Ã¥ vÃ¦re kontrollert. " +"Etter fjorten Ã¥r kunne en anta at det ikke var kontrollert." + +#. type: Content of: <book><part><chapter><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 <emphasis>because there are no " +"formalities</emphasis>." +msgstr "" +"Men nÃ¥ nÃ¥r opphavsretten kan vare omtrent et Ã¥rhundre, sÃ¥ er den manglende " +"evnen til Ã¥ vite hva som er beskyttet og hva som ikke er beskyttet blitt en " +"stor og Ã¥penbar byrde pÃ¥ den kreative prosessen. Hvis den eneste mÃ¥ten et " +"bibliotek kan legge frem en internet-utstilling om New Deal er ved Ã¥ hyre " +"inn en advokat til Ã¥ klarere rettighetene til hvert eneste bilde og hver " +"eneste lydinnspilling, sÃ¥ belaster opphavsrettssystemet kreativiteten pÃ¥ en " +"mÃ¥te som aldri fÃ¸r er observert, <emphasis>fordi det ikke er noen " +"formaliteter</emphasis>." + +#. type: Content of: <book><part><chapter><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-loven var utformet for Ã¥ svare pÃ¥ akkurat dette problemet. Hvis det " +"er verdt en dollar for deg, sÃ¥ registrer verket ditt og du kan fÃ¥ lengre " +"vernetid. Andre vil vite hvordan de skal kontakte deg og dermed hvordan de " +"kan fÃ¥ din tillatelse hvis de Ã¸nsker Ã¥ bruke ditt verk. Og du vil fÃ¥ " +"fordelen av en utvidet opphavsrettslig vernetid." + +#. type: Content of: <book><part><chapter><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 Ã¥ registrere verket for Ã¥ fÃ¥ fordelene av " +"en utvidet vernetid, sÃ¥ bÃ¸r det heller ikke vÃ¦re verdt det for myndighetene " +"Ã¥ forsvare ditt monopol over det samme verket. Verket bÃ¸r falle i det fri " +"hvor enhver kan kopiere det, eller lage arkiver med det, eller lage en film " +"basert pÃ¥ det. Det bÃ¸r bli fritt tilgjengelig hvis det ikke er verdt en " +"dollar for deg." + +#. type: Content of: <book><part><chapter><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 bekymrer seg over byrden pÃ¥ forfattere. GjÃ¸r ikke byrden med Ã¥ " +"registrere verket at belÃ¸pet $1 egentlig er misvisende? Er ikke " +"ekstraarbeidet verdt mer enn $1? Er ikke dette det virkelige problemet med " +"registrering?" + +#. PAGE BREAK 260 +#. type: Content of: <book><part><chapter><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 <emphasis>governments</emphasis> standing at the core of " +"any system of formalities. In this book, I offer such a solution. That " +"solution essentially remakes the Copyright Office. For now, assume it was " +"Amazon that ran the registration system. Assume it was one-click " +"registration. The Eldred Act would propose a simple, one-click registration " +"fifty years after a work was published. Based upon historical data, that " +"system would move up to 98 percent of commercial work, commercial work that " +"no longer had a commercial life, into the public domain within fifty years. " +"What do you think?" +msgstr "" +"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nÃ¥ er " +"grufult. Jeg er helt enig i at opphavsrettskontoret har gjort en " +"forferdelig jobb (uten tvil pÃ¥ grunn av at de har forferdelig dÃ¥rlig " +"finansiering) i Ã¥ gjÃ¸re registrering enkelt og billig. En skikkelig lÃ¸sning " +"pÃ¥ problemet med formaliteter mÃ¥ adressere det egentlige problemet med " +"<emphasis>myndigheter</emphasis> som befinner seg i kjernen av ethvert " +"system med formaliteter. I denne boken legger jeg frem en slik lÃ¸sning. " +"LÃ¸sningen gjÃ¸r i essensen om pÃ¥ opphavsrettskontoret. Forestill deg at " +"registrering kun krever ett klikk. Eldred-loven foreslo en enkel, ett-" +"klikks registrering, femti Ã¥r etter at et verk var publisert. Basert pÃ¥ " +"historiske data ville dette systemet fÃ¥ opp mot 98 prosent av kommersielle " +"verk, kommersielle verk som ikke lenger har et kommersielt liv, til Ã¥ falle " +"i det fri etter femti Ã¥r. Hva tror du?" + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>When Steve Forbes</emphasis> endorsed the idea, some " +"in Washington began to pay attention. Many people contacted me pointing to " +"representatives who might be willing to introduce the Eldred Act. And I had " +"a few who directly suggested that they might be willing to take the first " +"step." +msgstr "" +"<emphasis role='strong'>Da Steve Forbes</emphasis> stÃ¸ttet idÃ©en, begynte " +"enkelte i Washington Ã¥ fÃ¸lge med. Mange kontaktet meg med tips til " +"representanter som kan vÃ¦re villig til Ã¥ introdusere en Eldred-lov. og jeg " +"hadde noen fÃ¥ som foreslo direkte at de kan vÃ¦re villige til Ã¥ ta det fÃ¸rste " +"skrittet." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Lofgren, Zoe" +msgstr "Lofgren, Zoe" + +#. type: Content of: <book><part><chapter><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, <quote>we are close.</quote> There was a general " +"reaction in the blog community that something good might happen here." +msgstr "" +"En representant, Zoe Lofgren fra California, gikk sÃ¥ langt som Ã¥ fÃ¥ " +"lovforslaget utarbeidet. Utkastet lÃ¸ste noen problemer med internasjonal " +"lov. Det pÃ¥la de enklest mulige forutsetninger pÃ¥ innehaverne av " +"opphavsretter. I mai 2003 sÃ¥ det ut som om loven skulle vÃ¦re introdusert. " +"16. mai, postet jeg pÃ¥ Eldred Act-bloggen, <quote>vi er nÃ¦re</quote>. Det " +"oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje her." + +#. type: Content of: <book><part><chapter><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 pÃ¥ dette stadiet begynte lobbyister Ã¥ bryte inn. Jack Valento og MPAAs " +"sjefsjurist kom til kongressrepresentantens kontor for Ã¥ gi MPAAS syn pÃ¥ " +"saken. Veiledet av sin advokat, fortalte Valenti meg, informerte Valenti " +"kongressrepresentanten om at MPAA ville motsette seg Eldred-loven. Arsakene " +"var pinlig tynne. Enda viktigere er det at deres spinkelhet viser noe klart " +"om hva denne debatten egentlig handler om." + +#. PAGE BREAK 261 +#. type: Content of: <book><part><chapter><para> +msgid "" +"The MPAA argued first that Congress had <quote>firmly rejected the central " +"concept in the proposed bill</quote>—that copyrights be renewed. That " +"was true, but irrelevant, as Congress's <quote>firm rejection</quote> had " +"occurred long before the Internet made subsequent uses much more likely. " +"Second, they argued that the proposal would harm poor copyright owners—" +"apparently those who could not afford the $1 fee. Third, they argued that " +"Congress had determined that extending a copyright term would encourage " +"restoration work. Maybe in the case of the small percentage of work covered " +"by copyright law that is still commercially valuable, but again this was " +"irrelevant, as the proposal would not cut off the extended term unless the " +"$1 fee was not paid. Fourth, the MPAA argued that the bill would impose " +"<quote>enormous</quote> costs, since a registration system is not free. True " +"enough, but those costs are certainly less than the costs of clearing the " +"rights for a copyright whose owner is not known. Fifth, they worried about " +"the risks if the copyright to a story underlying a film were to pass into " +"the public domain. But what risk is that? If it is in the public domain, " +"then the film is a valid derivative use." +msgstr "" +"MPAAs fÃ¸rste argument var at kongressen <quote>bestemt hadde avvist det " +"sentrale konseptet i lovforslaget</quote>—at opphavsretter skal " +"fornyes. Det er riktig, men irrelevant, etter som kongressen " +"<quote>bestemte hadde avvist</quote> dette lenge fÃ¸r Internettet gjorde " +"pÃ¥fÃ¸lgende bruk mye mer sannsynlig. Det andre argumentet var at at " +"forslaget ville skade fattige opphavsrettseiere—tilsynelatende de som " +"ikke har rÃ¥d til en avgift pÃ¥ en dollar. Det tredje argumentet var at " +"kongressen hadde konkludert med at Ã¥ utvide vernetiden i opphavsretten ville " +"oppmuntre til Ã¥ restaurere verk. Det kan stemme for den lille " +"prosentandelen verk vernet av Ã¥ndsverksloven og som fortsatt er kommersielt " +"verdifulle. Men dette er ogsÃ¥ irrelevant, etter som forslaget ikke ville " +"fjerne den utvidede vernetiden med mindre avgiften pÃ¥ en dollar ikke ble " +"betalt. Det fjerde argumenet fra MPAA var at forslaget ville pÃ¥fÃ¸re " +"<quote>enorme</quote> kostnader, etter som et registrerings-system ikke er " +"gratis. Sant nok, men disse konstnadene er helt klart lavere enn kostnadene " +"med Ã¥ klarere rettigheter for en opphavsrett der eieren er ukjent. Det " +"femte argumentet var at de var bekymret over risikoen hvis opphavsretten til " +"en historie som lÃ¥ til grunn for en film skulle falle i det fri. Men hva " +"slags risiko er dette? Hvis den er falt i det fri, sÃ¥ er filmen gyldig " +"avleded bruk." + +#. type: Content of: <book><part><chapter><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 "" +"Til slutt hevdet MPAA at eksisterende lovgiving gjorde det mulig for " +"opphavsrettseierer Ã¥ gjÃ¸rÃ¦ dette hvis de Ã¸nsket det. Men hele poenget er at " +"det er tusenvis av opphavsrettseiere som ikke engang vet at de har en " +"opphavsrett Ã¥ gi bort. Hvorvidt de stÃ¥r fritt til Ã¥ gi bort opphavsretten " +"eller ikke—uansett en kontroversiell pÃ¥stand—sÃ¥ med mindre de " +"vet opp en opphavsrett sÃ¥ er det lite sannsynlig at de vil gjÃ¸re det." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"<emphasis role='strong'>At the beginning</emphasis> of this book, I told two " +"stories about the law reacting to changes in technology. In the one, common " +"sense prevailed. In the other, common sense was delayed. The difference " +"between the two stories was the power of the opposition—the power of " +"the side that fought to defend the status quo. In both cases, a new " +"technology threatened old interests. But in only one case did those " +"interest's have the power to protect themselves against this new competitive " +"threat." +msgstr "" +"<emphasis role='strong'>I begynnelsen</emphasis> av denne boken fortalte jeg " +"to historier om hvordan loven reagerte mÃ¥ endringer i teknologien. I den " +"ene vant sunn fornuft frem. I den andre ble sunn fornuft forsinket. " +"Forskjellen mellom de to historiene var hvor mektig opposisjonen var—" +"hvor mektig siden som sloss for Ã¥ forsvare status quo. I begge tilfellene " +"truet ny teknologi gamle interesser. Men i kun en av tilfellene hadde disse " +"interessene nok makt til Ã¥ beskytte seg mot denne nye konkurransemessige " +"trusselen." + +#. type: Content of: <book><part><chapter><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 mÃ¥te Ã¥ ramme inn krigen som denne " +"boken har handlet om. For her er det ogsÃ¥ en ny teknologi som tvinger loven " +"til Ã¥ reagere. Og her bÃ¸r vi ogsÃ¥ spÃ¸rre, er loven i trÃ¥d med eller i strid " +"med sunn fornuft. Hvis sunn fornuft stÃ¸tter loven, hva forklarer denne " +"sunne fornuften?" + +#. PAGE BREAK 262 +#. type: Content of: <book><part><chapter><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 "" +"NÃ¥r problemet er piratvirksomhet, sÃ¥ er det riktig at loven stÃ¸tter " +"opphavsrettseierne. Den kommersielle piratvirksomheten som jeg har " +"beskrevet er galt og skadelig, og loven bÃ¸r jobbe for Ã¥ eliminere den. NÃ¥r " +"problemet er p2p-deling, sÃ¥ er det enkelt Ã¥ forstÃ¥ hvorfor loven fortsatt " +"stÃ¸tter eierne. Mye av denne delingen er galt, selv om mye er harmlÃ¸st. NÃ¥r " +"problemet er opphavsrettsvernetiden for Mikke Mus-ene i verden, sÃ¥ er det " +"forsatt mulig Ã¥ forstÃ¥ hvorfor loven favoriserer Hollywood: De fleste " +"kjenner ikke igjen grunner til Ã¥ begrense vernetiden for opphavsretten. Det " +"er dermed forsatt mulig Ã¥ se god tro hos motstanden." + +#. type: Content of: <book><part><chapter><indexterm><primary> +msgid "Kelly, Kevin" +msgstr "Kelly, Kevin" + +#. type: Content of: <book><part><chapter><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 <quote>Dark Content</quote> that fills archives " +"around the world. So when the warriors oppose a change like this, we should " +"ask one simple question:" +msgstr "" +"Men nÃ¥r opphavsrettseiere motsetter seg et forslag som Eldred-loven, sÃ¥ er " +"det endelig et eksempel som eksponerer den nakne egeninteressen som holder " +"denne krigen i gang. Dette lovforslaget ville frigjÃ¸re en ekstraordinÃ¦r " +"rekke av innhold som ellers ville forbli ubrukt. Det ville ikke forstyrre " +"noen opphavsrettseiers trang til Ã¥ utÃ¸ve fortsatt kontroll over sitt " +"innhold. Det ville ganske enkelt frigjÃ¸re det som Kevin Kelly kaller det " +"<quote>mÃ¸rke innhold</quote> som fyller arkivene rundt om i verden. SÃ¥ nÃ¥r " +"krigerne motsetter seg en slik endring, sÃ¥ bÃ¸r vi stille et enkelt spÃ¸rsmÃ¥l:" + +#. type: Content of: <book><part><chapter><para> +msgid "What does this industry really want?" +msgstr "Hva Ã¸nsker denne industrien egentlig?" + +#. type: Content of: <book><part><chapter><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 " +"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an " +"effort to assure that nothing more passes into the public domain. It is " +"another step to assure that the public domain will never compete, that there " +"will be no use of content that is not commercially controlled, and that " +"there will be no commercial use of content that doesn't require " +"<emphasis>their</emphasis> permission first." +msgstr "" +"Med svÃ¦rt liten innsats kunne krigerne beskytte sitt innhold. SÃ¥ innsatsen " +"for Ã¥ blokkere noe ala Eldred-loven er ikke egentlig om Ã¥ beskytte " +"<emphasis>deres</emphasis> innhold. Innsatsen for Ã¥ blokkere Eldred-loven " +"er en innsats for Ã¥ sikre at ingenting mer faller i det fri. Det er et nytt " +"steg for Ã¥ sikre at allemannseiet aldri vil konkurrere, at det ikke vil vÃ¦re " +"noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke vil " +"vÃ¦re noe kommersiell bruk av innhold som ikke fÃ¸rst krever <emphasis>deres</" +"emphasis> tillatelse." + +#. type: Content of: <book><part><chapter><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 <quote>property</quote> but the rejection of a tradition. " +"Their aim is not simply to protect what is theirs. <emphasis>Their aim is to " +"assure that all there is is what is theirs</emphasis>." +msgstr "" +"Motstanden mot Eldred-loven avslÃ¸rer hvor ekstrem den andre siden er. Den " +"mektigste, sexy og hÃ¸yt elskede av lobbyorganisasjoner har som mÃ¥l ikke Ã¥ " +"beskytte <quote>eiendom</quote> men Ã¥ bli kvitt en tradisjon. Deres mÃ¥l er " +"ikke bare Ã¥ beskytte det som er deres. <emphasis>Deres mÃ¥l er Ã¥ sikre at " +"alt som finnes er det som er deres.</emphasis>" + +#. PAGE BREAK 263 +#. type: Content of: <book><part><chapter><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 Ã¥ forstÃ¥ hvorfor krigerne har dette synet. Det er " +"ikke vanskelig Ã¥ se hvordan det vil gi dem fordeler hvis konkurransen fra " +"allemannseiet knyttet til Internettet pÃ¥ en eller mannen mÃ¥te kunne knuses. " +"PÃ¥ samme mÃ¥te som RCA fryktet konkurransen fra FM, frykter de konkurransen " +"fra allemannseiet knyttet til en befolkning som nÃ¥ har mulighet til Ã¥ skape " +"med den og dele sine egne kreasjoner." + +#. type: Content of: <book><part><chapter><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 "" +"Det som er vanskelig Ã¥ forstÃ¥ er hvorfor folket innehar dette synet. Det er " +"som om loven gjorde at flymaskiner tok seg inn pÃ¥ annen manns eiendom. MPAA " +"stÃ¥r side om side med Causbyene og krever at deres fjerne og ubrukelige " +"eierrettigheter blir respektert, slik at disse fjerne og glemte " +"opphavsrettsinnehaverne kan blokkere fremgangen til andre." + +#. type: Content of: <book><part><chapter><para> +msgid "" +"All this seems to follow easily from this untroubled acceptance of the " +"<quote>property</quote> in intellectual property. Common sense supports it, " +"and so long as it does, the assaults will rain down upon the technologies of " +"the Internet. The consequence will be an increasing <quote>permission " +"society.</quote> The past can be cultivated only if you can identify the " +"owner and gain permission to build upon his work. The future will be " +"controlled by this dead (and often unfindable) hand of the past." +msgstr "" +"Alt dette ser ut til Ã¥ lett fÃ¸lge fra Ã¥ ukritisk akseptere <quote>eiendom</" +"quote>-biten av immateriell eiendom. Sunn fornuft stÃ¸tter det, og sÃ¥ lenge " +"den gjÃ¸r det vil overfallene regne ned over teknologiene pÃ¥ Internettet. " +"Konsekvensene vil vÃ¦re mer og mer et <quote>tillatelses-samfunn</quote>. " +"Fortiden kan kun kultiveres hvis du kan finne eieren og be om tillatelse til " +"Ã¥ bygge pÃ¥ hans verk. Fremtiden vil bli kontrollert av denne dÃ¸de (og ofte " +"forsvunnede) hÃ¥nd fra fortiden." + +#. type: Content of: <book><chapter><title> +msgid "CONCLUSION" +msgstr "Konklusjon" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Africa, medications for HIV patients in" +msgstr "Afrika, medisinering for HIV-pasienter i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "AIDS medications" +msgstr "AIDS-medisiner" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "antiretroviral drugs" +msgstr "antiretroviral medisin" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "developing countries, foreign patent costs in" +msgstr "utviklingsland, utenlandske patentkostnader i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "drugs" +msgstr "medisiner" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "pharmaceutical" +msgstr "farmasÃ¸ytisk" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "HIV/AIDS therapies" +msgstr "HIV/AIDS-behandlinger" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>There are more</emphasis> than 35 million people " +"with the AIDS virus worldwide. Twenty-five million of them live in sub-" +"Saharan Africa. Seventeen million have already died. Seventeen million " +"Africans is proportional percentage-wise to seven million Americans. More " +"importantly, it is seventeen million Africans." +msgstr "" +"<emphasis role='strong'>Det er mer</emphasis> enn trettifem millioner " +"mennesker over hele verden med AIDS-viruset. Tjuefem millioner av dem bor i " +"Afrika sÃ¸r for Sahara. Sytten millioner har allerede dÃ¸dd. Sytten " +"millioner afrikanere er prosentvis proporsjonalt med syv millioner " +"amerikanere. Viktigere er det at dette er 17 millioner afrikanere." + +#. type: Content of: <book><chapter><para> +msgid "" +"There is no cure for AIDS, but there are drugs to slow its progression. " +"These antiretroviral therapies are still experimental, but they have already " +"had a dramatic effect. In the United States, AIDS patients who regularly " +"take a cocktail of these drugs increase their life expectancy by ten to " +"twenty years. For some, the drugs make the disease almost invisible." +msgstr "" +"Det finnes ingen kur for AIDS, men det finnes medisiner som kan hemme " +"sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt " +"eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA Ã¸ker " +"AIDS-pasienter som regelmessig tar en cocktail av disse medisinene sin " +"levealder med ti til tjue Ã¥r. For noen gjÃ¸re medisinene sykdommen nesten " +"usynlig." + +#. f1. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " +"Intellectual Property Rights and Development Policy</quote> (London, 2002), " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. " +"According to a World Health Organization press release issued 9 July 2002, " +"only 230,000 of the 6 million who need drugs in the developing world receive " +"them—and half of them are in Brazil." +msgstr "" +"Commission on Intellectual Property Rights, <quote>Final Report: Integrating " +"Intellectual Property Rights and Development Policy</quote> (London, 2002), " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</" +"ulink>. I fÃ¸lge en pressemelding fra verdens helseorganisasjon sendt ut 9. " +"juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i " +"utviklingsland dem de trenger—og halvparten av dem er i Brasil." + +#. type: Content of: <book><chapter><para> +msgid "" +"These drugs are expensive. When they were first introduced in the United " +"States, they cost between $10,000 and $15,000 per person per year. Today, " +"some cost $25,000 per year. At these prices, of course, no African nation " +"can afford the drugs for the vast majority of its population: $15,000 is " +"thirty times the per capita gross national product of Zimbabwe. At these " +"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id=" +"\"0\"/>" +msgstr "" +"Disse medisinene er dyre. Da de ble fÃ¸rst introdusert i USA, kostet de " +"mellom $10 000 og $15 000 pr. person hvert Ã¥r. I dag koster noen " +"av dem $25 000 pr. Ã¥r. Med disse prisene har, selvfÃ¸lgelig, ingen " +"afrikansk stat rÃ¥d til medisinen for det store flertall av sine innbyggere: " +"$15 000 er tredve ganger brutto nasjonalprodukt pr. innbygger i " +"Zimbabwe. Med slike priser er disse medisinene fullstendig utilgjengelig." +"<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on pharmaceuticals" +msgstr "om legemidler" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "pharmaceutical patents" +msgstr "farmasÃ¸ytiske patenter" + +#. 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 hÃ¸ye fordi ingrediensene til medisinene er dyre. " +"Disse prisene er hÃ¸ye fordi medisinene er beskyttet av patenter. " +"Farmasiselskapene som produserer disse livreddende blandingene nyter minst " +"tjue Ã¥rs monopol pÃ¥ sine oppfinnelser. De bruker denne monopolmakten til Ã¥ " +"hente ut sÃ¥ mye de kan fra markedet. Ved hjelp av denne makten holder de " +"prisene hÃ¸ye." + +#. 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 patenter pÃ¥ medisiner. " +"Det er ikke jeg. Faktisk av alle forskningsomrÃ¥der som kan vÃ¦re stÃ¸ttet av " +"patenter, er forskning pÃ¥ medisiner, etter min mening, det klareste tilfelle " +"der patenter er nÃ¸dvendig. Patenter gir et farmasÃ¸ytiske firma en viss " +"forsikring om at hvis det lykkes i Ã¥ finne opp et nytt medikament som kan " +"behandle en sykdom, vil det kunne tjene tilbake investeringen og mer til. " +"Dette ber sosialt et ekstremt verdifullt insentiv. Jeg er den siste personen " +"som vil argumentere for at loven skal avskaffe dette, 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 Ã©n ting Ã¥ stÃ¸tte patenter, selv patenter pÃ¥ medisiner. Det er en " +"annen ting Ã¥ avgjÃ¸re hvordan en best skal hÃ¥ndtere en krise. Og i det " +"afrikanske ledere begynte Ã¥ erkjenne Ã¸deleggelsen AIDS brakte, begynte de Ã¥ " +"se etter mÃ¥ter Ã¥ importere HIV-medisiner til kostnader betydelig under " +"markedspris." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "international law" +msgstr "internasjonal lov" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "parallel importation" +msgstr "parallellimport" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "South Africa, Republic of, pharmaceutical imports by" +msgstr "SÃ¸r-Afrika, Republikken, farmasÃ¸ytiske import til" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Braithwaite, John" +msgstr "Braithwaite, John" + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: " +"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " +"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" +"\" id=\"1\"/>" +msgstr "" +"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who " +"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), " +"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm" +"\" id=\"1\"/>" + +#. type: Content of: <book><chapter><para> +msgid "" +"In 1997, South Africa tried one tack. It passed a law to allow the " +"importation of patented medicines that had been produced or sold in another " +"nation's market with the consent of the patent owner. For example, if the " +"drug was sold in India, it could be imported into Africa from India. This is " +"called <quote>parallel importation,</quote> and it is generally permitted " +"under international trade law and is specifically permitted within the " +"European Union.<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I 1997 forsÃ¸kte SÃ¸r-Afrika seg pÃ¥ en tilnÃ¦rming. Landet vedtok en lov som " +"tillot import av patenterte medisiner som hadde blitt produsert og solgt i " +"en annen nasjons marked med godkjenning fra patenteieren. For eksempel, " +"hvis medisinen var solgt i India, sÃ¥ kunne den bli importert inn til Afrika " +"fra India. Dette kalles <quote>parallellimport</quote> og er generelt " +"tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den " +"europeiske union.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "United States Trade Representative (USTR)" +msgstr "USAs handelrepresentant (USTR)" + +#. f3. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over " +"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug " +"Policy, and Human Resources, House Committee on Government Reform, H. Rep., " +"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James " +"Love)." +msgstr "" + +#. f4. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 15." +msgstr "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en " +"rapport forberedt for the World Intellectual Property Organization</" +"citetitle> (Washington, D.C., 2000), 15." + +#. type: Content of: <book><chapter><para> +msgid "" +"However, the United States government opposed the bill. Indeed, more than " +"opposed. As the International Intellectual Property Association " +"characterized it, <quote>The U.S. government pressured South Africa … " +"not to permit compulsory licensing or parallel imports.</quote><placeholder " +"type=\"footnote\" id=\"0\"/> Through the Office of the United States Trade " +"Representative, the government asked South Africa to change the law—" +"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 "" +"Men USA var imot lovendringen. Og de nÃ¸yde seg ikke med Ã¥ vÃ¦re imot. Som " +"International Intellectual Property Association karakteriserte det, " +"<quote>Myndighetene i USA presset SÃ¸r-Afrika … til Ã¥ ikke tillate " +"tvungen lisensiering eller parallellimport</quote><placeholder type=" +"\"footnote\" id=\"0\"/> Gjennom kontoret til USAs handelsrepresentant " +"(USTR), ba myndighetene SÃ¸r-Afrika om Ã¥ endre loven—og for Ã¥ legge " +"press bak den forespÃ¸rselen, listet USTR i 1998 opp SÃ¸r-Afrika som et land " +"som burde vurderes for handelsrestriksjoner. Samme Ã¥r gikk mer enn fÃ¸rti " +"farmasiselskaper til retten for Ã¥ utfordre myndighetenes handlinger. USA " +"fikk selskap av andre myndigheter fra EU. Deres pÃ¥stand, og pÃ¥standen til " +"farmasiselskapene, var at SÃ¸r-Afrika brÃ¸t sine internasjonale forpliktelser " +"ved Ã¥ diskriminere mot en bestemt type patenter—farmasÃ¸ytiske " +"patenter. Kravet fra disse myndighetene, med USA i spissen, var at SÃ¸r-" +"Afrika skulle respektere disse patentene pÃ¥ samme mÃ¥te som alle andre " +"patenter, uavhengig av eventuell effekt pÃ¥ behandlingen av AIDS i SÃ¸r-Afrika." +"<placeholder type=\"footnote\" id=\"1\"/>" + +#. 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 bÃ¸r sette intervensjonen til USA i sammenheng. Det er ingen tvil om at " +"patenter ikke er den viktigste Ã¥rsaken til at Afrikanere ikke har tilgang " +"til medisiner. Fattigdom og den totale mangel pÃ¥ effektivt helsevesen betyr " +"mer. Men uansett om patenter er en viktigste grunnen eller ikke, sÃ¥ har " +"prisen pÃ¥ medisiner en effekt pÃ¥ etterspÃ¸rselen, og patenter pÃ¥virker " +"prisen. SÃ¥ uansett, massiv eller marginal, sÃ¥ var det en effekt av vÃ¥re " +"myndigheters intervensjon for Ã¥ stoppe flyten av medisiner inn til Afrika." + +#. type: Content of: <book><chapter><para> +msgid "" +"By stopping the flow of HIV treatment into Africa, the United States " +"government was not saving drugs for United States citizens. This is not " +"like wheat (if they eat it, we can't); instead, the flow that the United " +"States intervened to stop was, in effect, a flow of knowledge: information " +"about how to take chemicals that exist within Africa, and turn those " +"chemicals into drugs that would save 15 to 30 million lives." +msgstr "" +"Ved Ã¥ stoppe flyten av HIV-behandling til Afrika, sikret ikke myndighetene i " +"USA medisiner til USA borgere. Dette er ikke som hvete (hvis de spise det sÃ¥ " +"kan ikke vi spise det). Det som USA i effekt intervenerte for Ã¥ stoppe, var " +"flyten av kunnskap: Informasjon om hvordan en kan ta kjemikalier som finnes " +"i Afrika og gjÃ¸re disse kjemikaliene om til medisiner som kan redde 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 "" +"Intervensjonen fra USA ville heller ikke beskytte fortjenesten til " +"medisinselskapene i USA— i hvert fall ikke betydelig. Det var jo ikke " +"slik at disse landene hadde mulighet til Ã¥ kjÃ¸pe medisinene til de prisene " +"som medisinselskapene forlangte. Igjen var afrikanerne for fattige til Ã¥ ha " +"rÃ¥d til disse medisinene til de tilbudte prisene. Ã blokkere for " +"parallellimport av disse medisinene ville ikke Ã¸ke salget til de amerikanske " +"selskapene betydelig." + +#. f5. +#. PAGE BREAK 333 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's " +"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco " +"Chronicle</citetitle>, 24 May 1999, A1, available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #57</ulink> (<quote>compulsory licenses and " +"gray markets pose a threat to the entire system of intellectual property " +"protection</quote>); Robert Weissman, <quote>AIDS and Developing Countries: " +"Democratizing Access to Essential Medicines,</quote> <citetitle>Foreign " +"Policy in Focus</citetitle> 4:23 (August 1999), available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #58</ulink> (describing U.S. policy); " +"John A. Harrelson, <quote>TRIPS, Pharmaceutical Patents, and the HIV/AIDS " +"Crisis: Finding the Proper Balance Between Intellectual Property Rights and " +"Compassion, a Synopsis,</quote> <citetitle>Widener Law Symposium Journal</" +"citetitle> (Spring 2001): 175." +msgstr "" + +#. 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 <quote>intellectual property</quote> would be violated that these " +"drugs should not flow into Africa. It was a principle about the importance " +"of <quote>intellectual property</quote> that led these government actors to " +"intervene against the South African response to AIDS." +msgstr "" +"I stedet var argumentet til fordel for restriksjoner pÃ¥ denne flyten av " +"informasjon, som var nÃ¸dvendig for Ã¥ redde millioner av liv, et argument om " +"eiendoms ukrenkelighet.<placeholder type=\"footnote\" id=\"0\"/> Det var pÃ¥ " +"grunn av at <quote>intellektuell eiendom</quote> ville bli krenket at disse " +"medisinene ikke skulle flomme inn til Afrika. Det var prinsippet om " +"viktigheten av <quote>intellektuell eiendom</quote> som fikk disse " +"myndighetsaktÃ¸rene til Ã¥ intervenere mot SÃ¸r-Afrikas mottiltak mot AIDS." + +#. 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 <quote>sanctity</quote> of an idea? What possible " +"justification could there ever be for a policy that results in so many " +"deaths? What exactly is the insanity that would allow so many to die for " +"such an abstraction?" +msgstr "" +"La oss ta et skritt tilbake for et Ã¸yeblikk. En gang om tredve Ã¥r vil vÃ¥re " +"barn se tilbake pÃ¥ oss og spÃ¸rre, hvordan kunne vi la dette skje? Hvordan " +"kunne vi tillate Ã¥ gjennomfÃ¸re en politikk hvis direkte kostnad var fÃ¥ 15 " +"til 30 millioner afrikanere til Ã¥ dÃ¸ raskere, og hvis eneste virkelige " +"fordel var Ã¥ opprettholde <quote>ukrenkeligheten</quote> til en idÃ©? Hva " +"slags berettigelse kan noen sinne eksistere for en politikk som resulterer i " +"sÃ¥ mange dÃ¸de? Hva slags galskap er det egentlig som tillater at sÃ¥ mange " +"dÃ¸r for slik en abstraksjon?" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "in pharmaceutical industry" +msgstr "i farmasÃ¸ytisk industri" + +#. 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 skylder pÃ¥ farmasiselskapene. Det gjÃ¸r ikke jeg. De er selskaper, og " +"deres ledere er lovpÃ¥lagt Ã¥ tjene penger for selskapene. De presser pÃ¥ for " +"en bestemt patentpolitikk, ikke pÃ¥ grunn av idealer, men fordi det er dette " +"som gjÃ¸r at de tjener mest penger. Og dette gjÃ¸r kun at de tjener mest " +"penger pÃ¥ grunn av en slags korrupsjon i vÃ¥rt politiske system— en " +"korrupsjon som farmasiselskapene helt klart ikke er 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 "" +"Denne korrupsjonen er vÃ¥re egne politikeres manglende integritet. For " +"medisinprodusentene ville elske—sier de selv, og jeg tror dem — " +"Ã¥ selge sine medisiner sÃ¥ billig som de kan til land i Afrika og andre " +"steder. Det er utfordringer de mÃ¥ lÃ¸se Ã¥ sikre at medisinene ikke kommer " +"tilbake til USA, men dette er bare teknologiske utfordring. De kan bli " +"overvunnet." + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "of drug patents" +msgstr "av legemiddelpatenter" + +#. 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, <quote>How is it you can sell " +"this HIV drug in Africa for only $1 a pill, but the same drug would cost an " +"American $1,500?</quote> Because there is no <quote>sound bite</quote> " +"answer to that question, its effect would be to induce regulation of prices " +"in America. The drug companies thus avoid this spiral by avoiding the first " +"step. They reinforce the idea that property should be sacred. They adopt a " +"rational strategy in an irrational context, with the unintended consequence " +"that perhaps millions die. And that rational strategy thus becomes framed in " +"terms of this ideal—the sanctity of an idea called <quote>intellectual " +"property.</quote>" +msgstr "" +"Et annet problem kan derimot ikke lÃ¸ses. Det er frykten for at en politiker " +"som skal vise seg og kaller inn lederne hos medisinprodusentene til hÃ¸ring i " +"senatet eller representantenes hus og spÃ¸r, <quote>hvordan har det seg at du " +"kan selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille " +"koster en amerikansker $1 500?</quote> Da det ikke finnes et " +"<quote>kjapt svar</quote> pÃ¥ det spÃ¸rsmÃ¥let, ville effekten bli regulering " +"av priser i Amerika. Medisinprodusentene unngÃ¥r dermed denne spiralen ved Ã¥ " +"sikre at det fÃ¸rste steget ikke tas. De forsterker idÃ©en om at " +"eierrettigheter skal vÃ¦re ukrenkelige. De legger seg pÃ¥ en rasjonell " +"strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at " +"kanskje millioner dÃ¸r. Og den rasjonelle strategien rammes dermed inn ved " +"hjel av dette ideal—ukrenkeligheten til en idÃ© som kalles " +"<quote>immaterielle rettigheter</quote>." + +#. 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 "" +"SÃ¥ nÃ¥r du konfronteres av ditt barns sunne fornuft, hva vil du si? NÃ¥r den " +"sunne fornuften hos en generasjon endelig gjÃ¸r opprÃ¸r mot hva vi har gjort, " +"hvordan vil vi rettferdiggjÃ¸re det? 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 patentpolitikk kunne gÃ¥ god for og gi sterk stÃ¸tte til " +"patentsystemet uten Ã¥ mÃ¥tte nÃ¥ alle overalt pÃ¥ nÃ¸yaktig samme mÃ¥te. PÃ¥ samme " +"mÃ¥te som en fornuftig opphavsrettspolitikk kunne gÃ¥ god for og gi sterk " +"stÃ¸tte til et opphavsretts-system uten Ã¥ mÃ¥tte regulere spredningen av " +"kultur perfekt og for alltid. En fornuftig patentpolitikk kunne gÃ¥ god for " +"og gi sterk stÃ¸tte til et patentsystem uten Ã¥ mÃ¥tte blokkere spredning av " +"medisiner til et land som uansett ikke er rikt nok til Ã¥ ha rÃ¥d til " +"markedsprisen. En fornuftig politikk kan en dermed si kunne vÃ¦re en " +"balansert politikk. For det meste av vÃ¥r historie har bÃ¥de opphavsrett- og " +"patentpolitikken i denne forstand vÃ¦rt balansert." + +#. 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." +msgstr "" +"Men vi som kultur har mistet denne fÃ¸lelsen for balanse. Vi har mistet det " +"kritiske blikket som hjelper oss til Ã¥ se forskjellen mellom sannhet og " +"ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vÃ¥r " +"tradisjon, hersker nÃ¥ i vÃ¥r kultur—sÃ¦rt, og med konsekvenser mer " +"alvorlig for spredningen av idÃ©er og kultur enn nesten enhver annen politisk " +"enkeltavgjÃ¸relse vi som demokrati kan fatte." + +#. PAGE BREAK 269 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>A simple idea</emphasis> blinds us, and under the " +"cover of darkness, much happens that most of us would reject if any of us " +"looked. So uncritically do we accept the idea of property in ideas that we " +"don't even notice how monstrous it is to deny ideas to a people who are " +"dying without them. So uncritically do we accept the idea of property in " +"culture that we don't even question when the control of that property " +"removes our ability, as a people, to develop our culture democratically. " +"Blindness becomes our common sense. And the challenge for anyone who would " +"reclaim the right to cultivate our culture is to find a way to make this " +"common sense open its eyes." +msgstr "" +"<emphasis role='strong'>En enkel idÃ©</emphasis> blender oss, og under dekke " +"av mÃ¸rket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt " +"med. SÃ¥ ukritisk aksepterer vi idÃ©en om eierskap til idÃ©er at vi ikke " +"engang legger merke til hvor uhyrlig det er Ã¥ nekte tilgang til idÃ©er for et " +"folk som dÃ¸r uten dem. SÃ¥ ukritisk aksepterer vi idÃ©en om eiendom til " +"kulturen at vi ikke engang stiller spÃ¸rsmÃ¥l ved nÃ¥r kontrollen over denne " +"eiendommen fjerner vÃ¥r evne, som folk, til Ã¥ utvikle vÃ¥r kultur " +"demokratisk. Blindhet blir vÃ¥r sunne fornuft, og utfordringen for enhver " +"som vil gjenvinne retten til Ã¥ dyrke vÃ¥r kultur er Ã¥ finne en mÃ¥te Ã¥ fÃ¥ " +"denne sunne fornuften til Ã¥ Ã¥pne sine Ã¸yne." + +#. 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 <quote>piracy,</quote> " +"and devastate a culture for creativity. They defend the idea of " +"<quote>creative property,</quote> while transforming real creators into " +"modern-day sharecroppers. They are insulted by the idea that rights should " +"be balanced, even though each of the major players in this content war was " +"itself a beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a " +"city like Washington, hypocrisy is not even noticed. Powerful lobbies, " +"complex issues, and MTV attention spans produce the <quote>perfect storm</" +"quote> for free culture." +msgstr "" +"SÃ¥ langt sover sunn fornuft. Det er intet opprÃ¸r. Sunn fornuft ser ennÃ¥ " +"ikke hva det er Ã¥ gjÃ¸re opprÃ¸r mot. Ekstremismen som nÃ¥ dominerer denne " +"debatten resonerer med idÃ©er som virker naturlige, og resonansen er " +"forsterket av vÃ¥re moderne RCA-ene. De fÃ¸rer en frenetisk krig for Ã¥ " +"bekjempe <quote>piratvirksomhet</quote> og knuser kreativitetskultur. De " +"forsvarer idÃ©en om <quote>kreativt eierskap</quote>, mens de endrer ekte " +"skapere til moderne leilendinger. De blir fornÃ¦rmet av idÃ©en om at " +"rettigheter skulle vÃ¦re balanserte, selv om hver av hovedaktÃ¸rene i denne " +"innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet " +"rÃ¥r. Men i en by som Washington blir ikke hykleriet en gang lagt merke " +"til. Mektige lobbyister, kompliserte problemer og MTV-oppmerksomhetsspenn " +"gir en <quote>perfekt storm</quote> for fri kultur." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "academic journals" +msgstr "akademiske tidsskrifter" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "biomedical research" +msgstr "biomedisinsk forskning" + +#. type: Content of: <book><chapter><indexterm><secondary> +#, mtrans, fuzzy +msgid "international organization on issues of" +msgstr "internasjonal organisasjon om saker av" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "IBM" +msgstr "IBM" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "PLoS (Public Library of Science)" +msgstr "PLoS (Offentlige Vitenskapsbiblioteket, det)" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Public Library of Science (PLoS)" +msgstr "Offentlige Vitenskapsbiblioteket, det (PLoS)" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "public projects in" +msgstr "offentlige prosjekter i" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "single nucleotied polymorphisms (SNPs)" +msgstr "enkeltnukleotidforskjeller (SNPs)" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Wellcome Trust" +msgstr "Wellcome Trust" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "World Intellectual Property Organization (WIPO)" +msgstr "World intellectual property organization (WIPO)" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "World Wide Web" +msgstr "World Wide Web" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Global Positioning System" +msgstr "Globalt posisjoneringssystem" + +#. f6. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> " +"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink " +"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " +"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> " +"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; " +"William New, <quote>U.S. Official Opposes `Open Source' Talks at WIPO,</" +"quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 August " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #61</" +"ulink>." +msgstr "" +"Jonathan Krim, <quote>The Quiet War over Open-Source</quote>, " +"<citetitle>Washington Post</citetitle>, august 2003, E1, tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, " +"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir</quote>, " +"<citetitle>National Journal's Technology Daily</citetitle>, 19. august 2003, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #60</" +"ulink>; William New, <quote>U.S. Official Opposes `Open Source' Talks at " +"WIPO</quote>, <citetitle>National Journal's Technology Daily</citetitle>, " +"19. august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #61</ulink>." + +#. PAGE BREAK 270 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>In August 2003</emphasis>, a fight broke out in the " +"United States about a decision by the World Intellectual Property " +"Organization to cancel a meeting.<placeholder type=\"footnote\" id=\"0\"/> " +"At the request of a wide range of interests, WIPO had decided to hold a " +"meeting to discuss <quote>open and collaborative projects to create public " +"goods.</quote> These are projects that have been successful in producing " +"public goods without relying exclusively upon a proprietary use of " +"intellectual property. Examples include the Internet and the World Wide Web, " +"both of which were developed on the basis of protocols in the public domain. " +"It included an emerging trend to support open academic journals, including " +"the Public Library of Science project that I describe in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>. It included a " +"project to develop single nucleotide polymorphisms (SNPs), which are thought " +"to have great significance in biomedical research. (That nonprofit project " +"comprised a consortium of the Wellcome Trust and pharmaceutical and " +"technological companies, including Amersham Biosciences, AstraZeneca, " +"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " +"IBM, Motorola, Novartis, Pfizer, and Searle.) It included the Global " +"Positioning System, which Ronald Reagan set free in the early 1980s. And it " +"included <quote>open source and free software.</quote>" +msgstr "" +"<emphasis role='strong'>I august 2003</emphasis> brÃ¸t en kamp ut i USA om en " +"avgjÃ¸relse fra World Intellectual Property Organiation om Ã¥ avlyse et mÃ¸te." +"<placeholder type=\"footnote\" id=\"0\"/> PÃ¥ forespÃ¸rsel fra en lang rekke " +"med interessenter hadde WIPO bestemt Ã¥ avholde et mÃ¸te for Ã¥ diskutere " +"<quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape goder for felleskapet</" +"quote>. Disse prosjektene som hadde lyktes i Ã¥ produsere goder for " +"fellesskapet uten Ã¥ basere seg eksklusivt pÃ¥ bruken av proprietÃ¦re " +"immaterielle rettigheter. Eksempler inkluderer Internettet og verdensveven, " +"begge som ble utviklet pÃ¥ grunnlag av protokoller i allemannseie. Det hadde " +"med en begynnende trend for Ã¥ stÃ¸tte Ã¥pne akademiske tidsskrifter, og " +"inkluderte Public Library of Science-prosjektet som jeg beskriver i kapittel " +"<xref xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Det " +"inkluderte et prosjekt for a utvikle enkeltnukleotidforskjeller (SNPs), som " +"er antatt Ã¥ fÃ¥ stor betydning i biomedisinsk forskning. (Dette ideelle " +"prosjektet besto av et konsortium av Wellcome Trust og farmasÃ¸ytiske og " +"teknologiske selskaper, inkludert Amersham Biosciences, AstraZeneca, " +"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, " +"IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt " +"posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig pÃ¥ 1980-tallet. Og " +"det inkluderte <quote>Ã¥pen kildekode og fri programvare</quote>." + +#. 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 "" +"FormÃ¥let med mÃ¸tet var Ã¥ vurdere denne rekken av prosjekter fra et felles " +"perspektiv: at ingen av disse prosjektene hadde som grunnlag immateriell " +"ekstremisme. I stedet, hos alle disse, ble immaterielle rettigheter " +"balansert med avtaler om Ã¥ holde tilgang Ã¥pen, eller for Ã¥ legge " +"begrensninger pÃ¥ hvordan proprietÃ¦re krav kan bli brukt." + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "in international debate on intellectual property" +msgstr "i internasjonal debatt om immateriell eiendom" + +#. 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 bÃ¸r nevne at jeg var en av folkene som ba WIPO om dette mÃ¸tet." + +#. 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 "" +"Dermed var, fra perspektivet i denne boken, denne konferansen ideell." +"<placeholder type=\"footnote\" id=\"0\"/> Prosjektene innenfor temaet var " +"bÃ¥de kommersielle og ikkekommersielle verker. De involverte i hovedsak " +"vitenskapen, men fra mange perspektiver. Og WIPO var et ideelt sted for " +"denne diskusjonen, siden WIPO var den fremstÃ¥ende internasjonale aktÃ¸r som " +"drev med immaterielle rettighetsspÃ¸rsmÃ¥l." + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "World Summit on the Information Society (WSIS)" +msgstr "World summit pÃ¥ informasjonssamfunnet (wsis)" + +#. 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 <quote>Information Society</quote> unless one also " +"talked about the range of information and culture that would be free. My " +"talk did not make my immoderate moderator very happy. And she was no doubt " +"correct that the scope of intellectual property protections was ordinarily " +"the stuff of WIPO. But in my view, there couldn't be too much of a " +"conversation about how much intellectual property is needed, since in my " +"view, the very idea of balance in intellectual property had been lost." +msgstr "" +"Faktisk fikk jeg en gang offentlig kjeft for Ã¥ ikke anerkjenne dette faktum " +"om WIPO. I februar 2003 leverte jeg et nÃ¸kkelforedrag pÃ¥ en forberedende " +"konferanse for World Summit on the Information Society (WSIS). PÃ¥ en " +"pressekonferanse fÃ¸r innlegget, ble jeg spurt hva jeg skulle snakke om. Jeg " +"svarte at jeg skulle snakke litt om viktigheten av balanse rundt " +"immaterielle verdier for utviklingen av informasjonssamfunnet. Ordstyreren " +"pÃ¥ arrangementet avbrÃ¸t meg da brÃ¥tt for Ã¥ informere meg og journalistene " +"tilstede at ingen spÃ¸rsmÃ¥l rundt immaterielle verdier ville bli diskutert av " +"WSIS, da slike spÃ¸rsmÃ¥l kun skulle diskuteres i WIPO. I innlegget jeg hadde " +"forberedt var temaet om immaterielle verdier en forholdvis liten del av det " +"hele. Men etter denne forblÃ¸ffende uttalelsen, gjorde jeg immaterielle " +"verdier til hovedfokus for mitt innlegg. Det var ikke mulig Ã¥ snakke om et " +"<quote>informasjonssamfunn</quote> uten at en ogsÃ¥ snakket om andelen av " +"informasjon og kultur som ikke er vernet av opphavsretten. Mitt innlegg " +"gjorde ikke min overivrige moderator veldig glad. Og hun hadde uten tvil " +"rett i at omfanget til vern av immaterielle rettigheter normalt hÃ¸rte inn " +"under WIPO. Men etter mitt syn, kunne det ikke bli for mye diskusjon om " +"hvor mye immaterielle rettigheter som trengs, siden etter mitt syn, hadde " +"selve idÃ©en om en balanse rundt immaterielle rettigheter hadde gÃ¥tt tapt." + +#. 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 <quote>open and collaborative projects to create public goods</" +"quote> seemed perfectly appropriate within the WIPO agenda." +msgstr "" +"SÃ¥ uansett om WSIS kan diskutere balanse i intellektuell eiendom eller ikke, " +"sÃ¥ hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed " +"mÃ¸tet om <quote>Ã¥pne og samarbeidende prosjekter for Ã¥ skape fellesgoder</" +"quote> virker Ã¥ passe perfekt for WIPOs agenda." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Apple Corporation" +msgstr "Apple Corporation" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "on free software" +msgstr "om fri programvare" + +#. 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 <quote>open source and free software." +"</quote> Microsoft in particular is wary of discussion of the subject. From " +"its perspective, a conference to discuss open source and free software would " +"be like a conference to discuss Apple's operating system. Both open source " +"and free software compete with Microsoft's software. And internationally, " +"many governments have begun to explore requirements that they use open " +"source or free software, rather than <quote>proprietary software,</quote> " +"for their own internal uses." +msgstr "" +"Men det er ett prosjekt i listen som er svÃ¦rt kontroversielt, i hvert fall " +"blant lobbyister. Dette prosjektet er <quote>Ã¥pen kildekode og fri " +"programvare</quote>. Microsoft spesielt er skeptisk til diskusjon om emnet. " +"Fra deres perspektiv, ville en konferanse for Ã¥ diskutere Ã¥pen kildekode og " +"fri programvare vÃ¦re som en konferanse for Ã¥ diskutere Apples " +"operativsystem. BÃ¥de Ã¥pen kildekode og fri programvare konkurrerer med " +"Microsofts programvare. Og internasjonalt har mange myndigheter begynt Ã¥ " +"utforske krav om at de skal bruke Ã¥pen kildekode eller fri programvare, i " +"stedet for <quote>proprietÃ¦r programvare</quote>, til sine egne interne " +"behov." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "<quote>copyleft</quote> licenses" +msgstr "<quote>copyleft</quote>-lisenser" + +#. 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 " +"<quote>open source</quote> software or software in the public domain. " +"Microsoft's principal opposition is to <quote>free software</quote> licensed " +"under a <quote>copyleft</quote> license, meaning a license that requires the " +"licensee to adopt the same terms on any derivative work. See Bradford L. " +"Smith, <quote>The Future of Software: Enabling the Marketplace to Decide,</" +"quote> <citetitle>Government Policy Toward Open Source Software</citetitle> " +"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " +"American Enterprise Institute for Public Policy Research, 2002), 69, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " +"See also Craig Mundie, Microsoft senior vice president, <citetitle>The " +"Commercial Software Model</citetitle>, discussion at New York University " +"Stern School of Business (3 May 2001), available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #63</ulink>." +msgstr "" +"Microsofts posisjon om Ã¥pen kildekode og fri programvare er mer " +"sofistikert. De har flere ganger forklart at de har ikke noe problem med " +"programvare som er <quote>Ã¥pen kildekode</quote> eller programvare som er " +"allemannseie. Microsofts prinsipielle motstand er mot <quote>fri " +"programvare</quote> lisensiert med en <quote>copyleft</quote>-lisens, som " +"betyr at lisensen krever at de som lisensierer skal adoptere same vilkÃ¥r for " +"ethvert avledet verk. Se Bradford L. Smith, <quote>The Future of Software: " +"Enabling the Marketplace to Decide</quote>, <citetitle>Government Policy " +"Toward Open Source Software</citetitle> (Washington, D.C.: AEI-Brookings " +"Joint Center for Regulatory Studies, American Enterprise Institute for " +"Public Policy Research, 2002), 69, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #62</ulink>. Se ogsÃ¥ Craig Mundie, Microsoft senior " +"vice president, <citetitle>The Commercial Software Model</citetitle>, " +"diskusjon ved New York University Stern School of Business (3. mai 2001), " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #63</" +"ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"I don't mean to enter that debate here. It is important only to make clear " +"that the distinction is not between commercial and noncommercial software. " +"There are many important companies that depend fundamentally upon open " +"source and free software, IBM being the most prominent. IBM is increasingly " +"shifting its focus to the GNU/Linux operating system, the most famous bit of " +"<quote>free software</quote>—and IBM is emphatically a commercial " +"entity. Thus, to support <quote>open source and free software</quote> is not " +"to oppose commercial entities. It is, instead, to support a mode of software " +"development that is different from Microsoft's.<placeholder type=\"footnote" +"\" id=\"0\"/>" +msgstr "" +"Jeg mener ikke Ã¥ gÃ¥ inn i den debatten her. Det er viktig kun for Ã¥ gjÃ¸re " +"det klart at skillet ikke er mellom kommersiell og ikke-kommersiell " +"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av " +"fri programvare, der IBM er den mest fremtredende. IBM har i stadig stÃ¸rre " +"grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berÃ¸mte " +"biten av <quote>fri programvare</quote>—og IBM er helt klart en " +"kommersiell aktÃ¸r. Dermed er det Ã¥ stÃ¸tte <quote>fri programvare</quote> " +"ikke Ã¥ motsette seg kommersielle aktÃ¸rer. Det er i stedet Ã¥ stÃ¸tte en mÃ¥te " +"Ã¥ drive programvareutvikling som er forskjellig fra Microsofts.<placeholder " +"type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "General Public License (GPL)" +msgstr "general public license (gpl)" + +#. type: Content of: <book><chapter><indexterm><primary> +#, mtrans, fuzzy +msgid "GPL (General Public License)" +msgstr "GPL (general public license)" + +#. PAGE BREAK 272 +#. type: Content of: <book><chapter><para> +msgid "" +"More important for our purposes, to support <quote>open source and free " +"software</quote> is not to oppose copyright. <quote>Open source and free " +"software</quote> is not software in the public domain. Instead, like " +"Microsoft's software, the copyright owners of free and open source software " +"insist quite strongly that the terms of their software license be respected " +"by adopters of free and open source software. The terms of that license are " +"no doubt different from the terms of a proprietary software license. Free " +"software licensed under the General Public License (GPL), for example, " +"requires that the source code for the software be made available by anyone " +"who modifies and redistributes the software. But that requirement is " +"effective only if copyright governs software. If copyright did not govern " +"software, then free software could not impose the same kind of requirements " +"on its adopters. It thus depends upon copyright law just as Microsoft does." +msgstr "" +"Mer viktig for vÃ¥re formÃ¥l, er at Ã¥ stÃ¸tte <quote>Ã¥pen kildekode og fri " +"programvare</quote> ikke er Ã¥ motsette seg opphavsrett. <quote>Ãpen " +"kildekode og fri programvare</quote> er ikke programvare uten " +"opphavsrettslig vern. Istedet, pÃ¥ samme mÃ¥te som programvare fra Microsoft, " +"insisterer opphavsrettsinnehaverne av fri programvare ganske sterkt at " +"vilkÃ¥rene i deres programvarelisens blir respektert av de som tar i bruk fri " +"programvare. VilkÃ¥rene i den lisensen er uten tvil forskjellig fra " +"vilkÃ¥rene i en proprietÃ¦r programvarelisens. For eksempel krever fri " +"programvare lisensiert med den generelle offentlige lisensen (GPL), at " +"kildekoden for programvare gjÃ¸res tilgjengelig for alle som endrer og " +"videredistribuerer programvaren. Men dette kravet er kun effektivt hvis " +"opphavsrett rÃ¥der over programvare. Hvis opphavsretten ikke rÃ¥der over " +"programvare, sÃ¥ kunne ikke fri programvare pÃ¥legge slike krav pÃ¥ de som tar " +"i bruk programvaren. Den er dermed like avhengig av Ã¥ndsverksloven som " +"Microsoft." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Krim, Jonathan" +msgstr "Krim, Jonathan" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "WIPO meeting opposed by" +msgstr "WIPO-mÃ¸te motarbeidet av" + +#. f9. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Krim, <quote>The Quiet War over Open-Source,</quote> available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #64</ulink>." +msgstr "" +"Krim, <quote>The Quiet War over Open-Source</quote>, tilgjengelig fra <ulink " +"url=\"http://free-culture.cc/notes/\">link #64</ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"It is therefore understandable that as a proprietary software developer, " +"Microsoft would oppose this WIPO meeting, and understandable that it would " +"use its lobbyists to get the United States government to oppose it, as well. " +"And indeed, that is just what was reported to have happened. According to " +"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's " +"lobbyists succeeded in getting the United States government to veto the " +"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, " +"the meeting was canceled." +msgstr "" +"Det er dermed forstÃ¥elig at Microsoft, som utviklere av proprietÃ¦r " +"programvare, gikk imot et slikt WIPO-mÃ¸te, og like fullt forstÃ¥elig at de " +"bruker sine lobbyister til Ã¥ fÃ¥ USAs myndigheter til Ã¥ gÃ¥ imot mÃ¸tet. Og " +"ganske riktig, det er akkurat dette som i fÃ¸lge rapporter hadde skjedd. I " +"fÃ¸lge Jonathan Krim i <citetitle>Washington Post</citetitle>, lyktes " +"Microsofts lobbyister i Ã¥ fÃ¥ USAs myndigheter til Ã¥ legge ned veto mot et " +"slikt mÃ¸te.<placeholder type=\"footnote\" id=\"0\"/> Og uten stÃ¸tte fra USA " +"ble mÃ¸tet avlyst." + +#. type: Content of: <book><chapter><para> +msgid "" +"I don't blame Microsoft for doing what it can to advance its own interests, " +"consistent with the law. And lobbying governments is plainly consistent with " +"the law. There was nothing surprising about its lobbying here, and nothing " +"terribly surprising about the most powerful software producer in the United " +"States having succeeded in its lobbying efforts." +msgstr "" +"Jeg klandrer ikke Microsoft for Ã¥ gjÃ¸re det de kan for Ã¥ fremme sine egne " +"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er " +"Ã¥penbart i samsvar med loven. Det er ikke noe overraskende her med deres " +"lobbyvirksomhet, og ikke veldig overraskende at den mektigste " +"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Boland, Lois" +msgstr "Boland, Lois" + +#. 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 <quote>open-source software runs counter to the mission of WIPO, which " +"is to promote intellectual-property rights.</quote> She is quoted as saying, " +"<quote>To hold a meeting which has as its purpose to disclaim or waive such " +"rights seems to us to be contrary to the goals of WIPO.</quote>" +msgstr "" +"Det som var overraskende var USAs regjerings begrunnelse for Ã¥ vÃ¦re imot " +"mÃ¸tet. Igjen, sitert av Krim, forklarte Lois Boland, direktÃ¸r for " +"internasjonale forbindelser ved USAs patent og varemerkekontor, at " +"<quote>programvare med Ã¥pen kildekode gÃ¥r imot til formÃ¥let til WIPO, som er " +"Ã¥ fremme immaterielle rettigheter.</quote>. Hun skal i fÃ¸lge sitatet ha " +"sagt, <quote>Ã holde et mÃ¸te som har som formÃ¥l Ã¥ fraskrive seg eller " +"frafalle slike rettigheter synes for oss Ã¥ vÃ¦re i strid med formÃ¥lene til " +"WIPO.</quote>" + +#. type: Content of: <book><chapter><para> +msgid "These statements are astonishing on a number of levels." +msgstr "Disse utsagnene er forblÃ¸ffende pÃ¥ flere nivÃ¥er." + +#. 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 " +"<quote>copyright</quote>. Without it, restrictions imposed by those " +"licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the " +"mission of promoting intellectual property rights reveals an extraordinary " +"gap in understanding—the sort of mistake that is excusable in a first-" +"year law student, but an embarrassment from a high government official " +"dealing with intellectual property issues." +msgstr "" +"For det fÃ¸rste er de ganske enkelt ikke riktige. Som jeg beskrev, er det " +"meste av Ã¥pen kildekode og fri programvare fundamentalt avhengig av den " +"immaterielle retten kalt <quote>opphavsrett</quote>. Uten den vil " +"begrensningene definert av disse lisensene ikke fungere. Dermed er det Ã¥ si " +"at de <quote>gÃ¥r imot</quote> formÃ¥let om Ã¥ fremme immaterielle rettigheter " +"Ã¥ avslÃ¸re en ekstraordinÃ¦r mangel pÃ¥ forstÃ¥else—den type feil som er " +"tilgivelig hos en fÃ¸rsteÃ¥rs jusstudent, men pinlig fra en hÃ¸yt plassert " +"statstjenestemann som hÃ¥ndterer utfordringer rundt immaterielle rettigheter." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "generic drugs" +msgstr "generiske medisiner" + +#. type: Content of: <book><chapter><para> +msgid "" +"Second, who ever said that WIPO's exclusive aim was to <quote>promote</" +"quote> intellectual property maximally? As I had been scolded at the " +"preparatory conference of WSIS, WIPO is to consider not only how best to " +"protect intellectual property, but also what the best balance of " +"intellectual property is. As every economist and lawyer knows, the hard " +"question in intellectual property law is to find that balance. But that " +"there should be limits is, I had thought, uncontested. One wants to ask Ms. " +"Boland, are generic drugs (drugs based on drugs whose patent has expired) " +"contrary to the WIPO mission? Does the public domain weaken intellectual " +"property? Would it have been better if the protocols of the Internet had " +"been patented?" +msgstr "" +"For det andre, hvem har noen gang hevdet at WIPOs eksklusive mÃ¥l var Ã¥ " +"<quote>fremme</quote> immaterielle rettigheter maksimalt? Som jeg fikk " +"kjeft om pÃ¥ den forberedende konferansen til WSIS, skal WIPO vurdere ikke " +"bare hvordan best beskytte immaterielle rettigheter, men ogsÃ¥ hva som er den " +"beste balansen rundt immaterielle rettigheter. Som enhver Ã¸konom og advokat " +"vet, er det vanskelige spÃ¸rsmÃ¥let i immaterielle rettighetsjuss Ã¥ finne den " +"balansen. Men at det skulle vÃ¦re en grense, trodde jeg, var ubestridt. Man " +"Ã¸nsker Ã¥ spÃ¸rre Ms. Boland om generelle medisiner (medisiner basert pÃ¥ " +"medisiner med patenter som er utlÃ¸pt) i strid med WIPOs oppdrag? Svekker " +"allemannseie immaterielle rettigheter? Ville det vÃ¦rt bedre om Internettets " +"protokoller hadde vÃ¦rt patentert?" + +#. 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 <emphasis>their</emphasis> rights. If " +"they want to <quote>waive</quote> or <quote>disclaim</quote> their rights, " +"that is, within our tradition, totally appropriate. When Bill Gates gives " +"away more than $20 billion to do good in the world, that is not inconsistent " +"with the objectives of the property system. That is, on the contrary, just " +"what a property system is supposed to be about: giving individuals the right " +"to decide what to do with <emphasis>their</emphasis> property." +msgstr "" +"For det tredje, selv om en tror at formÃ¥let med WIPO var Ã¥ maksimere " +"immaterielle rettigheter, sÃ¥ innehas immaterielle rettigheter, i vÃ¥r " +"tradisjon, av individer og selskaper. De fÃ¥r bestemme hva som skal gjÃ¸res " +"med disse rettighetene, igjen fordi det er <emphasis>de</emphasis> som eier " +"rettighetene. Hvis de Ã¸nsker Ã¥ <quote>frafalle</quote> eller <quote>frasi</" +"quote> seg sine rettigheter, sÃ¥ er det helt etter boka i vÃ¥r tradisjon. NÃ¥r " +"Bill Gates gir bort mer enn $20 milliarder til gode formÃ¥l, sÃ¥ er ikke det " +"uforenelig med mÃ¥lene til eiendomssystemet. Det er heller tvert i mot, " +"akkurat hva eiendomssysstemet er ment Ã¥ oppnÃ¥, at individer har retten til Ã¥ " +"bestemme hva de vil gjÃ¸re med <emphasis>sin</emphasis> eiendom." + +#. PAGE BREAK 274 +#. type: Content of: <book><chapter><para> +msgid "" +"When Ms. Boland says that there is something wrong with a meeting " +"<quote>which has as its purpose to disclaim or waive such rights,</quote> " +"she's saying that WIPO has an interest in interfering with the choices of " +"the individuals who own intellectual property rights. That somehow, WIPO's " +"objective should be to stop an individual from <quote>waiving</quote> or " +"<quote>disclaiming</quote> an intellectual property right. That the interest " +"of WIPO is not just that intellectual property rights be maximized, but that " +"they also should be exercised in the most extreme and restrictive way " +"possible." +msgstr "" +"NÃ¥r Ms. Boland sier at det er noe galt med et mÃ¸te <quote>som har som sitt " +"formÃ¥l Ã¥ fraskrive eller frafalle slike rettigheter</quote>, sÃ¥ sier hun at " +"WIPO har en interesse i Ã¥ pÃ¥virke valgene til enkeltpersoner som eier " +"immaterielle rettigheter. At pÃ¥ en eller annen WIPOs oppdrag bÃ¸r vÃ¦re Ã¥ " +"stoppe individer fra Ã¥ <quote>fraskrive</quote> eller <quote>frafalle</" +"quote> seg sine immaterielle rettigheter. At interessen til WIPO ikke bare " +"er maksimale immaterielle rettigheter, men ogsÃ¥ at de skal utÃ¸ves pÃ¥ den " +"mest ekstreme og restriktive mulig mÃ¥ten." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "feudal system" +msgstr "fÃ¸ydalsystem" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "feudal system of" +msgstr "fÃ¸ydalsystem for" + +#. 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 <quote>feudalism.</quote> Under " +"feudalism, not only was property held by a relatively small number of " +"individuals and entities. And not only were the rights that ran with that " +"property powerful and extensive. But the feudal system had a strong interest " +"in assuring that property holders within that system not weaken feudalism by " +"liberating people or property within their control to the free market. " +"Feudalism depended upon maximum control and concentration. It fought any " +"freedom that might interfere with that control." +msgstr "" +"Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den " +"anglo-amerikansk tradisjon. Det kalles <quote>fÃ¸ydalisme</quote>. Under " +"fÃ¸ydalismen var eiendommer ikke bare kontrollert av et relativt lite antall " +"individer og aktÃ¸rer. Men det fÃ¸ydale systemet hadde en sterk interesse i Ã¥ " +"sikre at landeier i systemet ikke svekke fÃ¸ydalismen ved Ã¥ frigjÃ¸re folkene " +"og eiendomene som de kontrollerte til det frie markedet. FÃ¸ydalismen var " +"avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet " +"som kunne forstyrre denne kontrollen." + +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " +"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Se Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " +"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. 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 <emphasis>free</" +"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal." +msgstr "" +"Som Peter Drahos og John Braithwaite beskriver, dette er nÃ¸yaktig det valget " +"vi nÃ¥ gjÃ¸r om immaterielle rettigheter.<placeholder type=\"footnote\" id=" +"\"0\"/> Vi kommer til Ã¥ fÃ¥ et informasjonssamfunn. SÃ¥ mye er sikkert. VÃ¥rt " +"eneste valg nÃ¥ er hvorvidt dette informasjonssamfunnet skal vÃ¦re " +"<emphasis>fritt</emphasis> eller <emphasis>fÃ¸ydalt</emphasis>. Trenden er " +"mot det fÃ¸ydale." + +#. 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 "" +"Da denne bataljen brÃ¸t ut, blogget jeg om dette. En heftig debatt brÃ¸t ut i " +"kommentarfeltet. Ms. Boland hadde en rekke stÃ¸ttespillere som forsÃ¸kte Ã¥ " +"vise hvorfor hennes kommentarer ga mening. Men det var spesielt en " +"kommentar som gjorde meg trist. En anonym kommentator skrev," + +#. 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 (<quote>the goal of WIPO, and the goal of any government, should " +"be to promote the right balance of intellectual property rights, not simply " +"to promote intellectual property rights</quote>), not as it is. If we were " +"talking about the world as it is, then of course Boland didn't say anything " +"wrong. But in the world as Lessig would have it, then of course she did. " +"Always pay attention to the distinction between Lessig's world and ours." +msgstr "" +"George, du misforstÃ¥r Lessig: Han snakker bare om verden slik den burde vÃ¦re " +"(<quote>mÃ¥let til WIPO, og mÃ¥let til enhver regjering, bÃ¸r vÃ¦re Ã¥ fremme den " +"riktige balansen for immaterielle rettigheter, ikke bare Ã¥ fremme " +"immaterielle rettigheter</quote>), ikke som den er. Hvis vi snakket om " +"verden slik den er, sÃ¥ har naturligvis Boland ikke sagt noe galt. Men i " +"verden slik Lessig vil at den skal vÃ¦re, er det Ã¥penbart at hun har sagt noe " +"galt. En mÃ¥ alltid vÃ¦re oppmerksom pÃ¥ forskjellen mellom Lessigs og vÃ¥r " +"verden." + +#. 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 gikk glipp av ironien fÃ¸rst gangen jeg leste den. Jeg lese den raskt og " +"trodde forfatteren stÃ¸ttet idÃ©en om at det vÃ¥re myndigheter burde gjÃ¸re var " +"Ã¥ sÃ¸ke balanse. (Min kritikk av Ms Boland, selvfÃ¸lgelig, var ikke om " +"hvorvidt hun sÃ¸kte balanse eller ikke; min kritikk var at hennes kommentarer " +"avslÃ¸rte en feil kun en fÃ¸rsteÃ¥rs jusstudent burde kunne gjÃ¸re. Jeg har noen " +"illusjon om ekstremismen hos vÃ¥re myndigheter, uansett om de er " +"republikanere eller demokrater. Min eneste tilsynelatende illusjon er " +"hvorvidt vÃ¥re myndigheter bÃ¸r snakke sant 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 <quote>goal</" +"quote> of a government should be <quote>to promote the right balance</quote> " +"of intellectual property. That was obviously silly to him. And it obviously " +"betrayed, he believed, my own silly utopianism. <quote>Typical for an " +"academic,</quote> the poster might well have continued." +msgstr "" +"Det var derimot Ã¥penbart at den som postet meldingen ikke stÃ¸ttet idÃ©en. I " +"stedet latterliggjorde forfatteren selve idÃ©en om at i den virkelig verden " +"skulle <quote>mÃ¥let</quote> til myndighetene vÃ¦re <quote>Ã¥ fremme den " +"riktige balanse</quote> for immaterielle rettigheter. Det var Ã¥penbart " +"tÃ¥pelig for ham. Og det avslÃ¸rte Ã¥penbart, trodde han, min egen tÃ¥pelige " +"utopisme. <quote>Typisk for en akademiker</quote>, kunne forfatteren like " +"gjerne ha fortsatt." + +#. 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 forstÃ¥r kritikken av akademisk utopisme. Jeg mener ogsÃ¥ at utopisme er " +"tÃ¥pelig, og jeg vil vÃ¦re blant de fÃ¸rste til Ã¥ gjÃ¸re narr av de absurde " +"urealistiske idealer til akademikere gjennom historien (og ikke bare i vÃ¥rt " +"eget lands historie)." + +#. type: Content of: <book><chapter><para> +msgid "" +"But when it has become silly to suppose that the role of our government " +"should be to <quote>seek balance,</quote> then count me with the silly, for " +"that means that this has become quite serious indeed. If it should be " +"obvious to everyone that the government does not seek balance, that the " +"government is simply the tool of the most powerful lobbyists, that the idea " +"of holding the government to a different standard is absurd, that the idea " +"of demanding of the government that it speak truth and not lies is just " +"naïve, then who have we, the most powerful democracy in the world, " +"become?" +msgstr "" +"Men nÃ¥r det har blitt dumt Ã¥ anta at rollen til vÃ¥re myndigheter bÃ¸r vÃ¦re Ã¥ " +"<quote>oppnÃ¥ balanse</quote>, da kan du regne meg blant de dumme, for det " +"betyr at dette faktisk har blitt ganske seriÃ¸st. Hvis det bÃ¸r vÃ¦re Ã¥penbart " +"for alle at myndighetene ikke sÃ¸ker Ã¥ oppnÃ¥ balanse, at myndighetene ganske " +"enkelt et verktÃ¸y for de mektigste lobbyistene, at idÃ©en om Ã¥ forvente bedre " +"av myndighetene er absurd, at idÃ©en om Ã¥ kreve at myndighetene snakker sant " +"og ikke lyver bare er naiv, hva har da vi, det mektigste demokratiet i " +"verden, blitt?" + +#. PAGE BREAK 276 +#. type: Content of: <book><chapter><para> +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 vÃ¦re galskap Ã¥ forvente at en mektig myndigshetsperson skal si " +"sannheten. Det kan vÃ¦re galskap Ã¥ tro at myndighetenes politikk skal gjÃ¸re " +"mer enn Ã¥ tjene de mektigste interesser. Det kan vÃ¦re galskap Ã¥ argumentere " +"for Ã¥ bevare en tradisjon som har vÃ¦rt en del av vÃ¥r tradisjon for " +"mesteparten av vÃ¥r historie—fri kultur." + +#. type: Content of: <book><chapter><para> +msgid "If this is crazy, then let there be more crazies. Soon." +msgstr "Hvis dette er galskap, sÃ¥ la det vÃ¦re mer gÃ¦rninger. Snart." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Turner, Ted" +msgstr "Turner, Ted" + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>There are moments</emphasis> of hope in this " +"struggle. And moments that surprise. When the FCC was considering relaxing " +"ownership rules, which would thereby further increase the concentration in " +"media ownership, an extraordinary bipartisan coalition formed to fight this " +"change. For perhaps the first time in history, interests as diverse as the " +"NRA, the ACLU, Moveon.org, William Safire, Ted Turner, and CodePink Women " +"for Peace organized to oppose this change in FCC policy. An astonishing " +"700,000 letters were sent to the FCC, demanding more hearings and a " +"different result." +msgstr "" +"<emphasis role='strong'>Det finnes Ã¸yeblikk</emphasis> av hÃ¥p i denne " +"kampen. Og Ã¸yeblikk som overrasker. Da FCC vurderte mindre strenge " +"eierskapsregler, som ville ytterligere konsentrere medieeierskap, dannet det " +"seg en en ekstraordinÃ¦r koalisjon pÃ¥ tvers av partiene for Ã¥ bekjempe " +"endringen. For kanskje fÃ¸rste gang i historien organiserte interesser sÃ¥ " +"forskjellige som NRA, ACLU, moveon.org, William Safire, Ted Turner og " +"Codepink Women for Piece seg for Ã¥ protestere pÃ¥ denne endringen i FCC-" +"reglene. SÃ¥ mange som 700 000 brev ble sendt til FCC med krav om flere " +"hÃ¸ringer 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 "" +"Disse protestene stoppet ikke FCC, men like etter stemte en bred koalisjon i " +"senatet for Ã¥ reversere avgjÃ¸relsen i FCC. De fiendtlige hÃ¸ringene som ledet " +"til avstemmingen avslÃ¸rte hvor mektig denne bevegelsen hadde blitt. Det var " +"ingen betydningsfull stÃ¸tte for FCCs avgjÃ¸relse, mens det var bred og " +"vedvarende stÃ¸tte for Ã¥ 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 gÃ¥r glipp av en viktig brikke i puslespillet. Ã " +"vÃ¦re stor er ikke ille i seg selv. Frihet er ikke truet bare pÃ¥ grunn av at " +"noen blir veldig rik, eller pÃ¥ grunn av at det bare er en hÃ¥ndfull store " +"aktÃ¸rer. Den dÃ¥rlige kvaliteten til Big Macs eller Quartar Punders betyr " +"ikke at du ikke kan fÃ¥ en god hamburger andre steder." + +#. 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 med mediekonsentrasjon kommer ikke fra selve konsentrasjonen, men " +"kommer fra fÃ¸ydalismen som denne konsentrasjonen fÃ¸rer til nÃ¥r den kobles " +"til endringer i opphavsretten. Det er ikke kun at det er noen mektige " +"selskaper som styrer en stadig voksende andel av mediene. Det er at denne " +"konsentrasjonen kan pÃ¥kalle en like oppsvulmet rekke rettigheter—" +"eiendomsrettigheter i en historisk ekstrem form—som gjÃ¸r stÃ¸rrelsen " +"ille." + +#. 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 <quote>big,</quote> wisely or not. That we could be " +"motivated to fight <quote>big</quote> again is not something new." +msgstr "" +"Det er derfor betydningsfullt at sÃ¥ mange vil kjempe for Ã¥ kreve konkurranse " +"og Ã¸kt mangfold. Likevel, hvis kampanjen blir forstÃ¥tt til Ã¥ kun gjelde " +"stÃ¸rrelse, sÃ¥ er ikke det veldig overraskende. Vi amerikanere har en lang " +"historie med Ã¥ slÃ¥ss mot <quote>stort</quote>, klokt eller ikke. At vi kan " +"vÃ¦re motivert til Ã¥ slÃ¥ss mot <quote>store</quote> igjen ikke noe nytt." + +#. 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 " +"<quote>intellectual property.</quote> Not because balance is alien to our " +"tradition; indeed, as I've argued, balance is our tradition. But because the " +"muscle to think critically about the scope of anything called " +"<quote>property</quote> is not well exercised within this tradition anymore." +msgstr "" +"Det ville vÃ¦rt noe nytt, og noe veldig viktig, hvis like mange kan vÃ¦re med " +"pÃ¥ en kampanje for Ã¥ bekjempe Ã¸kende ekstremisme bygget inn i idÃ©en om " +"<quote>intellektuell eiendom</quote>. Ikke fordi balanse er fremmed for vÃ¥r " +"tradisjon. Jeg argumenterer for at balanse er vÃ¥r tradisjon. Men fordi " +"evnen til Ã¥ tenke kritisk pÃ¥ omfanget av alt som kalles <quote>eiendom</" +"quote> ikke er lenger er godt trent i denne tradisjonen." + +#. 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 Akilles, sÃ¥ ville dette vÃ¦re vÃ¥r hÃ¦l. Dette ville vÃ¦re stedet " +"for vÃ¥re tragedie." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Dylan, Bob" +msgstr "Dylan, Bob" + +#. f11. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, " +"September 2003, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers," +"</quote> CNN/Money, 8 September 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #66</ulink>; Soni Sangha and Phyllis Furman with " +"Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as " +"Sharers,</quote> <citetitle>New York Daily News</citetitle>, 9 September " +"2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single " +"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> " +"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean, " +"<quote>Schoolgirl Settles with RIAA,</quote> <citetitle>Wired News</" +"citetitle>, 10 September 2003, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #67</ulink>." +msgstr "" +"John Borland, <quote>RIAA Sues 261 File Swappers</quote>, CNET News.com, " +"september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #65</ulink>; Paul R. La Monica, <quote>Music Industry Sues Swappers</" +"quote>, CNN/Money, 8 september 2003, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #66</ulink>; Soni Sangha og Phyllis Furman " +"sammen med Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Yr-Old Among 261 " +"Cited as Sharers</quote>, <citetitle>New York Daily News</citetitle>, 9. " +"september 2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised " +"Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants</" +"quote>, <citetitle>Washington Post</citetitle>, 10. september 2003, E1; " +"Katie Dean, <quote>Schoolgirl Settles with RIAA</quote>, <citetitle>Wired " +"News</citetitle>, 10. september 2003, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #67</ulink>." + +#. f12. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady,</" +"quote> mtv.com, 17 September 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #68</ulink>." +msgstr "" +"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady</" +"quote>, mtv.com, 17. september 2003, tilgjengelig fra <ulink url=\"http://" +"free-culture.cc/notes/\">link #68</ulink>." + +#. f13. +#. PAGE BREAK 334 +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " +"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #69</ulink>." +msgstr "" +"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for " +"Dylan Songs</quote>, Kansascity.com, 9. juli 2003, tilgjengelig fra <ulink " +"url=\"http://free-culture.cc/notes/\">link #69</ulink>." + +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>As I write</emphasis> these final words, the news is " +"filled with stories about the RIAA lawsuits against almost three hundred " +"individuals.<placeholder type=\"footnote\" id=\"0\"/> Eminem has just been " +"sued for <quote>sampling</quote> someone else's music.<placeholder type=" +"\"footnote\" id=\"1\"/> The story about Bob Dylan <quote>stealing</quote> " +"from a Japanese author has just finished making the rounds.<placeholder type=" +"\"footnote\" id=\"2\"/> An insider from Hollywood—who insists he must " +"remain anonymous—reports <quote>an amazing conversation with these " +"studio guys. They've got extraordinary [old] content that they'd love to use " +"but can't because they can't begin to clear the rights. They've got scores " +"of kids who could do amazing things with the content, but it would take " +"scores of lawyers to clean it first.</quote> Congressmen are talking about " +"deputizing computer viruses to bring down computers thought to violate the " +"law. Universities are threatening expulsion for kids who use a computer to " +"share content." +msgstr "" +"<emphasis role='strong'>Mens jeg skriver</emphasis> disse avsluttende " +"ordene, er nyhetene fylt med historier om at RIAA saksÃ¸ker nesten tre hundre " +"individer.<placeholder type=\"footnote\" id=\"0\"/> Eminem har nettopp " +"blitt saksÃ¸kt for Ã¥ ha <quote>samplet</quote> noen andres musikk." +"<placeholder type=\"footnote\" id=\"1\"/> Historien om hvordan Bob Dylan " +"har <quote>stjÃ¥let</quote> fra en japansk forfatter har nettopp gÃ¥tt verden " +"over.<placeholder type=\"footnote\" id=\"2\"/> En pÃ¥ innsiden i " +"Hollywood—som insisterer pÃ¥ at han mÃ¥ forbli anonym—rapporterer " +"<quote>en utrolig samtale med disse studiofolkene. De har fantastisk " +"[gammelt] innhold som de ville elske Ã¥ bruke, men det kan de ikke pÃ¥ grunn " +"av at de fÃ¸rst mÃ¥ klarere rettighetene. De har hauger med ungdommer som " +"kunne gjÃ¸re fantastiske ting med innholdet, men det vil fÃ¸rst kreve hauger " +"med advokater for Ã¥ klarere det fÃ¸rst</quote>. Kongressrepresentanter " +"snakker om Ã¥ gi datavirus politimyndighet for Ã¥ ta ned datamaskiner som " +"antas Ã¥ bryte loven. Universiteter truer med Ã¥ utvise ungdommer som bruker " +"en datamaskin for Ã¥ dele innhold." + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "BBC" +msgstr "BBC" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Brazil, free culture in" +msgstr "Brasil, fri kultur i" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Creative Commons" +msgstr "Creative Commons" + +#. type: Content of: <book><chapter><indexterm><primary> +msgid "Gil, Gilberto" +msgstr "Gil, Gilberto" + +#. type: Content of: <book><chapter><indexterm><secondary> +msgid "public creative archive in" +msgstr "offentlig kreativt arkiv i" + +#. f14. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press " +"release, 24 August 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #70</ulink>." +msgstr "" +"<quote>BBC Plans to Open Up Its Archive to the Public</quote>, pressemelding " +"fra BBC, 24. august 2003, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #70</ulink>." + +#. f15. +#. type: Content of: <book><chapter><para><footnote><para> +msgid "" +"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 " +"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#71</ulink>." +msgstr "" +"<quote>Creative Commons and Brazil</quote>, Creative Commons Weblog, 6. " +"august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #71</ulink>." + +#. 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 <quote>Creative Archive,</quote> from which British citizens " +"can download BBC content, and rip, mix, and burn it.<placeholder type=" +"\"footnote\" id=\"0\"/> And in Brazil, the culture minister, Gilberto Gil, " +"himself a folk hero of Brazilian music, has joined with Creative Commons to " +"release content and free licenses in that Latin American country." +"<placeholder type=\"footnote\" id=\"1\"/> I've told a dark story. The truth " +"is more mixed. A technology has given us a new freedom. Slowly, some begin " +"to understand that this freedom need not mean anarchy. We can carry a free " +"culture into the twenty-first century, without artists losing and without " +"the potential of digital technology being destroyed. It will take some " +"thought, and more importantly, it will take some will to transform the RCAs " +"of our day into the Causbys." +msgstr "" +"I mens pÃ¥ andre siden av Atlanteren har BBC nettopp annonsert at de vil " +"bygge opp et <quote>kreativt arkiv</quote> som britiske borgere kan laste " +"ned BBC-innhold fra, og rippe, mikse og brenne det ut.<placeholder type=" +"\"footnote\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i " +"seg selv en folkehelt i brasiliansk musikk, slÃ¥tt seg sammen med Creative " +"Commons for Ã¥ gi ut innhold og frie lisenser i dette latinamerikanske landet." +"<placeholder type=\"footnote\" id=\"1\"/> Jeg har fortalt en mÃ¸rk " +"historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet. " +"Sakte begynner noen Ã¥ forstÃ¥ at denne friheten trenger ikke Ã¥ bety anarki. " +"Vi kan fÃ¥ med oss fri kultur inn i det tjuefÃ¸rste Ã¥rhundre, uten at artister " +"taper og uten at potensialet for digital teknologi blir knust. Det vil " +"kreve omtanke, og viktigere, det vil kreve at noen omformer RCA-ene av i dag " +"til Causbyere." + +#. 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 mÃ¥ gjÃ¸re opprÃ¸r. Den mÃ¥ handle for Ã¥ frigjÃ¸re kulturen. Og " +"snart, hvis dette potensialet skal noen gang bli realisert." + +#. type: Content of: <book><chapter><title> +msgid "AFTERWORD" +msgstr "Etterord" + +#. PAGE BREAK 280 +#. type: Content of: <book><chapter><para> +msgid "" +"<emphasis role='strong'>At least some</emphasis> who have read this far will " +"agree with me that something must be done to change where we are heading. " +"The balance of this book maps what might be done." +msgstr "" +"<emphasis role='strong'>I hvert fall</emphasis> noen av de som har lest helt " +"hit vil vÃ¦re enig med meg om at noe mÃ¥ gjÃ¸res for Ã¥ endre retningen vi " +"holder. Balansen i denne boken kartlegger hva som kan gjÃ¸res." + +#. 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 deler dette kartet i to deler: det som enhver kan gjÃ¸re nÃ¥, og det som " +"krever hjelp fra lovgiverne. Hvis det er en lÃ¦rdom vi kan trekke fra " +"historien om Ã¥ endre pÃ¥ sunn fornuft, sÃ¥ er det at det krever Ã¥ endre " +"hvordan mange mennesker tenker pÃ¥ den aktuelle saken. " + +#. 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 mÃ¥ starte i gatene. Det mÃ¥ rekrutteres et " +"signifikant antall foreldre, lÃ¦rere, bibliotekarer, skapere, forfattere, " +"musikere, filmskapere, forskere—som alle mÃ¥ fortelle denne historien " +"med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er " +"sÃ¥ 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 "" +"NÃ¥r denne bevegelsen har hatt sin effekt i gatene, sÃ¥ er det et visst hÃ¥p om " +"at det kan ha effekt i Washington. Vi er fortsatt et demokrati. Hva folk " +"mener betyr noe. Ikke sÃ¥ mye som det burde, i hvert fall nÃ¥r en RCA stÃ¥r " +"imot, men likevel, det betyr noe. Og dermed vil jeg skissere, i den andre " +"delen som fÃ¸lger, endringer som kongressen kunne gjÃ¸re for Ã¥ bedre sikre en " +"fri kultur." + +#. type: Content of: <book><chapter><section><title> +msgid "US, NOW" +msgstr "Oss, nÃ¥" + +#. type: Content of: <book><chapter><section><para> +msgid "" +"<emphasis role='strong'>Common sense</emphasis> 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 "" +"<emphasis role='strong'>Sunn fornuft</emphasis> er pÃ¥ same side som " +"opphavsrettskrigerne pÃ¥ grunn av at debatten sÃ¥ langt har vÃ¦rt rammet inn " +"rundt ytterpunktene—som en stor entel/eller: enten eiendom eller " +"anarki, enten total kontroll eller sÃ¥ fÃ¥r ikke kunstnerne betalt. Hvis " +"dette virkelig var valget sÃ¥ burde krigerne vinne." + +#. type: Content of: <book><chapter><section><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—<quote>All Rights Reserved</quote>— " +"and those who reject copyright—<quote>No Rights Reserved.</quote> The " +"<quote>All Rights Reserved</quote> sorts believe that you should ask " +"permission before you <quote>use</quote> a copyrighted work in any way. The " +"<quote>No Rights Reserved</quote> sorts believe you should be able to do " +"with content as you wish, regardless of whether you have permission or not." +msgstr "" +"Tabben her er feilen med Ã¥ utelukke den gyldne middelvei. Det er " +"ytterpunkter i denne debatten, men ytterpunktene er ikke det hele. Det er " +"de som tror pÃ¥ maksimal opphavsrett—<quote>Alle rettigheter reservert</" +"quote>—og de som avviser opphavsrett—<quote>Ingen rettigheter " +"reservert</quote>. <quote>Alle rettigheter reservert</quote>-typen mener du " +"bÃ¸r spÃ¸rre om tillatelse fÃ¸r du <quote>bruker</quote> et " +"opphavsrettsbeskyttet verk pÃ¥ noe vis. <quote>Ingen rettigheter reservert</" +"quote>-typen mener du bÃ¸r kunne gjÃ¸re med innhold som du selv Ã¸nsker " +"uavhengig av om du har tillatelse eller ikke." + +#. type: Content of: <book><chapter><section><indexterm><secondary> +msgid "initial free character of" +msgstr "opprinnelige frie egenskaper ved" + +#. PAGE BREAK 282 +#. type: Content of: <book><chapter><section><para> +msgid "" +"When the Internet was first born, its initial architecture effectively " +"tilted in the <quote>no rights reserved</quote> direction. Content could be " +"copied perfectly and cheaply; rights could not easily be controlled. Thus, " +"regardless of anyone's desire, the effective regime of copyright under the " +"original design of the Internet was <quote>no rights reserved.</quote> " +"Content was <quote>taken</quote> regardless of the rights. Any rights were " +"effectively unprotected." +msgstr "" +"Da Internettet ble skapt, ga dets arkitektur i effekt en helning mot " +"<quote>ingen rettigheter reservert</quote>. Innhold kunne kopieres billig " +"og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed " +"var, uavhengig av hva noen Ã¸nsket, det effektive regimet for opphavsrett " +"under den originale utformingen av Internettet <quote>ingen rettigheter " +"reservert</quote>. Innhold ble <quote>tatt</quote> uavhengig av " +"rettighetene. Alle rettigheter var effektivt ubeskyttet." + +#. type: Content of: <book><chapter><section><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 <quote>no rights reserved,</quote> the future architecture will make " +"the effective default <quote>all rights reserved.</quote> The architecture " +"and law that surround the Internet's design will increasingly produce an " +"environment where all use of content requires permission. The <quote>cut " +"and paste</quote> world that defines the Internet today will become a " +"<quote>get permission to cut and paste</quote> world that is a creator's " +"nightmare." +msgstr "" +"Denne opprinnelige egenskapen ga en reaksjon (med motsatt fortegn, men ikke " +"helt likt) fra opphavsrettseierne. Den reaksjonen har vÃ¦rt tema for denne " +"boken. Gjennom lovgiving, sÃ¸ksmÃ¥l og endringer i nettverkets utforming har " +"opphavsrettsinnehaverne vÃ¦rt i stand ti lÃ¥ endre den grunnlegende egenskapen " +"til omgivelsen for det originale Internett. Hvis den opprinnelige " +"arkitekturen gir et effektivt utgangspunkt med <quote>ingen rettigheter " +"reserver</quote>, sÃ¥ vil fremtidens arkitektur gjÃ¸re det effektive " +"utgangspunktet til <quote>alle rettigheter reservert</quote>. Arkitekturen " +"og loven som omgir Internettets utforming vil i stadig stÃ¸rre grad gi en " +"omgivelse hvor all bruk av innhold krever tillatelse. <quote>Klipp og lim</" +"quote>-verden som definerer Internettet i dag vil bli en <quote>skaff " +"tillatelse til Ã¥ klippe og lime</quote>-verden som er en skapers mareritt." + +#. type: Content of: <book><chapter><section><para> +msgid "" +"What's needed is a way to say something in the middle—neither " +"<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but " +"<quote>some rights reserved</quote>— and thus a way to respect " +"copyrights but enable creators to free content as they see fit. In other " +"words, we need a way to restore a set of freedoms that we could just take " +"for granted before." +msgstr "" +"Det som trengs er en mÃ¥te Ã¥ si noe i midten—hverken <quote>alle " +"rettigheter reservert</quote> eller <quote>ingen rettigheter reservert</" +"quote> men <quote>noen rettigheter reservert</quote>—og dermed en mÃ¥te " +"Ã¥ respektere opphavsretter mens en gjÃ¸r det mulig for skaperne Ã¥ frigjÃ¸re " +"innhold nÃ¥r de Ã¸nsker det. Med andre ord, vi trenger en mÃ¥te Ã¥ gjeninnfÃ¸re " +"settet med friheter som vi kunne ta for gitt tidligere." + +#. type: Content of: <book><chapter><section><section><title> +msgid "Rebuilding Freedoms Previously Presumed: Examples" +msgstr "Gjenoppbygging av friheter som tidligere var antatt: Eksempler" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +#, mtrans, fuzzy +msgid "restoration efforts on previous aspects of" +msgstr "restaurering innsats pÃ¥ forrige aspekter av" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "privacy rights" +msgstr "personvernrettigheter" + +#. type: Content of: <book><chapter><section><section><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 " +"<quote>privacy</quote> of your browsing habits was assured." +msgstr "" +"Hvis du trer tilbake fra slaget jeg har beskrevet her, sÃ¥ vil du kjenne " +"igjen dette problemet fra andre omgivelser. Tenk pÃ¥ personvern. FÃ¸r " +"Internettet trengte ikke de fleste av oss Ã¥ bekymre oss over hvor mye data " +"om vÃ¥re liv som vi kringkastet til verden. Hvis du gikk inn i en bokhandler " +"og tittet pÃ¥ verkene til Karl Marx, sÃ¥ trengte du ikke bekymre deg for Ã¥ " +"mÃ¥tte forklare hva du tittet pÃ¥ for dine naboer eller din sjef. " +"<quote>Personvernet</quote> rundt hva du tittet pÃ¥ var sikret." + +#. type: Content of: <book><chapter><section><section><para> +msgid "What made it assured?" +msgstr "Hva gjorde at det var sikret?" + +#. type: Content of: <book><chapter><section><section><para> +#, mtrans, fuzzy +msgid "" +"Well, if we think in terms of the modalities I described in chapter <xref " +"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was " +"assured because of an inefficient architecture for gathering data and hence " +"a market constraint (cost) on anyone who wanted to gather that data. If you " +"were a suspected spy for North Korea, working for the CIA, no doubt your " +"privacy would not be assured. But that's because the CIA would (we hope) " +"find it valuable enough to spend the thousands required to track you. But " +"for most of us (again, we can hope), spying doesn't pay. The highly " +"inefficient architecture of real space means we all enjoy a fairly robust " +"amount of privacy. That privacy is guaranteed to us by friction. Not by law " +"(there is no law protecting <quote>privacy</quote> in public places), and in " +"many places, not by norms (snooping and gossip are just fun), but instead, " +"by the costs that friction imposes on anyone who would want to spy." +msgstr "" +"Vel, hvis vi tror nÃ¥r det gjelder metoder jeg beskrevet i kapittel 10, " +"personvernet var forsikret pÃ¥ grunn av en ineffektiv arkitektur for Ã¥ samle " +"data og dermed betingelsen markedet (kostnader) pÃ¥ alle som Ã¸nsket Ã¥ samle " +"inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, ville " +"arbeider for cia, ingen tvil om personvernet ikke vÃ¦re trygg. men det er " +"fordi vil cia (hÃ¥per vi) finne det verdifullt nok til Ã¥ bruke tusenvis som " +"er nÃ¸dvendig for Ã¥ spore deg. men for de fleste av oss (igjen, vi kan " +"hÃ¥per), spionere ikke betaler. svÃ¦rt 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 pÃ¥legger pÃ¥ alle som Ã¸nsker Ã¥ spy." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Amazon" +msgstr "Amazon" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cookies, Internet" +msgstr "informasjonskapsler, Internett" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "privacy protection on" +msgstr "personvernbeskyttelse pÃ¥" + +#. type: Content of: <book><chapter><section><section><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 <quote>recently viewed</" +"quote> pages. Now, because of the architecture of the Net and the function " +"of cookies on the Net, it is easier to collect the data than not. The " +"friction has disappeared, and hence any <quote>privacy</quote> protected by " +"the friction disappears, too." +msgstr "" +"Inn kommer Internettet, hvor kostnaden med Ã¥ spore spesielt det blir bladd i " +"har blitt svÃ¦rt liten. Hvis du er en kunde av Amazon, sÃ¥ vil Amazon samle " +"informasjon om hva du har sett pÃ¥ mens du tittet pÃ¥ sidene der. Du vet " +"dette pÃ¥ grunn av at det i en spalte pÃ¥ siden vises en liste med " +"<quote>nylig sette</quote> sider. PÃ¥ grunn av arkitekturen til nettet og " +"hvordan informasjonskapsler fungerer pÃ¥ nettet, sÃ¥ er det enklere Ã¥ samle " +"inn disse dataene enn Ã¥ la vÃ¦re. Friksjonen har forsvunnet, og dermed " +"forsvinner ogsÃ¥ ethvert <quote>personvern</quote> som var beskyttet av denne " +"friksjonen." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "privacy rights in use of" +msgstr "personvernrettigheter i bruk av" + +#. type: Content of: <book><chapter><section><section><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 <quote>right</quote> to browse in a library without the " +"government knowing which books you look at (I'm one of those lefties, too), " +"then this change in the technology of monitoring might concern you. If it " +"becomes simple to gather and sort who does what in electronic spaces, then " +"the friction-induced privacy of yesterday disappears." +msgstr "" +"Amazon er naturligvis ikke problemet. Men vi kan begynne Ã¥ bekymre oss for " +"biblioteker. Hvis du er en av disse sprÃ¸ venstrevridde som mener at folk " +"bÃ¸r ha <quote>retten</quote> til Ã¥ bla igjennom et bibliotek uten at " +"myndighetene fÃ¥r vite hvilke bÃ¸ker du ser pÃ¥ (jeg er ogsÃ¥ en av disse " +"venstrevridde), da kan det hende denne endringen i teknologien for " +"overvÃ¥kning angÃ¥r deg. Hvis det blir enkelt Ã¥ samle inn og sortere hvem som " +"gjÃ¸r hva i det elektroniske rom, sÃ¥ forsvinner det friksjons-induserte " +"personvernet fra tidligere tider." + +#. f1. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the " +"Architecture of Privacy (What Larry Doesn't Get),</quote> " +"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " +"6–18, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#72</ulink> (describing examples in which technology defines privacy " +"policy). See also Jeffrey Rosen, <citetitle>The Naked Crowd: Reclaiming " +"Security and Freedom in an Anxious Age</citetitle> (New York: Random House, " +"2004) (mapping tradeoffs between technology and privacy)." +msgstr "" +"Se for eksempel Marc Rotenberg, <quote>Fair Information Practices and the " +"Architecture of Privacy (What Larry Doesn't Get)</quote>, " +"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): par. " +"6–18, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/" +"\">link #72</ulink> (beskriver eksempler der teknologi definerer " +"personvernregler). Se ogsÃ¥ Jeffrey Rosen, <citetitle>The Naked Crowd: " +"Reclaiming Security and Freedom in an Anxious Age</citetitle> (New York: " +"Random House, 2004) (kartlegger avveininger mellom teknologi og personvern)." + +#. PAGE BREAK 284 +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"It is this reality that explains the push of many to define <quote>privacy</" +"quote> on the Internet. It is the recognition that technology can remove " +"what friction before gave us that leads many to push for laws to do what " +"friction did.<placeholder type=\"footnote\" id=\"0\"/> And whether you're in " +"favor of those laws or not, it is the pattern that is important here. We " +"must take affirmative steps to secure a kind of freedom that was passively " +"provided before. A change in technology now forces those who believe in " +"privacy to affirmatively act where, before, privacy was given by default." +msgstr "" +"Det er denne virkeligheten som forklarer at mange gjÃ¸r en innsats for Ã¥ " +"definere <quote>personvern</quote> pÃ¥ Internettet. Det er erkjennelsen om " +"at teknologi kan fjerne det friksjon fÃ¸r ga oss som fÃ¥r mange til Ã¥ be om " +"lover som gjÃ¸r det friksjonen gjorde.<placeholder type=\"footnote\" id=\"0\"/" +"> Og uansett om du er for eller imot disse lovene, sÃ¥ er det mÃ¸nsteret som " +"er det viktige her. Vi mÃ¥ ta aktive steg for Ã¥ sikre en slags frihet som " +"var passivt sikret tidligere. En endring i teknologi tvinger nÃ¥ de som tror " +"pÃ¥ personvern til Ã¥ gjÃ¸re aktive handlinger der hvor personvern tidligere " +"var gitt som utgangspunkt." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Data General" +msgstr "Data General" + +#. type: Content of: <book><chapter><section><section><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 lignende historie kan fortelles om stiftelsen av fri programvare-" +"bevegelsen. Da datamaskiner med programvare fÃ¸rst ble gjort kommersielt " +"tilgjengelig var programvaren—bÃ¥de kildekoden og binÃ¦rene—fritt " +"tilgjengelig. Du kunne ikke kjÃ¸re et program skrevet for en Data General-" +"maskin pÃ¥ en IBM-maskin, sÃ¥ Data General og IBM brydde seg ikke mye om Ã¥ " +"kontrollere programvaren sin." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Stallman, Richard" +msgstr "Stallman, Richard" + +#. type: Content of: <book><chapter><section><section><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 "" +"Dette var verden Richard Stallman ble fÃ¸dt inn i og som forsker ved MIT " +"lÃ¦rte han Ã¥ elske samfunnet som utviklet seg nÃ¥r en var fri til Ã¥ utforske " +"og fikle med programvaren som kjÃ¸rte pÃ¥ datamaskiner. Som en av de smarte " +"typene, i tillegg til Ã¥ vÃ¦re en flink programmerer, begynte Stallman Ã¥ " +"basere seg pÃ¥ friheten han hadde til bygge pÃ¥ eller endre pÃ¥ andre personers " +"verker." + +#. type: Content of: <book><chapter><section><section><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 hvert fall i akademia er ikke dette en veldig radikal idÃ©. Ved et " +"matematisk institutt ville enhver ha friheten til Ã¥ fikle med et bevis som " +"noen andre la frem. Hvis du trodde du hadde en bedre mÃ¥te Ã¥ bevise et " +"teorem, sÃ¥ kunne du ta det noen andre hadde gjort og endre det. Ved et " +"institutt for klassisk historie, hvis du mente en kollegas oversettelse av " +"en nylig oppdaget tekst hadde feil, sÃ¥ hadde du friheten til Ã¥ forbedre " +"den. Dermed, for Stallman, virket det Ã¥penbart at du burde stÃ¥ fritt til Ã¥ " +"fikle med og forbedre koden som kjÃ¸rte pÃ¥ en maskin. Dette var ogsÃ¥ " +"kunnskap. Hvorfor skulle det ikke vÃ¦re Ã¥pent for kritikk pÃ¥ samme mÃ¥te som " +"alt annet?" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "proprietary code" +msgstr "proprietÃ¦r kode" + +#. type: Content of: <book><chapter><section><section><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 svarte pÃ¥ det spÃ¸rsmÃ¥let. Istedet endret arkitekturen for inntekter i " +"dataverden seg. Etter hvert som det ble mulig Ã¥ importere programmer fra et " +"system til et annet, det ble Ã¸konomisk attraktivt (i hvert fall etter noens " +"syn) Ã¥ skjule koden til programmet som man laget. I tillegg begynte " +"selskaper Ã¥ selge ekstrautstyr til stormaskiner. Hvis jeg bare kunne ta din " +"printerdriver og kopiere den, sÃ¥ ville det gjÃ¸re det enklere for meg enn det " +"var for deg Ã¥ selge en printer i markedet." + +#. PAGE BREAK 285 +#. type: Content of: <book><chapter><section><section><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 begynte praksisen med proprietÃ¦r kode Ã¥ spre seg, og tidlig pÃ¥ 1980-" +"tallet fant Stallman at han var omringet av proprietÃ¦r kode. Verden av fri " +"programvare hadde blitt fjernet av en endring i Ã¸konomien rundt " +"databehandling. Og han trodde at hvis han ikke gjorde noe med dette, sÃ¥ " +"ville friheten til Ã¥ endre og dele programvare bli fundamentalt svekket." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Torvalds, Linus" +msgstr "Torvalds, Linus" + +#. type: Content of: <book><chapter><section><section><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 <quote>Linux</" +"quote> kernel was added to produce the GNU/Linux operating system. " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" +msgstr "" +"Derfor, i 1984, startet Stallmann pÃ¥ et prosjekt for Ã¥ bygge et fritt " +"operativsystem, slik i hvert fall en flik av fri programvare skulle " +"overleve. Dette var starten pÃ¥ GNU-prosjektet, som <quote>Linux</quote>-" +"kjernen til Linus Torvalds senere ble lagt til i for Ã¥ produsere GNU/Linux-" +"operativsystemet. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" + +#. type: Content of: <book><chapter><section><section><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 teknikk var Ã¥ bruke Ã¥ndsverksloven til Ã¥ bygge en verden av " +"programvare som mÃ¥ forbli fri. Programvare lisensiert med GPL fra Free " +"Software Foundation kan ikke endres og distribueres uten at kildekoden for " +"den programvaren ogsÃ¥ blir gjort tilgjengelig. Dermed mÃ¥ enhver som bygger " +"pÃ¥ GPL-et programvare ogsÃ¥ frigjÃ¸re sitt byggverk. Dette trodde Stallman " +"ville sikre, at en Ã¸kologi av kode ville utvikle seg som forble fri for " +"andre Ã¥ bygge pÃ¥. Hans fundamentale mÃ¥l var frihet. Nyskapende kreativ " +"kode var et biprodukt." + +#. type: Content of: <book><chapter><section><section><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 gjorde dermed for programvare det personvernforkjempere nÃ¥ gjÃ¸r for " +"personvern. Han sÃ¸kte etter en mÃ¥te Ã¥ gjenoppbygge den type frihet som fÃ¸r " +"var tatt for gitt. Gjennom aktiv bruk av lisenser som gjelder for " +"opphavsrettsbeskyttet kildekode, gjenerobret Stallman aktivt en arena der " +"fri programvare ville overleve. Han beskyttet aktivt det som fÃ¸r hadde vÃ¦rt " +"passivt garantert." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "scientific journals" +msgstr "vitenskapelige tidsskrifter" + +#. type: Content of: <book><chapter><section><section><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, la oss se pÃ¥ et veldig nytt eksempel som resonerer mer direkte " +"med historien i denne boken. Dette er overgangen for hvordan akademiske og " +"vitenskapelige tidsskrifter blir produsert." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Lexis and Westlaw" +msgstr "Lexis and Westlaw" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "journals in" +msgstr "tidsskrifter i" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "access to opinions of" +msgstr "tilgang til vurderinger fra" + +#. PAGE BREAK 286 +#. type: Content of: <book><chapter><section><section><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 "" +"Etter hvert som teknologien utviklet seg, blir det Ã¥penbart for mange at Ã¥ " +"skrive ut tusenvis av kopier av tidsskrifter hver mÃ¥ned og sende dem til " +"biblioteker kanskje ikke er den mest effektive mÃ¥ten Ã¥ spre kunnskap. I " +"stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres " +"brukere gis tilgang til disse elektroniske tidsskriftene gjennom passord-" +"beskyttede nettsteder. Noe lignende har skjedd innen justissektoren i " +"nesten tredve Ã¥r: Lexis og Westlaw har hatt elektroniske versjoner av " +"domstolavgjÃ¸relser tilgjengelig for sine tjeneste-abonnenter. Selv om en " +"hÃ¸yesterettsdom ikke er opphavsrettsbeskyttet, og enhver stÃ¥r fritt til Ã¥ gÃ¥ " +"til et bibliotek og lese den, sÃ¥ stÃ¥r Lexis og Westlaw ogsÃ¥ fritt til Ã¥ " +"kreve betaling fra sine brukerne for Ã¥ gi tilgang til den samme " +"hÃ¸yesterettsdommen gjennom deres respektive tjenester." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "access fees for material in" +msgstr "tilgangsavgifter for materiale i" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "license system for rebuilding of" +msgstr "lisens-systemet for Ã¥ gjenoppbygging av" + +#. type: Content of: <book><chapter><section><section><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 generelt ingenting galt med dette, og muligheten til Ã¥ ta betalt for " +"tilgang selv for allemannseid materiale er helt klart et godt insentiv for " +"folk til Ã¥ utvikle nye og nyskapende mÃ¥ter Ã¥ spre kunnskap. Loven har vÃ¦rt " +"enig, hvilket er det som gjÃ¸r at Lexis og Westlaw har fÃ¥tt lov til Ã¥ " +"blomstre. Og hvis det ikke er noe galt med Ã¥ selge det som er allemannseie, " +"sÃ¥ bÃ¸r det i prinspippet ikke vÃ¦re noe galt i Ã¥ selge tilgang til materiale " +"som ikke er allemannseie." + +#. type: Content of: <book><chapter><section><section><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 hvis den eneste mÃ¥ten Ã¥ fÃ¥ tilgang til sosiale og vitenskapelige " +"data var gjennom proprietÃ¦re tjenester? Hva hvis ingen hadde muligheten til " +"Ã¥ bla igjennom disse datasettene uten Ã¥ betale for et abonnement?" + +#. type: Content of: <book><chapter><section><section><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 flere begynner Ã¥ oppdage, er dette stadig oftere virkeligheten med " +"vitenskapelige tidsskrifter. Da disse tidsskriftene ble distribuert i " +"papirutgaven, kunne bibliotekene gjÃ¸re tidsskriftene tilgjengelig for enhver " +"som hadde tilgang til biblioteket. Dermed kunne pasienter med kreft bli " +"kreft-eksperter pÃ¥ grunn av at biblioteket ga dem tilgang. Eller pasienter " +"som forsÃ¸kte Ã¥ forstÃ¥ risikoen med en bestemt behandling kunne forske pÃ¥ " +"disse risikoene ved Ã¥ lese alle tilgjengelige artikler om den behandlingen. " +"Denne friheten var dermed et resultat av hvordan biblioteker fungerte " +"(normer) og teknologien til papirtidsskrifter (arkitektur)—nemlig at " +"det var veldig vanskelig a kontrollere tilgang til et papirtidsskrift." + +#. type: Content of: <book><chapter><section><section><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 "" +"Etter hvert som tidsskrift blir elektroniske krever derimot utgiverne at " +"bibliotekene ikke gir alle tilgang til tidsskriftene. Dette betyr at " +"frihetene som papirtidsskrifter ga i offentlige biblioteker begynner Ã¥ " +"forsvinne. Dermed, pÃ¥ samme mÃ¥te som med personvern og programvare, " +"endringer i teknologien og markedet krymper en frihet som vi tok for gitt " +"tidligere." + +#. PAGE BREAK 287 +#. type: Content of: <book><chapter><section><section><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 reduserte friheten har fÃ¥tt mange til Ã¥ ta aktive steg for Ã¥ " +"gjenopprette friheten som har gÃ¥tt tapt. Et eksempel er Det Offentlige " +"Vitenskapsbiblioteket (PLoS), som er et ikkekommersielt selskap dedikert til " +"Ã¥ gjÃ¸re vitenskapeling forskning tilgjengelig til alle som har en " +"nettforbindelse. Forfattere av vitenskapelige verk laster sitt verk opp til " +"Det Offentlige Vitenskapsbiblioteket. Dette verket gÃ¥r sÃ¥ igjennom " +"fagfellevurdering. Hvis det blir akseptert, sÃ¥ blir verket sÃ¥ lagret i et " +"offentlig, elektronisk arkiv og gjort gratis og permanent tilgjengelig. " +"PLoS selger ogsÃ¥ trykte utgaver av verkene, men opphavsretten til " +"papirtidsskriftene fratar ingen retten til Ã¥ fritt videredistribuere verket." + +#. type: Content of: <book><chapter><section><section><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 en av mange slike anstrengelser for Ã¥ gjenopprette en frihet som " +"tidligere ble tatt for gitt, men som nÃ¥ er truet av endringer i teknologi og " +"marked. Det er ingen tvil om at dette alternativet konkurrerer med de " +"tradisjonelle forlagene og deres innsats for Ã¥ tjene penger fra den " +"eksklusive distribusjonen av innhold. Men konkurranse antas i vÃ¥r tradisjon " +"for Ã¥ vÃ¦re bra—spesielt nÃ¥r det bidrar til Ã¥ spre kunnskap og " +"vitenskap." + +#. type: Content of: <book><chapter><section><section><title> +msgid "Rebuilding Free Culture: One Idea" +msgstr "Gjenoppbygging av fri kultur: En idÃ©" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The same strategy could be applied to culture, as a response to the " +"increasing control effected through law and technology." +msgstr "" +"Den samme strategien kan brukes pÃ¥ kultur, som et svar pÃ¥ den Ã¸kende " +"kontrollen som gjennomfÃ¸res gjennom lov og teknologi." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Stanford University" +msgstr "Stanford University" + +#. type: Content of: <book><chapter><section><section><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 <emphasis>reasonable</emphasis> copyright on top " +"of the extremes that now reign. It does this by making it easy for people to " +"build upon other people's work, by making it simple for creators to express " +"the freedom for others to take and build upon their work. Simple tags, tied " +"to human-readable descriptions, tied to bulletproof licenses, make this " +"possible." +msgstr "" +"Inn kommer Creative Commons. Creative Commons er et ikke-kommersielt " +"selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford " +"University. Selskapets mÃ¥l er Ã¥ bygge et lag av <emphasis>rimelig</" +"emphasis> opphavsrett pÃ¥ toppen av ekstremene som nÃ¥ regjerer. Det gjÃ¸r " +"dette ved Ã¥ gjÃ¸re det enkelt for folk Ã¥ bygge pÃ¥ andre folks verk, ved Ã¥ " +"gjÃ¸re det enkelt for skapere Ã¥ uttrykke friheten for andre til Ã¥ ta og bygge " +"pÃ¥ deres verk. Dette gjÃ¸res mulig med enkle merker, knyttet til " +"menneskelesbare beskrivelser, som igjen er knyttet til vanntette lisenser." + +#. PAGE BREAK 288 +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"<emphasis>Simple</emphasis>—which means without a middleman, or " +"without a lawyer. By developing a free set of licenses that people can " +"attach to their content, Creative Commons aims to mark a range of content " +"that can easily, and reliably, be built upon. These tags are then linked to " +"machine-readable versions of the license that enable computers automatically " +"to identify content that can easily be shared. These three expressions " +"together—a legal license, a human-readable description, and machine-" +"readable tags—constitute a Creative Commons license. A Creative " +"Commons license constitutes a grant of freedom to anyone who accesses the " +"license, and more importantly, an expression of the ideal that the person " +"associated with the license believes in something different than the " +"<quote>All</quote> or <quote>No</quote> extremes. Content is marked with the " +"CC mark, which does not mean that copyright is waived, but that certain " +"freedoms are given." +msgstr "" +"<emphasis>Enkelt</emphasis>—som betyr uten en mellommann eller uten en " +"advokat. Ved Ã¥ utvikle et fritt sett med lisenser som folk kan knytte til " +"sitt innhold, sikter Creative Commons Ã¥ merke en rekke innhold som enkelt og " +"pÃ¥litelig kan bygges pÃ¥. Disse merkene er sÃ¥ lenket til maskinlesbare " +"versjoner av lisensen som gjÃ¸r det mulig for datamaskiner Ã¥ automatisk " +"identifisere innhold som enkelt kan deles. Denne samlingen av tre " +"uttrykk—en juridisk lisens, en menneske-lesbar beskrivelse og et " +"maskinlesbart merke—utgjÃ¸r en Creative Commons-lisens. En Creative " +"Commons-lisens utgjÃ¸r en tildeling av frihet til enhver som har tilgang til " +"lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror " +"pÃ¥ noe annet enn <quote>Alle</quote>- eller <quote>Ingen</quote>-" +"ytterkantene. Innhold merket med CC-merket betyr ikke at en har sagt fra " +"seg opphavsretten, men derimot at enkelte friheter er gitt bort." + +#. type: Content of: <book><chapter><section><section><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 (<quote>share and share alike</quote>). Or any use so long as no " +"derivative use is made. Or any use at all within developing nations. Or any " +"sampling use, so long as full copies are not made. Or lastly, any " +"educational use." +msgstr "" +"Disse frihetene gÃ¥r ut over friheten som loves av rimelig bruk. Frihetenes " +"presise omriss er avhenging av valgene som skaperen gjÃ¸r. Skaperen kan velge " +"en lisens som tillater enhver bruk, sÃ¥ lenge opphavspersonen navngis. Hun " +"kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge " +"en lisens som tillater enhver bruk sÃ¥ lenge de samme friheter gis videre til " +"andre brukere (<quote>del pÃ¥ like vilkÃ¥r</quote>). Eller enhver bruk sÃ¥ " +"lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland. " +"Eller enhver bruk som <quote>smakebit</quote>, sÃ¥ lenge det ikke lages " +"komplette kopier. Og til slutt, enhver bruk til opplÃ¦ring." + +#. type: Content of: <book><chapter><section><section><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 etablerer dermed en rekke friheter som gÃ¥r ut over " +"utgangspunktet i Ã¥ndsverksloven. De muliggjÃ¸r ogsÃ¥ friheter som gÃ¥r ut over " +"tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse " +"frihetene pÃ¥ en mÃ¥te som de pÃ¥fÃ¸lgende brukerne kan bruke og basere seg pÃ¥ " +"uten Ã¥ hyre inn en advokat. Creative Commons sikter dermed mot Ã¥ bygge et " +"lag av innhold, styrt av et lag av fornuftig Ã¥ndsverkslov, som andre kan " +"bygge pÃ¥. Frivillig valg fra individer og skapere vil gjÃ¸re dette innholdet " +"tilgjengelig. Og dette innholdet vi sÃ¥ gjÃ¸re det mulig for oss Ã¥ " +"gjenopprette allemannseiet." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Garlick, Mia" +msgstr "Garlick, Mia" + +#. PAGE BREAK 289 +#. type: Content of: <book><chapter><section><section><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 (<quote>content conducers,</" +"quote> as attorney Mia Garlick calls them) who help build the public domain " +"and, by their work, demonstrate the importance of the public domain to other " +"creativity." +msgstr "" +"Dette er bare et av mange prosjekter innen Creative Commons. Og Creative " +"Commons er naturligvis ikke den eneste organisasjonen som bidrar til slike " +"friheter. Men det som skiller Creative Commons fra mange andre er at vi er " +"ikke bare interessert i Ã¥ snakke om et allemannseie eller i Ã¥ fÃ¥ lovgiverne " +"til Ã¥ bidra til Ã¥ bygge et allemannseie. VÃ¥rt mÃ¥l er Ã¥ bygge en bevegelse " +"av konsumenter og produsenter av innhold (<quote>innholds-kondusenter</" +"quote>, som advokat Mia Garlick kaller dem) som hjelper til Ã¥ bygge " +"allemannseie og demonstrerer med deres egne verker hvor viktig allemannseiet " +"er for annen kreativitet." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The " +"aim is to complement them. The problems that the law creates for us as a " +"culture are produced by insane and unintended consequences of laws written " +"centuries ago, applied to a technology that only Jefferson could have " +"imagined. The rules may well have made sense against a background of " +"technologies from centuries ago, but they do not make sense against the " +"background of digital technologies. New rules—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 "" +"MÃ¥let er ikke Ã¥ sloss mot <quote>alle rettigheter reservert</quote>-" +"folkene. MÃ¥let er Ã¥ utfylle dem. Problemene som loven skaper for oss som " +"kultur er skapt av sinnsyke og utilsiktede konsekvenser av lover skrevet for " +"Ã¥rhundrer siden, anvendt pÃ¥ en teknologi som kun Jefferson kunne ha " +"forestilt seg. Reglene kan godt Ã¥ gitt mening da bakgrunnen var " +"teknologiene tilgjengelig for hundrevis av Ã¥r siden, men de gir ikke mening " +"nÃ¥r bakgrunnen er digitale teknologier. Nye regler—med andre " +"friheter, uttrykket slik at mennesker uten advokater kan bruke dem—" +"trengs. Creative Commons gir folk en effektiv mÃ¥te Ã¥ begynne Ã¥ lage disse " +"reglene." + +#. type: Content of: <book><chapter><section><section><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, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, was released on-line and for free, under a Creative " +"Commons license, on the same day that it went on sale in bookstores." +msgstr "" +"Hvorfor ville skapere delta i Ã¥ gi slipp pÃ¥ total kontroll? Noen deltar for " +"Ã¥ Ã¸ke spredningen av deres innhold. Et eksempel er Cory Doctorow som er en " +"science fiction-forfatter. Hans fÃ¸rste roman, <citetitle>Down and Out in " +"the Magic Kingdom</citetitle>, ble sluppet gratis pÃ¥ nettet med en Creative " +"Commons-lisens, samme dag som den ble lagt ut for salg i bokhandler." + +#. type: Content of: <book><chapter><section><section><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 " +"<emphasis>increase</emphasis> sales of Cory's book." +msgstr "" +"Hvorfor ville en utgiver noen sinne gÃ¥ med pÃ¥ dette? Jeg mistenker hans " +"utgiver tenkte som dette: Det er to grupper av mennesker der ute: (1) de som " +"vil kjÃ¸pe Corys bok uansett om den er pÃ¥ Internettet eller ikke og (2)de som " +"kanskje aldri hÃ¸rer om Corys bok hvis den ikke blir gjort tilgjengelig " +"gratis pÃ¥ Internettet. En del av (1) vil laste ned Corys bok i stedet for Ã¥ " +"kjÃ¸pe den. Vi kan kalle dem slemme-(1). En del av (2) vil laste ned Corys " +"bok, like den, og deretter bestemme seg for Ã¥ kjÃ¸pe den. Vi kan kalle dem " +"gode-(2). Hvis det er flere gode-(2-) enn det er slemme-(1), sÃ¥ vil " +"strategien med Ã¥ gi ut Corys bok gratis pÃ¥ nettet antagelig <emphasis>Ã¸ke</" +"emphasis> salget av Corys bok." + +#. type: Content of: <book><chapter><section><section><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 "" +"Faktisk stÃ¸tter erfaringene fra hans utgiver helt klart denne konklusjonen. " +"FÃ¸rsteutgaven av boken var utsolgt flere mÃ¥neder tidligere enn utgiveren " +"hadde forventet. Denne fÃ¸rste romanen til en science fiction-formfatter var " +"en total suksess." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Free for All (Wayner)" +msgstr "Free for All (Wayner)" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Wayner, Peter" +msgstr "Wayner, Peter" + +#. PAGE BREAK 290 +#. type: Content of: <book><chapter><section><section><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 <citetitle>Free for All</" +"citetitle>, made an electronic version of his book free on-line under a " +"Creative Commons license after the book went out of print. He then monitored " +"used book store prices for the book. As predicted, as the number of " +"downloads increased, the used book price for his book increased, as well." +msgstr "" +"IdÃ©en om at gratis innhold kan Ã¸ke verdien for ikke-gratis innhold var " +"bekreftet av et eksperiment gjennomfÃ¸rt av en annen forfatter. Peter Wayner, " +"som skrev en bok om fri programvarebevegelsen med tittelen <citetitle>Free " +"For All</citetitle>, gjorde en elektronisk utgave av boken gratis til " +"gjengelig pÃ¥ nettet med en Creative Commons-lisens etter at boken var " +"utsolgt fra forlaget. Han fulgte deretter med pÃ¥ prisen for boken i " +"bruktbokhandler. Som forutsett, etter hvert som antall nedlastinger steg, " +"steg ogsÃ¥ bruktprisen pÃ¥ boken." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Public Enemy" +msgstr "Public Enemy" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "rap music" +msgstr "rap-musikk" + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Leaphart, Walter" +msgstr "Leaphart, Walter" + +#. f2. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " +"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg " +"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #72</ulink>." +msgstr "" +"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " +"Culture Wars</citetitle> (2003), produsert av Jed Horovitz, regissert av " +"Greg Hittelman, en produksjon av Fiat Lucre, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #72</ulink>." + +#. type: Content of: <book><chapter><section><section><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 <quote>sampling license</quote> do so because anything else would be " +"hypocritical. The sampling license says that others are free, for commercial " +"or noncommercial purposes, to sample content from the licensed work; they " +"are just not free to make full copies of the licensed work available to " +"others. This is consistent with their own art—they, too, sample from " +"others. Because the <emphasis>legal</emphasis> costs of sampling are so high " +"(Walter Leaphart, manager of the rap group Public Enemy, which was born " +"sampling the music of others, has stated that he does not <quote>allow</" +"quote> Public Enemy to sample anymore, because the legal costs are so " +"high<placeholder type=\"footnote\" id=\"0\"/>), these artists release into " +"the creative environment content that others can build upon, so that their " +"form of creativity might grow." +msgstr "" +"Dette er eksempler pÃ¥ bruk av Creative Commons for Ã¥ bedre spre proprietÃ¦rt " +"innhold. Jeg mener at dette er en nydelig og vanlig bruk av Creative " +"Commons. Det er andre som bruker Creative Commons-lisenser av andre " +"grunner. Mange som bruker <quote>sampling-lisensen</quote> gjÃ¸r det pÃ¥ " +"grunn av at det ville vÃ¦re hyklerisk. Samling-lisensen sier at andre stÃ¥r " +"fritt til, for kommersielle eller ikke-kommersielle formÃ¥l, Ã¥ bruke biter av " +"innhold fra det lisensierte verket. De har bare ikke friheten til Ã¥ gjÃ¸re " +"hele innholdet tilgjengelig for andre. PÃ¥ grunn av at den " +"<emphasis>juridiske</emphasis> kostnaden med samling er sÃ¥ hÃ¸y (Walter " +"Leaphart, manager for rap-gruppen Public Enemy, som ble skapt ved Ã¥ sample " +"musikken til andre, har uttalt at han ikke <quote>tillater</quote> Public " +"Enemy Ã¥ sample mer, pÃ¥ grunn av at den juridiske kostnaden er sÃ¥ " +"hÃ¸y<placeholder type=\"footnote\" id=\"0\"/>), slipper disse artistene " +"innhold ut i det kreative miljÃ¸et som andre kan bygge videre pÃ¥, slik at " +"deres form for kreativitet kan vokse." + +#. type: Content of: <book><chapter><section><section><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 <quote>All Rights Reserved</quote> " +"model. Good for you, but many do not. Many believe that however appropriate " +"that rule is for Hollywood and freaks, it is not an appropriate description " +"of how most creators view the rights associated with their content. The " +"Creative Commons license expresses this notion of <quote>Some Rights " +"Reserved,</quote> and gives many the chance to say it to others." +msgstr "" +"Til slutt er det mange som merker sitt innhold med en Creative Commons-" +"lisens kun fordi de Ã¸nsker Ã¥ uttrykke til andre hvor viktig de synes balanse " +"er i denne debatten. Hvis du bare aksepterer systemet slik det er, sÃ¥ sier " +"du i effekt at du tror pÃ¥ <quote>alle rettigheter reservert</quote>-" +"modellen. Fint for deg, men mange gjÃ¸r ikke det. Mange tror at uansett hvor " +"riktig den regelen er for Hollywood og gÃ¦rninger, sÃ¥ er den ikke en riktig " +"beskrivelse av hvordan de fleste skaperne ser pÃ¥ rettighetene knyttet til " +"sitt innhold. Creative Commons-lisensen uttrykker begrepet <quote>noen " +"rettigheter reservert</quote>, og gir mange muligheten til Ã¥ si det til " +"andre." + +#. PAGE BREAK 291 +#. type: Content of: <book><chapter><section><section><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 fÃ¸rste seks mÃ¥nedene av Creative Commons-eksperimentet, ble over en " +"million objekter lisensiert med disse fri kultur-lisensene. Neste steg er " +"partnerskap med mellomvare-tilbyderne av innhold for Ã¥ hjelpe dem Ã¥ bygge " +"enkle mÃ¥ter for brukerne Ã¥ merke innholdet med friheten gitt med Creative " +"Commons inn i teknologiene de lager." + +#. type: Content of: <book><chapter><section><section><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 de fÃ¸rste stegene for Ã¥ gjenoppbygge et allemannseie. De er ikke " +"kun argumentasjon, de er handlinger. A bygge allemannseiet er fÃ¸rste steg " +"for Ã¥ vise folk hvor viktig dette er for kreativitet og nyskapning. " +"Creative Commons baserer seg pÃ¥ frivillige steg for Ã¥ fÃ¥ til denne " +"gjenoppbyggingen. De vil fÃ¸re til en verden hvor mer enn frivillige steg er " +"mulig." + +#. type: Content of: <book><chapter><section><section><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 pÃ¥ frivillig innsats fra " +"enkeltpersoner og skapere for Ã¥ endre blandingen av rettigheter som nÃ¥ " +"styrer det kreative omrÃ¥det. Prosjektet konkurrerer ikke med " +"opphavsretten. Den utfyller den. Dets mÃ¥l er ikke Ã¥ bekjempe rettighetene " +"til forfatterne, men a gjÃ¸re det enklere for forfattere og skapere Ã¥ utÃ¸ve " +"sine rettigheter mer fleksibelt og billigere. Den forskjellen, tror vi, vil " +"gjÃ¸re det mulig for kreativiteten a spre seg lettere." + +#. type: Content of: <book><chapter><section><title> +msgid "THEM, SOON" +msgstr "Dem, snart" + +#. type: Content of: <book><chapter><section><para> +msgid "" +"<emphasis role='strong'>We will</emphasis> not reclaim a free culture by " +"individual action alone. It will also take important reforms of laws. We " +"have a long way to go before the politicians will listen to these ideas and " +"implement these reforms. But that also means that we have time to build " +"awareness around the changes that we need." +msgstr "" +"<emphasis role='strong'>Vi vil</emphasis> ikke vinne tilbake en fri kultur " +"kun ved individuelle handlinger. Det trengs ogsÃ¥ viktige lovreformer. Vi " +"har en lang vei a gÃ¥ fÃ¸r politikerne vil lytte til disse idÃ©ene og " +"implementere disse reformene. Men det betyr ogsÃ¥ at vi har tid til Ã¥ bygge " +"opp bevisstheten rundt endringene som trengs." + +#. type: Content of: <book><chapter><section><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 kapittelet skisserer jeg fem typer endringer: fire som er generelle " +"og en som er spesifikk for den mest opphetede kampen for tiden, musikk. " +"Hver av dem er et steg, ikke et mÃ¥l. Men hver av disse stegene vil fÃ¸re oss " +"et godt stykke mot vÃ¥rt mÃ¥l." + +#. type: Content of: <book><chapter><section><section><title> +msgid "1. More Formalities" +msgstr "1. Flere formaliteter" + +#. type: Content of: <book><chapter><section><section><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 kjÃ¸per et hus, sÃ¥ mÃ¥ du registrere salget i et skjÃ¸te. Hvis du " +"kjÃ¸per eiendom for Ã¥ bygge et hus, sÃ¥ mÃ¥ du registrere kjÃ¸pet i et skjÃ¸te. " +"Hvis du kjÃ¸per en bil sÃ¥ fÃ¥r du en eierskiftemelding og registrerer bilen. " +"Hvis du kjÃ¸per en flybillett sÃ¥ har den navnet ditt pÃ¥ den." + +#. PAGE BREAK 293 +#. type: Content of: <book><chapter><section><section><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 eiendom. De er krav som vi alle mÃ¥ " +"forholde oss til hvis vi Ã¸nsker at vÃ¥r eiendom skal bli beskyttet." + +#. type: Content of: <book><chapter><section><section><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 <quote>formalities</quote> are banished." +msgstr "" +"Dette stÃ¥r i kontrast til gjeldende Ã¥ndsverkslov, der du automatisk fÃ¥r " +"opphavsrett uavhengig av om du overholder noen formaliteter eller ikke. Du " +"trenger ikke Ã¥ registrere den. Du trenger ikke en gang merke innholdet " +"ditt. Utgangspunktet er kontroll, og <quote>formaliteter</quote> er " +"bannlyst." + +#. type: Content of: <book><chapter><section><section><para> +msgid "Why?" +msgstr "Hvorfor?" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, the motivation to abolish formalities was a good one. In " +"the world before digital technologies, formalities imposed a burden on " +"copyright holders without much benefit. Thus, it was progress when the law " +"relaxed the formal requirements that a copyright owner must bear to protect " +"and secure his work. Those formalities were getting in the way." +msgstr "" +"Som jeg foreslo i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"property-i\"/>, var motivasjonen for Ã¥ avskaffe formalitetene god. I " +"verden fÃ¸r digitale teknologier, la formalitetene en byrde pÃ¥ " +"opphavsrettsinnehaverne uten at det ga nevneverdige fordeler. Dermed var " +"det en fremgang da loven slakket opp pÃ¥ de formelle kravene som " +"opphavsrettseieren mÃ¥tte oppfylle for Ã¥ beskytte og sikre sitt verk. Disse " +"formalitetene kom i veien." + +#. type: Content of: <book><chapter><section><section><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 <emphasis>lack</emphasis> of formalities " +"forces many into silence where they otherwise could speak." +msgstr "" +"Men Internettet endrer alt dette. Formaliteter trenger i dag ikke vÃ¦re en " +"byrde. I stedet er det slik at en verden uten formaliteter er en verden som " +"hemmer kreativiteten. I dag er det ingen enkel mÃ¥te Ã¥ vite hvem som eier " +"hva, og hvem en mÃ¥ gjÃ¸re avtale med for Ã¥ kunne bruke eller bygge pÃ¥ det " +"kreative verket til andre. Det er intet register og det er intet system for " +"Ã¥ spore—det er ingen enkel mÃ¥te Ã¥ vite hvordan en fÃ¥r tillatelse. Og " +"likevel er det, gitt den massive Ã¸kningen i omfanget for opphavsrettens " +"regler, et nÃ¸dvendig steg Ã¥ fÃ¥ tillatelse for ethvert verk som baserer seg " +"pÃ¥ vÃ¥r fortid. Og dermed tvinger <emphasis>fravÃ¦ret</emphasis> av " +"formaliteter mange til Ã¥ vÃ¦re stille der de ellers ville talt." + +#. f1. +#. type: Content of: <book><chapter><section><section><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 fremmmer her ville kun gjelde for amerikanske verk. Jeg tror " +"naturligvis at det ville vÃ¦re en fordel om samme ide ble adoptert ogsÃ¥ av " +"andre land." + +#. type: Content of: <book><chapter><section><section><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 "" +"Loven burde derfor endre dette kravet<placeholder type=\"footnote\" id=\"0\"/" +">—men den bÃ¸r ikke endres ved Ã¥ gÃ¥ tilbake til det gamle Ã¸delagte " +"systemet. Vi bÃ¸r kreve formaliteter, men vi bÃ¸r etablere et system som vil " +"skape insentivene for Ã¥ minimere byrden disse formalitetene pÃ¥fÃ¸rer." + +#. type: Content of: <book><chapter><section><section><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 "" +"Det er tre viktige formaliteter: merke opphavsrettsbeskyttede verk, " +"registrere opphavsrett og fornÃ¸ye krav om opphavsrett. Tradisjonelt var den " +"fÃ¸rste av disse tre noe opphavsrettsinnehaveren gjorde og de andre to var " +"noe myndighetene gjorde. Men et revidert system med formaliteter bÃ¸r fjerne " +"myndighetene fra prosessen, med unntak fra det ene formÃ¥let med Ã¥ godkjenne " +"standarder utviklet av andre." + +#. type: Content of: <book><chapter><section><section><section><title> +msgid "REGISTRATION AND RENEWAL" +msgstr "Registrering og fornying" + +#. type: Content of: <book><chapter><section><section><section><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 "" +"I det gamle systemet mÃ¥tte en opphavsrettseier sende inn en registrering til " +"opphavsrettskontoret for Ã¥ registrere eller fornye opphavsretten. NÃ¥r en " +"sendte inn registreringen mÃ¥tte opphavsrettseieren betale en avgift. Som " +"med de fleste offentlige kontorer hadde opphavsrettskontoret lite insentiv " +"til Ã¥ minimere belastningen som registreringen ga. Det hadde ogsÃ¥ lite " +"insentiv til Ã¥ minimere avgiften. Og etter som opphavsrettskontoret ikke " +"var et hovedmÃ¥l for regjeringens politikk, har kontoret historisk vÃ¦rt " +"veldig underfinansiert. Dermed, nÃ¥r folks om kjenner til prosessen hÃ¸rer " +"denne idÃ©en om formaliteter sÃ¥ er deres fÃ¸rste reaksjon panikk—" +"ingenting kan vÃ¦re verre enn Ã¥ tvinge folk Ã¥ forholde seg til rotet som " +"heter opphavsrettskontoret." + +#. type: Content of: <book><chapter><section><section><section><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 har det alltid overrasket meg at vi, som kommer fra en tradisjon med " +"ekstraordinÃ¦r nyskapning innen myndighetsutforming, ikke lenger kan vÃ¦re " +"nyskapende om hvordan myndighetsfunksjoner kan utformes. Det at det er et " +"offentlig formÃ¥l i en styringsrolle, betyr ikke at myndighetene er de eneste " +"som kan administrere rollen. I stedet burde vi skape insentiver for at " +"private aktÃ¸rer tilbyr tjenesten til offentligheten, i fÃ¸lge standarder som " +"myndighetene definerer." + +#. type: Content of: <book><chapter><section><section><section><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 en registrerings-sammenheng er Internettet en opplagt modell. Det finnes " +"minst 32 millioner nettsteder registrert rundt om i verden. Eiere av " +"domenenavnene til disse nettstedene mÃ¥ betale en avgift for Ã¥ beholde sin " +"registrering. For de viktigste toppnivÃ¥-domenene (.com, .org, .net) er det " +"et sentralt register. enkelte registreringene er derimot gjennomfÃ¸rt av " +"mange konkurrerende registrarer. Denne konkurransen presser ned " +"registreringskostnadene, og enda viktigere sÃ¥ bidrar dette til Ã¥ gjÃ¸re hver " +"enkelt registrering enklere." + +#. PAGE BREAK 295 +#. type: Content of: <book><chapter><section><section><section><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 burde ta i bruk en lignende modell for registrering og fornying av " +"opphavsretter. Opphavsrettskontoret kan godt fungere som det sentrale " +"registeret, men de burde ikke drive registrarvirksomhet. I stedet burde det " +"etablere en database, og et sett med stadarder for registrarer. Det bÃ¸r " +"godkjenne registrarer som fÃ¸lger disse standardene. Disse registrarene " +"ville dermed konkurrere med hverandre om Ã¥ levere den billigste og enkleste " +"systemet for Ã¥ registrere og fornye opphavsretter. Denne konkurransen ville " +"redusere betydelig belastningen som denne formaliteten gir—mens det " +"gir en database over registreringer som kan forenkle lisensiering av innhold." + +#. type: Content of: <book><chapter><section><section><section><title> +msgid "MARKING" +msgstr "Merking" + +#. type: Content of: <book><chapter><section><section><section><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 Ã¥ ikke merke kreative verker med opphavsrettsinformasjon fÃ¸rte tidligere " +"til at en mistet opphavsretten. Det var en veldig streng straff for Ã¥ ikke " +"overholde en regulatorisk regel—omtrent som Ã¥ dÃ¸mme noen til " +"dÃ¸dsstraff for Ã¥ fÃ¥ ha parkert ulovlig i kreativ rettighets-verden. Her er " +"det heller ikke noen grunn til at markeringskravene trenger Ã¥ bli hÃ¥ndhevd " +"pÃ¥ denne mÃ¥ten. Og viktigere er at det ikke er noen grunn til at " +"merkingskravene trenger Ã¥ hÃ¥ndheves likt pÃ¥ tvers av alle medier." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"MÃ¥let med merkingen er Ã¥ signalisere til offentligheten at dette verket er " +"opphavsrettsbeskyttet og at forfatteren Ã¸nsker a hÃ¥ndheve sine rettigheter. " +"Merket gjÃ¸r det ogsÃ¥ enkelt Ã¥ spore opp en opphavsrettseier for Ã¥ skaffe " +"tillatelse til Ã¥ bruke verket." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"Et av problemene som opphavsrettssystemet konfronterte tidlig var at ulike " +"opphavsrettsbeskyttede verker mÃ¥tte markeres forskjellig. Det var ikke " +"klart hvordan og hvor en statue skulle merkes, eller en plate, eller en " +"film. Et nytt merkingskrav kan lÃ¸se disse problemene ved Ã¥ anerkjenne " +"forskjellene i mediene, og ved Ã¥ tillate merkings-systemet til Ã¥ utvikle seg " +"etter hvert som teknologien muliggjÃ¸r det. Systemet kan muliggjÃ¸re et " +"spesielt signal nÃ¥r en ikke merker—ikke miste opphavsretten, men miste " +"retten til Ã¥ straffe noen for Ã¥ ikke ha skaffet seg tillatelse fÃ¸rst." + +#. f2. +#. type: Content of: <book><chapter><section><section><section><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 "" +"En kompliserende faktor er avledede verker, og den har jeg ikke lÃ¸st her. " +"Etter mitt syn skaper loven rundt avledede verker et mer komplisert system " +"enn det som kan rettferdiggjÃ¸res ut fra de marginale insentivene dette gir." + +#. PAGE BREAK 296 +#. type: Content of: <book><chapter><section><section><section><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 <quote>use unless someone complains.</quote> If someone " +"does complain, then the obligation would be to stop using the work in any " +"new work from then on though no penalty would attach for existing uses. " +"This would create a strong incentive for copyright owners to mark their work." +msgstr "" +"La oss starte med det siste poenget. Hvis en opphavsrettsinnehaver tillater " +"at hans verk blir publisert uten opphavsrettsmerking, sÃ¥ trenger ikke " +"konsekvensen vÃ¦re at opphavsretten er tapt. Konsekvensen kan i stedet vÃ¦re " +"at enhver da har rett til Ã¥ bruke dette verket inntil " +"opphavsrettsinnehaveren klager og demonstrerer at det er hans verk og at han " +"ikke gir tillatelse.<placeholder type=\"footnote\" id=\"0\"/> Meningen til " +"et umerket verk ville dermed vÃ¦re <quote>bruk med mindre noen klager</" +"quote>. Hvis noen klager, sÃ¥ er forpliktelsen at en mÃ¥ slutte Ã¥ bruke " +"verket i ethvert nytt verk fra da av, selv om det ikke er noen " +"straffereaksjon knyttet til eksisterende bruk. Dette vil skape et sterkt " +"insentiv for opphavsrettseiere til Ã¥ merke sine verk." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"Dette i sin tur reiser spÃ¸rsmÃ¥let om hvordan et verk best bÃ¸r merkes. Her mÃ¥ " +"systemet igjen justere seg etter hvert som teknologiene utvikler seg. Den " +"beste mÃ¥ten Ã¥ sikre at systemet utvikler seg er Ã¥ begrense " +"opphavsrettskontorets rolle til Ã¥ godkjenne standarder for Ã¥ merke innhold " +"som har vÃ¦rt utviklet av andre." + +#. type: Content of: <book><chapter><section><section><section><indexterm><secondary> +msgid "copyright marking of" +msgstr "opphavsrettsmerking av" + +#. type: Content of: <book><chapter><section><section><section><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 <emphasis>solely</emphasis> upon the " +"consideration of which method could best be integrated into the registration " +"and renewal system. We would not count on the government to innovate; but we " +"would count on the government to keep the product of innovation in line with " +"its other important functions." +msgstr "" +"For eksempel, hvis en plateindustriforening kommer opp med en metode for Ã¥ " +"merke CDer, sÃ¥ ville den foreslÃ¥ dette til opphavsrettskontoret. " +"Opphavsrettskontoret ville sÃ¥ holde en hÃ¸ring, hvor andre forslag kunne " +"legges frem. Opphavsrettskontoret ville sÃ¥ velge det forslaget som det " +"vurderte som det beste, og det ville basere valget <emphasis>utelukkende</" +"emphasis> pÃ¥ vurderingen om hvilken metode som best kunne integreres inn i " +"registrering- og fornyings-systemet. Vi ville ikke basere oss pÃ¥ at " +"myndighetene laget noe nytt, men vi ville basere oss pÃ¥ at myndighetene " +"sikret at de nye produktene pÃ¥ linje med dets andre viktige funksjoner." + +#. type: Content of: <book><chapter><section><section><section><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 vil klart markert innhold gjÃ¸re registreringskravene enklere. " +"Hvis fotografier var merket med forfatter og Ã¥r, sÃ¥ ville det vÃ¦re liten " +"grunn til Ã¥ ikke tillate en fotograf til Ã¥ fornye for eksempel alle " +"fotografier tatt i et bestemt Ã¥r i et raskt steg. MÃ¥let med formaliteten er " +"ikke Ã¥ belaste skaperne. Systemet selv bÃ¸r holdes sÃ¥ enkelt som mulig." + +#. type: Content of: <book><chapter><section><section><section><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 "" +"FormÃ¥let med formaliteter er Ã¥ gjÃ¸re ting mer klart. Det eksisterende " +"systemet gjÃ¸r ingenting for Ã¥ gjÃ¸re ting mer klart. Det virker heller som " +"om det er utformet for Ã¥ gjÃ¸re ting mindre klart." + +#. type: Content of: <book><chapter><section><section><section><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 slik som registrering ble gjeninnfÃ¸rt, sÃ¥ ville et av de " +"mest vanskelige sidene med Ã¥ stole pÃ¥ allemannseie bli fjernet. Det ville " +"bli enkelt Ã¥ identifisere hvilket innhold som kan antas Ã¥ vÃ¦re fritt " +"tilgjengelig. Det ville vÃ¦re enkelt Ã¥ identifisere hvem som kontrollerer " +"rettighetene for et bestemt type innhold. Det ville vÃ¦re enkelt Ã¥ hevde " +"disse rettighetene, og Ã¥ fornye denne hevden pÃ¥ riktig tidspunkt." + +#. type: Content of: <book><chapter><section><section><title> +msgid "2. Shorter Terms" +msgstr "2. Kortere vernetid" + +#. type: Content of: <book><chapter><section><section><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 "" +"Vernetiden i opphavsretten har gÃ¥tt fra fjorten Ã¥r til nittifem Ã¥r der " +"selskap har forfatterskapet, og livstiden til forfatteren pluss sytti Ã¥r for " +"individuelle forfattere." + +#. f3. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 " +"(25 January 2003): 15, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #74</ulink>." +msgstr "" +"<quote>A Radical Rethink</quote>, <citetitle>Economist</citetitle>, 366:8308 " +"(25. januar 2003): 15, tilgjengelig fra <ulink url=\"http://free-culture.cc/" +"notes/\">link #74</ulink>." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-" +"year term, granted in five-year increments with a requirement of renewal " +"every five years. That seemed radical enough at the time. But after we lost " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the " +"proposals became even more radical. <citetitle>The Economist</citetitle> " +"endorsed a proposal for a fourteen-year copyright term.<placeholder type=" +"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for " +"patents." +msgstr "" +"I <citetitle>The Future of Ideas</citetitle> foreslo jeg syttifemÃ¥rs " +"vernetid, tildelt i femÃ¥rsbolker med et krav om Ã¥ fornye hvert femte Ã¥r. " +"Dette virket radikalt nok pÃ¥ den tiden. Men etter at vi tapte " +"<citetitle>Eldred</citetitle> mot <citetitle>Ashcroft</citetitle> ble " +"forslaget enda mer radikalt. <citetitle>The Economist</citetitle> anbefalte " +"et forslag om fjorten Ã¥rs vernetid.<placeholder type=\"footnote\" id=\"0\"/> " +"Andre har foreslÃ¥tt Ã¥ knytte vernetiden til vernetiden for patenter." + +#. type: Content of: <book><chapter><section><section><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 vi trenger en radikal endring i opphavsretten " +"levetid. Men hvorvidt den er fjorten Ã¥r eller syttifem, sÃ¥ er det fire " +"prinsipper som det er viktig Ã¥ tenke pÃ¥ nÃ¥r det gjelder varighetenen til " +"opphavsretten." + +#. (1) +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it short:</emphasis> The term should be as long as necessary " +"to give incentives to create, but no longer. If it were tied to very strong " +"protections for authors (so authors were able to reclaim rights from " +"publishers), rights to the same work (not derivative works) might be " +"extended further. The key is not to tie the work up with legal regulations " +"when it no longer benefits an author." +msgstr "" +"<emphasis>Hold den kort:</emphasis> Lengden bÃ¸r vÃ¦re sÃ¥ lang at den gir " +"nÃ¸dvendig insentiv til Ã¥ skape, men ikke lenger. Hvis den er knyttet opp " +"til svÃ¦rt sterk beskyttelse for forfattere (slik at forfattere er i stand " +"til Ã¥ fÃ¥ tilbake rettigheter fra utgiverne), sÃ¥ kan rettigheter til samme " +"verk (ikke avledede verk) bli ytterligere utvidet. NÃ¸kkelen er Ã¥ ikke binde " +"verk opp med juridiske reguleringer nÃ¥r det ikke lenger gir fordeler til en " +"forfatter." + +#. (2) +#. PAGE BREAK 298 +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it simple:</emphasis> The line between the public domain and " +"protected content must be kept clear. Lawyers like the fuzziness of " +"<quote>fair use,</quote> and the distinction between <quote>ideas</quote> " +"and <quote>expression.</quote> That kind of law gives them lots of work. But " +"our framers had a simpler idea in mind: protected versus unprotected. The " +"value of short terms is that there is little need to build exceptions into " +"copyright when the term itself is kept short. A clear and active " +"<quote>lawyer-free zone</quote> makes the complexities of <quote>fair use</" +"quote> and <quote>idea/expression</quote> less necessary to navigate." +msgstr "" +"<emphasis>GjÃ¸r det enkelt:</emphasis> Skillelinjen mellom verker uten " +"opphavsrettslig vern og innhold som er beskyttet mÃ¥ forbli klart. Advokater " +"liker uklarheten som <quote>rimelig bruk</quote> og forskjellen mellom " +"<quote>idÃ©er</quote> og <quote>uttrykk</quote> har. Denne type lovverk gir " +"dem en masse arbeid. Men de som skrev grunnloven hadde en enklere idÃ©: " +"vernet versus ikke vernet. Verdien av korte vernetider er at det er lite " +"behov for Ã¥ bygge inn unntak i opphavsretten nÃ¥r vernetiden holdes kort. En " +"klar og aktiv <quote>advokat-fri sone</quote> gjÃ¸r kompleksiteten av " +"<quote>rimelig bruk</quote> og <quote>idÃ©/uttrykk</quote> mindre nÃ¸dvendig Ã¥ " +"hÃ¥ndtere." + +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary> +msgid "veterans' pensions" +msgstr "veteranpensjoner" + +#. f4. +#. type: Content of: <book><chapter><section><section><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 "" +"Department of Veterans Affairs, Veteran's Application for Compensation and/" +"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra " +"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>." + +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. " +"Especially if the maximum term is long, the copyright owner should be " +"required to signal periodically that he wants the protection continued. This " +"need not be an onerous burden, but there is no reason this monopoly " +"protection has to be granted for free. On average, it takes ninety minutes " +"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/" +"> If we make veterans suffer that burden, I don't see why we couldn't " +"require authors to spend ten minutes every fifty years to file a single form." +msgstr "" +"<emphasis>Hold det i live:</emphasis> En bÃ¸r vÃ¦re nÃ¸dt til Ã¥ fornye " +"opphavsrettsbeskyttelsen. Spesielt hvis den maksimale varigheten er lang, " +"sÃ¥ bÃ¸r opphavsrettseieren vÃ¦re nÃ¸dt til Ã¥ signalisere regelmessig at han " +"Ã¸nsker at beskyttelsen fortsetter. Dette trenger ikke vÃ¦re en enorm " +"belastning, men det er ingen grunn til at denne monopolbeskyttelsen mÃ¥ deles " +"ut gratis. I snitt tar det nitti minutter for en veteran Ã¥ sÃ¸ke om pensjon." +"<placeholder type=\"footnote\" id=\"0\"/> Hvis vi belaster veteraner med sÃ¥ " +"mye, sÃ¥ ser jeg ikke hvorfor vi ikke kan kreve at forfattere bruker ti " +"minutter hvert femtiende Ã¥r for Ã¥ fylle ut et enkelt skjema." + +#. (4) +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright " +"should be, the clearest lesson that economists teach is that a term once " +"given should not be extended. It might have been a mistake in 1923 for the " +"law to offer authors only a fifty-six-year term. I don't think so, but it's " +"possible. If it was a mistake, then the consequence was that we got fewer " +"authors to create in 1923 than we otherwise would have. But we can't correct " +"that mistake today by increasing the term. No matter what we do today, we " +"will not increase the number of authors who wrote in 1923. Of course, we can " +"increase the reward that those who write now get (or alternatively, increase " +"the copyright burden that smothers many works that are today invisible). But " +"increasing their reward will not increase their creativity in 1923. What's " +"not done is not done, and there's nothing we can do about that now." +msgstr "" +"<emphasis>Hold det potensielt:</emphasis> Uansett hva lengden pÃ¥ vernetiden " +"i opphavsretten bÃ¸r vÃ¦re, sÃ¥ er den klareste lÃ¦rdommen Ã¸konomiene kan lÃ¦re " +"oss er at en levetid nÃ¥r den er gitt aldri bÃ¸r bli utvidet. Det kan ha vÃ¦rt " +"en tabbe i 1923 at loven kun tilbÃ¸d forfattere en varighet pÃ¥ femtisyv Ã¥r. " +"Jeg tror ikke det, men det er mulig. Hvis det var en tabbe, sÃ¥ var " +"konsekvensen at vi fikk fÃ¦rre forfattere som skrev i 1923 enn vi ellers " +"ville hatt. Men vi kan ikke korrigere den feilen i dag ved Ã¥ utvide " +"vernetiden. Uansett hva vi gjÃ¸r i dag, sÃ¥ kan vi ikke Ã¸ke antallet " +"forfattere som skrev i 1923. Vi kan naturligvis Ã¸ke belÃ¸nningen for de som " +"skriver nÃ¥ (eller alternativt, Ã¸ke opphavsrettsbyrden som kveler mange " +"verker som i dag er usynlige. Men Ã¥ Ã¸ke deres belÃ¸nning vil ikke Ã¸ke deres " +"kreativitet i 1923. Det som ikke ble gjort ble ikke gjort, og det er " +"ingenting vi kan gjÃ¸re med det nÃ¥." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"These changes together should produce an <emphasis>average</emphasis> " +"copyright term that is much shorter than the current term. Until 1976, the " +"average term was just 32.2 years. We should be aiming for the same." +msgstr "" +"Disse endringene vil sammen gi en <emphasis>gjennomsnittlig</emphasis> " +"opphavsrettslig vernetid som er mye kortere enn den gjeldende vernetiden. " +"Frem til 1976 var gjennomsnittlig vernetid kun 32.2 Ã¥r. VÃ¥rt mÃ¥l bÃ¸r vÃ¦re " +"det samme." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"No doubt the extremists will call these ideas <quote>radical.</quote> (After " +"all, I call them <quote>extremists.</quote>) But again, the term I " +"recommended was longer than the term under Richard Nixon. How " +"<quote>radical</quote> can it be to ask for a more generous copyright law " +"than Richard Nixon presided over?" +msgstr "" +"Uten tvil vil ekstremistene kalle disse idÃ©ene <quote>radikale</quote>. " +"(Tross alt, sÃ¥ kaller jeg dem <quote>ekstremister</quote>.) Men igjen, " +"vernetiden jeg anbefalte var lengre enn vernetiden under Richard Nixon. hvor " +"<quote>radikalt</quote> kan det vÃ¦re Ã¥ be om en mer sjenerÃ¸s " +"opphavsrettighet enn da Richard Nixon var president?" + +#. type: Content of: <book><chapter><section><section><title> +msgid "3. Free Use Vs. Fair Use" +msgstr "3. Fri Bruk vs. rimelig bruk" + +#. type: Content of: <book><chapter><section><section><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 observerte i starten av denne boken, ga originalt eiendomsretten " +"landeiere retten til Ã¥ kontrollere sin eiendom fra joda og helt opp til " +"himmelen. SÃ¥ kom flymaskiner, og omfanget av eiendomsretter ble raskt " +"endret. Det var intet oppstyr, ingen konstituell utfordring. Det ga ikke " +"mening lenger Ã¥ gi bort sÃ¥ mye kontroll, gitt fremveksten av denne nye " +"teknologien." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Our Constitution gives Congress the power to give authors <quote>exclusive " +"right</quote> to <quote>their writings.</quote> Congress has given authors " +"an exclusive right to <quote>their writings</quote> plus any derivative " +"writings (made by others) that are sufficiently close to the author's " +"original work. Thus, if I write a book, and you base a movie on that book, I " +"have the power to deny you the right to release that movie, even though that " +"movie is not <quote>my writing.</quote>" +msgstr "" +"VÃ¥r grunnlov gir kongressen myndighet til Ã¥ tildele forfattere " +"<quote>eksklusive rett</quote> til <quote>deres skrifter</quote>. Kongressen " +"har gitt forfattere en eksklusiv rett til <quote>deres skrifter</quote> " +"pluss alle avledede skrifter (laget av andre) som er tilstrekkelig nÃ¦r " +"forfatterens opprinnelige verk. Dermed, hvis jeg skriver en bok, og du " +"baserer en film pÃ¥ den boken, sÃ¥ har jeg myndighet til Ã¥ nekte deg Ã¥ gi ut " +"den filmen, selv om den filmen ikke er <quote>min skrift</quote>." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Kaplan, Benjamin" +msgstr "Kaplan, Benjamin" + +#. f5. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " +"York: Columbia University Press, 1967), 32." +msgstr "" +"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " +"York: Columbia University Press, 1967), 32." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Congress granted the beginnings of this right in 1870, when it expanded the " +"exclusive right of copyright to include a right to control translations and " +"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The " +"courts have expanded it slowly through judicial interpretation ever since. " +"This expansion has been commented upon by one of the law's greatest judges, " +"Judge Benjamin Kaplan." +msgstr "" +"Kongressen innvilget opphavet til denne retten i 1870, da den utvidet den " +"eksklusive retten i opphavsretten til Ã¥ inneholde retten til Ã¥ kontrollere " +"oversettelser og dramatiseringer av et verk.<placeholder type=\"footnote\" " +"id=\"0\"/> Domstolene har utvidet det sakte gjennom lovfortolkninger siden " +"da. Denne utvidelsen har vÃ¦rt kommentert av en av jussverdens beste " +"dommere, dommer Benjamin Kaplan." + +#. f6. +#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para> +msgid "Ibid., 56." +msgstr "Ibid., 56." + +#. type: Content of: <book><chapter><section><section><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 "" +"Vi har blitt sÃ¥ tilvendt til utvidelsen av monopolet til en lang rekke med " +"sÃ¥kalte avledede verker at vi ikke lenger ser hvor rart det er Ã¥ akseptere " +"en slik utvidelse av opphavsretten mens vi nynner pÃ¥ abrakadabraen rundt " +"idÃ©er og uttrykk.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 pÃ¥ tide Ã¥ anerkjenne at det er flymaskiner pÃ¥ dette omrÃ¥det, " +"og at utvidelser av rettigheter for avledede verker ikke lenger gir mening. " +"Mer presist gir de ikke mening for hele verneperioden til opphavsretten. Og " +"de gir ikke mening som ubegrenset tildeling. La oss vurdere hver " +"begrensning for seg." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, " +"then that right should be for a much shorter term. It makes sense to protect " +"John Grisham's right to sell the movie rights to his latest novel (or at " +"least I'm willing to assume it does); but it does not make sense for that " +"right to run for the same term as the underlying copyright. The derivative " +"right could be important in inducing creativity; it is not important long " +"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"<emphasis>Vernetid:</emphasis> Hvis kongressen Ã¸nsker Ã¥ tildele avledede " +"rettigheter, da bÃ¸r den rettigheten ha mye kortere vernetid.. Det gir mening " +"Ã¥ beskytte John Grishams rett til Ã¥ selge filmrettighetene til hans siste " +"roman (eller i det minste er jeg villig til Ã¥ anta at det gir mening), men " +"det gir ikke mening at denne rettigheten skal vare like lenge som vernetiden " +"til den underliggende opphavsretten. Den avledede rettigheten kan vÃ¦re " +"viktig for Ã¥ bidra til kreativitet, men den er ikke viktig lenge etter at " +"det kreative arbeidet er ferdig. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights " +"be narrowed. Again, there are some cases in which derivative rights are " +"important. Those should be specified. But the law should draw clear lines " +"around regulated and unregulated uses of copyrighted material. When all " +"<quote>reuse</quote> of creative material was within the control of " +"businesses, perhaps it made sense to require lawyers to negotiate the lines. " +"It no longer makes sense for lawyers to negotiate the lines. Think about all " +"the creative possibilities that digital technologies enable; now imagine " +"pouring molasses into the machines. That's what this general requirement of " +"permission does to the creative process. Smothers it." +msgstr "" +"<emphasis>Omfang:</emphasis> PÃ¥ samme mÃ¥te bÃ¸r omfanget for avledede verker " +"snevres inn. Her igjen er det noen tilfeller der avledede rettigheter er " +"viktige. Disse bÃ¸r spesifiseres. Men loven bÃ¸r skille klart mellom " +"regulert og uregulert bruk av opphavsrettsbeskyttet materiale. Da all " +"<quote>gjenbruk</quote> av kreativt materiale var under kontroll av " +"bedrifter, sÃ¥ gjorde det kanskje mening Ã¥ kreve advokater for Ã¥ forhandle om " +"hvor grensen gikk. Det gir ikke lenger mening Ã¥ la advokater forhandle om " +"hvor grensene gÃ¥r. Tenk pÃ¥ alle de kreative mulighetene som digitale " +"teknologier muliggjÃ¸r. Forestill deg sÃ¥ Ã¥ helle sirup inn i maskinene. Det " +"er hva dette generelle kravet om tillatelse gjÃ¸r med den kreative " +"prosessen. Den kveler den." + +#. type: Content of: <book><chapter><section><section><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 kom med da han beskrev hvordan han laget Clint " +"Eastwood-CDen. Mens det gir mening Ã¥ kreve forhandlinger for overskuelige " +"avledede rettigheter—Ã¥ lage en film av en bok, eller et noteark av et " +"dikt—sÃ¥ gir det ikke mening Ã¥ kreve forhandlinger for det " +"uoverskuelige. Her gir en lovfestet rett mer mening." + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Goldstein, Paul" +msgstr "Goldstein, Paul" + +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " +"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " +"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " +"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " +"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 "" +"I hver av disse tilfellene burde loven markere hvilke bruksomrÃ¥der som er " +"beskyttet og en bÃ¸r sÃ¥ kunne anta at andre bruksomrÃ¥der ikke er beskyttet. " +"Dette er det motsatte av anbefalingen fra min kollega Paul Goldstein." +"<placeholder type=\"footnote\" id=\"0\"/> Hans syn er at loven bÃ¸r skrives " +"slik at beskyttelsen utvides nÃ¥r bruksomrÃ¥dene utvides." + +#. type: Content of: <book><chapter><section><section><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 "" +"Analysen til GoldStein gir absolutt mening hvis kostnadene ved det " +"rettssystemet var lave. Men som vi nÃ¥ ser i sammenheng med Internettet, gir " +"usikkerhet rundt omfanget av beskyttelse, og insentivet til Ã¥ beskytte den " +"eksisterende arkitektur for inntekter kombinert med en sterk opphavsrett, en " +"svekket nyskapningsprosess." + +#. PAGE BREAK 301 +#. type: Content of: <book><chapter><section><section><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 motvirke dette problemet enten ved Ã¥ fjerne beskyttelsen ut over " +"de delene som er eksplisitt nevnt, eller ved Ã¥ tillate gjenbruksretter pÃ¥ " +"visse lovbestemte betingelser. Fro hver av disse alternativene ville " +"effekten vÃ¦re Ã¥ frigjÃ¸re en stor del av kulturen slik at andre kan fÃ¥ den " +"til Ã¥ vokse. Og under et lovbestemt rettighetsregime, sÃ¥ ville slik " +"gjenbruk gi kunstnerne flere inntekter." + +#. type: Content of: <book><chapter><section><section><title> +msgid "4. Liberate the Music—Again" +msgstr "4. FrigjÃ¸r musikken—igjen" + +#. type: Content of: <book><chapter><section><section><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 startet hele denne krigen var om musikk, sÃ¥ det ville ikke vÃ¦re " +"rimelig Ã¥ avslutte denne boken uten Ã¥ ta opp problemet som er mest " +"presserende for de fleste—musikk. Det er ingen andre policy-tema som " +"bedre forklarer hva en kan lÃ¦re i denne boken enn slagene om deling av " +"musikk." + +#. type: Content of: <book><chapter><section><section><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 "" +"Appellen til fildeling var dopet for veksten til Internettet. Det drev " +"behovet for tilgang til Internettet kraftigere enn noe annet " +"enkeltbruksomrÃ¥de. Det var Internettets <quote>*killer app*</quote>—" +"kanskje i to betydninger av ordet. Det var uten tvil det bruksomrÃ¥det som " +"drev etterspÃ¸rselen etter bÃ¥ndbredde. Det kan godt endte opp med Ã¥ vÃ¦re " +"bruksomrÃ¥det som driver igjennom krav om reguleringer som til slutt dreper " +"nyskapning pa nettet." + +#. type: Content of: <book><chapter><section><section><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 "" +"MÃ¥let med opphavsrett, bÃ¥de generelt og for musikk spesielt, er Ã¥ skape " +"insentiver for Ã¥ komponere, fremfÃ¸re og aller viktigst, spre, musikk. Loven " +"gjÃ¸r dette ved Ã¥ gi en eksklusiv rett til en komponist til Ã¥ kontrollere " +"offentlige fremfÃ¸ringer av sitt verk, og til en utÃ¸vende artist til Ã¥ " +"kontrollere kopier av sine fremfÃ¸ringer." + +#. type: Content of: <book><chapter><section><section><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 <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"piracy\"/>, they enable four different " +"kinds of sharing:" +msgstr "" +"Fildelingsnettverk kompliserer denne modellen ved Ã¥ gjÃ¸re det mulig a spre " +"innhold uten at utÃ¸veren har fÃ¥tt betalt. Men dette er naturligvis ikke alt " +"et fildelingsnettverk gjÃ¸r. Som jeg beskrev i kapittel <xref xrefstyle=" +"\"select: labelnumber\" linkend=\"piracy\"/>, sÃ¥ muliggjÃ¸r de fire ulike " +"former for deling:" + +#. A. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"There are some who are using sharing networks as substitutes for purchasing " +"CDs." +msgstr "" +"Det er noen som bruker delingsnettverk som erstatninger for Ã¥ kjÃ¸pe CDer." + +#. B. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"There are also some who are using sharing networks to sample, on the way to " +"purchasing CDs." +msgstr "" +"Det er ogsÃ¥ noen som bruker delingsnettverk for Ã¥ prÃ¸velytte, mens de " +"vurderer hva slags CDer de vil kjÃ¸pe." + +#. PAGE BREAK 302 +#. C. +#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk til Ã¥ fÃ¥ tilgang til innhold som " +"ikke lenger er i salg, men fortsatt er vernet av opphavsrett eller som ville " +"ha vÃ¦rt altfor vanskelig Ã¥ fÃ¥ kjÃ¸pt via nettet." + +#. D. +#. type: Content of: <book><chapter><section><section><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 fildelingsnettverk for Ã¥ fÃ¥ tilgang til innhold som " +"ikke er opphavsrettsbeskyttet, eller for Ã¥ fÃ¥ tilgang som " +"opphavsrettsinnehaveren Ã¥penbart gÃ¥r god for." + +#. type: Content of: <book><chapter><section><section><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 "" +"Enhver reform av loven mÃ¥ ha disse ulike bruksomrÃ¥dene i fokus. Den mÃ¥ " +"unngÃ¥ Ã¥ belaste type-D-deling selv om den tar sikte pÃ¥ Ã¥ fjerne type A. " +"Hvor ivrig loven sÃ¸ker Ã¥ fjerne type-A-deling bÃ¸r videre vÃ¦re avhengig av " +"stÃ¸rrelsen pÃ¥ type-B-deling. Som med videospillere, hvis nettoeffekten av " +"deling ikke er spesielt skadelig, sÃ¥ er behovet for regulering betydelig " +"svekket.noen reform av loven behov for Ã¥ holde disse ulike bruksomrÃ¥der i " +"fokus. den mÃ¥ unngÃ¥ bebyrde type d selv om formÃ¥let er Ã¥ eliminere type a. " +"den iver etter med som loven sikte pÃ¥ Ã¥ eliminere type a, videre bÃ¸r " +"avhenger omfanget av typen b. som med videospillere, hvis netto effekt av en " +"deling er faktisk ikke svÃ¦rt skadelige, behovet for regulering er betydelig " +"svekket." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"As I said in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"piracy" +"\"/>, the actual harm caused by sharing is controversial. For the purposes " +"of this chapter, however, I assume the harm is real. I assume, in other " +"words, that type A sharing is significantly greater than type B, and is the " +"dominant use of sharing networks." +msgstr "" +"Som jeg sa i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=" +"\"piracy\"/>, er det kontroversielt om delingen forÃ¥rsaker skade. Men i " +"dette kapittelet vil jeg anta at skaden er reell. Jeg antar, med andre ord, " +"at type-A-deling er betydelig stÃ¸rre enn type-B, og er den dominerende " +"bruken av delingsnettverk." + +#. type: Content of: <book><chapter><section><section><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 "" +"Uansett, det er et avgjÃ¸rende faktum om den gjeldende teknologiske " +"omgivelsen som vi mÃ¥ huske pÃ¥ hvis vi skal forstÃ¥ hvordan loven bÃ¸r reagere." + +#. type: Content of: <book><chapter><section><section><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 blir er fildeling avhengighetsskapende. Om ti Ã¥r vil det vÃ¦re det. " +"Det er avhengighetsskapende i dag pÃ¥ grunn av at det er den enkleste mÃ¥ten Ã¥ " +"fÃ¥ tilgang til et bredt spekter av innhold. Det vil ikke vÃ¦re den enkleste " +"mÃ¥ten Ã¥ fÃ¥ tilgang til et bredt spekter av innhold om ti Ã¥r. I dag er " +"tilgang til Internettet knotete og tregt—vi i USA er heldige hvis vi " +"har en bredbÃ¥ndstjeneste med 1,5 MB/s, og svÃ¦rt sjelden fÃ¥r vi tjenesten med " +"den hastigheten bÃ¥de opp og ned. Selv om trÃ¥dlÃ¸s tilgang vokser, mÃ¥ de " +"fleste av oss fÃ¥ tilgang via kabler. De fleste fÃ¥r kun tilgang via en " +"maskin med et tastatur. IdÃ©en om Ã¥ alltid vÃ¦re tilkoblet Internett er i " +"hovedsak bare en idÃ©." + +#. PAGE BREAK 303 +#. type: Content of: <book><chapter><section><section><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 mÃ¥ten vi fÃ¥r tilgang til " +"Internettet pÃ¥ i dag er en teknologi i endring. Beslutningstakere bÃ¸r ikke " +"lage regler basert pÃ¥ teknologi i endring. De bÃ¸r lage regler basert pÃ¥ " +"hvor teknologien er pÃ¥ vei. SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re om hvordan loven skal " +"regulere delingen slik verden er nÃ¥. SpÃ¸rsmÃ¥let bÃ¸r vÃ¦re, hva slags lov vil " +"vi trenge nÃ¥r nettverket blir det nettverket helt klart er pÃ¥ vei mot. Det " +"nettverket er et hvor enhver maskin som bruker strÃ¸m i essensen er pÃ¥ " +"nettet. Uansett hvor du er—muligens med unntak av i Ã¸rkenen og " +"fjerntliggende fjellpartier—kan du umiddelbart bli koblet til " +"Internettet. Forestill deg internettet sÃ¥ allstedsnÃ¦rvÃ¦rende som den beste " +"mobiltelefontjenesten, hvor du er tilkoblet med et enkelt trykk pÃ¥ en bryter." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "cell phones, music streamed over" +msgstr "mobiltelefoner, musikk streamet via" + +#. f8. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"See, for example, <quote>Music Media Watch,</quote> The J@pan Inc. " +"Newsletter, 3 April 2002, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #76</ulink>." +msgstr "" +"For eksempel, se, <quote>Music Media Watch</quote>, The J@pan Inc. " +"Newsletter, 3 April 2002, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #76</ulink>." + +#. type: Content of: <book><chapter><section><section><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 <emphasis>extremely</emphasis> easy to connect to services " +"that give access to content, it will be <emphasis>easier</emphasis> to " +"connect to services that give you access to content than it will be to " +"download and store content <emphasis>on the many devices you will have for " +"playing content</emphasis>. It will be easier, in other words, to subscribe " +"than it will be to be a database manager, as everyone in the download-" +"sharing world of Napster-like technologies essentially is. Content services " +"will compete with content sharing, even if the services charge money for the " +"content they give access to. Already cell-phone services in Japan offer " +"music (for a fee) streamed over cell phones (enhanced with plugs for " +"headphones). The Japanese are paying for this content even though " +"<quote>free</quote> content is available in the form of MP3s across the Web." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"I den verden vil det vÃ¦re ekstremt enkelt Ã¥ koble seg til en tjeneste som " +"gir deg direkte tilgang til innhold—slik som Internett-radio, innhold " +"som strÃ¸mmes til brukeren nÃ¥r brukeren Ã¸nsker det. Her er dermed det " +"kritiske poenget: NÃ¥r det er <emphasis>ekstremt</emphasis> enkelt Ã¥ koble " +"seg til tjenester som gir tilgang til innhold, sa vil det vÃ¦re " +"<emphasis>enklere</emphasis> Ã¥ koble seg til tjenester som gir deg tilgang " +"til innhold enn det vil vÃ¦re Ã¥ laste ned og lagre innhold <emphasis>pÃ¥ de " +"mange enhetene som du vil ha for Ã¥ vise frem innhold</emphasis>. Det vil " +"med andre ord vÃ¦re enklere Ã¥ abonnere enn det vil vÃ¦re Ã¥ vÃ¦re " +"databaseadministrator, hvilket enhver er i en <quote>last ned og del</quote>-" +"verden som Napster-lignende teknologier i essensen er. Innholdstjenester " +"vil konkurrere med innholdsdeling, selv om tjenestene krever penger for " +"innholdet de gir tilgang til. Allerede tilbyr mobiltelefontjenester i Japan " +"musikk (mot et gebyr) strÃ¸mmet via mobiltelefoner (forbedret med plugger for " +"Ã¸retelefoner). Japanerne betaler for dette innholdet selv om <quote>gratis</" +"quote> innhold er tilgjengelig i form av MP3er via nettet.<placeholder type=" +"\"footnote\" id=\"0\"/>" + +#. PAGE BREAK 304 +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"This point about the future is meant to suggest a perspective on the " +"present: It is emphatically temporary. The <quote>problem</quote> with file " +"sharing—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 <quote>solving</quote> this problem in light of a technology that will " +"be gone tomorrow. The question should not be how to regulate the Internet " +"to eliminate file sharing (the Net will evolve that problem away). The " +"question instead should be how to assure that artists get paid, during this " +"transition between twentieth-century models for doing business and twenty-" +"first-century technologies." +msgstr "" +"Dette poenget om fremtiden er med Ã¥ foreslÃ¥ et perspektiv om nÃ¥tiden: Det er " +"ettertrykkelig midlertidig. <quote>Problemet</quote> med fildeling—i " +"den grad det er et reelt problem—er et problem som mer og mer vil " +"forsvinne etter hvert som det blir enklere Ã¥ koble seg pÃ¥ Internettet. Og " +"dermed er det en stor feil for beslutningstakere i dag Ã¥ <quote>lÃ¸se</quote> " +"dette problem basert pÃ¥ en teknologi som vil vÃ¦re borte i morgen. " +"SpÃ¸rsmÃ¥let bÃ¸r ikke vÃ¦re hvordan regulere Internettet for Ã¥ fjerne fildeling " +"(nettet vil utvikle seg slik at det problemet blir borte). SpÃ¸rsmÃ¥let bÃ¸r i " +"stedet vÃ¦re hvordan en sikrer at kunstnere fÃ¥r betalt, gjennom denne " +"overgangen fra forretningsmodellene i det tjuende Ã¥rhundre og til " +"teknologiene i det tjuefÃ¸rste Ã¥rhundre." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The answer begins with recognizing that there are different <quote>problems</" +"quote> here to solve. Let's start with type D content—uncopyrighted " +"content or copyrighted content that the artist wants shared. The " +"<quote>problem</quote> with this content is to make sure that the technology " +"that would enable this kind of sharing is not rendered illegal. You can " +"think of it this way: Pay phones are used to deliver ransom demands, no " +"doubt. But there are many who need to use pay phones who have nothing to do " +"with ransoms. It would be wrong to ban pay phones in order to eliminate " +"kidnapping." +msgstr "" +"Svaret begynner med Ã¥ erkjenne at det er ulike <quote>problemer</quote> Ã¥ " +"lÃ¸se her. La oss starte med type-D-innhold—ikke opphavsrettsbeskyttet " +"innhold eller opphavsrettsbeskyttet innhold som kunstneren Ã¸nsker Ã¥ fÃ¥ delt. " +"<quote>Problemet</quote> med dette innholdet er Ã¥ sikre at teknologien som " +"muliggjÃ¸r denne type deling ikke blir gjort ulovlig. Tenk pÃ¥ det slik: " +"telefonbokser kan uten tvil brukes til Ã¥ levere krav om lÃ¸sepenger. Men det " +"er mange som trenger Ã¥ bruke telefonbokser som ikke har noe med lÃ¸sepenger Ã¥ " +"gjÃ¸re. Det ville vÃ¦re galt Ã¥ forby telefonbokser for Ã¥ eliminere kidnapping." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Type C content raises a different <quote>problem.</quote> This is content " +"that was, at one time, published and is no longer available. It may be " +"unavailable because the artist is no longer valuable enough for the record " +"label he signed with to carry his work. Or it may be unavailable because the " +"work is forgotten. Either way, the aim of the law should be to facilitate " +"the access to this content, ideally in a way that returns something to the " +"artist." +msgstr "" +"Type-C-innhold reiser et annet <quote>problem</quote>. Dette er innhold som " +"var publisert, en gang i tiden, og ikke lenger er tilgjengelig. Det kan " +"vÃ¦re utilgjengelig fordi kunstneren ikke lenger er verdifull nok for " +"plateselskapet han har signert med til at de vil formidle hans verker. " +"Eller det kan vÃ¦re utilgjengelig fordi verket er glemt. Uansett bÃ¸r mÃ¥let " +"til loven vÃ¦re Ã¥ muliggjÃ¸re tilgang til dette innholdet, ideelt sett pÃ¥ en " +"mÃ¥te som gir noe tilbake til kunstneren." + +#. type: Content of: <book><chapter><section><section><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 " +"<quote>sharing</quote> of his content without his being compensated is less " +"than ideal." +msgstr "" +"Igjen, her er modellen bruktbokhandelen. Etter at en bok er utsolgt fra " +"forlaget, sÃ¥ kan den fortsatt vÃ¦re tilgjengelig fra biblioteker og " +"bruktbokhandler. Men biblioteker og bruktbokhandler betaler ikke " +"opphavsrettseieren nÃ¥r noen leser eller kjÃ¸per en bok som er utsolgt fra " +"forlaget. Dette gir absolutt mening, selvfÃ¸lgelig, siden ethvert annet " +"system ville vÃ¦re sÃ¥ tungvindt at det ville gjÃ¸re det umulig for " +"bruktbokhandler Ã¥ eksistere. Men fra forfatterens synsvinkel er denne " +"<quote>delingen</quote> av hans innhold uten at han fÃ¥r kompensasjon ikke " +"helt ideell." + +#. type: Content of: <book><chapter><section><section><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 <quote>share</quote> that content, even though the " +"sharing involved making a copy. The copy here would be incidental to the " +"trade; in a context where commercial publishing has ended, trading music " +"should be as free as trading books." +msgstr "" +"Modellen for bruktbokhandler antyder at loven ganske enkelt kan anse utsolgt-" +"fra-forlaget-musikk for fritt vilt. Hvis utgiveren ikke gjÃ¸r utgaver av " +"musikken tilgjengelig for salg, sÃ¥ ville kommersielle og ikke-kommersielle " +"tilbydere stÃ¥ fritt, under denne regelen, til Ã¥ <quote>dele</quote> det " +"innholdet, selv om delingen involverte Ã¥ lage en kopi. Kopien her ville " +"vÃ¦re teknisk detalj for Ã¥ for gjennomfÃ¸re handelen. I en sammenheng der " +"kommersiell publisering er avsluttet, sÃ¥ burde friheten til Ã¥ handle med " +"musikk vÃ¦re lik den som gjelder for bÃ¸ker." + +#. PAGE BREAK 305 +#. type: Content of: <book><chapter><section><section><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 "" +"Alternativt kan loven opprette en lovbestemt lisens som ville sÃ¸rge for at " +"kunstnere fÃ¥r noe fra handelen med deres verk. For eksempel, hvis loven " +"satte en lav lovbestemt sats for kommersiell deling av innhold som ikke ble " +"tilbudt for salg fra en kommersiell utgiver, og hvis denne raten automatisk " +"ble overfÃ¸rt til en tiltrodd tredjepart til fordel for kunstneren, sÃ¥ kunne " +"selskaper utvikle seg rundt idÃ©en om handel med dette innholdet mens " +"kunstneren ville ha fordel av denne handelen." + +#. type: Content of: <book><chapter><section><section><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 ville ogsÃ¥ skape et insentiv for utgivere Ã¥ la verk forbli " +"kommersielt tilgjengelig. Verk som er kommersielt tilgjengelig ville ikke " +"bli underlagt denne lisensen. Dermed kan utgiverne beskytte retten til Ã¥ ta " +"betalt hvilket som helst belÃ¸p for innhold hvis de holdt det kommersielt " +"tilgjengelig. Men hvis de ikke holdt det tilgjengelig, og i stedet var det " +"harddiskene til tilhengere rundt om kring i verden som holdt det i live, da " +"burde enhver lisensbetaling for slik kopiering vÃ¦re mye mindre enn det en " +"vanligvis ville skylle en kommersiell utgiver." + +#. type: Content of: <book><chapter><section><section><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 "" +"De vanskelige tilfellene er innhold av type A og B. Og igjen, disse " +"tilfellene er kun vanskelig fordi utstrekningen av problemet vil endre seg " +"over tid, etter hvert som teknologier for Ã¥ fÃ¥ tilgang til innhold endrer " +"seg. Lovens lÃ¸sning bÃ¸r derfor vÃ¦re like fleksibelt som problemet er, og " +"forstÃ¥ at vi er midt i en radikal endring i teknologi for levering og " +"tilgang til innhold." + +#. type: Content of: <book><chapter><section><section><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 "" +"SÃ¥ her er en lÃ¸sning som i fÃ¸rste omgang kan virke veldig underlig for begge " +"sider i denne krigen, men som jeg tror vil gi mer mening nÃ¥r en fÃ¥r tenkt " +"seg om." + +#. type: Content of: <book><chapter><section><section><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 "" +"NÃ¥r retorikken om ukrenkeligheten til eiendom er fjernet, er de " +"grunnleggende pÃ¥standen til innholdsindustrien denne: En ny teknologi " +"(Internettet) har skadet et sett med rettigheter som sikrer opphavsretten. " +"Hvis disse rettighetene skal bli beskyttet, sÃ¥ bÃ¸r innholdsindustrien " +"kompenseres for denne skaden. PÃ¥ samme mÃ¥te som tobakksteknologien skadet " +"helsen til millioner av amerikanere, eller aspestteknologien forÃ¥rsaket " +"alvorlig sykdom hos tusenvis av gruvearbeidere, sÃ¥ har den digitale " +"nettverksteknologien skadet interessene til innholdsindustrien." + +#. PAGE BREAK 306 +#. type: Content of: <book><chapter><section><section><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, sÃ¥ jeg liker ikke Ã¥ sammenligne det med tobakk eller " +"asbest. Men analogien er rimelig nÃ¥r en ser det fra lovens perspektiv. Og " +"det foreslÃ¥r en rimelig respons: I stedet for Ã¥ forsÃ¸ke Ã¥ Ã¸delegge Internett " +"eller p2p-teknologien som i dag skader innholdsleverandÃ¸rer pÃ¥ Internett, sÃ¥ " +"bÃ¸r vi finne en relativt enkel mÃ¥te Ã¥ kompensere de som blir skadelidende." + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Promises to Keep (Fisher)" +msgstr "Promises to Keep (Fisher)" + +#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> +msgid "Fisher, William" +msgstr "Fisher, William" + +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " +"<citetitle>Digital Music: Problems and Possibilities</citetitle> (last " +"revised: 10 October 2000), available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to Keep: " +"Technology, Law, and the Future of Entertainment</citetitle> (forthcoming) " +"(Stanford: Stanford University Press, 2004), ch. 6, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel has " +"proposed a related idea that would exempt noncommercial sharing from the " +"reach of copyright and would establish compensation to artists to balance " +"any loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy " +"to Allow Free P2P File Sharing,</quote> available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #79</ulink>. For other proposals, see Lawrence " +"Lessig, <quote>Who's Holding Back Broadband?</quote> <citetitle>Washington " +"Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " +"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " +"Foreign Relations Committee, 26 February 2002, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, " +"<citetitle>A Quick Case for Intellectual Property Use Fee (IPUF)</" +"citetitle>, 3 March 2002, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #81</ulink>; Jefferson Graham, <quote>Kazaa, Verizon Propose " +"to Pay Artists Directly,</quote> <citetitle>USA Today</citetitle>, 13 May " +"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</" +"ulink>; Steven M. Cherry, <quote>Getting Copyright Right,</quote> IEEE " +"Spectrum Online, 1 July 2002, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #83</ulink>; Declan McCullagh, <quote>Verizon's Copyright " +"Campaign,</quote> CNET News.com, 27 August 2002, available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #84</ulink>. Fisher's proposal is " +"very similar to Richard Stallman's proposal for DAT. Unlike Fisher's, " +"Stallman's proposal would not pay artists directly proportionally, though " +"more popular artists would get more than the less popular. As is typical " +"with Stallman, his proposal predates the current debate by about a decade. " +"See <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" +msgstr "" +"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, " +"<citetitle>Digital Music: Problems and Possibilities</citetitle> (sist " +"revidert: 10. oktober 2000), tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to " +"Keep: Technology, Law, and the Future of Entertainment</citetitle> (kommer) " +"(Stanford: Stanford University Press, 2004), kap. 6, tilgjengelig fra <ulink " +"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel " +"har foreslÃ¥tt en relatert idÃ© som ville gjÃ¸re at opphavsretten ikke gjelder " +"ikke-kommersiell deling fra og ville etablere kompensasjon til kunstnere for " +"Ã¥ balansere eventuelle tap. Se Neil Weinstock Netanel, <quote>Impose a " +"Noncommercial Use Levy to Allow Free P2P File Sharing</quote>, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. For andre " +"forslag, se Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> " +"<citetitle>Washington Post</citetitle>, 8. january 2002, A17; Philip S. " +"Corwin pÃ¥ vegne av Sharman Networks, Et brev til Senator Joseph R. Biden, " +"Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #80</" +"ulink>; Serguei Osokine, <citetitle>A Quick Case for Intellectual Property " +"Use Fee (IPUF)</citetitle>, 3. mars 2002, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson Graham, " +"<quote>Kazaa, Verizon Propose to Pay Artists Directly</quote>, " +"<citetitle>USA Today</citetitle>, 13. mai 2002, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, " +"<quote>Getting Copyright Right</quote>, IEEE Spectrum Online, 1. juli 2002, " +"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #83</" +"ulink>; Declan McCullagh, <quote>Verizon's Copyright Campaign</quote>, CNET " +"News.com, 27. august 2002, tilgjengelig fra <ulink url=\"http://free-culture." +"cc/notes/\">link #84</ulink>. Forslaget fra Fisher er ganske likt forslaget " +"til Richard Stallman nÃ¥r det gjelder DAT. I motsetning til Fishers forslag, " +"ville Stallmanns forslag ikke betale kunstnere proposjonalt, selv om mer " +"populÃ¦re artister ville fÃ¥ mer betalt enn mindre populÃ¦re. Slik det er " +"typisk med Stallman, la han fram sitt forslag omtrent ti Ã¥r fÃ¸r dagens " +"debatt. Se <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" + +#. type: Content of: <book><chapter><section><section><para> +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 "" +"IdÃ©en er basert pÃ¥ et forslag lansert av jusprofessor William Fisher ved " +"Harvard.<placeholder type=\"footnote\" id=\"0\"/> Fisher foreslÃ¥r en veldig " +"lur mÃ¥te rundt den pÃ¥gÃ¥ende stillingskrigen pÃ¥ Internettet. I fÃ¸lge hans " +"plan ville alt innhold som kan sendes digitalt (1) vÃ¦re markert med et " +"digitalt vannmerke (ikke bekymre deg over hvor enkelt det ville vÃ¦re Ã¥ unngÃ¥ " +"disse merkene, som du vil se er det ikke noe insentiv for Ã¥ unngÃ¥ dem). NÃ¥r " +"innholdet er merket, sÃ¥ ville entreprenÃ¸rer utvikle (2) systemer for Ã¥ " +"registrere hvor mange enheter av hvert innhold som ble distribuert. PÃ¥ " +"grunnlag av disse tallene ville sÃ¥ (3) kunstnerne bli kompensert. " +"Kompensasjonen kunne bli finansiert med (4) en passende skatt." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"Fisher's proposal is careful and comprehensive. It raises a million " +"questions, most of which he answers well in his upcoming book, " +"<citetitle>Promises to Keep</citetitle>. The modification that I would make " +"is relatively simple: Fisher imagines his proposal replacing the existing " +"copyright system. I imagine it complementing the existing system. The aim " +"of the proposal would be to facilitate compensation to the extent that harm " +"could be shown. This compensation would be temporary, aimed at facilitating " +"a transition between regimes. And it would require renewal after a period of " +"years. If it continues to make sense to facilitate free exchange of content, " +"supported through a taxation system, then it can be continued. If this form " +"of protection is no longer necessary, then the system could lapse into the " +"old system of controlling access." +msgstr "" +"Forslaget til Fisher er grundig og omfattende. Det reiser en million " +"spÃ¸rsmÃ¥l, de fleste av dem godt besvart i hans kommende bok, " +"<citetitle>Promises to Keep</citetitle>. Endringene jeg vil gjÃ¸re er " +"relativt enkle: Fisher ser for seg at hans forslag erstatter det " +"eksisterende opphavsrettssystemet. Jeg ser for meg at det vil utfylle det " +"eksisterende systemet. MÃ¥let med forslaget vil vÃ¦re Ã¥ gjÃ¸re det enklere Ã¥ " +"gi kompensasjon i den grad skade kan pÃ¥vises. Denne kompensasjonen ville " +"vÃ¦re midlertidig, med mÃ¥lsetning om Ã¥ gjÃ¸re overgangen lettere mellom to " +"regimer. Og det ville kreve fornying etter en periode pa noen Ã¥r. Hvis det " +"fortsatt gir mening Ã¥ forenkle gratis utveksling av innhold gjennom et " +"skattesystem, sÃ¥ kan det viderefÃ¸res. Hvis denne form for beskyttelse ikke " +"lenger er nÃ¸dvendig, sÃ¥ kan systemet foldes inn i det gamle systemet for Ã¥ " +"kontrollere tilgang." + +#. PAGE BREAK 307 +#. type: Content of: <book><chapter><section><section><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 <quote>semiotic democracy</quote> 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 ville steile over idÃ©en om Ã¥ tillate systemet til Ã¥ foldes vekk. " +"Hans mÃ¥l er ikke bare Ã¥ sikre at kunstnerne blir betalt, men ogsÃ¥ Ã¥ sikre at " +"systemet stÃ¸tter den videste rekken av <quote>*semiotic democracy*</quote> " +"som mulig. Men mÃ¥let om *semiotic democracy* kan oppfylles hvis de andre " +"endringer jeg beskriver kommer pÃ¥ plass—spesielt begrensninger pÃ¥ " +"avledet bruk. Et system som ganske enkelt tar imot betaling for tilgang vil " +"ikke belaste *semiotic democracy* veldig hvis det var fÃ¥ begrensninger pÃ¥ " +"hva en fÃ¥r lov til Ã¥ gjÃ¸re med selve innholdet." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "MusicStore" +msgstr "MusicStore" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "prices of" +msgstr "priser pÃ¥" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"No doubt it would be difficult to calculate the proper measure of " +"<quote>harm</quote> to an industry. But the difficulty of making that " +"calculation would be outweighed by the benefit of facilitating innovation. " +"This background system to compensate would also not need to interfere with " +"innovative proposals such as Apple's MusicStore. As experts predicted when " +"Apple launched the MusicStore, it could beat <quote>free</quote> by being " +"easier than free is. This has proven correct: Apple has sold millions of " +"songs at even the very high price of 99 cents a song. (At 99 cents, the cost " +"is the equivalent of a per-song CD price, though the labels have none of the " +"costs of a CD to pay.) Apple's move was countered by Real Networks, offering " +"music at just 79 cents a song. And no doubt there will be a great deal of " +"competition to offer and sell music on-line." +msgstr "" +"Uten tvil vil det vÃ¦re vanskelig Ã¥ mÃ¥le nÃ¸yaktig <quote>skaden</quote> pÃ¥ en " +"industri. Men vanskeligheten i Ã¥ beregne dette vil veies opp av fordelen " +"ved Ã¥ tilrettelegge for nyskapning. Dette bakgrunnssystemet for Ã¥ kompensere " +"ville heller ikke trenge Ã¥ forstyrre nyskapende forslag som Apples " +"MusicStore. Som eksperter forutsÃ¥ da Apple lanserte sin MusicStore, sÃ¥ kan " +"den slÃ¥ <quote>gratis</quote> ved Ã¥ vÃ¦re enklere enn det gratis er. Dette " +"har vist seg Ã¥ vÃ¦re riktig: Apple har solgt millioner av sanger til selv den " +"veldig hÃ¸ye prisen 99 cent pr. sang (til 99 cent er kostnaden tilsvarende " +"prisen pr. sang pÃ¥ CD, selv om plateselskapene ikke mÃ¥ betale noen av " +"kostnadene knyttet til Cd-produksjon). Apples lansering ble mÃ¸tt av Real " +"Networks, som tilbÃ¸d musikk til kun 79 cent pr. sang. Og uten tvil vil det " +"bli mye konkurranse rundt Ã¥ tilby og Ã¥ selge musikk pÃ¥ nettet." + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "cable vs. broadcast" +msgstr "kabel-TV mot kringkasting" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "luxury theatres vs. video piracy in" +msgstr "luksuskinoer mot video-piratvirksomhet i" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"This competition has already occurred against the background of <quote>free</" +"quote> music from p2p systems. As the sellers of cable television have known " +"for thirty years, and the sellers of bottled water for much more than that, " +"there is nothing impossible at all about <quote>competing with free.</quote> " +"Indeed, if anything, the competition spurs the competitors to offer new and " +"better products. This is precisely what the competitive market was to be " +"about. Thus in Singapore, though piracy is rampant, movie theaters are often " +"luxurious—with <quote>first class</quote> seats, and meals served " +"while you watch a movie—as they struggle and succeed in finding ways " +"to compete with <quote>free.</quote>" +msgstr "" +"Denne konkurransen er allerede pÃ¥ plass mot bakgrunnen med <quote>gratis</" +"quote> musikk fra p2p-systemer. Slik selgerne av kabel-TV har visst i " +"tredve Ã¥r, og de som selger vann pÃ¥ plaske enda lengre, sÃ¥ er det slett ikke " +"umulig over det Ã¥ <quote>konkurrere med gratis</quote>. Faktisk til " +"konkurransen om ikke annet inspirere til Ã¥ tilby nye og bedre produkter. " +"Det er nÃ¸yaktig det et konkurransedyktig marked skulle handle om. Dermed " +"har en i Singapore, hvor piratkopiering er utbredt, ofte luksuriÃ¸se " +"kinosaler—med <quote>fÃ¸rsteklasses</quote> seter, og mÃ¥ltider servert " +"mens du ser pÃ¥ en film—mens de kjemper og lykkes i Ã¥ finne en mÃ¥te a " +"konkurrere med <quote>gratis</quote>." + +#. type: Content of: <book><chapter><section><section><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 konkurranseregimet, med en sikringsmekanisme for Ã¥ sikre at kunstnere " +"ikke taper, ville bidra mye til nyskapning innen levering av innhold. " +"Konkurransen ville fortsette Ã¥ redusere type-A-deling. Det ville inspirere " +"en ekstraordinÃ¦r rekke av nye innovatÃ¸rer—som ville ha retten til a " +"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer " +"fra loven." + +#. type: Content of: <book><chapter><section><section><para> +msgid "In summary, then, my proposal is this:" +msgstr "Oppsummert, sÃ¥ er dette mitt forslag:" + +#. PAGE BREAK 308 +#. type: Content of: <book><chapter><section><section><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 endring. Vi bÃ¸r ikke regulere en teknologi i endring. Vi bÃ¸r " +"i stedet regulere for Ã¥ minimere skaden pÃ¥fÃ¸rt interesser som er berÃ¸rt av " +"denne teknologiske endringen, samtidig vi muliggjÃ¸r, og oppmuntrer, den mest " +"effektive teknologien vi kan lage." + +#. type: Content of: <book><chapter><section><section><para> +msgid "We can minimize that harm while maximizing the benefit to innovation by" +msgstr "" +"Vi kan minimere skaden og samtidig maksimere fordelen med innovasjon ved Ã¥" + +#. 1. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "guaranteeing the right to engage in type D sharing;" +msgstr "garantere retten til Ã¥ engasjere seg i type-D-deling;" + +#. 2. +#. type: Content of: <book><chapter><section><section><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 "" +"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og " +"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov." + +#. 3. +#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para> +msgid "" +"while in this transition, taxing and compensating for type A sharing, to the " +"extent actual harm is demonstrated." +msgstr "" +"mens denne overgangen pÃ¥gÃ¥r, skattlegge og kompensere for type-A-deling, i " +"den grad faktiske skade kan pÃ¥vises." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"But what if <quote>piracy</quote> doesn't disappear? What if there is a " +"competitive market providing content at a low cost, but a significant number " +"of consumers continue to <quote>take</quote> content for nothing? Should the " +"law do something then?" +msgstr "" +"Men hva om <quote>piratvirksomheten</quote> ikke forsvinner? Hva om det " +"finnes et konkurranseutsatt marked som tilbyr innhold til en lav kostnad, " +"men et signifikant antall av forbrukere fortsetter Ã¥ <quote>ta</quote> " +"innhold uten Ã¥ betale? Burde loven gjÃ¸re noe da?" + +#. type: Content of: <book><chapter><section><section><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 <citetitle>x</citetitle>, or " +"(b) to have a technology that is 50 percent secure but produces a market of " +"five times <citetitle>x</citetitle>? Less secure might produce more " +"unauthorized sharing, but it is likely to also produce a much bigger market " +"in authorized sharing. The most important thing is to assure artists' " +"compensation without breaking the Internet. Once that's assured, then it may " +"well be appropriate to find ways to track down the petty pirates." +msgstr "" +"Ja, det bÃ¸r den. Men, nok en gang, hva den bÃ¸r gjÃ¸re avhenger hvordan " +"realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-" +"deling. Men det virkelige spÃ¸rmÃ¥let er ikke om de eliminerer deling i " +"abstrakt betydning. Det virkelige spÃ¸rsmÃ¥let er hvilken effekt det har pÃ¥ " +"markedet. Er det bedre (a) Ã¥ ha en teknologi som er 95 prosent sikker og " +"gir et marked av stÃ¸rrelse <citetitle>x</citetitle>, eller (b) Ã¥ ha en " +"teknologi som er 50 prosent sikker, og som gir et marked som er fem ganger " +"stÃ¸rre enn <citetitle>x</citetitle>? Mindre sikker kan gi mer uautorisert " +"deling, men det vil sannsynligvis ogsÃ¥ gi et mye stÃ¸rre marked for " +"autorisert deling. Det viktigste er Ã¥ sikre kunstneres kompensasjon uten Ã¥ " +"Ã¸delegge Internettet. NÃ¥r det er pÃ¥ plass, kan det hende det er riktig Ã¥ " +"finne mÃ¥ter Ã¥ spore opp de smÃ¥lige piratene." + +#. PAGE BREAK 309 +#. type: Content of: <book><chapter><section><section><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 Ã¥ spikke problemet ned til dette delsettet av type-A-" +"delere. Og vÃ¥rt fokus inntil er der bÃ¸r ikke vÃ¦re Ã¥ finne mÃ¥ter Ã¥ Ã¸delegge " +"Internettet. Var fokus inntil vi er der bÃ¸r vÃ¦re hvordan sikre at artister " +"fÃ¥r betalt, mens vi beskytter rommet for nyskapning og kreativitet som " +"Internettet er." + +#. type: Content of: <book><chapter><section><section><title> +msgid "5. Fire Lots of Lawyers" +msgstr "5. Spark en masse advokater" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe " +"in the law of copyright. Indeed, I have devoted my life to working in law, " +"not because there are big bucks at the end but because there are ideals at " +"the end that I would love to live." +msgstr "" +"Jeg er en advokat. Jeg lever av Ã¥ utdanne advokater. Jeg tror pÃ¥ loven. Jeg " +"tror pÃ¥ Ã¥ndsverksloven. Jeg har faktisk viet livet til Ã¥ jobbe med loven, " +"ikke fordi det er mye penger Ã¥ tjene, men fordi det innebÃ¦rer idealer som " +"jeg elsker Ã¥ leve opp til." + +#. type: Content of: <book><chapter><section><section><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 har mye av denne boken vÃ¦rt kritikk av advokater, eller rollen " +"advokater har spilt i denne debatten. Loven taler om idealer, mens det er " +"min oppfatning av vÃ¥r yrkesgruppe er blitt for knyttet til klienten. Og i " +"en verden der rike klienter har sterke synspunkter vil uviljen hos vÃ¥r " +"yrkesgruppe til Ã¥ stille spÃ¸rsmÃ¥l med eller protestere mot dette sterke " +"synet Ã¸delegge loven." + +#. type: Content of: <book><chapter><section><section><indexterm><primary> +msgid "Nimmer, Melville" +msgstr "Nimmer, Melville" + +#. type: Content of: <book><chapter><section><section><indexterm><secondary> +msgid "Supreme Court challenge of" +msgstr "HÃ¸yesteretts utfordring av" + +#. f10. +#. type: Content of: <book><chapter><section><section><para><footnote><para> +msgid "" +"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " +"Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): " +"1057, 1069–70." +msgstr "" +"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. " +"Nimmer Memorial Lecture), <citetitle>UCLA law Review</citetitle> 48 (2001): " +"1057, 1069–70." + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"The evidence of this bending is compelling. I'm attacked as a " +"<quote>radical</quote> by many within the profession, yet the positions that " +"I am advocating are precisely the positions of some of the most moderate and " +"significant figures in the history of this branch of the law. Many, for " +"example, thought crazy the challenge that we brought to the Copyright Term " +"Extension Act. Yet just thirty years ago, the dominant scholar and " +"practitioner in the field of copyright, Melville Nimmer, thought it obvious." +"<placeholder type=\"footnote\" id=\"0\"/>" +msgstr "" +"Indisiene for slik bÃ¸yning er overbevisene. Jeg er angrepet som en " +"<quote>radikal</quote> av mange innenfor yrket, og likevel er meningene jeg " +"argumenterer for nÃ¸yaktig de meningene til mange av de mest moderate og " +"betydningsfulle personene i historien til denne delen av loven. Mange trodde " +"for eksempel at vÃ¥r utfordring til lovforslaget om Ã¥ utvide opphavsrettens " +"vernetid var galskap. Mens bare tredve Ã¥r siden mente den dominerende " +"foreleser og utÃ¸ver i opphavsrettsfeltet, Melville Nimmer, at den var " +"Ã¥penbar.<placeholder type=\"footnote\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 handler " +"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere " +"om vÃ¥r manglende evne til Ã¥ faktisk ta inn over oss hva loven koster." + +#. type: Content of: <book><chapter><section><section><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, <citetitle>Rethinking the Network " +"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " +"York: Amacom, 2002), (reviewing his original view but expressing skepticism) " +"with Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" +"quote> working paper, June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis is " +"extremely valuable in estimating the effect of file-sharing technology. In " +"my view, however, he underestimates the costs of the legal system. See, for " +"example, <citetitle>Rethinking</citetitle>, 174–76. <placeholder type=" +"\"indexterm\" id=\"0\"/>" +msgstr "" +"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bÃ¸r fÃ¥ " +"ros for sin nÃ¸ye gjennomgang av data om opphavsrettsbrudd, som fikk ham til " +"Ã¥ stille spÃ¸rsmÃ¥l med sin egen uttalte posisjon—to ganger. I starten " +"forutsa han at nedlasting ville pÃ¥fÃ¸re industrien vesentlig skade. Han " +"endret sÃ¥ sitt syn etter i lys av dataene, og han har siden endret sitt syn " +"pÃ¥ nytt. Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the Network " +"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " +"York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) " +"med Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</" +"quote> artikkelutkast, juni 2003, tilgjengelig fra <ulink url=\"http://free-" +"culture.cc/notes/\">link #86</ulink>. Den nÃ¸ye analysen til Liebowitz er " +"ekstremt verdifull i sin estimering av effekten av fildelingsteknologi. " +"Etter mitt syn underestimerer han forÃ¸vrig kostnaden til det juridiske " +"system. Se, for eksempel, <citetitle>Rethinking</citetitle>, 174–76. " +"<placeholder type=\"indexterm\" id=\"0\"/>" + +#. type: Content of: <book><chapter><section><section><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 "" +"Ãkonomer er forventet Ã¥ vÃ¦re gode til Ã¥ forstÃ¥ utgifter og inntekter. Men " +"som oftest antar Ã¸konomene uten peiling pÃ¥ hvordan det juridiske systemet " +"egentlig fungerer, at transaksjonskostnaden i det juridiske systemet er lav." +"<placeholder type=\"footnote\" id=\"0\"/> De ser et system som har " +"eksistert i hundrevis av Ã¥r, og de antar at det fungerer slik grunnskolens " +"samfunnsfagsundervisning lÃ¦rte dem at det fungerer." + +#. PAGE BREAK 310 +#. type: Content of: <book><chapter><section><section><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 det juridiske systemet fungerer ikke. Eller for Ã¥ vÃ¦re mer nÃ¸yaktig, det " +"fungerer kun for de med mest ressurser. Det er ikke fordi systemet er " +"korrupt. Jeg tror overhodet ikke vÃ¥rt juridisk system (pÃ¥ fÃ¸deralt nivÃ¥, i " +"hvert fall) er korrupt. Jeg mener ganske enkelt at pÃ¥ grunn av at kostnadene " +"med vÃ¥rt juridiske systemet er sÃ¥ hÃ¥rreisende hÃ¸yt vil en praktisk talt " +"aldri oppnÃ¥ rettferdighet." + +#. type: Content of: <book><chapter><section><section><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 forstyrrer fri kultur pÃ¥ mange vis. En advokats tid " +"faktureres hos de stÃ¸rste firmaene for mer enn $400 pr. time. Hvor mye tid " +"bÃ¸r en slik advokat bruke pÃ¥ Ã¥ lese sakene nÃ¸ye, eller undersÃ¸ke obskure " +"rettskilder. Svaret er i Ã¸kende grad: svÃ¦rt lite. Jussen er avhengig av " +"nÃ¸ye formulering og utvikling av doktrine, men nÃ¸ye formulering og utvikling " +"av doktrine er avhengig av nÃ¸yaktig arbeid. Men nÃ¸yaktig arbeid koster for " +"mye, bortsett fra i de mest hÃ¸yprofilerte og kostbare sakene." + +#. type: Content of: <book><chapter><section><section><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 "" +"Kostbarheten, klomsetheten og tilfeldigheten til dette systemet hÃ¥ner vÃ¥r " +"tradisjon. Og advokater, sÃ¥vel som akademikere, bÃ¸r se det som sin plikt Ã¥ " +"endre hvordan loven praktiseres— eller bedre, endre loven slik at den " +"fungerer. Det er galt at systemet fungerer godt bare for den Ã¸verste 1-" +"prosenten av klientene. Det kan gjÃ¸res radikalt mer effektivt, og billig, " +"og dermed radikalt mer rettferdig." + +#. type: Content of: <book><chapter><section><section><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 inntil en slik reform er gjennomfÃ¸rt, bÃ¸r vi som samfunn holde lover " +"unna omrÃ¥der der vi vet den bare vil skade. Og det er nettopp det loven " +"altfor ofte vil gjÃ¸re hvis for mye av vÃ¥r kultur er lovregulert." + +#. type: Content of: <book><chapter><section><section><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 pÃ¥ de fantastiske tingene ditt barn kan gjÃ¸re eller lage med digital " +"teknologi—filmen, musikken, web-siden, bloggen. Eller tenk pÃ¥ de " +"fantastiske tingene ditt fellesskap kunne fÃ¥ til med digital teknologi—" +"en wiki, oppsetting av lÃ¥ve, kampanje til Ã¥ endre noe. Tenk pÃ¥ alle de " +"kreative tingene, og tenk deretter pÃ¥ kald sirup helt inn i maskinene. Dette " +"er hva et hvert regime som krever tillatelser fÃ¸rer til. Dette er " +"virkeligheten slik den var i Brezhnevs Russland." + +#. PAGE BREAK 311 +#. type: Content of: <book><chapter><section><section><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: <quote>Will it do good?</quote> When challenged about the " +"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>" +msgstr "" +"Loven bÃ¸r regulere i visse omrÃ¥der av kulturen—men det bÃ¸r regulere " +"kultur bare der reguleringen bidrar positivt. Likevel tester advokater " +"sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk " +"spÃ¸rsmÃ¥let: <quote>vil det bidra positivt?</quote>. NÃ¥r de blir utfordret " +"om det utvidede rekkevidden til loven, er advokat-svaret, <quote>Hvorfor " +"ikke?</quote>" + +#. type: Content of: <book><chapter><section><section><para> +msgid "" +"We should ask, <quote>Why?</quote> Show me why your regulation of culture is " +"needed. Show me how it does good. And until you can show me both, keep your " +"lawyers away." +msgstr "" +"Vi burde spÃ¸rre: <quote>Hvorfor?</quote>. Vis meg hvorfor din regulering av " +"kultur er nÃ¸dvendig og vis meg hvordan reguleringen bidrar positivt. FÃ¸r du " +"kan vise meg begge, holde advokatene din unna." + +#. type: Content of: <book><chapter><title> +msgid "NOTES" +msgstr "Notater" + +#. type: Content of: <book><chapter><para> +msgid "" +"Throughout this text, there are references to links on the World Wide Web. " +"As anyone who has tried to use the Web knows, these links can be highly " +"unstable. I have tried to remedy the instability by redirecting readers to " +"the original source through the Web site associated with this book. For each " +"link below, you can go to http://free-culture.cc/notes and locate the " +"original source by clicking on the number after the # sign. If the original " +"link remains alive, you will be redirected to that link. If the original " +"link has disappeared, you will be redirected to an appropriate reference for " +"the material." +msgstr "" +"I denne teksten er det referanser til lenker pÃ¥ verdensveven. Og som alle " +"som har forsÃ¸kt Ã¥ bruke nettet vet, sÃ¥ vil disse lenkene vÃ¦re svÃ¦rt " +"ustabile. Jeg har forsÃ¸kt Ã¥ motvirke denne ustabiliteten ved Ã¥ omdirigere " +"lesere til den originale kilden gjennom en nettside som hÃ¸rer til denne " +"boken. For hver lenke under, sÃ¥ kan du gÃ¥ til http://free-culture.cc/notes " +"og finne den originale kilden ved Ã¥ klikke pÃ¥ nummeret etter #-tegnet. Hvis " +"den originale lenken fortsatt er i live, sÃ¥ vil du bli omdirigert til den " +"lenken. Hvis den originale lenken har forsvunnet, sÃ¥ vil du bli omdirigert " +"til en passende referanse til materialet." + +#. type: Content of: <book><chapter><title> +msgid "ACKNOWLEDGMENTS" +msgstr "Takk til" + +#. type: Content of: <book><chapter><para> +msgid "" +"This book is the product of a long and as yet unsuccessful struggle that " +"began when I read of Eric Eldred's war to keep books free. Eldred's work " +"helped launch a movement, the free culture movement, and it is to him that " +"this book is dedicated." +msgstr "" +"Denne boken er produktet av en lang og sÃ¥ langt mislykket kamp som begynte " +"da jeg leste om Eric Eldreds krig for Ã¥ sÃ¸rge for at bÃ¸ker forble frie. " +"Eldreds innsats bidro til Ã¥ lansere en bevegelse, fri kultur-bevegelsen, og " +"denne boken er tilegnet ham." + +#. 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 pÃ¥ ulike steder fra venner og akademikere, inkludert " +"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose og " +"Kathleen Sullivan. Og jeg fikk korreksjoner og veiledning fra mange " +"fantastiske studenter ved Stanford Law School og Stanford University. Det " +"inkluderer Andrew B. Coan, John Eden, James P. Fellers, Christopher " +"Guzelian, Erica Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian-" +"Link, Ohad Mayblum, Alina Ng og Erica Platt. Jeg er sÃ¦rlig takknemlig " +"overfor Catherine Crump og Harry Surden, som hjalp til med Ã¥ styre deres " +"forskning og til Laura Lynch, som briljant hÃ¥ndterte hÃ¦ren de samlet, samt " +"bidro med sitt egen kritisk blikk pÃ¥ 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 Ã¥ forstÃ¥ lovene i Japan, sÃ¥ vel som Japans kultur. " +"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med " +"forundersÃ¸kelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto " +"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro " +"Yonezawa. Jeg er ogsÃ¥ takknemlig til professor Nobuhiro Nakayama og Tokyo " +"University Business Law Center, som ga meg muligheten til Ã¥ bruke tid i " +"Japan, og Tadashi Shiraishi og Kiyokazu Yamagami for deres generÃ¸se 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, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> " +"and Richard Yanco. (I apologize if I have missed anyone; with computers come " +"glitches, and a crash of my e-mail system meant I lost a bunch of great " +"replies.)" +msgstr "" +"Dette er de tradisjonelle former for hjelp som akademikere regelmessig " +"trekker pÃ¥. Men i tillegg til dem, har Internett gjort det mulig Ã¥ motta rÃ¥d " +"og korrigering fra mange som jeg har aldri mÃ¸tt. Blant de som har svart med " +"svÃ¦rt nyttig rÃ¥d etter forespÃ¸rsler om boken pÃ¥ bloggen min er Dr. Muhammed " +"Al-Ubaydli, David Gerstein og Peter Dimauro, I tillegg en lang liste med de " +"som hadde spesifikke idÃ©er om mÃ¥ter Ã¥ utvikle mine argumenter pÃ¥. De " +"inkluderte Richard Bondi, Steven Cherry, David Coe, Nik Cubrilovic, Bob " +"Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, Jeremy Hunsinger, " +"Vaughn Iverson, John Karabaic, Jeff Keltner, James Lindenschmidt, K. L. " +"Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred " +"Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, " +"Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, " +"Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, " +"<quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> og Richard " +"Yanco. (jeg beklager hvis jeg gikk glipp av noen, med datamaskiner kommer " +"feil og en krasj i e-postsystemet mitt gjorde at jeg mistet en haug med " +"flotte svar.)" + +#. 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 har begge lest hele boken i utkast, og " +"hver av dem har bidratt med svÃ¦rt nyttige korreksjoner og rÃ¥d. Michael hjalp " +"meg Ã¥ se mer tydelig betydningen av regulering for avledede verker . Og " +"Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er " +"delvis inspirert av Stallmans, er han ikke enig med meg pÃ¥ vesentlige steder " +"i denne boken." + +#. type: Content of: <book><chapter><para> +msgid "" +"Finally, and forever, I am thankful to Bettina, who has always insisted that " +"there would be unending happiness away from these battles, and who has " +"always been right. This slow learner is, as ever, grateful for her perpetual " +"patience and love." +msgstr "" +"Til slutt, og for evig, er jeg Bettina takknemlig, som alltid har insistert " +"pÃ¥ at det ville vÃ¦re endelÃ¸s lykke utenfor disse kampene, og som alltid har " +"hatt rett. Denne trege eleven er som alltid takknemlig for hennes " +"evigvarende tÃ¥lmodighet og kjÃ¦rlighet."