From: Petter Reinholdtsen Date: Fri, 27 Jul 2012 18:30:42 +0000 (+0200) Subject: Update after updated XML. X-Git-Tag: edition-2015-10-10~2085 X-Git-Url: https://pere.pagekite.me/gitweb/text-free-culture-lessig.git/commitdiff_plain/b0f53714e9485b974fac8b11b95f037420a30cff?ds=sidebyside Update after updated XML. --- diff --git a/freeculture.nb.po b/freeculture.nb.po index ed3edb9..f903a2b 100644 --- a/freeculture.nb.po +++ b/freeculture.nb.po @@ -6,7 +6,7 @@ msgid "" msgstr "" "Project-Id-Version: Free Culture by Lawrence Lessig\n" -"POT-Creation-Date: 2012-07-27 11:04+0300\n" +"POT-Creation-Date: 2012-07-27 20:12+0300\n" "PO-Revision-Date: 2012-07-13 21:50+0200\n" "Last-Translator: Petter Reinholdtsen \n" "Language-Team: Norwegian BokmÃ¥l \n" @@ -65,13 +65,14 @@ msgstr "" #. type: Content of: msgid "" -"This version of Free Culture is licensed under a Creative Commons license. " -"This license permits non-commercial use of this work, so long as attribution " -"is given. For more information about the license, click the icon above, or " -"visit http://" -"creativecommons.org/licenses/by-nc/1.0/" +"This version of Free Culture is licensed under a " +"Creative Commons license. This license permits non-commercial use of this " +"work, so long as attribution is given. For more information about the " +"license, click the icon above, or visit http://creativecommons.org/licenses/by-nc/1.0/" msgstr "" -"Denne versjonen av Fri Kultur er lisensert med en Creative Commons-lisens. " +"Denne versjonen av Fri Kultur er lisensert med en Creative Commons-lisens. " "Denne lisensen tillater ikke-kommersiell utnyttelse av verket, hvis " "opphavsinnehaveren er navngitt. For mer informasjon om lisensen, klikk pÃ¥ " "ikonet over eller besøk msgid "Copyright © Lawrence Lessig. All rights reserved." -msgstr "Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert." +msgstr "" +"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert." #. type: Content of: msgid "" -"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" The " -"New York Times, January 16, 2003. Copyright © 2003 by The New York " -"Times Co. Reprinted with permission." +"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" " +"The New York Times, January 16, 2003. Copyright " +"© 2003 by The New York Times Co. Reprinted with permission." msgstr "" #. type: Content of: @@ -297,21 +299,21 @@ msgstr "Pogue, David" #. type: Content of: msgid "" -"At the end of his review of my first book, Code: And Other Laws of " -"Cyberspace, David Pogue, a brilliant writer and author of countless " -"technical and computer-related texts, wrote this:" +"At the end of his review of my first book, Code: And Other Laws " +"of Cyberspace, David Pogue, a brilliant writer and author of " +"countless technical and computer-related texts, wrote this:" msgstr "" "David Pogue, en glimrende skribent og forfatter av utallige tekniske " "datarelaterte tekster, skrev dette pÃ¥ slutten av hans gjennomgang av min " -"første bok, Code: And Other Laws of Cyberspace:" +"første bok, Code: And Other Laws of Cyberspace:" #. type: Content of:
msgid "" -"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January " -"2000." +"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January 2000." msgstr "" -"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30. januar " -"2000" +"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30. januar 2000" #. type: Content of:
msgid "" @@ -332,28 +334,29 @@ msgid "" "\"code,\" functioned as a kind of law—and his review suggested the " "happy thought that if life in cyberspace got bad, we could always \"drizzle, " "drazzle, druzzle, drome\"-like simply flip a switch and be back home. Turn " -"off the modem, unplug the computer, and any troubles that exist in that " -"space wouldn't \"affect\" us anymore." +"off the modem, unplug the computer, and any troubles that exist in " +"that space wouldn't \"affect\" us anymore." msgstr "" "Pogue var skeptisk til argumentet som er kjernen av boken — at " "programvaren, eller \"koden\", fungerte som en slags lov — og foreslo " "i sin anmeldelse den lykkelig tanken at hvis livet i cyberspace gikk dÃ¥rlig, " "sÃ¥ kan vi alltid som med en trylleformel slÃ¥ over en bryter og komme hjem " "igjen. SlÃ¥ av modemet, koble fra datamaskinen, og eventuelle problemer som " -"finnes der ville ikke \"pÃ¥virke\" oss mer." +"finnes den virkeligheten ville ikke \"pÃ¥virke\" oss mer." #. PAGE BREAK 12 #. type: Content of: msgid "" "Pogue might have been right in 1999—I'm skeptical, but maybe. But " -"even if he was right then, the point is not right now: Free Culture is about " -"the troubles the Internet causes even after the modem is turned off. It is " -"an argument about how the battles that now rage regarding life on-line have " -"fundamentally affected \"people who aren't online.\" There is no switch that " -"will insulate us from the Internet's effect." +"even if he was right then, the point is not right now: Free " +"Culture is about the troubles the Internet causes even after the " +"modem is turned off. It is an argument about how the battles that now rage " +"regarding life on-line have fundamentally affected \"people who aren't " +"online.\" There is no switch that will insulate us from the Internet's " +"effect." msgstr "" "Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " -"Men selv om han hadde rett da, sÃ¥ er ikke argumentet gyldig nÃ¥. Fri Kultur " +"Men selv om han hadde rett da, sÃ¥ er ikke argumentet gyldig nÃ¥. Fri Kultur " "er om problemene internett forÃ¥rsaker selv etter at modemet er slÃ¥tt av. " "Den er et argument om hvordan slagene som nÃ¥ brer om seg i livet on-line har " "fundamentalt pÃ¥virket \"folk som er ikke pÃ¥logget.\" Det finnes ingen " @@ -361,24 +364,42 @@ msgstr "" #. type: Content of: msgid "" -"But unlike Code, the argument here is not much about the Internet itself. It " -"is instead about the consequence of the Internet to a part of our tradition " -"that is much more fundamental, and, as hard as this is for a geek-wanna-be " -"to admit, much more important." +"But unlike Code, the argument here is not much about " +"the Internet itself. It is instead about the consequence of the Internet to " +"a part of our tradition that is much more fundamental, and, as hard as this " +"is for a geek-wanna-be to admit, much more important." msgstr "" -"Men i motsetning til i boken Code, er argumentet her ikke sÃ¥ mye om " +"Men i motsetning til i boken Code, er argumentet her ikke sÃ¥ mye om " "internett i seg selv. Istedet er det 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¥ innrømme, mye viktigere." #. type: Content of: msgid "" -"Richard M. Stallman, Free Software, Free Societies 57 (Joshua Gay, ed. 2002)." +"Richard M. Stallman, Free Software, Free Societies 57 " +"(Joshua Gay, ed. 2002)." msgstr "" -"Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. " +"Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. " "2002)." #. type: Content of: +#, fuzzy +#| msgid "" +#| "That tradition is the way our culture gets made. As I explain in the " +#| "pages that follow, we come from a tradition of \"free culture\"—not " +#| "\"free\" as in \"free beer\" (to borrow a phrase from the founder of the " +#| "free software movement), but " +#| "\"free\" as in \"free speech,\" \"free markets,\" \"free trade,\" \"free " +#| "enterprise,\" \"free will,\" and \"free elections.\" A free culture " +#| "supports and protects creators and innovators. It does this directly by " +#| "granting intellectual property rights. But it does so indirectly by " +#| "limiting the reach of those rights, to guarantee that follow-on creators " +#| "and innovators remain as free as possible from the control of the past. A " +#| "free culture is not a culture without property, just as a free market is " +#| "not a market in which everything is free. The opposite of a free culture " +#| "is a \"permission culture\"—a culture in which creators get to " +#| "create only with the permission of the powerful, or of creators from the " +#| "past." msgid "" "That tradition is the way our culture gets made. As I explain in the pages " "that follow, we come from a tradition of \"free culture\"—not \"free\" " @@ -388,12 +409,12 @@ msgid "" "\"free will,\" and \"free elections.\" A free culture supports and protects " "creators and innovators. It does this directly by granting intellectual " "property rights. But it does so indirectly by limiting the reach of those " -"rights, to guarantee that follow-on creators and innovators remain as free " -"as possible from the control of the past. A free culture is not a culture " -"without property, just as a free market is not a market in which everything " -"is free. The opposite of a free culture is a \"permission culture\"—a " -"culture in which creators get to create only with the permission of the " -"powerful, or of creators from the past." +"rights, to guarantee that follow-on creators and innovators remain " +"as free as possible from the control of the past. A " +"free culture is not a culture without property, just as a free market is not " +"a market in which everything is free. The opposite of a free culture is a " +"\"permission culture\"—a culture in which creators get to create only " +"with the permission of the powerful, or of creators from the past." msgstr "" "Den tradisjonen er mÃ¥ten vÃ¥r kultur blir laget pÃ¥. Som jeg vil forklare i " "sidene som følger, kommer vi fra en tradisjon av \"fri kultur\"—ikke " @@ -458,9 +479,13 @@ msgstr "" "" #. type: Content of:
+#, fuzzy +#| msgid "" +#| "William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003. " +#| "" msgid "" -"William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003. " -"" +"William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003. " msgstr "" "William Safire, \"The Great Media Gulp,\" New York Times, 22. mai 2003. " "" @@ -481,20 +506,37 @@ msgstr "" ">" #. type: Content of: -msgid "" -"This idea is an element of the argument of Free Culture, though my focus is " -"not just on the concentration of power produced by concentrations in " -"ownership, but more importantly, if because less visibly, on the " -"concentration of power produced by a radical change in the effective scope " -"of the law. The law is changing; that change is altering the way our culture " -"gets made; that change should worry you—whether or not you care about " -"the Internet, and whether you're on Safire's left or on his right. The " -"inspiration for the title and for much of the argument of this book comes " -"from the work of Richard Stallman and the Free Software Foundation. Indeed, " -"as I reread Stallman's own work, especially the essays in Free Software, " -"Free Society, I realize that all of the theoretical insights I develop here " -"are insights Stallman described decades ago. One could thus well argue that " -"this work is \"merely\" derivative." +#, fuzzy +#| msgid "" +#| "This idea is an element of the argument of Free Culture, though my focus " +#| "is not just on the concentration of power produced by concentrations in " +#| "ownership, but more importantly, if because less visibly, on the " +#| "concentration of power produced by a radical change in the effective " +#| "scope of the law. The law is changing; that change is altering the way " +#| "our culture gets made; that change should worry you—whether or not " +#| "you care about the Internet, and whether you're on Safire's left or on " +#| "his right. The inspiration for the title and for much of the argument of " +#| "this book comes from the work of Richard Stallman and the Free Software " +#| "Foundation. Indeed, as I reread Stallman's own work, especially the " +#| "essays in Free Software, Free Society, I realize that all of the " +#| "theoretical insights I develop here are insights Stallman described " +#| "decades ago. One could thus well argue that this work is \"merely\" " +#| "derivative." +msgid "" +"This idea is an element of the argument of Free Culture, though my focus is not just on the concentration of power " +"produced by concentrations in ownership, but more importantly, if because " +"less visibly, on the concentration of power produced by a radical change in " +"the effective scope of the law. The law is changing; that change is altering " +"the way our culture gets made; that change should worry you—whether or " +"not you care about the Internet, and whether you're on Safire's left or on " +"his right. The inspiration for the title and for much of the argument of " +"this book comes from the work of Richard Stallman and the Free Software " +"Foundation. Indeed, as I reread Stallman's own work, especially the essays " +"in Free Software, Free Society, I realize that all of " +"the theoretical insights I develop here are insights Stallman described " +"decades ago. One could thus well argue that this work is \"merely\" " +"derivative." msgstr "" "Denne idéen er et element i argumentet til Fri Kultur, selv om min fokus " "ikke bare er pÃ¥ konsentrasjonen av makt som følger av konsentrasjonen i " @@ -581,9 +623,13 @@ msgstr "" "begynte Ã¥ bygge videre pÃ¥ den." #. type: Content of: +#, fuzzy +#| msgid "" +#| "St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: " +#| "Rothman Reprints, 1969), 18." msgid "" -"St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: " -"Rothman Reprints, 1969), 18." +"St. George Tucker, Blackstone's Commentaries 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." msgstr "" "St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: " "Rothman Reprints, 1969), 18." @@ -676,15 +722,27 @@ msgstr "" "eiendomslovgivningen strøket. Som han skrev pÃ¥ vegne av retten," #. type: Content of:
+#, fuzzy +#| msgid "" +#| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find " +#| "that there could be a \"taking\" if the government's use of its land " +#| "effectively destroyed the value of the Causbys' land. This example was " +#| "suggested to me by Keith Aoki's wonderful piece, \"(Intellectual) " +#| "Property and Sovereignty: Notes Toward a Cultural Geography of Authorship," +#| "\" Stanford Law Review 48 (1996): 1293, 1333. See also Paul Goldstein, " +#| "Real Property (Mineola, N.Y.: Foundation Press, 1984), 1112–13. " +#| " " msgid "" "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " "there could be a \"taking\" if the government's use of its land effectively " "destroyed the value of the Causbys' land. This example was suggested to me " "by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: " -"Notes Toward a Cultural Geography of Authorship,\" Stanford Law Review 48 " -"(1996): 1293, 1333. See also Paul Goldstein, Real Property (Mineola, N.Y.: " -"Foundation Press, 1984), 1112–13. " +"Notes Toward a Cultural Geography of Authorship,\" Stanford Law " +"Review 48 (1996): 1293, 1333. See also Paul Goldstein, " +"Real Property (Mineola, N.Y.: Foundation Press, " +"1984), 1112–13. " +"" msgstr "" "USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være " "Ã¥ \"ta\" hvis regjeringens bruk av sitt land reelt sett hadde ødelagt " @@ -856,9 +914,13 @@ msgid "The audience was hearing something no one had thought possible:" msgstr "Publikum hørte noe ingen hadde trodd var mulig:" #. type: Content of:
+#, fuzzy +#| msgid "" +#| "Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong " +#| "(Philadelphia: J. B. Lipincott Company, 1956), 209." msgid "" -"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong " -"(Philadelphia: J. B. Lipincott Company, 1956), 209." +"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong (Philadelphia: J. B. Lipincott Company, 1956), 209." msgstr "" "Lawrence Lessing, Man of High Fidelity:: Edwin Howard Armstrong " "(Philadelphia: J. B. Lipincott Company, 1956), 209." @@ -1241,9 +1303,13 @@ msgstr "" "stedet bare en del, en kontrollert del, balansert mot det frie." #. type: Content of: +#, fuzzy +#| msgid "" +#| "See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), " +#| "ch. 13." msgid "" -"See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), " -"ch. 13." +"See Jessica Litman, Digital Copyright (New York: " +"Prometheus Books, 2001), ch. 13." msgstr "" "Se Jessica Litman, Digital Copyright (New York: Prometheus bøker, 2001), " "kap. 13." @@ -1351,10 +1417,15 @@ msgstr "" "internettet før internettet gjør om på dem." #. type: Content of: +#, fuzzy +#| msgid "" +#| "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " +#| "Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 " +#| "January 2002." msgid "" "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 " -"January 2002." +"Tools to Turn the Net into an Illicit Video Club,\" New York " +"Times, 17 January 2002." msgstr "" "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " "Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17. " @@ -1417,9 +1488,14 @@ msgid "Netanel, Neil Weinstock" msgstr "Netanel, Neil Weinstock" #. type: Content of: +#, fuzzy +#| msgid "" +#| "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law " +#| "Journal 106 (1996): 283. " msgid "" -"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law " -"Journal 106 (1996): 283. " +"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " +"Yale Law Journal 106 (1996): 283. " msgstr "" "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law " "Journal 106 (1996): 283. " @@ -1546,14 +1622,23 @@ msgstr "" "til fordel for seg." #. type: Content of: +#, fuzzy +#| msgid "" +#| "My hope is to push this common sense along. I have become increasingly " +#| "amazed by the power of this idea of intellectual property and, more " +#| "importantly, its power to disable critical thought by policy makers and " +#| "citizens. There has never been a time in our history when more of our " +#| "\"culture\" was as \"owned\" as it is now. And yet there has never been a " +#| "time when the concentration of power to control the uses of culture has " +#| "been as unquestioningly accepted as it is now." msgid "" "My hope is to push this common sense along. I have become increasingly " "amazed by the power of this idea of intellectual property and, more " "importantly, its power to disable critical thought by policy makers and " "citizens. There has never been a time in our history when more of our " "\"culture\" was as \"owned\" as it is now. And yet there has never been a " -"time when the concentration of power to control the uses of culture has been " -"as unquestioningly accepted as it is now." +"time when the concentration of power to control the uses of culture has been as unquestioningly accepted as it is now." msgstr "" "Mitt håp er å skyve denne sunne fornuften videre. Jeg har blitt stadig mer " "overrasket over kraften til denne idéen om immaterielle rettigheter og, mer " @@ -1716,7 +1801,11 @@ msgstr "" #. f1 #. type: Content of:
-msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)." +#, fuzzy +#| msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)." +msgid "" +"Bach v. Longman, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)." #. type: Content of:
@@ -1762,12 +1851,19 @@ msgstr "" "opphavsretter frykter delingen vil \"frata forfatteren overskuddet.\"" #. type: Content of: +#, fuzzy +#| msgid "" +#| "The warriors have turned to the courts, to the legislatures, and " +#| "increasingly to technology to defend their \"property\" against this " +#| "\"piracy.\" A generation of Americans, the warriors warn, is being raised " +#| "to believe that \"property\" should be \"free.\" Forget tattoos, never " +#| "mind body piercing—our kids are becoming thieves!" msgid "" "The warriors have turned to the courts, to the legislatures, and " "increasingly to technology to defend their \"property\" against this " "\"piracy.\" A generation of Americans, the warriors warn, is being raised to " "believe that \"property\" should be \"free.\" Forget tattoos, never mind " -"body piercing—our kids are becoming thieves!" +"body piercing—our kids are becoming thieves!" msgstr "" "Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større " "grad til teknologi for Ã¥ forsvare sin \"eiendom\" mot denne " @@ -1811,9 +1907,14 @@ msgstr "Dreyfuss, Rochelle" #. f2 #. type: Content of: +#, fuzzy +#| msgid "" +#| "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in " +#| "the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397." msgid "" "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in " -"the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397." +"the Pepsi Generation,\" Notre Dame Law Review 65 " +"(1990): 397." msgstr "" "Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the " "Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397." @@ -1823,12 +1924,21 @@ msgid "Zittrain, Jonathan" msgstr "Zittrain, Jonathan" #. type: Content of: +#, fuzzy +#| msgid "" +#| "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up," +#| "\" Wall Street Journal, 21 August 1996, available at link #3; Jonathan Zittrain, \"Calling " +#| "Off the Copyright War: In Battle of Property vs. Free Speech, No One Wins," +#| "\" Boston Globe, 24 November 2002. " msgid "" "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " -"Wall Street Journal, 21 August 1996, available at link #3; Jonathan Zittrain, \"Calling Off the " -"Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" Boston " -"Globe, 24 November 2002. " +"Wall Street Journal, 21 August 1996, available at " +"link #3; Jonathan " +"Zittrain, \"Calling Off the Copyright War: In Battle of Property vs. Free " +"Speech, No One Wins,\" Boston Globe, 24 November " +"2002. " msgstr "" "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " "Wall Street Journal, 21. august 1996, tilgjengelig fra -msgid "" -"In The Rise of the Creative Class (New York: Basic Books, 2002), Richard " -"Florida documents a shift in the nature of labor toward a labor of " -"creativity. His work, however, doesn't directly address the legal " -"conditions under which that creativity is enabled or stifled. I certainly " -"agree with him about the importance and significance of this change, but I " -"also believe the conditions under which it will be enabled are much more " -"tenuous. " +#, fuzzy +#| msgid "" +#| "In The Rise of the Creative Class (New York: Basic Books, 2002), Richard " +#| "Florida documents a shift in the nature of labor toward a labor of " +#| "creativity. His work, however, doesn't directly address the legal " +#| "conditions under which that creativity is enabled or stifled. I certainly " +#| "agree with him about the importance and significance of this change, but " +#| "I also believe the conditions under which it will be enabled are much " +#| "more tenuous. " +msgid "" +"In The Rise of the Creative Class (New York: Basic " +"Books, 2002), Richard Florida documents a shift in the nature of labor " +"toward a labor of creativity. His work, however, doesn't directly address " +"the legal conditions under which that creativity is enabled or stifled. I " +"certainly agree with him about the importance and significance of this " +"change, but I also believe the conditions under which it will be enabled are " +"much more tenuous. " msgstr "" "I The Rise of the Creative Class (New York: Basic Books, 2002), dokumenterer " "Richard Florida en endring i arbeidsstokken mot kreativitetsarbeide. Hans " @@ -1976,12 +2095,20 @@ msgid "CHAPTER ONE: Creators" msgstr "Kapittel en: Skaperne" #. type: Content of: +#, fuzzy +#| msgid "" +#| "In 1928, a cartoon character was born. An early Mickey Mouse made his " +#| "debut in May of that year, in a silent flop called Plane Crazy. In " +#| "November, in New York City's Colony Theater, in the first widely " +#| "distributed cartoon synchronized with sound, Steamboat Willie brought to " +#| "life the character that would become Mickey Mouse." msgid "" "In 1928, a cartoon character was born. An early Mickey Mouse made his debut " -"in May of that year, in a silent flop called Plane Crazy. In November, in " -"New York City's Colony Theater, in the first widely distributed cartoon " -"synchronized with sound, Steamboat Willie brought to life the character that " -"would become Mickey Mouse." +"in May of that year, in a silent flop called Plane Crazy. In November, in New York City's Colony Theater, in the first " +"widely distributed cartoon synchronized with sound, Steamboat " +"Willie brought to life the character that would become Mickey " +"Mouse." msgstr "" "I 1928 ble en tegnefilmfigur født. En tidlig Mikke Mus debuterte i mai " "dette Ã¥ret, i en stille flopp ved navn Plane Crazy. I november, i Colony " @@ -1990,13 +2117,21 @@ msgstr "" "Mikke Mus." #. type: Content of: +#, fuzzy +#| msgid "" +#| "Synchronized sound had been introduced to film a year earlier in the " +#| "movie The Jazz Singer. That success led Walt Disney to copy the technique " +#| "and mix sound with cartoons. No one knew whether it would work or, if it " +#| "did work, whether it would win an audience. But when Disney ran a test in " +#| "the summer of 1928, the results were unambiguous. As Disney describes " +#| "that first experiment," msgid "" "Synchronized sound had been introduced to film a year earlier in the movie " -"The Jazz Singer. That success led Walt Disney to copy the technique and mix " -"sound with cartoons. No one knew whether it would work or, if it did work, " -"whether it would win an audience. But when Disney ran a test in the summer " -"of 1928, the results were unambiguous. As Disney describes that first " -"experiment," +"The Jazz Singer. That success led Walt Disney to copy " +"the technique and mix sound with cartoons. No one knew whether it would work " +"or, if it did work, whether it would win an audience. But when Disney ran a " +"test in the summer of 1928, the results were unambiguous. As Disney " +"describes that first experiment," msgstr "" "Film med sykronisert lyd hadde blitt introdusert et Ã¥r tidligere i filmen " "The Jazz Singer. Suksessen fikk Walt Disney til Ã¥ kopiere teknikken og " @@ -2032,9 +2167,13 @@ msgstr "" #. f1 #. type: Content of:
+#, fuzzy +#| msgid "" +#| "Leonard Maltin, Of Mice and Magic: A History of American Animated " +#| "Cartoons (New York: Penguin Books, 1987), 34–35." msgid "" -"Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons " -"(New York: Penguin Books, 1987), 34–35." +"Leonard Maltin, Of Mice and Magic: A History of American Animated " +"Cartoons (New York: Penguin Books, 1987), 34–35." msgstr "" "Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons " "(New York: Penguin Books, 1987), 34–35." @@ -2087,11 +2226,17 @@ msgstr "" "store geni, hans gnist av kreativitet, bygget pÃ¥ arbeidet til andre." #. type: Content of: +#, fuzzy +#| msgid "" +#| "This much is familiar. What you might not know is that 1928 also marks " +#| "another important transition. In that year, a comic (as opposed to " +#| "cartoon) genius created his last independently produced silent film. " +#| "That genius was Buster Keaton. The film was Steamboat Bill, Jr." msgid "" "This much is familiar. What you might not know is that 1928 also marks " "another important transition. In that year, a comic (as opposed to cartoon) " "genius created his last independently produced silent film. That genius was " -"Buster Keaton. The film was Steamboat Bill, Jr." +"Buster Keaton. The film was Steamboat Bill, Jr." 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 " @@ -2099,12 +2244,21 @@ msgstr "" "Buster Keaton. Filmen var Steamboat Bill, Jr." #. type: Content of: +#, fuzzy +#| msgid "" +#| "Keaton was born into a vaudeville family in 1895. In the era of silent " +#| "film, he had mastered using broad physical comedy as a way to spark " +#| "uncontrollable laughter from his audience. Steamboat Bill, Jr. was a " +#| "classic of this form, famous among film buffs for its incredible stunts. " +#| "The film was classic Keaton—wildly popular and among the best of " +#| "its genre." msgid "" "Keaton was born into a vaudeville family in 1895. In the era of silent film, " "he had mastered using broad physical comedy as a way to spark uncontrollable " -"laughter from his audience. Steamboat Bill, Jr. was a classic of this form, " -"famous among film buffs for its incredible stunts. The film was classic " -"Keaton—wildly popular and among the best of its genre." +"laughter from his audience. Steamboat Bill, Jr. was a " +"classic of this form, famous among film buffs for its incredible stunts. " +"The film was classic Keaton—wildly popular and among the best of its " +"genre." msgstr "" "Keaton ble født inn i en vauderville-familie i 1895. I stumfilm-æraen hadde " "han mestret bruken av bredpenslet fysisk komedie pÃ¥ en mÃ¥te som tente " @@ -2115,15 +2269,25 @@ msgstr "" #. f2 #. type: Content of: +#, fuzzy +#| msgid "" +#| "I am grateful to David Gerstein and his careful history, described at " +#| "link #4. According " +#| "to Dave Smith of the Disney Archives, Disney paid royalties to use the " +#| "music for five songs in Steamboat Willie: \"Steamboat Bill,\" \"The " +#| "Simpleton\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry " +#| "No. 1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey " +#| "in the Straw,\" was already in the public domain. Letter from David Smith " +#| "to Harry Surden, 10 July 2003, on file with author." msgid "" "I am grateful to David Gerstein and his careful history, described at link #4. According to Dave " "Smith of the Disney Archives, Disney paid royalties to use the music for " -"five songs in Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton" -"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. " -"1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in the " -"Straw,\" was already in the public domain. Letter from David Smith to Harry " -"Surden, 10 July 2003, on file with author." +"five songs in Steamboat Willie: \"Steamboat Bill,\" " +"\"The Simpleton\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry " +"No. 1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in " +"the Straw,\" was already in the public domain. Letter from David Smith to " +"Harry Surden, 10 July 2003, on file with author." msgstr "" "Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, " "beskrevet pÃ¥ link #4. " @@ -2136,14 +2300,15 @@ msgstr "" #. type: Content of: msgid "" -"Steamboat Bill, Jr. appeared before Disney's cartoon Steamboat Willie. The " -"coincidence of titles is not coincidental. Steamboat Willie is a direct " -"cartoon parody of Steamboat Bill, " -"and both are built upon a common song as a source. It is not just from the " -"invention of synchronized sound in The Jazz Singer that we get Steamboat " -"Willie. It is also from Buster Keaton's invention of Steamboat Bill, Jr., " -"itself inspired by the song \"Steamboat Bill,\" that we get Steamboat " -"Willie, and then from Steamboat Willie, Mickey Mouse." +"Steamboat Bill, Jr. appeared before Disney's cartoon " +"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " +"Willie is a direct cartoon parody of Steamboat Bill, and both are built upon a common song as a source. " +"It is not just from the invention of synchronized sound in The " +"Jazz Singer that we get Steamboat Willie. " +"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " +"inspired by the song \"Steamboat Bill,\" that we get Steamboat Willie, and " +"then from Steamboat Willie, Mickey Mouse." msgstr "" #. f3 @@ -2202,6 +2367,24 @@ msgstr "" #. PAGE BREAK 37 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Disney took these stories and retold them in a way that carried them into " +#| "a new age. He animated the stories, with both characters and light. " +#| "Without removing the elements of fear and danger altogether, he made " +#| "funny what was dark and injected a genuine emotion of compassion where " +#| "before there was fear. And not just with the work of the Brothers Grimm. " +#| "Indeed, the catalog of Disney work drawing upon the work of others is " +#| "astonishing when set together: Snow White (1937), Fantasia (1940), " +#| "Pinocchio (1940), Dumbo (1941), Bambi (1942), Song of the South (1946), " +#| "Cinderella (1950), Alice in Wonderland (1951), Robin Hood (1952), Peter " +#| "Pan (1953), Lady and the Tramp (1955), Mulan (1998), Sleeping Beauty " +#| "(1959), 101 Dalmatians (1961), The Sword in the Stone (1963), and The " +#| "Jungle Book (1967)—not to mention a recent example that we should " +#| "perhaps quickly forget, Treasure Planet (2003). In all of these cases, " +#| "Disney (or Disney, Inc.) ripped creativity from the culture around him, " +#| "mixed that creativity with his own extraordinary talent, and then burned " +#| "that mix into the soul of his culture. Rip, mix, and burn." msgid "" "Disney took these stories and retold them in a way that carried them into a " "new age. He animated the stories, with both characters and light. Without " @@ -2209,16 +2392,21 @@ msgid "" "dark and injected a genuine emotion of compassion where before there was " "fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " "of Disney work drawing upon the work of others is astonishing when set " -"together: Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo " -"(1941), Bambi (1942), Song of the South (1946), Cinderella (1950), Alice in " -"Wonderland (1951), Robin Hood (1952), Peter Pan (1953), Lady and the Tramp " -"(1955), Mulan (1998), Sleeping Beauty (1959), 101 Dalmatians (1961), The " -"Sword in the Stone (1963), and The Jungle Book (1967)—not to mention a " -"recent example that we should perhaps quickly forget, Treasure Planet " -"(2003). In all of these cases, Disney (or Disney, Inc.) ripped creativity " -"from the culture around him, mixed that creativity with his own " -"extraordinary talent, and then burned that mix into the soul of his culture. " -"Rip, mix, and burn." +"together: Snow White (1937), Fantasia (1940), Pinocchio (1940), " +"Dumbo (1941), Bambi (1942), " +"Song of the South (1946), Cinderella (1950), Alice in Wonderland (1951), " +"Robin Hood (1952), Peter Pan " +"(1953), Lady and the Tramp (1955), Mulan (1998), Sleeping Beauty (1959), " +"101 Dalmatians (1961), The Sword in the " +"Stone (1963), and The Jungle Book (1967)" +"—not to mention a recent example that we should perhaps quickly " +"forget, Treasure Planet (2003). In all of these " +"cases, Disney (or Disney, Inc.) ripped creativity from the culture around " +"him, mixed that creativity with his own extraordinary talent, and then " +"burned that mix into the soul of his culture. Rip, mix, and burn." msgstr "" "Disney tok disse historiene og fortalte dem pÃ¥ nytt pÃ¥ en mÃ¥te som førte dem " "inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. " @@ -2335,12 +2523,12 @@ msgstr "" #, mtrans, fuzzy msgid "" "Consider, for example, a form of creativity that seems strange to many " -"Americans but that is inescapable within Japanese culture: manga, or comics. " -"The Japanese are fanatics about comics. Some 40 percent of publications are " -"comics, and 30 percent of publication revenue derives from comics. They are " -"everywhere in Japanese society, at every magazine stand, carried by a large " -"proportion of commuters on Japan's extraordinary system of public " -"transportation." +"Americans but that is inescapable within Japanese culture: manga, or comics. The Japanese are fanatics about comics. Some 40 " +"percent of publications are comics, and 30 percent of publication revenue " +"derives from comics. They are everywhere in Japanese society, at every " +"magazine stand, carried by a large proportion of commuters on Japan's " +"extraordinary system of public transportation." msgstr "" "Tenk deg for eksempel en form av kreativitet som synes underlig for mange " "amerikanere, men det er uunngÃ¥elig i japansk kultur: manga, eller " @@ -2385,17 +2573,18 @@ msgstr "" #. type: Content of: #, mtrans, fuzzy msgid "" -"This is the phenomenon of doujinshi. Doujinshi are also comics, but they are " -"a kind of copycat comic. A rich ethic governs the creation of doujinshi. It " -"is not doujinshi if it is just a copy; the artist must make a contribution " -"to the art he copies, by transforming it either subtly or significantly. A " -"doujinshi comic can thus take a mainstream comic and develop it " -"differently—with a different story line. Or the comic can keep the " -"character in character but change its look slightly. There is no formula for " -"what makes the doujinshi sufficiently \"different.\" But they must be " -"different if they are to be considered true doujinshi. Indeed, there are " -"committees that review doujinshi for inclusion within shows and reject any " -"copycat comic that is merely a copy." +"This is the phenomenon of doujinshi. Doujinshi are " +"also comics, but they are a kind of copycat comic. A rich ethic governs the " +"creation of doujinshi. It is not doujinshi if it is just a copy; the artist must make a contribution to the art he copies, " +"by transforming it either subtly or significantly. A doujinshi comic can " +"thus take a mainstream comic and develop it differently—with a " +"different story line. Or the comic can keep the character in character but " +"change its look slightly. There is no formula for what makes the doujinshi " +"sufficiently \"different.\" But they must be different if they are to be " +"considered true doujinshi. Indeed, there are committees that review " +"doujinshi for inclusion within shows and reject any copycat comic that is " +"merely a copy." msgstr "" "Dette er fenomenet doujinshi. doujinshi er ogsÃ¥ tegneserier, men de er en " "slags copycat tegneserie. en rik ethic styrer opprettingen av doujinshi. Det " @@ -2442,10 +2631,10 @@ msgid "" "\"derivative works.\" There is no general practice by doujinshi artists of " "securing the permission of the manga creators. Instead, the practice is " "simply to take and modify the creations of others, as Walt Disney did with " -"Steamboat Bill, Jr. Under both Japanese and American law, that \"taking\" " -"without the permission of the original copyright owner is illegal. It is an " -"infringement of the original copyright to make a copy or a derivative work " -"without the original copyright owner's permission." +"Steamboat Bill, Jr. Under both Japanese and American " +"law, that \"taking\" without the permission of the original copyright owner " +"is illegal. It is an infringement of the original copyright to make a copy " +"or a derivative work without the original copyright owner's permission." msgstr "" "funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er at " "det er tillatt Ã¥ eksistere i det hele tatt. under japansk lov om " @@ -2465,9 +2654,13 @@ msgstr "Winick, Judd" #. f5 #. type: Content of: +#, fuzzy +#| msgid "" +#| "For an excellent history, see Scott McCloud, Reinventing Comics (New " +#| "York: Perennial, 2000)." msgid "" -"For an excellent history, see Scott McCloud, Reinventing Comics (New York: " -"Perennial, 2000)." +"For an excellent history, see Scott McCloud, Reinventing Comics (New York: Perennial, 2000)." msgstr "" "For en utmerket historie, se Scott McCloud, Reinventing Comics (New York: " "Perennial, 2000)." @@ -2506,13 +2699,13 @@ msgstr "" #, mtrans, fuzzy msgid "" "See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why " -"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law Review 55 " -"(2002): 155, 182. \"[T]here might be a collective economic rationality that " -"would lead manga and anime artists to forgo bringing legal actions for " -"infringement. One hypothesis is that all manga artists may be better off " -"collectively if they set aside their individual self-interest and decide not " -"to press their legal rights. This is essentially a prisoner's dilemma solved." -"\"" +"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law " +"Review 55 (2002): 155, 182. \"[T]here might be a collective " +"economic rationality that would lead manga and anime artists to forgo " +"bringing legal actions for infringement. One hypothesis is that all manga " +"artists may be better off collectively if they set aside their individual " +"self-interest and decide not to press their legal rights. This is " +"essentially a prisoner's dilemma solved.\"" msgstr "" "se salil k. mehra, \"copyright og tegneserier i japan: gjør loven forklare " "hvorfor alle tegneseriene min gutt klokker er japanske import?\" rutgers lov " @@ -2612,9 +2805,10 @@ msgstr "Vaidhyanathan, Siva" #. type: Content of: #, mtrans, fuzzy msgid "" -"The term intellectual property is of relatively recent origin. See Siva " -"Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University " -"Press, 2001). See also Lawrence Lessig, The Future of Ideas (New York: " +"The term intellectual property is of relatively " +"recent origin. See Siva Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University Press, 2001). See also " +"Lawrence Lessig, The Future of Ideas (New York: " "Random House, 2001), 293 n. 26. The term accurately describes a set of " "\"property\" rights—copyright, patents, trademark, and trade-" "secret—but the nature of those rights is very different. anyone believe Shakespeare would be better spread " +"within our culture if there were a central Shakespeare rights clearinghouse " +"that all productions of Shakespeare must appeal to first?) And Hollywood " +"goes through cycles with a certain kind of movie: five asteroid films in the " +"late 1990s; two volcano disaster films in 1997." msgstr "" "Det er det samme med tusen eksempler som vises overalt nÃ¥r du begynner Ã¥ se. " "forskere bygge pÃ¥ arbeidet til andre forskere uten Ã¥ be om eller betale for " @@ -2747,14 +2941,15 @@ msgstr "" #. type: Content of: #, mtrans, fuzzy msgid "" -"The hard question is therefore not whether a culture is free. All cultures " -"are free to some degree. The hard question instead is \"How free is this " -"culture?\" How much, and how broadly, is the culture free for others to take " -"and build upon? Is that freedom limited to party members? To members of the " -"royal family? To the top ten corporations on the New York Stock Exchange? Or " -"is that freedom spread broadly? To artists generally, whether affiliated " -"with the Met or not? To musicians generally, whether white or not? To " -"filmmakers generally, whether affiliated with a studio or not?" +"The hard question is therefore not whether a culture is " +"free. All cultures are free to some degree. The hard question instead is " +"\"How free is this culture?\" How much, and how " +"broadly, is the culture free for others to take and build upon? Is that " +"freedom limited to party members? To members of the royal family? To the top " +"ten corporations on the New York Stock Exchange? Or is that freedom spread " +"broadly? To artists generally, whether affiliated with the Met or not? To " +"musicians generally, whether white or not? To filmmakers generally, whether " +"affiliated with a studio or not?" msgstr "" "Det vanskelige spørsmÃ¥let er derfor ikke om en kultur er fri. Alle kulturer " "er frie til en viss grad. Det vanskelige spørsmÃ¥let er i stedet \"hvor " @@ -2851,9 +3046,13 @@ msgstr "" #. f1 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins " +#| "University Press, 1975), 112." msgid "" -"Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University " -"Press, 1975), 112." +"Reese V. Jenkins, Images and Enterprise (Baltimore: " +"Johns Hopkins University Press, 1975), 112." msgstr "" "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University " "Press, 1975), 112." @@ -2863,7 +3062,8 @@ msgid "" "Eastman developed flexible, emulsion-coated paper film and placed rolls of " "it in small, simple cameras: the Kodak. The device was marketed on the basis " "of its simplicity. \"You press the button and we do the rest.\" As he described in The Kodak Primer:" +"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:" msgstr "" #. type: Content of: @@ -2873,8 +3073,8 @@ msgstr "Coe, Brian" #. type: Content of:
#, mtrans, fuzzy msgid "" -"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), " -"53. " +"Brian Coe, The Birth of Photography (New York: " +"Taplinger Publishing, 1977), 53. " msgstr "" "Brian coe, fødselen av fotografering (new york: taplinger publiserer, 1977), " "53." @@ -2962,13 +3162,13 @@ msgstr "" #. f6 #. type: Content of: -#, mtrans, fuzzy msgid "" -"For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., 50 " -"S.E." +"For illustrative cases, see, for example, Pavesich v. " +"N.E. Life Ins. Co., 50 S.E. 68 (Ga. 1905); " +"Foster-Milburn Co. v. Chinn, " +"123090 S.W. 364, 366 (Ky. 1909); Corliss v. " +"Walker, 64 F. 280 (Mass. Dist. Ct. 1894)." msgstr "" -"for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. co, " -"50 se" #. type: Content of: msgid "" @@ -3007,9 +3207,9 @@ msgstr "Warren, Samuel D." #. type: Content of: #, mtrans, fuzzy msgid "" -"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" Harvard " -"Law Review 4 (1890): 193. " -"" +"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" " +"Harvard Law Review 4 (1890): 193. " msgstr "" "Samuel d. warren og louis d. brandeis, \"rett til personvern,\" harvard law " "gÃ¥ gjennom 4 (1890): 193." @@ -3022,19 +3222,21 @@ msgid "" "Brandeis, who would become a Supreme Court Justice, thought the rule should " "be different for images from private spaces.) It may be that this means that the photographer gets something " -"for nothing. Just as Disney could take inspiration from Steamboat Bill, Jr. " -"or the Brothers Grimm, the photographer should be free to capture an image " -"without compensating the source." +"for nothing. Just as Disney could take inspiration from Steamboat " +"Bill, Jr. or the Brothers Grimm, the photographer should be free " +"to capture an image without compensating the source." msgstr "" #. f8 #. type: Content of: #, mtrans, fuzzy msgid "" -"See Melville B. Nimmer, \"The Right of Publicity,\" Law and Contemporary " -"Problems 19 (1954): 203; William L. Prosser, \"Privacy,\" California Law " -"Review 48 (1960) 398–407; White v. Samsung Electronics America, Inc., " -"971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." +"See Melville B. Nimmer, \"The Right of Publicity,\" Law and " +"Contemporary Problems 19 (1954): 203; William L. Prosser, " +"\"Privacy,\" California Law Review 48 (1960) " +"398–407; White v. Samsung " +"Electronics America, Inc., 971 F. 2d 1395 (9th Cir. 1992), " +"cert. denied, 508 U.S. 951 (1993)." msgstr "" "se melville b. nimmer, \"rett publisitet,\" lov og moderne problemer 19 " "(1954): 203; William l. prosser, \"personvern\", california lov gÃ¥ gjennom " @@ -3188,9 +3390,9 @@ msgstr "" #. type: Content of: #, mtrans, fuzzy msgid "" -"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence " -"Erlbaum Associates, 1990); \"Findings on Family and TV Study,\" Denver Post, " -"25 May 1997, B6." +"Judith Van Evra, Television and Child Development " +"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family " +"and TV Study,\" Denver Post, 25 May 1997, B6." msgstr "" "Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum " "associates, 1990); \"funn pÃ¥ familie og tv studie,\" denver innlegg, 25 mai " @@ -3430,9 +3632,9 @@ msgid "" "students, `you have to do it in text,' they would've just thrown their hands " "up and gone and done something else,\" Barish described, in part, no doubt, " "because expressing themselves in text is not something these students can do " -"well. Yet neither is text a form in which these ideas can be expressed well. " -"The power of this message depended upon its connection to this form of " -"expression." +"well. Yet neither is text a form in which these ideas " +"can be expressed well. The power of this message depended upon its " +"connection to this form of expression." msgstr "" "bruker noe \"gratis web ting de kunne finne\", og relativt enkle verktøy til " "Ã¥ aktivere barna Ã¥ blande \"bilde, lyd og tekst\", sa barish denne klassen " @@ -3587,9 +3789,9 @@ msgid "" "shows with text. Some offered open letters. There were sound recordings. " "There was anger and frustration. There were attempts to provide context. " "There was, in short, an extraordinary worldwide barn raising, in the sense " -"Mike Godwin uses the term in his book Cyber Rights, around a news event that " -"had captured the attention of the world. There was ABC and CBS, but there " -"was also the Internet." +"Mike Godwin uses the term in his book Cyber Rights, " +"around a news event that had captured the attention of the world. There was " +"ABC and CBS, but there was also the Internet." msgstr "" "men i tillegg til denne produsert nyheter om \"tragedie av 11 september\", " "de av oss knyttet til Internett kom Ã¥ se en svært forskjellige produksjon " @@ -3646,8 +3848,8 @@ msgid "" "to come into public consciousness: the Web-log, or blog. The blog is a kind " "of public diary, and within some cultures, such as in Japan, it functions " "very much like a diary. In those cultures, it records private facts in a " -"public way—it's a kind of electronic Jerry Springer, available " -"anywhere in the world." +"public way—it's a kind of electronic Jerry Springer, available anywhere in the world." msgstr "" "11 september var ikke en villfarelse. Det var en begynnelse. rundt samme " "tid, en form for kommunikasjon som har vokst dramatisk var bare begynnelsen " @@ -3708,8 +3910,9 @@ msgstr "" #. type: Content of: #, mtrans, fuzzy msgid "" -"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, " -"trans. Henry Reeve (New York: Bantam Books, 2000), ch. 16." +"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " +"16." msgstr "" "Se for eksempel alexis de tocqueville, demokrati i Amerika, bk. 1, trans. " "Henry reeve (new york: bantam books, 2000), ch. 16." @@ -3733,9 +3936,13 @@ msgstr "" #. f16 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of " +#| "Political Philosophy 10 (2) (2002): 129." msgid "" -"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political " -"Philosophy 10 (2) (2002): 129." +"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal " +"of Political Philosophy 10 (2) (2002): 129." msgstr "" "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political " "Philosophy 10 (2) (2002): 129." @@ -3752,9 +3959,13 @@ msgstr "" #. f17 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Cass Sunstein, Republic.com (Princeton: Princeton University Press, " +#| "2001), 65–80, 175, 182, 183, 192." msgid "" -"Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), " -"65–80, 175, 182, 183, 192." +"Cass Sunstein, Republic.com (Princeton: Princeton " +"University Press, 2001), 65–80, 175, 182, 183, 192." msgstr "" "Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), " "65–80, 175, 182, 183, 192." @@ -3925,17 +4136,17 @@ msgid "" "with a reporter in Iraq. The New York headquarters was telling the reporter " "over and over that her account of the war was too bleak: She needed to offer " "a more optimistic story. When she told New York that wasn't warranted, they " -"told her that they were writing \"the story.\")" +"told her that they were writing \"the story.\")" msgstr "" #. f20 #. type: Content of: msgid "" "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information " -"Online,\" New York Times, 2 February 2003, A28; Staci D. Kramer, \"Shuttle " -"Disaster Coverage Mixed, but Strong Overall,\" Online Journalism Review, 2 " -"February 2003, available at link #10." +"Online,\" New York Times, 2 February 2003, A28; Staci " +"D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong Overall,\" Online " +"Journalism Review, 2 February 2003, available at link #10." msgstr "" #. type: Content of: @@ -3955,14 +4166,15 @@ msgstr "" #. type: Content of: #, mtrans, fuzzy msgid "" -"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" New York " -"Times, 29 September 2003, C4. (\"Not all news organizations have been as " -"accepting of employees who blog. Kevin Sites, a CNN correspondent in Iraq " -"who started a blog about his reporting of the war on March 9, stopped " -"posting 12 days later at his bosses' request. Last year Steve Olafson, a " -"Houston Chronicle reporter, was fired for keeping a personal Web log, " -"published under a pseudonym, that dealt with some of the issues and people " -"he was covering.\") " +"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" " +"New York Times, 29 September 2003, C4. (\"Not all " +"news organizations have been as accepting of employees who blog. Kevin " +"Sites, a CNN correspondent in Iraq who started a blog about his reporting of " +"the war on March 9, stopped posting 12 days later at his bosses' request. " +"Last year Steve Olafson, a Houston Chronicle " +"reporter, was fired for keeping a personal Web log, published under a " +"pseudonym, that dealt with some of the issues and people he was covering." +"\") " msgstr "" "se michael falcone, \"betyr en redigering blyant ødelegge en weblogg?\" new " "york times, 29. september 2003, c4. (\"ikke alle nyhetsorganisasjoner har " @@ -4172,8 +4384,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "See, for example, Edward Felten and Andrew Appel, \"Technological Access " -"Control Interferes with Noninfringing Scholarship,\" Communications of the " -"Association for Computer Machinery 43 (2000): 9." +"Control Interferes with Noninfringing Scholarship,\" " +"Communications of the Association for Computer Machinery 43 (2000): 9." msgstr "" "Se for eksempel edward felten og andrew appel, \"teknologiske " "tilgangskontroll forstyrrer noninfringing stipend,\" kommunikasjon av " @@ -4431,11 +4644,12 @@ msgid "" "I don't think there's anything wrong with the search engine that I ran " "or . . . what I had done to it. I mean, I hadn't modified it in any way that " "promoted or enhanced the work of pirates. I just modified the search engine " -"in a way that would make it easier to use\"—again, a search engine, " -"which Jesse had not himself built, using the Windows filesharing system, " -"which Jesse had not himself built, to enable members of the RPI community to " -"get access to content, which Jesse had not himself created or posted, and " -"the vast majority of which had nothing to do with music." +"in a way that would make it easier to use\"—again, a search " +"engine, which Jesse had not himself built, using the Windows " +"filesharing system, which Jesse had not himself built, to enable members of " +"the RPI community to get access to content, which Jesse had not himself " +"created or posted, and the vast majority of which had nothing to do with " +"music." msgstr "" "\"det var absurd,\" sa han til meg. \"Jeg tror ikke jeg gjorde noe galt.... " "Jeg tror ikke det er noe galt med søkemotoren som jeg kjørte eller... hva " @@ -4470,10 +4684,15 @@ msgstr "" #. f1 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " +#| "Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 " +#| "(2003): 5, available at 2003 WL 55179443." msgid "" "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " -"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): " -"5, available at 2003 WL 55179443." +"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): 5, available at 2003 WL 55179443." msgstr "" "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " "Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): " @@ -4487,8 +4706,9 @@ msgid "" "detail, the bottom line in each was exactly the same: huge demands for " "\"damages\" that the RIAA claimed it was entitled to. If you added up the " "claims, these four lawsuits were asking courts in the United States to award " -"the plaintiffs close to $100 billion—six times the total profit of the " -"film industry in 2001." +"the plaintiffs close to $100 billion—six times " +"the total profit of the film industry in 2001." +"" msgstr "" #. type: Content of: @@ -4559,7 +4779,7 @@ msgstr "" msgid "" "Occupational Employment Survey, U.S. Dept. of Labor (2001) " "(27–2042—Musicians and Singers). See also National Endowment for " -"the Arts, More Than One in a Blue Moon (2000)." +"the Arts, More Than One in a Blue Moon (2000)." msgstr "" "yrkesmessig sysselsetting undersøkelse, US dept. of labor (2001) (27­" "2042—musikere og vokalister). Se ogsÃ¥ nasjonale legat for arts, mer " @@ -4567,9 +4787,13 @@ msgstr "" #. f3 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall " +#| "Street Journal, 10 September 2003, A24." msgid "" -"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall " -"Street Journal, 10 September 2003, A24." +"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" " +"Wall Street Journal, 10 September 2003, A24." msgstr "" "Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" " "Wall Street Journal, 10. september 2003, A24." @@ -4657,9 +4881,9 @@ msgstr "filmen" #, mtrans, fuzzy msgid "" "I am grateful to Peter DiMauro for pointing me to this extraordinary " -"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, " -"87–93, which details Edison's \"adventures\" with copyright and " -"patent. " +"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87–93, which details Edison's \"adventures\" with " +"copyright and patent. " msgstr "" "Jeg er takknemlig til peter dimauro for Ã¥ sette meg til dette ekstraordinære " "historie. Se ogsÃ¥ siva vaidhyanathan, opphavsrett og copywrongs, 87­93, som " @@ -4704,16 +4928,16 @@ msgstr "" #. f2 #. type: Content of:
msgid "" -"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion " -"Picture Producers (Cobblestone Entertainment, 2000) and expanded texts " -"posted at \"The Edison Movie Monopoly: The Motion Picture Patents Company " -"vs. the Independent Outlaws,\" available at link #11. For a discussion of the economic motive behind " -"both these limits and the limits imposed by Victor on phonographs, see " -"Randal C. Picker, \"From Edison to the Broadcast Flag: Mechanisms of Consent " -"and Refusal and the Propertization of Copyright\" (September 2002), " -"University of Chicago Law School, James M. Olin Program in Law and " -"Economics, Working Paper No. 159." +"J. A. Aberdeen, Hollywood Renegades: The Society of Independent " +"Motion Picture Producers (Cobblestone Entertainment, 2000) and " +"expanded texts posted at \"The Edison Movie Monopoly: The Motion Picture " +"Patents Company vs. the Independent Outlaws,\" available at link #11. For a discussion of the " +"economic motive behind both these limits and the limits imposed by Victor on " +"phonographs, see Randal C. Picker, \"From Edison to the Broadcast Flag: " +"Mechanisms of Consent and Refusal and the Propertization of Copyright" +"\" (September 2002), University of Chicago Law School, James M. Olin Program " +"in Law and Economics, Working Paper No. 159." msgstr "" #. type: Content of:
@@ -4741,9 +4965,14 @@ msgstr "" #. f3 #. type: Content of: +#, fuzzy +#| msgid "" +#| "Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at " +#| "link #12." msgid "" -"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at " -"link #12." +"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at link " +"#12." msgstr "" "Marc Wanamaker, \"The First Studios,\" The Silents Majority, arkivert pÃ¥ " "link #12." @@ -4864,9 +5093,9 @@ msgid "" "To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 " "and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st " "sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, " -"chairman), reprinted in Legislative History of the Copyright Act, E. Fulton " -"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, " -"1976)." +"chairman), reprinted in Legislative History of the Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." +"J.: Rothman Reprints, 1976)." msgstr "" "endre og konsolidere handlinger som respekterer copyright: hearings pÃ¥ s. " "6330 og hr 19853 før (felles) komiteer pÃ¥ patenter, 59th cong. 59, 1 sess. " @@ -4969,16 +5198,16 @@ msgstr "" #. type: Content of: #, mtrans, fuzzy msgid "" -"The law soon resolved this battle in favor of the composer and the recording " -"artist. Congress amended the law to make sure that composers would be paid " -"for the \"mechanical reproductions\" of their music. But rather than simply " -"granting the composer complete control over the right to make mechanical " -"reproductions, Congress gave recording artists a right to record the music, " -"at a price set by Congress, once the composer allowed it to be recorded " -"once. This is the part of copyright law that makes cover songs possible. " -"Once a composer authorizes a recording of his song, others are free to " -"record the same song, so long as they pay the original composer a fee set by " -"the law." +"The law soon resolved this battle in favor of the composer and the recording artist. Congress amended the law to make sure that " +"composers would be paid for the \"mechanical reproductions\" of their music. " +"But rather than simply granting the composer complete control over the right " +"to make mechanical reproductions, Congress gave recording artists a right to " +"record the music, at a price set by Congress, once the composer allowed it " +"to be recorded once. This is the part of copyright law that makes cover " +"songs possible. Once a composer authorizes a recording of his song, others " +"are free to record the same song, so long as they pay the original composer " +"a fee set by the law." msgstr "" "loven løst snart denne kampen til fordel for komponisten og opptak " "kunstneren. kongressen endret loven Ã¥ sørge for at komponister ville bli " @@ -5036,9 +5265,10 @@ msgstr "" msgid "" "Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and H.R. " "11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., 217 " -"(1908) (statement of Senator Reed Smoot, chairman), reprinted in Legislative " -"History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. " -"(South Hackensack, N.J.: Rothman Reprints, 1976)." +"(1908) (statement of Senator Reed Smoot, chairman), reprinted in " +"Legislative History of the 1909 Copyright Act, E. " +"Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " +"Reprints, 1976)." msgstr "" "Copyright lov revision: hearings pÃ¥ s. 2499, s. 2900, hr 243 og hr 11794 før " "(felles) komiteen pÃ¥ patenter, 60 cong., 1 sess., 217 (1908) (setning av " @@ -5049,17 +5279,17 @@ msgstr "" #. type: Content of: msgid "" "But the law governing recordings gives recording artists less. And thus, in " -"effect, the law subsidizes the recording industry through a kind of " -"piracy—by giving recording artists a weaker right than it otherwise " -"gives creative authors. The Beatles have less control over their creative " -"work than Grisham does. And the beneficiaries of this less control are the " -"recording industry and the public. The recording industry gets something of " -"value for less than it otherwise would pay; the public gets access to a much " -"wider range of musical creativity. Indeed, Congress was quite explicit about " -"its reasons for granting this right. Its fear was the monopoly power of " -"rights holders, and that that power would stifle follow-on creativity." -" " +"effect, the law subsidizes the recording industry " +"through a kind of piracy—by giving recording artists a weaker right " +"than it otherwise gives creative authors. The Beatles have less control over " +"their creative work than Grisham does. And the beneficiaries of this less " +"control are the recording industry and the public. The recording industry " +"gets something of value for less than it otherwise would pay; the public " +"gets access to a much wider range of musical creativity. Indeed, Congress " +"was quite explicit about its reasons for granting this right. Its fear was " +"the monopoly power of rights holders, and that that power would stifle " +"follow-on creativity. " msgstr "" #. type: Content of: @@ -5127,16 +5357,17 @@ msgstr "Hand, Learned" #. type: Content of: #, mtrans, fuzzy msgid "" -"See 17 United States Code, sections 106 and 110. At the beginning, record " -"companies printed \"Not Licensed for Radio Broadcast\" and other messages " -"purporting to restrict the ability to play a record on a radio station. " -"Judge Learned Hand rejected the argument that a warning attached to a record " -"might restrict the rights of the radio station. See RCA Manufacturing Co. v. " -"Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From " +"See 17 United States Code, sections 106 and 110. At " +"the beginning, record companies printed \"Not Licensed for Radio Broadcast\" " +"and other messages purporting to restrict the ability to play a record on a " +"radio station. Judge Learned Hand rejected the argument that a warning " +"attached to a record might restrict the rights of the radio station. See " +"RCA Manufacturing Co. v. Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From " "Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the " -"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): " -"281. " +"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): 281. " +"" msgstr "" "se 17, united states code, inndelinger 106 og 110. pÃ¥ begynnelsen av, spille " "inn selskapene skrives ut \"ikke lisensiert for radiosendingen\" og andre " @@ -5166,14 +5397,15 @@ msgstr "Lovett, Lyle" #, mtrans, fuzzy msgid "" "But when the radio station plays a record, it is not only performing a copy " -"of the composer's work. The radio station is also performing a copy of the " -"recording artist's work. It's one thing to have \"Happy Birthday\" sung on " -"the radio by the local children's choir; it's quite another to have it sung " -"by the Rolling Stones or Lyle Lovett. The recording artist is adding to the " -"value of the composition performed on the radio station. And if the law " -"were perfectly consistent, the radio station would have to pay the recording " -"artist for his work, just as it pays the composer of the music for his " -"work. " +"of the composer's work. The radio station is also " +"performing a copy of the recording artist's work. It's " +"one thing to have \"Happy Birthday\" sung on the radio by the local " +"children's choir; it's quite another to have it sung by the Rolling Stones " +"or Lyle Lovett. The recording artist is adding to the value of the " +"composition performed on the radio station. And if the law were perfectly " +"consistent, the radio station would have to pay the recording artist for his " +"work, just as it pays the composer of the music for his work. " msgstr "" "men nÃ¥r radiostasjonen spiller en post, det er ikke bare utføre en kopi av " "komponistens arbeid. radiostasjonen presterer ogsÃ¥ en kopi av den " @@ -5224,8 +5456,8 @@ msgid "" "our law, every time a radio station plays your song, you get some money. But " "Madonna gets nothing, save the indirect effect on the sale of her CDs. The " "public performance of her recording is not a \"protected\" right. The radio " -"station thus gets to pirate the value of Madonna's work without paying her " -"anything." +"station thus gets to pirate the value of Madonna's work " +"without paying her anything." msgstr "" "forestille hun gjør synge sangen, og forestille hun liker det mye. Hun " "deretter bestemmer seg for Ã¥ gjøre en innspilling av sangen, og det blir en " @@ -5451,11 +5683,12 @@ msgstr "" #. f19 #. type: Content of: msgid "" -"See, for example, National Music Publisher's Association, The Engine of Free " -"Expression: Copyright on the Internet—The Myth of Free Information, " -"available at link #13. " -"\"The threat of piracy—the use of someone else's creative work without " -"permission or compensation—has grown with the Internet.\"" +"See, for example, National Music Publisher's Association, The " +"Engine of Free Expression: Copyright on the Internet—The Myth of Free " +"Information, available at link #13. \"The threat of piracy—the use of someone " +"else's creative work without permission or compensation—has grown with " +"the Internet.\"" msgstr "" #. type: Content of: @@ -5463,11 +5696,11 @@ msgid "" "These separate stories sing a common theme. If \"piracy\" means using value " "from someone else's creative property without permission from that " "creator—as it is increasingly described today — then every industry affected by copyright " -"today is the product and beneficiary of a certain kind of piracy. Film, " -"records, radio, cable TV. . . . The list is long and could well be expanded. " -"Every generation welcomes the pirates from the last. Every generation—" -"until now." +"\"footnote\" id=\"0\"/> — then every industry " +"affected by copyright today is the product and beneficiary of a certain kind " +"of piracy. Film, records, radio, cable TV. . . . The list is long and could " +"well be expanded. Every generation welcomes the pirates from the last. Every " +"generation—until now." msgstr "" #. type: Content of: @@ -5515,11 +5748,11 @@ msgstr "piratkopiering jeg" #. f1 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See IFPI (International Federation of the Phonographic Industry), The " -"Recording Industry Commercial Piracy Report 2003, July 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #14</ulink>. See also Ben " -"Hunt, \"Companies Warned on Music Piracy Risk,\" Financial Times, 14 " -"February 2003, 11." +"See IFPI (International Federation of the Phonographic Industry), " +"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " +"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#14</ulink>. See also Ben Hunt, \"Companies Warned on Music Piracy Risk,\" " +"<citetitle>Financial Times</citetitle>, 14 February 2003, 11." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -5606,20 +5839,20 @@ msgstr "Drahos, Peter" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the " -"Knowledge Economy? (New York: The New Press, 2003), 10–13, 209. The " -"Trade-Related Aspects of Intellectual Property Rights (TRIPS) agreement " -"obligates member nations to create administrative and enforcement mechanisms " -"for intellectual property rights, a costly proposition for developing " -"countries. Additionally, patent rights may lead to higher prices for staple " -"industries such as agriculture. Critics of TRIPS question the disparity " -"between burdens imposed upon developing countries and benefits conferred to " -"industrialized nations. TRIPS does permit governments to use patents for " -"public, noncommercial uses without first obtaining the patent holder's " -"permission. Developing nations may be able to use this to gain the benefits " -"of foreign patents at lower prices. This is a promising strategy for " -"developing nations within the TRIPS framework. <placeholder type=\"indexterm" -"\" id=\"0\"/>" +"See Peter Drahos with John Braithwaite, Information Feudalism: " +"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " +"Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " +"Property Rights (TRIPS) agreement obligates member nations to create " +"administrative and enforcement mechanisms for intellectual property rights, " +"a costly proposition for developing countries. Additionally, patent rights " +"may lead to higher prices for staple industries such as agriculture. Critics " +"of TRIPS question the disparity between burdens imposed upon developing " +"countries and benefits conferred to industrialized nations. TRIPS does " +"permit governments to use patents for public, noncommercial uses without " +"first obtaining the patent holder's permission. Developing nations may be " +"able to use this to gain the benefits of foreign patents at lower prices. " +"This is a promising strategy for developing nations within the TRIPS " +"framework. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier " "knowledge economy? (new york: ny press, 2003), 10­13, 209. handel-relaterte " @@ -5653,12 +5886,12 @@ msgstr "Liebowitz, Stan" #, mtrans, fuzzy msgid "" "For an analysis of the economic impact of copying technology, see Stan " -"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), " -"144–90. \"In some instances . . . the impact of piracy on the " -"copyright holder's ability to appropriate the value of the work will be " -"negligible. One obvious instance is the case where the individual engaging " -"in pirating would not have purchased an original even if pirating were not " -"an option.\" Ibid., 149. <placeholder type=\"indexterm\" id=\"0\"/>" +"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " +"Amacom, 2002), 144–90. \"In some instances . . . the impact of piracy " +"on the copyright holder's ability to appropriate the value of the work will " +"be negligible. One obvious instance is the case where the individual " +"engaging in pirating would not have purchased an original even if pirating " +"were not an option.\" Ibid., 149. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "for en analyse av økonomiske virkningen av kopiering teknologi, kan du se " "stan liebowitz, rethinking nettverk økonomien (new york: amacom, 2002), 144­" @@ -5707,18 +5940,18 @@ msgstr "" #, mtrans, fuzzy msgid "" "This argument is still very weak. However, although copyright is a property " -"right of a very special sort, it is a property right. Like all property " -"rights, the copyright gives the owner the right to decide the terms under " -"which content is shared. If the copyright owner doesn't want to sell, she " -"doesn't have to. There are exceptions: important statutory licenses that " -"apply to copyrighted content regardless of the wish of the copyright owner. " -"Those licenses give people the right to \"take\" copyrighted content whether " -"or not the copyright owner wants to sell. But where the law does not give " -"people the right to take content, it is wrong to take that content even if " -"the wrong does no harm. If we have a property system, and that system is " -"properly balanced to the technology of a time, then it is wrong to take " -"property without the permission of a property owner. That is exactly what " -"\"property\" means." +"right of a very special sort, it <emphasis>is</emphasis> a property right. " +"Like all property rights, the copyright gives the owner the right to decide " +"the terms under which content is shared. If the copyright owner doesn't want " +"to sell, she doesn't have to. There are exceptions: important statutory " +"licenses that apply to copyrighted content regardless of the wish of the " +"copyright owner. Those licenses give people the right to \"take\" " +"copyrighted content whether or not the copyright owner wants to sell. But " +"where the law does not give people the right to take content, it is wrong to " +"take that content even if the wrong does no harm. If we have a property " +"system, and that system is properly balanced to the technology of a time, " +"then it is wrong to take property without the permission of a property " +"owner. That is exactly what \"property\" means." msgstr "" "Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en " "egenskap høyre i en veldig spesiell sortering, er det en egenskap som er " @@ -5867,7 +6100,11 @@ msgstr "piratkopiering ii" #. f4 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> -msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." +#, fuzzy +#| msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777)." msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." #. PAGE BREAK 80 @@ -5887,14 +6124,15 @@ msgstr "Christensen, Clayton M." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary " -"National Bestseller That Changed the Way We Do Business (New York: " -"HarperBusiness, 2000). Professor Christensen examines why companies that " -"give rise to and dominate a product area are frequently unable to come up " -"with the most creative, paradigm-shifting uses for their own products. This " -"job usually falls to outside innovators, who reassemble existing technology " -"in inventive ways. For a discussion of Christensen's ideas, see Lawrence " -"Lessig, Future, 89–92, 139. <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=\"0\"/>" msgstr "" "se clayton m christensen, nyskapers dilemma: revolusjonerende nasjonale " "bestselgeren som endret mÃ¥ten vi gjør forretninger (new york: " @@ -5923,12 +6161,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" San " -"Francisco Chronicle, 24 September 2002, A1; \"Rock 'n' Roll Suicide,\" New " -"Scientist, 6 July 2002, 42; Benny Evangelista, \"Napster Names CEO, Secures " -"New Financing,\" San Francisco Chronicle, 23 May 2003, C1; \"Napster's Wake-" -"Up Call,\" Economist, 24 June 2000, 23; John Naughton, \"Hollywood at War " -"with the Internet\" (London) Times, 26 July 2002, 18." +"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" " +"<citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, A1; " +"\"Rock 'n' Roll Suicide,\" <citetitle>New Scientist</citetitle>, 6 July " +"2002, 42; Benny Evangelista, \"Napster Names CEO, Secures New Financing,\" " +"<citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1; \"Napster's " +"Wake-Up Call,\" <citetitle>Economist</citetitle>, 24 June 2000, 23; John " +"Naughton, \"Hollywood at War with the Internet\" (London) <citetitle>Times</" +"citetitle>, 26 July 2002, 18." msgstr "" "se carolyn lochhead, \"silicon valley dream, hollywood mareritt\" san " "francisco chronicle, 24 september 2002, a1; \"rock 'n' roll suicide,\" new " @@ -5955,10 +6195,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution " -"(September 2002), reporting that 28 percent of Americans aged twelve and " -"older have downloaded music off of the Internet and 30 percent have listened " -"to digital music files stored on their computers." +"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " +"Distribution</citetitle> (September 2002), reporting that 28 percent of " +"Americans aged twelve and older have downloaded music off of the Internet " +"and 30 percent have listened to digital music files stored on their " +"computers." msgstr "" "se ipsos-innsikt, tempo: Ã¥ holde tritt med online musikk distribusjon " "(september 2002), rapportering som 28 prosent av amerikanere i alderen tolv " @@ -5969,8 +6210,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York " -"Times, 6 June 2003, A1." +"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" " +"<citetitle>New York Times</citetitle>, 6 June 2003, A1." msgstr "" "Amy harmon, \"industri tilbyr en gulrot i online musikk kamp,\" new york " "times, 6. juni 2003 a1." @@ -5981,13 +6222,13 @@ msgid "" "tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " "estimated that 60 million Americans had downloaded music—28 percent of " "Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " -"by the NPD group quoted in The New York Times estimated that 43 million " -"citizens used file-sharing networks to exchange content in May 2003." -"<placeholder type=\"footnote\" id=\"1\"/> The vast majority of these are not " -"kids. Whatever the actual figure, a massive quantity of content is being " -"\"taken\" on these networks. The ease and inexpensiveness of file-sharing " -"networks have inspired millions to enjoy music in a way that they hadn't " -"before." +"by the NPD group quoted in <citetitle>The New York Times</citetitle> " +"estimated that 43 million citizens used file-sharing networks to exchange " +"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " +"majority of these are not kids. Whatever the actual figure, a massive " +"quantity of content is being \"taken\" on these networks. The ease and " +"inexpensiveness of file-sharing networks have inspired millions to enjoy " +"music in a way that they hadn't before." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6101,9 +6342,13 @@ msgid "How do these different types of sharing balance out?" msgstr "Hvordan balanserer disse ulike delingstypene?" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Liebowitz, Rethinking the Network Economy,148–49. <placeholder " +#| "type=\"indexterm\" id=\"0\"/>" msgid "" -"See Liebowitz, Rethinking the Network Economy,148–49. <placeholder " -"type=\"indexterm\" id=\"0\"/>" +"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " +"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Liebowitz, Rethinking the Network Economy,148–49. <placeholder " "type=\"indexterm\" id=\"0\"/>" @@ -6140,17 +6385,17 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Cap Gemini Ernst & Young, Technology Evolution and the Music " -"Industry's Business Model Crisis (2003), 3. This report describes the music " -"industry's effort to stigmatize the budding practice of cassette taping in " -"the 1970s, including an advertising campaign featuring a cassette-shape " -"skull and the caption \"Home taping is killing music.\" At the time digital " -"audio tape became a threat, the Office of Technical Assessment conducted a " -"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " -"had taped music to a cassette format. U.S. Congress, Office of Technology " -"Assessment, Copyright and Home Copying: Technology Challenges the Law, OTA-" -"CIT-422 (Washington, D.C.: U.S. Government Printing Office, October 1989), " -"145–56." +"See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the " +"Music Industry's Business Model Crisis</citetitle> (2003), 3. This report " +"describes the music industry's effort to stigmatize the budding practice of " +"cassette taping in the 1970s, including an advertising campaign featuring a " +"cassette-shape skull and the caption \"Home taping is killing music.\" At " +"the time digital audio tape became a threat, the Office of Technical " +"Assessment conducted a survey of consumer behavior. In 1988, 40 percent of " +"consumers older than ten had taped music to a cassette format. U.S. " +"Congress, Office of Technology Assessment, <citetitle>Copyright and Home " +"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " +"D.C.: U.S. Government Printing Office, October 1989), 145–56." msgstr "" "se cap gemini ernst og unge, teknologiutviklingen og music industriens " "business modell krisen (2003), 3. Denne rapporten beskriver musikkbransjens " @@ -6180,7 +6425,7 @@ msgstr "" #. f11 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy -msgid "U.S. Congress, Copyright and Home Copying, 4." +msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4." #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6201,8 +6446,9 @@ msgid "" "in particular, and society in general—or at least the society that " "inherits the tradition that gave us the film industry, the record industry, " "the radio industry, cable TV, and the VCR—the question is not simply " -"whether type A sharing is harmful. The question is also how harmful type A " -"sharing is, and how beneficial the other types of sharing are." +"whether type A sharing is harmful. The question is also <emphasis>how</" +"emphasis> harmful type A sharing is, and how beneficial the other types of " +"sharing are." msgstr "" "men nettopp fordi industrien var galt før betyr ikke det er galt i dag. Hvis " "du vil evaluere den virkelige trusselen at p2p fildeling presenterer til " @@ -6221,7 +6467,7 @@ msgid "" "sharing exceeds type B. If the record companies sold more records through " "sampling than they lost through substitution, then sharing networks would " "actually benefit music companies on balance. They would therefore have " -"little static reason to resist them." +"little <emphasis>static</emphasis> reason to resist them." msgstr "" "Vi begynner Ã¥ svare pÃ¥ dette spørsmÃ¥let ved Ã¥ fokusere pÃ¥ netto skade, fra " "standpunktet av industrien som helhet, at deling nettverk. den \"net skaden" @@ -6245,18 +6491,19 @@ msgstr "" #. f12 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Recording Industry Association of America, 2002 Yearend Statistics, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #15</ulink>. " -"A later report indicates even greater losses. See Recording Industry " -"Association of America, Some Facts About Music Piracy, 25 June 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: " -"\"In the past four years, unit shipments of recorded music have fallen by 26 " -"percent from 1.16 billion units in to 860 million units in 2002 in the " -"United States (based on units shipped). In terms of sales, revenues are " -"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on " -"U.S. dollar value of shipments). The music industry worldwide has gone from " -"a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based " -"on U.S. dollar value of shipments).\"" +"See Recording Industry Association of America, <citetitle>2002 Yearend " +"Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #15</ulink>. A later report indicates even greater losses. See " +"Recording Industry Association of America, <citetitle>Some Facts About Music " +"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #16</ulink>: \"In the past four years, unit " +"shipments of recorded music have fallen by 26 percent from 1.16 billion " +"units in to 860 million units in 2002 in the United States (based on units " +"shipped). In terms of sales, revenues are down 14 percent, from $14.6 " +"billion in to $12.6 billion last year (based on U.S. dollar value of " +"shipments). The music industry worldwide has gone from a $39 billion " +"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " +"dollar value of shipments).\"" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary> @@ -6285,10 +6532,10 @@ msgid "" "account for at least some of the loss. \"From 1999 to 2001, the average " "price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type=" "\"footnote\" id=\"1\"/> Competition from other forms of media could also " -"account for some of the decline. As Jane Black of BusinessWeek notes, \"The " -"soundtrack to the film High Fidelity has a list price of $18.98. You could " -"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" id=" -"\"2\"/>" +"account for some of the decline. As Jane Black of <citetitle>BusinessWeek</" +"citetitle> notes, \"The soundtrack to the film <citetitle>High Fidelity</" +"citetitle> has a list price of $18.98. You could get the whole movie [on " +"DVD] for $19.99.\"<placeholder type=\"footnote\" id=\"2\"/>" msgstr "" #. PAGE BREAK 84 @@ -6369,7 +6616,7 @@ msgid "" "because the artist producing the content doesn't want it to be made " "available, the vast majority of it is unavailable solely because the " "publisher or the distributor has decided it no longer makes economic sense " -"to the company to make it available." +"<emphasis>to the company</emphasis> to make it available." msgstr "" #. f16 @@ -6377,12 +6624,12 @@ msgstr "" msgid "" "While there are not good estimates of the number of used record stores in " "existence, in 2002, there were 7,198 used book dealers in the United States, " -"an increase of 20 percent since 1993. See Book Hunter Press, The Quiet " -"Revolution: The Expansion of the Used Book Market (2002), available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " -"accounted for $260 million in sales in 2002. See National Association of " -"Recording Merchandisers, \"2002 Annual Survey Results,\" available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #20</ulink>." +"an increase of 20 percent since 1993. See Book Hunter Press, <citetitle>The " +"Quiet Revolution: The Expansion of the Used Book Market</citetitle> (2002), " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. " +"Used records accounted for $260 million in sales in 2002. See National " +"Association of Recording Merchandisers, \"2002 Annual Survey Results,\" " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6392,11 +6639,11 @@ msgid "" "of used book and used record stores in America today.<placeholder type=" "\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " "content they buy. And under American copyright law, when they buy and sell " -"this content, even if the content is still under copyright, the copyright " -"owner doesn't get a dime. Used book and record stores are commercial " -"entities; their owners make money from the content they sell; but as with " -"cable companies before statutory licensing, they don't have to pay the " -"copyright owner for the content they sell." +"this content, <emphasis>even if the content is still under copyright</" +"emphasis>, the copyright owner doesn't get a dime. Used book and record " +"stores are commercial entities; their owners make money from the content " +"they sell; but as with cable companies before statutory licensing, they " +"don't have to pay the copyright owner for the content they sell." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><indexterm><primary> @@ -6451,14 +6698,14 @@ msgid "" "sharing to occur—the sharing of content that copyright owners want to " "have shared or for which there is no continuing copyright. This sharing " "clearly benefits authors and society. Science fiction author Cory Doctorow, " -"for example, released his first novel, Down and Out in the Magic Kingdom, " -"both free on-line and in bookstores on the same day. His (and his " -"publisher's) thinking was that the on-line distribution would be a great " -"advertisement for the \"real\" book. People would read part on-line, and " -"then decide whether they liked the book or not. If they liked it, they would " -"be more likely to buy it. Doctorow's content is type D content. If sharing " -"networks enable his work to be spread, then both he and society are better " -"off. (Actually, much better off: It is a great book!)" +"for example, released his first novel, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, both free on-line and in bookstores on the same day. " +"His (and his publisher's) thinking was that the on-line distribution would " +"be a great advertisement for the \"real\" book. People would read part on-" +"line, and then decide whether they liked the book or not. If they liked it, " +"they would be more likely to buy it. Doctorow's content is type D content. " +"If sharing networks enable his work to be spread, then both he and society " +"are better off. (Actually, much better off: It is a great book!)" msgstr "" "til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d deling " "oppstÃ¥r—deling av innhold som eiere av opphavsretter vil har delt " @@ -6538,9 +6785,9 @@ msgid "" "See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " "(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " -"account of the litigation and its toll on Napster, see Joseph Menn, All the " -"Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown " -"Business, 2003), 269–82." +"account of the litigation and its toll on Napster, see Joseph Menn, " +"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" +"citetitle> (New York: Crown Business, 2003), 269–82." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6647,8 +6894,8 @@ msgid "" "associated with broadcasters would use their power to stifle this new " "technology, cable. But if Congress had permitted cable to use broadcasters' " "content for free, then it would have unfairly subsidized cable. Thus " -"Congress chose a path that would assure compensation without giving the past " -"(broadcasters) control over the future (cable)." +"Congress chose a path that would assure <emphasis>compensation</emphasis> " +"without giving the past (broadcasters) control over the future (cable)." msgstr "" "denne sÃ¥rbarheten, som kompromiss som pÃ¥virker poster og spilleren pianoer, " "servert to viktige mÃ¥l—faktisk to sentrale mÃ¥lene noen opphavsrett " @@ -6744,8 +6991,8 @@ msgstr "opphavsrett infringements (lyd og video-opptakere), 475." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C." -"D. Cal., 1979)." +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." msgstr "" "Universal city studios, inc. v. sony Corporation of america, 480 f. supp. " "429, (klientadgangslisens CAL (CD), 1979)." @@ -6788,8 +7035,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Universal City Studios, Inc. v. Sony Corp. of America, 659 F. 2d 963 (9th " -"Cir. 1981)." +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." msgstr "" "Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 " "(9 cir. 1981)." @@ -6803,9 +7050,9 @@ msgid "" "liable for the copyright infringement made possible by its machines. Under " "the Ninth Circuit's rule, this totally familiar technology—which Jack " "Valenti had called \"the Boston Strangler of the American film industry" -"\" (worse yet, it was a Japanese Boston Strangler of the American film " -"industry)—was an illegal technology.<placeholder type=\"footnote\" id=" -"\"0\"/>" +"\" (worse yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of " +"the American film industry)—was an illegal technology.<placeholder " +"type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 90 @@ -6824,8 +7071,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" -"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, 431 " -"(1984)." +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." msgstr "" "Sony Corporation of america v. universal city studios, inc., 464 amerikanske " "417, 431 (1984)." @@ -6927,12 +7174,13 @@ msgid "" "regulated by Congress to minimize the risk of piracy. The remedy Congress " "imposed did burden DAT producers, by taxing tape sales and controlling the " "technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " -"United States Code), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U." -"S.C. §1001. Again, however, this regulation did not eliminate the " -"opportunity for free riding in the sense I've described. See Lessig, Future, " -"71. See also Picker, \"From Edison to the Broadcast Flag,\" University of " -"Chicago Law Review 70 (2003): 293–96. <placeholder type=\"indexterm\" " -"id=\"0\"/>" +"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " +"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not " +"eliminate the opportunity for free riding in the sense I've described. See " +"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, \"From Edison to " +"the Broadcast Flag,\" <citetitle>University of Chicago Law Review</" +"citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" id=" +"\"0\"/>" msgstr "" "disse er de viktigste forekomstene i vÃ¥r historie, men det finnes andre " "tilfeller ogsÃ¥. teknologi for digital audio tape (dat), for eksempel var " @@ -6957,14 +7205,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"In none of these cases did either the courts or Congress eliminate all free " -"riding. In none of these cases did the courts or Congress insist that the " -"law should assure that the copyright holder get all the value that his " -"copyright created. In every case, the copyright owners complained of " -"\"piracy.\" In every case, Congress acted to recognize some of the " -"legitimacy in the behavior of the \"pirates.\" In each case, Congress " -"allowed some new technology to benefit from content made before. It balanced " -"the interests at stake." +"In <emphasis>none</emphasis> of these cases did either the courts or " +"Congress eliminate all free riding. In <emphasis>none</emphasis> of these " +"cases did the courts or Congress insist that the law should assure that the " +"copyright holder get all the value that his copyright created. In every " +"case, the copyright owners complained of \"piracy.\" In every case, Congress " +"acted to recognize some of the legitimacy in the behavior of the \"pirates." +"\" In each case, Congress allowed some new technology to benefit from " +"content made before. It balanced the interests at stake." msgstr "" "Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle " "gratis ridning. Ingen av disse tilfellene gjorde domstoler eller Kongressen " @@ -7001,7 +7249,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984)." +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." msgstr "" "Sony Corporation of america v. universal city studios, inc., 464 amerikanske " "417, (1984)." @@ -7014,9 +7263,9 @@ msgid "" "uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> Instead, the " "particular uses that the law regulates have been defined by balancing the " "good that comes from granting an exclusive right against the burdens such an " -"exclusive right creates. And this balancing has historically been done after " -"a technology has matured, or settled into the mix of technologies that " -"facilitate the distribution of content." +"exclusive right creates. And this balancing has historically been done " +"<emphasis>after</emphasis> a technology has matured, or settled into the mix " +"of technologies that facilitate the distribution of content." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -7051,7 +7300,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes " -"Past Efforts,\" New York Times, 22 September 2003, C3." +"Past Efforts,\" <citetitle>New York Times</citetitle>, 22 September 2003, C3." msgstr "" "John schwartz, \"nye økonomien: angrepet pÃ¥ node-til-node-programvare " "reflekterer forbi innsats,\" new york times, 22 september 2003, c3." @@ -7062,23 +7311,23 @@ msgid "" "of distribution. And this p2p has done. P2p technologies can be ideally " "efficient in moving content across a widely diverse network. Left to " "develop, they could make the network vastly more efficient. Yet these " -"\"potential public benefits,\" as John Schwartz writes in The New York " -"Times, \"could be delayed in the P2P fight.\"<placeholder type=\"footnote\" " -"id=\"0\"/> Yet when anyone begins to talk about \"balance,\" the copyright " -"warriors raise a different argument. \"All this hand waving about balance " -"and incentives,\" they say, \"misses a fundamental point. Our content,\" the " -"warriors insist, \"is our property. Why should we wait for Congress to " -"`rebalance' our property rights? Do you have to wait before calling the " -"police when your car has been stolen? And why should Congress deliberate at " -"all about the merits of this theft? Do we ask whether the car thief had a " -"good use for the car before we arrest him?\"" +"\"potential public benefits,\" as John Schwartz writes in <citetitle>The New " +"York Times</citetitle>, \"could be delayed in the P2P fight.\"<placeholder " +"type=\"footnote\" id=\"0\"/> Yet when anyone begins to talk about \"balance," +"\" the copyright warriors raise a different argument. \"All this hand waving " +"about balance and incentives,\" they say, \"misses a fundamental point. Our " +"content,\" the warriors insist, \"is our <emphasis>property</emphasis>. Why " +"should we wait for Congress to `rebalance' our property rights? Do you have " +"to wait before calling the police when your car has been stolen? And why " +"should Congress deliberate at all about the merits of this theft? Do we ask " +"whether the car thief had a good use for the car before we arrest him?\"" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"\"It is our property,\" the warriors insist. \"And it should be protected " -"just as any other property is protected.\"" +"\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And it " +"should be protected just as any other property is protected.\"" msgstr "" "\"det er vÃ¥r eiendom,\" insisterer warriors. \"og det bør være beskyttet pÃ¥ " "samme mÃ¥te som en annen egenskap er beskyttet." @@ -7109,9 +7358,10 @@ msgid "" "Indeed, the very idea of property in any idea or any expression is very odd. " "I understand what I am taking when I take the picnic table you put in your " "backyard. I am taking a thing, the picnic table, and after I take it, you " -"don't have it. But what am I taking when I take the good idea you had to put " -"a picnic table in the backyard—by, for example, going to Sears, buying " -"a table, and putting it in my backyard? What is the thing I am taking then?" +"don't have it. But what am I taking when I take the good <emphasis>idea</" +"emphasis> you had to put a picnic table in the backyard—by, for " +"example, going to Sears, buying a table, and putting it in my backyard? What " +"is the thing I am taking then?" msgstr "" "men i vanlig sprÃ¥k, Ã¥ ringe en copyright \"property\" høyre er litt " "misvisende, for copyright-egenskapen er en odde type bolig. selve idéen om " @@ -7126,9 +7376,9 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" -"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in The " -"Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert Ellery " -"Bergh, eds., 1903), 330, 333–34." +"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " +"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " +"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." msgstr "" "brev fra thomas jefferson til isaac mcpherson (13 august 1813) i skrifter av " "thomas jefferson, vol. 6 (andrew a. lipscomb og albert ellery bergh, Red., " @@ -7171,8 +7421,8 @@ msgid "" "against the world to do or not do certain things that may or may not attach " "to a physical object. The right itself is intangible, even if the object to " "which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What " -"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 " -"(2003): 373, 429 n. 241." +"Is Property? Putting the Pieces Back Together,\" <citetitle>Arizona Law " +"Review</citetitle> 45 (2003): 373, 429 n. 241." msgstr "" "som de juridiske realistene lærte amerikansk lov, er alle " "eiendomsrettigheter immaterielle. egenskapen rett er ganske enkelt en " @@ -7215,15 +7465,25 @@ msgid "CHAPTER SIX: Founders" msgstr "Kapittel seks: Grunnleggerne" #. type: Content of: <book><chapter><sect1><para> -msgid "" -"William Shakespeare wrote Romeo and Juliet in 1595. The play was first " -"published in 1597. It was the eleventh major play that Shakespeare had " -"written. He would continue to write plays through 1613, and the plays that " -"he wrote have continued to define Anglo-American culture ever since. So " -"deeply have the works of a sixteenth-century writer seeped into our culture " -"that we often don't even recognize their source. I once overheard someone " -"commenting on Kenneth Branagh's adaptation of Henry V: \"I liked it, but " -"Shakespeare is so full of clichés.\"" +#, fuzzy +#| msgid "" +#| "William Shakespeare wrote Romeo and Juliet in 1595. The play was first " +#| "published in 1597. It was the eleventh major play that Shakespeare had " +#| "written. He would continue to write plays through 1613, and the plays " +#| "that he wrote have continued to define Anglo-American culture ever since. " +#| "So deeply have the works of a sixteenth-century writer seeped into our " +#| "culture that we often don't even recognize their source. I once " +#| "overheard someone commenting on Kenneth Branagh's adaptation of Henry V: " +#| "\"I liked it, but Shakespeare is so full of clichés.\"" +msgid "" +"William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in 1595. " +"The play was first published in 1597. It was the eleventh major play that " +"Shakespeare had written. He would continue to write plays through 1613, and " +"the plays that he wrote have continued to define Anglo-American culture ever " +"since. So deeply have the works of a sixteenth-century writer seeped into " +"our culture that we often don't even recognize their source. I once " +"overheard someone commenting on Kenneth Branagh's adaptation of Henry V: \"I " +"liked it, but Shakespeare is so full of clichés.\"" msgstr "" "William Shakespeare skrev \"Romeo og Julie\" i 1595. Skuespillet ble først " "utgitt i 1597. Det var det ellevte store skuespillet Shakespeare hadde " @@ -7236,14 +7496,24 @@ msgstr "" #. f1 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Jacob Tonson is typically remembered for his associations with prominent " +#| "eighteenth-century literary figures, especially John Dryden, and for his " +#| "handsome \"definitive editions\" of classic works. In addition to Romeo " +#| "and Juliet, he published an astonishing array of works that still remain " +#| "at the heart of the English canon, including collected works of " +#| "Shakespeare, Ben Jonson, John Milton, and John Dryden. See Keith Walker, " +#| "\"Jacob Tonson, Bookseller,\" American Scholar 61:3 (1992): 424–31." msgid "" "Jacob Tonson is typically remembered for his associations with prominent " "eighteenth-century literary figures, especially John Dryden, and for his " -"handsome \"definitive editions\" of classic works. In addition to Romeo and " -"Juliet, he published an astonishing array of works that still remain at the " -"heart of the English canon, including collected works of Shakespeare, Ben " -"Jonson, John Milton, and John Dryden. See Keith Walker, \"Jacob Tonson, " -"Bookseller,\" American Scholar 61:3 (1992): 424–31." +"handsome \"definitive editions\" of classic works. In addition to " +"<citetitle>Romeo and Juliet</citetitle>, he published an astonishing array " +"of works that still remain at the heart of the English canon, including " +"collected works of Shakespeare, Ben Jonson, John Milton, and John Dryden. " +"See Keith Walker, \"Jacob Tonson, Bookseller,\" <citetitle>American Scholar</" +"citetitle> 61:3 (1992): 424–31." msgstr "" "Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets litterære " "storheter, spesielt John Dryden, og for hans kjekke\"ferdige versjoner\" av " @@ -7255,26 +7525,44 @@ msgstr "" #. f2 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " +#| "Vanderbilt University Press, 1968), 151–52." msgid "" -"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " -"Vanderbilt University Press, 1968), 151–52." +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." msgstr "" "Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " "Vanderbilt University Press, 1968), 151–52." #. PAGE BREAK 97 #. type: Content of: <book><chapter><sect1><para> -msgid "" -"In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-" -"right\" for the work was still thought by many to be the exclusive right of " -"a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" id=" -"\"0\"/> Tonson was the most prominent of a small group of publishers called " -"the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled " -"bookselling in England during the eighteenth century. The Conger claimed a " -"perpetual right to control the \"copy\" of books that they had acquired from " -"authors. That perpetual right meant that no one else could publish copies of " -"a book to which they held the copyright. Prices of the classics were thus " -"kept high; competition to produce better or cheaper editions was eliminated." +#, fuzzy +#| msgid "" +#| "In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-" +#| "right\" for the work was still thought by many to be the exclusive right " +#| "of a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" " +#| "id=\"0\"/> Tonson was the most prominent of a small group of publishers " +#| "called the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled " +#| "bookselling in England during the eighteenth century. The Conger claimed " +#| "a perpetual right to control the \"copy\" of books that they had acquired " +#| "from authors. That perpetual right meant that no one else could publish " +#| "copies of a book to which they held the copyright. Prices of the " +#| "classics were thus kept high; competition to produce better or cheaper " +#| "editions was eliminated." +msgid "" +"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " +"written, the \"copy-right\" for the work was still thought by many to be the " +"exclusive right of a single London publisher, Jacob Tonson.<placeholder type=" +"\"footnote\" id=\"0\"/> Tonson was the most prominent of a small group of " +"publishers called the Conger<placeholder type=\"footnote\" id=\"1\"/> who " +"controlled bookselling in England during the eighteenth century. The Conger " +"claimed a perpetual right to control the \"copy\" of books that they had " +"acquired from authors. That perpetual right meant that no one else could " +"publish copies of a book to which they held the copyright. Prices of the " +"classics were thus kept high; competition to produce better or cheaper " +"editions was eliminated." msgstr "" "I 1774, nesten 180 Ã¥r etter at Romeo og Julie ble skrevet, mente mange at " "\"opphavsretten\" kun tilhørte én eneste utgiver i London, John Tonson. " @@ -7288,16 +7576,33 @@ msgstr "" "ble fjernet." #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " +#| "\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " -"\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Som Siva Vaidhyanathan sÃ¥ pent argumenterer, er det feilaktige Ã¥ kalle dette " "en \"opphavsrettslov.\" Se Vaidhyanathan, Copyrights and Copywrongs, 40. " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "Now, there's something puzzling about the year 1774 to anyone who knows a " +#| "little about copyright law. The better-known year in the history of " +#| "copyright is 1710, the year that the British Parliament adopted the first " +#| "\"copyright\" act. Known as the Statute of Anne, the act stated that all " +#| "published works would get a copyright term of fourteen years, renewable " +#| "once if the author was alive, and that all works already published by " +#| "1710 would get a single term of twenty-one additional years.<placeholder " +#| "type=\"footnote\" id=\"0\"/> Under this law, Romeo and Juliet should have " +#| "been free in 1731. So why was there any issue about it still being under " +#| "Tonson's control in 1774?" msgid "" "Now, there's something puzzling about the year 1774 to anyone who knows a " "little about copyright law. The better-known year in the history of " @@ -7306,9 +7611,9 @@ msgid "" "published works would get a copyright term of fourteen years, renewable once " "if the author was alive, and that all works already published by 1710 would " "get a single term of twenty-one additional years.<placeholder type=\"footnote" -"\" id=\"0\"/> Under this law, Romeo and Juliet should have been free in " -"1731. So why was there any issue about it still being under Tonson's control " -"in 1774?" +"\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</citetitle> should " +"have been free in 1731. So why was there any issue about it still being " +"under Tonson's control in 1774?" msgstr "" "Men 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 " @@ -7341,16 +7646,29 @@ msgstr "" "en eksklusiv rett til Ã¥ trykke bøker." #. type: Content of: <book><chapter><sect1><para> -msgid "" -"There was no positive law, but that didn't mean that there was no law. The " -"Anglo-American legal tradition looks to both the words of legislatures and " -"the words of judges to know the rules that are to govern how people are to " -"behave. We call the words from legislatures \"positive law.\" We call the " -"words from judges \"common law.\" The common law sets the background against " -"which legislatures legislate; the legislature, ordinarily, can trump that " -"background only if it passes a law to displace it. And so the real question " -"after the licensing statutes had expired was whether the common law " -"protected a copyright, independent of any positive law." +#, fuzzy +#| msgid "" +#| "There was no positive law, but that didn't mean that there was no law. " +#| "The Anglo-American legal tradition looks to both the words of " +#| "legislatures and the words of judges to know the rules that are to govern " +#| "how people are to behave. We call the words from legislatures \"positive " +#| "law.\" We call the words from judges \"common law.\" The common law sets " +#| "the background against which legislatures legislate; the legislature, " +#| "ordinarily, can trump that background only if it passes a law to displace " +#| "it. And so the real question after the licensing statutes had expired was " +#| "whether the common law protected a copyright, independent of any positive " +#| "law." +msgid "" +"There was no <emphasis>positive</emphasis> law, but that didn't mean that " +"there was no law. The Anglo-American legal tradition looks to both the words " +"of legislatures and the words of judges to know the rules that are to govern " +"how people are to behave. We call the words from legislatures \"positive law." +"\" We call the words from judges \"common law.\" The common law sets the " +"background against which legislatures legislate; the legislature, " +"ordinarily, can trump that background only if it passes a law to displace " +"it. And so the real question after the licensing statutes had expired was " +"whether the common law protected a copyright, independent of any positive " +"law." msgstr "" "At det ikke fantes noen positiv lov, betydde ikke at det ikke fantes noen " "lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de til lover skapt av " @@ -7398,26 +7716,43 @@ msgstr "" "hvem som helst. Det var ihvertfall det lovgiverne hadde tenkt." #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "Now, the thing to puzzle about for a moment is this: Why would Parliament " +#| "limit the exclusive right? Not why would they limit it to the particular " +#| "limit they set, but why would they limit the right at all?" msgid "" "Now, the thing to puzzle about for a moment is this: Why would Parliament " "limit the exclusive right? Not why would they limit it to the particular " -"limit they set, but why would they limit the right at all?" +"limit they set, but why would they limit the right <emphasis>at all?</" +"emphasis>" msgstr "" "Men nÃ¥ det mest interessante med dette: Hvorfor ville parlamentet begrense " "trykkeretten? SprøsmÃ¥let er ikke hvorfor de bestemte seg for denne perioden, " "men hvorfor ville de begrense den i det hele tatt?" #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "For the booksellers, and the authors whom they represented, had a very " +#| "strong claim. Take Romeo and Juliet as an example: That play was written " +#| "by Shakespeare. It was his genius that brought it into the world. He " +#| "didn't take anybody's property when he created this play (that's a " +#| "controversial claim, but never mind), and by his creating this play, he " +#| "didn't make it any harder for others to craft a play. So why is it that " +#| "the law would ever allow someone else to come along and take " +#| "Shakespeare's play without his, or his estate's, permission? What reason " +#| "is there to allow someone else to \"steal\" Shakespeare's work?" msgid "" "For the booksellers, and the authors whom they represented, had a very " -"strong claim. Take Romeo and Juliet as an example: That play was written by " -"Shakespeare. It was his genius that brought it into the world. He didn't " -"take anybody's property when he created this play (that's a controversial " -"claim, but never mind), and by his creating this play, he didn't make it any " -"harder for others to craft a play. So why is it that the law would ever " -"allow someone else to come along and take Shakespeare's play without his, or " -"his estate's, permission? What reason is there to allow someone else to " -"\"steal\" Shakespeare's work?" +"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " +"That play was written by Shakespeare. It was his genius that brought it into " +"the world. He didn't take anybody's property when he created this play " +"(that's a controversial claim, but never mind), and by his creating this " +"play, he didn't make it any harder for others to craft a play. So why is it " +"that the law would ever allow someone else to come along and take " +"Shakespeare's play without his, or his estate's, permission? What reason is " +"there to allow someone else to \"steal\" Shakespeare's work?" msgstr "" "Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " "krav. Ta romeo og Julie som et eksempel: Skuespillet ble skrevet av " @@ -7441,6 +7776,19 @@ msgstr "" #. PAGE BREAK 99 #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "First, about copyright. In the last three hundred years, we have come to " +#| "apply the concept of \"copyright\" ever more broadly. But in 1710, it " +#| "wasn't so much a concept as it was a very particular right. The copyright " +#| "was born as a very specific set of restrictions: It forbade others from " +#| "reprinting a book. In 1710, the \"copy-right\" was a right to use a " +#| "particular machine to replicate a particular work. It did not go beyond " +#| "that very narrow right. It did not control any more generally how a work " +#| "could be used. Today the right includes a large collection of " +#| "restrictions on the freedom of others: It grants the author the exclusive " +#| "right to copy, the exclusive right to distribute, the exclusive right to " +#| "perform, and so on." msgid "" "First, about copyright. In the last three hundred years, we have come to " "apply the concept of \"copyright\" ever more broadly. But in 1710, it wasn't " @@ -7448,10 +7796,10 @@ msgid "" "as a very specific set of restrictions: It forbade others from reprinting a " "book. In 1710, the \"copy-right\" was a right to use a particular machine to " "replicate a particular work. It did not go beyond that very narrow right. It " -"did not control any more generally how a work could be used. Today the right " -"includes a large collection of restrictions on the freedom of others: It " -"grants the author the exclusive right to copy, the exclusive right to " -"distribute, the exclusive right to perform, and so on." +"did not control any more generally how a work could be <emphasis>used</" +"emphasis>. Today the right includes a large collection of restrictions on " +"the freedom of others: It grants the author the exclusive right to copy, the " +"exclusive right to distribute, the exclusive right to perform, and so on." msgstr "" "Først om opphavsretten. I de siste tre hundre Ã¥r har vi kommet til Ã¥ bruke " "begrepet \"copyright\" i stadig videre forstand. Men i 1710 var det ikke sÃ¥ " @@ -7526,9 +7874,13 @@ msgstr "" #. f4 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Philip Wittenberg, The Protection and Marketing of Literary Property (New " +#| "York: J. Messner, Inc., 1937), 31." msgid "" -"Philip Wittenberg, The Protection and Marketing of Literary Property (New " -"York: J. Messner, Inc., 1937), 31." +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." msgstr "" "Philip Wittenberg, The Protection and Marketing of Literary Property (New " "York: J. Messner, Inc., 1937), 31." @@ -7619,14 +7971,23 @@ msgstr "" #. f5 #. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "A Letter to a Member of Parliament concerning the Bill now depending in " +#| "the House of Commons, for making more effectual an Act in the Eighth Year " +#| "of the Reign of Queen Anne, entitled, An Act for the Encouragement of " +#| "Learning, by Vesting the Copies of Printed Books in the Authors or " +#| "Purchasers of such Copies, during the Times therein mentioned (London, " +#| "1735), in Brief Amici Curiae of Tyler T. Ochoa et al., 8, Eldred v. " +#| "Ashcroft, 537 U.S. 186 (2003) (No. 01-618)." msgid "" "A Letter to a Member of Parliament concerning the Bill now depending in the " "House of Commons, for making more effectual an Act in the Eighth Year of the " "Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " "Vesting the Copies of Printed Books in the Authors or Purchasers of such " "Copies, during the Times therein mentioned (London, 1735), in Brief Amici " -"Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) " -"(No. 01-618)." +"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." msgstr "" "A Letter to a Member of Parliament concerning the Bill now depending in the " "House of Commons, for making more effectual an Act in the Eighth Year of the " @@ -7681,10 +8042,16 @@ msgstr "" "falt i det fri. Dette, mente de, var den eneste mÃ¥ten Ã¥ beskytte forfatterne." #. type: Content of: <book><chapter><sect1><para><footnote><para> -msgid "" -"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt " -"Law Review 40 (1987): 28. For a wonderfully compelling account, see " -"Vaidhyanathan, 37–48. <placeholder type=\"indexterm\" id=\"0\"/>" +#, fuzzy +#| msgid "" +#| "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt " +#| "Law Review 40 (1987): 28. For a wonderfully compelling account, see " +#| "Vaidhyanathan, 37–48. <placeholder type=\"indexterm\" id=\"0\"/>" +msgid "" +"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " +"<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " +"wonderfully compelling account, see Vaidhyanathan, 37–48. " +"<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt " "Law Review 40 (1987): 28. For en fantastisk overbevisende fortelling, se " @@ -7709,9 +8076,13 @@ msgstr "" #. f7 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "For a compelling account, see David Saunders, Authorship and Copyright " +#| "(London: Routledge, 1992), 62–69." msgid "" -"For a compelling account, see David Saunders, Authorship and Copyright " -"(London: Routledge, 1992), 62–69." +"For a compelling account, see David Saunders, <citetitle>Authorship and " +"Copyright</citetitle> (London: Routledge, 1992), 62–69." msgstr "" "For a compelling account, see David Saunders, Authorship and Copyright " "(London: Routledge, 1992), 62–69." @@ -7728,9 +8099,13 @@ msgstr "" #. f8 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Mark Rose, Authors and Owners (Cambridge: Harvard University Press, " +#| "1993), 92." msgid "" -"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), " -"92." +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92." msgstr "" "Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), " "92." @@ -7767,9 +8142,13 @@ msgstr "" #. f10 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting " +#| "Borwell)." msgid "" -"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting " -"Borwell)." +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle>, 167 (quoting Borwell)." msgstr "" "Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting " "Borwell)." @@ -7793,10 +8172,16 @@ msgstr "" "fri." #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "The London booksellers quickly brought suit to block \"piracy\" like " +#| "Donaldson's. A number of actions were successful against the \"pirates,\" " +#| "the most important early victory being Millar v. Taylor." msgid "" "The London booksellers quickly brought suit to block \"piracy\" like " "Donaldson's. A number of actions were successful against the \"pirates,\" " -"the most important early victory being Millar v. Taylor." +"the most important early victory being <citetitle>Millar</citetitle> v. " +"<citetitle>Taylor</citetitle>." msgstr "" "Londons bokselgere begynte straks Ã¥ slÃ¥ ned mot \"pirater\" som Donaldson. " "Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen " @@ -7804,10 +8189,15 @@ msgstr "" #. f11 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " +#| "Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): " +#| "1152." msgid "" "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): " -"1152." +"Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</" +"citetitle> 29 (1983): 1152." msgstr "" "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " "Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): " @@ -7891,15 +8281,26 @@ msgid "Ibid., 1156." msgstr "Ibid., 1156." #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "Millar died soon after his victory, so his case was not appealed. His " +#| "estate sold Thomson's poems to a syndicate of printers that included " +#| "Thomas Beckett.<placeholder type=\"footnote\" id=\"0\"/> Donaldson then " +#| "released an unauthorized edition of Thomson's works. Beckett, on the " +#| "strength of the decision in Millar, got an injunction against Donaldson. " +#| "Donaldson appealed the case to the House of Lords, which functioned much " +#| "like our own Supreme Court. In February of 1774, that body had the chance " +#| "to interpret the meaning of Parliament's limits from sixty years before." msgid "" "Millar died soon after his victory, so his case was not appealed. His estate " "sold Thomson's poems to a syndicate of printers that included Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " "unauthorized edition of Thomson's works. Beckett, on the strength of the " -"decision in Millar, got an injunction against Donaldson. Donaldson appealed " -"the case to the House of Lords, which functioned much like our own Supreme " -"Court. In February of 1774, that body had the chance to interpret the " -"meaning of Parliament's limits from sixty years before." +"decision in <citetitle>Millar</citetitle>, got an injunction against " +"Donaldson. Donaldson appealed the case to the House of Lords, which " +"functioned much like our own Supreme Court. In February of 1774, that body " +"had the chance to interpret the meaning of Parliament's limits from sixty " +"years before." msgstr "" "Millar døde kort tid etter sin seier. Boet hans solgte rettighetene over " "Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." @@ -7910,15 +8311,25 @@ msgstr "" "Ã¥ tolke Parlamentets mening med utøpsdatoen fra seksti Ã¥r før." #. type: Content of: <book><chapter><sect1><para> -msgid "" -"As few legal cases ever do, Donaldson v. Beckett drew an enormous amount of " -"attention throughout Britain. Donaldson's lawyers argued that whatever " -"rights may have existed under the common law, the Statute of Anne terminated " -"those rights. After passage of the Statute of Anne, the only legal " -"protection for an exclusive right to control publication came from that " -"statute. Thus, they argued, after the term specified in the Statute of Anne " -"expired, works that had been protected by the statute were no longer " -"protected." +#, fuzzy +#| msgid "" +#| "As few legal cases ever do, Donaldson v. Beckett drew an enormous amount " +#| "of attention throughout Britain. Donaldson's lawyers argued that whatever " +#| "rights may have existed under the common law, the Statute of Anne " +#| "terminated those rights. After passage of the Statute of Anne, the only " +#| "legal protection for an exclusive right to control publication came from " +#| "that statute. Thus, they argued, after the term specified in the Statute " +#| "of Anne expired, works that had been protected by the statute were no " +#| "longer protected." +msgid "" +"As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " +"<citetitle>Beckett</citetitle> drew an enormous amount of attention " +"throughout Britain. Donaldson's lawyers argued that whatever rights may have " +"existed under the common law, the Statute of Anne terminated those rights. " +"After passage of the Statute of Anne, the only legal protection for an " +"exclusive right to control publication came from that statute. Thus, they " +"argued, after the term specified in the Statute of Anne expired, works that " +"had been protected by the statute were no longer protected." msgstr "" "Rettssaken Donaldson mot Beckett fikk en enorm oppmerksomhet i hele " "Storbritannia. Donaldsons advokater mente at selv om det før fantes en del " @@ -7980,17 +8391,30 @@ msgid "Shakespeare, William" msgstr "Shakespeare, William" #. type: Content of: <book><chapter><sect1><para> -msgid "" -"\"The public domain.\" Before the case of Donaldson v. Beckett, there was no " -"clear idea of a public domain in England. Before 1774, there was a strong " -"argument that common law copyrights were perpetual. After 1774, the public " -"domain was born. For the first time in Anglo-American history, the legal " -"control over creative works expired, and the greatest works in English " -"history—including those of Shakespeare, Bacon, Milton, Johnson, and " -"Bunyan—were free of legal restraint. <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\"/>" +#, fuzzy +#| msgid "" +#| "\"The public domain.\" Before the case of Donaldson v. Beckett, there was " +#| "no clear idea of a public domain in England. Before 1774, there was a " +#| "strong argument that common law copyrights were perpetual. After 1774, " +#| "the public domain was born. For the first time in Anglo-American history, " +#| "the legal control over creative works expired, and the greatest works in " +#| "English history—including those of Shakespeare, Bacon, Milton, " +#| "Johnson, and Bunyan—were free of legal restraint. <placeholder " +#| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " +#| "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm" +#| "\" id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/>" +msgid "" +"\"The public domain.\" Before the case of <citetitle>Donaldson</citetitle> " +"v. <citetitle>Beckett</citetitle>, there was no clear idea of a public " +"domain in England. Before 1774, there was a strong argument that common law " +"copyrights were perpetual. After 1774, the public domain was born. For the " +"first time in Anglo-American history, the legal control over creative works " +"expired, and the greatest works in English history—including those of " +"Shakespeare, Bacon, Milton, Johnson, and Bunyan—were free of legal " +"restraint. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> " +"<placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" " +"id=\"4\"/>" msgstr "" "\"Å falle i det fri\". Før rettssaken Donaldson mot Beckett var det ingen " "klar oppfatning om hva Ã¥ falle i det fri innebar. Før 1774 var det jo en " @@ -8009,16 +8433,27 @@ msgid "Rose, 97." msgstr "Rose, 97." #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "It is hard for us to imagine, but this decision by the House of Lords " +#| "fueled an extraordinarily popular and political reaction. In Scotland, " +#| "where most of the \"pirate publishers\" did their work, people celebrated " +#| "the decision in the streets. As the Edinburgh Advertiser reported, \"No " +#| "private cause has so much engrossed the attention of the public, and none " +#| "has been tried before the House of Lords in the decision of which so many " +#| "individuals were interested.\" \"Great rejoicing in Edinburgh upon " +#| "victory over literary property: bonfires and illuminations.\"<placeholder " +#| "type=\"footnote\" id=\"0\"/>" msgid "" "It is hard for us to imagine, but this decision by the House of Lords fueled " "an extraordinarily popular and political reaction. In Scotland, where most " "of the \"pirate publishers\" did their work, people celebrated the decision " -"in the streets. As the Edinburgh Advertiser reported, \"No private cause has " -"so much engrossed the attention of the public, and none has been tried " -"before the House of Lords in the decision of which so many individuals were " -"interested.\" \"Great rejoicing in Edinburgh upon victory over literary " -"property: bonfires and illuminations.\"<placeholder type=\"footnote\" id=" -"\"0\"/>" +"in the streets. As the <citetitle>Edinburgh Advertiser</citetitle> reported, " +"\"No private cause has so much engrossed the attention of the public, and " +"none has been tried before the House of Lords in the decision of which so " +"many individuals were interested.\" \"Great rejoicing in Edinburgh upon " +"victory over literary property: bonfires and illuminations.\"<placeholder " +"type=\"footnote\" id=\"0\"/>" msgstr "" "Vi kan knapt forestille oss det, men denne avgjørelsen fra Overhuset fyrte " "opp under en svært populær og politisk reaksjon. I Skottland, hvor de fleste " @@ -8030,9 +8465,14 @@ msgstr "" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "In London, however, at least among publishers, the reaction was equally " +#| "strong in the opposite direction. The Morning Chronicle reported:" msgid "" "In London, however, at least among publishers, the reaction was equally " -"strong in the opposite direction. The Morning Chronicle reported:" +"strong in the opposite direction. The <citetitle>Morning Chronicle</" +"citetitle> reported:" msgstr "" "I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " "motsatt retning. Morning Chronicle skrev:" @@ -8057,24 +8497,43 @@ msgstr "" #. PAGE BREAK 105 #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "\"Ruined\" is a bit of an exaggeration. But it is not an exaggeration to " +#| "say that the change was profound. The decision of the House of Lords " +#| "meant that the booksellers could no longer control how culture in England " +#| "would grow and develop. Culture in England was thereafter free. Not in " +#| "the sense that copyrights would not be respected, for of course, for a " +#| "limited time after a work was published, the bookseller had an exclusive " +#| "right to control the publication of that book. And not in the sense that " +#| "books could be stolen, for even after a copyright expired, you still had " +#| "to buy the book from someone. But free in the sense that the culture and " +#| "its growth would no longer be controlled by a small group of publishers. " +#| "As every free market does, this free market of free culture would grow as " +#| "the consumers and producers chose. English culture would develop as the " +#| "many English readers chose to let it develop— chose in the books " +#| "they bought and wrote; chose in the memes they repeated and endorsed. " +#| "Chose in a competitive context, not a context in which the choices about " +#| "what culture is available to people and how they get access to it are " +#| "made by the few despite the wishes of the many." msgid "" "\"Ruined\" is a bit of an exaggeration. But it is not an exaggeration to say " "that the change was profound. The decision of the House of Lords meant that " "the booksellers could no longer control how culture in England would grow " -"and develop. Culture in England was thereafter free. Not in the sense that " -"copyrights would not be respected, for of course, for a limited time after a " -"work was published, the bookseller had an exclusive right to control the " -"publication of that book. And not in the sense that books could be stolen, " -"for even after a copyright expired, you still had to buy the book from " -"someone. But free in the sense that the culture and its growth would no " -"longer be controlled by a small group of publishers. As every free market " -"does, this free market of free culture would grow as the consumers and " -"producers chose. English culture would develop as the many English readers " -"chose to let it develop— chose in the books they bought and wrote; " -"chose in the memes they repeated and endorsed. Chose in a competitive " -"context, not a context in which the choices about what culture is available " -"to people and how they get access to it are made by the few despite the " -"wishes of the many." +"and develop. Culture in England was thereafter <emphasis>free</emphasis>. " +"Not in the sense that copyrights would not be respected, for of course, for " +"a limited time after a work was published, the bookseller had an exclusive " +"right to control the publication of that book. And not in the sense that " +"books could be stolen, for even after a copyright expired, you still had to " +"buy the book from someone. But <emphasis>free</emphasis> in the sense that " +"the culture and its growth would no longer be controlled by a small group of " +"publishers. As every free market does, this free market of free culture " +"would grow as the consumers and producers chose. English culture would " +"develop as the many English readers chose to let it develop— chose in " +"the books they bought and wrote; chose in the memes they repeated and " +"endorsed. Chose in a <emphasis>competitive context</emphasis>, not a context " +"in which the choices about what culture is available to people and how they " +"get access to it are made by the few despite the wishes of the many." msgstr "" "Ruinert er en overdrivelse. Men det er ingen overdrivelse Ã¥ si at endringen " "var stor. Vedtaket fra Overhuset betydde at bokhandlerne ikke lenger kunnen " @@ -8156,8 +8615,9 @@ msgid "" "During one of the performances, Else was shooting some stagehands playing " "checkers. In one corner of the room was a television set. Playing on the " "television set, while the stagehands played checkers and the opera company " -"played Wagner, was The Simpsons. As Else judged it, this touch of cartoon " -"helped capture the flavor of what was special about the scene." +"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " +"this touch of cartoon helped capture the flavor of what was special about " +"the scene." msgstr "" "under en av forestillinger, var ellers skyting noen stagehands spille " "brikker. i et hjørne av rommet var en TV-apparatet. spille pÃ¥ TV-apparatet, " @@ -8169,10 +8629,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "Years later, when he finally got funding to complete the film, Else " -"attempted to clear the rights for those few seconds of The Simpsons. For of " -"course, those few seconds are copyrighted; and of course, to use copyrighted " -"material you need the permission of the copyright owner, unless \"fair use\" " -"or some other privilege applies." +"attempted to clear the rights for those few seconds of <citetitle>The " +"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " +"of course, to use copyrighted material you need the permission of the " +"copyright owner, unless \"fair use\" or some other privilege applies." msgstr "" "Ã¥r senere, nÃ¥r han til slutt fikk finansiering for Ã¥ fullføre filmen, ellers " "forsøkte Ã¥ tømme rettighetene for de noen sekunder av simpsons. for " @@ -8188,12 +8648,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Else called Simpsons creator Matt Groening's office to get permission. " -"Groening approved the shot. The shot was a four-and-a-halfsecond image on a " -"tiny television set in the corner of the room. How could it hurt? Groening " -"was happy to have it in the film, but he told Else to contact Gracie Films, " -"the company that produces the program. <placeholder type=\"indexterm\" id=" -"\"0\"/>" +"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " +"to get permission. Groening approved the shot. The shot was a four-and-a-" +"halfsecond image on a tiny television set in the corner of the room. How " +"could it hurt? Groening was happy to have it in the film, but he told Else " +"to contact Gracie Films, the company that produces the program. " +"<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "annet kalt simpsons skaperen matt groening's kontor for Ã¥ fÃ¥ tillatelse. " "Groening godkjent skutt. skjøt var en fire og en halfsecond-bilde pÃ¥ en " @@ -8224,8 +8684,8 @@ msgid "" "Matt Groening doesn't own his own creation—or at least that someone " "[at Fox] believes he doesn't own his own creation.\" And second, Fox " "\"wanted ten thousand dollars as a licensing fee for us to use this four-" -"point-five seconds of . . . entirely unsolicited Simpsons which was in the " -"corner of the shot.\"" +"point-five seconds of . . . entirely unsolicited <citetitle>Simpsons</" +"citetitle> which was in the corner of the shot.\"" msgstr "" "deretter, som ellers fortalte meg, \"to ting har skjedd. første vi " "oppdaget... at matt groening ikke eier sin egen etablering— eller i " @@ -8255,10 +8715,11 @@ msgstr "" msgid "" "\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you " "have your facts straight,\" she said. It would cost $10,000 to use the clip " -"of The Simpsons in the corner of a shot in a documentary film about Wagner's " -"Ring Cycle. And then, astonishingly, Herrera told Else, \"And if you quote " -"me, I'll turn you over to our attorneys.\" As an assistant to Herrera told " -"Else later on, \"They don't give a shit. They just want the money.\"" +"of <citetitle>The Simpsons</citetitle> in the corner of a shot in a " +"documentary film about Wagner's Ring Cycle. And then, astonishingly, Herrera " +"told Else, \"And if you quote me, I'll turn you over to our attorneys.\" As " +"an assistant to Herrera told Else later on, \"They don't give a shit. They " +"just want the money.\"" msgstr "" "\"jeg ønsket Ã¥ sikre at jeg hadde min fakta rett,\" sa han til meg. \"Ja, du " "har din fakta rett,\" sa hun. det ville koste $ 10 000 for Ã¥ bruke klippet " @@ -8278,9 +8739,9 @@ msgid "" "the television backstage at the San Francisco Opera. To reproduce this " "reality was beyond the documentary filmmaker's budget. At the very last " "minute before the film was to be released, Else digitally replaced the shot " -"with a clip from another film that he had worked on, The Day After Trinity, " -"from ten years before. <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" +"with a clip from another film that he had worked on, <citetitle>The Day " +"After Trinity</citetitle>, from ten years before. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "ellers har ikke penger til Ã¥ kjøpe retten til Ã¥ spille hva spilte pÃ¥ TV " "backstage ved san francisco opera. Hvis du vil gjenskape denne virkeligheten " @@ -8292,13 +8753,14 @@ msgstr "" #, mtrans, fuzzy msgid "" "There's no doubt that someone, whether Matt Groening or Fox, owns the " -"copyright to The Simpsons. That copyright is their property. To use that " -"copyrighted material thus sometimes requires the permission of the copyright " -"owner. If the use that Else wanted to make of the Simpsons copyright were " -"one of the uses restricted by the law, then he would need to get the " -"permission of the copyright owner before he could use the work in that way. " -"And in a free market, it is the owner of the copyright who gets to set the " -"price for any use that the law says the owner gets to control." +"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " +"property. To use that copyrighted material thus sometimes requires the " +"permission of the copyright owner. If the use that Else wanted to make of " +"the <citetitle>Simpsons</citetitle> copyright were one of the uses " +"restricted by the law, then he would need to get the permission of the " +"copyright owner before he could use the work in that way. And in a free " +"market, it is the owner of the copyright who gets to set the price for any " +"use that the law says the owner gets to control." msgstr "" "Det er ingen tvil om at noen om matt groening eller fox, eier opphavsretten " "til simpsons. at opphavsretten er deres eiendom. for Ã¥ bruke at " @@ -8312,12 +8774,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"For example, \"public performance\" is a use of The Simpsons that the " -"copyright owner gets to control. If you take a selection of favorite " -"episodes, rent a movie theater, and charge for tickets to come see \"My " -"Favorite Simpsons,\" then you need to get permission from the copyright " -"owner. And the copyright owner (rightly, in my view) can charge whatever she " -"wants—$10 or $1,000,000. That's her right, as set by the law." +"For example, \"public performance\" is a use of <citetitle>The Simpsons</" +"citetitle> that the copyright owner gets to control. If you take a selection " +"of favorite episodes, rent a movie theater, and charge for tickets to come " +"see \"My Favorite <citetitle>Simpsons</citetitle>,\" then you need to get " +"permission from the copyright owner. And the copyright owner (rightly, in my " +"view) can charge whatever she wants—$10 or $1,000,000. That's her " +"right, as set by the law." msgstr "" "\"offentlig fremføring\" er for eksempel en bruk av simpsons blir eieren av " "opphavsretten til kontrollen. Hvis du tar et utvalg av favoritt episoder, " @@ -8333,9 +8796,9 @@ msgstr "" msgid "" "For an excellent argument that such use is \"fair use,\" but that lawyers " "don't permit recognition that it is \"fair use,\" see Richard A. Posner with " -"William F. Patry, \"Fair Use and Statutory Reform in the Wake of Eldred " -"\" (draft on file with author), University of Chicago Law School, 5 August " -"2003." +"William F. Patry, \"Fair Use and Statutory Reform in the Wake of " +"<citetitle>Eldred</citetitle>\" (draft on file with author), University of " +"Chicago Law School, 5 August 2003." msgstr "" "Hvis et utmerket argument at slik bruk er \"rettferdig bruk\", men at " "jurister ikke tillater anerkjennelse som det er \"rettferdig bruk,\" se " @@ -8347,8 +8810,9 @@ msgstr "" msgid "" "But when lawyers hear this story about Jon Else and Fox, their first thought " "is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just " -"4.5 seconds of an indirect shot of a Simpsons episode is clearly a fair use " -"of The Simpsons—and fair use does not require the permission of anyone." +"4.5 seconds of an indirect shot of a <citetitle>Simpsons</citetitle> episode " +"is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair " +"use does not require the permission of anyone." msgstr "" #. PAGE BREAK 109 @@ -8363,12 +8827,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><blockquote><para> #, mtrans, fuzzy msgid "" -"The Simpsons fiasco was for me a great lesson in the gulf between what " -"lawyers find irrelevant in some abstract sense, and what is crushingly " -"relevant in practice to those of us actually trying to make and broadcast " -"documentaries. I never had any doubt that it was \"clearly fair use\" in an " -"absolute legal sense. But I couldn't rely on the concept in any concrete " -"way. Here's why:" +"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " +"gulf between what lawyers find irrelevant in some abstract sense, and what " +"is crushingly relevant in practice to those of us actually trying to make " +"and broadcast documentaries. I never had any doubt that it was \"clearly " +"fair use\" in an absolute legal sense. But I couldn't rely on the concept in " +"any concrete way. Here's why:" msgstr "" "simpsons fiasco var for meg en fin leksjon i avgrunnen mellom hvilket " "advokater finne irrelevant i noen abstrakt forstand, og hva er crushingly " @@ -8402,13 +8866,13 @@ msgstr "Lucas, George" msgid "" "I probably never should have asked Matt Groening in the first place. But I " "knew (at least from folklore) that Fox had a history of tracking down and " -"stopping unlicensed Simpsons usage, just as George Lucas had a very high " -"profile litigating Star Wars usage. So I decided to play by the book, " -"thinking that we would be granted free or cheap license to four seconds of " -"Simpsons. As a documentary producer working to exhaustion on a shoestring, " -"the last thing I wanted was to risk legal trouble, even nuisance legal " -"trouble, and even to defend a principle. <placeholder type=\"indexterm\" id=" -"\"0\"/>" +"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " +"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " +"usage. So I decided to play by the book, thinking that we would be granted " +"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " +"a documentary producer working to exhaustion on a shoestring, the last thing " +"I wanted was to risk legal trouble, even nuisance legal trouble, and even to " +"defend a principle. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg skulle trolig aldri ha spurt matt groening i utgangspunktet. men jeg " "visste (minst fra folklore) at fox hadde en historie for Ã¥ spore ned og " @@ -8639,9 +9103,10 @@ msgstr "" msgid "" "So we very mechanically went about looking up the film clips. We made some " "artistic decisions about what film clips to include—of course we were " -"going to use the \"Make my day\" clip from Dirty Harry. But you then need to " -"get the guy on the ground who's wiggling under the gun and you need to get " -"his permission. And then you have to decide what you are going to pay him." +"going to use the \"Make my day\" clip from <citetitle>Dirty Harry</" +"citetitle>. But you then need to get the guy on the ground who's wiggling " +"under the gun and you need to get his permission. And then you have to " +"decide what you are going to pay him." msgstr "" "sÃ¥ vi gikk veldig mekanisk about looking up film klipp. Vi har gjort noen " "kunstneriske beslutninger om hva film klipp for Ã¥ inkludere—" @@ -8695,8 +9160,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"It was one year later—\"and even then we weren't sure whether we were " -"totally in the clear.\"" +"It was one <emphasis>year</emphasis> later—\"and even then we weren't " +"sure whether we were totally in the clear.\"" msgstr "" "Det var ett Ã¥r senere, \"og selv da vi var ikke sikker pÃ¥ om vi var helt i " "klartekst.\"" @@ -8747,9 +9212,10 @@ msgstr "Drucker, Peter" #. f2 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"U.S. Department of Commerce Office of Acquisition Management, Seven Steps to " -"Performance-Based Services Acquisition, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #22</ulink>." +"U.S. Department of Commerce Office of Acquisition Management, " +"<citetitle>Seven Steps to Performance-Based Services Acquisition</" +"citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#22</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -8793,13 +9259,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Or at least, is this how the artist should be compensated? Would it make " -"sense, I asked, for there to be some kind of statutory license that someone " -"could pay and be free to make derivative use of clips like this? Did it " -"really make sense that a follow-on creator would have to track down every " -"artist, actor, director, musician, and get explicit permission from each? " -"Wouldn't a lot more be created if the legal part of the creative process " -"could be made to be more clean?" +"Or at least, is this <emphasis>how</emphasis> the artist should be " +"compensated? Would it make sense, I asked, for there to be some kind of " +"statutory license that someone could pay and be free to make derivative use " +"of clips like this? Did it really make sense that a follow-on creator would " +"have to track down every artist, actor, director, musician, and get explicit " +"permission from each? Wouldn't a lot more be created if the legal part of " +"the creative process could be made to be more clean?" msgstr "" "eller minst, er dette hvordan kunstneren skal kompenseres? vil det være " "fornuftig, jeg spurte, for det for Ã¥ være en slags lovbestemte lisens som " @@ -8897,11 +9363,17 @@ msgstr "" "fairbank, hadde produsert." #. type: Content of: <book><chapter><sect1><para> +#, fuzzy +#| msgid "" +#| "The video was a brilliant collage of film from every period in the " +#| "twentieth century, all framed around the idea of a 60 Minutes episode. " +#| "The execution was perfect, down to the sixty-minute stopwatch. The judges " +#| "loved every minute of it." msgid "" "The video was a brilliant collage of film from every period in the twentieth " -"century, all framed around the idea of a 60 Minutes episode. The execution " -"was perfect, down to the sixty-minute stopwatch. The judges loved every " -"minute of it." +"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " +"episode. The execution was perfect, down to the sixty-minute stopwatch. The " +"judges loved every minute of it." msgstr "" "Videoen var en glimrende sammenstilling av filmer fra hver periode i det " "tjuende Ã¥rhundret, rammet inn rundt idéen om en episode i TV-serien 60 " @@ -9062,13 +9534,13 @@ msgstr "" #, mtrans, fuzzy msgid "" "In February 2003, DreamWorks studios announced an agreement with Mike Myers, " -"the comic genius of Saturday Night Live and Austin Powers. According to the " -"announcement, Myers and Dream-Works would work together to form a \"unique " -"filmmaking pact.\" Under the agreement, DreamWorks \"will acquire the rights " -"to existing motion picture hits and classics, write new storylines and—" -"with the use of stateof-the-art digital technology—insert Myers and " -"other actors into the film, thereby creating an entirely new piece of " -"entertainment.\"" +"the comic genius of <citetitle>Saturday Night Live</citetitle> and Austin " +"Powers. According to the announcement, Myers and Dream-Works would work " +"together to form a \"unique filmmaking pact.\" Under the agreement, " +"DreamWorks \"will acquire the rights to existing motion picture hits and " +"classics, write new storylines and—with the use of stateof-the-art " +"digital technology—insert Myers and other actors into the film, " +"thereby creating an entirely new piece of entertainment.\"" msgstr "" "i februar 2003 annonsert dreamworks studios en avtale med mike myers, comic " "geni av lørdag natt live og austin powers. Ifølge utlysningen, myers og drøm-" @@ -9187,9 +9659,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "This is the thing about the Internet that Orwell would have appreciated. In " -"the dystopia described in 1984, old newspapers were constantly updated to " -"assure that the current view of the world, approved of by the government, " -"was not contradicted by previous news reports." +"the dystopia described in <citetitle>1984</citetitle>, old newspapers were " +"constantly updated to assure that the current view of the world, approved of " +"by the government, was not contradicted by previous news reports." msgstr "" "Dette er ting om Internett som orwell ville ha verdsatt. i dystopia " "beskrevet i 1984, ble gamle aviser stadig oppdatert for Ã¥ sikre som " @@ -9273,11 +9745,11 @@ msgstr "" #, mtrans, fuzzy msgid "" "It is said that those who fail to remember history are doomed to repeat it. " -"That's not quite correct. We all forget history. The key is whether we have " -"a way to go back to rediscover what we forget. More directly, the key is " -"whether an objective past can keep us honest. Libraries help do that, by " -"collecting content and keeping it, for schoolchildren, for researchers, for " -"grandma. A free society presumes this knowedge." +"That's not quite correct. We <emphasis>all</emphasis> forget history. The " +"key is whether we have a way to go back to rediscover what we forget. More " +"directly, the key is whether an objective past can keep us honest. Libraries " +"help do that, by collecting content and keeping it, for schoolchildren, for " +"researchers, for grandma. A free society presumes this knowedge." msgstr "" "Det sies at de som ikke klarer Ã¥ huske historie er dømt til Ã¥ gjenta den. " "Det er ikke helt riktig. vi alle glemme historie. nøkkelen er om vi har en " @@ -9366,9 +9838,9 @@ msgid "" "that back and forth surreal experience of a politician interacting with a " "fictional television character? If you were a graduate student wanting to " "study that, and you wanted to get those original back and forth exchanges " -"between the two, the 60 Minutes episode that came out after it . . . it " -"would be almost impossible. . . . Those materials are almost " -"unfindable. . . ." +"between the two, the <citetitle>60 Minutes</citetitle> episode that came out " +"after it . . . it would be almost impossible. . . . Those materials are " +"almost unfindable. . . ." msgstr "" "husker du nÃ¥r dan quayle samhandlet med murphy brown? Husk at frem og " "tilbake surrealistisk opplevelse av en politiker samarbeidsstil et fiktive " @@ -9414,9 +9886,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the " -"Library of Congress,\" Film Library Quarterly 13 nos. 2–3 (1980): 5; " -"Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the " -"United States ( Jefferson, N.C.: McFarland & Co., 1992), 36." +"Library of Congress,\" <citetitle>Film Library Quarterly</citetitle> 13 nos. " +"2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History " +"of Film Preservation in the United States</citetitle> ( Jefferson, N.C.: " +"McFarland & Co., 1992), 36." msgstr "" "Doug herrick, \"mot en nasjonal Filmsamling: filmindustrien pÃ¥ library of " "congress,\" film biblioteket kvartalsvise 13 nr 2­3 (1980): 5; Anthony " @@ -9588,11 +10061,11 @@ msgstr "" #, mtrans, fuzzy msgid "" "Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar " -"Owner Starts a New Chapter by Adopting Business,\" Chicago Tribune, 5 " -"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " -"only 2.2 percent were in print in 2002. R. Anthony Reese, \"The First Sale " -"Doctrine in the Era of Digital Networks,\" Boston College Law Review 44 " -"(2003): 593 n. 51." +"Owner Starts a New Chapter by Adopting Business,\" <citetitle>Chicago " +"Tribune</citetitle>, 5 September 1997, at Metro Lake 1L. Of books published " +"between 1927 and 1946, only 2.2 percent were in print in 2002. R. Anthony " +"Reese, \"The First Sale Doctrine in the Era of Digital Networks,\" " +"<citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51." msgstr "" "Dave barns, \"fledgling karriere i antikke bøker: woodstock utleier, bar " "eier starter et nytt kapittel ved Ã¥ innta virksomhet,\" chicago tribune, 5 " @@ -9712,15 +10185,15 @@ msgstr "" msgid "" "Kahle is not the only librarian. The Internet Archive is not the only " "archive. But Kahle and the Internet Archive suggest what the future of " -"libraries or archives could be. When the commercial life of creative " -"property ends, I don't know. But it does. And whenever it does, Kahle and " -"his archive hint at a world where this knowledge, and culture, remains " -"perpetually available. Some will draw upon it to understand it; some to " -"criticize it. Some will use it, as Walt Disney did, to re-create the past " -"for the future. These technologies promise something that had become " -"unimaginable for much of our past—a future for our past. The " -"technology of digital arts could make the dream of the Library of Alexandria " -"real again." +"libraries or archives could be. <emphasis>When</emphasis> the commercial " +"life of creative property ends, I don't know. But it does. And whenever it " +"does, Kahle and his archive hint at a world where this knowledge, and " +"culture, remains perpetually available. Some will draw upon it to understand " +"it; some to criticize it. Some will use it, as Walt Disney did, to re-create " +"the past for the future. These technologies promise something that had " +"become unimaginable for much of our past—a future <emphasis>for</" +"emphasis> our past. The technology of digital arts could make the dream of " +"the Library of Alexandria real again." msgstr "" "Kahle er ikke den eneste bibliotekar. internet archive er ikke det eneste " "arkivet. men kahle og internet archive foreslÃ¥ hva fremtiden for biblioteker " @@ -9900,11 +10373,11 @@ msgid "" "No matter the lengthy arguments made, no matter the charges and the counter-" "charges, no matter the tumult and the shouting, reasonable men and women " "will keep returning to the fundamental issue, the central theme which " -"animates this entire debate: Creative property owners must be accorded the " -"same rights and protection resident in all other property owners in the " -"nation. That is the issue. That is the question. And that is the rostrum on " -"which this entire hearing and the debates to follow must rest.<placeholder " -"type=\"footnote\" id=\"0\"/>" +"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 @@ -9932,12 +10405,13 @@ msgid "" "This claim has an obvious and powerful intuitive pull. It is stated with " "such clarity as to make the idea as obvious as the notion that we use " "elections to pick presidents. But in fact, there is no more extreme a claim " -"made by anyone who is serious in this debate than this claim of Valenti's. " -"Jack Valenti, however sweet and however brilliant, is perhaps the nation's " -"foremost extremist when it comes to the nature and scope of \"creative " -"property.\" His views have no reasonable connection to our actual legal " -"tradition, even if the subtle pull of his Texan charm has slowly redefined " -"that tradition, at least in Washington." +"made by <emphasis>anyone</emphasis> who is serious in this debate than this " +"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " +"perhaps the nation's foremost extremist when it comes to the nature and " +"scope of \"creative property.\" His views have <emphasis>no</emphasis> " +"reasonable connection to our actual legal tradition, even if the subtle pull " +"of his Texan charm has slowly redefined that tradition, at least in " +"Washington." msgstr "" "denne pÃ¥standen har en tydelig og kraftig intuitivt trekk. Det er oppgitt " "med slike klarhet som Ã¥ gjøre idéen tydelig som oppfatningen at vi bruker " @@ -9958,8 +10432,8 @@ msgid "" "\"property right\" to my car gives me the right to exclusive use, but not " "the right to drive at 150 miles an hour. For the best effort to connect the " "ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, " -"Private Property and the Constitution (New Haven: Yale University Press, " -"1977), 26–27." +"<citetitle>Private Property and the Constitution</citetitle> (New Haven: " +"Yale University Press, 1977), 26–27." msgstr "" "advokater snakker om \"property\" ikke som en absolute ting, men som en bunt " "av rettigheter som er noen ganger knyttet til bestemte objekter. Dermed gir " @@ -10050,8 +10524,9 @@ msgid "" "house, or acquires a slice of land from your farm—it is required, " "under the Fifth Amendment's \"Takings Clause,\" to pay you \"just " "compensation\" for that taking. The Constitution thus guarantees that " -"property is, in a certain sense, sacred. It cannot ever be taken from the " -"property owner unless the government pays for the privilege." +"property is, in a certain sense, sacred. It cannot <emphasis>ever</emphasis> " +"be taken from the property owner unless the government pays for the " +"privilege." msgstr "" "forfatterne av vÃ¥r grunnlov elsket \"egenskapen.\" faktisk sÃ¥ sterkt gjorde " "de elsker egenskapen at de innebygd i Grunnloven et viktig krav. Hvis " @@ -10068,14 +10543,15 @@ msgstr "" msgid "" "Yet the very same Constitution speaks very differently about what Valenti " "calls \"creative property.\" In the clause granting Congress the power to " -"create \"creative property,\" the Constitution requires that after a " -"\"limited time,\" Congress take back the rights that it has granted and set " -"the \"creative property\" free to the public domain. Yet when Congress does " -"this, when the expiration of a copyright term \"takes\" your copyright and " -"turns it over to the public domain, Congress does not have any obligation to " -"pay \"just compensation\" for this \"taking.\" Instead, the same " -"Constitution that requires compensation for your land requires that you lose " -"your \"creative property\" right without any compensation at all." +"create \"creative property,\" the Constitution <emphasis>requires</emphasis> " +"that after a \"limited time,\" Congress take back the rights that it has " +"granted and set the \"creative property\" free to the public domain. Yet " +"when Congress does this, when the expiration of a copyright term \"takes\" " +"your copyright and turns it over to the public domain, Congress does not " +"have any obligation to pay \"just compensation\" for this \"taking.\" " +"Instead, the same Constitution that requires compensation for your land " +"requires that you lose your \"creative property\" right without any " +"compensation at all." msgstr "" "men svært samme grunnlov snakker veldig annerledes om hva valenti samtaler " "\"kreative egenskapen.\" i setningsdelen gir Kongressen makt til Ã¥ opprette " @@ -10132,10 +10608,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "Instead, my argument is that because Jefferson did it, we should at least " -"try to understand why. Why did the framers, fanatical property types that " -"they were, reject the claim that creative property be given the same rights " -"as all other property? Why did they require that for creative property there " -"must be a public domain?" +"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " +"property types that they were, reject the claim that creative property be " +"given the same rights as all other property? Why did they require that for " +"creative property there must be a public domain?" msgstr "" "i stedet, mitt argument er at fordi jefferson gjorde det, vi bør i det " "minste prøver Ã¥ forstÃ¥ hvorfor. Hvorfor underskrev, fanatical egenskapstyper " @@ -10150,11 +10626,12 @@ msgid "" "these \"creative property\" rights, and the control that they enabled. Once " "we see clearly how differently these rights have been defined, we will be in " "a better position to ask the question that should be at the core of this " -"war: Not whether creative property should be protected, but how. Not whether " -"we will enforce the rights the law gives to creative-property owners, but " -"what the particular mix of rights ought to be. Not whether artists should be " -"paid, but whether institutions designed to assure that artists get paid need " -"also control how culture develops." +"war: Not <emphasis>whether</emphasis> creative property should be protected, " +"but how. Not <emphasis>whether</emphasis> we will enforce the rights the law " +"gives to creative-property owners, but what the particular mix of rights " +"ought to be. Not <emphasis>whether</emphasis> artists should be paid, but " +"whether institutions designed to assure that artists get paid need also " +"control how culture develops." msgstr "" "for Ã¥ besvare dette spørsmÃ¥let, trenger vi Ã¥ fÃ¥ noen perspektiv om disse " "\"kreative eiendom\", og kontrollen som de aktivert historie. NÃ¥r vi ser " @@ -10172,11 +10649,11 @@ msgstr "" msgid "" "To answer these questions, we need a more general way to talk about how " "property is protected. More precisely, we need a more general way than the " -"narrow language of the law allows. In Code and Other Laws of Cyberspace, I " -"used a simple model to capture this more general perspective. For any " -"particular right or regulation, this model asks how four different " -"modalities of regulation interact to support or weaken the right or " -"regulation. I represented it with this diagram:" +"narrow language of the law allows. In <citetitle>Code and Other Laws of " +"Cyberspace</citetitle>, I used a simple model to capture this more general " +"perspective. For any particular right or regulation, this model asks how " +"four different modalities of regulation interact to support or weaken the " +"right or regulation. I represented it with this diagram:" msgstr "" "Hvis du vil svare pÃ¥ disse spørsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " "snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " @@ -10362,9 +10839,10 @@ msgid "" "to suggest that the other three don't affect law. Obviously, they do. Law's " "only distinction is that it alone speaks as if it has a right self-" "consciously to change the other three. The right of the other three is more " -"timidly expressed. See Lawrence Lessig, Code: And Other Laws of Cyberspace " -"(New York: Basic Books, 1999): 90–95; Lawrence Lessig, \"The New " -"Chicago School,\" Journal of Legal Studies, June 1998." +"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of " +"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " +"Lessig, \"The New Chicago School,\" <citetitle>Journal of Legal Studies</" +"citetitle>, June 1998." msgstr "" "ved Ã¥ beskrive hvordan trenger ikke loven pÃ¥virker andre tre metoder, jeg " "bety Ã¥ foreslÃ¥ at tre andre ikke pÃ¥virker lov. Selvfølgelig, de gjør. law's " @@ -10416,22 +10894,23 @@ msgid "" "of ordinary life. I don't mean to deny the value in this narrower view, " "which depends upon the context of the inquiry. I do, however, mean to argue " "against any insistence that this narrower view is the only proper view of " -"liberty. As I argued in Code, we come from a long tradition of political " -"thought with a broader focus than the narrow question of what the government " -"did when. John Stuart Mill defended freedom of speech, for example, from " -"the tyranny of narrow minds, not from the fear of government prosecution; " -"John Stuart Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. " -"John R. Commons famously defended the economic freedom of labor from " -"constraints imposed by the market; John R. Commons, \"The Right to Work,\" " -"in Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected " -"Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act " -"increases the liberty of people with physical disabilities by changing the " -"architecture of certain public places, thereby making access to those places " -"easier; 42 United States Code, section 12101 (2000). Each of these " -"interventions to change existing conditions changes the liberty of a " -"particular group. The effect of those interventions should be accounted for " -"in order to understand the effective liberty that each of these groups might " -"face. <placeholder type=\"indexterm\" id=\"0\"/>" +"liberty. As I argued in <citetitle>Code</citetitle>, we come from a long " +"tradition of political thought with a broader focus than the narrow question " +"of what the government did when. John Stuart Mill defended freedom of " +"speech, for example, from the tyranny of narrow minds, not from the fear of " +"government prosecution; John Stuart Mill, <citetitle>On Liberty</citetitle> " +"(Indiana: Hackett Publishing Co., 1978), 19. John R. Commons famously " +"defended the economic freedom of labor from constraints imposed by the " +"market; John R. Commons, \"The Right to Work,\" in Malcom Rutherford and " +"Warren J. Samuels, eds., <citetitle>John R. Commons: Selected Essays</" +"citetitle> (London: Routledge: 1997), 62. The Americans with Disabilities " +"Act increases the liberty of people with physical disabilities by changing " +"the architecture of certain public places, thereby making access to those " +"places easier; 42 <citetitle>United States Code</citetitle>, section 12101 " +"(2000). Each of these interventions to change existing conditions changes " +"the liberty of a particular group. The effect of those interventions should " +"be accounted for in order to understand the effective liberty that each of " +"these groups might face. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "noen mennesker objektet til denne mÃ¥ten av snakker om \"frihet.\" de " "objektet fordi deres fokus nÃ¥r de vurderer begrensninger som finnes pÃ¥ et " @@ -10655,20 +11134,22 @@ msgid "" "<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " "should ban digital cameras just to support Kodak? Highways have weakened the " "freight business for railroads. Does anyone think we should ban trucks from " -"roads for the purpose of protecting the railroads? Closer to the subject of " -"this book, remote channel changers have weakened the \"stickiness\" of " -"television advertising (if a boring commercial comes on the TV, the remote " -"makes it easy to surf ), and it may well be that this change has weakened " -"the television advertising market. But does anyone believe we should " -"regulate remotes to reinforce commercial television? (Maybe by limiting them " -"to function only once a second, or to switch to only ten channels within an " -"hour?)" +"roads <emphasis>for the purpose of</emphasis> protecting the railroads? " +"Closer to the subject of this book, remote channel changers have weakened " +"the \"stickiness\" of television advertising (if a boring commercial comes " +"on the TV, the remote makes it easy to surf ), and it may well be that this " +"change has weakened the television advertising market. But does anyone " +"believe we should regulate remotes to reinforce commercial television? " +"(Maybe by limiting them to function only once a second, or to switch to only " +"ten channels within an hour?)" msgstr "" #. f6 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy -msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." +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." @@ -10806,11 +11287,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"But in 1962, Rachel Carson published Silent Spring, which argued that DDT, " -"whatever its primary benefits, was also having unintended environmental " -"consequences. Birds were losing the ability to reproduce. Whole chains of " -"the ecology were being destroyed. <placeholder type=\"indexterm\" id=\"0\"/" -"> <placeholder type=\"indexterm\" id=\"1\"/>" +"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " +"which argued that DDT, whatever its primary benefits, was also having " +"unintended environmental consequences. Birds were losing the ability to " +"reproduce. Whole chains of the ecology were being destroyed. <placeholder " +"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " "dens primære fordeler, hadde ogsÃ¥ utilsiktede miljømessige konsekvenser. " @@ -10837,9 +11318,14 @@ msgstr "" #. f7 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See, for example, James Boyle, \"A Politics of Intellectual Property: " +#| "Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." msgid "" "See, for example, James Boyle, \"A Politics of Intellectual Property: " -"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." +"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 " +"(1997): 87." msgstr "" "Se, for eksempel, James Boyle, \"A Politics of Intellectual Property: " "Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." @@ -10931,9 +11417,10 @@ msgid "" "to their respective Writings and Discoveries. We can call this the " "\"Progress Clause,\" for notice what this clause does not say. It does not " "say Congress has the power to grant \"creative property rights.\" It says " -"that Congress has the power to promote progress. The grant of power is its " -"purpose, and its purpose is a public one, not the purpose of enriching " -"publishers, nor even primarily the purpose of rewarding authors." +"that Congress has the power <emphasis>to promote progress</emphasis>. The " +"grant of power is its purpose, and its purpose is a public one, not the " +"purpose of enriching publishers, nor even primarily the purpose of rewarding " +"authors." msgstr "" "Kongressen har makt til Ã¥ fremme utviklingen av vitenskap og nyttig kunst, " "ved Ã¥ sikre begrenset ganger til forfattere og oppfinnere den eksklusive " @@ -10975,9 +11462,9 @@ msgid "" "federal government, they built structures to reinforce the power of the " "states—including the Senate, whose members were at the time selected " "by the states, and an electoral college, also selected by the states, to " -"select the president. In each case, a structure built checks and balances " -"into the constitutional frame, structured to prevent otherwise inevitable " -"concentrations of power." +"select the president. In each case, a <emphasis>structure</emphasis> built " +"checks and balances into the constitutional frame, structured to prevent " +"otherwise inevitable concentrations of power." msgstr "" "utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " "design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " @@ -11046,12 +11533,12 @@ msgstr "Crosskey, William W." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"William W. Crosskey, Politics and the Constitution in the History of the " -"United States (London: Cambridge University Press, 1953), vol. 1, " -"485–86: \"extinguish[ing], by plain implication of `the supreme Law of " -"the Land,' the perpetual rights which authors had, or were supposed by some " -"to have, under the Common Law\" (emphasis added). <placeholder type=" -"\"indexterm\" id=\"0\"/>" +"William W. Crosskey, <citetitle>Politics and the Constitution in the History " +"of the United States</citetitle> (London: Cambridge University Press, 1953), " +"vol. 1, 485–86: \"extinguish[ing], by plain implication of `the " +"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " +"or were supposed by some to have, under the Common Law</emphasis>" +"\" (emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "William W. Crosskey, politikk og Grunnloven i historien av USA (London: " "Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved " @@ -11110,13 +11597,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" "Although 13,000 titles were published in the United States from 1790 to " -"1799, only 556 copyright registrations were filed; John Tebbel, A History of " -"Book Publishing in the United States, vol. 1, The Creation of an Industry, " -"1630–1865 (New York: Bowker, 1972), 141. Of the 21,000 imprints " -"recorded before 1790, only twelve were copyrighted under the 1790 act; " -"William J. Maher, Copyright Term, Retrospective Extension and the Copyright " -"Law of 1790 in Historical Context, 7–10 (2002), available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " +"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " +"History of Book Publishing in the United States</citetitle>, vol. 1, " +"<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " +"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " +"twelve were copyrighted under the 1790 act; William J. Maher, " +"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " +"1790 in Historical Context</citetitle>, 7–10 (2002), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " "overwhelming majority of works fell immediately into the public domain. Even " "those works that were copyrighted fell into the public domain quickly, " "because the term of copyright was short. The initial term of copyright was " @@ -11163,11 +11651,12 @@ msgid "" "Few copyright holders ever chose to renew their copyrights. For instance, of " "the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " "a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " -"\"Study No. 31: Renewal of Copyright,\" Studies on Copyright, vol. 1 (New " -"York: Practicing Law Institute, 1963), 618. For a more recent and " -"comprehensive analysis, see William M. Landes and Richard A. Posner, " -"\"Indefinitely Renewable Copyright,\" University of Chicago Law Review 70 " -"(2003): 471, 498–501, and accompanying figures." +"\"Study No. 31: Renewal of Copyright,\" <citetitle>Studies on Copyright</" +"citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), 618. For a " +"more recent and comprehensive analysis, see William M. Landes and Richard " +"A. Posner, \"Indefinitely Renewable Copyright,\" <citetitle>University of " +"Chicago Law Review</citetitle> 70 (2003): 471, 498–501, and " +"accompanying figures." msgstr "" "noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " "eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " @@ -11197,10 +11686,10 @@ msgid "" "actual commercial life of just a couple of years. Most books fall out of " "print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " "happens, the used books are traded free of copyright regulation. Thus the " -"books are no longer effectively controlled by copyright. The only practical " -"commercial use of the books at that time is to sell the books as used books; " -"that use—because it does not involve publication—is effectively " -"free." +"books are no longer <emphasis>effectively</emphasis> controlled by " +"copyright. The only practical commercial use of the books at that time is to " +"sell the books as used books; that use—because it does not involve " +"publication—is effectively free." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -11424,9 +11913,9 @@ msgid "" "there was a requirement that a work be registered before it could receive " "the protection of a copyright. There was also a requirement that any " "copyrighted work be marked either with that famous © or the word " -"copyright. And for most of the history of American copyright law, there was " -"a requirement that works be deposited with the government before a copyright " -"could be secured." +"<emphasis>copyright</emphasis>. And for most of the history of American " +"copyright law, there was a requirement that works be deposited with the " +"government before a copyright could be secured." msgstr "" "pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " "begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig " @@ -11492,9 +11981,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of " -"American Literature,\" 29 New York University Journal of International Law " -"and Politics 255 (1997), and James Gilraeth, ed., Federal Copyright Records, " -"1790–1800 (U.S. G.P.O., 1987)." +"American Literature,\" 29 <citetitle>New York University Journal of " +"International Law and Politics</citetitle> 255 (1997), and James Gilraeth, " +"ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987)." msgstr "" "se thomas bender og david sampliner, \"poeter, pirater og etableringen av " "amerikansk litteratur,\" 29 new york university journal of internasjonal lov " @@ -11537,10 +12026,10 @@ msgstr "" msgid "" "Today the story is very different: If you write a book, your book is " "automatically protected. Indeed, not just your book. Every e-mail, every " -"note to your spouse, every doodle, every creative act that's reduced to a " -"tangible form—all of this is automatically copyrighted. There is no " -"need to register or mark your work. The protection follows the creation, not " -"the steps you take to protect it." +"note to your spouse, every doodle, <emphasis>every</emphasis> creative act " +"that's reduced to a tangible form—all of this is automatically " +"copyrighted. There is no need to register or mark your work. The protection " +"follows the creation, not the steps you take to protect it." msgstr "" "i dag historien er svært forskjellige: Hvis du skriver en bok, boken er " "automatisk beskyttet. faktisk, ikke bare i adresseboken. hver e-post, hver " @@ -11605,10 +12094,15 @@ msgstr "" "endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #26</" +#| "ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #26</ulink>. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</" +"citetitle>, July/August 2003, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, juli/august 2003, " "tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #26</" @@ -11620,12 +12114,12 @@ msgid "" "culture—at least, it's astonishing when you understand that the law " "applies not just to the commercial publisher but to anyone with a computer. " "I understand the wrong in duplicating and selling someone else's work. But " -"whatever that wrong is, transforming someone else's work is a different " -"wrong. Some view transformation as no wrong at all—they believe that " -"our law, as the framers penned it, should not protect derivative rights at " -"all.<placeholder type=\"footnote\" id=\"0\"/> Whether or not you go that " -"far, it seems plain that whatever wrong is involved is fundamentally " -"different from the wrong of direct piracy." +"whatever <emphasis>that</emphasis> wrong is, transforming someone else's " +"work is a different wrong. Some view transformation as no wrong at all—" +"they believe that our law, as the framers penned it, should not protect " +"derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> Whether " +"or not you go that far, it seems plain that whatever wrong is involved is " +"fundamentally different from the wrong of direct piracy." msgstr "" #. f15 @@ -11636,7 +12130,8 @@ msgid "" "the difference that copyright law should draw (from the perspective of the " "First Amendment) between mere \"copies\" and derivative works. See Jed " "Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" " -"Yale Law Journal 112 (2002): 1–60 (see especially pp. 53–59)." +"<citetitle>Yale Law Journal</citetitle> 112 (2002): 1–60 (see " +"especially pp. 53–59)." msgstr "" "professor rubenfeld har presentert en kraftig konstitusjonelle argument om " "forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den " @@ -11691,10 +12186,11 @@ msgid "" "This is a simplification of the law, but not much of one. The law certainly " "regulates more than \"copies\"—a public performance of a copyrighted " "song, for example, is regulated even though performance per se doesn't make " -"a copy; 17 United States Code, section 106(4). And it certainly sometimes " -"doesn't regulate a \"copy\"; 17 United States Code, section 112(a). But the " -"presumption under the existing law (which regulates \"copies;\" 17 United " -"States Code, section 102) is that if there is a copy, there is a right." +"a copy; 17 <citetitle>United States Code</citetitle>, section 106(4). And it " +"certainly sometimes doesn't regulate a \"copy\"; 17 <citetitle>United States " +"Code</citetitle>, section 112(a). But the presumption under the existing law " +"(which regulates \"copies;\" 17 <citetitle>United States Code</citetitle>, " +"section 102) is that if there is a copy, there is a right." msgstr "" "Dette er en forenkling av loven, men ikke mye av en. loven absolutt " "regulerer mer enn \"Kopier\"—en offentlig fremføring av en " @@ -11717,14 +12213,15 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"\"Copies.\" That certainly sounds like the obvious thing for copyright law " -"to regulate. But as with Jack Valenti's argument at the start of this " -"chapter, that \"creative property\" deserves the \"same rights\" as all " -"other property, it is the obvious that we need to be most careful about. For " -"while it may be obvious that in the world before the Internet, copies were " -"the obvious trigger for copyright law, upon reflection, it should be obvious " -"that in the world with the Internet, copies should not be the trigger for " -"copyright law. More precisely, they should not always be the trigger for " +"\"Copies.\" That certainly sounds like the obvious thing for <emphasis>copy</" +"emphasis>right law to regulate. But as with Jack Valenti's argument at the " +"start of this chapter, that \"creative property\" deserves the \"same rights" +"\" as all other property, it is the <emphasis>obvious</emphasis> that we " +"need to be most careful about. For while it may be obvious that in the world " +"before the Internet, copies were the obvious trigger for copyright law, upon " +"reflection, it should be obvious that in the world with the Internet, copies " +"should <emphasis>not</emphasis> be the trigger for copyright law. More " +"precisely, they should not <emphasis>always</emphasis> be the trigger for " "copyright law." msgstr "" "\"Kopier.\" som absolutt høres ut som det Ã¥penbare tingen for opphavsrett Ã¥ " @@ -11780,15 +12277,15 @@ msgstr "<graphic fileref=\"images/1521.png\"></graphic>" #, mtrans, fuzzy msgid "" "Think about a book in real space, and imagine this circle to represent all " -"its potential uses. Most of these uses are unregulated by copyright law, " -"because the uses don't create a copy. If you read a book, that act is not " -"regulated by copyright law. If you give someone the book, that act is not " -"regulated by copyright law. If you resell a book, that act is not regulated " -"(copyright law expressly states that after the first sale of a book, the " -"copyright owner can impose no further conditions on the disposition of the " -"book). If you sleep on the book or use it to hold up a lamp or let your " -"puppy chew it up, those acts are not regulated by copyright law, because " -"those acts do not make a copy." +"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " +"by copyright law, because the uses don't create a copy. If you read a book, " +"that act is not regulated by copyright law. If you give someone the book, " +"that act is not regulated by copyright law. If you resell a book, that act " +"is not regulated (copyright law expressly states that after the first sale " +"of a book, the copyright owner can impose no further conditions on the " +"disposition of the book). If you sleep on the book or use it to hold up a " +"lamp or let your puppy chew it up, those acts are not regulated by copyright " +"law, because those acts do not make a copy." msgstr "" "Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " "representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene er " @@ -11935,11 +12432,12 @@ msgstr "" msgid "" "So let's be very specific to make this general point clear. Before the " "Internet, if you purchased a book and read it ten times, there would be no " -"plausible copyright-related argument that the copyright owner could make to " -"control that use of her book. Copyright law would have nothing to say about " -"whether you read the book once, ten times, or every night before you went to " -"bed. None of those instances of use—reading— could be regulated " -"by copyright law because none of those uses produced a copy." +"plausible <emphasis>copyright</emphasis>-related argument that the copyright " +"owner could make to control that use of her book. Copyright law would have " +"nothing to say about whether you read the book once, ten times, or every " +"night before you went to bed. None of those instances of use—" +"reading— could be regulated by copyright law because none of those " +"uses produced a copy." msgstr "" "sÃ¥ la oss være svært spesifikke Ã¥ gjøre herfra Generelt og fjerner. før " "Internett, hvis du kjøpte en bok og Les det ti ganger, ville det ikke " @@ -11955,13 +12453,13 @@ msgstr "" msgid "" "But the same book as an e-book is effectively governed by a different set of " "rules. Now if the copyright owner says you may read the book only once or " -"only once a month, then copyright law would aid the copyright owner in " -"exercising this degree of control, because of the accidental feature of " -"copyright law that triggers its application upon there being a copy. Now if " -"you read the book ten times and the license says you may read it only five " -"times, then whenever you read the book (or any portion of it) beyond the " -"fifth time, you are making a copy of the book contrary to the copyright " -"owner's wish." +"only once a month, then <emphasis>copyright law</emphasis> would aid the " +"copyright owner in exercising this degree of control, because of the " +"accidental feature of copyright law that triggers its application upon there " +"being a copy. Now if you read the book ten times and the license says you " +"may read it only five times, then whenever you read the book (or any portion " +"of it) beyond the fifth time, you are making a copy of the book contrary to " +"the copyright owner's wish." msgstr "" "men den samme bok som en e-bok styres effektivt av et annet sett med regler. " "nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller " @@ -12007,13 +12505,13 @@ msgstr "" msgid "" "Second, this shift is especially troubling in the context of transformative " "uses of creative content. Again, we can all understand the wrong in " -"commercial piracy. But the law now purports to regulate any transformation " -"you make of creative work using a machine. \"Copy and paste\" and \"cut and " -"paste\" become crimes. Tinkering with a story and releasing it to others " -"exposes the tinkerer to at least a requirement of justification. However " -"troubling the expansion with respect to copying a particular work, it is " -"extraordinarily troubling with respect to transformative uses of creative " -"work." +"commercial piracy. But the law now purports to regulate <emphasis>any</" +"emphasis> transformation you make of creative work using a machine. \"Copy " +"and paste\" and \"cut and paste\" become crimes. Tinkering with a story and " +"releasing it to others exposes the tinkerer to at least a requirement of " +"justification. However troubling the expansion with respect to copying a " +"particular work, it is extraordinarily troubling with respect to " +"transformative uses of creative work." msgstr "" "andre, dette skiftet er spesielt troubling i sammenheng med transformative " "bruk av kreative innholdet. igjen, kan vi alle forstÃ¥ feil i kommersielle " @@ -12055,8 +12553,9 @@ msgid "" "culture. We have been cornered into arguing that our rights depend upon fair " "use—never even addressing the earlier question about the expansion in " "effective regulation. A thin protection grounded in fair use makes sense " -"when the vast majority of uses are unregulated. But when everything becomes " -"presumptively regulated, then the protections of fair use are not enough." +"when the vast majority of uses are <emphasis>unregulated</emphasis>. But " +"when everything becomes presumptively regulated, then the protections of " +"fair use are not enough." msgstr "" "dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " "kultur. Vi har vært cornered til kranglet at vÃ¥re rettigheter er avhengige " @@ -12275,20 +12774,31 @@ msgstr "Casablanca" #. f19 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " +#| "Problems 44 (1981): 172–73." msgid "" -"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " -"Problems 44 (1981): 172–73." +"See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and " +"Contemporary Problems</citetitle> 44 (1981): 172–73." msgstr "" "Se David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " "Problems 44 (1981): 172–73." #. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "There's a famous story about a battle between the Marx Brothers and " +#| "Warner Brothers. The Marxes intended to make a parody of Casablanca. " +#| "Warner Brothers objected. They wrote a nasty letter to the Marxes, " +#| "warning them that there would be serious legal consequences if they went " +#| "forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" msgid "" "There's a famous story about a battle between the Marx Brothers and Warner " -"Brothers. The Marxes intended to make a parody of Casablanca. Warner " -"Brothers objected. They wrote a nasty letter to the Marxes, warning them " -"that there would be serious legal consequences if they went forward with " -"their plan.<placeholder type=\"footnote\" id=\"0\"/>" +"Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" +"citetitle>. Warner Brothers objected. They wrote a nasty letter to the " +"Marxes, warning them that there would be serious legal consequences if they " +"went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx " "Brothers) og Warner Brothers. Marx-brødrene planla Ã¥ lage en parodi av " @@ -12297,20 +12807,33 @@ msgstr "" "hvis de gikk videre med sin plan.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1–3. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1–3. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"Ibid. See also Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Ibid. Se ogsÃ¥ Vaidhyanathan, Copyrights and Copywrongs, 1–3. " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "This led the Marx Brothers to respond in kind. They warned Warner " +#| "Brothers that the Marx Brothers \"were brothers long before you were." +#| "\"<placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " +#| "owned the word brothers, and if Warner Brothers insisted on trying to " +#| "control Casablanca, then the Marx Brothers would insist on control over " +#| "brothers." msgid "" "This led the Marx Brothers to respond in kind. They warned Warner Brothers " "that the Marx Brothers \"were brothers long before you were.\"<placeholder " "type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word " -"brothers, and if Warner Brothers insisted on trying to control Casablanca, " -"then the Marx Brothers would insist on control over brothers." +"<citetitle>brothers</citetitle>, and if Warner Brothers insisted on trying " +"to control <citetitle>Casablanca</citetitle>, then the Marx Brothers would " +"insist on control over <citetitle>brothers</citetitle>." msgstr "" "Dette fikk Marx-brødrene til Ã¥ svare tilbake med samme mynt. De advarte " "Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"." @@ -12379,11 +12902,12 @@ msgstr "" msgid "" "As you can see, I have a small collection of e-books within this e-book " "library. Some of these books reproduce content that is in the public domain: " -"Middlemarch, for example, is in the public domain. Some of them reproduce " -"content that is not in the public domain: My own book The Future of Ideas is " -"not yet within the public domain. Consider Middlemarch first. If you click " -"on my e-book copy of Middlemarch, you'll see a fancy cover, and then a " -"button at the bottom called Permissions." +"<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " +"Some of them reproduce content that is not in the public domain: My own book " +"<citetitle>The Future of Ideas</citetitle> is not yet within the public " +"domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " +"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " +"cover, and then a button at the bottom called Permissions." msgstr "" "som du ser, har jeg en liten samling av e-bøker i denne e-boken biblioteket. " "noen av disse bøkene reprodusere innholdet i public domain: middlemarch, er " @@ -12428,7 +12952,8 @@ msgid "" "of the computer ten text selections every ten days. (So far, I've copied no " "text to the clipboard.) I also have the permission to print ten pages from " "the book every ten days. Lastly, I have the permission to use the Read Aloud " -"button to hear Middlemarch read aloud through the computer." +"button to hear <citetitle>Middlemarch</citetitle> read aloud through the " +"computer." msgstr "" "Ifølge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " "datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " @@ -12440,7 +12965,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "Here's the e-book for another work in the public domain (including the " -"translation): Aristotle's Politics." +"translation): Aristotle's <citetitle>Politics</citetitle>." msgstr "" "Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert " "oversettelse): Aristoteles politikk." @@ -12474,7 +12999,7 @@ msgstr "<graphic fileref=\"images/1622.png\"></graphic>" #, mtrans, fuzzy msgid "" "Finally (and most embarrassingly), here are the permissions for the original " -"e-book version of my last book, The Future of Ideas:" +"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" msgstr "" "Endelig (og mest embarrassingly), her er du tillatelsene for den " "opprinnelige e-bok-versjonen av boken min siste, fremtiden for idéer:" @@ -12517,11 +13042,11 @@ msgid "" "works under copyright, the copyright owner certainly does have the " "power—up to the limits of the copyright law. But for work not under " "copyright, there is no such copyright power.<placeholder type=\"footnote\" " -"id=\"0\"/> When my e-book of Middlemarch says I have the permission to copy " -"only ten text selections into the memory every ten days, what that really " -"means is that the eBook Reader has enabled the publisher to control how I " -"use the book on my computer, far beyond the control that the law would " -"enable." +"id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> says I have " +"the permission to copy only ten text selections into the memory every ten " +"days, what that really means is that the eBook Reader has enabled the " +"publisher to control how I use the book on my computer, far beyond the " +"control that the law would enable." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -12560,9 +13085,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"These are controls, not permissions. Imagine a world where the Marx Brothers " -"sold word processing software that, when you tried to type \"Warner Brothers," -"\" erased \"Brothers\" from the sentence." +"These are <emphasis>controls</emphasis>, not permissions. Imagine a world " +"where the Marx Brothers sold word processing software that, when you tried " +"to type \"Warner Brothers,\" erased \"Brothers\" from the sentence." msgstr "" "Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " "brødrene solgte tekstbehandling programvare som, da du prøvde Ã¥ skrive inn " @@ -12571,12 +13096,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"This is the future of copyright law: not so much copyright law as copyright " -"code. The controls over access to content will not be controls that are " -"ratified by courts; the controls over access to content will be controls " -"that are coded by programmers. And whereas the controls that are built into " -"the law are always to be checked by a judge, the controls that are built " -"into the technology have no similar built-in check." +"This is the future of copyright law: not so much copyright <emphasis>law</" +"emphasis> as copyright <emphasis>code</emphasis>. The controls over access " +"to content will not be controls that are ratified by courts; the controls " +"over access to content will be controls that are coded by programmers. And " +"whereas the controls that are built into the law are always to be checked by " +"a judge, the controls that are built into the technology have no similar " +"built-in check." msgstr "" "Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ mye copyright lov som " "opphavsrett kode. Kontroller over tilgangen til innholdet kan ikke " @@ -12615,9 +13141,9 @@ msgstr "" msgid "" "Early in the life of the Adobe eBook Reader, Adobe suffered a public " "relations nightmare. Among the books that you could download for free on the " -"Adobe site was a copy of Alice's Adventures in Wonderland. This wonderful " -"book is in the public domain. Yet when you clicked on Permissions for that " -"book, you got the following report:" +"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</" +"citetitle>. This wonderful book is in the public domain. Yet when you " +"clicked on Permissions for that book, you got the following report:" msgstr "" "tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bøkene " "som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " @@ -12764,13 +13290,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"If you're not a programmer or don't know many programmers, the word hack has " -"a particularly unfriendly connotation. Nonprogrammers hack bushes or weeds. " -"Nonprogrammers in horror movies do even worse. But to programmers, or " -"coders, as I call them, hack is a much more positive term. Hack just means " -"code that enables the program to do something it wasn't originally intended " -"or enabled to do. If you buy a new printer for an old computer, you might " -"find the old computer doesn't run, or \"drive,\" the printer. If you " +"If you're not a programmer or don't know many programmers, the word " +"<citetitle>hack</citetitle> has a particularly unfriendly connotation. " +"Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " +"worse. But to programmers, or coders, as I call them, <citetitle>hack</" +"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " +"means code that enables the program to do something it wasn't originally " +"intended or enabled to do. If you buy a new printer for an old computer, you " +"might find the old computer doesn't run, or \"drive,\" the printer. If you " "discovered that, you'd later be happy to discover a hack on the Net by " "someone who has written a driver to enable the computer to drive the printer " "you just bought." @@ -12824,8 +13351,8 @@ msgid "" "dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " "be a crime (though we don't have a lot to go on here) to teach your robot " "dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " -"that the owner of aibopet.com thought, What possible problem could there be " -"with teaching a robot dog to dance?" +"that the owner of aibopet.com thought, <emphasis>What possible problem could " +"there be with teaching a robot dog to dance?</emphasis>" msgstr "" "Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " "NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " @@ -12867,13 +13394,15 @@ msgstr "Elektronisk forpost-stiftelsen (EFF)" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" "See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" " -"Science 293 (2001): 2028; Brendan I. Koerner, \"Play Dead: Sony Muzzles the " -"Techies Who Teach a Robot Dog New Tricks,\" American Prospect, January 2002; " -"\"Court Dismisses Computer Scientists' Challenge to DMCA,\" Intellectual " -"Property Litigation Reporter, 11 December 2001; Bill Holland, \"Copyright " -"Act Raising Free-Speech Concerns,\" Billboard, May 2001; Janelle Brown, \"Is " -"the RIAA Running Scared?\" Salon.com, April 2001; Electronic Frontier " -"Foundation, \"Frequently Asked Questions about Felten and USENIX v. RIAA " +"<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, \"Play " +"Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks,\" " +"<citetitle>American Prospect</citetitle>, January 2002; \"Court Dismisses " +"Computer Scientists' Challenge to DMCA,\" <citetitle>Intellectual Property " +"Litigation Reporter</citetitle>, 11 December 2001; Bill Holland, \"Copyright " +"Act Raising Free-Speech Concerns,\" <citetitle>Billboard</citetitle>, May " +"2001; Janelle Brown, \"Is the RIAA Running Scared?\" Salon.com, April 2001; " +"Electronic Frontier Foundation, \"Frequently Asked Questions about " +"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " "Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link " "#27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" @@ -13031,8 +13560,9 @@ msgid "" "response was to find technologies that might compensate. These new " "technologies would be copyright protection technologies— technologies " "to control the replication and distribution of copyrighted material. They " -"were designed as code to modify the original code of the Internet, to " -"reestablish some protection for copyright owners." +"were designed as <emphasis>code</emphasis> to modify the original " +"<emphasis>code</emphasis> of the Internet, to reestablish some protection " +"for copyright owners." msgstr "" "dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes første frykt om " "cyberspace. frykt var at opphavsrett kontroll var effektivt død; svaret var " @@ -13046,9 +13576,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "The DMCA was a bit of law intended to back up the protection of this code " -"designed to protect copyrighted material. It was, we could say, legal code " -"intended to buttress software code which itself was intended to support the " -"legal code of copyright." +"designed to protect copyrighted material. It was, we could say, " +"<emphasis>legal code</emphasis> intended to buttress <emphasis>software " +"code</emphasis> which itself was intended to support the <emphasis>legal " +"code of copyright</emphasis>." msgstr "" "dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " "koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " @@ -13121,8 +13652,8 @@ msgid "" "be banned because it was a copyright-infringing technology: It enabled " "consumers to copy films without the permission of the copyright owner. No " "doubt there were uses of the technology that were legal: Fred Rogers, aka " -"\"Mr. Rogers,\" for example, had testified in that case that he wanted " -"people to feel free to tape Mr. Rogers' Neighborhood." +"\"<citetitle>Mr. Rogers</citetitle>,\" for example, had testified in that " +"case that he wanted people to feel free to tape Mr. Rogers' Neighborhood." msgstr "" "bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av " "paul conrad. pÃ¥ den tiden, en domstol i california hadde holdt at " @@ -13136,9 +13667,10 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" -"Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, " -"455 fn. 27 (1984). Rogers never changed his view about the VCR. See James " -"Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR " +"<citetitle>Sony Corporation of America</citetitle> v. <citetitle>Universal " +"City Studios, Inc</citetitle>., 464 U.S. 417, 455 fn. 27 (1984). Rogers " +"never changed his view about the VCR. See James Lardner, <citetitle>Fast " +"Forward: Hollywood, the Japanese, and the Onslaught of the VCR</citetitle> " "(New York: W. W. Norton, 1987), 270–71." msgstr "" "Sony corporation of america v. universal city studios, inc., 464 amerikanske " @@ -13232,10 +13764,10 @@ msgstr "<graphic fileref=\"images/1711.png\"></graphic>" msgid "" "The obvious point of Conrad's cartoon is the weirdness of a world where guns " "are legal, despite the harm they can do, while VCRs (and circumvention " -"technologies) are illegal. Flash: No one ever died from copyright " -"circumvention. Yet the law bans circumvention technologies absolutely, " -"despite the potential that they might do some good, but permits guns, " -"despite the obvious and tragic harm they do." +"technologies) are illegal. Flash: <emphasis>No one ever died from copyright " +"circumvention</emphasis>. Yet the law bans circumvention technologies " +"absolutely, despite the potential that they might do some good, but permits " +"guns, despite the obvious and tragic harm they do." msgstr "" "den Ã¥penbare punkt conrad's tegneserie er weirdness av en verden der guns er " "juridisk, til tross for skade som de kan gjøre, mens videospillere (og " @@ -13263,14 +13795,15 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"This is how code becomes law. The controls built into the technology of copy " -"and access protection become rules the violation of which is also a " -"violation of the law. In this way, the code extends the law—increasing " -"its regulation, even if the subject it regulates (activities that would " -"otherwise plainly constitute fair use) is beyond the reach of the law. Code " -"becomes law; code extends the law; code thus extends the control that " -"copyright owners effect—at least for those copyright holders with the " -"lawyers who can write the nasty letters that Felten and aibopet.com received." +"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " +"controls built into the technology of copy and access protection become " +"rules the violation of which is also a violation of the law. In this way, " +"the code extends the law—increasing its regulation, even if the " +"subject it regulates (activities that would otherwise plainly constitute " +"fair use) is beyond the reach of the law. Code becomes law; code extends the " +"law; code thus extends the control that copyright owners effect—at " +"least for those copyright holders with the lawyers who can write the nasty " +"letters that Felten and aibopet.com received." msgstr "" "Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " "for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " @@ -13308,8 +13841,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, " -"Copyright, Fan Fiction, and a New Common Law,\" Loyola of Los Angeles " -"Entertainment Law Journal 17 (1997): 651." +"Copyright, Fan Fiction, and a New Common Law,\" <citetitle>Loyola of Los " +"Angeles Entertainment Law Journal</citetitle> 17 (1997): 651." msgstr "" "for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-" "fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles " @@ -13317,11 +13850,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" -"For example, imagine you were part of a Star Trek fan club. You gathered " -"every month to share trivia, and maybe to enact a kind of fan fiction about " -"the show. One person would play Spock, another, Captain Kirk. The characters " -"would begin with a plot from a real story, then simply continue it." -"<placeholder type=\"footnote\" id=\"0\"/>" +"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " +"club. You gathered every month to share trivia, and maybe to enact a kind of " +"fan fiction about the show. One person would play Spock, another, Captain " +"Kirk. The characters would begin with a plot from a real story, then simply " +"continue it.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -13474,7 +14007,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" " -"New York Times, 23 December 2002." +"<citetitle>New York Times</citetitle>, 23 December 2002." msgstr "" "lynette holloway, \"til tross for en markedsføring blitz cd salg fortsette Ã¥ " "skyve,\" new york times, 23 desember 2002." @@ -13483,8 +14016,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 " -"May 2003." +"Molly Ivins, \"Media Consolidation Must Be Stopped,\" <citetitle>Charleston " +"Gazette</citetitle>, 31 May 2003." msgstr "" "Molly ivins, \"media konsolidering mÃ¥ stoppes,\" charleston gazette, 31 kan " "2003." @@ -13512,11 +14045,11 @@ msgstr "" msgid "" "The story with radio is even more dramatic. Before deregulation, the " "nation's largest radio broadcasting conglomerate owned fewer than seventy-" -"five stations. Today one company owns more than 1,200 stations. During that " -"period of consolidation, the total number of radio owners dropped by 34 " -"percent. Today, in most markets, the two largest broadcasters control 74 " -"percent of that market's revenues. Overall, just four companies control 90 " -"percent of the nation's radio advertising revenues." +"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 " +"stations. During that period of consolidation, the total number of radio " +"owners dropped by 34 percent. Today, in most markets, the two largest " +"broadcasters control 74 percent of that market's revenues. Overall, just " +"four companies control 90 percent of the nation's radio advertising revenues." msgstr "" "historien med radio er enda mer dramatisk. før dereguleringen, landets " "største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag " @@ -13562,9 +14095,13 @@ msgstr "" "artikkel om rupert murdoch," #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): " +#| "89. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): " -"89. <placeholder type=\"indexterm\" id=\"0\"/>" +"James Fallows, \"The Age of Murdoch,\" <citetitle>Atlantic Monthly</" +"citetitle> (September 2003): 89. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (september 2003): " "89. <placeholder type=\"indexterm\" id=\"0\"/>" @@ -13649,11 +14186,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"In 1969, Norman Lear created a pilot for All in the Family. He took the " -"pilot to ABC. The network didn't like it. It was too edgy, they told Lear. " -"Make it again. Lear made a second pilot, more edgy than the first. ABC was " -"exasperated. You're missing the point, they told Lear. We wanted less edgy, " -"not more." +"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</" +"citetitle>. He took the pilot to ABC. The network didn't like it. It was too " +"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy " +"than the first. ABC was exasperated. You're missing the point, they told " +"Lear. We wanted less edgy, not more." msgstr "" "i 1969, norman lear opprettet en pilot for alle i familien. Han tok piloten " "til abc. nettverket liker ikke det. Det var ogsÃ¥ irritabel, fortalte de " @@ -13731,9 +14268,10 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Today, another Norman Lear with another All in the Family would find that he " -"had the choice either to make the show less edgy or to be fired: The content " -"of any show developed for a network is increasingly owned by the network." +"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¥ gjøre showet mindre irritabel eller sparken: innholdet i et " @@ -13762,11 +14300,19 @@ msgstr "" #. f32 #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 " +#| "April 2002, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #76</ulink>." msgid "" -"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill " -"Moyers, 25 April 2003, edited transcript available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #31</ulink>." +"\"Barry Diller Takes on Media Deregulation,\" <citetitle>Now with Bill " +"Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>." msgstr "" +"For eksempel, se, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April " +"2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#76</ulink>." #. type: Content of: <book><chapter><sect1><sect2><blockquote><para> msgid "" @@ -13808,15 +14354,16 @@ msgstr "Clark, Kim B." #. f33 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National " -"Bestseller that Changed the Way We Do Business (Cambridge: Harvard Business " -"School Press, 1997). Christensen acknowledges that the idea was first " -"suggested by Dean Kim Clark. See Kim B. Clark, \"The Interaction of Design " -"Hierarchies and Market Concepts in Technological Evolution,\" Research " -"Policy 14 (1985): 235–51. For a more recent study, see Richard Foster " -"and Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last " -"Underperform the Market—and How to Successfully Transform Them (New " -"York: Currency/Doubleday, 2001)." +"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " +"Revolutionary National Bestseller that Changed the Way We Do Business</" +"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen " +"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. " +"Clark, \"The Interaction of Design Hierarchies and Market Concepts in " +"Technological Evolution,\" <citetitle>Research Policy</citetitle> 14 (1985): " +"235–51. For a more recent study, see Richard Foster and Sarah Kaplan, " +"<citetitle>Creative Destruction: Why Companies That Are Built to Last " +"Underperform the Market—and How to Successfully Transform Them</" +"citetitle> (New York: Currency/Doubleday, 2001)." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -13988,21 +14535,23 @@ msgid "" "collected fees. Interview with Neal Levine, 15 October 2003. These " "restrictions are, of course, not limited to drug policy. See, for example, " "Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection " -"from TV Networks,\" New York Times, 13 March 2003, C4. Outside of election-" -"related air time there is very little that the FCC or the courts are willing " -"to do to even the playing field. For a general overview, see Rhonda Brown, " -"\"Ad Hoc Access: The Regulation of Editorial Advertising on Television and " -"Radio,\" Yale Law and Policy Review 6 (1988): 449–79, and for a more " -"recent summary of the stance of the FCC and the courts, see Radio-Television " -"News Directors Association v. FCC, 184 F. 3d 872 (D.C. Cir. 1999). Municipal " -"authorities exercise the same authority as the networks. In a recent example " -"from San Francisco, the San Francisco transit authority rejected an ad that " -"criticized its Muni diesel buses. Phillip Matier and Andrew Ross, " -"\"Antidiesel Group Fuming After Muni Rejects Ad,\" SFGate.com, 16 June 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #32</ulink>. " -"The ground was that the criticism was \"too controversial.\" <placeholder " -"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " -"<placeholder type=\"indexterm\" id=\"2\"/>" +"from TV Networks,\" <citetitle>New York Times</citetitle>, 13 March 2003, " +"C4. Outside of election-related air time there is very little that the FCC " +"or the courts are willing to do to even the playing field. For a general " +"overview, see Rhonda Brown, \"Ad Hoc Access: The Regulation of Editorial " +"Advertising on Television and Radio,\" <citetitle>Yale Law and Policy " +"Review</citetitle> 6 (1988): 449–79, and for a more recent summary of " +"the stance of the FCC and the courts, see <citetitle>Radio-Television News " +"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d " +"872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as " +"the networks. In a recent example from San Francisco, the San Francisco " +"transit authority rejected an ad that criticized its Muni diesel buses. " +"Phillip Matier and Andrew Ross, \"Antidiesel Group Fuming After Muni Rejects " +"Ad,\" SFGate.com, 16 June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #32</ulink>. The ground was that the criticism was " +"\"too controversial.\" <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -14125,9 +14674,9 @@ msgid "" "as the technologies of distribution and creation have changed and as " "lobbyists have pushed for more control by copyright holders. Changes in the " "past in response to changes in technology suggest that we may well need " -"similar changes in the future. And these changes have to be reductions in " -"the scope of copyright, in response to the extraordinary increase in control " -"that technology and the market enable." +"similar changes in the future. And these changes have to be " +"<emphasis>reductions</emphasis> in the scope of copyright, in response to " +"the extraordinary increase in control that technology and the market enable." msgstr "" "lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett " "med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " @@ -14146,9 +14695,9 @@ msgid "" "For the single point that is lost in this war on pirates is a point that we " "see only after surveying the range of these changes. When you add together " "the effect of changing law, concentrated markets, and changing technology, " -"together they produce an astonishing conclusion: Never in our history have " -"fewer had a legal right to control more of the development of our culture " -"than now." +"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 " @@ -14174,14 +14723,14 @@ msgid "" "tools to publish, for the market then was much more diverse. Not when there " "were only three television networks, for even then, newspapers, film " "studios, radio stations, and publishers were independent of the networks. " -"Never has copyright protected such a wide range of rights, against as broad " -"a range of actors, for a term that was remotely as long. This form of " -"regulation—a tiny regulation of a tiny part of the creative energy of " -"a nation at the founding—is now a massive regulation of the overall " -"creative process. Law plus technology plus the market now interact to turn " -"this historically benign regulation into the most significant regulation of " -"culture that our free society has known.<placeholder type=\"footnote\" id=" -"\"0\"/>" +"<emphasis>Never</emphasis> has copyright protected such a wide range of " +"rights, against as broad a range of actors, for a term that was remotely as " +"long. This form of regulation—a tiny regulation of a tiny part of the " +"creative energy of a nation at the founding—is now a massive " +"regulation of the overall creative process. Law plus technology plus the " +"market now interact to turn this historically benign regulation into the " +"most significant regulation of culture that our free society has known." +"<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -14351,8 +14900,8 @@ msgid "" "It was the single most important contribution of the legal realist movement " "to demonstrate that all property rights are always crafted to balance public " "and private interests. See Thomas C. Grey, \"The Disintegration of Property," -"\" in Nomos XXII: Property, J. Roland Pennock and John W. Chapman, eds. " -"(New York: New York University Press, 1980)." +"\" in <citetitle>Nomos XXII: Property</citetitle>, J. Roland Pennock and " +"John W. Chapman, eds. (New York: New York University Press, 1980)." msgstr "" "Det var enkelt viktigste bidrag av juridiske realist-bevegelse for Ã¥ " "demonstrere at alle eiendomsrettigheter alltid er laget for Ã¥ balansere " @@ -14370,9 +14919,10 @@ msgid "" "need to give authors and artists incentives with the equally important need " "to assure access to creative work. This balance has always been struck in " "light of new technologies. And for almost half of our tradition, the " -"\"copyright\" did not control at all the freedom of others to build upon or " -"transform a creative work. American culture was born free, and for almost " -"180 years our country consistently protected a vibrant and rich free culture." +"\"copyright\" did not control <emphasis>at all</emphasis> the freedom of " +"others to build upon or transform a creative work. American culture was born " +"free, and for almost 180 years our country consistently protected a vibrant " +"and rich free culture." msgstr "" #. PAGE BREAK 184 @@ -14457,9 +15007,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, The " -"Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: " -"Oxford University Press, 1996)." +"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, " +"<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael " +"Sherborne, ed. (New York: Oxford University Press, 1996)." msgstr "" "h. g. wells, \"land for blind\" (1904, 1911). se h. g. wells, landet av " "blind og andre historier, michael sherborne, ed. (new york: oxford " @@ -14483,12 +15033,12 @@ msgstr "" msgid "" "Things don't go quite as he planned. He tries to explain the idea of sight " "to the villagers. They don't understand. He tells them they are \"blind.\" " -"They don't have the word blind. They think he's just thick. Indeed, as they " -"increasingly notice the things he can't do (hear the sound of grass being " -"stepped on, for example), they increasingly try to control him. He, in turn, " -"becomes increasingly frustrated. \"`You don't understand,' he cried, in a " -"voice that was meant to be great and resolute, and which broke. `You are " -"blind and I can see. Leave me alone!'\"" +"They don't have the word <citetitle>blind</citetitle>. They think he's just " +"thick. Indeed, as they increasingly notice the things he can't do (hear the " +"sound of grass being stepped on, for example), they increasingly try to " +"control him. He, in turn, becomes increasingly frustrated. \"`You don't " +"understand,' he cried, in a voice that was meant to be great and resolute, " +"and which broke. `You are blind and I can see. Leave me alone!'\"" msgstr "" "ting gÃ¥r ikke helt som han har planlagt. han prøver Ã¥ forklare idéen om " "synet til landsbyboere. de forstÃ¥r ikke. Han forteller dem at de er \"blind." @@ -14718,15 +15268,16 @@ msgid "" "Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill " "that would treat unauthorized on-line copying as a felony offense with " "punishments ranging as high as five years imprisonment; see Jon Healey, " -"\"House Bill Aims to Up Stakes on Piracy,\" Los Angeles Times, 17 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " -"Civil penalties are currently set at $150,000 per copied song. For a recent " -"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " -"the identity of a user accused of sharing more than 600 songs through a " -"family computer, see RIAA v. Verizon Internet Services (In re. Verizon " -"Internet Services), 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could " -"face liability ranging as high as $90 million. Such astronomical figures " -"furnish the RIAA with a powerful arsenal in its prosecution of file sharers. " +"\"House Bill Aims to Up Stakes on Piracy,\" <citetitle>Los Angeles Times</" +"citetitle>, 17 July 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #34</ulink>. Civil penalties are currently set at $150,000 per " +"copied song. For a recent (and unsuccessful) legal challenge to the RIAA's " +"demand that an ISP reveal the identity of a user accused of sharing more " +"than 600 songs through a family computer, see <citetitle>RIAA</citetitle> v. " +"<citetitle>Verizon Internet Services (In re. Verizon Internet Services)</" +"citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could face " +"liability ranging as high as $90 million. Such astronomical figures furnish " +"the RIAA with a powerful arsenal in its prosecution of file sharers. " "Settlements ranging from $12,000 to $17,500 for four students accused of " "heavy file sharing on university networks must have seemed a mere pittance " "next to the $98 billion the RIAA could seek should the matter proceed to " @@ -14735,9 +15286,9 @@ msgid "" "\">link #35</ulink>. For an example of the RIAA's targeting of student file " "sharing, and of the subpoenas issued to universities to reveal student file-" "sharer identities, see James Collins, \"RIAA Steps Up Bid to Force BC, MIT " -"to Name Students,\" Boston Globe, 8 August 2003, D3, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #36</ulink>. <placeholder type=" -"\"indexterm\" id=\"0\"/>" +"to Name Students,\" <citetitle>Boston Globe</citetitle>, 8 August 2003, D3, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #36</ulink>. " +"<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -14775,8 +15326,9 @@ msgid "" "recognizes the truth in both. And while I end this book with a sketch of a " "system that does just that, my aim in the next chapter is to show just how " "awful it would be for us to adopt the zero-tolerance extreme. I believe " -"either extreme would be worse than a reasonable alternative. But I believe " -"the zero-tolerance solution would be the worse of the two extremes." +"<emphasis>either</emphasis> extreme would be worse than a reasonable " +"alternative. But I believe the zero-tolerance solution would be the worse " +"of the two extremes." msgstr "" "enten svar er mulig. Jeg tror enten ville være feil. i stedet for Ã¥ omfavne " "en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i " @@ -15077,11 +15629,12 @@ msgstr "Worldcom" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, " -"N.J.: John Wiley & Sons, 2003), 176, 204; for details of the settlement, " -"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC " -"Settlement\" (7 July 2003), available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #37</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" +"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at " +"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; " +"for details of the settlement, see MCI press release, \"MCI Wins U.S. " +"District Court Approval for SEC Settlement\" (7 July 2003), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. <placeholder " +"type=\"indexterm\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary> @@ -15123,12 +15676,22 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> -msgid "" -"See Danit Lidor, \"Artists Just Wanna Be Free,\" Wired, 7 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #40</ulink>. " -"For an overview of the exhibition, see <ulink url=\"http://free-culture.cc/" -"notes/\">link #41</ulink>." +#, fuzzy +#| msgid "" +#| "See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 " +#| "November 2000, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #8</ulink>; \"Timeline,\" 22 November 2000, available at <ulink " +#| "url=\"http://free-culture.cc/notes/\">link #9</ulink>." +msgid "" +"See Danit Lidor, \"Artists Just Wanna Be Free,\" <citetitle>Wired</" +"citetitle>, 7 July 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #40</ulink>. For an overview of the exhibition, see <ulink url=" +"\"http://free-culture.cc/notes/\">link #41</ulink>." msgstr "" +"Se Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4. november " +"2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #8</" +"ulink>; \"Timeline,\" 22. november 2000, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #9</ulink>." #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" @@ -15392,8 +15955,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "Consider one example to make the point, a story whose beginning I told in " -"The Future of Ideas and which has progressed in a way that even I (pessimist " -"extraordinaire) would never have predicted." +"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way " +"that even I (pessimist extraordinaire) would never have predicted." msgstr "" "vurdere ett eksempel for Ã¥ gjøre punktet, en historie som begynnelsen jeg " "fortalt i fremtiden for idéer og som har kommet i en mÃ¥te at selv jeg " @@ -15551,12 +16114,13 @@ msgstr "Hummer, John" #. f4. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" Los Angeles Times, " -"23 April 2003. For a parallel argument about the effects on innovation in " -"the distribution of music, see Janelle Brown, \"The Music Revolution Will " -"Not Be Digitized,\" Salon.com, 1 June 2001, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #42</ulink>. See also Jon Healey, \"Online " -"Music Services Besieged,\" Los Angeles Times, 28 May 2001." +"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" <citetitle>Los " +"Angeles Times</citetitle>, 23 April 2003. For a parallel argument about the " +"effects on innovation in the distribution of music, see Janelle Brown, \"The " +"Music Revolution Will Not Be Digitized,\" Salon.com, 1 June 2001, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #42</ulink>. See also " +"Jon Healey, \"Online Music Services Besieged,\" <citetitle>Los Angeles " +"Times</citetitle>, 28 May 2001." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -15574,8 +16138,8 @@ msgid "" "in the marketplace, but in the courtroom as well. Your investment buys you " "not only a company, it also buys you a lawsuit. So extreme has the " "environment become that even car manufacturers are afraid of technologies " -"that touch content. In an article in Business 2.0, Rafe Needleman describes " -"a discussion with BMW:" +"that touch content. In an article in <citetitle>Business 2.0</citetitle>, " +"Rafe Needleman describes a discussion with BMW:" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><indexterm><primary> @@ -15587,11 +16151,17 @@ msgid "Needleman, Rafe" msgstr "Needleman, Rafe" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> -msgid "" -"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #43</ulink>. " -"I am grateful to Dr. Mohammad Al-Ubaydli for this example. <placeholder " -"type=\"indexterm\" id=\"0\"/>" +#, fuzzy +#| msgid "" +#| "Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #43</" +#| "ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this example. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" +msgid "" +"Rafe Needleman, \"Driving in Cars with MP3s,\" <citetitle>Business 2.0</" +"citetitle>, 16 June 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #43</ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this " +"example. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16. juni 2003, " "tilgjengelig via <ulink url=\"http://free-culture.cc/notes/\">link #43</" @@ -15827,7 +16397,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Jessica Litman, Digital Copyright (Amherst, N.Y.: Prometheus Books, 2001)." +"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: " +"Prometheus Books, 2001)." msgstr "" "Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)." @@ -15835,12 +16406,12 @@ msgstr "" msgid "" "As I described in chapter 10, despite this feature of copyright as " "regulation, and subject to important qualifications outlined by Jessica " -"Litman in her book Digital Copyright,<placeholder type=\"footnote\" id=\"0\"/" -"> overall this history of copyright is not bad. As chapter 10 details, when " -"new technologies have come along, Congress has struck a balance to assure " -"that the new is protected from the old. Compulsory, or statutory, licenses " -"have been one part of that strategy. Free use (as in the case of the VCR) " -"has been another." +"Litman in her book <citetitle>Digital Copyright</citetitle>,<placeholder " +"type=\"footnote\" id=\"0\"/> overall this history of copyright is not bad. " +"As chapter 10 details, when new technologies have come along, Congress has " +"struck a balance to assure that the new is protected from the old. " +"Compulsory, or statutory, licenses have been one part of that strategy. Free " +"use (as in the case of the VCR) has been another." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -15862,17 +16433,18 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"The only circuit court exception is found in Recording Industry Association " -"of America (RIAA) v. Diamond Multimedia Systems, 180 F. 3d 1072 (9th Cir. " -"1999). There the court of appeals for the Ninth Circuit reasoned that makers " -"of a portable MP3 player were not liable for contributory copyright " -"infringement for a device that is unable to record or redistribute music (a " -"device whose only copying function is to render portable a music file " -"already stored on a user's hard drive). At the district court level, the " -"only exception is found in Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, " -"Ltd., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found the " -"link between the distributor and any given user's conduct too attenuated to " -"make the distributor liable for contributory or vicarious infringement " +"The only circuit court exception is found in <citetitle>Recording Industry " +"Association of America (RIAA)</citetitle> v. <citetitle>Diamond Multimedia " +"Systems</citetitle>, 180 F. 3d 1072 (9th Cir. 1999). There the court of " +"appeals for the Ninth Circuit reasoned that makers of a portable MP3 player " +"were not liable for contributory copyright infringement for a device that is " +"unable to record or redistribute music (a device whose only copying function " +"is to render portable a music file already stored on a user's hard drive). " +"At the district court level, the only exception is found in <citetitle>Metro-" +"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</" +"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found " +"the link between the distributor and any given user's conduct too attenuated " +"to make the distributor liable for contributory or vicarious infringement " "liability." msgstr "" "Det eneste unntaket fra circuit court er funnet i innspillingen industry " @@ -16079,9 +16651,9 @@ msgid "" "for Internet radio than the rule that applies to terrestrial radio. While " "terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " "it plays her hypothetical recording of \"Happy Birthday\" on the air, " -"Internet radio does. Not only is the law not neutral toward Internet " -"radio—the law actually burdens Internet radio more than it burdens " -"terrestrial radio." +"<emphasis>Internet radio does</emphasis>. Not only is the law not neutral " +"toward Internet radio—the law actually burdens Internet radio more " +"than it burdens terrestrial radio." msgstr "" "men her kraften i lobbyister tilbakeføres. Internett-radio er en ny " "industri. artister, derimot, har en svært kraftig lobby, riaa. dermed hadde " @@ -16108,13 +16680,14 @@ msgid "" "Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url=" "\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent " "analysis making a similar point, see Randal C. Picker, \"Copyright as Entry " -"Policy: The Case of Digital Distribution,\" Antitrust Bulletin (Summer/Fall " -"2002): 461: \"This was not confusion, these are just old-fashioned entry " -"barriers. Analog radio stations are protected from digital entrants, " -"reducing entry in radio and diversity. Yes, this is done in the name of " -"getting royalties to copyright holders, but, absent the play of powerful " -"interests, that could have been done in a media-neutral way.\" <placeholder " -"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +"Policy: The Case of Digital Distribution,\" <citetitle>Antitrust Bulletin</" +"citetitle> (Summer/Fall 2002): 461: \"This was not confusion, these are just " +"old-fashioned entry barriers. Analog radio stations are protected from " +"digital entrants, reducing entry in radio and diversity. Yes, this is done " +"in the name of getting royalties to copyright holders, but, absent the play " +"of powerful interests, that could have been done in a media-neutral way.\" " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -16131,8 +16704,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "The burden is not financial only. Under the original rules that were " -"proposed, an Internet radio station (but not a terrestrial radio station) " -"would have to collect the following data from every listening transaction:" +"proposed, an Internet radio station (but not a terrestrial radio station) " +"would have to collect the following data from <emphasis>every listening " +"transaction</emphasis>:" msgstr "" "byrden er ikke økonomiske bare. under de opprinnelige reglene som ble " "foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " @@ -16274,7 +16848,8 @@ msgid "" "pending further study. And he also changed the original rates set by the " "arbitration panel charged with setting rates. But the basic difference " "between Internet radio and terrestrial radio remains: Internet radio has to " -"pay a type of copyright fee that terrestrial radio does not." +"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does " +"not." msgstr "" "bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " "ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " @@ -16332,9 +16907,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "And the RIAA experts said, \"Well, we don't really model this as an industry " -"with thousands of webcasters, we think it should be an industry with, you " -"know, five or seven big players who can pay a high rate and it's a stable, " -"predictable market.\" (Emphasis added.)" +"with thousands of webcasters, <emphasis>we think it should be an industry " +"with, you know, five or seven big players who can pay a high rate and it's a " +"stable, predictable market</emphasis>.\" (Emphasis added.)" msgstr "" "og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med " "tusenvis av webcasters, vi tror det bør være en bransje med, du vet, fem " @@ -16401,24 +16976,24 @@ msgstr "" msgid "" "The war that is being waged today is a war of prohibition. As with every war " "of prohibition, it is targeted against the behavior of a very large number " -"of citizens. According to The New York Times, 43 million Americans " -"downloaded music in May 2002.<placeholder type=\"footnote\" id=\"0\"/> " -"According to the RIAA, the behavior of those 43 million Americans is a " -"felony. We thus have a set of rules that transform 20 percent of America " -"into criminals. As the RIAA launches lawsuits against not only the Napsters " -"and Kazaas of the world, but against students building search engines, and " -"increasingly against ordinary users downloading content, the technologies " -"for sharing will advance to further protect and hide illegal use. It is an " -"arms race or a civil war, with the extremes of one side inviting a more " -"extreme response by the other." +"of citizens. According to <citetitle>The New York Times</citetitle>, 43 " +"million Americans downloaded music in May 2002.<placeholder type=\"footnote" +"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million " +"Americans is a felony. We thus have a set of rules that transform 20 percent " +"of America into criminals. As the RIAA launches lawsuits against not only " +"the Napsters and Kazaas of the world, but against students building search " +"engines, and increasingly against ordinary users downloading content, the " +"technologies for sharing will advance to further protect and hide illegal " +"use. It is an arms race or a civil war, with the extremes of one side " +"inviting a more extreme response by the other." msgstr "" #. f16. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" Los " -"Angeles Times, 10 September 2003, Business." +"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" " +"<citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business." msgstr "" "Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" " "los angeles times, 10 september 2003, business." @@ -16449,7 +17024,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During " -"Prohibition,\" American Economic Review 81, no. 2 (1991): 242." +"Prohibition,\" <citetitle>American Economic Review</citetitle> 81, no. 2 " +"(1991): 242." msgstr "" "Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" " "amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242." @@ -16471,8 +17047,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" " -"Journal of Economic Literature 36 (1998): 818 (survey of compliance " -"literature)." +"<citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey " +"of compliance literature)." msgstr "" "se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" " "journal av økonomiske litteratur 36 (1998): 818 (undersøkelse av samsvar " @@ -16889,15 +17465,16 @@ msgstr "" #, mtrans, fuzzy msgid "" "See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in " -"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" Washington Post, 10 " -"September 2003, E1; Chris Cobbs, \"Worried Parents Pull Plug on File " -"`Stealing'; With the Music Industry Cracking Down on File Swapping, Parents " -"are Yanking Software from Home PCs to Avoid Being Sued,\" Orlando Sentinel " -"Tribune, 30 August 2003, C1; Jefferson Graham, \"Recording Industry Sues " -"Parents,\" USA Today, 15 September 2003, 4D; John Schwartz, \"She Says She's " -"No Music Pirate. No Snoop Fan, Either,\" New York Times, 25 September 2003, " -"C1; Margo Varadi, \"Is Brianna a Criminal?\" Toronto Star, 18 September " -"2003, P7." +"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington " +"Post</citetitle>, 10 September 2003, E1; Chris Cobbs, \"Worried Parents Pull " +"Plug on File `Stealing'; With the Music Industry Cracking Down on File " +"Swapping, Parents are Yanking Software from Home PCs to Avoid Being Sued,\" " +"<citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; " +"Jefferson Graham, \"Recording Industry Sues Parents,\" <citetitle>USA Today</" +"citetitle>, 15 September 2003, 4D; John Schwartz, \"She Says She's No Music " +"Pirate. No Snoop Fan, Either,\" <citetitle>New York Times</citetitle>, 25 " +"September 2003, C1; Margo Varadi, \"Is Brianna a Criminal?\" " +"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7." msgstr "" "se frank ahrens, \"riaa's søksmÃ¥l møte overrasket over mÃ¥l; enkelt mor i " "California, 12-Ã¥r gammel jente i ny blant saksøkte,\"washington post, 10 " @@ -16943,19 +17520,22 @@ msgstr "" #. f22. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" Boston " -"Globe, 18 May 2003, City Weekly, 1; Frank Ahrens, \"Four Students Sued over " -"Music Sites; Industry Group Targets File Sharing at Colleges,\" Washington " -"Post, 4 April 2003, E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at " -"Their Own Risk,\" Christian Science Monitor, 2 September 2003, 20; Robert " -"Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two Students " -"Names Are Handed Over; Lawsuit Possible,\" Chicago Tribune, 16 July 2003, " -"1C; Beth Cox, \"RIAA Trains Antipiracy Guns on Universities,\" Internet " -"News, 30 January 2003, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #48</ulink>; Benny Evangelista, \"Download Warning 101: " -"Freshman Orientation This Fall to Include Record Industry Warnings Against " -"File Sharing,\" San Francisco Chronicle, 11 August 2003, E11; \"Raid, " -"Letters Are Weapons at Universities,\" USA Today, 26 September 2000, 3D." +"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" " +"<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank " +"Ahrens, \"Four Students Sued over Music Sites; Industry Group Targets File " +"Sharing at Colleges,\" <citetitle>Washington Post</citetitle>, 4 April 2003, " +"E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at Their Own Risk,\" " +"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; " +"Robert Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two " +"Students Names Are Handed Over; Lawsuit Possible,\" <citetitle>Chicago " +"Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, \"RIAA Trains Antipiracy " +"Guns on Universities,\" <citetitle>Internet News</citetitle>, 30 January " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #48</" +"ulink>; Benny Evangelista, \"Download Warning 101: Freshman Orientation This " +"Fall to Include Record Industry Warnings Against File Sharing,\" " +"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; \"Raid, " +"Letters Are Weapons at Universities,\" <citetitle>USA Today</citetitle>, 26 " +"September 2000, 3D." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -17088,12 +17668,12 @@ msgid "" "themselves against the current threats of the Internet. This is a fire that " "if let alone would burn itself out." msgstr "" -"En krig om opphavsrett 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." +"En krig 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><chapter><para> @@ -17104,12 +17684,12 @@ msgid "" "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 hjørnet er det " -"en massiv endring i hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " +"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 hjørnet er det en massiv endring i " +"hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " #. type: Content of: <book><chapter><para> msgid "" @@ -17117,9 +17697,9 @@ msgid "" "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." +"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><chapter><para> msgid "" @@ -17128,11 +17708,11 @@ msgid "" "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¥ være fanget i " -"en enklere og sort-hvit tenkning. Uansett hvor mange folk som presser " -"pÃ¥ for Ã¥ gjøre rammen for debatten litt bredere, er det dette enkle " -"sort-hvit-synet som bestÃ¥r. Vi kjører sakte forbi og stirrer pÃ¥ " -"brannen nÃ¥r vi i stedet burde holde øynene pÃ¥ veien." +"Vi har ikke funne denne mÃ¥ten ennÃ¥. Istedet synes vi Ã¥ være fanget i en " +"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser pÃ¥ for Ã¥ " +"gjøre rammen for debatten litt bredere, er det dette enkle sort-hvit-synet " +"som bestÃ¥r. Vi kjører sakte forbi og stirrer pÃ¥ brannen nÃ¥r vi i stedet " +"burde holde øynene pÃ¥ veien." #. type: Content of: <book><chapter><para> msgid "" @@ -17141,11 +17721,11 @@ msgid "" "efforts, so far failed, to find a way to refocus this debate. We must " "understand these failures if we're to understand what success will require." msgstr "" -"Denne utfordringen har vært livet mitt de siste Ã¥rene. Det har ogsÃ¥ " -"vært min falitt. I de to neste kapittlene, 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 forsøkene hvis vi skal " -"forstÃ¥ hva som kreves for Ã¥ lykkes." +"Denne utfordringen har vært livet mitt de siste Ã¥rene. Det har ogsÃ¥ vært " +"min falitt. I de to neste kapittlene, 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 forsøkene hvis vi skal forstÃ¥ hva som kreves for " +"Ã¥ lykkes." #. type: Content of: <book><chapter><sect1><title> msgid "CHAPTER THIRTEEN: Eldred" @@ -17205,14 +17785,16 @@ msgstr "" #, mtrans, fuzzy msgid "" "Eldred's freedom to do this with Hawthorne's work grew from the same source " -"as Disney's. Hawthorne's Scarlet Letter had passed into the public domain in " -"1907. It was free for anyone to take without the permission of the Hawthorne " -"estate or anyone else. Some, such as Dover Press and Penguin Classics, take " -"works from the public domain and produce printed editions, which they sell " -"in bookstores across the country. Others, such as Disney, take these stories " -"and turn them into animated cartoons, sometimes successfully (Cinderella), " -"sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all " -"commercial publications of public domain works." +"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed " +"into the public domain in 1907. It was free for anyone to take without the " +"permission of the Hawthorne estate or anyone else. Some, such as Dover Press " +"and Penguin Classics, take works from the public domain and produce printed " +"editions, which they sell in bookstores across the country. Others, such as " +"Disney, take these stories and turn them into animated cartoons, sometimes " +"successfully (<citetitle>Cinderella</citetitle>), sometimes not " +"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure " +"Planet</citetitle>). These are all commercial publications of public domain " +"works." msgstr "" "eldred's frihet til Ã¥ gjøre dette med hawthorne's arbeid vokste fra den " "samme kilden som disney's. hawthorne's sange hadde gÃ¥tt inn i den offentlige " @@ -17273,15 +17855,16 @@ msgstr "" #, mtrans, fuzzy msgid "" "As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " -"of poems New Hampshire was slated to pass into the public domain. Eldred " -"wanted to post that collection in his free public library. But Congress got " -"in the way. As I described in chapter 10, in 1998, for the eleventh time in " -"forty years, Congress extended the terms of existing copyrights—this " -"time by twenty years. Eldred would not be free to add any works more recent " -"than 1923 to his collection until 2019. Indeed, no copyrighted work would " -"pass into the public domain until that year (and not even then, if Congress " -"extends the term again). By contrast, in the same period, more than 1 " -"million patents will pass into the public domain." +"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the " +"public domain. Eldred wanted to post that collection in his free public " +"library. But Congress got in the way. As I described in chapter 10, in " +"1998, for the eleventh time in forty years, Congress extended the terms of " +"existing copyrights—this time by twenty years. Eldred would not be " +"free to add any works more recent than 1923 to his collection until 2019. " +"Indeed, no copyrighted work would pass into the public domain until that " +"year (and not even then, if Congress extends the term again). By contrast, " +"in the same period, more than 1 million patents will pass into the public " +"domain." msgstr "" "som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av " "dikt i new hampshire slated skjedde i public domain. Eldred ønsket Ã¥ legge " @@ -17609,10 +18192,15 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey " +#| "Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,\" " +#| "Chicago Tribune, 17 October 1998, 22." msgid "" "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse " -"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago " -"Tribune, 17 October 1998, 22." +"Effort; Congress OKs Bill Granting Creators 20 More Years,\" " +"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22." msgstr "" "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse " "Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago " @@ -17630,10 +18218,15 @@ msgstr "" #. f5. #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" " +#| "Congressional Quarterly This Week, 8 August 1990, available at <ulink url=" +#| "\"http://free-culture.cc/notes/\">link #50</ulink>." msgid "" -"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional " -"Quarterly This Week, 8 August 1990, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #50</ulink>." +"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" " +"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>." msgstr "" "Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional " "Quarterly This Week, 8. august 1990, tilgjengelig fra <ulink url=\"http://" @@ -17678,13 +18271,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"It was also my judgment that this Supreme Court would not allow Congress to " -"extend existing terms. As anyone close to the Supreme Court's work knows, " -"this Court has increasingly restricted the power of Congress when it has " -"viewed Congress's actions as exceeding the power granted to it by the " -"Constitution. Among constitutional scholars, the most famous example of this " -"trend was the Supreme Court's decision in 1995 to strike down a law that " -"banned the possession of guns near schools." +"It was also my judgment that <emphasis>this</emphasis> Supreme Court would " +"not allow Congress to extend existing terms. As anyone close to the Supreme " +"Court's work knows, this Court has increasingly restricted the power of " +"Congress when it has viewed Congress's actions as exceeding the power " +"granted to it by the Constitution. Among constitutional scholars, the most " +"famous example of this trend was the Supreme Court's decision in 1995 to " +"strike down a law that banned the possession of guns near schools." msgstr "" "Det var ogsÃ¥ mitt skjønn at denne Høyesterett ikke ville tillate at " "Kongressen til Ã¥ utvide eksisterende vilkÃ¥r. alle nær Høyesterett arbeid " @@ -17728,15 +18321,15 @@ msgstr "" #, mtrans, fuzzy msgid "" "The Supreme Court, under Chief Justice Rehnquist's command, changed that in " -"United States v. Lopez. The government had argued that possessing guns near " -"schools affected interstate commerce. Guns near schools increase crime, " -"crime lowers property values, and so on. In the oral argument, the Chief " -"Justice asked the government whether there was any activity that would not " -"affect interstate commerce under the reasoning the government advanced. The " -"government said there was not; if Congress says an activity affects " -"interstate commerce, then that activity affects interstate commerce. The " -"Supreme Court, the government said, was not in the position to second-guess " -"Congress." +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The " +"government had argued that possessing guns near schools affected interstate " +"commerce. Guns near schools increase crime, crime lowers property values, " +"and so on. In the oral argument, the Chief Justice asked the government " +"whether there was any activity that would not affect interstate commerce " +"under the reasoning the government advanced. The government said there was " +"not; if Congress says an activity affects interstate commerce, then that " +"activity affects interstate commerce. The Supreme Court, the government " +"said, was not in the position to second-guess Congress." msgstr "" "Høyesterett, under chief justice rehnquist kommando, endret som i USA v. " "lopez. regjeringen hadde hevdet at ha vÃ¥pen i nærheten av skoler berørt " @@ -17752,13 +18345,17 @@ msgstr "" #. f6. #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy -msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)." +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U." +"S. 549, 564 (1995)." msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)." #. f7. #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy -msgid "United States v. Morrison, 529 U.S. 598 (2000)." +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 " +"U.S. 598 (2000)." msgstr "USA v. morrison, 529 amerikanske 598 (2000)." #. type: Content of: <book><chapter><sect1><para> @@ -17767,7 +18364,8 @@ msgid "" "Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If anything " "Congress says is interstate commerce must therefore be considered interstate " "commerce, then there would be no limit to Congress's power. The decision in " -"Lopez was reaffirmed five years later in United States v. Morrison." +"<citetitle>Lopez</citetitle> was reaffirmed five years later in " +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>." "<placeholder type=\"footnote\" id=\"1\"/>" msgstr "" @@ -17810,12 +18408,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"If, that is, the principle announced in Lopez stood for a principle. Many " -"believed the decision in Lopez stood for politics—a conservative " -"Supreme Court, which believed in states' rights, using its power over " -"Congress to advance its own personal political preferences. But I rejected " -"that view of the Supreme Court's decision. Indeed, shortly after the " -"decision, I wrote an article demonstrating the \"fidelity\" in such an " +"<emphasis>If</emphasis>, that is, the principle announced in " +"<citetitle>Lopez</citetitle> stood for a principle. Many believed the " +"decision in <citetitle>Lopez</citetitle> stood for politics—a " +"conservative Supreme Court, which believed in states' rights, using its " +"power over Congress to advance its own personal political preferences. But I " +"rejected that view of the Supreme Court's decision. Indeed, shortly after " +"the decision, I wrote an article demonstrating the \"fidelity\" in such an " "interpretation of the Constitution. The idea that the Supreme Court decides " "cases based upon its politics struck me as extraordinarily boring. I was " "not going to devote my life to teaching constitutional law if these nine " @@ -17836,19 +18435,19 @@ msgstr "" #, mtrans, fuzzy msgid "" "Now let's pause for a moment to make sure we understand what the argument in " -"Eldred was not about. By insisting on the Constitution's limits to " -"copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious " -"sense, he was fighting a kind of piracy—piracy of the public domain. " -"When Robert Frost wrote his work and when Walt Disney created Mickey Mouse, " -"the maximum copyright term was just fifty-six years. Because of interim " -"changes, Frost and Disney had already enjoyed a seventy-five-year monopoly " -"for their work. They had gotten the benefit of the bargain that the " -"Constitution envisions: In exchange for a monopoly protected for fifty-six " -"years, they created new work. But now these entities were using their " -"power—expressed through the power of lobbyists' money—to get " -"another twenty-year dollop of monopoly. That twenty-year dollop would be " -"taken from the public domain. Eric Eldred was fighting a piracy that affects " -"us all." +"<citetitle>Eldred</citetitle> was not about. By insisting on the " +"Constitution's limits to copyright, obviously Eldred was not endorsing " +"piracy. Indeed, in an obvious sense, he was fighting a kind of piracy—" +"piracy of the public domain. When Robert Frost wrote his work and when Walt " +"Disney created Mickey Mouse, the maximum copyright term was just fifty-six " +"years. Because of interim changes, Frost and Disney had already enjoyed a " +"seventy-five-year monopoly for their work. They had gotten the benefit of " +"the bargain that the Constitution envisions: In exchange for a monopoly " +"protected for fifty-six years, they created new work. But now these entities " +"were using their power—expressed through the power of lobbyists' " +"money—to get another twenty-year dollop of monopoly. That twenty-year " +"dollop would be taken from the public domain. Eric Eldred was fighting a " +"piracy that affects us all." msgstr "" "NÃ¥ la oss pause for et øyeblikk Ã¥ sørge for at vi forstÃ¥r hva argumentet i " "eldred ikke var om. ved Ã¥ insistere pÃ¥ grunnlovens grenser for opphavsrett, " @@ -17868,9 +18467,10 @@ msgstr "" #. f9. #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U." -"S. 186 (2003) (No. 01-618), n.10, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #51</ulink>." +"Brief of the Nashville Songwriters Association, <citetitle>Eldred</" +"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " +"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #51</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -17929,8 +18529,9 @@ msgstr "" msgid "" "The figure of 2 percent is an extrapolation from the study by the " "Congressional Research Service, in light of the estimated renewal ranges. " -"See Brief of Petitioners, Eldred v. Ashcroft, 7, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #52</ulink>." +"See Brief of Petitioners, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #52</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -18027,12 +18628,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Well, actually, if you think about it, there are plenty of lists of who owns " -"what property. Think about deeds on houses, or titles to cars. And where " -"there isn't a list, the code of real space is pretty good at suggesting who " -"the owner of a bit of property is. (A swing set in your backyard is probably " -"yours.) So formally or informally, we have a pretty good way to know who " -"owns what tangible property." +"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty " +"of lists of who owns what property. Think about deeds on houses, or titles " +"to cars. And where there isn't a list, the code of real space is pretty " +"good at suggesting who the owner of a bit of property is. (A swing set in " +"your backyard is probably yours.) So formally or informally, we have a " +"pretty good way to know who owns what tangible property." msgstr "" "Vel, egentlig, er Hvis du tenker pÃ¥ det, det masse av lister av hvem som " "eier hva egenskapen. Tenk pÃ¥ gjerninger pÃ¥ hus eller titler til biler. og " @@ -18107,10 +18708,11 @@ msgstr "Agee, Michael" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" Los " -"Angeles Times, 6 October 2002; David Streitfeld, \"Classic Movies, Songs, " -"Books at Stake; Supreme Court Hears Arguments Today on Striking Down " -"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002." +"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" " +"<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, " +"\"Classic Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today " +"on Striking Down Copyright Extension,\" <citetitle>Orlando Sentinel Tribune</" +"citetitle>, 9 October 2002." msgstr "" "Hvis du vil se david g. savage, \"high court scene av showdown pÃ¥ lov om " "opphavsrett\" los angeles times, 6 oktober 2002; David streitfeld, " @@ -18127,13 +18729,13 @@ msgid "" "Consider the story of Michael Agee, chairman of Hal Roach Studios, which " "owns the copyrights for the Laurel and Hardy films. Agee is a direct " "beneficiary of the Bono Act. The Laurel and Hardy films were made between " -"1921 and 1951. Only one of these films, The Lucky Dog, is currently out of " -"copyright. But for the CTEA, films made after 1923 would have begun entering " -"the public domain. Because Agee controls the exclusive rights for these " -"popular films, he makes a great deal of money. According to one estimate, " -"\"Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's " -"silent films.\"<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" +"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</" +"citetitle>, is currently out of copyright. But for the CTEA, films made " +"after 1923 would have begun entering the public domain. Because Agee " +"controls the exclusive rights for these popular films, he makes a great deal " +"of money. According to one estimate, \"Roach has sold about 60,000 " +"videocassettes and 50,000 DVDs of the duo's silent films.\"<placeholder type=" +"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -18171,10 +18773,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" "Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " -"Petitoners, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See " -"also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet " -"Archive, Eldred v. Ashcroft, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #53</ulink>." +"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</" +"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus " +"Curiae filed on behalf of Petitioners by the Internet Archive, " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -18205,11 +18808,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Or more accurately, owners. As we've seen, there isn't only a single " -"copyright associated with a film; there are many. There isn't a single " -"person whom you can contact about those copyrights; there are as many as can " -"hold the rights, which turns out to be an extremely large number. Thus the " -"costs of clearing the rights to these films is exceptionally high." +"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't " +"only a single copyright associated with a film; there are many. There isn't " +"a single person whom you can contact about those copyrights; there are as " +"many as can hold the rights, which turns out to be an extremely large " +"number. Thus the costs of clearing the rights to these films is " +"exceptionally high." msgstr "" "eller mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt " "copyright tilknyttet en film; Det er mange. Det er ikke en eneste person " @@ -18338,13 +18942,13 @@ msgstr "" #, mtrans, fuzzy msgid "" "Yet, for most of our history, they also did little harm. For most of our " -"history, when a work ended its commercial life, there was no copyright-" -"related use that would be inhibited by an exclusive right. When a book went " -"out of print, you could not buy it from a publisher. But you could still " -"buy it from a used book store, and when a used book store sells it, in " -"America, at least, there is no need to pay the copyright owner anything. " -"Thus, the ordinary use of a book after its commercial life ended was a use " -"that was independent of copyright law." +"history, when a work ended its commercial life, there was no " +"<emphasis>copyright-related use</emphasis> that would be inhibited by an " +"exclusive right. When a book went out of print, you could not buy it from a " +"publisher. But you could still buy it from a used book store, and when a " +"used book store sells it, in America, at least, there is no need to pay the " +"copyright owner anything. Thus, the ordinary use of a book after its " +"commercial life ended was a use that was independent of copyright law." msgstr "" "Likevel, for det meste av vÃ¥r historie, de ogsÃ¥ gjorde lite skade. for de " "fleste av vÃ¥r historie, nÃ¥r et arbeid endte sin kommersielle liv, var det " @@ -18441,12 +19045,12 @@ msgstr "" msgid "" "Here is the core of the harm that comes from extending terms: Now that " "technology enables us to rebuild the library of Alexandria, the law gets in " -"the way. And it doesn't get in the way for any useful copyright purpose, for " -"the purpose of copyright is to enable the commercial market that spreads " -"culture. No, we are talking about culture after it has lived its commercial " -"life. In this context, copyright is serving no purpose at all related to the " -"spread of knowledge. In this context, copyright is not an engine of free " -"expression. Copyright is a brake." +"the way. And it doesn't get in the way for any useful <emphasis>copyright</" +"emphasis> purpose, for the purpose of copyright is to enable the commercial " +"market that spreads culture. No, we are talking about culture after it has " +"lived its commercial life. In this context, copyright is serving no purpose " +"<emphasis>at all</emphasis> related to the spread of knowledge. In this " +"context, copyright is not an engine of free expression. Copyright is a brake." msgstr "" "Her er kjernen av skade kommer fra utvide vilkÃ¥r: nÃ¥ som teknologi gjør det " "mulig for oss Ã¥ gjenoppbygge biblioteket i alexandria, loven kommer i veien. " @@ -18767,11 +19371,11 @@ msgid "" "the case was not to demonstrate how bad the Sonny Bono Act was but to " "demonstrate that it was unconstitutional, my hope was to make this argument " "against a background of briefs that covered the full range of political " -"views. To show that this claim against the CTEA was grounded in law and not " -"politics, then, we tried to gather the widest range of credible " -"critics—credible not because they were rich and famous, but because " -"they, in the aggregate, demonstrated that this law was unconstitutional " -"regardless of one's politics." +"views. To show that this claim against the CTEA was grounded in " +"<emphasis>law</emphasis> and not politics, then, we tried to gather the " +"widest range of credible critics—credible not because they were rich " +"and famous, but because they, in the aggregate, demonstrated that this law " +"was unconstitutional regardless of one's politics." msgstr "" "Det var en mÃ¥te, men i som jeg følte politikk ville saken og som jeg trodde " "et svar var riktig. Jeg var overbevist om at domstolen ikke ville høre vÃ¥re " @@ -19004,8 +19608,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S. " -"(2003) (No. 01-618), 19." +"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19." msgstr "" "kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 " "amerikanske (2003) (nr 01-618), 19." @@ -19015,7 +19619,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins " -"the Fray,\" New York Times, 28 March 1998, B7." +"the Fray,\" <citetitle>New York Times</citetitle>, 28 March 1998, B7." msgstr "" "dinitia smith, \"udødelig ord, udødelig royalties? selv Mikke Mus tiltrer " "fray,\"new york times, 28 mars 1998, b7." @@ -19033,10 +19637,11 @@ msgid "" "drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> " "That was also the motive of the Gershwin estate, which defended its " "\"protection\" of the work of George Gershwin. They refuse, for example, to " -"license Porgy and Bess to anyone who refuses to use African Americans in the " -"cast.<placeholder type=\"footnote\" id=\"1\"/> That's their view of how this " -"part of American culture should be controlled, and they wanted this law to " -"help them effect that control. <placeholder type=\"indexterm\" id=\"2\"/>" +"license <citetitle>Porgy and Bess</citetitle> to anyone who refuses to use " +"African Americans in the cast.<placeholder type=\"footnote\" id=\"1\"/> " +"That's their view of how this part of American culture should be controlled, " +"and they wanted this law to help them effect that control. <placeholder " +"type=\"indexterm\" id=\"2\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -19089,9 +19694,10 @@ msgid "" "\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives " "included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice " "Kennedy, and Justice Thomas. These five had been the most consistent in " -"limiting Congress's power. They were the five who had supported the Lopez/" -"Morrison line of cases that said that an enumerated power had to be " -"interpreted to assure that Congress's powers had limits." +"limiting Congress's power. They were the five who had supported the " +"<citetitle>Lopez/Morrison</citetitle> line of cases that said that an " +"enumerated power had to be interpreted to assure that Congress's powers had " +"limits." msgstr "" #. type: Content of: <book><chapter><sect1><indexterm><primary> @@ -19197,13 +19803,14 @@ msgstr "" #, mtrans, fuzzy msgid "" "This then was the core of our strategy—a strategy for which I am " -"responsible. We would get the Court to see that just as with the Lopez case, " -"under the government's argument here, Congress would always have unlimited " -"power to extend existing terms. If anything was plain about Congress's power " -"under the Progress Clause, it was that this power was supposed to be " -"\"limited.\" Our aim would be to get the Court to reconcile Eldred with " -"Lopez: If Congress's power to regulate commerce was limited, then so, too, " -"must Congress's power to regulate copyright be limited." +"responsible. We would get the Court to see that just as with the " +"<citetitle>Lopez</citetitle> case, under the government's argument here, " +"Congress would always have unlimited power to extend existing terms. If " +"anything was plain about Congress's power under the Progress Clause, it was " +"that this power was supposed to be \"limited.\" Our aim would be to get the " +"Court to reconcile <citetitle>Eldred</citetitle> with <citetitle>Lopez</" +"citetitle>: If Congress's power to regulate commerce was limited, then so, " +"too, must Congress's power to regulate copyright be limited." msgstr "" "Dette var deretter kjernen i vÃ¥r strategi—en strategi som jeg er " "ansvarlig. Vi ville fÃ¥ retten Ã¥ se at akkurat som du er med under " @@ -19501,8 +20108,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "The second came from the Chief, for whom the whole case had been crafted. " -"For the Chief Justice had crafted the Lopez ruling, and we hoped that he " -"would see this case as its second cousin." +"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, " +"and we hoped that he would see this case as its second cousin." msgstr "" "andre kom fra sjefen, som hele saken hadde blitt utformet. for " "justisministeren hadde utformet lopez avgjørelse, og vi hÃ¥pet at ville han " @@ -19660,9 +20267,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"My reasoning. Here was a case that pitted all the money in the world against " -"reasoning. And here was the last naïve law professor, scouring the pages, " -"looking for reasoning." +"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money " +"in the world against <emphasis>reasoning</emphasis>. And here was the last " +"naïve law professor, scouring the pages, looking for reasoning." msgstr "" "mitt resonnement. Her var en sak som pitted alle pengene i verden mot " "resonnement. og her var den siste naivt lov professoren, scouring sider, pÃ¥ " @@ -19672,9 +20279,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "I first scoured the opinion, looking for how the Court would distinguish the " -"principle in this case from the principle in Lopez. The argument was nowhere " -"to be found. The case was not even cited. The argument that was the core " -"argument of our case did not even appear in the Court's opinion." +"principle in this case from the principle in <citetitle>Lopez</citetitle>. " +"The argument was nowhere to be found. The case was not even cited. The " +"argument that was the core argument of our case did not even appear in the " +"Court's opinion." msgstr "" "Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i " "dette tilfellet fra prinsippet i lopez. argumentet var ingensteds Ã¥ bli " @@ -19697,9 +20305,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "Her opinion was perfectly reasonable—for her, and for Justice Souter. " -"Neither believes in Lopez. It would be too much to expect them to write an " -"opinion that recognized, much less explained, the doctrine they had worked " -"so hard to defeat." +"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to " +"expect them to write an opinion that recognized, much less explained, the " +"doctrine they had worked so hard to defeat." msgstr "" "hennes mening var helt rimelig—for henne, og for rettferdighet souter. " "Ingen av dem tror pÃ¥ lopez. det ville være for mye Ã¥ forvente dem til Ã¥ " @@ -19713,10 +20321,11 @@ msgid "" "reading. I had said there was no way this Court could reconcile limited " "powers with the Commerce Clause and unlimited powers with the Progress " "Clause. It had never even occurred to me that they could reconcile the two " -"simply by not addressing the argument. There was no inconsistency because " -"they would not talk about the two together. There was therefore no " -"principle that followed from the Lopez case: In that context, Congress's " -"power would be limited, but in this context it would not." +"simply <emphasis>by not addressing the argument</emphasis>. There was no " +"inconsistency because they would not talk about the two together. There was " +"therefore no principle that followed from the <citetitle>Lopez</citetitle> " +"case: In that context, Congress's power would be limited, but in this " +"context it would not." msgstr "" "men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg " "hadde sagt det var ingen mÃ¥te denne retten kan avstemme begrenset krefter " @@ -19798,10 +20407,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "These two justices understood all the arguments we had made. But because " -"neither believed in the Lopez case, neither was willing to push it as a " -"reason to reject this extension. The case was decided without anyone having " -"addressed the argument that we had carried from Judge Sentelle. It was " -"Hamlet without the Prince." +"neither believed in the <citetitle>Lopez</citetitle> case, neither was " +"willing to push it as a reason to reject this extension. The case was " +"decided without anyone having addressed the argument that we had carried " +"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince." msgstr "" "disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " "ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " @@ -19824,14 +20433,15 @@ msgstr "" #, mtrans, fuzzy msgid "" "It was first anger with the five \"Conservatives.\" It would have been one " -"thing for them to have explained why the principle of Lopez didn't apply in " -"this case. That wouldn't have been a very convincing argument, I don't " -"believe, having read it made by others, and having tried to make it myself. " -"But it at least would have been an act of integrity. These justices in " -"particular have repeatedly said that the proper mode of interpreting the " -"Constitution is \"originalism\"—to first understand the framers' text, " -"interpreted in their context, in light of the structure of the Constitution. " -"That method had produced Lopez and many other \"originalist\" rulings. Where " +"thing for them to have explained why the principle of <citetitle>Lopez</" +"citetitle> didn't apply in this case. That wouldn't have been a very " +"convincing argument, I don't believe, having read it made by others, and " +"having tried to make it myself. But it at least would have been an act of " +"integrity. These justices in particular have repeatedly said that the " +"proper mode of interpreting the Constitution is \"originalism\"—to " +"first understand the framers' text, interpreted in their context, in light " +"of the structure of the Constitution. That method had produced " +"<citetitle>Lopez</citetitle> and many other \"originalist\" rulings. Where " "was their \"originalism\" now?" msgstr "" "Det var første sinne pÃ¥ fem \"konservative.\" det ville ha vært en ting for " @@ -20010,7 +20620,7 @@ msgid "" "been skeptical of the Court's activism in other cases. Deference was a good " "thing, even if it left standing a silly law. But where the decision was " "attacked, it was attacked because it left standing a silly and harmful law. " -"The New York Times wrote in its editorial," +"<citetitle>The New York Times</citetitle> wrote in its editorial," msgstr "" "etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han " "var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, " @@ -20067,12 +20677,12 @@ msgstr "" #, mtrans, fuzzy msgid "" "The image that will always stick in my head is that evoked by the quote from " -"The New York Times. That \"grand experiment\" we call the \"public domain\" " -"is over? When I can make light of it, I think, \"Honey, I shrunk the " -"Constitution.\" But I can rarely make light of it. We had in our " -"Constitution a commitment to free culture. In the case that I fathered, the " -"Supreme Court effectively renounced that commitment. A better lawyer would " -"have made them see differently." +"<citetitle>The New York Times</citetitle>. That \"grand experiment\" we call " +"the \"public domain\" is over? When I can make light of it, I think, " +"\"Honey, I shrunk the Constitution.\" But I can rarely make light of it. We " +"had in our Constitution a commitment to free culture. In the case that I " +"fathered, the Supreme Court effectively renounced that commitment. A better " +"lawyer would have made them see differently." msgstr "" "bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new " "york times. at \"store eksperimentet\" vi kaller \"public domain\" er over? " @@ -20088,13 +20698,13 @@ msgstr "Kapittel fjorten: Eldred II" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"The day Eldred was decided, fate would have it that I was to travel to " -"Washington, D.C. (The day the rehearing petition in Eldred was denied—" -"meaning the case was really finally over—fate would have it that I was " -"giving a speech to technologists at Disney World.) This was a particularly " -"long flight to my least favorite city. The drive into the city from Dulles " -"was delayed because of traffic, so I opened up my computer and wrote an op-" -"ed piece." +"The day <citetitle>Eldred</citetitle> was decided, fate would have it that I " +"was to travel to Washington, D.C. (The day the rehearing petition in " +"<citetitle>Eldred</citetitle> was denied—meaning the case was really " +"finally over—fate would have it that I was giving a speech to " +"technologists at Disney World.) This was a particularly long flight to my " +"least favorite city. The drive into the city from Dulles was delayed because " +"of traffic, so I opened up my computer and wrote an op-ed piece." msgstr "" "dag-eldred ble besluttet, men skjebnen ville at som jeg var Ã¥ reise til " "washington, DC (dagen rehearing protestskriv i eldred ble nektet—noe " @@ -20129,11 +20739,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"The New York Times published the piece. In it, I proposed a simple fix: " -"Fifty years after a work has been published, the copyright owner would be " -"required to register the work and pay a small fee. If he paid the fee, he " -"got the benefit of the full term of copyright. If he did not, the work " -"passed into the public domain." +"<citetitle>The New York Times</citetitle> published the piece. In it, I " +"proposed a simple fix: Fifty years after a work has been published, the " +"copyright owner would be required to register the work and pay a small fee. " +"If he paid the fee, he got the benefit of the full term of copyright. If he " +"did not, the work passed into the public domain." msgstr "" "new york times publisert arb. i den, jeg foreslÃ¥tt en enkel Fiks: femti Ã¥r " "etter at et arbeid er publisert, eieren av opphavsretten ville være " @@ -20244,8 +20854,9 @@ msgid "" "books published in the United Kingdom must be deposited in the British " "Library. The German Copyright Act provides for a Registrar of Authors where " "the author's true name can be filed in the case of anonymous or pseudonymous " -"works. Paul Goldstein, International Intellectual Property Law, Cases and " -"Materials (New York: Foundation Press, 2001), 153–54." +"works. Paul Goldstein, <citetitle>International Intellectual Property Law, " +"Cases and Materials</citetitle> (New York: Foundation Press, 2001), " +"153–54." msgstr "" "før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett " "lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med " @@ -20299,8 +20910,9 @@ msgid "" "to require copyright terms of life plus fifty years, as well as the " "abolition of copyright formalities. The formalities were hated because the " "stories of inadvertent loss were increasingly common. It was as if a Charles " -"Dickens character ran all copyright offices, and the failure to dot an i or " -"cross a t resulted in the loss of widows' only income." +"Dickens character ran all copyright offices, and the failure to dot an " +"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the " +"loss of widows' only income." msgstr "" "kampen mot formaliteter oppnÃ¥dde sin første virkelige seier i berlin i 1908. " "internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til Ã¥ " @@ -20419,8 +21031,8 @@ msgid "" "And like a car, there's no way to buy and sell creative property with " "confidence unless there is some simple way to authenticate who is the author " "and what rights he has. Simple transactions are destroyed in a world without " -"formalities. Complex, expensive, lawyer transactions take their place. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"formalities. Complex, expensive, <emphasis>lawyer</emphasis> transactions " +"take their place. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "pÃ¥ samme mÃ¥te er det spesielle fysikk som gjør formaliteter viktig i lov om " "opphavsrett. i motsetning til en snekker tabell er det ingenting i naturen " @@ -20459,7 +21071,8 @@ msgid "" "burden on the creative process. If the only way a library can offer an " "Internet exhibit about the New Deal is to hire a lawyer to clear the rights " "to every image and sound, then the copyright system is burdening creativity " -"in a way that has never been seen before because there are no formalities." +"in a way that has never been seen before <emphasis>because there are no " +"formalities</emphasis>." msgstr "" "men nÃ¥ som opphavsrett kan være omtrent et Ã¥rhundre lang, manglende evne til " "Ã¥ vite hva er beskyttet og hva er ikke beskyttet blir en stor og Ã¥penbare " @@ -20518,15 +21131,15 @@ msgid "" "completely agree that the Copyright Office has done a terrible job (no doubt " "because they are terribly funded) in enabling simple and cheap " "registrations. Any real solution to the problem of formalities must address " -"the real problem of governments standing at the core of any system of " -"formalities. In this book, I offer such a solution. That solution " -"essentially remakes the Copyright Office. For now, assume it was Amazon that " -"ran the registration system. Assume it was one-click registration. The " -"Eldred Act would propose a simple, one-click registration fifty years after " -"a work was published. Based upon historical data, that system would move up " -"to 98 percent of commercial work, commercial work that no longer had a " -"commercial life, into the public domain within fifty years. What do you " -"think?" +"the real problem of <emphasis>governments</emphasis> standing at the core of " +"any system of formalities. In this book, I offer such a solution. That " +"solution essentially remakes the Copyright Office. For now, assume it was " +"Amazon that ran the registration system. Assume it was one-click " +"registration. The Eldred Act would propose a simple, one-click registration " +"fifty years after a work was published. Based upon historical data, that " +"system would move up to 98 percent of commercial work, commercial work that " +"no longer had a commercial life, into the public domain within fifty years. " +"What do you think?" msgstr "" "Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nÃ¥ er " "grufult. Jeg helt enig at opphavsrettkontoret har gjort en dÃ¥rlig jobb " @@ -20734,11 +21347,12 @@ msgstr "Hva ønsker denne industrien egentlig?" msgid "" "With very little effort, the warriors could protect their content. So the " "effort to block something like the Eldred Act is not really about protecting " -"their content. The effort to block the Eldred Act is an effort to assure " -"that nothing more passes into the public domain. It is another step to " -"assure that the public domain will never compete, that there will be no use " -"of content that is not commercially controlled, and that there will be no " -"commercial use of content that doesn't require their permission first." +"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an " +"effort to assure that nothing more passes into the public domain. It is " +"another step to assure that the public domain will never compete, that there " +"will be no use of content that is not commercially controlled, and that " +"there will be no commercial use of content that doesn't require " +"<emphasis>their</emphasis> permission first." msgstr "" "med svært liten innsats, kunne warriors beskytte deres innhold. sÃ¥ innsatsen " "for Ã¥ blokkere noe som eldred loven er ikke virkelig om Ã¥ beskytte sitt " @@ -20754,8 +21368,8 @@ msgid "" "The opposition to the Eldred Act reveals how extreme the other side is. The " "most powerful and sexy and well loved of lobbies really has as its aim not " "the protection of \"property\" but the rejection of a tradition. Their aim " -"is not simply to protect what is theirs. Their aim is to assure that all " -"there is is what is theirs." +"is not simply to protect what is theirs. <emphasis>Their aim is to assure " +"that all there is is what is theirs</emphasis>." msgstr "" "motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. " "mektigste og sexy og godt elsket av lobbies virkelig har som mÃ¥let ikke " @@ -20938,10 +21552,16 @@ msgid "Braithwaite, John" msgstr "Braithwaite, John" #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns " +#| "the Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder " +#| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" -"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the " -"Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder type=" -"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +"See Peter Drahos with John Braithwaite, Information Feudalism: " +"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " +"Press, 2003), 37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" msgstr "" "Se Peter Drahos og John Braithwaite, Information Feudalism: Who Owns the " "Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder type=" @@ -20968,23 +21588,30 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><para><footnote><para> msgid "" -"International Intellectual Property Institute (IIPI), Patent Protection and " -"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared " -"for the World Intellectual Property Organization (Washington, D.C., 2000), " -"14, available at <ulink url=\"http://free-culture.cc/notes/\">link #56</" -"ulink>. For a firsthand account of the struggle over South Africa, see " -"Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human " -"Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. " -"No. 106-126 (22 July 1999), 150–57 (statement of James Love)." +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over " +"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug " +"Policy, and Human Resources, House Committee on Government Reform, H. Rep., " +"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James " +"Love)." msgstr "" #. f4. #. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"International Intellectual Property Institute (IIPI), Patent Protection and " -"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared " -"for the World Intellectual Property Organization (Washington, D.C., 2000), " -"15." +#, fuzzy +#| msgid "" +#| "International Intellectual Property Institute (IIPI), Patent Protection " +#| "and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report " +#| "Prepared for the World Intellectual Property Organization (Washington, D." +#| "C., 2000), 15." +msgid "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 15." msgstr "" "International Intellectual Property Institute (IIPI), Patent Protection and " "Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en rapport " @@ -21086,16 +21713,17 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at " -"Odds with Firms' Profit Motive,\" San Francisco Chronicle, 24 May 1999, A1, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #57</ulink> " -"(\"compulsory licenses and gray markets pose a threat to the entire system " -"of intellectual property protection\"); Robert Weissman, \"AIDS and " -"Developing Countries: Democratizing Access to Essential Medicines,\" Foreign " -"Policy in Focus 4:23 (August 1999), available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #58</ulink> (describing U.S. policy); John A. " -"Harrelson, \"TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding " -"the Proper Balance Between Intellectual Property Rights and Compassion, a " -"Synopsis,\" Widener Law Symposium Journal (Spring 2001): 175." +"Odds with Firms' Profit Motive,\" <citetitle>San Francisco Chronicle</" +"citetitle>, 24 May 1999, A1, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #57</ulink> (\"compulsory licenses and gray markets pose a " +"threat to the entire system of intellectual property protection\"); Robert " +"Weissman, \"AIDS and Developing Countries: Democratizing Access to Essential " +"Medicines,\" <citetitle>Foreign Policy in Focus</citetitle> 4:23 (August " +"1999), available at <ulink url=\"http://free-culture.cc/notes/\">link #58</" +"ulink> (describing U.S. policy); John A. Harrelson, \"TRIPS, Pharmaceutical " +"Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between " +"Intellectual Property Rights and Compassion, a Synopsis,\" " +"<citetitle>Widener Law Symposium Journal</citetitle> (Spring 2001): 175." msgstr "" #. type: Content of: <book><chapter><para> @@ -21293,15 +21921,26 @@ msgstr "" #. f6. #. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, August " -"2003, E1, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#59</ulink>; William New, \"Global Group's Shift on `Open Source' Meeting " -"Spurs Stir,\" National Journal's Technology Daily, 19 August 2003, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; William " -"New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" National " -"Journal's Technology Daily, 19 August 2003, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #61</ulink>." +#, fuzzy +#| msgid "" +#| "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, " +#| "August 2003, E1, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #59</ulink>; William New, \"Global Group's Shift on `Open Source' " +#| "Meeting Spurs Stir,\" National Journal's Technology Daily, 19 August " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #60</" +#| "ulink>; William New, \"U.S. Official Opposes `Open Source' Talks at WIPO," +#| "\" National Journal's Technology Daily, 19 August 2003, available at " +#| "<ulink url=\"http://free-culture.cc/notes/\">link #61</ulink>." +msgid "" +"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington " +"Post</citetitle>, August 2003, E1, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #59</ulink>; William New, \"Global Group's Shift on " +"`Open Source' Meeting Spurs Stir,\" <citetitle>National Journal's Technology " +"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #60</ulink>; William New, \"U.S. Official Opposes " +"`Open Source' Talks at WIPO,\" <citetitle>National Journal's Technology " +"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #61</ulink>." msgstr "" "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, august " "2003, E1, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " @@ -21474,6 +22113,22 @@ msgstr "" #. f8. #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Microsoft's position about free and open source software is more " +#| "sophisticated. As it has repeatedly asserted, it has no problem with " +#| "\"open source\" software or software in the public domain. Microsoft's " +#| "principal opposition is to \"free software\" licensed under a \"copyleft" +#| "\" license, meaning a license that requires the licensee to adopt the " +#| "same terms on any derivative work. See Bradford L. Smith, \"The Future of " +#| "Software: Enabling the Marketplace to Decide,\" Government Policy Toward " +#| "Open Source Software (Washington, D.C.: AEI-Brookings Joint Center for " +#| "Regulatory Studies, American Enterprise Institute for Public Policy " +#| "Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/" +#| "notes/\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice " +#| "president, The Commercial Software Model, discussion at New York " +#| "University Stern School of Business (3 May 2001), available at <ulink url=" +#| "\"http://free-culture.cc/notes/\">link #63</ulink>." msgid "" "Microsoft's position about free and open source software is more " "sophisticated. As it has repeatedly asserted, it has no problem with \"open " @@ -21481,14 +22136,14 @@ msgid "" "opposition is to \"free software\" licensed under a \"copyleft\" license, " "meaning a license that requires the licensee to adopt the same terms on any " "derivative work. See Bradford L. Smith, \"The Future of Software: Enabling " -"the Marketplace to Decide,\" Government Policy Toward Open Source Software " -"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " -"American Enterprise Institute for Public Policy Research, 2002), 69, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " -"See also Craig Mundie, Microsoft senior vice president, The Commercial " -"Software Model, discussion at New York University Stern School of Business " -"(3 May 2001), available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#63</ulink>." +"the Marketplace to Decide,\" <citetitle>Government Policy Toward Open Source " +"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for " +"Regulatory Studies, American Enterprise Institute for Public Policy " +"Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice president, " +"<citetitle>The Commercial Software Model</citetitle>, discussion at New York " +"University Stern School of Business (3 May 2001), available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #63</ulink>." msgstr "" "Microsofts posisjon om Ã¥pen kildekode og fri programvare er mer " "sofistikert. De har flere ganger forklart at de har ikke noe problem med " @@ -21570,14 +22225,25 @@ msgstr "" "\"http://free-culture.cc/notes/\">link #64</ulink>." #. type: Content of: <book><chapter><para> +#, fuzzy +#| msgid "" +#| "It is therefore understandable that as a proprietary software developer, " +#| "Microsoft would oppose this WIPO meeting, and understandable that it " +#| "would use its lobbyists to get the United States government to oppose it, " +#| "as well. And indeed, that is just what was reported to have happened. " +#| "According to Jonathan Krim of the Washington Post, Microsoft's lobbyists " +#| "succeeded in getting the United States government to veto the meeting." +#| "<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, the " +#| "meeting was canceled." msgid "" "It is therefore understandable that as a proprietary software developer, " "Microsoft would oppose this WIPO meeting, and understandable that it would " "use its lobbyists to get the United States government to oppose it, as well. " "And indeed, that is just what was reported to have happened. According to " -"Jonathan Krim of the Washington Post, Microsoft's lobbyists succeeded in " -"getting the United States government to veto the meeting.<placeholder type=" -"\"footnote\" id=\"0\"/> And without U.S. backing, the meeting was canceled." +"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's " +"lobbyists succeeded in getting the United States government to veto the " +"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, " +"the meeting was canceled." msgstr "" "Det er dermed forstÃ¥elig at Microsoft, som utviklere av proprietær " "programvare, gikk imot et slikt WIPO-møte, og like fullt forstÃ¥elig at de " @@ -21669,17 +22335,31 @@ msgstr "" "hadde vært patentert?" #. type: Content of: <book><chapter><para> +#, fuzzy +#| msgid "" +#| "Third, even if one believed that the purpose of WIPO was to maximize " +#| "intellectual property rights, in our tradition, intellectual property " +#| "rights are held by individuals and corporations. They get to decide what " +#| "to do with those rights because, again, they are their rights. If they " +#| "want to \"waive\" or \"disclaim\" their rights, that is, within our " +#| "tradition, totally appropriate. When Bill Gates gives away more than $20 " +#| "billion to do good in the world, that is not inconsistent with the " +#| "objectives of the property system. That is, on the contrary, just what a " +#| "property system is supposed to be about: giving individuals the right to " +#| "decide what to do with their property. <placeholder type=\"indexterm\" " +#| "id=\"0\"/>" msgid "" "Third, even if one believed that the purpose of WIPO was to maximize " "intellectual property rights, in our tradition, intellectual property rights " "are held by individuals and corporations. They get to decide what to do with " -"those rights because, again, they are their rights. If they want to \"waive" -"\" or \"disclaim\" their rights, that is, within our tradition, totally " -"appropriate. When Bill Gates gives away more than $20 billion to do good in " -"the world, that is not inconsistent with the objectives of the property " -"system. That is, on the contrary, just what a property system is supposed to " -"be about: giving individuals the right to decide what to do with their " -"property. <placeholder type=\"indexterm\" id=\"0\"/>" +"those rights because, again, they are <emphasis>their</emphasis> rights. If " +"they want to \"waive\" or \"disclaim\" their rights, that is, within our " +"tradition, totally appropriate. When Bill Gates gives away more than $20 " +"billion to do good in the world, that is not inconsistent with the " +"objectives of the property system. That is, on the contrary, just what a " +"property system is supposed to be about: giving individuals the right to " +"decide what to do with <emphasis>their</emphasis> property. <placeholder " +"type=\"indexterm\" id=\"0\"/>" msgstr "" "For det tredje, selv om en tror at formÃ¥let med WIPO var Ã¥ maksimere " "immaterielle rettigheter, sÃ¥ innehas immaterielle rettigheter, i vÃ¥r " @@ -21734,20 +22414,31 @@ msgstr "" "som kunne forstyrre denne kontrollen." #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Drahos with Braithwaite, Information Feudalism, 210–20. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"See Drahos with Braithwaite, Information Feudalism, 210–20. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " +"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Drahos og Braithwaite, Information Feudalism, 210–20. <placeholder " "type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> +#, fuzzy +#| msgid "" +#| "As Peter Drahos and John Braithwaite relate, this is precisely the choice " +#| "we are now making about intellectual property.<placeholder type=\"footnote" +#| "\" id=\"0\"/> We will have an information society. That much is certain. " +#| "Our only choice now is whether that information society will be free or " +#| "feudal. The trend is toward the feudal." msgid "" "As Peter Drahos and John Braithwaite relate, this is precisely the choice we " "are now making about intellectual property.<placeholder type=\"footnote\" id=" "\"0\"/> We will have an information society. That much is certain. Our only " -"choice now is whether that information society will be free or feudal. The " -"trend is toward the feudal." +"choice now is whether that information society will be <emphasis>free</" +"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal." msgstr "" "Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget " "vi nÃ¥ gjør om immaterielle rettigheter.<placeholder type=\"footnote\" id=" @@ -21986,18 +22677,33 @@ msgstr "Dylan, Bob" #. f11. #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</" +#| "ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 " +#| "September 2003, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, " +#| "\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New " +#| "York Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits " +#| "Meet Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. " +#| "Among Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, " +#| "\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, " +#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #67</" +#| "ulink>." msgid "" "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September " "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</" "ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 " "September 2003, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, " -"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New York " -"Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet " -"Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among " -"Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, " -"\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>." +"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" " +"<citetitle>New York Daily News</citetitle>, 9 September 2003, 3; Frank " +"Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in Calif., " +"12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington Post</" +"citetitle>, 10 September 2003, E1; Katie Dean, \"Schoolgirl Settles with " +"RIAA,\" <citetitle>Wired News</citetitle>, 10 September 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>." msgstr "" "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, september " "2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " @@ -22388,12 +23094,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" "See, for example, Marc Rotenberg, \"Fair Information Practices and the " -"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law " -"Review 1 (2001): par. 6–18, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #72</ulink> (describing examples in which " -"technology defines privacy policy). See also Jeffrey Rosen, The Naked Crowd: " -"Reclaiming Security and Freedom in an Anxious Age (New York: Random House, " -"2004) (mapping tradeoffs between technology and privacy)." +"Architecture of Privacy (What Larry Doesn't Get),\" <citetitle>Stanford " +"Technology Law Review</citetitle> 1 (2001): par. 6–18, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing " +"examples in which technology defines privacy policy). See also Jeffrey " +"Rosen, <citetitle>The Naked Crowd: Reclaiming Security and Freedom in an " +"Anxious Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs " +"between technology and privacy)." msgstr "" #. PAGE BREAK 284 @@ -22715,11 +23422,12 @@ msgstr "" msgid "" "Enter the Creative Commons. The Creative Commons is a nonprofit corporation " "established in Massachusetts, but with its home at Stanford University. Its " -"aim is to build a layer of reasonable copyright on top of the extremes that " -"now reign. It does this by making it easy for people to build upon other " -"people's work, by making it simple for creators to express the freedom for " -"others to take and build upon their work. Simple tags, tied to human-" -"readable descriptions, tied to bulletproof licenses, make this possible." +"aim is to build a layer of <emphasis>reasonable</emphasis> copyright on top " +"of the extremes that now reign. It does this by making it easy for people to " +"build upon other people's work, by making it simple for creators to express " +"the freedom for others to take and build upon their work. Simple tags, tied " +"to human-readable descriptions, tied to bulletproof licenses, make this " +"possible." msgstr "" "Angi creative commons. creative commons er et nonprofit selskap etablert i " "massachusetts, men med sitt hjem ved stanford university. MÃ¥let er Ã¥ bygge " @@ -22733,19 +23441,19 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Simple—which means without a middleman, or without a lawyer. By " -"developing a free set of licenses that people can attach to their content, " -"Creative Commons aims to mark a range of content that can easily, and " -"reliably, be built upon. These tags are then linked to machine-readable " -"versions of the license that enable computers automatically to identify " -"content that can easily be shared. These three expressions together—a " -"legal license, a human-readable description, and machine-readable tags—" -"constitute a Creative Commons license. A Creative Commons license " -"constitutes a grant of freedom to anyone who accesses the license, and more " -"importantly, an expression of the ideal that the person associated with the " -"license believes in something different than the \"All\" or \"No\" extremes. " -"Content is marked with the CC mark, which does not mean that copyright is " -"waived, but that certain freedoms are given." +"<emphasis>Simple</emphasis>—which means without a middleman, or " +"without a lawyer. By developing a free set of licenses that people can " +"attach to their content, Creative Commons aims to mark a range of content " +"that can easily, and reliably, be built upon. These tags are then linked to " +"machine-readable versions of the license that enable computers automatically " +"to identify content that can easily be shared. These three expressions " +"together—a legal license, a human-readable description, and machine-" +"readable tags—constitute a Creative Commons license. A Creative " +"Commons license constitutes a grant of freedom to anyone who accesses the " +"license, and more importantly, an expression of the ideal that the person " +"associated with the license believes in something different than the \"All\" " +"or \"No\" extremes. Content is marked with the CC mark, which does not mean " +"that copyright is waived, but that certain freedoms are given." msgstr "" "enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved Ã¥ " "utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, " @@ -22857,9 +23565,9 @@ msgstr "" msgid "" "Why would creators participate in giving up total control? Some participate " "to better spread their content. Cory Doctorow, for example, is a science " -"fiction author. His first novel, Down and Out in the Magic Kingdom, was " -"released on-line and for free, under a Creative Commons license, on the same " -"day that it went on sale in bookstores." +"fiction author. His first novel, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, was released on-line and for free, under a Creative " +"Commons license, on the same day that it went on sale in bookstores." msgstr "" "Hvorfor ville skaperne delta i Ã¥ gi opp full kontroll? noen delta for Ã¥ " "bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-" @@ -22878,7 +23586,7 @@ msgid "" "bad-(1)s. Some part of (2) will download Cory's book, like it, and then " "decide to buy it. Call them (2)-goods. If there are more (2)-goods than bad-" "(1)s, the strategy of releasing Cory's book free on-line will probably " -"increase sales of Cory's book." +"<emphasis>increase</emphasis> sales of Cory's book." msgstr "" "Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at " "hans publisher begrunnet som dette: det finnes to grupper av mennesker der " @@ -22907,11 +23615,11 @@ msgstr "" msgid "" "The idea that free content might increase the value of nonfree content was " "confirmed by the experience of another author. Peter Wayner, who wrote a " -"book about the free software movement titled Free for All, made an " -"electronic version of his book free on-line under a Creative Commons license " -"after the book went out of print. He then monitored used book store prices " -"for the book. As predicted, as the number of downloads increased, the used " -"book price for his book increased, as well." +"book about the free software movement titled <citetitle>Free for All</" +"citetitle>, made an electronic version of his book free on-line under a " +"Creative Commons license after the book went out of print. He then monitored " +"used book store prices for the book. As predicted, as the number of " +"downloads increased, the used book price for his book increased, as well." msgstr "" "idéen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av " "opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri " @@ -22924,10 +23632,10 @@ msgstr "" #. f2. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"Willful Infringement: A Report from the Front Lines of the Real Culture Wars " -"(2003), produced by Jed Horovitz, directed by Greg Hittelman, a Fiat Lucre " -"production, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#72</ulink>." +"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " +"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg " +"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #72</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -22940,12 +23648,13 @@ msgid "" "noncommercial purposes, to sample content from the licensed work; they are " "just not free to make full copies of the licensed work available to others. " "This is consistent with their own art—they, too, sample from others. " -"Because the legal costs of sampling are so high (Walter Leaphart, manager of " -"the rap group Public Enemy, which was born sampling the music of others, has " -"stated that he does not \"allow\" Public Enemy to sample anymore, because " -"the legal costs are so high<placeholder type=\"footnote\" id=\"0\"/>), these " -"artists release into the creative environment content that others can build " -"upon, so that their form of creativity might grow." +"Because the <emphasis>legal</emphasis> costs of sampling are so high (Walter " +"Leaphart, manager of the rap group Public Enemy, which was born sampling the " +"music of others, has stated that he does not \"allow\" Public Enemy to " +"sample anymore, because the legal costs are so high<placeholder type=" +"\"footnote\" id=\"0\"/>), these artists release into the creative " +"environment content that others can build upon, so that their form of " +"creativity might grow." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -23122,8 +23831,8 @@ msgid "" "records, there is no system to trace— there is no simple way to know " "how to get permission. Yet given the massive increase in the scope of " "copyright's rule, getting permission is a necessary step for any work that " -"builds upon our past. And thus, the lack of formalities forces many into " -"silence where they otherwise could speak." +"builds upon our past. And thus, the <emphasis>lack</emphasis> of formalities " +"forces many into silence where they otherwise could speak." msgstr "" "men Internett endrer alt dette. formaliteter trenger i dag ikke være en " "byrde. verden uten formaliteter er heller verden som byrder kreativitet. i " @@ -23369,11 +24078,11 @@ msgid "" "marking CDs, it would propose that to the Copyright Office. The Copyright " "Office would hold a hearing, at which other proposals could be made. The " "Copyright Office would then select the proposal that it judged preferable, " -"and it would base that choice solely upon the consideration of which method " -"could best be integrated into the registration and renewal system. We would " -"not count on the government to innovate; but we would count on the " -"government to keep the product of innovation in line with its other " -"important functions." +"and it would base that choice <emphasis>solely</emphasis> upon the " +"consideration of which method could best be integrated into the registration " +"and renewal system. We would not count on the government to innovate; but we " +"would count on the government to keep the product of innovation in line with " +"its other important functions." msgstr "" "for eksempel hvis en recording industry association devises en metode for Ã¥ " "merke CDer, ville det foreslÃ¥ som til opphavsrett kontoret. opphavsrett " @@ -23445,9 +24154,15 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, " +#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #74</" +#| "ulink>." msgid "" -"\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #74</ulink>." +"\"A Radical Rethink,\" <citetitle>Economist</citetitle>, 366:8308 (25 " +"January 2003): 15, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #74</ulink>." msgstr "" "\"A Radical Rethink,\" Economist, 366:8308 (25. januar 2003): 15, " "tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #74</" @@ -23455,12 +24170,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" -"In The Future of Ideas, I proposed a seventy-five-year term, granted in five-" -"year increments with a requirement of renewal every five years. That seemed " -"radical enough at the time. But after we lost Eldred v. Ashcroft, the " -"proposals became even more radical. The Economist endorsed a proposal for a " -"fourteen-year copyright term.<placeholder type=\"footnote\" id=\"0\"/> " -"Others have proposed tying the term to the term for patents." +"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-" +"year term, granted in five-year increments with a requirement of renewal " +"every five years. That seemed radical enough at the time. But after we lost " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the " +"proposals became even more radical. <citetitle>The Economist</citetitle> " +"endorsed a proposal for a fourteen-year copyright term.<placeholder type=" +"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for " +"patents." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -23478,12 +24195,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> #, mtrans, fuzzy msgid "" -"Keep it short: The term should be as long as necessary to give incentives to " -"create, but no longer. If it were tied to very strong protections for " -"authors (so authors were able to reclaim rights from publishers), rights to " -"the same work (not derivative works) might be extended further. The key is " -"not to tie the work up with legal regulations when it no longer benefits an " -"author." +"<emphasis>Keep it short:</emphasis> The term should be as long as necessary " +"to give incentives to create, but no longer. If it were tied to very strong " +"protections for authors (so authors were able to reclaim rights from " +"publishers), rights to the same work (not derivative works) might be " +"extended further. The key is not to tie the work up with legal regulations " +"when it no longer benefits an author." msgstr "" "holde det kort: begrepet skal være sÃ¥ lenge som nødvendig for Ã¥ gi " "insentiver til Ã¥ opprette, men ikke lenger. Hvis det var knyttet til veldig " @@ -23495,15 +24212,25 @@ msgstr "" #. (2) #. PAGE BREAK 298 #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> -msgid "" -"Keep it simple: The line between the public domain and protected content " -"must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the " -"distinction between \"ideas\" and \"expression.\" That kind of law gives " -"them lots of work. But our framers had a simpler idea in mind: protected " -"versus unprotected. The value of short terms is that there is little need " -"to build exceptions into copyright when the term itself is kept short. A " -"clear and active \"lawyer-free zone\" makes the complexities of \"fair use\" " -"and \"idea/expression\" less necessary to navigate." +#, fuzzy +#| msgid "" +#| "Keep it simple: The line between the public domain and protected content " +#| "must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the " +#| "distinction between \"ideas\" and \"expression.\" That kind of law gives " +#| "them lots of work. But our framers had a simpler idea in mind: protected " +#| "versus unprotected. The value of short terms is that there is little " +#| "need to build exceptions into copyright when the term itself is kept " +#| "short. A clear and active \"lawyer-free zone\" makes the complexities of " +#| "\"fair use\" and \"idea/expression\" less necessary to navigate." +msgid "" +"<emphasis>Keep it simple:</emphasis> The line between the public domain and " +"protected content must be kept clear. Lawyers like the fuzziness of \"fair " +"use,\" and the distinction between \"ideas\" and \"expression.\" That kind " +"of law gives them lots of work. But our framers had a simpler idea in mind: " +"protected versus unprotected. The value of short terms is that there is " +"little need to build exceptions into copyright when the term itself is kept " +"short. A clear and active \"lawyer-free zone\" makes the complexities of " +"\"fair use\" and \"idea/expression\" less necessary to navigate." msgstr "" "Gjør det enkelt: Skillelinjen mellom verker uten opphavsrettslig vern og " "innhold som er beskyttet mÃ¥ forbli klart. Advokater liker uklarheten som " @@ -23531,33 +24258,33 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> msgid "" -"Keep it alive: Copyright should have to be renewed. Especially if the " -"maximum term is long, the copyright owner should be required to signal " -"periodically that he wants the protection continued. This need not be an " -"onerous burden, but there is no reason this monopoly protection has to be " -"granted for free. On average, it takes ninety minutes for a veteran to apply " -"for a pension.<placeholder type=\"footnote\" id=\"0\"/> If we make veterans " -"suffer that burden, I don't see why we couldn't require authors to spend ten " -"minutes every fifty years to file a single form. <placeholder type=" -"\"indexterm\" id=\"1\"/>" +"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. " +"Especially if the maximum term is long, the copyright owner should be " +"required to signal periodically that he wants the protection continued. This " +"need not be an onerous burden, but there is no reason this monopoly " +"protection has to be granted for free. On average, it takes ninety minutes " +"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/" +"> If we make veterans suffer that burden, I don't see why we couldn't " +"require authors to spend ten minutes every fifty years to file a single " +"form. <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. (4) #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> #, mtrans, fuzzy msgid "" -"Keep it prospective: Whatever the term of copyright should be, the clearest " -"lesson that economists teach is that a term once given should not be " -"extended. It might have been a mistake in 1923 for the law to offer authors " -"only a fifty-six-year term. I don't think so, but it's possible. If it was a " -"mistake, then the consequence was that we got fewer authors to create in " -"1923 than we otherwise would have. But we can't correct that mistake today " -"by increasing the term. No matter what we do today, we will not increase the " -"number of authors who wrote in 1923. Of course, we can increase the reward " -"that those who write now get (or alternatively, increase the copyright " -"burden that smothers many works that are today invisible). But increasing " -"their reward will not increase their creativity in 1923. What's not done is " -"not done, and there's nothing we can do about that now." +"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright " +"should be, the clearest lesson that economists teach is that a term once " +"given should not be extended. It might have been a mistake in 1923 for the " +"law to offer authors only a fifty-six-year term. I don't think so, but it's " +"possible. If it was a mistake, then the consequence was that we got fewer " +"authors to create in 1923 than we otherwise would have. But we can't correct " +"that mistake today by increasing the term. No matter what we do today, we " +"will not increase the number of authors who wrote in 1923. Of course, we can " +"increase the reward that those who write now get (or alternatively, increase " +"the copyright burden that smothers many works that are today invisible). But " +"increasing their reward will not increase their creativity in 1923. What's " +"not done is not done, and there's nothing we can do about that now." msgstr "" "holde det potensielle: hva begrepet av opphavsrett skal være, klareste " "lærdommen om at økonomer lære er at en term nÃ¥r gitt ikke bør utvides. Det " @@ -23572,10 +24299,15 @@ msgstr "" "er ikke gjort er ikke gjort, og det er ingenting vi kan gjøre med det nÃ¥." #. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "These changes together should produce an average copyright term that is " +#| "much shorter than the current term. Until 1976, the average term was just " +#| "32.2 years. We should be aiming for the same." msgid "" -"These changes together should produce an average copyright term that is much " -"shorter than the current term. Until 1976, the average term was just 32.2 " -"years. We should be aiming for the same." +"These changes together should produce an <emphasis>average</emphasis> " +"copyright term that is much shorter than the current term. Until 1976, the " +"average term was just 32.2 years. We should be aiming for the same." msgstr "" "Disse endringene vil sammen gi en gjennomsnittlig opphavsrettslig vernetid " "som er mye kortere enn den gjeldende vernetiden. Frem til 1976 var " @@ -23633,9 +24365,13 @@ msgstr "" #. f5. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " +#| "University Press, 1967), 32." msgid "" -"Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " -"University Press, 1967), 32." +"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " +"York: Columbia University Press, 1967), 32." msgstr "" "Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " "University Press, 1967), 32." @@ -23682,13 +24418,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Term: If Congress wants to grant a derivative right, then that right should " -"be for a much shorter term. It makes sense to protect John Grisham's right " -"to sell the movie rights to his latest novel (or at least I'm willing to " -"assume it does); but it does not make sense for that right to run for the " -"same term as the underlying copyright. The derivative right could be " -"important in inducing creativity; it is not important long after the " -"creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" +"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, " +"then that right should be for a much shorter term. It makes sense to protect " +"John Grisham's right to sell the movie rights to his latest novel (or at " +"least I'm willing to assume it does); but it does not make sense for that " +"right to run for the same term as the underlying copyright. The derivative " +"right could be important in inducing creativity; it is not important long " +"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for " "en mye kortere sikt. Det er fornuftig Ã¥ beskytte john grisham's rett til Ã¥ " @@ -23701,16 +24437,16 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Scope: Likewise should the scope of derivative rights be narrowed. Again, " -"there are some cases in which derivative rights are important. Those should " -"be specified. But the law should draw clear lines around regulated and " -"unregulated uses of copyrighted material. When all \"reuse\" of creative " -"material was within the control of businesses, perhaps it made sense to " -"require lawyers to negotiate the lines. It no longer makes sense for lawyers " -"to negotiate the lines. Think about all the creative possibilities that " -"digital technologies enable; now imagine pouring molasses into the machines. " -"That's what this general requirement of permission does to the creative " -"process. Smothers it." +"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights " +"be narrowed. Again, there are some cases in which derivative rights are " +"important. Those should be specified. But the law should draw clear lines " +"around regulated and unregulated uses of copyrighted material. When all " +"\"reuse\" of creative material was within the control of businesses, perhaps " +"it made sense to require lawyers to negotiate the lines. It no longer makes " +"sense for lawyers to negotiate the lines. Think about all the creative " +"possibilities that digital technologies enable; now imagine pouring molasses " +"into the machines. That's what this general requirement of permission does " +"to the creative process. Smothers it." msgstr "" "omrÃ¥de: pÃ¥ samme mÃ¥te bør omfanget av avledede rettigheter bli innsnevret. " "igjen, det er noen tilfeller der avledede rettigheter er viktig. de skal " @@ -23743,10 +24479,15 @@ msgid "Goldstein, Paul" msgstr "Goldstein, Paul" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial " +#| "Jukebox (Stanford: Stanford University Press, 2003), 187–216. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox " -"(Stanford: Stanford University Press, 2003), 187–216. <placeholder " -"type=\"indexterm\" id=\"0\"/>" +"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " +"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " +"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox " "(Stanford: Stanford University Press, 2003), 187–216. <placeholder " @@ -24001,17 +24742,18 @@ msgid "" "In that world, it will be extremely easy to connect to services that give " "you access to content on the fly—such as Internet radio, content that " "is streamed to the user when the user demands. Here, then, is the critical " -"point: When it is extremely easy to connect to services that give access to " -"content, it will be easier to connect to services that give you access to " -"content than it will be to download and store content on the many devices " -"you will have for playing content. It will be easier, in other words, to " -"subscribe than it will be to be a database manager, as everyone in the " -"download-sharing world of Napster-like technologies essentially is. Content " -"services will compete with content sharing, even if the services charge " -"money for the content they give access to. Already cell-phone services in " -"Japan offer music (for a fee) streamed over cell phones (enhanced with plugs " -"for headphones). The Japanese are paying for this content even though \"free" -"\" content is available in the form of MP3s across the Web.<placeholder type=" +"point: When it is <emphasis>extremely</emphasis> easy to connect to services " +"that give access to content, it will be <emphasis>easier</emphasis> to " +"connect to services that give you access to content than it will be to " +"download and store content <emphasis>on the many devices you will have for " +"playing content</emphasis>. It will be easier, in other words, to subscribe " +"than it will be to be a database manager, as everyone in the download-" +"sharing world of Napster-like technologies essentially is. Content services " +"will compete with content sharing, even if the services charge money for the " +"content they give access to. Already cell-phone services in Japan offer " +"music (for a fee) streamed over cell phones (enhanced with plugs for " +"headphones). The Japanese are paying for this content even though \"free\" " +"content is available in the form of MP3s across the Web.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" @@ -24228,10 +24970,11 @@ msgstr "Fisher, William" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"William Fisher, Digital Music: Problems and Possibilities (last revised: 10 " -"October 2000), available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #77</ulink>; William Fisher, Promises to Keep: Technology, Law, and " -"the Future of Entertainment (forthcoming) (Stanford: Stanford University " +"William Fisher, <citetitle>Digital Music: Problems and Possibilities</" +"citetitle> (last revised: 10 October 2000), available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #77</ulink>; William Fisher, " +"<citetitle>Promises to Keep: Technology, Law, and the Future of " +"Entertainment</citetitle> (forthcoming) (Stanford: Stanford University " "Press, 2004), ch. 6, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #78</ulink>. Professor Netanel has proposed a related idea that " "would exempt noncommercial sharing from the reach of copyright and would " @@ -24239,19 +24982,20 @@ msgid "" "Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" " "available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. " "For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" " -"Washington Post, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " -"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " -"Foreign Relations Committee, 26 February 2002, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, A Quick " -"Case for Intellectual Property Use Fee (IPUF), 3 March 2002, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson " -"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" USA Today, 13 " -"May 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#82</ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum " -"Online, 1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" " -"CNET News.com, 27 August 2002, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #84</ulink>. Fisher's proposal is very similar to Richard " +"<citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip S. " +"Corwin on behalf of Sharman Networks, A Letter to Senator Joseph R. Biden, " +"Jr., Chairman of the Senate Foreign Relations Committee, 26 February 2002, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #80</ulink>; " +"Serguei Osokine, <citetitle>A Quick Case for Intellectual Property Use Fee " +"(IPUF)</citetitle>, 3 March 2002, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #81</ulink>; Jefferson Graham, \"Kazaa, Verizon " +"Propose to Pay Artists Directly,\" <citetitle>USA Today</citetitle>, 13 May " +"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</" +"ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum Online, " +"1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" CNET News." +"com, 27 August 2002, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #84</ulink>. Fisher's proposal is very similar to Richard " "Stallman's proposal for DAT. Unlike Fisher's, Stallman's proposal would not " "pay artists directly proportionally, though more popular artists would get " "more than the less popular. As is typical with Stallman, his proposal " @@ -24278,17 +25022,17 @@ msgstr "" #, mtrans, fuzzy msgid "" "Fisher's proposal is careful and comprehensive. It raises a million " -"questions, most of which he answers well in his upcoming book, Promises to " -"Keep. The modification that I would make is relatively simple: Fisher " -"imagines his proposal replacing the existing copyright system. I imagine it " -"complementing the existing system. The aim of the proposal would be to " -"facilitate compensation to the extent that harm could be shown. This " -"compensation would be temporary, aimed at facilitating a transition between " -"regimes. And it would require renewal after a period of years. If it " -"continues to make sense to facilitate free exchange of content, supported " -"through a taxation system, then it can be continued. If this form of " -"protection is no longer necessary, then the system could lapse into the old " -"system of controlling access." +"questions, most of which he answers well in his upcoming book, " +"<citetitle>Promises to Keep</citetitle>. The modification that I would make " +"is relatively simple: Fisher imagines his proposal replacing the existing " +"copyright system. I imagine it complementing the existing system. The aim " +"of the proposal would be to facilitate compensation to the extent that harm " +"could be shown. This compensation would be temporary, aimed at facilitating " +"a transition between regimes. And it would require renewal after a period of " +"years. If it continues to make sense to facilitate free exchange of content, " +"supported through a taxation system, then it can be continued. If this form " +"of protection is no longer necessary, then the system could lapse into the " +"old system of controlling access." msgstr "" "fisher's forslag er grundige og omfattende. det reiser en million " "spørsmÃ¥lene, mest av som han svarer godt i hans kommende bok, lover Ã¥ holde. " @@ -24451,18 +25195,31 @@ msgstr "" "Burde loven gjøre noe da?" #. type: Content of: <book><chapter><sect1><sect2><para> +#, fuzzy +#| msgid "" +#| "Yes, it should. But, again, what it should do depends upon how the facts " +#| "develop. These changes may not eliminate type A sharing. But the real " +#| "issue is not whether it eliminates sharing in the abstract. The real " +#| "issue is its effect on the market. Is it better (a) to have a technology " +#| "that is 95 percent secure and produces a market of size x, or (b) to have " +#| "a technology that is 50 percent secure but produces a market of five " +#| "times x? Less secure might produce more unauthorized sharing, but it is " +#| "likely to also produce a much bigger market in authorized sharing. The " +#| "most important thing is to assure artists' compensation without breaking " +#| "the Internet. Once that's assured, then it may well be appropriate to " +#| "find ways to track down the petty pirates." msgid "" "Yes, it should. But, again, what it should do depends upon how the facts " "develop. These changes may not eliminate type A sharing. But the real issue " "is not whether it eliminates sharing in the abstract. The real issue is its " "effect on the market. Is it better (a) to have a technology that is 95 " -"percent secure and produces a market of size x, or (b) to have a technology " -"that is 50 percent secure but produces a market of five times x? Less secure " -"might produce more unauthorized sharing, but it is likely to also produce a " -"much bigger market in authorized sharing. The most important thing is to " -"assure artists' compensation without breaking the Internet. Once that's " -"assured, then it may well be appropriate to find ways to track down the " -"petty pirates." +"percent secure and produces a market of size <citetitle>x</citetitle>, or " +"(b) to have a technology that is 50 percent secure but produces a market of " +"five times <citetitle>x</citetitle>? Less secure might produce more " +"unauthorized sharing, but it is likely to also produce a much bigger market " +"in authorized sharing. The most important thing is to assure artists' " +"compensation without breaking the Internet. Once that's assured, then it may " +"well be appropriate to find ways to track down the petty pirates." msgstr "" "Ja, det bør den. Men, nok en gang, hva den bør gjøre avhenger hvordan " "realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-" @@ -24524,9 +25281,14 @@ msgstr "" #. f10. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " +#| "Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069–70." msgid "" "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " -"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069–70." +"Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, " +"1069–70." msgstr "" "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " "Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069–70." @@ -24562,21 +25324,39 @@ msgstr "" "om vÃ¥r manglende evne til Ã¥ faktisk ta inn over oss hva loven koster." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "A good example is the work of Professor Stan Liebowitz. Liebowitz is to " +#| "be commended for his careful review of data about infringement, leading " +#| "him to question his own publicly stated position—twice. He " +#| "initially predicted that downloading would substantially harm the " +#| "industry. He then revised his view in light of the data, and he has since " +#| "revised his view again. Compare Stan J. Liebowitz, Rethinking the " +#| "Network Economy: The True Forces That Drive the Digital Marketplace (New " +#| "York: Amacom, 2002), (reviewing his original view but expressing " +#| "skepticism) with Stan J. Liebowitz, \"Will MP3s Annihilate the Record " +#| "Industry?\" working paper, June 2003, available at <ulink url=\"http://" +#| "free-culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis " +#| "is extremely valuable in estimating the effect of file-sharing " +#| "technology. In my view, however, he underestimates the costs of the legal " +#| "system. See, for example, Rethinking, 174–76. <placeholder type=" +#| "\"indexterm\" id=\"0\"/>" msgid "" "A good example is the work of Professor Stan Liebowitz. Liebowitz is to be " "commended for his careful review of data about infringement, leading him to " "question his own publicly stated position—twice. He initially " "predicted that downloading would substantially harm the industry. He then " "revised his view in light of the data, and he has since revised his view " -"again. Compare Stan J. Liebowitz, Rethinking the Network Economy: The True " -"Forces That Drive the Digital Marketplace (New York: Amacom, 2002), " -"(reviewing his original view but expressing skepticism) with Stan J. " -"Liebowitz, \"Will MP3s Annihilate the Record Industry?\" working paper, June " -"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #86</" -"ulink>. Liebowitz's careful analysis is extremely valuable in estimating " -"the effect of file-sharing technology. In my view, however, he " -"underestimates the costs of the legal system. See, for example, Rethinking, " -"174–76. <placeholder type=\"indexterm\" id=\"0\"/>" +"again. Compare Stan J. Liebowitz, <citetitle>Rethinking the Network " +"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " +"York: Amacom, 2002), (reviewing his original view but expressing skepticism) " +"with Stan J. Liebowitz, \"Will MP3s Annihilate the Record Industry?\" " +"working paper, June 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #86</ulink>. Liebowitz's careful analysis is extremely " +"valuable in estimating the effect of file-sharing technology. In my view, " +"however, he underestimates the costs of the legal system. See, for example, " +"<citetitle>Rethinking</citetitle>, 174–76. <placeholder type=" +"\"indexterm\" id=\"0\"/>" msgstr "" "Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør fÃ¥ " "ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til " @@ -24864,3 +25644,11 @@ msgstr "" "pÃ¥ at det ville være endeløs lykke utenfor disse kampene, og som alltid har " "hatt rett. Denne trege eleven er som alltid takknemlig for hennes " "evigvarende tÃ¥lmodighet og kjærlighet." + +#, fuzzy +#~ msgid "" +#~ "For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., " +#~ "50 S.E." +#~ msgstr "" +#~ "for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. " +#~ "co, 50 se" diff --git a/stats.txt b/stats.txt index 32787b0..6f0caf3 100644 --- a/stats.txt +++ b/stats.txt @@ -67,3 +67,5 @@ 2012-07-26T2125 586 oversatte meldinger, 937 antatte oversettelser, 246 uoversatte meldinger. 2012-07-26T2202 592 oversatte meldinger, 931 antatte oversettelser, 246 uoversatte meldinger. 2012-07-27T1123 592 oversatte meldinger, 929 antatte oversettelser, 247 uoversatte meldinger. +2012-07-27T1155 596 oversatte meldinger, 925 antatte oversettelser, 247 uoversatte meldinger. +2012-07-27T2030 513 oversatte meldinger, 1009 antatte oversettelser, 246 uoversatte meldinger.